Do not see THE CRUCIBLE to unwind after a hard week. Do not take a blind date to THE CRUCIBLE. If you couldn’t get tickets to Second City, do not attend THE CRUCIBLE as a backup. But in any other circumstances whatsoever, DO see THE CRUCIBLE at Invictus Theatre.

Even if you didn’t read it in school you’ve probably heard the story: Arthur Miller wrote THE CRUCIBLE in 1953 about the Salem Witch Trials of 1692-93 in protest against McCarthyism. It still holds relevance today: the struggle to maintain critical thought processes in response to inflammatory public hyperbole … oh, yeah. Been there, done that.

Even simply reading the play is disquieting; brought to life on the stage THE CRUCIBLE is gut-wrenching, especially when well-played. And at Invictus it is well-played indeed. To echo the Buzz Center Stage review of a recent production: ‘I have to keep reminding myself this is a storefront theatre.”

I adore Chicago’s tiny storefront theatres; seeing the play while sharing the cast’s pheromone cloud greatly enhances the experience for me. Invictus is among the tiniest, with only 50-odd seats. I was in the front row and nearly had an actor catapulted into my lap at least twice. Mounting THE CRUCIBLE on such a miniscule stage is courageous, to say the least, and for anyone else it would be foolhardy. For Invictus it’s just the latest instance of achieving the inconceivable and doing it brilliantly.

Credit must begin with Charles Askenaizer, Artistic Director of Invictus and Director of THE CRUCIBLE. It would be easy for the frenzied activity to degenerate into a general brouhaha, but Askenaizer keeps the action crisp and focused, allowing the primary actors to perform without dissolving into the fracas.

Of course, he had the finest materials to work with: the cast was outstanding, every one, from the leads to understudy Steve Connell stepping in as Francis Nurse.  Managing a cast of nineteen certainly demands assistance, ably provided by Assistant Director Donica Lynn, Production Manager Todd Henry Faulstich and Stage Manager Gabby Rooney. And Amber Wutke certainly had plenty to do as Fight/Intimacy Designer & Movement Choreographer!

L-R: Michaela Voit (Abigal Williams), Frank Nall (Giles Corey), Joseph Beal (Reverend Parris), Lea Grace Biwer (Betty Parris), Charlie Diaz (Reverend Hale), Mike Cherry (Thomas Putnam), Laura Coleman (Ann Putnam), Barbara Roeder Harris (Rebecca Nurse). Photo credit: Through Line Studios.

Costume Designer/Wardrobe Manager Jessie Gowens did a superb job, adding intriguing (and no doubt authentic) details onto the severe Puritan garb. I was fascinated by the wide quilted sleeves and the double rank of buttons on Deputy Governor Danforth’s coat. 

One of Scenic Designer Kevin Rolfs’ brilliant adaptations to the limited space backstage was to keep most of the cast on the stage throughout, only retiring to opposite rows of hard straight-backed chairs when leaving a scene. From there they could serve as a modified Greek chorus: singing, hollering and finger-pointing to remind us that this lunacy infects the entire town. 

Props Designer Sam Paulson, Sound Designer Petter Wahlback, Lighting Designer Chad Lussier and Box Office Manager Steve Nordmark round out a truly extraordinary team creating a truly phenomenal production. Bravo!

As noted, the cast was massive and though each individual played their part irreproachably I can only comment specifically on a few, whom I’ll introduce by telling the story.

We begin in the woods with a circle of young women being led in a primitive, frenzied dance by Caribbean slavewoman Tituba  (LaTorious R Givens). Tituba furtively slips a mysterious drink to Betty Parris (Lea Grace Biwer), who begins to rave and convulse until collapsing into a coma. The screams of the frightened girls attract her father The Reverend Parris (Joseph Beal), a preacher who is far more ambitious than spiritual; he is both panicked and outraged by the spectacle. The girls, fearing the Pastor, turn on Tituba, saying she cast a spell on the girl.

The pusillanimous rector is horrified to learn the story has spread like wildfire through the entire town, with a widespread conviction that Lucifer is afoot. Parris, unnerved by these slights to his (illusory) good name, summons witchcraft expert Reverend John Hale (Charlie Diaz), who insists to the end that nonesuch is operating in Salem.

Mark Pracht is amazing as John Proctor, the local farmer who manages to maintain his integrity. Proctor is a decent, though flawed, man who sincerely loves both his wife and his God but evades hypocrisy by seldom attending Parris’ church. Pracht reveals Proctor as intelligent and insightful enough to differentiate God from religion and to penetrate the disguise of ordainment, seeing the clergy – Parris in particular – for what they truly are. His loyal friend and fellow skeptic Giles Corey is brought vividly to life by Frank Nall.

Devon Carson plays Proctor’s wife Elizabeth so skillfully that we understand and sympathize with the subtle currents of her mind and her heart. She loves her husband dearly, but can’t resist using that love to torment him – as wives of that time, lacking other dominion, were wont to do. Carson gives us a full view of Elizabeth’s development and maturation over time. Excellent acting and superb direction let us literally see the moment when Tituba recognizes ‘I have power here, I can take control’, and deflects the accusations onto Abigail Williams (Michaela Voit). Likewise, we can clearly see Mary choosing the opposite course and deciding to take the blame on herself rather than give Mary up to the inquisitors.

