Displaying items by tag: Chicago

A non-traditional story about Christmas might just be becoming a tradition at Goodman Theatre. No. I’m not talking about Goodman’s masterpiece production of ‘A Christmas Carol’. For its second year in a row comes David Sedaris’ satirical, hysterical AND anything but conventional (see what I did there?) story of a thirty-something’s plight into becoming a Macy’s Christmas elf in ‘The Santaland Diaries.’

Directed by Steve Scott, ‘The Santaland Diaries’ is a fantastically told story that walks us through the holidays when a man, who never realized he needs skills to be marketable in the workplace, searches for a job and stumbles across an ad searching for elves for Macy’s. He scoffs at the ridiculousness of the ad, but then applies – and guess what? He gets the job! Great.

We are then walked through the painfully real, yet very funny, transition of a young man’s journey into elf-dom, as we are told detail by humorous detail everything from elf training to all the silly events that lead up to the big day – Christmas Eve. Each elf can choose their own name – ours chooses ‘Crumpet’. Crumpet likes his smoke breaks.

Steven Strafford excels as Crumpet. Always one of my favorite actors to watch perform, Stafford is wisely cast and delivers an engaging 70-minute one-man show that doesn’t slow down for a moment. His story telling is fascinating, his comic timing executed to perfection and, well, he’s just Crumpet. Strafford was last seen at Goodman in ‘Wonderful Town,’ but has also entertained audiences with his performances at Drury Lane Theatre, First Folio, Marriott Theatre and many more including regional tours and even a European tour of Grease. Though most remembered for his comedic roles, I’ll never forget his dynamic performance in the one-man show ‘Jesus the Jew as Told by His Brother James at Greenhouse Theater Center.

‘The Santaland Diaries’ was a breakout piece for David Sedaris who first read the essay on the National Public Radio’s ‘Morning Edition’ in 1992. In 1996 Joe Mantello adapted the story for the stage where it debuted at The Atlantic Theater Company in New York with actor Timothy Oliphant taking on the role of Crumpet. Since, Sedaris has been on quite the role as a writer/storyteller (Theft by Finding, Let's Explore Diabetes with Owls, Squirrel Seeks Chipmunk, Barrel Fever) and ‘The Santaland Diaries’ has popped up regularly during the holiday season in theatres all over the nation.

Steven Strafford’s performance is airtight and the colorful Macy’s Santaland set is the perfect backdrop for this very fun holiday story.

Highly recommended.

‘The Santaland Diaries’ is being performed at Goodman’s Owen Theatre through December 29th. For tickets and/or more show information visit www.goodmantheatre.org.

There are certain theatrical events that I look forward to attending each season and Hell in a Handbag's Holiday shows are always at the top of my list. ‘The Golden Girls: The Lost Episodes – The Holiday Edition, Vol 2’ should be on the top of everyone’s list.  

When I'm sitting in the super cozy Mary's Attic filled with Christmas lights watching one of their wonderful camp parodies, I always feel like I am at home and in the company of great friends and family. This time I love everything about this show, including the opening when host Lori Lee (sidekick Flo) leads the audience in singing the theme song from Golden Girls TV show set in sunny Miami where I grew up. 

Thank you for being a friend.

Travel down the road and back again.

Your heart is true, you're a pal and a confidant

.And if you threw a party,

invited everyone you knew.

You would see the biggest gift would be from me

and the card attached would say,

thank you for being a friend.

This year’s 'Lost Episodes,' written with cheeky humor- as well as great compassion by Artistic Director David Cerda has especially sweet plotlines that remind me again how lucky one is to have friends and family around you... particularly during your golden years. 

Ed Jones as Rose Nylund, who still believes in Santa Claus is a scene stealer, as always delivers his spot on and totally endearing portrayal of the character made famous by the still "golden" Betty White. 

Grant Drager as Blanche delivers the sass and unabashedly sexy spice that shows even golden girls still have sexual needs that they should not be ashamed of! David Cerda as Dorothy and Ryan Oates as her mother Sophia bring home the dry humor that makes me laugh out loud every time. But I am also reminded of the true bond between mother and daughter when Sophia breaks her poker face and gently asks her daughter, "What's wrong pussycat?"  

