Does not supporting Israel make you an anti-semite? This is the central theme of playwright Steven Levenson’s work ‘If I Forget’ now running at Victory Gardens under the direction of Devon De Mayo. Levenson is best known for providing the book to Broadway’s smash hit ‘Dear Evan Hansen’. “If I Forget” made its Broadway premiere in 2017 at the Roundabout Theatre Company.

“If I Forget” is a classic family drama that echoes of Arthur Miller. The set up is very simple, a DC-based family reunites for their father’s 75th birthday. Their father, Lou (David Darlow) is still mourning the recent death of his wife when his three adult kids come to visit. The action mainly concerns itself with a controversial book his son Michael (Daniel Cantor) is writing titled ‘Forgetting the Holocaust’. In two acts deep familial revelations are made as the family hotly debates what Jewish heritage means in our modern world.

While Michael is the main character, this is largely an ensemble piece. His older sister Holly (Gail Shapiro) is a socialite with few ethical cares, while his younger sister Sharon (Elizabeth Ledo) is the caretaker-type to whom Judaism is quite sacred. Michael’s wife Ellen (Heather Townshend) has no religious affiliation but serves to represent the respect for tradition some non-believers have. When it’s discussed what is to be done with their father’s valuable real estate, each character confronts their connection to their lineage.

The female ensemble gives very compelling performances. Elizabeth Ledo provides the moral backbone of the play even if her character has selfish intentions. She’s the voice of traditional values lost along the way to progress. Ledo’s performance is touching and complicated and even tragic by the play’s end. Gail Shapiro is a Karen Walker-flavored character that gives the play its levity. She saunters about naturally with the cool authority of the upper classes, seemingly untouchable by political tides.

“If I Forget” is an uncomfortable play to watch. As we move further from the recent memories of the Holocaust, we see generations become destigmatized by the horrors found at Dachau and Auschwitz. The scary part is that without the memory of it, there’s a chance it could happen again. This play also picks apart the nuances of the politics around Israel. Talking about this play will be difficult as some of the dialogue could be triggering for some audiences. This is exactly what good theatre should do. There are bits of dialogue so divisive your jaw might hang open. Levenson’s play hinges on a single hypothesis and rarely strays from that essential question. De Mayo gives this play an impressive Chicago premiere with a strong cast and a commitment to the intensity of the words.

Through July 7th at Victory Gardens Theater. 2433 N Lincoln Ave. 773-871-3000

The Den Theatre returns to original programming for the first time in nearly five years. Director Lia Mortensen directs their revival of the Joel Drake Johnson play ‘Four Places’. In the intimate space at the Den, ‘Four Places’ gets its first Chicago production since its premiere in 2008 at Victory Gardens. 

‘Four Places’ is a fast-paced one act about two siblings dealing with aging parents. The action is fairly simple; a car ride to lunch, the meal and the car ride back.  Warren (Bruch Reed) and Ellen (Amy Montgomery) are the disgruntled siblings. Throughout, there’s an underlying bitterness between the adult children and their mother. Peggy their mother (Meg Thalken) first appears as any other sweet old lady with a slight distance from modern life. The awkwardness seems merely like a generational gap. Once they begin the lunch, the revelations unfold and we get a glimpse into not only this specific family, but the aging process in general. 

This is a tight-knit cast and the nature of the play requires it to be so. Montgomery and Reed are convincing siblings. There’s a familiar chemistry between them adds a complicated layer to the story. They love each other, but rarely like each other. Reed is the sensitive one and Montgomery is the tough one. Good cop, bad cop. Though, it’s really Meg Thalken’s show. Lia Mortensen’s production is gritty and real. Thalken hits all the comic notes but seems more focused on authenticity. Thalken’s visible and palpable unraveling throughout the play is disturbing and achieves the play’s goal. Johnson’s play is about how uncomfortable it is to age, especially into the twilight years when control and dignity begin to slip away. 

‘Four Places’ is a very bleak dark comedy. It asks what happens when the parental/child roles reverse. Each scene is perfectly structured, the needs of the characters are so clear that the ending sneaks up on you. It is a sit-comish style play that’s easy on the ears, but Mortensen has mined the depths of the script for the universal realities. You may not cry but you’ll certainly wonder, what are we going to do about mom? 

