Displaying items by tag: Dee Dee Batteast

I arrived at the Goodman Theatre for the opening of its 47^th annual production of A Christmas Carol, directed by Jessica Thebus, like many of us—not really feeling the upcoming holidays. I’m usually a real Pollyanna, trying to put on the happy face. I’m usually Bob Cratchit, the good soldier. I’m Tiny Tim Cratchit, even, throwing around “God bless us, everyone” like it’s tinsel. But not this year. This year, I got to the Goodman feeling like a regular Scrooge. And then I walked into the lobby and the whole thing hit me like a series of middle-of-the-night spectral visits upon a four-poster bed. It changed me.

From the balcony above we were greeted by Benet Academy’s Madrigal Singers, sprinkling down on us carol after carol. Seated next to a large, unlit Christmas tree was William Buchholtz, a Native American flautist and a haunting caroler himself. Thebus, back for her fourth Goodman production of this holiday favorite, addressed the audience, lighting the tree and spreading some cheer—and we hadn’t even found our seats yet.

Once the show began, the sets by Todd Rosenthal transported us back to a different beautiful but bleak era—Dickensian England. All of the trappings one expects of A Christmas Carol are there. Muffed carolers, chestnut peddlers and poultry peddlers, and Scrooge & Marley’s beckoning lending house. There we meet Christopher Donahue’s Ebenezer Scrooge—mutton-chopped and hunched and as unhappy as we expect Scrooge to be. But that darkness, very real and very dark, is constantly counteracted by the radiance of the rest of the cast. Anthony Irons’ Bob Cratchit, cheerful charity collectors played by Penelope Walker and Wai Kim, and Dee Dee Batteast’s ever-loving niece all fend off Scrooge’s glare and gruffness by not even acknowledging his grinchiness—their world, while perhaps less financially happy than Scrooge’s, is a completely separate and better world emotionally than his, down to the vibrant colors of their costumes.

(L-R) Anthony Irons, Christopher Donahue, Ava Rose Doty, Xavier Irons, Henry Lombardo, Isabel Ackerman, Viva Boresi, Tafadzwa Diener and Susaan Jamshidi.

Once back at Scrooge’s house (whose ghastly door knocker made both me and my young daughter jump, even though I knew what was coming) we are surrounded by this bleak world this miserable old miser’s made for himself. It’s drafty and dark and dusty and the perfect place for the jarring arrival of Scrooge’s long-dead partner, Jacob Marley, played by William Dick.

The sights and sounds of Marley’s visit are frightening, even when expected, but they contrast the joy and light spread by the first two spirits who visit Scrooge once Marley departs. Lucky Stiff’s Ghost of Christmas Past is buoyant and bright and over the top—meant to get Scrooge’s attention and ours. The spirit transports us all back in time where our hearts break along with a young Ebenezer Scrooge, portrayed brilliantly by Henry Lombardo, and then leap across the hardwood of Fezziwig’s warehouse-turned-dancehall, only to be broken again by Scrooge’s interaction with his true love played charmingly by Amira Danan. We see all the light Scrooge has lost—and it only makes him and the world he’s created that much darker.

Scrooge’s present is as sad as the present world around him is resolutely jolly, made all the more so by Bri Sudia’s Ghost of Christmas Present. The Cratchit children—Isabel Ackerman, Viva Boresi, Xavier Irons, Tafradzwa Diener, and Ava Rose Doty as Tiny Tim—counter Susaan Jamshidi’s tired and realistic Mrs. Cratchit, just as Batteast does at an evening party attended by other folks who are over it.

While Marley’s ghost was truly terrifying, this Ghost of Christmas Future was less scary and sadder—a dead flower, a faded dowager. But, of course, it’s the specter of a sad future that finally snaps Scrooge out of his life of being a scrooge.

And Donahue’s transformation is very real. We’re all used to a claw-handed and clench-jawed Scrooge from film after film. And we know the change to come—to that of a heel-clicking distributor of charity and cheer. But seeing it happen right there, before our eyes, was as magical an effect as any of the magic on display. A real Christmas miracle.

Now, I have no clue if transforming a Scrooge-like audience was Thebus’ intent (or Dickens’), although I’m sure that’s what both were aiming for. But just like the Victorians who Dickens was addressing, our world today could use some hope and some cheer. And just as Donahue’s Scrooge did onstage, I found myself leaving the Goodman Theatre a little more hopeful and a little more cheerful. I have no idea if you’ll experience the same transformation as I did, but I can promise you that this production of A Christmas Carol, at the Goodman Theatre from now through December 30, will at the very least entertain you and warm your heart this holiday season.

"Stokely: The Unfinished Revolution" a world premiere written by Nambi E. Kelley and directed by Tasia A. Jones, ambitiously attempts to capture the essence of civil rights icon Stokely Carmichael in a mere 90-minute play. The title, hinting at a deep dive into Carmichael's revolutionary ideologies, might mislead audiences expecting a detailed exploration of his political maneuvers. Instead, the play serves more as a biographical sketch, intricately weaving his personal and public life, spotlighting his relationships and the internal and external battles he faced.