 As we would say today, the recriminations, allegations, insinuations and accusations go viral and the whisper network renders them ever more specious and malicious. I ultimately lost track of who was accusing whom of what, and I suspect the characters did as well. The arrest of honest Goody [‘Goodwife’] Nurse, played by Barbara Roeder Harris, makes clear the situation has descended from outrageous to grotesque.

Into this bedlam struts Deputy Governor Danforth. Danforth is a self-righteous bastard, in love with his own limitless sovereignty and equating it to that of God himself. What Deputy Governor Danforth says, is. I purely loved James Turano in this role! which he plays with both vivacity and subtlety. Clearly Governor Danforth relishes the opportunity to flaunt his distinction: a prestigious trial with copious defendants to browbeat and countless openings for thundering, Scripture-laden speechification – what’s not to love? And Turano himself is clearly having a ball with the role. I had a word with him after the show where he confirmed, “it’s always fun being the villain.” 

So … this is pretty much it for my review, but if you’ll hang in with me I’d like to take a moment to wax philosophic on THE CRUCIBLE and what makes it a classic. Start with the title: a crucible is a vessel in a refining fire where precious substances are tested, purified, and strengthened. And indeed the trial demonstrated how our legal system has been strengthened by erecting safeguards: spouses need not testify against each other; the defendant is protected from self-incrimination [‘the Fifth’]; each litigant is represented by an advocate; hearsay is not admissible as evidence. Our system still clings, however, to the final decision on clemency resting with the governor rather than the judge. Deputy Governor Danforth shows us just how precarious this may be.

Miller wrote THE CRUCIBLE in 1953, in the midst of the McCarthy hearings and just eight years after the fall of the Nazi party, so peoples’ responses to an evil situation was a natural theme. Most discussions of THE CRUCIBLE assume the evil situation is the trials themselves, forgetting that Massachusetts was also in the midst of the terrifying French and Indian Wars. The Rev. George Burroughs writes of the Candlemas Massacres, ‘God is still manifesting his displeasure against this Land’; a sentiment with clear impact on the Salem Witch Trials. One wonders why Miller, himself traumatized by war and a harrowing political atmosphere, did not more fully examine the settlers’ traumas.

Debate continues over just what happened to the young girls in Salem, historically as well as in fiction. ‘Faking it’ is just too simplistic. Some have suggested ergot poisoning –  hallucinogenic mold in the bread – but then why only those particular girls?

Another, more plausible theory is a psychogenic disorder called mass conversion, in which anxiety, whatever its cause, is so extreme that they unconsciously convert their mental anguish to physical symptoms. The Salem populace was living under the strain of both a hideous and bloody war and, more to the point, the omnipresent threat of witchcraft; with equally dire risks of accusation and of being a target: “She killed my babies!” wails a townswoman. In mass conversion disorder, long-term stress converts messages from the brain to the muscles, expressing anxiety as twitching, shaking, garbled speech, and trance states.

This link to trauma is not demonstrated in Miller’s play. In the 1950s psychiatry was not well understood, particularly by the general public; the diagnosis of conversion disorder had not yet been described. Miller himself was also probably experiencing his own anxiety symptoms from the chronic stressors of WWI, the economic collapse following it, and the persecutory atmosphere generated by McCarthyism. He may have sought to relieve his anxiety symptoms by creating THE CRUCIBLE – as artists are wont to do.

Thanks for hanging in with me in my digression, but let me not forget the paramount message: THE CRUCIBLE IS VERY HIGHLY RECOMMENDED! Should you miss this production (playing through June 11 at Reginald Vaughn Theatre 1106 W Thorndale Ave in Chicago), first kick yourself, then remember that Invictus is a safe bet for quality theatre, whatever is playing.

From the Director’s Note:

I couldn’t help thinking of Pastor Martin Niemoller’s quote from his reflections on the Holocaust:

First they came for the socialists, but I did not speak out – because I was not a socialist

Then they came for the trade unionists, and I did not speak out – because I was not a trade unionist.

Then they came for the Jews, and I did not speak out – because I was not a Jew.

Then they came for me – and there was no one left to speak for me.

One by one, the town is ‘purified of witches’ until cows wander aimlessly along the roads and untended crops rot in the fields. Soon there is no one left to speak out about the injustices or take the time to rationally think about the accusations made. Soon all that is left are empty chairs and silence.

Playwright Joel Tan named this play for the book And Tango Makes Three, a true story about the two male penguins in Central Park Zoo who as a couple hatched and raised Tango – who, just by the way, later paired with another female penguin.

But we’re not here to discuss the genetics of queerness. Rather, this play is about the impact of homophobia, specifically in Tan’s home city of Singapore where the play is set. The director Carol Ann Tan, also Singapore-born, says “Singapore is rife with contradictions … you can have a good life in Singapore so long as you play by the rules.”

