It’s the wild 1930’s in Berlin and it’s anything goes at the Kit Kat Klub where an impish Emcee feasts on making the haunt as alluring as possible to its guests. He loves the boys, he loves the girls and he loves the orchestra. Headliner Sally Bowles leads the cabaret dancers in the playful club where one can phone table to table if interested in another. Bowles is brassy, commanding and she flat out belts, leaving little doubt who runs the show. This is quickly evidenced in her racy opening number “Don’t Tell Mama”. It is a place of decadent carnival where boundaries do not exist and guests are endlessly entertained by its sexy performers.
American writer Cliff Bradshaw soon arrives via train ride where he meets new friend Ernst Ludwig. The two quickly hit it off. While getting to know each other, Bradshaw reveals he is looking for a place to stay, so Ludwig recommends a boarding house run by Fraulien Schneider. Searching for inspiration for his second novel, Bradshaw visits the nearby Kit Kat Klub where he is opened to a world he never knew existed.
While Bradshaw and Bowles get to know each other (and then some), Herr Schultz, an elderly German, regularly visits the boarding house where he shows his affections for Schneider by bringing her fruit from the nearby produce store that he owns. Soon Schultz and Schneider agree to marry, while Bowles and Bradshaw become cozier, the two now living together. The club is thriving and all seems well in 1930’s Berlin.
But the shadow of the Nazi regime is gradually becoming much more apparent. Slowly, the danger of a growing Third Reich is affecting Berlin. Gradually, the carefree mood of many Berlin residents becomes that of one awaiting impending doom. Some sense a mounting tragedy afoot and fear a change for the worse in Germany.
Yet, the threat is still in its infancy stage, whereas Schultz, a Jew, naively states, “Everything will be fine. After all, I am a German.” At the same time, Schneider fears her association with Schultz will put her business under as the hatred against Jewish-Germans becomes more apparent.
Cabaret is the gripping account of how a circle of friends and businesses in Berlin are overcome by the inevitable Nazi threat, from the story's hopeful beginning full of modernization and progressive views to its haunting end.
The production is seamlessly woven together. Throughout the musical, there is an ongoing collocation of dialogue scenes and songs that serve as explanation to the story while a series of distinct cabaret numbers provide a public observation for the times.
“Cabaret continues to attract both new audiences and return visitors more than fifty years after its initial Broadway production, because it has everything – fascinating characters, iconic music, a dazzling look that transports us to a different world that is still incredibly timely and relevant today,” says Artistic Director Linda Fortunato.
Her statement couldn’t bear more truth as the production has won eight Tony Awards, including Best Musical and Best Original Score.
The casting in Theatre at the Center’s Cabaret is very strong. Danni Smith, who recently impressed theatre goers in the leading role of “Donna” in Marriott Theatre’s Mamma Mia! is sensational as Sally Bowles. Smith’s robust, velvety vocals along with just the right air of confidence make for yet another successful leading role for the fetching stage star. Smith’s astounding performance alone is worth the ticket cost and drive to Munster, Indiana. Yet, the same impressionable effect on the audience can be said for co-lead Sean Fortunato as the mischievous Emcee, who is a pure delight to watch as he captures a changing Berlin within his character most effectively through a well-acted gamut of emotions. We watch on as the whimsical Master of Ceremonies is sincerely affected by what he recognizes is the beginning to the end of an era, yet we see his strength as he bravely presents an amusing appearance for his club-goers to distract from the imminent threat.
Patrick Tierney (Bradshaw), Craig Spindle (Schultz), Iris Lieberman (Schneider), Christopher Davis (Ernst) and a very capable ensemble round out this talented cast that help in creating a magical Cabaret experience, along with an extraordinary creative team that so well brings the period to life.
Based on a book written by Christopher Isherwood, with music by John Kander and lyrics by Fred Ebb, Cabaret is loaded with wonderful show tunes that include “Perfectly Marvelous”, “The Money Song”, “Married”, "Willkommen", “If You Could See Her” and Bowles highly-charged title song “Cabaret”.
Well-constructed, finely acted and beautifully sung, Cabaret is an epic theatre experience not to miss.
Cabaret is being performed at Theatre at the Center (1040 Ridge Road, Munster, IN) through June 4th. For show times, tickets and/or more show information, visit www.TheatreAtTheCenter.com.
Victory Gardens Theater announces the lineup for the Up Close & Personal Series, running April 27 – June 4, 2017. The Up Close and Personal Series includes A Little Bit Not Normal, written and performed by Arlene Malinowski; St. Jude, written and performed by Ensemble Playwright Luis Alfaro; and Where Did We Sit on the Bus?, written and performed by Brian Quijada. Shows in the Up Close & Personal Series will run in rotating repertory in the Richard Christiansen Theater at Victory Gardens Theater, 2433 N. Lincoln Avenue.
Individual tickets to each production are $20, or a three show package, including a ticket to each production, is $40. Both are available through the box office at 773.871.3000 or online. With every ticket purchased, Victory Gardens Theater will provide one free ticket to a Chicago Public School student. For a complete performance schedule or to purchase tickets, visit www.victorygardens.org.
"We're thrilled to welcome Luis, Arlene and Brian back to Victory Gardens for our Up Close & Personal series this spring. Each of these remarkably personal stories are written and performed with humor, poetry and courage,” comments Artistic Director Chay Yew. “Now, for six weeks only, these national and Chicago artists will share their most intimate struggles and triumphs of family, hidden disabilities and immigration through performance."
