Theatre

Anne Rakowiecki

Anne Rakowiecki

Musical theatre geek. Cat enthusiast. Rock-n-roller. DePaul University graduate. St. Louisan/Chicagoan. All about that bass.

Thursday, 03 November 2016 21:47

Come to the Fun Home!

Fun Home is not merely a well-crafted, excellent musical in every sense of the word but an important one. Fittingly winning the Tony award for Best Musical the same year same-sex marriage was legalized in the United States, Fun Home is the first Broadway musical to feature a lesbian protagonist. Beyond that, it is also the first musical to discuss homosexuality in such an open way. The main character, Alison, discovers and learns about her own sexuality the same time her father, Bruce, is battling with his. Her coming out of the closet coincides so aptly with his repression into it that it's amazing they didn't run into each other in the doorway. 

Based on writer and cartoonist Alison Bechdel's 2006 graphic memoir of the same name, the story told in Fun Home -- already dramatic and engaging on its own -- becomes that much more poignant due to the fact that it is true. This was Bechdel's life, and it is an extremely personal tale that requires a paradoxical balance of vulnerability and courage to tell.

Non-linear, like Bechdel's memoir, and brimming with intelligence, humor, and frustration, Fun Home is less a typical musical than it is a dramatic play with songs sprinkled in. Where you won't find big bawdy show-stopping numbers that burst onto the scene, you'll find elegant, pretty melodies that extend organically from significant moments in the story. The protagonist, Alison, is portrayed by three actresses to encompass her lifespan thus far: Small Al, Middle Al, and Big Al -- or just Al, who is present-day Alison writing and narrating her story.

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Her father Bruce serves as both a mirror of and partial antagonist to Alison. As is said in the musical a couple of times, the heart of Fun Home is that Alison and Bruce are "nothing alike" and "exactly alike." Al's relationship with her father is set against the backdrop of their functionally dysfunctional family, with Al's two brothers playing a part as well as Helen, their mother and the long-suffering wife of Bruce. An English teacher, intellectual, and funeral director -- their house doubles as a funeral home, from where the title is derived -- Bruce fusses over every aspect of their family house, improving and embellishing every detail in a clear projection of the lack of control he feels he has over his own life, all the while subjecting the rest of the family to his obsession.

Fun Home doesn't shy away from anything. Big ideas are conveyed through small details, which include everything from the seemingly most mundane aspects of life (like cleaning the house) to the most intimate and even somewhat embarrassing (like after Al's first sexual experience with a girl when she adorably and giddily freaks out, declaring she's "changing [her] major to Joan.") It's funny, poignant, sad, and most of all, honest.

It is the least cheesy musical you will ever see.

On top of its artistic integrity alone, Fun Home is an extremely important musical for LGBT awareness. It brings the (to some, distant or fearsome) ideas of homosexuality and "coming out" to the stage and airs them out in a way that demystifies them and, by default, normalizes them. This is the first step to achieving acceptance: removing fear and saying, "Yes. This is normal. This messed up family that happens to include some gay people is just like your messed up family that happens to include some straight people." It can really be that simple, thanks to shows like Fun Home that are unafraid to be real.

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Fun Home is playing at the Oriental Theater through November 13th.

Tuesday, 04 October 2016 18:38

Rise Up, Chicago: Hamilton is Here!

What more can be said about the phenomenon that is Hamilton: An American Musical? The ever-growing hype, not to mention the genius content, speak for themselves. It was nothing less than an absolute thrill to finally sit down to see this musical after nearly a year of obsessing over the 46 - yes, forty-six - song soundtrack. Who ever knew that textbook American history could be so exciting and jarringly relevant?

The nearly three hour, entirely sung/rapped performance takes the audience through the life of the "ten dollar founding father" Alexander Hamilton. Before creator Lin-Manuel Miranda masterfully brought Hamilton's biography to the stage, everyone who isn't a history teacher likely only knew Hamilton from the ten dollar bill, but, contrary to a recurring lyric in the show, there were a million things he did for the country. Namely, he created a financial plan that saved America in a time of major debt as well as established the first national bank. If that sounds dry, it's only because you haven't heard "The Room Where It Happens" yet.