But Kenneth (G Hao Lee) and Liam (Mike Newquist) do not. With their teenage son Jayden (Luke Gerdes) they move from Liam’s home in London to Kenneth’s in Singapore, staying with Kenneth’s father Richard (Cai Young). While out to dinner with their lesbian friend Elaine (Carolyn Hu Bradbury) their waitress Poh Lin (Rainey Song) refuses to serve ‘perverts’ and ‘child molesters’. Liam quickly shepherds Jayden away but Kenneth gets into a furious confrontation with Poh Lin. The encounter is filmed by another diner, who posts it on Facebook, where it goes viral.

The remainder of the two-hour show explores the repercussions from the ever-widening exposure on social media. Local activist Zul (Ronnie Derrick Lyall) begins a petition demanding Poh Lin be fired, and it all evolves into a huge public demonstration.

Poh Lin’s nephew/son Benmin (Oscar Hew) is still deeply closeted at age 30, but he meets Zul and, as their relationship deepens, Benmin is increasingly torn between loving loyalty to his Yi Ma and the burgeoning social conscience he’s learning from Zul. Meantime, the baggage between Kenneth and his father Richard (baggage whose enormity we don’t learn until later) is reactivated by Richard’s ignorant reactions to the building kerfuffle and his misguided attempts to grandparent Jayden.

TANGO is a deeply nuanced work, examining the complexity of our relationships with our homes and our families. Stage manager Jacob Sexton, with Assistant Ashby Amory, expertly presents the panoply of scenes by having two or three sets on the stage simultaneously. Lighting Designer Elliot Hublak, supported by lead electrician MaK Cole, defines each scene by spotlighting the rapid-paced action.

The acting is uniformly superb, but I need to give a shoutout to a couple of exceptional actors. It’s hard to believe that Luke Gerdes (Jayden) is practically a neophyte on the stage, he appropriates it so effectively. His range is amazing. And Rainey Song brings Poh Lin to life brilliantly. It would be easy to dislike this bigoted, rather stupid woman, but Song doesn’t allow us that oversimplification; however grudgingly we must sympathize with her as she suffers the consequences of her ignorance. And she is a testament to the skill of dialect Coach James Napolean Stone. Poh Lin’s heavy Cantonese accent is beautifully performed, and Song’s acting is so adept that even when she’s speaking Cantonese we hardly need the subtitles projected on the wall – her acting makes her meaning clear without the necessity of words.

I wish there had been even more work for Intimacy Director Kayla Menz (I’m so very partial to boys kissing!) but they do a fine job, and we have no doubt that this marriage of 16 years remains strong and passionate. Savanna Nix’s costumes, like Hannah Dains’ props, actively support the action, while Valerio Torretta Gardners’s sound integrates and unifies the mercurial action.

TANGO is the delightful product of a talented playwright, superb actors, and a splendid crew. Under Carol Ann Tan’s direction utilizes the intricacies of this richly nuanced piece. Joel Tan wrote it in 2017 but it definitely captures 2023. TANGO will be playing through June 11 at PrideArts Center. Check it out!

As we drove away from Lifeline Theatre I asked my companion what she thought of From the Mississippi Delta. “I have no words yet,” she said. “I’m still just reveling in delight.”

This play is indeed delightful. Even when eleven-year-old Phelia is raped; even when she and Aunt Baby are squashing cockroaches; even when her own town shuns her – even these scenes manage to delight without ever compromising the gravity of the story.

And the best part is it’s all true! Dr Endesha Ida Mae Holland (1944-2006) wrote the play From the Mississippi Delta based on her memoir/autobiography of the same name (which you can purchase in the lobby). As author and as playwright, Dr. Holland, professor emeritus of theatre at University of Southern California, chronicles her journey from dirt-farm poverty and the brutality of 1950’s Jim Crow, enduring rape and prostitution before finding herself in civil rights activism. It took twenty years, but Dr Holland completed her bachelors, masters, and doctoral degrees at the University of Minnesota. From the Mississippi Delta is a testament to Holland’s perseverance, and to the myriad sheroes who encouraged and sustained her.

The play, brilliantly directed by Lifeline Theatre’s Artistic Director ILesa Duncan, includes dozens of characters, all played by the cast of three actors: LaKecia Harris, Arielle Leverett, and Jenise Sheppard, billed in the program as Woman 1, Woman 2, and Woman 3. Harris and Sheppard alternate playing Phelia while Leverett primarily represents her mother, Aunt Baby. Aunt Baby’s artistry as a midwife leads a local (white, male – of course) doctor to call her ‘the second doctor’. The scene in which she rotates and delivers a breech baby left me stunned.

The play begins with the women relating hideous vignettes, beginning with Emmett Till, and each account ends with the words ‘This is the Mississippi Delta. This is where I was born and grew up’. After a handful of stories, they begin singing “Trouble in Mind”; that’s when I fell under their spell. Throughout the play they brilliantly perform at least a dozen iconic selections from blues and spirituals. Music Director Ricky Harris and Sound Director Deon Custard collaborate to meld the music perfectly with the action and with external and peripheral sound effects. Harris’ decision to forego accompaniment or instrumentation is inspired, as the three magnificent voices are enriched by a capella performance.