Through June 30th at the Den Theatre. 1331 N Milwaukee. 773-697-3830

Really? Another ‘Frankenstein’? The 2018/19 season was the year of ‘Frankenstein’. To celebrate the 200th anniversary of Mary Shelley’s classic gothic thriller, four theatre companies produced wildly different adaptations of the novel. If you find yourself wondering whether these companies knew of each other’s productions, they surely did. The beauty of the Chicago theatre landscape is that there’s a lot of room for good storytelling. Lookingglass Theatre wraps up their season with a bold adaptation from the same team who brought us ‘Moby Dick’ and ‘Lookingglass Alice’.

Conceived and directed by David Catlin, this take on ‘Frankenstein’ is as visually stunning as it is insightful. The in-the-round staging makes this telling feel more active, as the entire performance space is used throughout. Shifting around in your seat feels like a more engaging way to view the show. Not knowing where the monster or the next loud sound will come from, heightens the sense of terror. Catlin’s production is scary. Many of the other productions discounted that this is a horror story originally intended by Mary Shelley to scare guests at a party.

While nearly all the productions tried to weave Mary Shelley’s personal life into the retelling, Catlin’s version cuts right to the heart. In fluid transitions between Shelley’s life and ‘Frankenstein’, we get to see the range of Cordelia Dewdney’s talents as an actress. The show may be titled after the scientist, but this is a play about Mary Shelley. Dewdney’s dialogue as Mary Shelley is heartbreaking when considering her real life. Cruz Gonzalez-Cadel also turns in a strong performance in a variety of characters, all of which she plays comically large with a faux pregnancy belly.

The balance of good casting, inventive storytelling and arresting staging distinguish this production. Catlin has chosen to frame his version almost as children playing dress up while exchanging ghost stories. And since the characters are adults, there’s a simmering sexiness to this production. Sexy and ‘Frankenstein’ are two words rarely seen in the same sentence, but somehow Lookingglass achieves just that, making this a delicious evening at the theatre. Thrills, chills and titillation, the pillars of entertainment.

Even though we are now 201 years out from the original publication of ‘Frankenstein’, don’t sleep on this striking production at Lookingglass. For those with a grey memory of the novel from high school, or only familiar with the Universal-Boris-Karloff film version, Lookingglass serves up an unforgettable night of scary fun.

*Extended through September 1st

You know if a musical wins the Pulitzer, it’s going to be a sad one. Creative team Tom Kitt and Brian Yorkey took home the 2010 Pulitzer for ‘Next to Normal’, an award rarely given to musical theatre. David Cromer returns to Writers Theatre to direct this highly anticipated revival. Cromer has strong roots with the Glencoe-based company and this faithful, yet distinct production contains all the hallmarks of his signature style. Cromer also directed the Tony awarded production of ‘The Band’s Visit’ which just closed on Broadway last month.

‘Next to Normal’ is a rock opera about a suburban mother and housewife dealing with bipolar disorder. Not exactly the sexiest topic for a musical, but lyricist Brian Yorkey cuts through the schmaltz with deeply effective words about the state of mental health in America.

This show relies heavily on the small cast, but probably even heavier on the actress in the lead role. Keely Vasquez is devastating as Diana Goodman. Her performance is realistic and shocking as she rapidly slips from seemingly normal mother into the depths of psychosis, while mostly in song. A tough order to fill without losing your audience. Her daughter Natalie is played by Kyrie Courter who appears to be displaying Cromer’s directorial style the strongest in this ensemble. She has a great voice that she maintains even during the most challenging moments of acting.

Writers’ remount of ‘Next to Normal’ is hardly an area premier, as the national tour starring Alice Ripley made a stop in Chicago, and a few other companies have tackled this one since. Though Writers’ production feels like a definitive regional engagement. Cromer has a knack for these hard-hitting musicals. Some may remember his gritty, raw production of ‘RENT’ at the now defunct American Theatre Company. His vision for this show is unique and tends to go for the emotional gut rather than crystal clear showtune belting. While this may irk some musical theatre purists, the visceral sounds of the cast seem more authentic than the original cast recording.

This show is more like a play in song, than a traditional musical. Its depth lies in that it’s a story about specific characters dealing with an issue that many people can see themselves in. Even if you can’t relate to the character dealing with bipolar, the plight of the characters effected is heartbreaking. ‘Next to Normal’ is a slow builder. It isn’t really until the second act that it all catches up to you and by the finale, it’s hard to find anyone not emoting. This production is well worth hopping on the Metra for. If you missed the tour or the Broadway engagement, fear not, Cromer delivers an equally satisfying product.

