Displaying items by tag: NeoFuturist Theater

Epic tragedy shapes a society. For Chicagoans, there were the Great Fire of 1871 (300 dead, 100,000 homeless), and the 1915 SS Eastland sinking (844 died). Less remembered is the Iroquois Theater, which burned to the ground in 1903. The conflagration killed 602 people, and changed fire safety practices in theaters everywhere.
Just over a month after its grand opening run, on December 30, 1903, the Iroquois Theater was destroyed when an arc light ignited a muslin curtain. (That site is now the home of the Nederlander Theatre, the restored Oriental movie palace.)

The Ruffians theater troupe recounts this tale – seminal to Chicago’s theater communit -  in Burning Bluebeard, in a truly inspired production. The performance incorporates dance, music, mime, acrobatics, in a that evokes the atmospheric gymnastics of Cirque de Soleil, or perhaps even more the defunct Red Moon Theater for those who remember it). Let’s say from the start Burning Bluebeard is entrancing, mesmerizing, and something not to be missed.

The Ruffians have been serving up this unusual holiday fare since 2011, when it was originated with the support of the NeoFuturists Theater. This year Porchlight Music Theatre has placed the show on its stage at the Ruth Page Center (1016 N. Dearborn), supplying plenty of seating for the growing cult following Burning Bluebeard has garnered.

Burning Bluebeard retells the story of the fire from the point of view of cast and crew who survived it – all but one escaped - in a mash-up with scenes adapted from the original Mr. Bluebeard on stage at t he time. In so doing, playwright Jay Torrance (who also plays stage manager Robert Murray) and director Halena Kays provide us a sampling of antique theatrical techniques and practices from the period. Choreographic by Ariel Etana Triunfo is exquisite, and scenic design by Doug Kmiec is wonderful.

The show opens with body bags on the smoldering ruins of the stage, the actors emerging in tattered costumes, and launch into the story – reminding the audience they are playing the role of the original audience – more than a third of whom died. This provocative tease (though it goes on a little too long, giving us multiple false starts)
Running 100 minutes with no intermission, the characters are drawn from real people like stage manager Murray, and Chicago vaudeville comedian Eddie Foy (Ryan Walters), who was in the road show production, and earned acclaim in the disaster for helping keep the audience calm.

Most entertaining is Pamela Chermansky as the Fancy Clown, who plays through various vignettes and comic scenes, then periodically steps out of the clown character to comment as a “master thespian” on the production of Mr. Bluebeard.

“History knew better than the playwright, better than any of us, that it wasn’t any good,” she declaims haughtily. Ticket sales were slow, so the producers kept adding scenes, songs, and production embellishments, which also added fuel for the fire. Objecting to revisions in one of her scene, Fancy Clown ironically tells them to go ahead, “Unless you are bored with petty things, like artistry, and craft!” her a voice dripping with disdain.

At the other end of the spectrum is stage manager Robert Murray (Jay Torrance), who is all about the technical mechanics of the show, and knows this production is a dog. He also provides the specific details regarding locked safety doors, incomplete fire escapes, a burning fire curtain, and hemp-filled seating that magnified the effects of the tragedy.

A realistic touch from from the pantomime style of Mr. Bluebeard is the inclusion of The Fairie Queen, with Crosby Sandoval giving an absolutely arresting performance. In a worn white lace and organdy frock, the hairy chested, mustachioed Sandoval delivers engimatic utterances muffled through a tin can hanging on a string around his neck. (Notes in the progam let us know cross dressing, fairie queens, and purely silent scenic interludes were all part of the pantomime theatrical style.) 

Adding to the woe, the day of the Iroquois Theater tragedy was the show’s first sell out in the 1,650 see theater, with scores more packed in, the overflow filling standing room and even seating themselves in the stairway aisles of the upper balconies.

The mayor shuttered all the theaters in town while the fire was investigated. Afterward emerged building code changes like mandatory exit lights, improved fire proofing and readily accessible fire escapes – and other changes that are now the norm in all public spaces.

Burning Bluebeard runs through December 27 at the Ruth Page Center in Chicago, and is highly recommended.

For those of you who are not aware, there is a great youth program taking place where a group of educators have created an alternative education source for CPS students. Enter Barrel of Monkeys. Barrel of Monkeys (BOM) is a combined group of actors, teachers and musicians that have developed a new, and fun, way for students to enhance their creative writing skills while building their self-esteem and open doors for them to express themselves. Mainly working with third through fifth graders, BOM focuses on working with underserved schools on Chicago’s South and West sides and the result has been a huge success.

