Displaying items by tag: theatre

Why do we learn about history?

This question has been asked for ages and is often met with the response: So that history does not repeat itself. When it comes to plays about history, that question is often met with some version of the same answer. We witness historical events in a live, theatrical setting so that among other things, we can learn to do better.

Playwright Anna Deavere Smith invites us to consider that question, but adds another layer: How are we meant to learn about our mistakes in history if we do not first get to know the people involved? As with many of her other plays, Notes from the Field is documentary theatre, and comprised of verbatim dialogue pulled from more than 250 accounts from students, faculty, prisoners, activists, politicians, and victims’ families. Smith conducted these interviews during President Barack Obama’s term, and while this may not quite be present day, the subject matter is certainly contemporary. Over the course of the play, we meet 19 individuals – all fighting to overcome and change America’s educational and criminal justice systems – especially with the tendency to focus on incarceration.

The catch? This play does not feature 19 actors, but rather three women – Mildred Marie Langford, Shariba Rivers, and Adhana Reid. Skillfully directed by Mikael Burke, the transitions between characters feel seamless, and every individual whom one of these actors embodies feels distinct and specific. While Smith brings humor into the script, many of the stories reveal heartbreaking memories, and the three actors fill each of these moments with an authentic balance of compassion and anger.

And so, we return to this question: How are we meant to learn about our mistakes in history if we do not first get to know the people involved?

One of the many individuals whom Langford embodied in this performance was Denise Dodson, an inmate who detailed what she learned from prison. Scenic Designer Eleanor Kahn has left the space fairly minimal – allowing the text to do its work as we hear each individual’s story. Langford is alone on a chair, and Lighting Designer Eric Watkins fills the space with just enough light to cast a large shadow behind her. Nothing is hidden as Dodson reflects with the audience on how education could have given her (and many young people like her) a different path. She explains:

“They have to see’em as people. They have to see them as the future. They have to see them as people who are gonna go out and be their next-door neighbors… ‘Cause they’re… at that stage where they absorb everything. And if they not absorbing all the right things, then… yeah. That’s… barbaric.”

Smith creates an opportunity for us as an audience to learn from a first-hand account how this country’s system has failed so many young people. We have created a system that forces them to so many to see themselves in a specific way. Langford’s matter-of-fact approach to the material is at times hard to hear. However, based on the silence surrounding me at this performance, it’s clear that I was not the only one hooked on every word, listening to this personal story unfold.

Dodson shares a warning. A desire for us as a country to offer stronger support for young people so we can change this school-to-prison pipeline. In the process, you may also notice that Smith is succeeding at something else. It’s one thing to write a story about incarceration and the failings of the education system. It’s another to look a human in the eye and hear their story – their personal account of how their life could have been different, a plea that we listen. Smith’s approach brings light to 19 of these accounts that may never have been heard otherwise – of “broken people’ as she puts it in her play. You may just find that this hits a little different. That Smith invites empathy in a different way. Maybe this approach can lead to the change that we as a country so desperately need.

Powerful performances and a hard-hitting script make this play an experience to remember. To put it simply, Notes from the Field is a must-see.

HIGHLY RECOMMENDED

Running through March 24, 2024 at Timeline Theatre – 615 W. Wellington Avenue.

I thoroughly enjoyed this modern and timely play on both the issues of Hollywood stars whose lives are constantly scrutinized by complete strangers and how easily it is for any person now to be fed false information online in ways that can affect their lives either positively or negatively regardless of the intentions of the sender. Highway Patrol is being performed at Goodman Theatre’s Albert Stage and is funny, haunting, and engaging through and through. 

Dana Delaney, who plays herself, is best known for her roles in the TV series China Beach and the hit film Tombstone, and she looks and sounds fantastic. I have always liked her plucky, no-nonsense energy as an actress, and in this true-life story of her work life and internet/social media interactions the audience gets a very accurate glimpse of how lonely a life in the arts can be and also how badly many actors are treated by the industry at the expense of their physical and mental health.

I don't want to give away any spoilers because half the fun of this show is the whodunnit twists and turns her life took back in 2012 that continued for several years, sometimes dominating her private life at all hours... 24/7. The story begins when the actress decides to interact directly with one fan on social media, Cam. Thomas Murphy Molony is a very talented young actor who makes you feel deeply for Cam, a young Twitter fan who is suffering from a chronic and terminal illness, a recipient of two heart transplants who is innocently and adoringly in love with Delaney. While Cam enjoys his conversations with Delaney, his grandmother often provides updates regarding the boy’s health and upcoming procedures to keep her in the loop. Dot-Marie Jones, who takes on the role of Cam’s caretaker, Nan, is a very gifted character actress best known for her work on Glee and Desperate Housewives. Jones really displays her versatile acting range playing such a multifaceted character and does so beautifully with depth and complexity. 

