Displaying items by tag: Mary Beth Fisher

There are always two sides to every story. The writer or playwright will tell a story offering key details and scenes that move the story forward in the way that leads the audience to a message or conclusion the writer or playwright want to convey. The difficulty of any story writing, in any form, is what to include or what to exclude in your story. That is something that can be controlled. The other difficulty is trying to convey a message or point to your audience, one you want them to walk away with, chew on, think about. This difficulty is completely out of the writer’s control. Attempting to tell two sides of the same story adds a level of complexity for the writer and the audience and it’s not an easy feat to pull it off. The Birth of The Pill takes aims at just this style of storytelling, the world premiere play now playing at Timeline Theatre.

In the mid‑20th century, a radical dream begins to take shape: a simple pill that would give women full control over their reproductive futures. Championing this groundbreaking idea are feminist activist Margaret Sanger, scientist Gregory Pincus, gynecologist John Rock, and philanthropist Katharine McCormick—visionaries working under intense secrecy amid legal, scientific, and religious roadblocks. Meanwhile, in Puerto Rico, clinical trials raise ethical questions, as the lives and bodies of women like Ramona Delgado are exploited in the quest for scientific advancement. Commissioned and developed by TimeLine and based on the book by Pulitzer Prize-winning author Jonathan Eig (King: A Life), the world premiere of The Birth of The Pill explores the transformative power of vision and invention, alongside the costs of pursuing both by any means necessary.

The Birth of the Pill is not a lift and shift theatre adaptation of the book of the same name. The book was written as a non-fiction historical account of how “The Pill” came to fruition. It is clinical, literal, factual. It recounts the stories of the women (Sanger and McCormick) who spearheaded the campaign to develop The Pill on behalf of women everywhere. But The Birth of The Pill, like many historical accounts, does not discuss the lives of the very real, very lost voices of the very real women whose lives were forever changed and affected by the Trials conducted in Puerto Rico. Those women’s stories was a different story altogether, one the book’s author did not aim to tell. It wasn’t an intentional dismissal of the storyline, but a concurrent one, a differing viewpoint, a second side to the story.

The cast of "The Birth of the Pill" at TimeLine Theatre Company.

The play, written by playwright Jessica Huang and directed by Sandra Marquez, aims to give that second storyline a voice, the story of the Puerto Rican women who were tested and experimented on in pursuit of this revolutionary form of birth control. The key actors in this play include Janet Ulrich Brooks as Margaret Sanger, María Victoria Martínez as Ramona Delgado, Mitchel J. Fain as Goody Pincus, and Mary Beth Fisher as Katharine McCormick. Through the narration of Ramona Delgado we are guided through history alongside Margaret Sanger from her post in the first ever Planned Parenthood in Brooklyn, NY, through the funding, research, and later development of The Pill. While well intentioned, the play takes a considerable detour from its source material at the critical point of human trials to examine that second storyline, namely, the toll and morality of human Trials. There is a poignant moment between the narrator and Sanger wherein a philosophical question is posed: Given everything you know, the impact it had, would you do anything differently? That is where this play should have ended.

The character of Delgado is a valiant attempt to write the women who trialed The Pill into the story of The Birth of the Pill but it’s a completely different perspective and is not given its due. Perhaps that was the intention of the playwright. Throughout the play, the main character, our narrator, is sidelined, dismissed, overlooked, even silenced. It’s a subtle and artistic representation of how the trial participants were treated. At a key point in the play we move away from the historical retelling of The Birth of the Pill, abruptly changing narratives. The light and humorous narration takes a sharp turnaround to become one with a modern viewpoint. It criticized the ethical and moral viewpoints of the main characters, their actions, their decisions, diverging away from the source material. Published in 2014, the book could not have accounted for or discussed the cultural, social, and moral impacts the 2020s had on the story of The Pill. I don’t believe the author was ill-intended by not accounting for the lives of the trial participants, or examining the moral and despicable acts committed in that state. The Birth of The Pill tries to rectify and almost apologize for this unintentional oversight leaving the audience with a hurried and heavy-handed message that leaves you questioning: which story was the play trying to tell? The story of the birth of the pill or that of the women who were tested on? It’s not the same story, it’s the second side to the same story.