FunFact of the Day:  the a capella genre originated with African Americans singing in African American barbershops: the original barbershop quartets.  

(Top to Bottom) Arielle Leverett as Woman 2, Jenise Sheppard as Woman 3, and LaKecia Harris as Woman 1; in Lifeline Theatre and Pegasus Theatre’s “From the Mississippi Delta.”

Scenic Designer Angela Weber Miller’s amazing multi-level set has several doors and other options for egress, which choreographer Tanji Harper makes adroit use of to allow the three actors to instill a phenomenal amount of detail into each scene. Props Designer Wendy Ann caches props and bits of costumery (designed by Gregory Graham) all about the set, allowing the actors to change character by simply donning an apron or shucking a hat. The sparse furniture onstage is just as versatile: an ironing board converts to a birthing bed and later becomes grandstand seats for Phelia’s debut as a stripper. The transformations are skillfully abetted by Lighting Designer Levi J Wilkins. Stage Manager Roxie Kooi stitches it all together into an amazing package for Production Manager Adi Davis.

Everything lately seems to need an Intimacy consultant – even the American Ballet Theatre recently used one for a pas de deux – and Gregory Geffrard keeps the actors on the good side of the fine line separating stimulating from stodgy. 

An African American deep-south accent is tough to pull off without sounding like Amos & Andy, so my hat’s off to Dialect Coach Shadana Patterson. Her job was made even tougher by the fact that white folks are notoriously challenged by African American dialects and accents. In fact, though I was encouraged to see the theatre more than 2/3-full, it was almost totally lacking Black faces, which I find both surprising and concerning.,

My melanin deficiency invalidates my opinion, but I’m going to give it anyway: I think African Americans, particularly Black women, would very much enjoy From the Mississippi Delta. It exposes the singular brutality lurking at the intersection of bigotry and misogyny. It is a testimonial to the strength and resilience of Black women, a hymn to the human spirit. 

Look -- if for no other reason, go for the music.  See From the Mississippi Delta and be transported by these three magnificent voices.

HIGHLY RECOMMENDED

It’s hard to go wrong with ballet. From a toddlers’ class giggling nervously through Swan Lake to the zaniest comic piece by Los Trocoderos, ballet excites, inspires, and delights us. All these occurred at the American Ballet Theatre performance April 14 at the Auditorium Theatre. I was very much looking forward to this performance; American ballet Theatre (ABT) is one of the most celebrated companies in the world. But I hadn’t anticipated just how vigorously and comprehensively they would blow my socks clean off.

The show was in three acts – unusual to have two intermissions in a two-hour show, but as the night unfolded it became clear why it had to be so. Act One was “Songs of Bukovina”. I couldn’t resist googling Bukovina: the region, sparsely populated since the Paleolithic (!), is located on the northern slopes of the central Eastern Carpathians and the adjoining plains, today divided between Romania and Ukraine. The language spoken is Romanian with influences of Moldovan, Transylvanian, and Maramureș. Whew! … try saying that three times fast! Any road, one expects a folk-dance sort of thing, and one would be correct. “Songs of Bukovina”, including ten dancers and led by principals Isabella Boylston and Daniel Camargo, was a celebration of the global genre of folk dance, with brilliantly colored costumes designed by Moritz Junge whirling about the stage. The music in “Songs of Bukovina” is excerpted by composer Leonid Desyatnikov from “Bukovinian Songs [24 Preludes for Piano]”, performed by pianist Jacek Mysinski.

Scene from Songs of Bukovina. Photo by Marty Sohl.

I had noted that the first dance in Act Two, “Touché”, listed Sarah Lozoff as Intimacy Director – a common role in theatrical productions but not, in my experience, customary for dance. I have mentioned in previous reviews my predilection for male pas de deux, and “Touché” gave me the pas de deux of my dreams. It began with Calvin Royal III and João Menegussi standing motionless on the stage and shouting individual words: “No!”, “Come”, “Fuck!”. Slowly they began to move, individually at first but with a gradual transition to synchronicity. Christopher Rudd’s choreography made it progressively more clear that we were witnessing a mating dance, so it was perfectly natural when they began to shed their clothes. Once they were near-naked the dance became more sensual, enhanced by Brad Fields’ inventive lighting – at one point the house lights came up while leaving the stage nearly dark.

In fencing, touché means “touched”. Fencers who have been hit may call out “touché” to acknowledge the touch. If, however, no hit was actually made, the fencer's adversary would say, "pas de touché" (in English: no touch) to indicate that the hit should not be counted. Via Woodkid and Ennio Morricone’s music, and the danseurs’ brilliantly controlled balletic motion, this spell-binding pas de deux was enhanced by the aura of pas de touché, a tempestuous ambience that saturated the dance. The standing ovation continued through three curtain calls.

