Upcoming Theatre

Minita Gandhi’s autobiographical one-woman show is making its official world premiere as the final production of the 16th Street Theater’s tenth anniversary season, but it’s already been subject to a huge number of raves. Developed at Silk Road Rising and Victory Gardens, earlier versions of Muthaland were performed at everything from the Raven Theatre and Lifeline on Chicago’s north side to the Oregon Shakespeare Festival, and more. It’s making was the subject of a feature in The Atlantic and a documentary called My Muthaland which won a regional Emmy. The play is about reconciling pride in one’s heritage with being subjected to the very worst aspects in that culture, and after receiving so much attention, the show absolutely lives up to its expectations.

In 2009, Gandhi received word that her younger brother had agreed to an arranged marriage while visiting India. This befuddled her since they are first-generation Americans and had always rebuffed their parents’ efforts to get them to embrace that custom. Gandhi is a faithful Jain who speaks Gujarati and had enjoyed family trips to India before, but she found traditional attitudes toward sex and romance to be the most problematic aspect of her upbringing. Nonetheless, after learning her brother was okay with the match, and facing this reminder that she was nearly at the end of her fertile years with no prospective husband in sight, she decided to go to India in search of her own spiritual awakening. She brought along with her a copy of Eat, Pray, Love and yoga instructions, eagerly anticipating meeting her destiny in Bollywood rom-com style.

What ended up happening was something very different and horrible. But while the sexual assault Gandhi suffered naturally has a very prominent place in the show, her message is that it exists alongside other aspects of her life and heritage. Over the course of ninety minutes, Gandhi deftly mixes horror with levity and beauty, creating a rich portrait of herself as teenager, a theatre student, and a growing young actress. Director Heidi Stillman worked closely with her for years to craft a piece which is emotionally authentic throughout as Gandhi switches characters between herself and others. By the end, it is easy to feel like we know not only her, but also her parents, and how their lives in each country are intertwined.

Pulling off any one-person show, let alone one which requires such honesty about things that are deeply personal, requires an incredible amount of technical and physical finesse. Gandhi had Lanise Antione Shelly as her voice and movement coach, as well as Anu Bhatt as a co-choreographer. With just an accent and some gestures with her left hand, she embodies each of her parents as fully-formed and separate personalities. From their first appearance, we understand them to be deeply loving, albeit somewhat overbearing, and her relationship with them winds up being the heart of the play. Her description of an incident involving a vibrator is as hilarious as it is cringe-inducing and their acceptance of her acting career, to name just one thing they unexpectedly had to adjust to, is heart-warming. It is fitting that a play about heritage should so strongly foreground the parent-child relationship, especially when the relationship is one between responsible adults who are still learning from each other. Muthaland is a story that everybody in America who is aware of what they’ve chosen to keep from their ancestors’ culture can identify with in some way, and in refreshing contrast to a lot of other plays which make up the American theatre scene, it shows us what happens when a family we can admire encounters a crisis.

Highly Recommended

Muthaland is performed at the 16th Street Theater in the basement of the Berwyn Cultural Center, 6420 16th St, Berwyn, Illinois. Performances are Thursdays and Fridays at 7:30 pm and Saturdays at 5:00 pm and 8:00 pm through October 7. Tickets are $18-22, free parking is available in the lot at 16th St and Gunderson. Visit 16thstreettheater.org.

Published in Theatre in Review

The historic Gunder Mansion in Edgewater opens its doors for a unique theatre experience: a fifty-minute event consisting of five distinct plays, each unfolding in a separate room of the mansion and designed for an audience of one. The entire audience consists of only ten members; there are two tracks to choose from: “Personal” and “Up Close”, and there are two shows per night (7:30 PM and 8:30 PM).

The ten members of the audience are divided into two groups; each member will then follow a journey (either “Personal” or “Up Close”). Upon entering each room, a ten-minute play unfolds where the audience member becomes an active participant. So, what’s in the room?