Through June 16 at Writers Theatre. 325 Tudor Court, Glencoe IL 847-242-6000

"If you're not going to grow then don’t live," says Hazel in Lucy Kirkwood's play 'The Children' now running at Steppenwolf. Directed by Jonathan Berry, 'The Children' makes its area debut after extended runs on Broadway and West End. A well-cast trio of Chicago favorites will surely entice audiences.

In 'The Children', Hazel (Janet Ulrich Brooks) and Robin (Yasen Peyankov) are living in a seaside cottage on the English countryside. The location and set seem idyllic until a surprise visitor Rose (Ora Jones) comes to ask a favor. Soon we found out that they have been forced to relocate after an accident at the power plant they used to work for. In witty dialogue, Hazel and Rose discuss their current lives after having not seen each other in years. Both are older and are easing into lives of comfort in their late middle age. Hazel is impossibly optimistic and in a constant state of self-improvement, while Rose has grown cynical about the end years of her life. Robin is somewhere in the middle, literally as it's quickly revealed there's old passion between he and Rose.

It's hard to think of a play that addresses climate change and nuclear disaster quite like 'The Children'. In fact, the playwright said she struggled to think of a compelling way to relay the horrors of climate change while the whole world does nothing. Theatre is a difficult medium in which to teach scientific facts. Instead, Kirkwood focuses on character. This is a story about three characters each unique in their outlook of death.

Since this play is so reliant on character, Berry is wise to bring in heavy hitters Janet Ulrich Brooks and Ora Jones. Both have such commanding stage presence and likability that audiences are drawn in from the very first word. There's a comforting quality to Brooks' Hazel that soothes the harsh realities of rising sea levels. Jones walks a difficult line with Rose, she's able to make extremely unpleasant subject matters humorous.

'The Children' is an intimate play the confronts the issues facing humanity head on. Kirkwood isn’t afraid to touch on subject matters that make you squirm in your seat. She's taken an event like the Fukushima disaster in Japan and put it right in the western world's lap. Without being preachy, she spins a story that ordinary Chicagoans can see themselves in. While it may not be a direct call to action, it's strongly encouraged here. Despite the darkness, she gives her play an optimistic ending. As long as there are good people, there is hope.

Through June 9th at Steppenwolf Theatre. 1650 N Halsted St. 312-335-1650.

If you follow the Chicago theater scene, you’ve likely heard about local playwright Ike Holter. His Rightlynd series has been appearing in near rapid succession at various theatre companies around town. The Rightlynd saga concludes its seven-play series at the Goodman in a new play called 'Lottery Day'. Accomplished local director, Lili-Ann Brown and a cast of entirely Chicago faces make this production an authentic experience.If you follow the Chicago theater scene, you’ve likely heard about local playwright Ike Holter. His Rightlynd series has been appearing in near rapid succession at various theatre companies around town. The Rightlynd saga concludes its seven-play series at the Goodman in a new play called 'Lottery Day'. Accomplished local director, Lili-Ann Brown and a cast of entirely Chicago faces make this production an authentic experience.

Rightlynd is a fictional ward on Chicago's south side that has undergone many changes as a result of gentrification. In 'Lottery Day' many characters from the rest of Holter's plays gather for a final barbeque in matriarchal character Mallory's (J. Nicole Brooks) backyard. This isn’t just any barbeque for Mallory, she's decided to play a little game with her ten guests. One of them will leave with a large sum of money. 

'Lottery Day' plays out like peak-era Edward Albee. The structure of the game and the poetic ways Holter's characters play verbal tennis make this a satisfying watch. Often playwrights miss the real spirit of Chicago. Holter hits Chicago life on the head for anyone who's spent a good chunk of time living here. That spirit is further distilled through the lens of particularly underserved citizens. Local references don't feel clunky or jammed in. These are conversations you'd really hear. 

An all Chicago cast gives this play an edge. Here are actors who are not only familiar with each other but have a palpable chemistry. Within minutes of McKenzie Chinn's entrance as Cassandra, she shares a touching moment with Mallory. A simple gesture of affection feels so real that it makes you misty. Sydney Charles takes most of the laughs as Zora, but again, her scenes with Chinn feel so real you'll want more. There's not a bad performance on this stage. This cast is having so much fun together, it's almost an invitation for the audience to join their party. 