 Not only does the story cover Hamilton's achievements and downfalls, but it paints a vivid portrait of colonial life, the complications of war during the American Revolution, and the messy aftermath of establishing a new nation. Other important historical figures we'd normally associate with flat images in books or on paper money are also presented as fully-fledged and in the flesh, such as George Washington, Aaron Burr, Thomas Jefferson, and James Madison, among others. Central to the story as well are the two female leads of the show, Eliza and Angelica Schuyler, who were daughters of a wealthy revolutionary-turned-senator and may not have been widely known before but are certainly getting the recognition they deserve now. To top it off, these exclusively white historical figures are portrayed by people of color, keenly driving home the show's message regarding immigrants' roles in the founding of our country and representing a current snapshot of American life.

All of this is fueled by the exquisitely-crafted music and intelligent lyrics that have astounded listeners of all ages and creeds. With most of the lyrics rapped, there is room for an incredible amount of detail, proving further that Miranda is nothing less than a creative genius. Only rap would allow literal paragraphs of information to fit into a single song, and this style serves the purpose of the musical brilliantly in conjunction with the more traditionally-sung parts that, in turn, give the audience small breaks to digest everything.

The Chicago cast is immensely talented - imagine all the actors who auditioned for these coveted roles - and can easily hold a candle to its Broadway equivalent. Many of the actors play multiple roles, impressively switching characters from Act One to Act Two. Favorites for me included Chris Lee as a hilariously arrogant Jefferson, Ari Afsar as a strong yet vulnerable Eliza, and Joshua Henry as the smooth-voiced nemesis to Hamilton, Aaron Burr (sir).

It's hard to say when the last time a musical of this magnitude and social significance came around, as nothing that has been done before can really compare to Hamilton. Truly unique, engaging, educational, sharp, funny, heartbreaking, and moving, we should appreciate getting to witness this watershed moment in Broadway history and heed advice from the repeated Hamilton lyric to "look around at how lucky we are to be alive right now!"

Hamilton is playing at the Private Bank Theater at 18 W Monroe St. now and indefinitely. Tickets can be purchased on Ticketmaster, or you can enter the daily ticket lottery here.

Saturday, 17 September 2016 15:27

Review: In the Heights

Before the colonial history of New York City was hip hop-ified by outrageously talented Broadway composer/writer/actor Lin-Manuel Miranda, a small portion of the city had its own hip hop story to tell. In the Heights, which premiered on Broadway in 2008 and subsequently won the Tony for Best Musical (among four total wins) and Grammy for Best Musical Show album, features a lively ensemble who collectively share the story of their own corner of Manhattan. 

It's appropriate that Chicago's Porchlight Music Theatre chose Miranda's first musical to perform through October, as it will overlap the Chicago premiere of his second musical, the cultural phenomenon Hamilton, which gets its own Loop theater at the end of the month. Like Hamilton, In the Heights is a mixture of brilliantly-crafted rap, (as well as merengue and salsa), powerful singing, and rich, often funny, dialogue. 

The story, set in Manhattan's predominantly Latino neighborhood Washington Heights, centers around the neighborhood bodega where the members of the community congregate, whether to grab their morning coffee, flirt, gossip, or discuss their dreams, their conversations painting a complicated portrait of the "barrio" life. Some of them, like the willful and stubborn Vanessa, see the Heights as a prison sentence and hope for a better future, wishing to get out by any means. Others, like Abuela Claudia, immigrated to the utopian New York City when they were young and dearly love the neighborhood in which they have lived most of their lives. Meanwhile, others struggle with both love and disdain for the Heights, like college dropout Nina who wrestles with the shame of losing her scholarship and breaking the bittersweet news to her parents that she must return home. 