It could be a fun TV show (“Iconic”, created and directed by Julian Stroop), a gothic fortune teller parlor (“The Guest”, written by Kaitlin Gilgenbach, directed by Molly Donahue), or just an ordinary room with an extra-ordinary person in it. Prepare to be surprised and amused, and throw caution out the door: this interactive play, as the show’s Experience Director Janet Howe put it, is the opposite of watching Netflix at home. It’s kind of like an amusement park where some rides are more fun than others, but, overall, the entire experience is highly enjoyable. You’ll even go home with a souvenir [of your own making].

The creative team behind “For One” (experience director Janet Howe, production manager Claire Chrzan) designed each play to revolve around the audience, so each room feels like a special customizable adventure. Dream-like, each play has no beginning and no end; once you’re in the room, you’re immediately drawn into the midst of action, so you might as well assume your designated role. The outcome is somewhat unpredictable, since actors play off the audience member’s words and actions. At the end, you’re often admired for your wonderful qualities and talents, and then politely kicked out. What a great chance to feel like a star, or at least like the most important person in the room. Lucky you.

About the venue: Gunder Mansion was built in 1910 for pharmaceutical company executive Samuel Gunder. It later was used by the Viatorian religious order. After many years of residing there, they sold the property in 1981 to the Chicago Park District for half the market value hoping to see it restored and used for the community. The Mansion was acquired by Edgewater Community Council; it was subsequently rehabbed and transformed into Cultural Center.

“For One”, the latest production by (re)discover theatre company is being performed through September 30th. For more show information visit http://www.rediscovertheatre.com/for-one/.

Published in Theatre in Review

“This world will remember me,” Bonnie and Clyde sing to each other in Kokandy Productions’ presentation of “Bonnie & Clyde” – a musical. Directed by Spencer Neiman, this odd-ball musical makes its area premiere after an unsuccessful Broadway run in 2011. This production also marks the fifth anniversary of Kokandy Productions, now a regular staple of Chicago’s storefront theater scene.

“Bonnie & Clyde” was developed in 2009 by La Jolla Playhouse in California, a frequent incubator for new Broadway work. The show opened officially on Broadway in 2011, but closed after 36 performances. Critics were not especially kind.

Even though it’s not a direct adaptation, it’s nearly impossible not to compare this musical to Arthur Penn’s stylish 1967 film. It’s an American film classic with iconic performances by Faye Dunaway and Warren Beatty. It’s widely considered a turning point in American cinema. The film was focused less on historical accuracy and more on drawing comparisons between the young outlaws and the political awakening of the late 60s. The musical tends to tread on the same territory as Penn’s film but in a less dynamic way.

The issue is camp. Penn’s film is mostly devoid of camp even some fifty years later. “Bonnie & Clyde” the musical feels like two hours of pure kitsch. There’s no discernable reason this story needed to be told to music and unfortunately the empty songs prove that. Neiman’s cast seems to forget that these characters were indeed real people and not cartoon characters to be parodied. The nature of the material isn’t especially satirical, but this cast has decided it is.

Missy Wise as Blanche Barrow pretty much steals the show with her number ‘You’re Goin’ Back to Jail’, but the whole thing feels a bit Disney-fied, considering that the real Blanche Barrow served time for armed robbery.

The two leads Desiree Gonzales and Max Detogne are both incredible performers. Detogne’s voice is perfectly suited for the country-tinged folk rock of Frank Wildhorn’s music. Gonzalas also has a strong voice and makes some genuine choices for Bonnie Parker, adding a real dimension to her that isn’t otherwise in the script. The generic “I-wish” song feels sincere with Gonzalas singing. You will remember her, just like Clara Bow. Detogne also makes it his own. There’s a chemistry between the two that really translates.

If you were just dying to see “Bonnie & Clyde” during its Broadway run in 2011, Kokandy offers up a serviceable production. If you were hoping to gain more knowledge about the infamous star-crossed outlaws, you may be impressed at what playwright Ivan Menchel spins into his version of “Bonnie & Clyde.”

Through October 15 at Kokandy Productions. Theatre Wit 1229 West Belmont Ave.

 

Published in Theatre Reviews

If you like Vegas like I like Vegas, you will love Marriott Theatre’s energetic and top notch, romantic musical comedy production of "Honeymoon in Vegas"!