About the Up Close & Personal Series
All performances take place upstairs at Victory Gardens in the Richard Christiansen Theatre. A calendar of the performance schedule can be viewed online at www.victorygardens.org.
A Little Bit Not Normal
Written and Performed by Arlene Malinowski
Directed by Lisa Portes
3:00 pm: April 29; 13, 14, 27(ASL Interpreted)
7:30 pm: April 30; May 3, 5, 6, 10, 12, 20 (ASL Interpreted), 21
With her trademark humor, Arlene confronts her own state of mind when Depression walks into her kitchen, lights a cigarette, and makes himself at home. A Little Bit Not Normal is a serious comedy about depression and naming it, claiming it, and standing to be counted. It’s the journey of a love story tested and the secrets we keep about crazy.
Written and Performed by Ensemble Playwright Luis Alfaro
3:00 pm: May 21, 28, June 4
7:30 pm: May 17, 18, 25, 27; June 1, 2, 3
Award-winning Victory Gardens Theater Playwrights Ensemble member Luis Alfaro (Mojada, Oedipus el Rey) returns to Chicago to perform a new version of his emotionally charged solo work. St. Jude takes us on a personal and powerful journey with Luis as he learns of his father’s stroke and is summoned home to the California Central Valley of his childhood. As his family gathers, Alfaro conjures memories of his youth; from picking grapes, to gospel-infused big tent revivals, from family celebrations, to running away from home. In Alfaro’s words, St. Jude takes us from “who I am” to “who I was.”
Where Did We Sit on the Bus?
Written and performed by Brian Quijada
Directed by Chay Yew
10:00 am: May 3, 5, 10, 12, 19
3:00 pm: April 30; May 6, 20; June 2, 3
7:30 pm: April 27, 28 29; May 4, 11, 13, 24, 26, 28, 31, June 4
The multi-2016 Jeff Award winner Where Did We Sit on the Bus? is an electric one-man show pulsing with Latin rhythms, rap, hip-hop, spoken word, and live looping. During a third grade lesson on the Civil Rights movement and Rosa Parks, a Latino boy raises his hand to ask, “Where did we sit on the bus?” and his teacher can’t answer the question. This thrilling autobiographical production examines what it means to be an artist and a son of Latino immigrants through the eyes of a teenager.
Production Sponsor: The Wallace Foundation
About Victory Gardens Theater
Under the leadership of Artistic Director Chay Yew and Managing Director Erica Daniels, Victory Gardens is dedicated to artistic excellence while creating a vital, contemporary American Theater that is accessible and relevant to all people through productions of challenging new plays and musicals. Victory Gardens Theater is committed to the development, production and support of new plays that has been the mission of the theater since its founding, set forth by Dennis Začek, Marcelle McVay, and the original founders of Victory Gardens Theater.
Victory Gardens Theater is a leader in developing and producing new theater work and cultivating an inclusive Chicago theater community. Victory Gardens’ core strengths are nurturing and producing dynamic and inspiring new plays, reflecting the diversity of our city’s and nation’s culture through engaging diverse communities, and in partnership with Chicago Public Schools, bringing art and culture to our city’s active student population.
Since its founding in 1974, the company has produced more world premieres than any other Chicago theater, a commitment recognized nationally when Victory Gardens received the 2001 Tony Award for Outstanding Regional Theatre. Located in the Lincoln Park neighborhood, Victory Gardens Biograph Theater includes the Začek-McVay Theater, a state-of-the-art 259-seat mainstage and the 109-seat studio theater on the second floor, named the Richard Christiansen Theater.
Victory Gardens Ensemble Playwrights include Luis Alfaro, Philip Dawkins, Marcus Gardley, Ike Holter, Samuel D. Hunter, Naomi Iizuka, Tanya Saracho and Laura Schellhardt. Each playwright has a seven-year residency at Victory Gardens Theater.
For more information about Victory Gardens, visit www.victorygardens.org. Follow us on Facebook at Facebook.com/victorygardens, Twitter @VictoryGardens and Instagram at instagram.com/victorygardenstheater/
Victory Gardens Theater receives major funding from The Wallace Foundation, Alphawood Foundation, Bloomberg Philanthropies, The Shubert Foundation, The REAM Foundation, The Joyce Foundation, The John D. and Catherine T. MacArthur Foundation, Allstate Insurance, Polk Bros. Foundation, Crown Family Philanthropies, The Andrew W. Mellon Foundation, The William and Orli Staley Foundation, and The National Endowment for the Arts. Additional funding is provided by: Abbot Downing & Wells Fargo, Alliance Bernstein, The Charles H. and Bertha L. Boothroyd Foundation, Exelon, The Lloyd A. Fry Foundation, John R. Halligan Charitable Fund, Illinois Arts Council, Illinois Tool Works, Italian Village Restaurants, Mayer Brown LLP, The McVay Foundation, LLP, The Prince Charitable Trusts, The Saints, Charles & M.R. Shapiro Foundation, Southwest Airlines, The Harold and Mimi Steinberg Charitable Trust, Whole Foods Market, and Wrightwood Neighbors Conservation Association.