'Lottery Day' is an exciting moment in Chicago theatre. It seemed like everyone in the intimate Owen space was having a good time. The laughs and celebration of Chicago, as well as urban life, create a sense of community in the two-and-a-half-hour production. Those with a deep knowledge of pop culture and theatre in general will find plenty of shout outs to chuckle about. See this play if for no other reason than it will give you compassion for everyone you encounter in a day in this unique city. 'Lottery Day' is a love letter to a Chicago we are losing year by year as neighborhoods go from bad to "safe". 

Through April 28th at Goodman Theatre. 170 N Dearborn. 312-444-3821

As America watches a college admissions scandal unfold in the headlines, Theatre Wit opens a revival of Joshua Harmon's early 2018 play, "Admissions". First produced at the Lincoln Center last winter, Harmon's play was definitely on to something broiling in suburban American life. This remount was announced long before the current events rendering this new work very relevant. Directed by Jeremy Wechsler, this production is another installment in Theatre Wit's original programing. 

Sherri (Meighan Gerachis) is a middle-aged prep school admissions counselor. It's her job and personal mission to increase diversity at the upper middle class school. She prides herself on increasing the quota to 20% non-white students. When her own son is rejected from Yale and his mixed-race best friend is accepted, things get tense for this family. 

"Admissions" is a one-act play that dissects the various identity politics even those on the same side can find themselves playing into. Sherri's son Charlie (Kyle Curry) has a lengthy, if not sort of racist, rant that truly poses some interesting questions about the origins of what we consider race today. And as any mother with a concern for her child's future, Sherri starts to examine her own hypocrisy for being angry about her son's rejection. The irony of Sherri's motivations underscore that college admissions are nearly as important to parents as their students. 
One of Harmon's intentional quirks in the script is that the entirely white cast is having this intense discussion about race. Characters of color are eluded to but never featured on stage. It's a good allegory for some of these complicated debates "woke" white people have among themselves. It makes you wonder about the sincerity of our so-called wokeness. 

Performances make this production stand out. The play opens on a hilarious scene between Sherri and her co-worker Roberta played by Judi Schindler. The naivete with which Schindler approaches the dialogue completely captures the way older Americans think about race, a sort of what's-the-big-deal-? attitude. Gerachis turns in a very relatable performance. She seems to know this character well and is rarely concerned with audience likeability versus getting to the truth in this well-meaning but complicated character. 

"Admissions" is a topical look at what's at stake for today's youth. On one hand we have a cultural cynicism about higher education but on the other we understand its value in our economy. As we look at the current scandal, we ask ourselves why the already advantaged need more advantage for their future. Giving extra privilege to the privileged effectively reduces the amount of seats at the table of prosperity. Harmon also understands the pressure today's teens face from an early age to succeed at any cost. This is more than a play about college but rather a play about what we take for granted. 

Through May 12 at Theatre Wit. 1229 W Belmont Ave. 773-975-8150

Is monogamy dead? S. Asher Gelman's "Afterglow" makes an interesting case for and against it. David Zak directs the Chicago premiere at Pride Films and Plays. "Afterglow" ran off-Broadway for over a year in 2017 to rave reviews. 

Josh (Rich Holton) and Alex (Jacob Barnes) are a married gay couple living in New York City. They enjoy an open marriage until one night they bring home new guy, Darius (Jesse James Montoya). Josh's feelings toward their lover increase as the due date for their surrogate-born child approaches.  While the plot sounds very specific to the LGBTQ community, the themes explored by Gelman feel universal. 

In short scenes (most of which performed naked), we watch the central couple grapple with what it really means to share your partner with another person. Some of the plot points and dialogue are cringe-worthy in their awkwardness. A solidly midwestern audience may clutch their pearls and ask, "can you imagine?" Gelman makes very astute points about the future of commitment as we grow increasingly reliant on dating apps. 

There's a certain sloppiness however to Zak's production. Performances run a bit passionate in this otherwise quiet script. An intimate theater space amplifies the already too loud actors on stage. Some insightful nuggets of wisdom in Gelman's script are overshadowed by strange acting choices. The set includes some impressive feats for a storefront theater (like a working shower), but it also seemed to be falling apart around the cast by evening's end. Technical difficulties aside the cast worked around the challenges gracefully. 