Directed and choreographed by the very talented Stevie Love, each scene has a huge variety of great physical comedy and lighting surprises that make you wish the play was longer. Lori Lee is the host of the evening and gets acquainted with the audience between episodes with fun Golden Girls trivia that includes prizes for the audience members. Having the house lights up and interacting with Lori and others as they try to guess the answers lets you actually get to mingle with the audience you are sitting in and is a lovely part of the show.

If you've already been to a Hell in a Handbag Production and are addicted to their special brand of camp humor and music like I am, you already know how unique and fun their shows are. If you haven't been to one yet, ‘The Holiday Edition, Vol 2’ of Golden Girls is a PERFECT production to attend. 

Tis the season to curl up on one of the comfy couches at Mary's Attic with a hot toddy in hand and have a long, hard... laugh with your favorite family of friends! 

‘The Golden Girls: The Lost Episodes – The Holiday Edition, Vol 2’ is being performed at Mary’s Attic through December 29th. For more information visit www.handbagproductions.org.

What can be said about a show that's been running every Christmas in Chicago for forty-one years? Other than it must be pretty good if it continues to play to sold out audiences year after year. There have been theatre versions of 'A Christmas Carol' nearly as long as the novella has been published. Goodman Artistic Director Robert Falls introduced his signature production in 1978. While nearly everything has remained the same, over the years some minor changes have been made to reflect current times.

The little changes year to year are what make this a fun Chicago holiday tradition. Director Henry Wishcamper made a more significant change this year by changing Scrooge's nephew Fred in Scrooge's neice, Frida. A welcomed change with Ali Burch cast in the new role. The revised character has a certain empathy that's been unknowingly missing from Dicken's version. Ali Burch makes Frida an emotional anchor of this telling, and that almost gives Fall's production a new story arc.

What has always been impressive about 'A Christmas Carol' are the special effects. It's a ghost story after all. There's plenty of high gloss staging to suspend even the more ardent disbelievers. Some genuinely frightening images and moments conjured in the first act.

It's easy for an institution like 'A Christmas Carol' to become worn out. What keeps Goodman's take on Dickens fresh is casting. Larry Yando will likely play Scrooge until they tell him to stop, and why shouldn't he? He's a delight. With that exception, Goodman mostly recasts each year. New actors in the roles allow for discovery on both the creative side and the audience side. You'll never see the same production twice.

There are so many holiday theatre options in Chicago, and many are legacies. Some companies make a significant portion of their yearly operating costs from their Christmas shows. The competition can be stiff, but for the family-friendly standby, Goodman is always a solid bet. 'A Christmas Carol' adaptions can feel like a dime a dozen, but Goodman sets itself aside by managing to give a faithful but also refreshing take on the classic tale.

Through December 29th at Goodman Theatre. 170 N Dearborn. 312-443-3800

Patsy Cline was only 30 years old and at the peak of her career when she died in a plane crash in 1963. But her sweet voice and music lives on in Firebrand Theatre's 'Always...Patsy Cline', a story written by Ted Swindley and based on true events.

After hearing a Patsy Cline (Christina Hall) record on the radio, housewife Louise Seger (Harmony France) became an immediate and avid fan of Cline's and she constantly called in to the local DJ to play Cline's records on the radio.

In 1961, when Louise and her friends show up early to see Patsy Cline sing live, it’s only by fate that Cline shows up early too.

The two women hit it off and the meeting culminates with Cline spending the night at Seger's house. Over a few too many drinks, the two women shared stories (happy and sad) late into the night. Shortly after Cline left, Seger received the first of many letters from her. The two exchanged letters over the next two years, right up until the plane crash that ended her life. Featuring over two dozen songs, 'Always…Patsy Cline' is both a musical and a concert rolled into one. While Louise Seger narrates the story, Patsy Cline moves on and off the stage singing tunes that still evoke emotions today.  “Walkin' After Midnight”, “She's Got You”, “Sweet Dreams”, and “Crazy” are just a few.

Actress Christina Hall brought Patsy Cline to life. She perfectly captures Cline’s emotions, accents and sound. She shows off her strong vocal chops with "It Wasn’t God Who Made Honky Tonk Angels" while also perfectly capturing the heartbreak in "She's Got You."

Harmony France shines equally bright as Louise Seger. She pulls off the difficult task of being both a character and narrator in this story. Her transition from star struck superfan to close friend and confidant felt real and believable.

Growing up in a home where Patsy Cline’s records were in constant rotation, I really enjoyed this walk down memory lane.The only “problem” with this production of 'Always…Patsy Cline' is that you’ll want to see it a second time since France and Hall swap roles on alternating nights.