It’s been quite some time since “Chicago” has actually been performed in Chicago (or thereabouts), but after a ten-year road in obtaining the show’s rights, Drury Lane Theatre in Oakbrook brings home the popular musical created in 1975 – and we are glad they did. With music by John Kander, lyrics by Fred Webb and a book by both Webb and super choreographer Bob Fosse, the musical “Chicago” is based on a 1926 play of the same name. Inspired by actual criminals and crimes reported by reporter Maurine Dallas Watkins, the story revolves around the notion of the “celebrity criminal” while mocking the Chicago justice system that was in place in the 1920’s, an era where it was also widely suspected that an attractive women could not be convicted of a heinous crime, like say, the murder of her lover or husband.
In “Chicago” the story starts off with a “bang” when Roxie Hart (Kelly Felthous) shoots dead her lover on the side. She is quickly arrested and held in Cook County Jail while awaiting trial for murder. In an age when the press sensationalized homicides committed by women (good ol' media), the public quickly buys into the hype making an instant celebrity out of Roxie, and as starved for stardom as the former dancer has always been, she thrives on the new-found attention. In the “pen” Roxie meets several colorful characters, but none as tough as Velma Kelly (Alena Watters), a socialite divorcee and former cabaret singer who is currently the talk of Chicago for the high-profile murder she committed. Velma barely gives Roxie the time of day, instead giving her the cold shoulder. But when Roxie’s popularity soars as the “new story” and Velma’s diminishes, it’s Velma who wants to partner with Roxie for a song and dance nightclub act, this time receiving the cold shoulder from the new celebrity.
Roxie’s only way to avoid a sentence of death by hanging is to hire the flashy, fast-talking lawyer, Billy Flynn (Guy Lockard) for five thousand dollars. Well beyond what the couple can afford, Roxie’s doting, naive and “invisible” husband Amos (Justin Brill) scrapes up what he can and promises Flynn to pay the rest when he can. From there, Flynn turns the case into a dog and pony show, equating the trial as a “three-ring circus”.
Watters stuns on several occasions as sassy Velma Kelly, winning the audience over almost immediately after a dazzling performance of the musical’s opening number “All That Jazz”. Possessing just the right dose of sexy attitude, Kelly impresses both vocally and in her dancing, her performance nothing short of riveting. As notable as Watters’ portrayal of Velma Kelly, Felthous also knocks the ball out of the park as Roxie Hart, pairing perfectly with her fellow caged dame and giving the show a rock ‘em sock ‘em one-two punch. Felthous convinces as one stricken by delusions of grandeur, confusing the popularity of her murder case as celebrity fame, putting forth an overall display of well-tuned comedic timing to go along with her own vocal prowess and dance ability. As fun to watch as the two are, Watters and Felthous really bring it home in their physically-charged routine “Nowadays”.
He’s charming, good-looking and possesses a silver tongue that can sway even the toughest juries. Well-cast, singer/songwriter Guy Lockard brightly shines as the smooth defense attorney, Billy Flynn, and gives the show yet another boost, particularly in his courtroom maneuvering melody “Razzle Dazzle”. Justin Brill also contributes nicely in his funny depiction of Amos Hart, a man who is considered so undistinguishable by others he aptly refers to himself as “Mister Cellophane” in one of the show’s most humorous numbers. E. Faye Butler’s strong interpretation of Matron Mama Morton is pivotal, Butler crushing it in the number “When You’re Good to Mama”, a jailhouse tutorial for newly imprisoned Roxie Hart. A talented ensemble also brings another strength to the production in their many alluring dance numbers, perhaps most markedly in “Cell Block Tango”, a sultry ode to the woman prisoner during the revolutionary Jazz age.
This new staging of “Chicago” is colorful and richer than ever thanks to an artistic creative team that includes Kevin Depinet (Scenic Design), Sully Ratke (Costume Design), Lee Fiskness (Lighting Design), Ray Nardelli (Sound Design), Cassy Schillo (Properties Design), Claire Moores (Wig Design) along with Production Stage Manager Larry Baker.
“Chicago” is an energy-driven musical that is sexy, fun and truly memorable. Filled with a slew outstanding performances, inventive choreography and a set list that is justly contagious, Drury Lane’s “Chicago” is a can’t miss thrill ride.
The Roaring Twenties are back...in high style.
“Chicago” is currently being performed at Drury Lane Theatre in Oakbrook through June 18th. For tickets and/or more show information, click here.
Of the many Andrew Lloyd Webber hits, Jesus Christ Superstar has always been a personal favorite of mine. It rocks, it moves and…it’s back. After a lengthy absence, the award-winning musical has returned to the Chicago area, this time with a bit of a twist as, unlike past productions, the show features an all African American cast. This, opposed to the nearly all white cast complete with a black Judas that we are accustomed to seeing. And, the tremendously gifted cast works so very well in this revival piece. The change is bold and should be commended. And the execution is nearly flawless.
With one of the greatest rock operas of all time currently finding its temporary home at Aurora’s Paramount Theatre, we know by the end of the production’s first number, “Heaven on Their Minds”, that Mykal Kilgore, who takes on the demanding role of “Judas”, is a special talent. We also get an idea within the next few numbers (“What’s the Buzz?”, “Strange Thing, Mystifying” and “Everything’s Alright”) how deep the talent pool goes in this one-of-a-kind production.