Touché

There was a brief pause between “Touché” and “Some Assembly Required”, during which I reflected that I did not envy the dancers who would have to follow Royal and Menegussi’s sensational performance. But Katherine Williams and Jarod Curley rose to the challenge. “Some Assembly Required” could have been simply a hetero apologia to “Touché”, but Clark Tippet’s choreography and Amanda McKerrow and John Gardner’s staging did a fine job on its own merits. The brooding atmosphere of “Touché” was lifted by Kobi Malkin and Emily Wong’s performance of William Bolcom’s Second Sonata for Violin and Piano, setting a more frolicsome tone to ready the audience for “ZigZag”, a sprightly medley of Tony Bennett songs (with a very special duet with Lady Gaga).

“ZigZag”, a work for 14 dancers, premiered in October 2021. This performance included four of the original principals, Devon Teusch, Luciana Paris, Cassandra Trenary, and Joo Won Ahn, with the addition of Aran Bell and Blaine Hoven.

“ZigZag” was a perfect finale, a dazzling whirlwind of music and movement. The Tony Bennett medley included such favorites as What the World Needs Now, I Left My Heart in San Francisco, and It Don’t Mean a Thing If It Ain’t Got That Swing. Costumers Wes Gordon and Carolina Herrera dressed the chorus in bumptious black-and-white polka-dot tutus, setting off the principals in bright primary colors. Jessica Lang’s choreography evoked a blooming Spring season with It’s De-Lovely, Blue Moon and Springtime in Manhattan., and Derek McLane incorporated artwork by Bennett in the scenery. The final song, How Do You Keep the Music Playing, brought the audience to its feet, where we remained through several curtain calls.

I’ve made no secret that my favorite piece was “Touché”, and the ovation and curtain calls demonstrated that I wasn’t alone in that. However, the brilliance of “Touché” was intensified by all the works surrounding it, as a diamond’s luster is enhanced by its cut and setting.

American Ballet Theatre is only in Chicago for a brief stay, but where- and when-ever you have a chance to see them perform, you will not be disappointed.

Giordano Dance Chicago (GDC) has been an integral part of Chicago’s performing arts community for 60 years – more than a half century of bringing groundbreaking commissions, instruction, outreach and (most of all) performances to Chicago and audiences worldwide. This year they are celebrating that 60^th anniversary with Season 60: Catch the Light, Feel the Radiance, Celebrate Giordano, a series of four performances over 2022/2023. This second work in the series was performed March 31 and April 1 at the Harris Theatre. In October 2022 I reviewed the initial production; it was absolutely spectacular. To my amazement, this second program was as good if not better!  

The company of dancers in GDC is extensive so I won’t name them – a full directory with bios is available on the website.

The organization of this production was ingenious, filling the ‘dead time’ between performances with videos where GDC directors and choreographers discuss the preparations for Season 60: Celebrate Giordano.  The first video, “The Magic of Giordano at 60”, introduced the performance of Sing, Sing, Sing. As in the October program, this first piece was one originally choreographed by Gus Giordano (1983) and refreshed by Nan Giordano for the occasion. 

The video “The Magic of Community” preceded the world premiere of Luminescence, specially commissioned in honor of Homer Hans Bryant and choreographed by the inimitable Kia Smith. This may have been my favorite of the night: the music was by U2 and Coldplay, two of my favorite bands; the costumes were totally stunning, and the dance very illustrative of the “Magic of Community”. GDC was joined by dancers from South Chicago Dance, each company enhancing the other. Every dancer’s movement was balanced and integrated with every other dancer: it was very much a company piece, headlining every dancer by spotlighting none.

The video “The Magic of Possibility” introduced La Belleza de Cuba, (The Beauty of Cuba), choreographed in 2013 by Liz Imperio and Whitney Anne Bezzant and danced by the entire GDC Company. The Latin music and costumes provided an intriguing foil to the other numbers.

At Intermission I spoke with several children – kids’ comments are always engaging and often very perceptive.  In addition to various iterations of “I wanna do that someday!” one little girl critiqued the format, saying “The movies were OK I guess, but I liked the other stuff better” – ‘other stuff’ presumably referring to the dancing.

The next number, Prey, is reputedly a favorite of the dancers. Choreographed in 2003 by Ron de Jesus, who also designed the costumes and sound, Prey is technically difficult but gratifying in that the dancers must place a great deal of trust in one another. Much of the movement involves dancers in groups of two, three, or more performing gymnastic stunts, from simply lifting and toting each other about the stage to complex aerobatics involving the entire company – a superb combination of floor exercise and Giordano dance. The powerful Giordano Technique of Jazz Dance is particularly compelling in combination with individual and collective gymnastic maneuvers. The Technique employs rhythmic complexity and precision and the consistent use of core while moving each part of the body in isolation. Stylistically, the dancers are regal and elegant but perform with kinetic urgency and vibrancy.  