Jonathan Eig (Mitchell J. Fain, left) and Ramona Delgado (María Victoria Martínez, right) discuss the complexities of historical narratives.

Not every play can pull off the duality of storytelling, where two differing viewpoints are given the stage. The Birth of the Pill is a story worthy of telling and seeing. It was humorous, moving, challenging, and overall compelling. It can stand on its own, with a simple yet complex ending on a philosophical dilemma. It deserves to be told on its own, without a modern, critical perspective and narrative. Then there is the different viewpoint. Another side to the same story that deserves its own time, its own space, unhurried, told in full, with all the vitriol and venom many of the acts committed on the path to progress deserve. The Birth of the Pill play inadvertently, or possibly intentionally, provided a foundation and springboard for a new story to come to light, one that given its own voice, time, and space, would only add to the power of the original story. There are two sides to every story. This particular story deserves both to be heard, just not at the same time.

The Birth of the Pill Runs through October 4, 2026, at TimeLine Theatre (5035 N. Broadway, Chicago). Set you calendar reminders and be sure to get your tickets at https://timelinetheatre.com/events/birth-pill/.

*Extended through October 11th!

A title like “Swing State” is certainly provocative and might suggest exactly what Rebecca Gilman’s new play is about, but oddly enough it’s not about an election. Two of Chicago’s best actresses; Mary Beth Fisher and Kristen Fitzgerald join director Robert Falls in this much-anticipated production at Goodman Theatre. Chicago-based playwright Rebecca Gilman has had a long history of collaborating with Goodman, Robert Falls and Mary Beth Fisher. This is the tenth play they’ve produced, and many have been directed by Falls and, or starred Fisher. “Swing State” is another riveting script from the Pulitzer-nominated playwright.

Somewhere on the driftless land of Wisconsin, recently widowed Peg (Mary Beth Fisher) lives alone on a large patch of remnant prairie land. When a box of old tools and a gun go missing from Peg’s barn, she enlists the sheriff (Kristen Fitzgerald) and her well-meaning but dopey deputy Dani (Anne E Thompson). They suspect a community “screw-up” named Ryan (Bubba Weiler) who Peg and her late husband had mentored. Though Peg doesn’t want to pursue it, the sheriff is relentless.

Despite its fast moving 95-minute runtime, “Swing State” takes a few hours to digest. What Gilman exceeds at is taking broad political issues and distilling them through the individual experience. Much of her parallels are drawn through metaphor. The prairie land Peg so meticulously tends to represent an uncorrupted way of life vanishing in the American heartland. Gilman also shines a light on the police ineptitude and cruelty running rampant in smalltown Midwestern communities.

Mary Beth Fisher embodies the beleaguered Peg. Her physicality tells an entire story without saying a word. Though, it’s in a single, lengthy monolog in which she effortlessly flows through the realm of emotions that she gets to the real depths of her character. Kristen Fitzgerald is also a thundering presence as the zealous smalltown sheriff, Kris. It’s clear Fitzgerald has a good understanding of the kind of corrupting ignorance plaguing our justice system. While neither character is without flaws, these two actresses have approached their roles with compassion, which serves the nuances of the ending.

“Swing State” is a shocking story that builds through quiet, often two-person scenes. Gilman does well to make her point while also staying true to her own life experiences. The title suggests that the rural Midwest is still a swayable population. In that idea alone the script points toward optimism. Peg’s character journey also suggests optimism even if the ending might seem unsettling. This is an honest play about the types of people you might meet in a small Midwestern community. There may not be an election in the play, but its looming consequences have colored every aspect of Gilman’s richly drawn world.