Peter Gallagher’s highly recognizable voice is also strategically used in this production as he plays the true-life friend and confidant of Delaney’s that he has been throughout most of her career. The recognizability of his voice in this show gives real weight to the fact that a human voice is like a fingerprint and gives much more honest information and clarity as to whom we are communicating over the voices we imagine in our minds when reading our own DM's or emails.

Director Mike Donahue does a great job staging the show into two compelling acts and theatre goers should arrive early to see Dana Delaney in character on stage prior to the start of the play. Having Delaney onstage beforehand is a very interesting choice and sets the tone of the play, acknowledging that most people, fans or not, are fascinated by seeing stars in person that they have "known" for decades.

I enjoyed Dane Laffrey’s set design and Yee Eun Nam’s projection designs so much! The colorful and quick changing sets along with large high-definition projections not only help the audience follow along with the digital clues based on the digital archives of actor Dana Delaney (with text curation from playwright Jen Silverman), but they also combine to form beautiful and realistic backdrops depicting the glamorous luxury, palm trees, sunshine, and sometimes loneliness of Delaney’s Los Angeles home and also her work life on set. 

The most fascinating thing I took away from this very enjoyable piece of theatre was not about the necessity of verifying and protecting oneself from the many digital communications we all send and receive every day. What struck me rather was the idea presented to the audience that sometimes we as isolated humans living in this new frontier of instantaneous digital communication, including celebrities who appear to "have it all", can possibly grow to miss fictional love messages and reassurances of digital communication even after discovering their true source. 

Dana Delaney is absolutely outstanding in this production, as is the entire cast. I highly recommend this funny, touching, yet haunting, modern play. 

Highway Patrol is being performed at Goodman Theatre though February 18^th. For tickets and/or more information visit www.goodmantheatre.org.

On any given day, when I walk out my front door, I’d see a quiet suburban street. Most families stay within their, rarely venturing out unless the temperature is a cool-but-warm 70 degrees, content with their healthy skepticism of their neighbors, keeping to surface level ‘how-do-you dos’ or ‘how-is-the-family?’ There’s not a sense of engagement let alone community.  The concept of community is an abstract one but something that people crave, something they need in their lives. But what makes a community?The places?The familiarity or the routine? The melding of business and residential living? Or is it the people? These are the questions that come up when viewing the exceptional Broadway National Tour of Lin Manuel-Miranda’s In The Heights, now playing at Marriot Theatre.

In The Heights takes place on a hot and sweaty day in the summer of 2008 in Washington Heights, New York City. On a corner bodega, Usnavi de la Vega, welcomes us to his neighborhood and introduces us to his community. We meet Abuela Claudia, the neighborhood’s resident matriarch and grandmother who raised Usnavi, and Sonny, Usnavi’s cousin, Daniela and Carla, local salon owners, Kevin and Camila Rosario, who manage a cab service, and Vanessa, Usnavi’s crush who wants out of the barrio, the Rosario’s daughter Nina who is returning home from Stanford with a secret, and runs into Benny, his father’s employee at the cab service. As the community moves about their day, we see the struggles and challenges each person faces in and out of the barrio; feeling unwelcome, discriminated against, cut down, undervalued. Amidst their own personal crises, the neighborhood itself is under attack from gentrification, businesses being bought out for cheap by big realestate investors, eager to remove teh culture and heart of the neighborhood. As the heat rises, passions and tempers flare, and the barrio goes dark, a once in a lifetime occurence changes the trajectory of the neightbod, uniting them in ways that allow them to move forward together towards a bright future. 

The Marriot Theatre continues to produce incredible shows each season and finds exceptional local talent that rivals any NYC Broadway cast. There was not a single member of the ensemble cast of In The Heights that was not talented beyond measure, their energy and vibrancy pulling you in and bringing you along for the entirety of the 2 hr and 20 min run time. Start with the captivating Joseph Morales as our narrator, Usnavi with Paola V. Hernández spicy and vulnerable Vanessa, add in the singing talents of Yasir Muhammad and Addie Morales as the young lovers, Benny and Nina, mix in the humor of  Jordan Arredondo as Benny with the heart of Crissy Guerrero’s  Abuela Claudia, and finally throw in smooth-as-honey vocals from Lillian Castillo, Andres J DeLeon and the sexy and rhythmic dance moves of Wesley J Barnes and Kiana Rodriguez and you have an ensemble case ready to step onto Broadway and sweep the Tony’s. The cast was energtic, fun, passionate, and heartfelt, and truly made the audience long to be part of such a community.  In The Heights features a live orchestra secretly nestled within the 360 degree theatre. The immersive stage allows the audience to feel like they are a member of the cast, every angle and corner utilized to portray the NYC neighborhood. The lighting, the music, the staging, everything was en pointe for this production of In The Heights. Chicago theatre lovers will be remiss to not see such a whirlwind portrayal of what is sure to be a play with lasting staying power. 

