Displaying items by tag: David Dowd

When Terry Guest left Atlanta and arrived in Chicago ten years or so ago, a bracing reality check caused the young actor to make a bold pivot.  Three years of auditions and zero bites on the acting front, he turned himself into a playwright and used a deceased uncle as his inspirational muse.  At the Wake of a Dead Drag Queen was born, with Guest placing himself in the starring role.  Rave reviews, real recognition and an impressive collection of Jeff Awards followed.  As they used to say during the dawn of space exploration, “Houston, we have liftoff.”

That was in 2019 and since then the actor and playwright has been exploring other opportunities to extend his keenly astute vision about life and people into the theatrical ecosphere.  More plays were written, last year At the Wake of a Dead Drag Queen was reprised and a brand spanking new dazzler by Guest just launched its world premiere at Jackalope Theatre in Edgewater a few days ago.  If there’s any logic in the universe, it’ll enjoy a very similar reception to his inaugural tour de force.

Because it’s so creatively extravagant, Andy Warhol Presents: The Cocaine Play lives in a universe all its own.  There’s enough drama and suspense to be slightly Hitchcockian, but it’s also unrelentingly funny.   It’s arguably biographical, but not in any way you’d expect.  Because it indulges in the supernatural, you can say it possesses strong elements of mystical realism. Nothing about it is predictable. And it has two endings.  Both killer.

If you had to name one thing that forms its nucleus, it would be fame.  The single name variety.  Blinding individual glory.  Guest probes into what it’s like to have it and what it means to crave it.

We get a sample of the first right at the opening when Marilyn Monroe appears resplendently before us and gives a little run down on what it’s like to be her.   The instant recognition, the automatic smiles, the rapturous attention, the sheer adoration.  But she isn’t “that” Marilyn.  And she’s not really an avatar.  You could say she’s a concept of the blond bombshell turned into flesh. Played with decadent deliciousness by Alexis Ward, she’s the psychological stand-in for the mega-star from Hollywood’s past. 

A quick shift and we’re suddenly in a New York apartment with a woman, Edie Sedgwick, complaining to a friend about her inattentive, I-don’t-understand-him-at-all-anymore, husband. We’ve already learned from the friend she’s talking to, Andy Warhol, that we’ve gone back in time to the 1960s. And even though he’s a painter too and wears a bushy white wig, he’s not that Andy Warhol. Like Marilyn, Andy and Edie are facsimiles of the people we think they are.  And like every other member of the four-member cast, everyone’s Black.

(L to R) David Michael Dowd, Jasmine “Jazzy” Cheri Rush and William Anthony Sebastian Rose II in ANDY WARHOL PRESENTS: THE COCAINE PLAY.

William Anthony Sebastian Rose II occupies the role of Andy, and a more droll, brilliantly glib performance will likely not be seen on another stage anytime soon. He and Edie’s husband Michael (David Dowd) are having a very hot little affair on the side.   Regardless of how trivial or momentous, all interactions are laced with coke. Indulging in cocaine hits is so pervasive it’s like watching piranha in a constant feeding frenzy.

They’re all in the creative arts.  Edie (Jazzy Rush) is an actress married a painter.  She and Michael are flat out rabidly ambitious, and both invest the sweat and tears to make it in their crafts.  Unfortunately, their striving just doesn’t end up going anywhere. Andy’s less driven or sure of himself.  Much more reticent.  When an opportunity arises for him and Michael to catch some limelight, it’s Andy, after being pushed by his lover/friend, who prevails.  His portrait of the late Marilyn Monroe catapults him to fortune and fame. 

Guest not only wrote the Andy Warhol script; he also directs this three-act marvel that moves like a bullet train on freshly greased tracks.  This production shows too that he’s a master at shaping performances.  All four glow with a blindingly high gloss.   

The play spans three decades.  Sydney Lynne’s scenic design stamps all of them with genuine uniqueness and style.  Dress transforms with the times too and, in this case, only Edie’s wardrobe changes noticeably as the years roll by.  As costume designer, Maddy Shows makes sure they sync perfectly with the period and sing with class.   Much the same can be said for Ayanna Bakari and that cavalcade of wigs she presents.   Stellar.  

Cohesive and boppin’ original music binds the play together from the very beginning to the absolute end, yielding what can only be called yet another delectable surprise bonus.

Fame, we later find, isn’t sitting all that well with Andy.  Something about it is oppressive and Marilyn keeps showing up like a specter he’d really like to leave him alone for a while.  Still treading water, Edie and Michael aren’t faring much better.  She left for LA to try and make it in the movies since NY never ignited. Micheal continues to paint in the Big Apple and remains mired in the same obscurity.   The chance at a long shot makes him desperate, brings his resentment regarding Andy’s success to the fore and sets him to scheming.  After all, he rationalizes, Andy would never be where he is if it weren’t for him.  Things then turn very dark and get just as hot.  Hence the first ending that’s so intense there should be a way to one day to enshrine it in the National Archives.

It’s the second closing that comes out of nowhere that will blast your other sock off.