Reliving the last days of Jesus Christ leading up to the crucifixion, the timeless musical, which premiered on Broadway on October 12th, 1971, is set to the music of Andrew Lloyd Webber with lyrics by Tim Rice, in what began as a rock opera concept album by the two in 1970. Since, it has been one of the most successful musicals of all time gathering a loyal fan-base from all over the world. In Jesus Christ Superstar, we visit Jesus, accompanied by his disciples and Mary Magdalene, as he performs miracles and brings hope to the world while claiming he is the son of God, much to the chagrin of the Pharisees and scribes who see him as a threat to their teachings – a threat they would like removed so much they ask the Romans for help.
In Paramount’s current production of Jesus Christ Superstar, a fifteen-piece orchestra paves the way for the talented performers who leave their mark in one number after another. Kilgore goes on to navigate through each song with skilled precision and sings with amazing depth. And while Kilgore impresses more and more as the show progresses by staying true (and then some) to the “Judas” that both Murray Head and Carl Anderson made famous, Felicia Boswell is also quick to excite the audience with her moving interpretation of Mary Magdalene, particularly in the popular “I Don’t Know How to Love Him”. Beautiful, graceful and vocally dynamic, Boswell brings a gentle warmth to the role, wonderfully capturing the love that Mary had for Jesus. Throughout the production, remarkable performances are abundant with Rufus Bonds Jr. taking the reins in a very commanding depiction of Pontius Pilate, so well delivering the message of his conflict to have Jesus crucified at the request of the mob that is influenced by the religious law makers or to set him free since no Roman law has been broken. Lorenzo Rush Jr. also leaves a strong presence as the baritone-wielding Caiaphas who leads the charge against Jesus, fearing that he will revolutionize Jewish law.
Jesus of Nazareth is commendably played Evan Tyrone Martin. Martin aptly captures the virtue and charisma needed for the role of and is convincing while conveying just how tiring it can be to be the son of God. Martin’s voice is strong and he has little trouble carrying the many challenging melodies that come with playing Jesus, though the patented screams that both Ted Neeley (film version) and Ian Gillan (concept album) had incorporated into the role were absent, leaving a couple prime crescendo moments to the wayside. Still, Martin holds his own, even getting a much-deserved extended applause after his riveting performance of “Gethsemane”, a powerful number where Jesus questions why it is that he must die.
The show’s ensemble is nothing short of amazing, the actors changing back and forth from disciples, to Pharisees to lepers to soldiers ever so efficiently. At one point, Mark J.P. Hood breaks rank from the ensemble as Simon and superbly performs one of the show’s highlight numbers “Simon Zealotes”, where he praises Jesus and urges him to build an army to fight the powers of Rome. Another crowd-pleasing moment (among the countless others) occurs when Jesus is brought forth to Herod (Avionce Hoyles) in a glittery display that dazzles in the somewhat jazzy “Herod’s Song”. Kudos to Hoyles who thrusts the role of Herod into another stratosphere.
Paramount’s Jesus Christ Superstar is a fascinating production that entertains nonstop from its opening overture to its near-finale number “Superstar”. Featuring a wealth of acting and singing talent and a rockin’ orchestra that does the soundtrack right, this could possibly be one of the most polished, expressive and enjoyable musicals to come our way in some time.
Superb. This beautiful production is super recommended.
Magnificently directed and choreographed by Ron Kellum with music direction by Tom Vendafreddo, Jesus Christ Superstar is being performed at Paramount Theatre through May 28th. For tickets and/or more show information click here.
Following the lives of Charlotte and Jonny, The Mystery of Love and Sex cleverly explores a variety of subjects including sexual identity, race, political correctness and family undercurrents. Charlotte and Jonny have grown up together and have become the very best of friends. Charlotte is a white girl who had lived with her parents, her father Jewish and her mother converted, while Jonny, an African American had lived with his mother just next door.
The story starts off with Charlotte and Jonny living together while attending college. They wonder if their longtime friendship can develop into something more. The two are stressed when Charlotte’s parents, Howard and Lucinda, come by for dinner unsure of what they might think of their living relationship and their possible future together. Howard, a successful crime novelist accused of writing with racist and sexist overtones by Jonny ("Why are all black men able to dance? Why are most found victims women with no clothes on?"), is direct, concerned and, at times, a bit skeptical. “What is this? Like Bohemian?” He says referring to the couple’s table setting. It doesn’t help matters that Charlotte and Jonny are serving just salad and bread. But we quickly see how much Howard cares for both his daughter Charlotte and Jonny, who he considers his son, despite his oft coarse exterior.
As the story progresses, Charlotte and Jonny show trepidation in pursuing a future together even questioning their own sexuality. Howard and Lucinda, who consider themselves liberal parents, just want their daughter to be happy. We are then taken on several plot twists and turns in both Howard and Lucinda’s marriage and the lives of Jonny and Charlotte that keep the story highly engaging.
Keenly directed by Marti Lyons and smartly written by Bathsheba Doran, The Mystery of Love and Sex provides four main characters that are each appealing in their own ways. The interactions between the four is fulfilling, as it is humorous, touching and true to life. Doran’s story is that of love, whether it be unconditional or the lengths taken to find it. It is a journey into life’s most sought after desire and a tribute to accepting those for who they are.
"I have had the pleasure of following the impressive rising careers of playwright Bash Doran and Director Marti Lyons for the past few years and I am delighted to find a project that suited both their considerable talents so perfectly," says Artistic Director Michael Halberstam.