The portrayal of community within the play is one of shared struggles and successes. When Nina returns home from Stanford, feeling like she has lost her way, her community reminds her of her talent and prowess. Nina herself is reminded of not only where she comes from, but where her parents came from to build a foundation to give her a better life. She’s able to refocus and ground herself, and find her way again. After Usnavi’s bodega is looted, Sonny enlists the help of Graffiti Pete, played by Phillip Wood, to symbolize home and community on the bodega’s gate, signifying to Usnavi where his heart has been all along, right there in the barrio with his chosen family. Director James Vásquez says it best, “with the help of Lin Manuel Miranda’s brilliant and specific score, which has changed the idea of what musical theatre can be, we zoom in to get a closer look at one particular community. They fight to remember who they are where they come from, but also look to the future and dream of who they can become.” If a neighborhood is a body, the bodega would be the head, but the people would be the heart, and that is the true essence of In The Heights. Community is about what you make it to be, and who makes up that heart.

Though my community isn’t nearly as engaging or centric as the one portrayed in In The Heights, I walked away from Marriot Theatre feeling light, hopeful, and a part of a larger community than just what makes up my cul-du-sac. The Chicago Theatre community is supportive, vibrant, and diverse. They lift each other up and come together to experience real, authentic voices. The community is welcoming and fun and one that draws me back in every time. Not every community is made up of a corner store or city block, or even a quiet tree-lined street in greater Chicagoland. There are thousands of communities to discover in Chicagoland and beyond. Whatever makes up your community, I hope it is filled with love, hope, happiness, and has a soundtrack that Lin Manuel Miranda himself would be envious of. 

In The Heights runs through March 17th at The Marriot Theatre at 10 Marriott Dr, Lincolnshire. Tickets are available at www.marriottheatre.com.

For three decades, STOMP has captivated crowds with its dynamic percussion beats and mesmerizing performers. The sensational stage show is presently on a National Tour across the United States and has made a stop at Chicago’s Broadway Playhouse! By seamlessly combining dance and performance with music generated from ordinary found items like matchboxes, brooms, garbage cans, plastic barrels, and even the kitchen sink, STOMP offers a truly unique and unforgettable experience that you absolutely shouldn't overlook.

Buzz Center Stage had the unique opportunity to interview John Gavin, a long-time member of the STOMP cast. He holds a Bachelor of Music Education from the University of Central Florida and a master’s degree in music from New York University. He has been with STOMP since 2017.

Drummer/percussionist John Gavin stars in STOMP now being performed at Broadway Playhouse.

John, thank you for agreeing to this interview. How did you get involved in STOMP?

Sure. I took an audition for STOMP in 2017 in New York. I had recently moved to New York the year before to start grad school at New York University. Halfway through the year my professor sent out an email to the percussion studio saying the producers were holding auditions at the theater, and strongly encouraged the percussion studio to audition. I knew a performer who had previously been part of the show, and thanks to the NYU network, I managed to connect with them. They shared insights about the show, highlighted key aspects to focus on during the audition, and provided some helpful pointers. Despite the guidance, I had to put in the effort, attend the audition, and showcase my abilities. The support from NYU's alumni network and community played a significant role in facilitating the entire process. I auditioned and progressed through multiple rounds of the audition process. They had me work with additional props to see how well I did as well as in different situations with different performers to stretch my ability to adapt and think ahead and retain information. From that audition process, I moved through the rounds and got offered a rehearsal contract where I was taught the show by rote and learned piece by piece from the training cast. They taught me the parts of the show and I learned my role while still getting evaluated. This happens before you get put into a show.

You're finally put into a show after weeks and months from the very first audition. It takes a long time to get it into your body and learn the choreography and learn the music. If you're lucky enough to have made it that far, you'll keep developing your show and keep honing your craft. And I've been doing that since 2017, still learning new roles and learning new characters, still having just as much fun as the first day I picked up a broom.

So, the show evolves on a regular basis?

That's the thing. It will start with an idea. They will start an idea with a prop or an object, and how can we make sound out of this? Where is the sound? And then from that sound, how can we elaborate on it? How can we change it? How can we make it more interesting? What are other ways we can play it or flip it or spin it, or exhaust all the sound capabilities and visual capabilities of that object into the show? And that's what keeps people engaged. If they're longtime fans of the show, if they see it again, they'll see these new props. We have two new numbers since the last time we were in Chicago. Even the old numbers are always getting edited if a new performer comes in and maybe puts their own spin on it.  That's how the show has new life and every generation that comes in, every new cast will have their own background and have their own experiences that they will put into the show as well. And that keeps it fresh.