                                              

On top of the drama, humor, romance, heartbreak, and impossible hopes passionately sung and rapped about by the various characters -- Porchlight's modest 18-person cast showcases extreme talent, the powerful female voices in particular could easily be heard on a professional Broadway stage -- the authenticity of a real New York community shines through. From the "piragua" (flavored shaved ice) seller carting through town, to the close-knit gossipy hair salon, to the shop owners chasing away graffiti artists, to the fierce Puerto Rican and Dominican pride on display, In the Heights realistically captures the essence of a colorful, cultural community. It entices and welcomes you with open arms, making you feel like you could be right at home if you found yourself at the edge of northern Manhattan getting off the A train at 181st Street.

In the Heights is playing at Stage 773 now through Sunday, October 23rd. Tickets can be purchased at Porchlight Music Theatre.

Wednesday, 10 February 2016 05:48

Come to the Cabaret!

How do you categorize a musical that is part comedy, part drama, and part burlesque? The answer is: you don't need you. Like Kander and Ebb's later popular Broadway hit Chicago, Cabaret uses flashy and often funny nightclub performance as a device to embellish and expound upon the more serious and sometimes grim events of the story. In Chicago, shameless homicide by two murderesses is explored through jazzy nightclub acts, while in Cabaret, the grisly beginnings of WWII and the anxious pall it casts over the characters' lives is explored through fearless, garter-brimming club performances.

Cabaret is a unique musical, one that will sneak up on you and knock you in the chin if you try to pigeonhole it. The songs are inordinately catchy and the story turns unpredictably. On opening night at the inaugural show of the newly named Private Bank Theatre, I was surprised to hear so many shocked reactions from the audience around me. Every Nazi reference was met with gasps, one short scene of drug use left the audience deadly silent, the never-even-mentioned-by-name subject briefly implied by Sally's doctor visit caused an audible "Oh my God!", and Cliff's apparent bisexuality was received with total confusion. "But he kissed a boy. How could he fall in love with a girl?" Please. If audiences could survive it in 1962, they should certainly be able to handle it now. The reactions only serve to prove that Cabaret has a timeless impact.

When American self-described "starving novelist" Cliff (a capable if slightly bland Lee Aaron Rosen) travels to Berlin in pursuit of literary inspiration, he discovers it in the form of the buoyant and provocative English cabaret dancer Sally Bowles (a character brilliantly committed to by Andrea Goss) and the seedy nightclub crowd with which she surrounds herself. They soon begin living together and befriend landlady Fraulein Schneider (a subduedly wise Shannon Cochran) and fellow tenant, the Jewish Herr Schultz (a cute and gentle Mark Nelson), the latter of whom begin a sweet but eventually controversial romance. Sally and Cliff's lives are an ecstatic chaos of gin and sexual liberation until Cliff's friend and confidante Herr Ludwig (flawlessly portrayed by Ned Noyes) reveals his disturbing true colors, triggering the destruction that floods the characters' lives from that point on and effectively bursting their bubble of delusion. The omniscient Emcee of Berlin's sordid Kit Kat Club (a delightfully snarky Randy Harrison) guides the viewer between the actual plot events and their corresponding cabaret acts.

Andrea Goss as Sally Bowles

My favorite of the over-the-top club performances cleverly mirroring the real life drama is the titular showstopper "Cabaret." Many folks, likely many of the shocked theatre-goers seated around me, may associate this song with a charismatic, triumphant Liza Minnelli from the 1972 film (or even an older, sequined-out Liza cheerily vamping her way through a showtune medley) and thus were not expecting the heavier tone rendered in the stage version. At this point, Sally has lost everything. She's alone, she's ill, she's broke, she is out of a job after this final performance. Her life has spiraled into a living hell. Goss made a powerful impression as Sally throughout and nothing showcased her acting talents more than her raw, enraged delivery of this song. The eerie juxtaposition of Sally's unabashed ruin with jaunty lyrics celebrating a wildly fun, carefree lifestyle gave me chills, the last line all but screamed at the audience before she knocks down the mike stand in her fury.

This is a musical that everyone should see at least once in their lifetime. It will not meet your expectations, in the best way possible.