Jack Singer (Michael Mahler) is in love with his girlfriend of five years Betsy Nolan (played with terrific spunk and formidable singing chops by Samantha Pauly), but was traumatized by the deathbed wish his mother imposed on him never to marry, because no one can love him like she did.  Bea (Marya Grandy) plays his mother with great physical comedy skills and her hospital deathbed scene where she strikes down a passing nurse in order to show jack what she can do to his future brides to be, gets some of the biggest laughs in the show. 

Jack and Betsy get through this flashback scene and resulting panic attack while shopping at Tiffany's for her ring and head straight to Vegas to tie the knot - before he loses his nerve for the umpteenth time. 

Upon arriving in Vegas, Betsy is instantly spotted by Tommy Korman, a rich, handsome but slightly shady businessman played to perfection by Chicago born actor Sean Allan Krill. Betsy reminds Korman of his past wife and then he goes all out to steal her from tentative Singer. His pursuit really begins when he invites Singer to a “low stakes” poker game, letting him win a few hands – a total set up. Singer has a hand next to impossible to beat and the pot becomes so large there is no way he can pay up if he loses. That’s when the fun really begins. Sean Allen Krill was the standby in this role for Tony Danza on Broadway. Krill was just fantastic and I'm not the only critic in Chicago to say Sean Allen Krill should be a huge Broadway star right now. Krill is so smooth in the role of Tommy Korman, so fluid and graceful in his immediate desire for, and courtship of, Betsy that women and men throughout the theater were so wowed by Krill's amazing singing voice and comedic acting chops that they actually wished Betsy would stay with him in Hawaii and not marry the non-committal, bumbling, but kind, Jack Singer. 

Another character actress deserving of special notice is Christine Bunuan, as the funny and fabulous Hawaiian tour guide who helps Jack find Betsy and Korman (yes, the story moves to Hawaii), but not without first trying desperately to make “Friki-Friki with Jack before delivering him to his destination. 

While talented Alex Goodrich is very funny to watch in multiple roles, Steven Strafford also shows off his comedic talent as Korman's sidekick, Johnny Sandwich.  

Several of the leading creators of its 2015 Broadway production were brought in by the Marriott Theater including director Gary Griffin, choreographer Denis Jones, and costume designer Brian Hemesath. The effect of all these highly skilled players coming together is a full-service production that grabs you right from the start with well-paced scenes and challenging, yet humorous, dance numbers that dazzle the audience with beautiful, leggy showgirls - Vegas style. 

I highly recommend this adorably sexy and funny, Elvis-filled production for young and old alike. This production is so well-played and fun to watch that you will feel you have had a honeymoon in Vegas - with a stop-over in beautiful Hawaii to boot!  

Honeymoon in Vegas is being performed at Marriott Theatre through October 15th. For more show information visit www.marriotttheatre.com.

 

Published in Theatre in Review
Monday, 04 September 2017 21:02

The Queen of Soul Returns to Ravinia

After cancelling her performance earlier this season due to health concerns, the Queen of Soul, the great Aretha Franklin, tabbed as the greatest vocalist of all time by Rolling Stone Magazine, made her triumphant return to Ravinia. Dressed in a sparkling silver dress and donning a wig giving the seventy-five-year-old living legend long straight hair, the superstar made an immediate impact as she walked onto the stage after the band’s opening medley.

The soulful 1986 hit “I knew You Were Waiting (For Me)” was the first song the of many that Franklin delved into, her voice perhaps not as powerful as it once was, but every bit as finessed, unique and velvety. Franklin’s set was wide-ranging and included classics “Chain of Fools” and “(You Make Me Feel) Like A Natural Woman” along with Stevie Wonder written “Until You Come Back to Me” and B.B. King’s “Don’t Play that Song (You Lied)”.

Accompanied by a twenty-five-piece-plus gifted ensemble that included everything from a horn section to dancers, Franklin’s sound was big, filling the outdoor venue with the sweet sound of nostalgia. The excitement never let up, Franklin often getting well-deserved standing ovations. After all, she is one of the most influential artists of our time.