Great. The show seems very energetic. A lot of energy is expended on stage. Do you have any kind of workout regime to keep your energy up?

We put a lot of emotion and passion into the show because first and foremost. We have a lot of fun with it. We really love our jobs. We really love bringing this kind of art form to the people of Chicago, to the people of the United States, Canada and Mexico. As soon as I get on stage or as soon as the lights come up, or as soon as I hear the music, I can't explain it, but it still gives me energy.

These same rhythms I've been hearing for years that I've been playing for years are just as exciting as the first time I heard them.

For me and other performers going to the gym, lifting weights, running, a lot of stretching, and yoga or maybe Pilates helps the body move more naturally and ergonomically in the show. I like to go to the gym at whatever hotel we're staying at and lift weights. Nothing too extreme of course, but something to allow me to build up a little bit of strength and stamina and endurance so that when I get into the show, my body is not totally exhausted. I still always want to have a little gas in the tank for the very end of the show. It builds and climaxes in this big number that I still must have something to give. Musically, I'm always practicing. I always travel with my drumsticks and drum pad.  I have a bunch of books with different exercises, and I play with the metronome. I'm always working my hands.

That's always a part of my routine, it keeps me focused and interested and always trying to develop new things, like I'm going to try a new stick trick tonight, or I'm going to try playing a different solo. Keeping it interesting for us as a performer also makes it feel fresh.

Tell me, who are some of the people you look up to, the people that molded you?

For sure. Well, first and foremost, I've always had a great family. I was blessed with two loving parents and an amazing sister who always instilled love in my life and made the world feel so accepting, loving and fun. Even with my extended family, my aunts and uncles, I'm very close with my cousins. I still have a grandmother and I love every moment that I get to share with her. The foundation I had growing up with allowed me to go at life without really being afraid of anything because I knew I had their love and support no matter what.

From there, I've been blessed with some amazing educational opportunities. I've had some great teachers in my day from English class, even to math class, music and band. I had some great professors in college that really expanded my mind and repertoire and abilities and really pushed me in the right way.  I attribute all the knowledge I have to any teacher that was patient enough with me and was able to give me a chance to see my potential. Having a good teacher is pivotal or having a good mentor as we grow up is important for young people. My cast, I feel very lucky to be working with them. It doesn't feel like work. It feels like fun because they're laughing and we're having a good time with each other. We're playing off each other's choices on stage, and it really feels like a family and a community.

How long is this tour and how do you manage being on tour for so long?

Sure. Oh, I'd also like to say I have a wife. I got married last year. I have an amazing support system in my wife that also answers this next question. Her love and acceptance for what I do and her patience with my career is also extremely pivotal and important in my life to give me that backbone and give me that foundation. We started the tour in October, and we're going until the middle of June. This is long as far as STOMP tours go in North America, hitting various cities, both big and small from both coasts, a couple of cities in Canada as well, we're really looking forward to being with our northern neighbors.

We'll have what we call layoffs. So, for example, after this run here in Chicago, we're all being sent back home to our point of origin, which is different for each cast member. Some of us are from New York City, like me, some are from San Diego, some are from Fort Lauderdale, some are from North Carolina... At home, different people will do different things. Some people will take a break to rest their mind and body. Some of us might pick up some temp work. I like to teach and spend time in classrooms on my time off. Some people will practice or can continue to network during those times off. And it's typically about a week or two weeks, and it's a great time to kind of connect with loved ones and allow yourself to heal and freshen up and get a lot of errands and chores done.

It can be hard. Traveling is tough on the body. Air travel can be stressful nowadays. We are often on the bus for a long time if the cities are a far distance. In a lot of cramped quarters, making sure that you don't lose anything. You're bringing a lot of your valuables with you, passports, laptops, these things can get lost or stolen. That all adds to the stress of tour life and it's on you. Even though we're traveling as a company, and a company does a great job at taking care of that, you still must navigate a new city. You must be safe and thoughtful about your surroundings. During those layoffs, it is nice to reset and take a breath for yourself before you go out for maybe another six or eight weeks or however long it is.

Sounds interesting.

But it's an adventure too. It's an adventure, which makes it fun and gives life, because we all know it's not forever. We can't do this until we retire. There's no way. It's too hard on the body. So, all of us are very grateful, myself included, for these opportunities, for these moments and connections. We’re really looking forward to our time here in Chicago.

You mentioned something I find interesting, what do you plan on doing after STOMP?

Great question. Yeah, so I still have a lot of dreams and music and goals within music. I still have a whole career ahead of me in terms of performing arts. On the other side of that, I'm really interested in teaching. I have a degree in education. I think education is very important in our society and in daily life, and I have a great respect for it and admiration for great teachers and the work they do. So, I would also like to be a part of that, and hopefully one day have my own classroom and have my own private studio and have my own set of students that I can shape and mold and impact in a positive way for them to go and take something in their life and make something special on their own. That's another project that's down the road, but what I'm hoping to continue after STOMP.