Hayley Burgess leads the way as Charlotte with a bold performance in her Writers Theatre debut. Charlotte has many layers that are revealed throughout the play and Burgess gently takes the audience by the hand into her character’s depth one step at a time. Best friend and confidant Jonny is well-played by Travis Turner who is also able to play up to the complexities in his role with much aplomb. Lia Mortensen is just fantastic as Lucinda, delivering her witty lines to perfection and getting several laughs in the way her character struggles to quit smoking. Cast in the role of Howard is Keith Kupferer. However, Kupferer had taken ill and was unavailable for the performance I had attended thrusting Mark David Kaplan into the role, who is simply remarkable. Kaplan steers his role with grit and finesse offering the clear predictability of Howard’s stereotype, but is also able to throw in a handful of surprising moments filled with a genuineness than can catch us off guard. Kaplan and Mortensen are terrific as Charlotte’s parents, bringing forth plenty of funny exchanges and throwing several well-timed darts at each other.
There is a lot to like in Doran’s The Mystery of Love and Sex from its tantalizing script to its well-executed performances. The play delivers a solid message in a uniquely crafty way that is entertaining from beginning to end.
The Mystery of Love and Sex is currently running at Writers Theatre (325 Tudor Court, Glenview) through July 2nd. For tickets and/or more show information click here.
*This play contains frontal nudity.
If you’ve followed Netflix’s big 2016 hit Stranger Things, this play will make all kinds of sense. You’ll get the jokes, the 80’s references and will easily follow the story line. If you haven’t seen the series, it would be recommended that you do before checking out Random Acts and Greenhouse Theater’s collaboration, Strangest Things! The Musical.
Spoofing one of the most talked about sci-fi series to hit the airwaves over the past few years, Strangest Things! follows the disappearance of Will Byers, a young boy in Hawkins, Indiana. Set in the 1980’s, his mother Joyce Byers, brother Johnathan and a group of Will’s friends search everywhere to no avail, eventually enlisting the help of Police Chief, David Harbour. When a young girl known as “Eleven” appears from seemingly nowhere dressed in only a hospital gown, it is soon discovered she has psychokinetic abilities and things start to get weird.
Befriended by Will’s friends, Eleven is able to contact Will from the other side and it becomes apparent that things are not at all what they seem. Joyce believes Will is contacting her from another dimension, his energy channeled through the radio and a string of Christmas lights, confident he is alive but trapped in another world. Of course, this sounds crazy – or is it? And with every good sci-fi thriller there needs to be a villain, so it’s soon discovered an experimental laboratory, led by scientist Martin Brenner, may have a hand in Will’s disappearance. Suspicious, the snooping begins and the plot gets deeper and deeper as the story progresses.
The series won its popularity not only with its engaging storyline, but with the heavy use of 80’s music and sound effects, making it prime parody material.
That’s where Strangest Things! comes in.
While Strangest Things! The Musical hits on some of the 80’s silliness and occasionally finds success in its over-the-top lampooning of the series’ characters, it struggles to hold onto its momentum. Taking popular 80’s hits like “Xanadu”, “I’m A Virgin”, “Sweet Dreams” and “Don’t Stop Believin’”, writers Bryan Renaud and Emily Schmidt change the lyrics to accommodate the storyline in the play. While the lyrics are, at times, funny, the execution falls a bit flat, the harmonies weak and the vocals often lacking strength, excluding Molly Lecaptain as “Juice” (Joyce) Byers who can flat out belt. We almost wonder if the play would have been better without the musical numbers, the dialogue exchanges drawing the most laughs along with the character exaggerations of each.
Lecaptain does a good job in taking on Winona Ryders’ character, over-amplifying her panic-stricken, bewildered and frenzied traits at just the right intensity, while Kevin O’Connell as “Sheriff Hopper” (Police Chief David Harbour) also takes his role and runs with it. Will’s best friend Mike is played by Jenna Fawcett, who doesn’t have to do much more than wear a goofy wig to get a chuckle but also delivers plenty of funny lines and loopy expressions. Older brother “Johnathan” is played by Ben F. Locke, who doubles as hunky high school heart throb Steve. Locke’s performance offers some of the best camp-dom in the musical, leaving more “Johnathan” scenes to be highly desired. Their comedic ability is only limited by the play’s script.
The play starts strong as we meet our characters the first time around (especially “Barb” played by Christian Sibert), but the humor becomes predictable, the character’s freshness soon overplayed and the jokes often coming off as contrived or overdone, a perfect example being Hopper’s mention of T.J. Hooker – which was funny – until he points out to the audience that we should laugh because he made an obscure 80’s reference. We know.
If you enjoyed the Netflix series, there might be just enough in Strangest Things! to like despite its many missed opportunities for witty, comedic growth. The idea is there but the play could use a reworking to give its audience the most bang for their buck.
Lukewarm, the play has severe hits and misses, some jokes really creative while others falling flat. As a whole, the story might be a bit tough to piece together without having seen the series, as it is presented somewhat scattered without full explanation, so again, it is recommended you watch Stranger Things first.
Strangest Things! The Musical is being performed at Greenhouse Theater Center through May 13th. For more information on this production, visit www.greenhousetheater.org.
*This show has now been extended through July 8th.
Maybe we can chalk it up to a mid-life crisis…or, maybe, Wheeler is just a self-loathing man who’d just assume sabotage his own happiness rather opting to wallow in self-pity. In Steppenwolf’s Linda Vista, a new play debut by Tracy Letts and directed by Dexter Bullard, we get a very funny, and highly realistic, account of a man who has seemingly given up on life and love.