About halfway into the concert, the fabulous singer went into a powerful medley that began with Adelle’s “Rolling in the Deep” merging into The Supremes’ “Ain’t no Mountain High Enough”. A highlight moment without question. At one point the crowd was moved when the band played a soulful jam while Aretha fervently sang over the music telling her story of a serious illness that had miraculously vanished, thanking a team of skilled physicians and above all, God. Afterward, she immediately introduced longtime friend Reverend Jesse Jackson, who was seated in the first few rows.

Franklin rolled on with a beautiful array of material, wrapping up her set with “Freeway of Love”, which segued into a ten-minute high-spirited gospel revival, praising Jesus as the King of Kings, practically every audience member on their feet clapping along, many hands in the air, as the stage became a platform for an impromptu and very enthusiastic Baptist church service.

After a brief absence from the stage, Aretha Franklin return to perform possibly her largest hit, “Respect” - just the right number to end a tremendous set of music on a picture-perfect night. At seventy-five-years-young, the Queen of Soul is still making fans sing and dance as much as she ever has.


Published in In Concert

The other night I went to Ravinia Festival. I am not afraid to admit that, after all my concert going years, it was my time going to the Ravinia venue located in Highland Park, Illinois. But there must be first time for everything and a double bill with Lifehouse and Switchfoot, two of my fave bands in the past, made it all the more enticing. Simply put, if you have never gone to Ravinia before, you need to go. It is just beautiful. Well-manicured lawns surrounding the pavilion area make an inviting temporary home for its large number of picnickers. And a friendly staff member is always nearby, ready to help, adding to the venue’s pleasant ambiance. The atmosphere is quick to relax its attendees from the moment they arrive. Picnickers can bring their own food and drink though there are a handful of food choices available on the Ravinia grounds making it easy to fill a hearty appetite before or during a concert. In short, I quickly discovered Ravinia is the perfect place to have a great family or date night. Its enchantment is only heightened by beautiful trees strategically placed throughout the grounds. Though easily accessible by car, a Metra stop is just right outside the gates, offering an even easier option of transportation for many and an easy escape route after the concert. But not to worry. Even for those that choose to drive, it's still easy to leave in a timely manner.

The night’s opening Act was Brynn Elliott, a senior college student from Boston. Ms. Elliott is a very energetic young lady whose soulful and jazzy voice is full of life. The young music artist sang eight catchy songs that got the attention of those sifting into the pavilion and having many thinking, “Have I heard that voice before?” Brynn interacted with the growing crowd well, many jumping around and dancing with her to her faster paced songs. As her set came to an end, Brynn couldn’t be more grateful to Lifehouse and Switchfoot for inviting her to open for them.

Switchfoot then hit the stage to a loud roar of cheers. The pavilion quickly filled, while no doubt a few slices of pizza were quickly scarfed down upon the band’s opening notes. Switchfoot appropriately opened their set with “Hello Hurricane” in the wake of the Harvey devastation, a stark reminder of those in need. Frontman Jon Foreman came out strong, his vocals rich, his energy at a high level matching his talent. Foreman commanded the stage, leading a band that also appeared to be in peak form. The years have been good to Switchfoot, an added maturity gracing each number played, each note struck, each address to the crowd made.  

Throughout the evening, the band, still fresh off their 2016 release Where the Light Shines Through, performed a variety of material sure to please Switchfoot fans from all eras, touching on albums from earlier in their career to current. As the set played on, Foreman walked around the pavilion, shaking hands and hugging people in the crowd, as he so often loves to get close and personal, a quality his fans don't mind one bit. He even shared a handful of interesting stories as to how and why some songs were written and the meaning behind them. Guitarist Drew Shirley was ripping through leads while Chad Butler kept a steady rhythm on drums along with bassist Tim Foreman, Jon’s brother. Jerome Fontamillas chimed in with guitar and keys to help create the band’s signature wall of sound that has so well defined the California quintet.

After seeing Switchfoot’s live show, it’s easy to believe the accomplished studio artists are happiest on stage where they can spend quality time with the fans who have supported them for so many years.