Extended through February 23rd, 2020 at The Den Theatre. This is an excellent show which I highly recommend.

Heart warming musicals aren’t exactly what Steppenwolf Theatre is known for. While not an outright musical, ‘Lindiwe’ is a new play with live music in collaboration with Ladysmith Black Mambazo. Co-directed by Jonathan Berry and playwright Eric Simonson, this marks the second time Steppenwolf has worked with Ladysmith Black Mambazo.

‘Lindiwe’ is a modern fable of two star-crossed musicians Lindiwe (Nondumiso Tembe) and Adam (Erik Hellman). The story is told in a fourth wall-breaking, casual tone by Lindiwe, a South African singer touring the US with Mambazo. Her life changes when she meets American drummer Adam one evening at the historic Kingston Mines blues club here in Chicago. Their affair is passionate and when Lindiwe gets deported by back to Durban, South Africa, Adam joins her. After a car crash, the pair finds themselves in a fantastical limbo with spiritual keeper played by Yasen Peyankov. In order to join the land of the living, the two must re-tell the events leading up to the tragic car crash.

‘Lindiwe’ honors the tradition of oral storytelling through a riff on Eurydice and other tales. The fable aspects of the story lend itself well to the Greek chorus role taken up by Ladysmith Black Mambazo. Few members of the singing group have stand-out spoken dialogue but, instead provide a musical through-line for the play that heightens the emotions. Not to mention, the harmonies and irregular rhythms created by the group sound incredible.

Fantasy can be hard to relate to for some audiences, but ‘Lindiwe’ offers deeply human themes on love and loss. Nondumiso Tembe is captivating in the titular role in both voice and performance. From the moment she appears on stage you can’t take your eyes off her. She has an undeniable charm and a contagious quality to her smile. The on-stage romance between her and Erik Hellman is endearing even as it turns tragic. Though their circumstances are cloaked in fantastical elements, there’s truth in their love story. Combined with music and dancing, all makes for a pleasing evening.

Steppenwolf Artistic Director Anna D Shapiro remarks in her playbill note that theatre is ephemeral. And when considering whether this play could be reproduced elsewhere, it would seem like a longshot. This play was commissioned by Steppenwolf and through music and plot, ties the Chicago blues scene to sister city Durban, where Ladysmith Black Mambazo resides. ‘Lindiwe’ is a unique opportunity to see the iconic world music group perform with the Steppenwolf ensemble. It’s one of those special Chicago productions that would be tough to accurately describe its beauty to anyone who wasn’t there for it.

Through January 5th at Steppenwolf Theatre. 1650 N Halsted St. 312-335-1650

So…a theatre, a rock band and a production company got together and decided to put a show together. Only this wasn’t just a theatre, it was Den Theatre, one of the most experimental and influential theatres in Chicago today. Nor was this just any production company. Jacaranda Collective is a theatre company, led by the out-of-the-box vision of artistic Sam Bianchini and associate artistic director Halie Robinson director, both who thrive on passionate and provocative storytelling, and the team responsible for this year’s outstanding production of “My Name is Rachel Corrie”. And The Family Crest is not your average band. Instead they are an orchestral indie rock band, led by Liam McCormick, that takes its listeners on a different journey with each song. Together, we have the perfect team of collaborators to pull off ‘Romeo and Juliet: The Spectacular Retelling of the World’s Greatest Love Story’. 

Performed in the largest of Den Theatre’s spaces, the audience is seated to form a three-quarters theatre-in-the-round, a stage for the band sitting at one end. The actors flow freely, not neglecting a single space in the theatre, as the Shakespeare’s story of Romeo and Juliet is beautifully told in both acting and in songs performed by The Family Crest. 

‘Romeo and Juliet: The Spectacular Retelling of the World’s Greatest Love Story’ revisits the classic tale of two young lovers, Romeo Montague (Alex Quinones) and Juliet Capulet (Halie Robinson), that fall in love despite the hatred that lies between their families. The unique play received an added boost with a live band accompaniment that really takes the story to another level. Several scenes had the San Francisco-based band perform wistful songs from their Beneath the Brine and The War: Act I albums, as the actors would join in with choreographed dance movements that perfectly synced with the dreamy sounds, creating a multi-sensory sensation that can only be had in this one-of-a-kind production. In all, we get a masterpiece of a story that is executed to perfection in its own original way thanks to its talented direction, cast and band.