Wheeler (Ian Bradford) has moved from a cot in his wife’s garage to his own apartment in the Linda Vista apartment complex. With a soured marriage and an estranged relationship with his son coming to an end, Wheeler has the opportunity to start fresh, but that’s much more difficult than it sounds – at least it is for him. As we get to know Wheeler, a former Sun-Times photographer with promise who now holds onto a routine job as a camera repairman, we see someone who has been riddled with repercussions that have stemmed from a series of poor choices. Wheeler resents his soon-to-be-ex-wife for having him leave his Chicago life for California to be closer to her family. He resents his son for - well, just getting in the way of his life. He resents happy people. Hell, he resents Radiohead. But Wheeler has accepted his current situation – a cynical alcoholic that shoots down other people’s hopes and dreams, believing he is a “piece of shit” who “doesn’t deserve to be happy”.
Wheeler’s best friend Paul (Tim Hopper) and his wife Margaret (Sally Murphy), friends from their college days, haven’t given up on him. They want to find him a partner who can bring out the old Wheeler who once had dreams and ambitions himself. When Paul and Margaret set Wheeler up with a friend of theirs, Jules (Cora Vander Broek), who is bright and bouncy, Wheeler reluctantly accepts and, as you can probably imagine, he has a few skeptical things to say after finding out she is a life coach. This, of course, threatens a man who wants a simple, joyless existence. Complicating matters for Wheeler, he takes in Minnie (Kahyun Kim), a twenty-four-year old rockabilly enthusiast recently kicked out of her own apartment in the same complex by her abusive boyfriend.
The play is very truthful. It is about regret, wrecked opportunities and the consequences of unfortunate decisions. It is about letting oneself spin out of control, essentially giving up, and the struggle to choose happiness - a challenge when becoming so distant. But is also about hope and the chance to change for the better. In Wheeler, we are given a lovable “asshole” that we must root for.
Ian Barford is tremendous as Wheeler. Barford quickly draws in the audience, grabs them and never lets go. Convincing, humorous and often decidedly heartfelt, Barford captures the essence of his self-deprecating character so well, we can’t help but think of a few “Wheeler’s” we know ourselves. Tim Hopper does fine work and is believable as Wheeler’s tolerable, but supportive, best friend as does Sally Murphy, both nicely adding to the play’s humor (I’ll just say karaoke bar scene).
While Kahyun Kim is brassy and nails the too-cool-for-school attitude as Minnie, Cora Vander Broek is sparkles as Jules, perfectly pairing with Barford as his counterpart in a true positive/negative kind of relationship. We are also taken to the camera shop where Wheeler plugs away all day fixing one camera after another under the supervision of his crass boss Michael (Troy West), who is just waiting for a sexual harassment lawsuit to be filed against him as he repeatedly gawks and spews inappropriate comments at his clerk, Anita (Caroline Neff).
A revolving set takes us inside Wheeler’s California apartment, his workplace and to a bar. He lives simply, and that’s all he wants, DVDs of Stanley Kubrick littering his media stand and a refrigerator most likely only filled with a couple six-packs and a box of Arm & Hammer.
Linda Vista is a well-acted ride into Wheeler’s uncertainties on turning fifty with the realization that his best years have long since passed. It is a play equipped with a stellar cast, a very funny script that is also genuine and even moving at times and direction that is so precise we can easily identify with each of Letts’ characters.
Very highly recommended.
Linda Vista is being performed at Steppenwolf Theatre through May 21st. For tickets and/or more show information visit www.steppenwolf.org.
*Note – This play does contain full frontal nudity and sexual simulation.
*Extended through May 28th
Griffin Theatre’s In To America is a stark reminder of the contributions made by the many immigrants that have come from all around the world and have made the United States what it is today. In writer Bill Massolia’s multicultural story, American history is retold by several immigrant narratives where sixty personal stories are shared spanning over thirty countries. The play begins with the American immigration experience from Jamestown in the early 17th century and covers the 400 years since, many of its stories remarkable as they are daring.
We hear the good and the bad. In many stories we get a taste of the shameful mistreatment immigrants received upon their arrival, the brave new world of vast opportunity they were seeking no more than a hostile environment that spews hate for the simple fact of being different. In others (not nearly as many) we hear how immigrants were received with opens arms, their dreams fulfilled as their new home offers the new life they had so desperately had hoped for. In this condensed history lesson we also learn the hardships endured throughout perilous journeys in leaving their own countries in daring escapes from their own native countries.
“We never crossed the border. The border crossed us,” we are profoundly told from Juanita Andersen who portrays a Mexican landowner after being squeezed out by new arrivals during the Manifest Destiny.
The series of monologues flows quickly as the story follows a timeline that is rich in information covering such events as congress adopting the uniform rule in 1790 so that any white person could apply for citizenship after two years of residency, the Dred Scott decision in 1857 declaring free Africans non-citizens, the Chinese Exclusion Act of 1902, Native Americans made citizens in 1924 and the 1980 Refugee Act that removed refugees as a preference category, reducing worldwide ceiling for immigration to 270,000. Many, many other significant policies are brought to light that have had an effect on immigration.
Artist Director Bill Massolia comments about the production, “In To America owes a great deal of its inspiration from my own family’s immigrant roots.”