Lifehouse took the stage next. This surprised me, thinking Switchfoot would headline, but thus the double bill. Lead vocalist and guitarist Jason Wade reminded the crowd that, despite hailing from Los Angeles, they haven't toured the United States in seven years. Women in their late twenties and thirties began to flood into the pavilion, some screaming, as the band found its rhythm on stage. The band was not rusty, displaying a strong stage presence, their fans excited to see them after such a long drought.

Opening with the song “Hurricane” (obviously a theme here), the first of their fifteen-song night swiftly got their fans excited for what would be a truly rockin’ performance. The band played a good amount of material from their first two albums, songs from seventeen or so years ago, that made everyone feel a bit nostalgic, reminding us of an exciting time when a band is in its breakout stage. Fans sang along at the top of their lungs with the band’s heartfelt songs of heartache and hope. Seen around the stage were a handful of women crying and signing along with tears of emotion streaming down their faces, making the moment all the more unforgettable and powerful.

And now for the downer… Despite their powerful catalog of material and showmanship, the band truly lacked when it came to audience interaction. This was a bit disappointing. Song after song was played with little or no introductions in between and Wade did very little at all to connect with the crowd. It was almost as if they just wanted the night to end.

Switchfoot stole the night away and the reason is simple. They relate with the crowd and the crowd with them. They connect. It’s clear Foreman and company are having fun and hold a great appreciation for their fans. That’s what it’s all about, right? The venue was perfect, the staff amazing and, thanks to a fine sound system, the music performed sounded as if we were in a studio outside of the loud cheers. In all, it was a fine night of music and beautiful memories were created.

Switchfoot Setlist:

Hello Hurricane
Stars
Bull in a China Shop
Love Alone Is Worth the Fight
Your Love Is a Song
I Won't Let You Go
If the House Burns Down Tonight
Live It Well
The Sound (John M. Perkins' Blues)
Where I Belong
Meant to Live
Float
Only Hope
Dare You to Move

Lifehouse Setlist:

Hurricane
Halfway Gone
Sick Cycle Carousel
Nerve Damage
It Is What It Is
Pride (In the Name of Love)
Flight
Broken
Everything
Whatever It Takes
First Time
Spin
You and Me
Hanging by a Moment

 

 

Published in In Concert

The “Girls” are headed to Boystown! After an eleven-week sell-out run, including two extensions at Mary's Attic in Andersonville, Hell in a Handbag Production' campy world premiere THE GOLDEN GIRLS – THE LOST EPISODES is transferring to Lakeview's Stage 773 for an additional six-weeks. The new condensed late-night edition will feature the best of the original run – plus new material. Written by David Cerda and directed by Shade Murray, the campy parody of one of TV's most beloved sitcoms will play Saturdays at 10:30 pm from October 7 – November 11, 2017, following performances of Handbag's upcoming world premiere of BEWILDERED, a musical parody of the classic TV sitcom Bewitched. Tickets for both productions are are currently available at www.stage773.com, www.handbagproductions.org, in person the Stage 773 box office (1225 W. Belmont Ave., Chicago) or by calling (773) 327-5252.  
 
Enjoy lost, never-before-seen episodes of The Golden Girls featuring Dorothy, Rose, Blanche, Sophia and all of the siblings, daughters, sons, characters and rare diseases that were mentioned once, but never again. The production also features The Golden Girls trivia and games to help fully embrace the Miami experience. 
 
The late-night edition will feature original cast members David Cerda as the forthright Dorothy, Ed Jones as the sweet airheaded Rose, AJ Wright as the lusty Blanche and Adrian Hadlock as the sharp tongued Sophia with Chazie Bly and Robert Williams. Plus, watch for special guest stars! 
 
In keeping with the Handbag tradition, THE GOLDEN GIRLS – THE LOST EPISODES is an original parody of the beloved show. Our Golden Girls find themselves in situations never before seen on television – that’s why they’re lost episodes! See Dorothy battle nature as they serve as Den Mothers to a group of Sunshine Cadets. Watch them band together as Rose struggles with a debilitating malady that threatens to tear them apart. Plus, the Stage 773 version will feature a new episode featuring Blanche and a very hot and steamy encounter with a much younger man!
 