The production also injects its own modern twists and sense of humor into the play’s dialogue - crowd favorite Mercutio (wonderfully played by Kade Cox) donned in drag and sharp, whimsical musings often spewed from the mouth of Juliet. Yet, at the same time, the play never loses the integrity of Shakespeare’s work of art as it was intended. The love was as refreshing as we have always experienced and the tragedy just as heartbreaking.

Here as a special three-day event, ‘Romeo and Juliet’ ends on a much higher note that we are accustomed, the theatre transforming into a concert hall as The Family Crest treats the audience to a live performance that includes songs from previous recordings and upcoming album The War: Act II. 

Theatre and Family Crest fans can only hope this production returns in the not-so-distant future – and maybe, just maybe that will happen. Near the show’s end, the fantastically Family Crest frontman, Liam McCormick asked attendees if they would like to see this show return to Chicago.

The answer – an unequivocal, enthusiastic “HELL YES!”

Scott Bradley is an institution within the Chicago theater community. His quirky, campy musical versions of old horror movies have been sell-out hits around town for years. Which is what makes “Packing” all the more interesting. He instead turns the spotlight on himself. About Face borrows Victory Gardens artistic director Chay Yew to direct Scott Bradley’s one-man confessional.

In “Packing” Bradley moves away from the puppets and classic rock and opens his own life up to a 90-minute journey through the turbulent AIDS-era gay life. First and foremost, this is incredibly brave for someone as well-known as Scott, many colleagues are likely to see About Face’s premiere. Bradley is not afraid to expose every aspect of his life from physical abuse to addiction and failure. That might all sound like a bummer but Bradley’s inviting narrative style is humorous and relatable. And of course, it’s all tied to together with various pop culture influences.

“Packing” is Bradley’s life story, but it’s also the collective legacy of the midwestern gay experience. A reminder of how far the LGBT community has come in the past three decades. Bradley stands alone on a stark stage and begins his story at the age he began to understand he was different. His childhood is rather unhappy, but his delivery makes it seem as if he’s the only who doesn’t know how traumatic his home life was. As he grows up, the story becomes more familiar. The far reaches of the Midwest can be an unaccepting place and that sent many LGBT people to the cities to seek acceptance. Not only acceptance of the LGBT lifestyle, but acceptance of the creative lifestyle.

Bradley’s heartbreaking failures changed the course of his life in ways that few can predict when they’re in the pits of despair. His struggles with drug addiction and alcohol dependence and his explanation for why he turned to substances to quiet the critical voices in his head are all too real. Many people in the LGBT community struggle with substance abuse and non-traditional societal norms can sometimes perpetuate cycles of addiction. His stories aren’t just his stories, they’re all of our stories.

It’s hard to imagine anyone else portraying Scott Bradley but Scott Bradley. His performance style is at times frantic, but always warm and authentic. He takes an audience in his arms and let’s them know that it’s okay to fail. He doesn’t ask an audience for approval, but rather to say if you’re struggling, you’re not alone. Chay Yew helps draw out Bradley’s vulnerability through a variety of pseudo-characters; Bradley at various ages of his life. Yew also designed the set, though sparse, is effective. The pop cultural cannon that inspired Bradley is playfully cast on the floor of the stage rather than the backdrop. An interesting visual twist.

“Packing” is a journey of self-acceptance through an era that was less gay friendly. It’s Scott Bradley exposing his storied life in order to help anyone who finds themselves in the same boat. It’s a theater experience that gives voice to anyone who fled small town roots in order to find themselves.

Through December 7th at About Face theater - Theater Wit. 1229 W Belmont Ave. 773-975-8150

What separates a musical from an opera? Technically an opera is a story in which all the dialogue is exchanged through song. Hence the term rock opera, which describes modern musicals that have little to no spoken dialogue. Such semantics may seem trivial, but as the world moves forward traditional opera must too in order to thrive.

“Dead Man Walking” is by no means a new work, as it had its world premiere at the San Francisco Opera in 1999. It’s composed by Jake Heggie with a book by Tony Award winning playwright Terrence McNally. It is an adaptation of the 1995 film for which Susan Sarandon won an Academy Award for Best Actress. Based on the true story of Sister Helen Prejean’s special relationship with two death row inmates in Louisiana, “Dead Man Walking” is an excellent example of what the future of opera theatre might look like.