The final number portrayed “The Magic of Our Dancers” with Randy Duncan’s 1997 Can’t Take That Away, featuring the Bourné family: Lisa (Mom), Elizabeth, Christina, Katherine, Paul, Timothy, Rebekah, Ehron, and John. Personally, I don’t much cotton to gospel music, but the Bournés are not gospel singers: their delivery of what from any other throats would be gospel transcends the genre – it eclipses music itself. The soaring sopranos seemed to lift the dancers ever higher in a primordial and sublime combination of music and motion.   

This finale, incorporating several gospel numbers and concluding with the title song, was dedicated as a farewell to Ashley Downes and Katie Rafferty, GDC dancers for over a decade. The company’s affection was evident in the esprit de corps the dancers brought to this final dance. Their jubilation spilled over the footlights and into the audience, bringing us to our feet. Finally, the dancers themselves cascaded from the stage to dance in the aisles with the audience, laughing and flinging droplets of sweat as the gamboled. I must admit I’m partial to a performance where I’m spritzed with the performers’ body fluids.

And the best part is that there will be two more performances of Season 60; Celebrate Giordano! I’ll definitely be there, and highly recommend that you check it out as well.

Jinkx Monsoon and BenDeLaCreme’s Christmas show truly rocks! And, lucky us, their show just made a quick stop in Chicago at the Auditorium Theatre. There are dozens of holiday drag shows, but this one is Jinkx and DeLa! The above title quote (sung, appropriately enough, to the tune of “Grandma got Run Over by a Reindeer”) captures its spirit. 

Its substance (say wha?) is a time trip with Jinkx and DeLa, back to the 1960’s, reprising fave songs (and, naturally, fashions!) from each decade, searching for the thing that’s wrecking Christmas -- and, just incidentally, the whole fucking world. “We’ll know it when we see it,” DeLa assures Jinkx.

Co-written and created by Jinkx and Dela; BenDeLaCreme Presents does a lot of the rest. Video Production and Visuals come from Trojan Original, Luke Stemberger, Percolate Galactic, Lazy Susan, and Andrew Slade (I just wanted to get those names out there). Erik Andor/Andor Studio and Meredith Youngblood create the (adorable) puppets.

OK, so we go back in time, with appropriate music and fashion. I liked best the numbers that Jinkx and DeLa performed together, especially when they included Hunky the Elf (Gus Lanza). But I know a girl’s gotta get off those five-inch heels! 

The troupe (Chloe Albin, Mr. Babygirl, Elby Brosch, Shane Donahue, Jim Kent and Ruby Mimosa) are phenomenal. I really shouldn’t have been surprised at the pulchritude of their dance [I’ve been saving up that word for a time like this!] This is, after all, BenDeLaCreme Presents and Jinkx Monsoon!

Gotta shout out the costumes by The Lady Hyde, Mr. Gorgeous, Jamie Von Stratton, and Paris Original; also the lights, which were totally amazing. I reeeeelly loved the effect at the end when Jinkx and DeLa stood together and their red-and-green gowns formed a Christmas tree. It may have been a glitch when the tree / dresses lit up and part of Jinkx’ didn’t light: isn’t that what the tree always does when you first turn on the lights?!  Actually, it would’ve been fabulous if it ‘blew a fuse’ and plunged the Auditorium Theatre into blackness for just a second. Consider that, wouldja, Mike Fava?

But the very best part was the very end, when DeLa and Jinkx remind us that there is still a lot of shit out there, and LGBTQ people are not safe on American streets. The antidote is, of course, love. We need more love in the world.

Here’s hoping Jinkx and DeLa return next year for the holidays!

For more show information, click here.

MidsommerFlight is a not-for-profit theatre company committed to presenting Shakespeare’s plays to everyone in an IDEA manner: Inclusive, Diverse, Equitable, and Accessible; and to bringing the Shared Joy that results to underserved communities about Chicago.

MidsommerFlight has staged productions of ‘As You Like It’, ‘The Tempest’, ‘Macbeth’, ‘Hamlet’ and others, in various parks around the city. TWELFTH NIGHT has been its Holiday production since 2015 (skipping 2020) and is held in the lush Chicago Conservatory. Admission is pay-what-you-can (suggested donation $30).

Though TWELFTH NIGHT is MidsommerFlight’s perennial production, directors are rotated to offer a range of conceptual approaches to the comedy. This year’s Director, Bex Ehrmann (they/them) is queering up the Bard with a cast of diverse, trans and non-binary actors of various and sundry genders, races [albeit all human], and body types. Jack Morsovillo (he/him/his) is the Musical Director.  

The basic plot is (relatively, for Old Will) simple: twins Viola and Sebastian are separated when their ship is wrecked. Then as ever, it’s hard for women to find a good job, so Viola undergoes non-surgical gender reaffirmation, renames herself Cesario and is hired by bluff and blustering Orsino to woo the Lady Olivia on his behalf. Lady Olivia contrarily falls for Cesario, (who is Viola in disguise), who in turn pines for Orsino … Oy!  Hilarious antics unfold.