The production team for THE GOLDEN GIRLS – THE LOST EPISODES includes: Roger Wykes (set design), Myron Elliot (costume design), Cat Wilson (lighting design), Sydney Genco (make-up design), Mealah Heidenreich and Rachel Summerfield (props design).
 
PRODUCTION DETAILS:
 
Title: THE GOLDEN GIRLS – THE LOST EPISODES
Playwright: David Cerda
Director: Shade Murray
Cast: David Cerda (Dorothy), Adrian Hadlock (Sophia), Ed Jones (Dorothy) and AJ Wright (Blanche) with Chazie Bly and Robert Williams.
 
Location: Stage 773, 1225 W. Belmont Ave., Chicago
Dates: Saturday, October 7 – Saturday, October 11, 2017 
Curtain times: Saturdays at 10:30 pm Oct. 6 thru Nov. 11
Tickets: $22. Group rates $17 for 10 or more. Tickets are currently available at www.stage773.com or www.handbagproductions.org, in person at the Stage 773 box office or by calling (773) 327-5252.
 
The original run of THE GOLDEN GIRLS – THE LOST EPIDODES continues through September 16, 2017 at Mary’s Attic, 5400 N. Clark St. in Chicago. Tickets are www.handbagproductions.org or by calling (800) 838-3006.

 

Published in Upcoming Shows

Hell in a Handbag Productions is pleased to continue its 15th Anniversary Season with the world premiere of BEWILDERED, a musical parody of the classic TV sitcom Bewitched, told from the perspective of Gladys Kravitz, Samantha Stephens’ iconic nosy neighbor. Featuring a book by Ron Weaver, music and lyrics by Aaron Benham and Ron Weaver and direction and choreography by Brigitte Ditmars, BEWILDERED will play September 27 – November 11, 2017 at Stage 773, 1225 W. Belmont Ave. in Chicago. Tickets are currently available at www.handbagproductions.org and stage773.com, by calling (773) 327-5252 or in person at the Stage 773 box office. 
 
A parody and reimagining of the beloved ‘60s/‘70s television sitcom Bewitched, this spellbinding throwback is told from the point of view of Gladys Kravitz, the poor, misunderstood neighbor who keeps seeing crazy things at the home of Samantha Stephens, a beautiful witch, and her ‘ordinary family.’ Gladys’ husband Abner has had enough and is about to take drastic measures. Can Gladys prove her visions are real without destroying the Stephens family – or is she doomed to a life of pills and institutions? Gladys finally gets her due in this fun and magical musical parody.
 
BEWILDERED features ensemble members David Cerda as Endora, Caitlin Jackson as Gladys Kravitz, Ed Jones as Uncle Arthur, Michael S. Miller as Mr. Tumer and AJ Wright as Darrin G. The production also features Steve Kimbrough as Larry Tate, Matt Miles as Abner, Elizabeth Morgan as Samantha, Scott Sawa as Darrin S. and Robert Williams as Tabitha/Louise. Rounding out the cast are Kira Gaudynski, Jennifer Ledesma, Travis Monroe Neese and Sarah Taylor as Magic Stage Hands.
 
The production team for BEWILDERED includes: Roger Wykes (scenic design), Rachel Sypniewski (costume design), Cat Wilson (lighting design), Sydney Genco (make-up design), Mealah Heidenreich (props design) Becca Holloway (assistant director) and Keith Ryan (wig design). 
 
PRODUCTION DETAILS:
 
Title: BEWILDERED
Book: Ron Weaver
Music and Lyrics: Aaron Benham and Ron Weaver
Director/Choreographer: Brigitte Ditmars
Cast: David Cerda (Endora), Kira Gaudynski (Magic Stage Hand), Caitlin Jackson (Gladys), Ed Jones (Uncle Arthur), Steve Kimbrough (Larry Tate), Jennifer Ledesma (Magic Stage Hand), Matt Miles (Abner), Michael S. Miller (Mr. Tumer), Elizabeth Morgan (Samantha), Travis Monroe Neese (Magic Stage Hand), Scott Sawa (Darrin S.), Sarah Taylor (Magic Stage Hand), Robert Williams (Tabitha/Louise) and AJ Wright (Darrin G.).
 