He was also inspired by Ronald Takaki’s award-winning book A Different Mirror where it is stated “In the making of multicultural America, the contingent’s original inhabitants were joined by people pushed from their homelands by poverty and persecution in Asia, Latin America and Europe, and pulled here by extravagant dreams. Others came here in chains from Africa, and still others fled here from countries like Afghanistan and Vietnam. These men and women may not have read John Locke, but they came to believe that ‘in the beginning all the world was America.’ They envisioned the emerging country as a place for a bold new start.”
He further states, “Marginalized and degraded as the “Other” minorities came to believe even more fiercely and fervently than did the founding fathers in the ‘self-evident truths’ that ‘all men are created equal’, entitled to the ‘unalienable rights’ of ‘life, liberty, and the pursuit of happiness’.
In To America also explores the paranoia regarding immigration held by one such founding father quoting Benjamin Franklin, "Few of their children in the country learn English... The signs in our streets have inscriptions in both languages ... Unless the stream of their importation could be turned they will soon so outnumber us that all the advantages we have will not be able to preserve our language, and even our government will become precarious."
The play’s theme is strong in reminding us that America has been made on the backs of immigrants, boasting many great achievements and spotlighting a handful of prominent “new Americans” who have truly made a difference in our country’s progress. In the end we get a picture of hope, unity and promise.
Dorothy Milne directs while the cast in this insightful piece includes Juanita Andersen, Katie Campbell, Jennifer Cheung, Aneisa Hicks, Christopher W. Jones, Francisco Lopez, Adam Marcantoni, Sean McGill, Rasika Ranganathan, Omer Abbas Salem, Scott Shimizu, Jason VonRohn and Elizabeth Hope Williams. Each actor plays multiple characters from all over the world, transitioning very well from accent to accent, adding to the play’s genuine nature in relaying a spirit everyone can identify with.
In To America is just the play that will prompt many to go back and research their family lineage to discover their own journey to America.
In To America is being performed at Den Theatre’s Heath Main Stage through April 23rd. Tickets are $38 and valet parking is now available. For tickets and/or more show information click here.
After a 146-year run, Ringling Bros. Circus, is finally bringing down its curtain for what has been tabbed as “The Greatest Show on Earth”. That’s right. With final shows in May of 2017, one of the world’s most popular events will come to a close after nearly a century and a half of entertaining families from all walks of life.
Kenneth Feld, chairman and CEO of Feld Entertainment recently told the Chicago Tribune regarding Ringling Bros. closing, “There isn’t any one thing. This has been a very difficult decision for me and my family.”
Far away are the days when the circus would come to town and people would line the streets to watch the animals and performers enroute to the big top. But has circus excitement really fallen to the wayside?
Several factors were included in closing the Ringling Bros. show including high operating costs and lengthy encounters with animal rights groups. And though a change in public taste is also blamed for the demise of the circus, it’s easy to argue against that. Live circus acts draw an excitement level like no other as proven by the success of Las Vegas Cirque Du Soliel’s Zarkana, a show that brings back classic feats such as death-defying aerial, trapeze, juggling and high-wire stunts.
Others also realized the value in circus entertainment. Simon Painter, Tim Lawson and MagicSpace Entertainment have resurrected three-ring enthusiasm by putting their resources together to produce Circus 1903 – The Golden Age of Circus. The team has an established track record with the world’s biggest magic show, The Illusionists, and War Horse under their belts already, the latter of which had won awards for its puppeteer work.
Set in a grand circus tent at the turn of the 20th century, the show is narrated by the Ring Master, who introduces one breathtaking act after another, starting off with a team of acrobatics who propel each other high into the air by jumping on opposite ends of a large teeter totter. The higher they are launched, the more impressive their flips and twists. Other acts include a beautiful contortionist (Senayet Asefa Amare), an aerialist (Elena Gatilova), an amazing bicycle balancing routine by “The Cycling Cyclone” (Florian Blummel) and one of the best juggling performances you’ll ever see by Francois Borie, otherwise known as “The Great Gaston”.
The second act opens with possibly the most impressive of the show’s acts as sixth generation circus performers Alejandro and Ricardo Rossi, more simply known as The Rossi Brothers, pulling off a “foot juggling” act to perfection that was perfected by Fratelli Rossi back in the early 20th century. As one brother juggles the other into the air who is being flipped at rapid speeds, we get a taste of the athleticism, precision and balance involved in an act than can only be described as “jaw-dropping”.
Circus 1903 also contains a good amount of humor with The Ringmaster (David Williamson) often interacting with the crowd and creating plenty of very funny moments as he brings children to the stage as volunteers. Williamson, a renowned magician who has appeared on numerous top-rated prime-time network specials, gives the show its needed continuity, entertaining between acts, adding suspense and drawing several laughs from the audience each time he appears.
Another highlight in the show is the use of puppeteers to create and bring to life both a full-grown elephant along with its playful baby. Taking place in 1903, I feared for a moment that this could turn into the sad story of Topsy, the circus elephant that was put down by electrocution that same year. Thankfully, the show did not go into that direction.
A daring high wire act featuring The Lopez Family brings the show to its grand finale, bicycle balancing along with stunning acrobatics tackled high above the stage from one end to the other.