That's beautiful, John. Thank you so much. Have a wonderful tour. Happy holidays to you, your family, and your friends.

Don't miss STOMP!

When: Through Dec 31, 2023

Where: Broadway Playhouse at Water Tower Place

Running time: 1 hour 45 minutes – no intermission

Tickets: $35-$80                    

https://www.broadwayinchicago.com/shows/stomp/

As someone who has seen Tchaikovsky’s timeless holiday classic, The Nutcracker, performed many times over, I wasn’t quite sure what to expect last night at the Cadillac Palace’s presentation of The Hip Hop Nutcracker.

But after experiencing the grandeur and soaring beauty of Tchaikovsky’s magical musical tale of a young girl and her Nutcracker prince reimagined as a modern-day love story set in a gritty urban backdrop and performed by a very talented and athletic ensemble of hip hop dancers, I was completely sold.

Yes, there still is Maria-Clara and her Nutcracker prince, the Mouse King and his gang, and the mysterious Drosselmeyer cast as a magical toymaker, but under the skillful direction and choreography of Tony and Olivier Award-nominated Jennifer Weber, Tchaikovsky’s Nutcracker is completely turned on its head – figuratively, and to be honest, literally.

Rather than the breathtaking leaps and twirls of ballet dancers, the audience was riveted by the gravity-defying breakdancing moves with performers springing from one-handed handstands to another and then spinning on their heads. The choreography was so cleverly intertwined with Tchaikovsky’s familiar orchestration that you could almost imagine that he actually intended his famous opus for hip hop.

The tone of the evening was set by special guest MC Kurtis Blow, one of hip hop’s founding fathers, with a brief homage to this genre’s 50^th anniversary. Along with DJ Boo, a New York-based performance DJ, Blow masterfully invited the audience to sing and dance along as he moved through a mix of hip hop classics through the years. The audience loved it.

In this retelling, Maria-Clara (Halima Dodo) is upset by her parents’ constant bickering during the annual uptown holiday street party. Drosselmeyer (Tumelo “Melo” Khupe) appears, bringing magical toys to the party and introducing Maria-Clara to a street vendor (Anthony “Omen” Cabrera) selling roasted nuts, appropriately called the Nutcracker. The party breaks up, and while Maria-Clara is on her way home, she runs into the menacing Mouse Crew. Aided by a pair of magical red sneakers hanging on a lamp pole, the Nutcracker springs to her defense and the two enjoy winter’s first snowfall.

Drosselmeyer returns to magically take Maria-Clara and her Nutcracker back in time to the Land of Sweets nightclub, where the couple witness the New Year’s Eve revelers showing off the dance styles of that time. It’s then that Maria-Clara realizes that she is witnessing the night when her parents first met and fell in love. She is overcome by their love, and when they return to present day, Maria-Clara and the Nutcracker – with a bit more magic – help her parents reconcile.

The story is brought to life not only through the performers’ incredible hip hop dancing and choreography, but also by their amazing acting ability. Through their gestures and facial expressions, the ensemble brought the audience along into the story.

For me, one of the evening’s highlights was the powerhouse violinist Marissa Licata, who introduces the familiar opening strains of The Nutcracker and then appears strategically throughout the performance to move the musical narrative forward. A star soloist, she has appeared with the likes of Alicia Keys, Ben Harper, Jethro Tull, H.E.R., Ringo Starr, and Gloria Estefan, to name a few.

The set design was minimal, but skillfully done with a huge video cast on the stage’s backdrop. We’re taken right into the street scene, walk into Drosselmeyer’s toy store, and then cast back into time appropriately via a time-traveling subway, all through the magic of video. At first, the scenes and costuming are all cast in shades of black and white with only Drosselmeyer’s magical touch in red. But when we go back in time, the past comes to life in a spray of colors.

The Hip Hop Nutcracker is only at the Cadillac Palace for a limited engagement through Dec. 17, but tickets are still available. For families and children of all ages, this is a wonderful introduction to The Nutcracker, and even for those well acquainted with this holiday tradition, The Hip Hop Nutcracker is an imaginative and exuberant retelling of this classic worth seeing.

As MC Blow told the audience, “I’m sure Mr. Tchaikovsky would enjoy this performance.” I quite agree. 

Going through the doors of the Rhapsody Theater on Morse Avenue is like stepping through a time portal. The 1919 theater was gorgeously renovated last year from a wedding and events venue back to the stunning theatre it was meant to be. There is a large dark mahogany bar serving specialty drinks appropriately named for the show you are about to witness. Drinks with names like Digital Elixir, Amazed & Confused, and Sleight of Spice are a tip-off to the feats of magic you are about to witness. You are guided through a door to a theatre with cabaret style seating.  There are mahogany tables and chairs situated around a large stage.