The enormity of condensing Carmichael's life into such a brief performance is a challenge that Nambi E. Kelley undertakes with both reverence and creativity. Kelley is no stranger to tackling monumental projects; her play "Native Son," based on Richard Wright's 400+ page book, is currently receiving a formidable production at Lifeline Theatre. In "Stokely: The Unfinished Revolution," the narrative framework is structured around Carmichael's awareness of his impending death, prompting him to reflect on his life and legacy. This introspective journey provides a poignant lens through which the audience views Carmichael not just as a historical figure but as a man grappling with his mortality and the weight of his contributions to the civil rights movement.

While Tasia A. Jones has made quite a name for herself in Chicago theaters, this production marks her directorial debut at Court Theatre. Jones's direction shines with emotional depth, sharp focus, and a remarkable ability to elicit compelling performances from her actors. She adeptly handles a challenging script, showcasing her exceptional directorial skills. The ensemble's stellar performance is a testament to her distinct and impactful style.

Anthony Irons delivers a compelling performance as Stokely Carmichael. His portrayal captures the charismatic and fiery spirit of Carmichael, while also delving into his vulnerabilities and moments of introspection. Irons manages to convey the depth of Carmichael's character, balancing his revolutionary zeal with the emotional complexities of his personal relationships.

Melanie Brezill stands out with her portrayal of Tante Elaine, Stokely’s aunt, as well as Miriam Makeba and other influential women from the civil rights era. Brezill's performance is marked by a powerful presence and a keen sense of empathy, bringing to life the experiences and struggles of these women. Her versatility and emotional range make her scenes particularly memorable, adding depth and resonance to the play.

Dee Dee Batteast is versatile in her roles, including Cecilia Carmichael, Stokely’s grandmother, and other characters. She adds layers of historical and emotional context to the narrative, seamlessly transitioning between different personas. Her ability to inhabit multiple characters with distinct voices and mannerisms enriches the storytelling and provides a broader perspective on Carmichael's life.

Kelvin Roston Jr. is reliably excellent in his multiple roles, including Adolphus Carmichael, Stokely’s father, and significant figures like Martin Luther King Jr and James Baldwin. Rolston’s ability to embody such diverse and iconic characters with authenticity and gravitas anchors the play, providing continuity and a sense of historical significance.

Wandachristine, playing May Charles, Carmichael’s mother, offers a nuanced performance that highlights the familial tensions and deep love that defined their relationship. Her interactions with Irons are charged with emotion, revealing the often-complicated dynamics between a mother and her son, particularly when that son is a prominent figure in a tumultuous era.

The fluidity of the play’s structure is mirrored in its set design. Yeaji Kim’s creation of a massive chest of drawers, filled with books and papers, serves as a dynamic backdrop. This design not only symbolizes the vast repository of knowledge and history that Carmichael sought to preserve but also facilitates quick transitions between different times and places. The set is both functional and metaphorical, enhancing the thematic elements of legacy and memory.  The main set piece transforms in a surprising and unexpected manner I won't reveal here, preserving the thrill of discovery.

Daphne Agosin's lighting design and Willow James's sound design work in harmony to create a vivid sense of time and place. The lighting shifts subtly yet effectively, guiding the audience through various moments in Carmichael's life. Meanwhile, the sound design incorporates period-specific music and ambient sounds, grounding the narrative in its historical context and enhancing the emotional impact of the scenes.

Kelley’s script is a deft blend of personal reflection and historical narrative. The dialogue is sharp and evocative, capturing the essence of Carmichael's rhetoric while also revealing his personal struggles. The tension between Carmichael and his mother is a central theme, adding a deeply human dimension to the story. This relationship is portrayed with honesty and sensitivity, illustrating how personal bonds can influence and complicate one's public mission.

"Stokely: The Unfinished Revolution" succeeds in presenting a multifaceted portrait of Stokely Carmichael. The production humanizes him by portraying his strengths, flaws, public triumphs, and private tribulations. While the play might not satisfy those seeking an exhaustive examination of Carmichael's revolutionary strategies — I would have loved to have seen the transformation from Stokely Carmichael to Kwame Ture—it offers a rich, intimate glimpse into his life and legacy.

In capturing the essence of a man who was both a pivotal figure in the civil rights movement and a son, "Stokely: The Unfinished Revolution" provides a powerful theatrical experience. It serves as a reminder of Carmichael's enduring impact and the personal sacrifices that underpin the fight for social justice. The performances, direction, and design elements coalesce to create a compelling and thought-provoking tribute to a man whose revolution, indeed, remains unfinished.

Highly Recommended

When: Through June 16

Where: Court Theatre, 5535 S. Ellis Ave.

Tickets: $23.50 - $69.50

Info: CourtTheatre.org

Run time: 90 minutes, no intermission