The circus is not dead, people. In fact, it’s an absolute blast. And this this circus holds no controversy when it comes to animal cruelty. With several amazing acts, Circus 1903 does a fantastic job at recreating the era with its costume and set design and is the perfect way to introduce new fans to the grandiose of big top entertainment.
Recommended for adventure seekers of all ages.
Circus 1903 – The Golden Age of Circus is currently touring nationally and will is being performed at Oriental Theatre through March 26th. For more info on this magnificent show, click here.
Ever wonder what happens behind the scenes leading up to opening night at the theater? Do you have any idea how much detail goes into a stage production? Can you imagine the funny moments that could take place while building a set or rehearsing lines? Do directors really get as frustrated as we hear?
Theater Wit brings to the stage the latest, and possibly most innovated, work by author Anne Washburn 10 Out of 12. A headset rests on each seat in the theater for audience members to wear as they become engulfed the midst of tech rehearsals just one week prior to a production opening. We hear random chatter and instruction from the stage crew as 10 Out of 12 gives us an in-depth view of the goings on behind the scenes of mounting a show. Burns, known most recently as the playwright behind Mr. Burns, A Post Electric Play that found a successful run at Theater Wit in 2014, delves into the high stress that comes with detailing theater specifics such as lighting, cues and prop placement while also touching on actor stereotypes, tantrums and the desire in some to hold their work to a standard that demands integrity.
“No one in Chicago has ever seen anything like 10 Out of 12. Simultaneously exacting real-to-life and riotously funny, Anne Washburn’s detonation of a single technical rehearsal is promising to be a unique and thrilling viewing experience,” said Jeremy Wechsler, Artistic Director of Theater Wit and director of 10 Out of 12.
We watch as the production team fastens bolts to secure the set, samples the lighting and sound from scene to scene, place each mark to the director’s satisfaction and amuse themselves during down time. We see actors rehearsing their lines, suggesting where changes might be made (usually to the director’s chagrin). In our headsets we get a real feel for the high levels of demand that must be met along within a time crunch that increases by the minute. We also hear stage hands discussing their lunch and such, along with occasional side remarks about what is transpiring on the set. The fourth wall is often broken with actors using the aisles and theater as though an audience were not present, the director and actors often taking a seat amongst us to watch their handiwork from a patron vantage point.
The production as a whole is a truly inimitable experience and provides an insight to theater that most may not be familiar with, adding a new appreciation for the art. Upon leaving the theater many discuss how they’ve had no idea the work and precision involved in mounting a play, making 10 Out of 12 an informative piece – perhaps also an homage to those behind the scenes.
Star Chicago theater personalities are recruited to provide pre-recorded roles such as John Mahoney, Martha Lavey, Barbara Robertson and Jeremy Wechsler, Mahoney delivering some of the play’s funniest lines. The stage cast also packs a punch with Erin Long, Adam Shalzi, Dado, and Riley McGliveen as the production team, Shane Kenyon as The Director, and Eunice Woods, Gregory Fenner, Christine Vrem-Ydstie, Kyle Gibson and Stephen Walker as the actors. Walker, taking advantage of several moments to shine in only the way he can in delivering highly-charged monologues with just the right amount of entitlement and sardonic flair as the veteran actor brought in to bring credence to the production. Walker’s character questions the truthfulness in his character, conflicted by his passion for honest art, which he feels is losing its grip in modern day theater.
So what does the title 10 Out of 12 mean? A 10 out of 12 is a day in which, per the rules of Actors Equity, the actors are contracted to work for 12 hours with one 2-hour dinner break. It’s during that time that all the designing elements of the production are united as a whole, as costumes, sound, lighting, projections, set and acting are fine-tuned just prior to a show’s opening.
When asked why she wrote a play about a tech rehearsal, Washburn descriptively states, “A decade ago most theaters didn’t have Wi-Fi…and no one is more useless in tech than the playwright. So, I began taking notes. I was fascinated by the strange surreal interplay of light and music. I loved the mysterious technical languages being used around me, the rhythmic drone of the calling light and sound cues. I liked watching the actors freed from their normal self-consciousness. I liked the low continual volume of play which bubbled up throughout the tech as a desperate counterpoint to the long periods of tedium and waiting. And the endless snacking, and discussion of snacking.”
Throughout the production we hear small talk between the techs – everyday musings that are often quite humorous. We also hear the actors talking hopefully about getting their big break, but also turning down roles for the sake of integrity. At one point the leading actress asks the stage manager if she can leave early to audition for a role in a pilot. We have entered the world of theater.
As much as this often funny and revealing play is a fantastic chance to catch the inner-workings of theater production, it misses a few opportunities that were begging for the injection of timely humor, at points drifting away only to grab the audience again just in time. It would also have been nice if the script called for a larger role from Mahoney, whose well-timed remarks were almost always met with crowd laughter. Notable was the play’s pace, perhaps running about thirty minutes too long (two and a half hours plus intermission), making the thought of a slightly condensed version somewhat appetizing. Washburn's story nicely envelopes the stresses, complications and rewards in theater production.
Still, there is much to like in 10 Out of 12, the good outweighing the bad by significant measure. One should expect a fun lesson in Theater Production 101 that is coupled with fine acting performances and enough humor that insures an overall pleasant experience. The headsets are a nice touch, giving audience members an opportunity to feel at times as though they were part of the production team.
10 Out of 12 is being performed at Theater Wit through April 23rd. For tickets and/or more show information click here.
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