Location: Stage 773 (Box Theater), 1225 W. Belmont Ave. in Chicago
Dates: Previews: Wednesday, September 27 at 7:30 pm, Thursday, September 28 at 7:30 pm, Friday, September 29 at 7:30 pm and Saturday, September 30 at 7:30 pm
Regular run: Thursday, October 5 – Saturday, November 11, 2017
Curtain Times: Thursday, Fridays and Saturdays at 7:30 pm; Sundays at 3 pm. Please note: there will not be a performance on Sunday, October 15 due to Handbag’s Annual Benefit.
Special Halloween Show: Tuesday, October 31 at 7:30 pm
Tickets: Previews $22 in advance ($25 at door). Regular run $34 in advance ($39 at door). Tickets are currently available at www.handbagproductions.org and stage773.com, by calling 773-327-5252, or in person at the Stage 773 box office. 

 

Published in Upcoming Theatre

Other Theatre, in association with Chicago Dramatists’ Grafting Project, is pleased to launch its 4th season with the world premiere of Martín Zimmerman’s comedic graphic novel for the stage THE MAKING OF A MODERN FOLK HERO, directed by Kelly Howe, playing September 29 – October 29, 2017 at Chicago Dramatists, 1105 W. Chicago Ave. in Chicago. Casting will be announced shortly. Single tickets and season subscriptions are currently available at theothertheatrecompany.com
 
THE MAKING OF A MODERN FOLK HERO will feature Aida Delaz, Adelina Feldman-Schultz, Robert N. Isaac, Christopher Meister, Becca Sheehan and Hannah Toriumi. 
 
A congressman entices an old friend (and washed-up actor) to portray a superhero in a publicity stunt designed to stop the unjust bulldozing of a public housing complex. They leave the crowd enthralled, but what happens when the character the politician created goes rogue? This graphic novel for the stage employs a seamless blend of live actors and shadow puppets to interrogate the hopes, fears and social forces that push people to yearn for and believe in the possibility of superheroes.
 
Comments Artistic Director Carin Silkaitis, “Martín’s play touches on some important ideas – particularly what happens when our politicians are too entrenched in the political ecosystem to be able to enact real change, even if their intentions are in the right place? I am so interested in the fact that the congressman must hire an actor to save this housing complex. He knows the right choice is siding with the disenfranchised, the poverty-stricken, but he is too embedded in the political mess to be able to vocally side with the very people he represents. After conversations with the playwright (and because of Donald Trump's campaign strategy) I am also struck by the way this play grapples with the idea of a person – one who has deep and intense psychological needs for admiration and adoration – hijacking a political movement.”
 
THE MAKING OF A MODERN FOLK HERO was developed in part through readings and workshops at Chicago Dramatists.
 
The production team for THE MAKING OF A MODERN FOLK HERO includes: Milo Bue (scenic design), Olivia Crary (costume design), Will Coeur (lighting design), Colin Trevor (sound design), Nick Thornton (puppet design & puppet choreography) and Kasey Trouba (stage manager).
 
PRODUCTION DETAILS:
 
Title: THE MAKING OF A MODERN FOLK HERO
Playwright: Martín Zimmerman
Director: Kelly Howe
Cast: Aida Delaz (Vanessa), Adelina Feldman-Schultz (Puppeteer), Robert N. Isaac (David), Christopher Meister (Renzo), Becca Sheehan (Puppeteer) and Hannah Toriumi (Woman).
 
Location: Chicago Dramatists, 1105 W. Chicago Ave., Chicago
Dates: Previews: Friday, September 29 at 8 pm, Saturday, September 30 at 8 pm and Sunday, October 1 at 3 pm
Regular run: Friday, October 6 – Sunday, October 29, 2017
Curtain Times: Thursday, Fridays and Saturdays at 8 pm; Sundays at 3 pm Please note: there will be added performances on Wednesday, October 18 at 8 pm and Wednesday, October 25 at 8 pm.
Tickets: Previews: $20 with code “PREVIEW.” Regular run: $25. Students $15 with code “STUDENT.” Industry $15 with code “INDUSTRY.” Single tickets and season subscriptions are currently available at theothertheatrecompany.com.