Cabaret is playing at the Private Bank Theatre at 18 W Monroe now through February 21st. Tickets can be purchased at Ticketmaster or by going to BroadwayInChicago.

When a band has been touring for over twenty-five years, they're not only good; for all intents and purposes, they're flawless. The Australian Pink Floyd Show, commonly shortened to the more concise 'Australian Pink Floyd', has been recreating the Pink Floyd concert experience since 1988. Any and all fans of the progressive rock band fronted by Roger Waters and David Gilmour are guaranteed to have an ecstatic time watching Pink Floyd's most well-known cover group play selections from The Wall to Dark Side of the Moon to Wish You Were Here.

Even if you are unfamiliar with Pink Floyd's music, I would challenge you to be unimpressed by the kaleidoscopic light display, if not by the brilliantly-composed songs themselves. Green laser beams fanning out and reaching into the night sky on "Money", softer blue lights illuminating the stage on "Wish You Were Here", bright white strobes flashing to the beat during "Another Brick in the Wall Part II" -- the lights are tailored specifically and magnificently to complement the mood of each song. Also employed were giant inflatable characters from The Wall as well as an enormous pink kangaroo, the group referencing the signature Pink Floyd pig as well as adorably indicating their South Australian pride.

All of this -- astounding visuals accompanying some of the greatest rock music ever taken to arena stages -- was set against the backdrop of the glimmering Chicago skyline as we sat with our backs to Lake Michigan on Northerly Island. This is not merely a cover show of Pink Floyd but a celebration of the band's music, creativity, and distinctive style. As long as there are fans of this legendary band, we will have need for groups like Australian Pink Floyd to keep this one-of-a-kind music experience alive.

To learn where Australian Pink Floyd are playing next, visit their Tour Page. For more information on events at Northerly Island go to LiveNation.com.

Few creative partnerships in cinema have been as long-lasting or fruitful as the 20+ year collaboration between filmmaker auteur Tim Burton and composer Danny Elfman. Haunting, eerie, at times chaotic and bizarre, ominous, melancholy, yet often soothing and serene: These words can be used to describe both the stark visual content of Burton's films as well as the dark drama of Elfman's music. Both artists have exquisitely distinctive styles that seamlessly breathe life into each other and -- luckily and miraculously -- are ultimately one in the same.
 
Last night, the Ravinia pavilion and lawn in Highland Park were flooded with the sounds and creations of these two artists by virtue of the talents of the Chicago Symphony Orchestra and the Lakeside Singers. A screen flashed clips from Burton's films ranging from 1988's Beetlejuice to 2012's Dark Shadows with a whole slew of others in between. Also shown were dozens of Burton's drawings of various characters, often followed by the live action scenes of those very characters, showing how vibrantly his original twisted creative vision is portrayed in the final polished work.
 
 
And of course, there was the cinematic, stunning music. The program consisted of thirteen suites (an intentional and apropos number) from Elfman's vast catalogue of musical scores. With the powerful music booming through the pavilion, even without the aid of the screen I could see the horrific clown dream sequence from Pee-wee's Big Adventure, the Penguin rising from the dank sewers into a foggy Gotham, the colorful confections of Willie Wonka's factory, the deranged headless horseman in pursuit of a petrified Ichabod Crane, the impossibly skinny form of Jack Skellington sprinting excitedly through the bright cheerful lights of Christmastown, and, in my favorite of the Burton + Elfman + Depp collaborations, I could practically feel the snowy chill in the air during the ice dance sequence from Edward Scissorhands
 
All the suites were performed beautifully by the always flawless CSO, conducted by Ted Sperling, with the Lakeside Singers choir complementing the orchestra with background vocals and unearthly soprano "oooh"s. Gorgeous, intricate piano was in the spotlight for "Victor's Piano Solo" from Corpse Bride, frenzied violin for the hair-cutting sequence from Edward Scissorhands, and, by far the most non-traditional instrument of the night, the theremin (an electronic musical instrument played by manipulating the frequencies with one's hand -- without physically touching it at all) created a high-pitched tone so weird and uncanny you almost expected to see UFO saucers descending from the night sky.Yes, the CSO pulled out all the stops, neglecting not even Mars Attacks!, decidedly the most obscure of Burton-Elfman creations.
 