Taking stories from students, this talented ensemble translates, then performs these ideas (often word for word, which can be amazingly hilarious) on stage, currently at the Neo-Futurist Theater in Andersonville. In what always turns into series of absurdly funny sketches, BOM’s performers act out each story, promptly giving credit to the student author before they begin.

Barrel of Monkeys now continues into the summer with their That’s Weird, Grandma series, a run that changes its overall theme throughout the year, the latest being That’s Weird, Grandma: The Summer Strikes Back. Again, with all material written by Chicago Public School students, you can just imagine how it translates when acted out by a professional theatre ensemble. Needless to say, the laughs are plentiful from beginning to end.

In Summer Strikes Back directed by Artistic Director Joseph Schupbach BOM performs seventeen sketches in their hour-plus performance, some converted into songs while others acted out just as they were written. Stories range in creativity and are each amusing in their own way. Though some stories may be as simple as a conversation between a bunny and an EXIT sign or “Taylor the Rose” where a rose reads off a list on what not to do to her – like pick her because she will die, BOM is able to find the humor in each while at the same time brilliantly promoting the imagination and expression of its young student writers.  With titles such as “The Day A Monkey Slapped My Cousin”, “Jake’s Very Bad Day”, “Walking Meatball and Mozzarella Cheese” and “Lady Spy”, you can only imagine the fun that awaits.

While getting the chance to enjoy a very humorous evening of one hilarious sketch after another, one is also supporting a fantastic program – a program that has helped students to write over 5,500 stories within the school year. An amazing outfit, Barrel of Monkeys has been pivotal in reaching out to students, 77% of teachers reporting a positive change in enthusiasm for language arts among their lowest performing students over the course of their residency.

That's Weird, Grandma: The Summer Strikes Back is a fun show that, though is mostly a laugh factory, can also reveal moving moments and profound insights of the student writers. With talented cast and musical members (I’ll just name them all since they all made terrific contributions) Nancy Casas, Kassi Bleifuss, Nick Hart, Krista Mickelson, Elizabeth Levy, Laura McKenzie, Spencer Meeks, Deanna Myers, Gwen Tulin, Dixie Belinda Uffelman, Rawson Vint and Joseph Schupbach himself, we get a uniquely well-rounded show that moves quickly and grabs you in from the moment the audience is directed into the seating area by an air traffic controller. This is also a show that can be seen more than once as audience members vote on their favorite sketches afterwards via secret ballot and new sketches are introduced into the following performance as others are removed.

A show for all ages (bring the kids!), Barrel of Monkeys: The Summer Strikes Back is being performed each Monday at 8 pm at Neo-Futurist Theater through August 15th. Tickets are beyond reasonable at just $12 for adults and $6 for children under twelve.   

Check out the Barrel of Monkeys on a first date, see if your date has a sense of humor. Take your 4th grader and laugh over ice cream after the show. Drag the whole office to the Neo-Futurist Theater and forget about the overwhelming stress for an hour, then return to the stressful office. Hey, you could also buy a ticket for your Grandma.

After seeing the Barrel of Monkeys present THAT’S WEIRD, GRANDMA a second time, my attendance is guaranteed a third time. If you’re looking for hilarious, here it is. Since there’s snow on the ground, Barrel of Monkeys celebrates with THAT’S WEIRD, GRANDMA: The Holiday Special. Santa, Thanksgiving, and winter inspired subject matter make up the new lineup of stories this season. The Chicago Public School students write amazing stories, so amazing, they are brought to the stage and performed by Barrel of Monkeys Company Members! 

Barrel of Monkeys is a Chicago-based arts education theater ensemble, who give 3rd through 5th graders the confidence, and an outlet, to be creative. Creative writing workshops are conducted in underserved Chicago Public Schools, and then students’ stories are turned into professionally performed theater and shared beyond the school’s walls. 

THAT’S WEIRD, GRANDMA is for everyone. Everything about Barrel of Monkeys is amazing, their talent for teaching and acting, their mission and vision, their impact, and how they put a smile on everyone’s face.

Location: Neo-Futurist Theater, 5153 N. Ashland Ave. in Chicago

Running: November 16 - December 28, 2015

Curtain Times: Mondays at 8:00 p.m.

Tickets: $12 for adults; $6 for children under 12. Tickets are available at www.barrelofmonkeys.org