Every member of the MidsommerFlight troupe is a superb actor, dancer, and singer, and the cast of TWELFTH NIGHT is extensive. The cast is authentic and features an incredible amount of talent - Rusty Allen (he/him/his, Malvolio), Laurel S. Barrett (she/her/hers, Antonia), John Drea (he/him/his, Orsino), Becca Duff (she/her/hers, Fabian, U/S Feste), Courtney Feiler (she/her/hers, Valentine/Officer/Musician, U/S Olivia), Caleb Gibson (he/him/his, swing, u/s Orsino, Antonio, Sir Toby), Rae Hamilton-Vargo (they/them/theirs, Sebastian, u/s Malvolio), Reginald Hemphill (he/him/his, Sir Toby Belch), North Rory Homewood (he/him/his, Feste), Jessica Love (she/her/hers, Maria), Ebby Offord* (she/they, Olivia), Victoria Olivier (she/her/hers, swing, u/s Viola, u/s Sir Andrew, u/s Sea Captain/Priest/Musician, u/s Curio/Valentine/Officer/Musician), Travis Shanahan (he/him/his, Sir Andrew Aguecheek), Maddy Shilts (they/he, Viola/Cesario), Noelle Simpson (they/them/theirs, swing, u/s Sebastian, Curio, Valentine, Officer, Musician, u/s Sebastian), Natalie Welber (she/her/hers, Sea Captain/Priest/Musician, u/s Maria and Fabian).

The crew is just as superb. Text Captain Bobby Bowman (he/his) makes iambic pentameter accessible to ears still ringing from Janis, Jimi, and Mick, and further manages to enact the story despite ejaculations like “But soft!”  As ever with Shakespeare, the tasks of Fight and Intimacy Directors Thomas Russell (he/his), (Fight), and Charlie Baker (he/they), (Intimacy) tend to overlap.  

Cindy Moon (she/her) does a terrific job with costumes, and the music, composed by Elizabeth Rentfro and Alex Mauney, with additional composition by Music Director Jack Morsovillo along with Becca Duff, Courtney Feiler, North Rory Homewood, Victoria Olivier, McKell Rae, Noelle Simpson, and Natalie Welber is a delight – flutes and lutes and mandolins, oh my! Alyssa Mohn (she/her) (Scenic and Props), exploits the wondrous backdrop of the Chicago Conservatory.  

TWELFTH NIGHT is being performed Thursdays-Sundays through December 18th at the Lincoln Park Conservatory (2391 North Stockton Drive, Chicago).  For tickets, performance times and more show information click here. 

The Joffrey is always amazing so I was happy to be assigned this show to review, but I have to admit I wasn’t totally thrilled – I’ve seen Nutcracker several times and I’m just a little bit over it.

Imagine, then, my delight as the curtain opens, not in the familiar opulent parlor; rather, we see ragged children grouped excitedly before posters of the 1893 Columbian World Exposition – a new background story! The Joffrey premiered Christopher Wheeldon’s(he,him)  new choreography six years ago; my companion had seen the new show but they’re a good friend and didn’t spoil it by telling me. I’m not going to be so considerate of you. Spoilers to Come!

It's Christmas Eve 1892, and families of the immigrant construction workers for the World’s Fair meet for revelry in one of their hovels. There they receive a surprise visit from The Great Impresario (Dylan Gutierrez(he,him)), magical designer of the Fair, with his lovable assistant Peter (Hyuma Kiyosawa(he,him)). Gifts are delivered to the children but Marie’s is missing! With a swirl of his red silk cloak, The Great Impresario produces her gift: a beautiful nutcracker.

The party winds down, but Marie (Yumi Kawasawa(she/her)) wakes at midnight to see her little brother Franz (Elliot King(he,him)) being kidnapped by Rodents of Unusual Size! The Nutcracker, now alive and lifesize, battles and defeats the Rat King.  This victory transforms him into the dashing Prince Peter. 

The Great Impresario sails up in a gondola, and the Queen of the Dream Fair (Jeraldin Mendoza(she,her)), resplendent in a gown of gold, grants Marie and the Prince permission to enter the Dream Fair. There, at the various pavilions, we see the familiar dances from countries around the world. 

This recreation changes the entire story of the Nutcracker in several important ways. One detail that’s always bothered me is ‘why is this rich little girl so excited about a nutcracker, of all things?  Surely she’s also received dolls, ice skates; a dozen other gifts’. But here, the Nutcracker is her only Christmas gift, and it comes from none other than The Great Impresario himself, and nowMarie’s excitement makes far more sense, yes? 

But the most important change is that THE NUTCRACKER is now a Chicago story! this version of NUTCRACKER won’t play in New York or Memphis or San Francisco; this is our very own NUTCRACKER, from our very own Joffrey Ballet Dance Company. How fabulous is that?! Thank you for this gift of a NUTCRACKER, choreographer Christopher Wheeldon and Assistant Jacqueline Barrett(she,her).