Too sadly, this was a one-night performance, though it could surely draw in crowds for months and even years if an extended run was possible. While you cannot see the show in person anymore, I wish every Burton fan the same experience as I had. 
Here I've compiled a playlist of some of the songs from the concert. Listen and enjoy while scrolling through Burton's artwork for an immersive Burton-Elfman experience. I'm sure you will agree with the sentiment from Johnny Depp's program note that "Tim and Danny are a match made in the stars."
 
For more information on the Chicago Symphony Orchestra, look at their event page or visit the box office at 220 S Michigan Ave.

Hordes of swarming, diving birds are attacking a cabin in Somewhere, America -- and, we later assume due to dead radio noise and a major power blackout, the entire country -- while two strangers seek shelter and safety within its walls. They don't know why the birds are attacking but they've seen enough carnage to know stepping outdoors during the beak- and talon-filled ambushes every six hours at high tide means undoubtedly walking into their own deaths. They pass the hours by talking, learning about each other, reading, writing, and most pressingly, discussing their survival. Food is scarce, they have no working transportation, and there's no electricity.

When a third party enters the scene seeking refuge, the two unhesitatingly take her in. The group dynamic now changed, suspicion and mistrust seep into the threesome's thoughts and behavior like an intravenous disease. The silence and long, drawn-out hours don't give the characters the opportunity to ruminate over their regrets, worries, and doubts so much as shove them into a dark, smothering heap of them.

While most of us are familiar with Alfred Hitchcock's 1963 cinematic horror masterpiece, and maybe less of us with the novellette by Daphne du Maurier, I had never heard of this story being put to the stage. Adapted by acclaimed Irish playwright Conor McPherson, Griffin Theater Company's The Birds is an entirely original story set in the apocalyptic universe created by du Maurier and later expanded upon by Hitchcock. The play is less about the literal horrors caused by insane, vicious birds attacking as much as the metaphorical: What would we do to survive? In what ways would we change if society collapses? Would our values regress if nobody is there to enforce rules and keep score? What are we capable of? As The Birds will show, the monsters outside are no match for the ones lurking inside.

The Birds is playing at Theater Wit Thursdays through Sundays until July 19th. Visit theaterwit.org for tickets.

 

If RENT made a baby with an episode of Dateline, the result might be something like Murder Ballad, the musical. This rock opera tells the story of a love triangle gone out of control, and there is much in the way of drama, energetic pop/rock anthems, suspense, and -- you guessed it -- murder.

In New York City, Sara is an Upper West sider who seemingly has it all: money, a good husband, a beautiful daughter, but she also harbors a dark, destructive past that was never fully left behind. When she reconnects with her unpredictable ex, Tom, her life takes a turn towards the chaotic and explosive.

The audience is launched head-first into the story as the four-person cast of Murder Ballad belts and wails their way through 75 minutes of frenzied rock numbers, strung together by a crooning fly-on-the-wall narrator. A unique element of this show is the voyeuristic set-up and theme. Essentially, you are sitting in Sara's kitchen, and Tom's bedroom, and the King's Club, the divey downtown joint that serves as the homebase for this tale. You're not onstage or offstage, you're sharing the space with these folks. You can even order a complimentary drink at the bar before showtime, then take a seat with your friends to hungrily watch the plot unfold. Because after all, to paraphrase from the show's finale, drama is delicious entertainment, "until it happens to you."

Murder Ballad, created by Julia Jordan and Juliana Nash, and directed by James Beaudry, is playing at the Flat Iron Arts Building (1579 N Milwaukee Ave) until May 9th. Tickets available at bailiwickchicago.com.

Wednesday, 04 March 2015 00:00

Review: This Is Modern Art

Five years ago, anonymous graffiti artists caused quite the hubub at the Modern Wing of the Chicago Art Institute when they "bombed" a major wall of the wing. Their message was clear: THIS is modern art. While a clever, powerful statement, and seemingly jabbing at the art that resides within the walls of the modern art wing, it presents a paradox: Isn't graffiti, by definition, a rebellious art? Would graffiti still be as powerful and compelling if it were inside the museum rather than outside?