"Afterglow" is a gay play for this time, much like "The Boys in the Band" spoke to a late-70s gay audience. There's nary a single person gay or straight that won't find themselves nodding along with Gelman's observations. There's a lot in this 80-minute drama and the sexual tension runs searingly throughout. David Zak's production is somewhat devoid of the off-Broadway production's sleekness and it tends to undercut the script. Those who enjoy queer theater will be pleasantly surprised by the depth of this new play. 

Through May 5 at Pride Films and Plays - Pride Arts Center, The Buena. 4147 N Broadway. 773-857-02222

*Extended through June 2nd

Some theatre is so unique that it defies genre, or even creates its own. 'For Colored Girls/Who Have Considered Suicide When the Rainbow is Enuf' by Notzake Shange is considered a choreopoem, a first and only of its kind to appear on Broadway. This pivotal work debuted on Broadway in 1975 and remains as potent today as it was then. Court Theatre's revival, going on now, is directed by original cast member Seret Scott. 

You may be asking yourself what a choreopoem is. As defined by Shange's work, it's a beautiful combination of spoken word poetry, song and dance. While narrative structure is fluid, there is a central storyline flushed out over the 90 minute run. 'For Colored Girls' tells eight black women's stories of urban life in sometimes joyful, sometimes tragic, but mostly empowering vignettes. The characters are identified only by the color of their dress, but are made distinct by their individual voices and stories. 

This piece isn't produced very often as it requires a solid and specific casting. Seret Scott has assembled a stellar cast for her production. Melody Angel as Lyric creates the rhythmic backbone as she shreds an electric guitar. Though all the women in this ensemble are hair-raisingly spectacular, Anji White's performance is truly transcendent. There's a moment near the middle of the show when White takes center stage as Lady in Red. From there on, you cannot take your eyes off her. The final monologue leaves an audience entirely surrendered to both her sensuality and gut-wrenching story. 

'For Colored Girls' is a timeless exploration of black female themes in American life, but perhaps there is no better time than right now to celebrate being other. If you've always wanted to see this piece performed to the best possible standards, don't skip this powerful production.

 
Through April 14 at Court Theatre. 5535 S Ellis. 773-753-4472

"Nostalgia is a disease." bemoans Lynn Nottage's downtrodden characters in 'Sweat' now playing at Goodman Theatre. This 2017 Pulitzer prize winner examines the ordinary lives of factory workers in a Pennsylvania town in the years leading up to the 2008 recession. 'Sweat' is the second Pulitzer for playwright Lynn Nottage, making her the first woman to ever receive the prize twice. Goodman Theatre premiered her first prize winning play 'Ruined' in 2008. Ron OJ Parson directs an all-star cast in this Chicago premiere. 

'Sweat' switches between 2000 and 2008 as the changing economy finds factory work becoming scarce in traditionally blue-collar Pennsylvania. The play begins with two young men's release from prison for an undisclosed crime. One white (Mike Cherry), has a swastika tattooed on his forehead, the other a young black man (Edgar Miguel Sanchez), crisply dressed holding a bible. We're immediatley swept back to year 2000 when things were as they always had been. Three coworkers of different backgrounds celebrate their friend Tracey's (Kristin Fitzgerald) birthday in a local dive bar. When their friend Cynthia (Tyla Abercrumbie) mentions she's putting in for a promotion at the plant, tensions rise in quick moving scenes. 

The majority of the play takes place in a rundown bar tended by retired plant employee Stan (Keith Kopferer). Kupferer plays a reliable moral backbone of the play as Tracey and Cynthia are pitted against each other when the layoffs begin. Fitzgerald and Ambercrumbi deliver powerhouse performances. Both each other's match as they square off in scenes so intense you nearly forget to breath. 

Though first produced before Trump won the election, it's as if Nottage knew the outcome. It's a quick descent into blatant racism for these otherwise easy-going characters. Economic stress in these reliably blue states turns those at the bottom of an economy against each other. Nottage captures life for those holding onto the past with compassion but perhaps not dignity. 

It's nice to see a full length play these days. 'Sweat' runs two and a half hours but the scenes are so taught you'd hardly notice. This deeply human story has a long-burning fuse that leads right up to a full-fledge powder keg. In the four walls of a smelly bar we're shown some of the darkest sides of capitalism. In that regard, 'Sweat' is not just an American play, but a universal and timeless play about those left behind. 

Through April 14th at Goodman Theatre. 170 N Dearborn Street. 312-443-3800