Jeraldine Mendoza and Dylan Gutierrez in Joffrey Ballet's 'The Nutctracker' at Lyric Opera House

There are a score of others to thank for this extravaganza, beginning, of course, with the company. NUTCRACKER is a great production for showcasing Joffrey’s many superb dancers. Victoria Jainani(she,her) once again performs the Arabian Dancer in her characteristic sinuous mode, partnered this year by Edson  Barbosa(he,him). And the final pas de deux with The Great Impresario and the Golden Queen is stunning on many levels; not the least of which is that Gutierrez, after two hours constantly onstage, still manages to make Mendoza float effortlessly.

I already spoke of choreographer Christopher Wheeldon, who was assisted by Story Adaptation Director Brian Selznick(he,him). Thanks, of course, to composer Piotr Ilyich Tchiakovsky and to the Chicago Philharmonic Orchestra, conducted by Music Director Scott Speck, with Asst director Michael Moricz. Artistic Director Ajhley Wheater MBE(he,him)  orchestrated the talented production crew, including Staging by Nicholas Blanc(he,him), Adam Blyde(he,him) , and Suzanne Lopez(she,her), and Lighting Designer Natasha Katz(she,her). Katz et al created the staging in 2016 when this Chicago version opened at the Auditorium Theatre. Decisions had to be made about ‘downsizing’ the staging to accommodate the smaller stage at the Civic Opera House (a brilliant venue, by the way). I am charmed that Lighting Recreator Chris Maravich(he,him), with Projection Designer 59 Productions simply projected the “too large” lighting design onto the smaller stage, creating imagery above and to either side of the stage. It felt to me as if we were enclosed – embraced, even – by the entire production. This cozy and inclusive quality suits the new story perfectly. Assistants were Asst Scenic Design by Frank McCullough, Asst Lighting Design by Jon Goldman; and I have to give a shout-out here to 

Basil Twist designed the Puppetry and it can’t be easy for Tandem Otter Productions  to construct  a Nutcracker head that will withstand multiple tours in l’aire and cabriole! The children’s cast requires several directors (talk about herding cats!): Suzanne Lopez, Adam Blyde, Michael Smith, and Caitlin Meighan.

To fully credit THE NUTCRACKER I have to include the audience: scores of little girls – infant balletomanes – in their best Christmas dresses, seeing live ballet for the very first time. What could be more festive?

My heartfelt thanks to all for this enchanting spectacle, a splendid introduction to the 2022 Holiday Season.

Abortion and reproductive rights have been major issues throughout my life from the pre-Roe days to the calamitous post-Roe days I’d hoped never to see. I was really looking forward to seeing TITLE X.

Julie Proudfood *she/her wrote TITLE X in 2020 in response to then-President Trump’s 2019 gag order. The Title X Family Planning Program, created in 1970, required family planning clinics to provide pregnant women with three nondirective counseling protocols: referral for adoption, for prenatal care, and for abortion services. Trump’s 2019 directive prohibited any clinics receiving federal funding (virtually all clinics, including Planned Parenthood) from presenting pregnant women with Option #3. 

As heinous as this directive was, Proudfoot clearly saw that it was neither sudden nor isolated, but part of (and not the end of) the steady disintegration of the women’s rights hard-won in the 1960’s and 70’s. Proudfood intended TITLE X to educate and motivate people to ‘fight, rally, organize, vote, and dismantle’ this ongoing far-right agenda to return women and nonbinary people to the place decreed for them by God: barefoot, pregnant, and kitchen-bound.

The format of TITLE X, co-directed by Proudfoot and Willow James *he/his (also Sound Designer) is intriguing. The entire cast of eight characters is played by two actors – Melanie McNulty *she/her and Kaitlyn Cheng *she/her – in alternating scenarios:  a 17-year-old in 1978 awaiting results of her pregnancy test; a religious lobbyist addressing Congress in 2019; a Right to Lifer-er in 1988 protesting in front of an abortion clinic.  

And there Proudfoot stops. Not the play; it continues through several more scenarios, but the scenarios stop directly concerning abortion: an asylum officer at the Mexican border, a woman who’s just won a sexual harassment suit against her boss (with all the attendant ignominy and anguish); a woman describing an argument with her (female) partner. The final scene does return to Rachel (from the first scene), now grown, expressing her joy at having decided to have the abortion; I appreciate this attention to the Right-to-Lifer’s assumption that women will be deranged with remorse for their decision to abort.

OK, they’re all women’s issues, all relevant, vital women’s issues, but the name of the play is TITLE X, not “Women’s Issues”. Disappointing – and a damned shame, as everyone’s work is absolutely stellar.  McNulty and Cheng are brilliant, slipping into disparate characters as easily as changing Jessica VanWinkle’s *she/her excellent costumes. Charlotte Lastrashe/her multi-tasks well as Set & Props Designer and Stage Manager. I’ve already praised Ben F. Locke’s *he/his casting. Lighting and Projections Designer Sam Stephen *th/th makes the most of their interesting role, using lights and projected images to further define each of the disparate characters.

In summary, TITLE X is an outstanding play, well-written, skillfully produced, and superbly acted. It is not, however, the Clarion Call to Action that I hoped for, and that we so desperately need.