This Is Modern Art, written by Kevin Coval, attempts to answer these and hundreds of other questions regarding high art versus common art versus street art and so on. The play, while neither a knuckle-whitening drama nor a belly-clenching comedy, merely seeks to educate the viewer on this commonplace, yet mysterious, art form. You'll learn the differences between "tags," "stickers," "throw-ups," and "pieces," short for "masterpieces." You'll learn the names of dozens of Chicago graffiti artists, or "writers" as they're called. You'll see what goes into "bombing" -- spray painting an urban canvas as much as possible without getting caught -- a city location, the preparation that needs to be done, the items to have, the backup plan, the lookout, the logistics... it practically gives you a how-to guide.

We pass by graffiti every day in this city. Some of us may see it as an eye sore that should be scrubbed away, as vandalism, as criminal activity. Conversely, some of us may see it as art that makes the city more vibrant and beautiful, as spontaneous creativity, as colorful accents on a gray urban backdrop.

But what does this art say? What does it do? It wants to be respected and appreciated, surely. It wants recognition from those who decide what belongs in a museum and snub it as low art. But does graffiti even want to be in a museum? In and of itself, graffiti is rebellion. It's anti-establishment. It's instant social/political commentary. And it's fleeting, temporary. If the Art Institute commissioned a graffiti writer to fill a wall inside the museum, could this still be considered graffiti? Or would it lose the essential qualities that make it graffiti art?

Maybe the point isn't to be in a museum; maybe graffiti seeks to dismantle these labels and present the notion that art should be free and accessible to everyone. Maybe, and most likely, it just wants to get us talking, and if we are, then it has done its job.

This Is Modern Art (based on true events) is playing at Steppenwolf's Downstairs Theatre through March 14th. Tickets may be purchased at the box office or by calling 312-335-1650.

 

Game of Thrones, breasts, and booty: if you're an admirer of any of these three -- scratch that, four -- things, then you are well-suited to play the Game of Thongs. A burlesque revue of the wildly popular HBO show and book series by George R. R. Martin, Game of Thongs is an hour-long adventure through the land of Breasteros and across an overwhelming Narrow Sea of pasties.

Things are awry in the kingdom of Breasteros when Ned of House Stark-Naked is appointed the new Hand Job of the King and must travel to the capitol, King's Landing Strip, to assist his old friend King Robert of House Bare-ass-eon. As the tale unwinds, we meet the other members of House Stark-Naked, the closer-than-appropriate Lannister sibling duo, a pack of dancing direwolves, the sensitive Jon Snow ("the only bastard hot enough to melt the Wall"), the hilariously petulant to-be-king Joffrey, and as many other GoT characters that could be crammed into sixty minutes as imaginably possible.

("Wait, who died?" "Jon Arryn." "Who's that, again?" "The old Hand Job of the King! His death started all these shenanigans!" "Oh, right, right." Even the characters can't keep the characters straight.)

We also meet Daenerys Tits-bare-yen and her brute of a fiancé Drogo. Their marital bliss is interrupted by the insufferable Viserys who, when receiving his final punishment, a vat of golden glitter dumped on his head, realizes he "will never be royal!" (You guessed it; queue the Lorde track.)

A tribute as well as a parody, Game of Thongs affectionately makes fun of the well-loved drama everyone can't seem to get enough of. As a burlesque, it's less erotic than it is cheeky -- after all, you will find more nudity in the TV show than you will in the burlesque -- but if you're a fan of Game of Thrones, exuberant camp, or can appreciate a well-placed set of glittering pasties, you will certainly survive the Game. For in the Game of Thongs, you strip or you die.

Game of Thongs is playing at the Gorilla Tango Theatre every Friday at 10:30PM until June 26th. Call (773) 598-4549 or visit gorillatango.com to purchase tickets. #TittiesAreComing

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