“Dead Man Walking” holds its Chicago premiere at the Lyric under the direction of Leonard Foglia. What is immediately striking is a scene of graphic sexual violence right off the bat. A stark departure from the usual 19th Century fantasies normally produced on the Lyric stage. Though the English subtitles are much appreciated, they’re somewhat unnecessary as this opera is sung in English.

Heggie’s music shares a lot in common with traditional musical theatre. The consistent through-line melody “He Will Gather Us Around” will have you humming into intermission and wiping your eyes by the finale. While Heggie’s compositions are quite good, and very cinematic in their aesthetic, it is the deeply humane storyline of condemned prisoner Joseph De Rocher that will hold your attention. McNally does what he does best, sharp dialogue and tight narrative structure.

It’s not often to hear sniffles during the climax of a traditional opera. No matter how arresting the score, or brilliant the performances, classical opera can sometimes create an emotional disconnect. In this work, we see modern day reality and that feels more relatable than say, Wagner. That’s not to say it’s missing the spectacle. As the case with any Lyric production, the staging is epic and visually stunning.

Though most of the cast is making their Lyric debut, they leave a big impression. Joe De Rocher is sung by Ryan McKinny. A booming voice fitting of an unrepentant killer and he’s able to sing opera in a southern accent. Patricia Racette portrays Sister Helen Prejean. It’s her journey we are on. She knows as well as the audience that De Rocher is guilty, but like her, we hold the slimmest hope that maybe he’s innocent. Her unwavering love for De Rocher is his redemption. It’s her power as an actress and a singer to evoke the spirit of forgiveness. Even as McNally’s dialogue is stretched into soaring arias, there’s an authenticity in Racette’s performance.

“Dead Man Walking” achieves what good opera should, and that is to move its audience through the power of music. Theatre, regardless of the type should comment on the world in which we live. While the classics are so for a reason, they’re becoming less of a draw for younger audiences. “Dead Man Walking” proves that opera isn’t a dying art form. It’s an invitation for audiences to have post-show discussions about real world issues.

Through November 22nd at Lyric Opera Chicago. 20 N Wacker Drive. 312-827-5600

What better props and scenery than that in one’s own imagination? And what better way to give each audience member their own unique experience than to let each follow their own journey guided only by storytelling without any visuals to distract, detract or force its own interpretation of what we are supposed to see?  Theatre in the Dark masterfully succeeds in bringing to life a story that is sure to be different for each end everyone in attendance. ‘Three Stories Up’ is the theatre production’s company latest undertaking – a noir mystery/thriller that takes places in complete darkness.

Taking place at The Church on Thorndale (1244 W. Thorndale), theatre goers are put into different groups consisting of just a handful of people each. We are then led through the main congregation area of the Church, through a hallway and into a small, but comfortable, sized room. At that point, all attendees are blindfolded and led in a single file line - holding onto the shoulder of the person in front of us for guidance - into another room where we are seated. Before taking off the blindfolds, we are given instructions and cautionary directions on what to do should claustrophobia take effect – so, worry not, every precaution is taken and by the time the play begins, we are at ease and ready to immerse ourselves into a suspense mystery. 

We are then directed to remove the blindfolds – and it is pitch black. After waiting for my eyes to adjust just ever so slightly to see the most minimal amount of light, I realize minutes later, nope, this is truly the absence of light in its greatest sense. A hand inches from one’s face may have well been twenty feet away. And though the actors move about, and are sometimes seemingly inches away from seated guests, they make a point to not touch anyone. 

 
Chicago playwright Mackenzie Gordon gives us a gripping 80-minute drama done in the style of radio mysteries done in the 1930s and 1940s. As the story progresses, we hear characters move from one location to another. Director Cory Bradberry does a wonderful job of delivering this engaging story that revolves a Canadian transit cop, Beatrice Dulaurier, who finds her husband dead upon coming home, as each scene is painted so beautifully that vivid images effortlessly appear in our heads throughout.

As a crime drama that has all the elements of a noir thriller, ‘Three Stories Up’ is filled with colorful personalities including the hardboiled detective, the ambitious (and suspicious) journalist and a host of quirky characters. Unsure of how many cast members were handling the voices of the story’s characters during the performance, I was surprised when it turned out to be just two actors handling all the roles – Bethany Arrington (Beatrice Dulaurier, others) and Mackenzie Gordon (Gunner Bjornsen, others). Both were nothing short of outstanding. And kudos to Corey Bradford who really enhanced the overall experience with strategic foley and sound design.