This magic show is like nothing you’ve ever seen while being very familiar. It is aptly named “Amaze”, but you will be so much more than amazed. “Amaze” is the brainchild of magician Jamie Allan. With a name like Jamie Allan, you just know he’s English, born in 1977 in the United Kingdom. The performance showcased the talents of a modern magician who skillfully married the charm of classic magic with the wonders of the digital age. During the show we learn Jamie’s childhood hero is the late Steve Jobs, co-founder of Apple. This is not your standard magic show.

From the moment the lights come up, the audience is transported into a realm where the old and the new coexist in perfect harmony. The magician began with classic card tricks captivating the audience with expert sleight of hand that harkened back to the golden era of magic. The execution of these timeless tricks was flawless, demonstrating the magician's mastery of the fundamentals.

What set this show apart, however, was the seamless integration of modern technology. Throughout the performance, the stage came alive with dazzling visual effects. The combination of traditional magic and state-of-the-art technology created an immersive experience that left the audience in awe.

One standout moment involved magician Allan asking everyone in the audience to take out their cell phones. I am sworn to secrecy, but this innovative use of technology not only added a layer of astonishment but also engaged the audience in a way that traditional magic alone might not achieve.

The lighting and music complemented the magic show, creating an atmosphere that enhanced the overall sense of wonder. The synchronized play between the magician's movements and the technological elements showcased a meticulous attention to detail in both performance and production.

Jamie’s charismatic stage presence and engaging storytelling further enriched the experience. The show was not just a series of tricks but a narrative journey through his childhood.

"AMAZE" succeeded in delivering a magical experience that appealed to both traditionalists and tech enthusiasts. It showcased the enduring charm of classic magic while demonstrating the limitless possibilities that technology brings to the art form. This captivating blend of tradition and innovation left the audience with a sense of wonder that lingered long after.

Top of Form

When: Through Jan 7, 2024

Where: Rhapsody Theater 1328 W. Morse Avenue

Running time: 2 hours –1 15 intermission

Tickets: $35-$100 at 888-495-9001 and This email address is being protected from spambots. You need JavaScript enabled to view it..

I've been a devoted fan of David Cerda's Hell in a Handbag Productions for so many of the 23 years they have been in Chicago, and I still get the same great feelings whenever I attend one of their award-winning camp comedy/musical shows.

Having grown up in Miami, Florida with my Golden Girl mom, Joanne, during the years in which the TV show was on the air I have a special affinity for all of their Golden Girls adaptations, especially the Christmas Editions. 

The plotline for The Golden Girls Save Christmas - A Lost Parody Episode at Center on Halsted involves a very sexy Blanche who boffs old Saint Nick until his back gives out and the whole gang has to band together to save Christmas. This show is just a nonstop funny reminder that holidays are for loving up your family, friends, and lovers like any other Holiday. 

This year's Christmas production directed by Frankie Leo Bennett features original cast members David Cerda as Dorothy, Grant Drager as Blanche, Ed Jones as Rose, and Ryan Oates as Sophia as the fearsome geriatric foursome - and they are as spot on as ever in their expert renditions of all four great actresses in the TV show. The fantastic performances from these four original cast members are reason enough for me to keep returning year after year for all of the Golden Girls Handbag shows. 

With the leads taking on the famous TV roles - Cerda as Bea Arthur’s Dorothy the dry, cool anchor of comedy, Drager as the flirtatious unabashedly insatiable Blanche, played by so well by Rue Mclanahan and Ed Jones as the naive, scene stealer as Betty White’s Rose, the Handbag company goes way beyond parody and even beyond camp into a realm of musical theatre genius. This talented cast is compelling and endearing to watch as one feels that you are at times witnessing a live theatrical performance from these three grand dames of comedy!

There are fantastic cameos and lots of big laughs and songs coming from the supporting cast this year from Eustace Allen, Kelly Bolton, Terry McCarthy, Michael Rashid, Scott Sawa, Tyler Anthony Smith, Danne W. Taylor, and Robert Williams.

Hell in a Handbag Golden Girls shows always begin with the whole audience singing the theme song, "Thank you for being a friend," which perfectly sets up the audience for an evening of lighthearted, sentimental, yet bawdy, good adult fun. 

If you are one of those people who delight in period costumes from the 80's you will LOVE all of the fantastic hair makeup and costumes and shoes in this show. The production team includes Madeline Felauer (Costume Design), Liz Syd Genco (Make-Up Design) and Keith Ryan (Wig Designer). 