Chicago Dramatists Benefit Performances: The performances on Saturday, September 30 at 8 pm and Thursday, October 12 at 8 pm will benefit Chicago Dramatists. Tickets for these performances are available only through chicagodramatists.org.

 

Published in Upcoming Theatre

Just in time to get you in the Halloween spirit, Akvavit Theatre is pleased to present GHOSTS & zombies, by Henrik Ibsen and Gustav Tegby, in a new American translation by Chad Eric Bergman*, directed by Co-Artistic Director Breahan Pautsch*. This dark and hilarious contemporary Swedish twist on Ibsen’s Norwegian classic Ghosts, will play September 28 - October 29, 2017 at the new Strawdog Theatre Company, 1802 W. Berenice in Chicago. Tickets go on sale Friday, September 1, 2017 at chicagonordic.org
 
GHOSTS & zombies will feature Marsha Harman as Mrs. Helene Alving, Victor Bayona as Chamberlain Alving, Jeremy Trager as Pastor Manders, Joshua K. Harris as Carpenter Engstrand, Micah Kronlokken* as Osvald and Almanya Narula as Regine with and ensemble including Jessica Kearney, Dylan M. Lainez, Madelyn Loehr*, Christiane Schaldemose, Erik Schiller and Tyler Skafgaard.
 
GHOSTS & zombies puts a blood-curdling spin on Ibsen's classic drama, Ghosts. As in the original, Mrs. Alving is preparing to open an orphanage in her husband's memory, while welcoming her son home from a long absence. However, things soon take a turn for the weird and scary as their country estate becomes overrun by the un-dead. Haunted by the ghosts of her past, Mrs. Alving now finds herself confronted by zombies that she is forced to stand and fight. GHOSTS & zombies shows us that we can try to bury the parts of our life we would rather forget, but we cannot control whether they walk again – slowly, hungrily – in our direction.
 
The production team for GHOSTS & zombies includes: Chad Eric Bergman* (set design), Rachel Sypniewski (costume design), David Goodman-Edberg (lighting design), Nigel Harsch* (sound designer), Leticha Guillaud (properties design), Kirstin Franklin* (casting director), Bethany Weise (asst. costume designer), R&D Choreography (violence design), Christiane Schaldemose (music direction), Chris Waldron (asst. director), Amy Hopkins (production manager), Harrison Ornelas (technical director), Hannah Harper-Smith (stage manager) and Katy Grabarski (asst. stage manager).
 
PRODUCTION DETAILS:
 
Title: GHOSTS & zombies 
Written by: Henrik Ibsen & Gustav Tenby
Translated by: Chad Eric Bergman
Directed by: Co-Artistic Director Breahan Pautsch*
Cast: Victor Bayona (Chamberlain Alving), Marsha Harman (Mrs. Helene Alving), Joshua K. Harris (Carpenter Engstrand), Jessica Kearney (Youth Ensemble, Zombie Mob), Micah Kronlokken* (Osvald), Dylan M. Lainez, (Youth Ensemble, Zombie Mob), Madelyn Loehr* (Youth Ensemble, Zombie Mob), Almanya Narula (Regine), Christiane Schaldemose (Youth Ensemble, Zombie Mob), Erik Schiller (Youth Ensemble, Zombie Mob), Tyler Skafgaard (Youth Ensemble, Zombie Mob) and Jeremy Trager (Pastor Manders).
 
Location: Strawdog Theatre Company,1802 W. Berenice, Chicago
Dates: Preview: Thursday, September 28 at 8 pm
Regular run: Saturday, September 30 – Sunday, October 29, 2017
Curtain Times: Thursdays, Fridays and Saturdays at 7:30 pm; Sundays at 4 pm. 
Tickets: Previews: $10. Regular Run: $25. Students/seniors/industry $15. Tickets go on sale Friday, September 1, 2017 available at chicagonordic.org.
 
*Denotes Akvavit Theatre company members.
 
Akvavit Theatre is also pleased to announce the addition of new company member Madelyn Loehr and associate company member Maggie Fullilove-Nugent.

 

Published in Upcoming Theatre
Page 5 of 21

 

 

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