‘Three Stories Up’ is a thriller that keeps its audience guessing, but the originality behind the production – and its precise execution - makes it a must see as one of Chicago’s more creative theatre adventures.

‘Three Stories Up’ is being performed at The Church on Thorndale through November 9th.

For tickets and/or more show information, visit www.theareinthedark.com.   

 

*Now extended through February 16th due to popular demand

“Lenny Bruce was the defender of all people. Notorious from his belief that people give words power. It’s not the words itself, but the intention,” says playwright and performer Ronnie Marmo in the show’s playbill - A Note from the Playwright titled “Why Lenny Bruce? Why Now?”

‘I’m not a Comedian…I’m Lenny Bruce’ should be one of the hottest shows in Chicago this Fall. Coming hot off a sold-out Los Angeles run, the story of one of the most controversial, yet influential comedians, Lenny Bruce, comes to the Royal George Cabaret Theatre. Directed by legendary actor Joe Mantegna and produced by Lenny Bruce’s daughter, Kitty Bruce, we get a production that is hard-hitting, hilarious and flat out ballsy.

Ronnie Marmo as Lenny Bruce is a powerful force to be reckoned with and his deliciously vivid script couldn’t be performed any better. I’d be hard-pressed to say which is more impressive, Marmo’s dark, daring and funny script or his acting prowess as the controversial 1960’s comic. Let’s just say the two fit perfectly together to give audience members a thrill ride that doesn’t let you go.

‘I’m not a Comedian…I’m Lenny Bruce’ puts Bruce onstage in a stand-up atmosphere where he delivers intimate stories that shaped his life and beliefs – some tragic, some humorous and some heartwarming. He was close to his mother, revered his life love Honey and loved his daughter to no end. He was often arrested for his words. He fought drug addiction – and lost. Marmo as Bruce also becomes the vessel for the fearless and outspoken comedian who tells it like he sees it, often using obscenities and rants about the same topics that are touchy in today’s world – fifty years later – such as racism, government aid, religion, the criminal justice system, gender inequality, etc., etc., but probably most of all censorship. An unwavering advocate for the First Amendment, Bruce vehemently preaches the dangers of losing the right to free speech, often musing the crowd with stories of arrests and harassment by authorities for simply saying words not everyone wanted to hear.

“I disapprove of what you say, but will defend to the death your right to say it.” Evelyn Beatrice Hall (a.k.a. S. G. Tallentyre) wrote in 1906’s The Friends of Voltaire. This quote epitomized Bruce’s beliefs.

Since Bruce, many comedians have followed in his footsteps, often citing him as their greatest influence, such as Richard Pryor, George Carlin and more recently Sarah Silverman and Bill Maher, the latter very outspoken about the censorship put in place by tech communication giants Twitter and YouTube. It is without doubt, Lenny Bruce would cringe at what has been happening over the past few years where some comedians are not allowed to perform on certain college campuses or where “disagreeing” is often quickly labeled a hate incitement and therefore censored no matter your political stance, religious views or assessments on life. Silence opinions - delete instead of discuss.

The perception of recent fragility wafting in the air where people get overly offended at very little or seemingly nothing these days (words over intention) has been a huge talking point for comedians like Jerry Seinfeld, Chris Rock and David Chapelle (to name a very small few) to the point some might wonder if someone like Bruce could have survived today’s social climate. But, as a betting man, I’m sure Lenny Bruce would still be knocking down walls and fighting to his last breath to exercise the right of free speech.

Ronnie Marmo’s play has come at just the right time at its relevancy in today’s world couldn’t be timelier. Marmo makes his point on the importance of free speech to perfection in this powerful production while also delivering an engaging, inside look at someone who changed the landscape for comedy as we knew it.

Comedy great Richard Lewis says of Marmo’s performance, “Lenny’s life pours out of him,” while Kitty Bruce goes a step further by calling it, “The best portrayal of my father I have ever seen. Brilliant.”

Compelling, inspiring and thought-provoking, ‘I’m not a Comedian…I’m Lenny Bruce’ is highly recommended.

‘I’m not a Comedian…I’m Lenny Bruce’ is being performed at the Royal George Cabaret Theatre through December 1st. For more information visit LennyBruceOnStage.com.

*Extended through February 16th 2020