Through November 13^th at Goodman Theatre. 170 N Dearborn St. www.goodmantheatre.org

By now we all know who’s coming to dinner. Based on the 1967 film starring Sidney Poitier and Katharine Hepburn, Court Theatre presents a new stage adaptation of ‘Guess Who’s Coming to Dinner.’ Written in 2013 by Todd Kreidler, this fresh look points at the progress America has made regarding interracial marriage, as well as the progress that still lies ahead.

Marti Lyons directs this quickly-paced comedy-drama. The scenes are trimmed with a sweeping score that recalls the golden era of 60s television. The mid-century mod set by Scott Davis drops us square into 1960s suburban San Francisco. A solid white house on a hill, obvious symbolism. Kriedler’s script begins on an impossibly rosy note, a sure sign that trouble is afoot for these fine looking white folks.

Christina (Mary Beth Fisher) and Matt Drayton’s (Tim Hopper) upper middle class, pseudo-liberal lifestyle is upended when their adult daughter Joanna (Bryce Gangel) brings home an acclaimed African American doctor, John (Michael Aaron Pogue). The two naïve lovers wish for their parents’ blessing before they proceed with a hasty marriage. In asking, Joanna and John call into question everything they’ve known about their so-called progressive parents.

In today’s world, some may see an interracial marriage as no big deal. And largely, for most parts of America, it’s not a big deal. That’s what’s so interesting about this script. The characters don’t spend much time debating if it’s right or wrong for races to intermarry. What’s at stake for them is how the world will perceive their coupling and whether it’s actually putting them in danger.

This is a prickly little play about the nuances of race. That is not to say it’s not funny. In fact, it’s the sit-com style set-up of jokes and physical humor that make this show so fun to watch. Mary Beth Fisher is a gifted physical comedian. It’s a real treat to see her quickly twisting facial expressions, she’s able to get so much across without dialogue. Working off her is Sydney Charles in the role of the Drayton’s maid, Tillie. Sydney Charles has some of the best one-liners of the evening and really brings her character to the focal point.

The young lovers portrayed by Bryce Gangel and Michael Aaron Pogue are what this show comes down to. There’s so much chemistry between these two and that is key. The audience has to believe in this love in order to believe in the parent’s eventual coming around. Gangel so aptly captures the stubborn optimism of her character through an almost lilting speech pattern. In her final monologue, Gangel goes from school girl crush to a woman seriously in love.

The Court Theatre’s area premier of Todd Kriedler’s stage adaptation of ‘Guess Who’s Coming to Dinner’ is very cute. It’s strange to say a play about tense race relations is cute, but it’s a play about love. It’s also incredibly sleek. The costumes and sets are like an episode of Mad Men. While the direct themes may not be entirely relevant in a post Marriage Equality world, there are still indirect themes that must be discussed. This play is making a bigger point about the subtler forms of racism that are present in even the most liberal minded places.

Through April 15th at Court Theatre. 5535 S Ellis Avenue. 773-753-4472

Who’d have thought a Cuban-born playwright could endear an auditorium of liberals to Ronald Reagan. Rogelio Martinez’s new play ‘Blind Date’ is a fictionalized account of the very real first meeting between Soviet general secretary Mikhail Gorbachev (William Dick) and President Ronald Reagan (James D. Farruggio). Robert Falls returns to the Goodman to direct this world premiere.

Billed as a comedy, some will wonder what could be funny about a world on the brink of nuclear war? As it turns out, quite a bit. ‘Blind Date’ is basically a drawing room comedy. Most of the scenes are two-person conversations between the various historic players of the time. Beginning with US Secretary of State George Schultz (Jim Ortlieb) and Soviet foreign minister Eduard Shevardnadze (Steve Pickering) all the way up to the fateful meeting between Gorbachev and Reagan in Geneva.

The narrative structure of this piece is interesting. In some cases, cast members speak their opinions directly to the audience. In other instances, there’s narration by way of British biographer Edmund Morris (Thomas J. Cox). The narration serves the playwright’s thesis that even his own biographer didn’t really understand Reagan. The asides are more often a conveyance for one-liners. Though, they do provide insight into the mindset of the Soviets and Americans in these meetings.