Hell in a Handbag Productions’ The Golden Girls Save Xmas also has a generous intermission for drinking and catching up with your friends that begins and ends with terrific full cast song and dance numbers like the great tune “You Can't Stop Christmas! It's Coming!”, so you feel you've gotten a nice full night out of socializing and entertainment!  

Be sure to pose for a picture with the fully costumed cast of stars after the show and your donation will be given to AIDS-related charities. Also, mark your calendars for Peep Show, the team’s yearly fundraiser on December 10^th at Center on Halsted to support Hell in A Handbag Productions, a Chicago classic camp favorite theater company that keeps on creating compassionate, funny, camp extravaganzas with live singers - not impersonators - who maintain the highest level of comedic expertise! For more information on Peep Show, click here.

The world premeire The Golden Girls Save Xmas - A Lost Parody Episode by Artistic Director David Cerda is being performed at Center on Halsted’s The Hoover-Leppen Theatre through December 30^th. Tickets are just $42 if purchased in advance and $45 at the door, and $36 for group rates of 10 or more. For tickets and/or more show information, visit www.handbagproductions.org.    

Highly recommended!

After stuffing myself with a fat plate of Thanksgiving leftovers, I made my way over to Theater Wit for the Who’s Holiday! opening show. The show kicks off with a grand entrance of a much older Cindy Lou Who in a dinky trailer home. Cindy gets comfortable with the crowd and even offers a famous Chicago drink as she takes you back in time. She retells the childhood story of her and the Grinch, and also shares the untold stories of her adult life with R-rated commentary and endless rhyme.

After her introduction and drinks are poured, Cindy shares her plans for hosting a Christmas party that evening with some famous Dr. Seuss friends. As her friends flake out on her party, she takes you back in time with her life’s stories. Cindy’s monologue carries you beyond her childhood as you journey through her memories of her bizarre relationship with the Grinch, her struggles with her family, and her adjustment to a not-so cheery lifestyle. Her life story takes a turn for the worst when cops are called, and she finds herself behind bars. Something none of our inner-child selves could have imagined.

Who’s Holiday! directed by Christopher Pazdernik is now in its third outing and continues to draw in large crowds. The comedy by Matthew Lombardo is bawdy and full of holiday and Grinch themed references. Many people in the crowd were filled with laughter and enjoyed the twists and turns of Cindy’s life story.

The show has just one actress, Veronica Garza who plays the 40-year-old Cindy Lou Who. Garza does an outstanding job playing Cindy and never misses a beat. She is captivating, hilarious and has fun engaging with the crowd. She brings the character to life with unclassy mannerisms and a trailer park twang in her speech. She captures her emotions as they rollercoaster through eagerness, sadness, and Christmas cheer. Trailer park Cindy feels like your long lost childhood friend, someone you can totally let loose with.

Despite having a rough life and a few more years under her belt, Cindy still has amazing hair. The wig, makeup and costume design were all on point. Her blonde hair is fabulous and is pinned up with Christmas colored bows that match her red dress. She also has beautiful makeup that aligned with the holiday theme. Not to mention the eye-catching sparkly Crocs and ruffled white ankle socks.

The first thing I noticed when entering the theater was the decked-out trailer home covered in Christmas decor. It looked like an old 70s shack on wheels with red, green, and white accents along with twinkling lights and tinsel garland. The set was perfect for the show. It was cozy and gave an intimate look into Cindy’s trailer park life.

Something that totally shocked me was the music. A Christmas show isn’t complete without a few Christmas songs, and I have to say this Cindy Lou Who delivered. In one of her songs, she breaks out into a hilarious rap about her parents’ disapproval of their “Green Son-in-Law”. It was an impressive performance with a smooth holiday flow. Later on, Cindy wowed the crowd with a beautiful performance of a sad song of her past traumas. After each song she sang, the crowd filled the air with clapping, cheering, and even snapping.

Following this show, I will probably never look at The Grinch Story the same. However, I did enjoy a good laugh and holiday cheer. If you’re looking for some raunchy comedy, a Christmas-themed cocktail and love the Grinch, I recommend checking out Who’s Holiday. Just make sure to leave the kids at home. The show is playing at Theater Wit located in the Lakeview Neighborhood at 1229 W Belmont Ave. Showtimes continue from November 25-December 30th, at 7 p.m. The show runs for about 60 minutes with no intermission. Tickets are $39-$48. Purchase tickets at theaterwit.org or call the Theater Wit box office, (773) 975-8150.

The witch is back, Jen Silverman’s ‘Witch’ that is. Since first being commissioned by Writer’s Theatre back in 2018, Jen Silverman’s take on Jacobean theatre has become a somewhat popular selection for regional theaters. The Artistic Home Ensemble brings this play back to Chicago in a revival directed by Devon Carson going on now at The Den.

