Displaying items by tag: Taylor Mac

“Truth, like art, is in the eye of the beholder” Jim Williams

The Goodman Theatre has conjured a spellbinding spectacle with the world premiere musical adaptation of John Berendt's captivating "Midnight in the Garden of Good and Evil." Tony Award winning Director Rob Ashford masterfully weaves together a tapestry of music, movement, and Southern Gothic, transporting audiences to the heart of Savannah's veiled secrets and vibrant eccentricity.

John Berendt's "Midnight in the Garden of Good and Evil" isn't your typical true crime story. It delves into the captivating underbelly of Savannah, Georgia, weaving a narrative rich with eccentric characters and veiled secrets. Berendt masterfully blended humor and suspense, as he explored themes of Southern charm, social facades, and the ambiguity of good and evil. The book's charm lie in its ability to transport you to a bygone era, where Spanish moss hung heavy with secrets and the line between truth and fiction blurred beautifully.

Mac Arthur genius grantee Taylor Mac's book cleverly condenses the sprawling narrative of the novel, focusing on the key players in the central murder mystery. The Savannah social scene comes alive through witty dialogue and sharply drawn characters. Brianna Buckley as Minerva was captivating. Her magnetic presence and performance added a mystical, almost otherworldly dimension to the musical. Sierra Boggess imbues Emma Dawes with a delightful blend of pride and arrogance, perfectly embodying the President of the Preservation League. Austin Colby offers a nuanced portrayal of the ill-fated Danny Hansford, adding a layer of tragic complexity to the narrative.

Two-time Tony Award winner Jason Robert Brown's score is a mesmerizing blend of styles, echoing the diverse tapestry of Savannah itself. Lush ballads like Jim Williams' (Tom Hewitt) yearning "Mercer House" capture the city's languid charm, while the Preservation League ladies' “Savannah Is Restored” adds a touch of sardonic humor. The show truly takes flight with the electrifying personalities, which is what made the book a best seller. Tony Award winner  J. Harrison Ghee, a powerhouse in every sense, commands the stage as The Lady Chablis. Brown's music allows Ghee's vocal prowess to soar in anthems like the defiant "Let There Be Light," a showstopping celebration of self-acceptance that left the audience breathless.

The creative team behind this production deserves thunderous applause. Christopher Oram's set design transports us to Savannah's foreboding Bonaventure Cemetery, moss-draped town squares and the opulent Mercer House mansion, while Neil Austin and James Platt's lighting design creates an atmosphere both captivating and unsettling. Toni-Leslie James' costumes are a feast for the eyes, capturing the flamboyant style of The Lady Chablis and the understated elegance of Savannah society. Tanya Birl-Torres' choreography is a revelation, blending graceful waltzes with moments of raw, emotional energy. The ensemble cast deserves special praise for their versatility, seamlessly shifting from ethereal townsfolk to flamboyant partygoers.

Several numbers deserve particular mention. Anna Knox Carter's rendition of the mournful "Since My Mama Died" is a poignant expression of grief and loss, while Lavella Cole's "Clap On One and Three" injects the show with a shot of pure infectious joy and humor. The finale, "Butterflies," sung by The Lady Chablis and Company, is a triumphant celebration of opening up and living life to the fullest .

Adapting John Berendt’s book into a musical is a tall order. "Midnight in the Garden of Good and Evil - The Musical " is not without its flaws. The sheer number of characters and storylines can feel overwhelming at times, and the narrative occasionally sacrifices depth for breadth. However, the creative team behind this production rose to the challenge, the sheer brilliance of the production elements and the captivating performances more than compensate for these minor shortcomings.

This is a show that lingers long after the curtain falls. It's a dazzling spectacle,  a love letter to the captivating city of Savannah.  I would suggest seeing "Midnight in the Garden of Good and Evil" before it goes to Broadway….and it will go to Broadway. With its provenance, it is destined to be a Tony Award nominee. It may change a little, but this is a show garden.

Recommended

When: Through Aug. 11

Where: Goodman Theatre, 170 N. Dearborn

Tickets: $40- $175

Info: www.goodmantheatre.org

Run time: 2 hours and 30 minutes, including one intermission

With “HIR” by Taylor Mac, Steppenwolf Theatre continues its legacy of pushing relevant and sometimes uncomfortable topics onto its audiences. Directed by Hallie Gordon, this is the Chicago premiere of Mac’s acclaimed 2015 Off-Broadway hit. This vivid production is sure to unsettle some subscribers, but that’s the point. Mac’s script offers up laughs and lessons and is able to gets its point across without coming off as preachy.

What a treat it is to see ensemble member Amy Morton back on the Steppenwolf stage. Morton is a frequent director at the Steppenwolf but has been scarce since her much-praised performance as Martha in 2010’s “Who’s Afraid of Virginia Woolf?” which transferred to Broadway. Morton plays Page, the mother of a transgender teen, Max (Em Grosland) and recently discharged soldier Isaac (Ty Olwin). She is also caring for her ailing husband (Francis Guinan) who has been incapacitated by a stroke. Page has unusual ideas about politics and lifestyle and is finally able to express herself the way she wants without an oppressive husband and societal restrictions.

Playwright, performer and singer-songwriter Taylor Mac (otherwise known as “judy”) is hot right now. His one-man “24-Decade History of Popular Music” was shortlisted for the 2017 Pulitzer. There’s no one quite like judy. HIR is essentially a fictionalized thesis on gender and politics in America. Guinan’s feeble character represents the fragile white male ego and Morton’s character is the at-times militant voice of the future. That future is without gender, without color, and without boundaries. Page seems to relish in abusing her once violent husband. An apt metaphor. Mac has a great sense of humor about the LGBT community and that shines through, but his script is also dense with a vital cultural insight that suburban audiences need to hear in the age of Trump’s America.

Hallie Gordon’s vision for this show is spectacular. Collette Pollard has created a fitting set for the chaos of this family. Gordon’s cast is top-tier. You can’t do much better than Amy Morton and Francis Guinan. Morton quickly becomes the focal point of the play and displays an overwhelming capacity for physical comedy and emotional honesty. You can’t take your eyes off her. Guinan is extremely brave to tread the boards in nothing more than adult diaper, or even braver, a full-face of clown makeup. Without uttering more than a few intelligible sentences, Guinan turns in a complicated but moving performance. This is likely to be one of the most talked about shows in Chicago, and good for the Steppenwolf for continuing to take risks.

Through August 20 at Steppenwolf Theatre Company. 1650 N Halsted Street. 312-335-3830 www.steppenwolf.org