It’s no surprise that Falls has assembled some of Chicago’s foremost actors for this new play. Deanna Dunagan plays Nancy Reagan, in a nearly perfect likeness no less, while Goodman favorite Mary Beth Fisher plays Raisa Gorbachev. The two first ladies share a scene in which almost nothing of consequence is discussed, but the slight backhanded compliments and fuss made over tea bags versus loose leaf underscore how tenuous relations between the super powers were. Each thinking themselves superior in domesticity and political ideology. Scenes featuring Dunagan and Fisher are the most engaging as the dialogue sharpens to a point. What few may consider is how much influence these two women had over their husbands. Despite contradicting opinions, both sides desperately wanted to see an end to the nuclear arms race. A noble idea that has unfortunately taken a wrong turn since the mid-80s.

There’s danger in glorifying Ronald Reagan as an innocuous savior from nuclear war. His optimism regarding the Soviets was certainly helpful but in the end, the Soviet Union collapsed from a failing economy, not Reagan’s pro-Democracy initiatives. And yes, it’s easy to look at Reagan and think, at least he’s not our current president, but let’s not forget the homophobic blind eye his administration turned toward the AIDS crisis, and the lasting effects of the unsuccessful war on drugs.

This play is a lot like an average Oscar-bait movie. You know the type: polished historical drama about a specific section of history, usually starring high profile British actors like Judi Dench. Ones that you know you should see, but probably won’t. It’s okay for a play to be ephemeral. In this case, the global nuclear stakes are so high right now that it’s vital for Americans to understand how serious even the tiniest miscommunication could be. It’s important for Americans to remember what diplomacy looked like. Think of the current president’s impulsive behavior on Twitter. Rogelio Martinez’s play may make you giggle at Reagan’s loveable weirdness, but the gravity of this meeting with Gorbachev in 1986 should frighten us all. These were poor leaders who made a very smart decision. It’s a terrifying shame our current leaders would rather go back in time.

At Goodman Theatre through February 25th. 170 N Dearborn. 312-443-3811

Bruce Norris, also a member of the Steppenwolf ensemble, wrote and directed this very funny, fast moving play about a gynecologist turned politician, Bill Pulver, who ends up putting a young prostitute into a coma during rough sex play. 

The play opens at a press conference as the news hits the public about the young woman struggling for life on a respirator where it is also noted  with disgust that she was wearing a child's school uniform when found - much like Pulver’s uniforms his own two young daughters wear to school.

As the play goes on, we find out this is not a one-time event, and in fact it is slowly revealed that he has been seeing various prostitutes for over a decade and has spent more than $76,000.00 of he and his wife's money on his “hobby”, or “sex addiction” which is never made clear. 

I really enjoyed that the female characters far outnumbered the male characters in this play. It gave each of the leads especially Mary Beth Fisher, who plays Pulver’s wife Judy the chance to really tear up the stage with some fantastic speeches. 

Steppenwolf favorite Tom Irwin in the lead as Pulver is perfect as the slightly charismatic, Bill Clinton-ish character who thinks he has no reason to say he's sorry to the public or anyone else. Pulver feels that cheating on his wife with a prostitute is not an ongoing affair, but rather a victim-less crime and a necessity for any man who has been married as long as he has. Pulver refuses to apologize to the public at the press conference and seems to think what he has done is as common as using porn anonymously on the internet except that the porn actually comes to you and has sex with you. 

The couple has a preteen daughter they adopted from Asia who shows a slideshow throughout the play describing how different species of animals have much more dominant females than humans do. Some that do not even require a male to reproduce. Cassidy was who was played sensitively by Emily Chang is literally sickened by the arguing going on around her, grabbing her inhaler and running offstage which neither parent seems to notice or really care about. 