Andy Warhol Presents: The Cocaine Play

Through July 6, 2026

Jackalope Theatre

Broadway Armory Park

5917 N. Broadway Street

Chicago, IL  60660

For more information and tickets:  https://www.jackalopetheatre.org/

Highly Recommended

I was skeptical when I learned that Court Theatre was staging "East Texas Hot Links." The Pulitzer prize nominated play first debuted in Chicago at Onyx Theatre Company in 1995, with subsequent productions in 1998 and a recent one at Writers Theatre in 2019. Although it’s not rare for a play to receive so many renditions, interestingly enough, each production has been directed by Ron O.J. Parsons, who has kept basically the same cast since its premiere. This piqued my curiosity enough that I felt compelled to see the show for myself. After the performance, fellow theatergoers shared this was the finest version of the play they had seen. I would have to agree. This production had me tingling from start to finish.

Court Theatre's production of Eugene Lee's East Texas Hot Links, directed by Ron O.J. Parsons, is an electrifying, poignant reminder of the harsh realities of life for Black communities in the segregated South, in this case East Texas, during the 1950s. Under Parsons' skillful direction, this production transforms Lee's taut, suspenseful character study into a deeply immersive experience that brims with tension, emotion, and tragedy.

Set in a small, rural Texas café, East Texas Hot Links offers a snapshot of a Black community's attempt to survive in a world where racial violence and oppression are omnipresent threats. The café, owned by the strong-willed Charlesetta (played by AnJi White), serves as a sanctuary for the local Black men—blue-collar workers who gather to talk, joke, and seek refuge from the dangers outside. However, as the play progresses, the audience senses the mounting tension, and it becomes clear that this safe space is not immune to the violence brewing in the surrounding white community.

AnJi White's portrayal of Charlesetta is  beautifully compelling. White brings strength, warmth, and an underlying vulnerability to the role, making Charlesetta the emotional core of the community. She commands the café with authority, yet her fear for the safety of her patrons is palpable. White’s performance is a delicate balance of resilience and fear, making her final moments on stage all the more heartbreaking.

Juwan Lockett imbues XL Dancer with an air of mystery, leaving the audience constantly questioning his motives. Lockett masterfully conveys a sense of an underlying threat simmering beneath XL’s surface, keeping the audience on edge. The other characters' scrutiny of XL only adds to the intrigue, with Lockett's performance subtly hinting at hidden depths and secrets the character may possess.

David Dowd's depiction of Delmus Green vividly captures the essence of youthful optimism amidst severe societal challenges. His naivety and idealism are clearly evident in his expressions, bringing a tangible sense of hope to his character. When faced with the reality of his situation, his body and expressions change and it’s a beautiful arc.

Geno Walker's portrays Buckshot as a formidable intimidating character who both commands respect and instills fear within the community. Beneath his tough exterior, however, lies a deep loyalty to his friends and family, as well as a profound concern for the well-being of his fellow community members.

Veteran actor Alfred Wilson excels in the role of Columbus Frye, portraying him as the entrepreneurial spirit of the group. A.C. Smith also delivers a standout performance as Boochie Reed, the town's soothsayer, infusing the character with a mystical, almost prophetic presence that lends an air of foreboding. Wille B shines as Adolph, the blind man whose insight seems boundless, and Kelvin Roston captivates as Roy Moore, adding further depth to this talented ensemble.

The technical elements of the production further heighten the atmosphere of dread and tension. Jack Magaw’s scenic design transforms the stage into an authentic, intimate Texas café, with every detail—from the worn wooden floors to the shabby advertisements on the wall —helping to create a lived-in, familiar environment. The set is both a haven and a trap, capturing a sense of characters hemmed in by the world outside.

Christine Pascual and Janice Pytel’s costume design provides a vivid glimpse into the characters' personalities and statuses, grounding the story in its 1950s setting with period-appropriate clothing that feels organic to each character. Jason Lynch’s lighting design works in tandem with the narrative’s rising tension, using flashing lights and stark contrasts to build suspense to signal the looming danger.

Special effects consultant Jim Guy’s work, especially as firearms coordinator, is crucial in creating the shocking, violent moments that punctuate the play’s climax. The sound of gunshots and the chaos they cause feel visceral, jolting the audience and underscoring the immediacy of the threat.

Ron O.J. Parsons’ direction weaves all of these elements together into a cohesive, gripping production that pulses with energy and urgency. His direction is meticulous, allowing the audience to feel the characters’ emotional and physical entrapment while slowly ratcheting up the tension until it reaches a boiling point. The sense of dread that builds throughout the play culminates in a devastating and powerful finale that leaves the audience shaken.

Court Theatre’s East Texas Hot Links is a searing and unforgettable production that captures the complex dynamics of community, race, and survival. The combination of outstanding performances, atmospheric design, and Parsons’ expert direction makes this a must-see theatrical experience. Regardless of how many times you’ve seen it before…see this now!

Highly recommended

When: Through Sept. 29

Where: Court Theatre, 5535 S. Ellis Avenue

Running time: 90 minutes

Tickets: $58 - $90.00 Student, Group and military discounts available

773-753-4472

www.Courttheatre.org