What continues to be striking about this play is its exploration of hopelessness. ‘Witch’ is about an ostracized woman living in the 1600s who the townspeople have decided (without basis) is a witch. Her miserably lonely life is spiced up when the devil himself comes to town and begins meddling in the lives of the villagers. Some are more easily tempted than others, but the supposed witch, Elizabeth Sawyer (Kristin Collins), is harder for the devil to convince. Besides, what can anyone offer someone who has lost hope for a better future?

The devil played with fiendish fun by Julian Hester finds himself enamored with skeptical Elizabeth Sawyer who is also drawn to him. They spend long nights discussing their world views and within their conversations, Jen Silverman peppers in some humorous, but unsettling monologs about the human condition. Kristin Collins as Elizabeth has a great way of shifting between comedic relief and heart-rending vulnerability. Her character all the while pleading, “can things ever really get better?”

As the devil and Elizabeth get to know each other, the devil also inserts himself into the lives of the richest family in town. His gentle suggestion sets in motion a bitter rivalry that plays out with classic dramatic irony.

Silverman’s script is wise in its sharp tongue and makes a statement on the general apathy many feel every day. In her version, the devil himself has hopes and dreams, but outcasts like Elizabeth have long lost hope that her neighbors can ever evolve past their pettiness.

Like Arthur Miller’s ‘The Crucible’, this play holds a Puritanical mirror to our own time, but unlike John Proctor, Elizabeth doesn’t have altruistic intentions. She may be the protagonist, but she’s not your standard heroine. Silverman’s point in comparing our two eras is to show that people haven’t gotten any wiser. People are still inherently selfish and highly subject to influence.

‘Witch’ is well-acted and well-styled. For a play with such a dark core, there’s a lot of comedy here and this cast really plays that up. Kristin Collins brings a Molly Shannon quality to the lonely Elizabeth that makes her plight far less depressing than it sounds. Hogan’s chemistry with Julian Hester is fun to watch.

More than anything, this play remains as timeless in 2018 as in 2023, because while some political and societal things have gotten better, some have inevitably gotten worse. There will always be cynics and optimists duking it out and perhaps the easiest place to be is somewhere in the middle.

Through December 3^rd at The Artistic Home Ensemble at The Den. 1331 N Milwaukee. 773-697-3830.

There is an economic theory centered around shoes. The theory, in short, says that one should spend more money on the best pair of boots that will last you ten years, as opposed to buying cheap shoes that will need to be replaced every six months. The latter path inevitably leads to more expenditure but the higher up front cost for the better pair is a barrier to those who cannot afford it. The theory is a perfect commentary on economics, poverty, and accessibility among many other factors, and this very same theory is one of the prevailing themes of one of the newest plays to come to Chicagoland; Kinky Boots.

Based on the 2005 British film Kinky Boots, written by Geoff Deane and Tim Firth and mostly inspired by true events, the musical tells the story of Charlie Price. Having inherited a shoe factory from his father, Charlie forms an unlikely partnership with cabaret performer and drag queen Lola to produce a line of high-heeled boots and save the business. In the process, Charlie and Lola discover that they are not so different after all. Kinky Boots is the big-hearted musical extravaganza that won six Tonys including Best Musical, the Grammy for Best Musical Theatre album and London’s Olivier Award for Best Musical. Kinky Boots features a joyous, Tony-winning score by pop icon Cyndi Lauper, and a hilarious, uplifting book by four-time Tony winner, Harvey Fierstein.

The Highland Park Players performed Kinky Boots amongst the immaculate Loyola Academy McGrath Family Performing Arts Center in Wilmette. This production of Kinky Boots, like a good pair of boots, has an incredibly solid foundation. Headlined by the burgeoning talent of Anania Williams playing Lola, and Ben Frankart as Charlie, the two lead an ensemble cast of shoemakers and drag queens bouncing between London and Southampton. Williams was captivating as the incomparable Lola, bringing the tenderness and vulnerability to the role that demanded attention whenever on stage. Frankart was an endearing and charming Charlie, displaying the tenacity of the character in the wake of his father’s death and rallying to save his people’s jobs. At times the actors fell out of their English accents or delivered a key line or zinger without the right force or timing of delivery though the latter could have been caused due to some technical issues with their mics which also cut in and out on several actors. Despite some earlier issues, as the play progressed, the underlying themes of appreciation, respect of differences, and overcoming obstacles with help and support prevailed. There is real talent in the Highland Park Players ensemble cast, couple that with great set design and staging, and Kinky Boots has all the makings of great production off Broadway in Chicago.

If this Kinky Boots production were a shoe, it would have an incredibly solid foundation and be quite comfortable, and could be worn by many different people, old and young, and have the added benefit of being worn for multiple occasions. With a good scrubbing a bit of polish it will be a performance with lasting stay power. Kinky Boots tickets can be purchased at: www.highlandparkplayers.com. The production runs from August 18-27th