For the most part, I thoroughly enjoyed this brilliantly written, witty, almost manifesto-like feminist play. Refreshing is that Norris is not afraid to bring to the surface such taboo subject matter, for instance when the older daughter brings up how upset she is and genuinely concerned with issues like female genital mutilation, a desperately important and horrific feminist and human rights desecration I did not even know existed when I was a teenager.

But then completely disappointing is when Norris writes a final scene where the victim awakens from her coma and seems to be seeking publicity for a book about her injuries. This scene seemed to turn everything around as if it was her fault or intent in some way to capitalize on his crime and shows the husband and wife on opposite sides of the stage breathing a sigh of relief, almost as if to say that if she's not “dead”, and wants some retribution, she probably is a just a whore who "asked for it”, and he is just a regular cheating husband just like any other husband except that he wanted to hold public office while continuing to cheat on his wife with prostitutes. It was almost as if Pulver should be absolved of his wrong doing and may actually even become the victim when the rest of the play, up until that point, steered us otherwise.

I know some men will be aggravated watching this play but intrigued while women will just love it. In fact, there was a gentleman sitting next to me who stated in the after play discussion, "His wife is such a shrew, I think he had a right to cheat on her." I quickly asked, "Even if that's true, did he have the right to lie to her for a decade? To expose her to any number of sexually transmitted diseases, including AIDS without her knowledge?" The man fell silent and could not answer me, but I suspect he and his wife had quite a rousing discussion on their ride home! 

Funny, smart and dark, running 2 hours and 15 minutes with one intermission, "Domesticated" is exciting to watch, full of great performances and highly recommended. “Domesticated” will get you and your partner  talking - and maybe in the process even fuel a few long overdue divorces of its own.

“Domesticated” is playing at Steppenwolf Theatre through February 7th. For more show information visit www.steppenwolf.org.  

White Guy on the Bus is a powerful and very well-acted drama that asks several questions about modern day racism. In this highly provocative piece by Bruce Graham, we are met with race issues and opinions based on life’s experiences coming from both sides of the fence. We see how perception of race can be altered as one’s life situation changes or after impactful events occur. In this world premiere taking place at Northlight Theatre, award-winning Graham may have unleashed his best work to date.

Francis Guinan leads a very strong cast in this gripping story that mostly takes place in an upper class suburb. Ray (Guinan) is a successful “numbers guy” who makes the rich richer while his wife, Roz, has declined to teach in a privileged suburban school to work in one that is predominantly black in a tough neighborhood. We see a successful family whose son, Christopher, has recently become engaged to Molly. It doesn’t take long before Roz and Molly are engaged in tension-filled debates on race issues and socioeconomic divide – Roz who often speaks from her experiences of working with inner city school kids and Molly who has led a mostly sheltered life and appears to get most of her opinions from college. As the story continues we see that perspective changes with circumstance. And we soon wonder why Ray ditches his Mercedes to take round trip busses through the inner city on Saturdays. As Ray does this he befriends Shatique, a young black single mother who visits her brother in jail each Saturday.

White Guy on the Bus goes from engaging to intense with little warning. As the story progresses so does its intrigue. Guinan is commanding in a lights out performance as a man who is faced with heavy challenges while Mary Beth Fisher is also impressive in her role as Roz, organically delivering her lines to perfection. Patrice D. McClain makes her Northight debut and is very impressive as Shatique, a role that demands much expression and inner conflict. Also putting out a strong acting performance is Jordan Brown as Christopher in his return to Northlight (Sense and Sensibility).

This is a story that raises curiosity from the get go and builds interest with a sure-footed steady pace all the way to its climactic ending. Artistic Director BJ Jones does a stellar job in this play’s direction quickly moving the story back and forth without big scene changes.

White Guy on the Bus is a terrific piece of Chicago theatre that will certainly stick with you afterwards and perhaps have you questioning your own perspectives towards race issues. White Man on the Bus is playing at Northlight Theatre in Skokie through February 28^th. For tickets and/or more information call 847-673-6300 or visit www.northlight.org. 

*Photo - Mary Beth Fisher and Francis Guinan in White Man on the Bus