Displaying items by tag: Chay Yew

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 makes a life extraordinary? Is it the chance meetings with celebrities, surviving world war or is it all the love that surrounds us? ‘Lady in Denmark’ by Dael Orlandersmith makes its world premiere at Goodman Theatre under the direction of Victory Gardens’ Artistic Director, Chay Yew.

Orlandersmith is known for her non-traditional approach to theatre but ‘Lady in Denmark’ feels a little more familiar in style and content. Orlandersmith’s work was last seen at the Goodman in the spring when she starred in her one-woman play ‘Until the Flood.’ Her 2007 work ‘Yellowman’ was shortlisted for the Pulitzer. Orlandersmith tends to write single-actor pieces in which storytelling turns into character and dialogue. While the idea of one-woman-play might have some running for the exits, trust that ‘Lady in Denmark’ will hold your attention, and without the 2-drink minimum.

‘Lady in Denmark’ is basically a 90-minute monologue from the point of view of Helene (Linda Gehringer). She’s nearing 80 and cleaning up the birthday party she’d just thrown for her late husband who’d died shortly before. While turning over sides of Billie Holiday records, Helene relates the story of her life. Helene is a fictional character who lived through the privation of the German occupation of Denmark in WWII. The music of Billie Holiday has been the through-line of her life.

Between Orlandersmith’s script and Gehringer’s performance, this play touches on so many things. Linda Gehringer tells the stories of Helene’s life with such magnitude that you nearly feel like you lived the memories yourself. An impressive Danish accent contributes to a real sense of authenticity in this play. You quickly forget that this character is indeed fiction. Gehringer’s incredibly human performance reaches a peak by the end when she tells us about her husband’s illness and death. Orlandersmith includes some nuggets of wisdom on the idea of grief. While we never meet Helene’s husband, we cry for her loss just the same.

Helene tells us how she survived the occupation, managed to host a dinner for Billie Holiday in her home in Denmark but also married the love of her life and created an entire life for herself in America. Some may only think of the time they had a celebrity in their home when they take stock of a life, but Orlandersmith shows us a woman who appreciated every ounce of love in her life. There’s a lot of humor in this play but it’s well balanced with bittersweet ruminations on loss and grief. And of course, a killer soundtrack.

Through November 18th at Goodman Theatre. 170 N Dearborn. 312-443-3811

Lettie, by Boo Killebrew and directed by Chay Yew, is a very finely crafted work, an artfully produced show with sensitive performances that gradually unveil the complicated personalities on stage.

When we meet Lettie, she is in the visitors lounge area of a halfway house somewhere in Chicago, transitioning from her time in prison, working her way through a training program as a welder.

A visitor, Carla, arrives with shopping bags filled with gifts. Lettie seems perturbed by Carla’s gifts, and quickly lets her  know that no visitors can go beyond this area. We're not quite sure who anyone is just yet, and Lettie adds to the mystery with the line, "I would really like to see them." Who, we don't know. Carla seems clueless about Lettie, and as the scene ends our sympathies lean toward her. 

We see Lettie next in the welding shop, studying the technical manual and meeting Minny (5 Stars for Charin Alvarez!), a working welder in the shop where Lettie is training. Minny is funny, life affirming, outgoing, offering friendly advice, and dispensing wisdom, advising Lettie at one point, "There is no moving forward,there is only moving around."

Lettie reacts ungraciously to Minny's friendly overtures, and we see now see her in a different light: mean spirited, inordinately angry. 

Next time Carla returns to visit, we learn she is Lettie’s older sister. That she and her husband Frank (Ryan Kitley turns in a solid performance) have fostered Lettie’s children – Layla (Krystal Ortiz is completely convincing as the ingenue) and River (Matt Farabee) during her years in jail. And we learn that Lettie wants them back. She wants her family together, and our sympathies shift again.

Caroline Neff shows again in the role Lettie that she is quickly becoming one of Chicago's finest actresses. She really carries it off. Kirsten Fitzgerald as Carla is wonderful, bringing the same energy and excellence she showed as the mayor in The Traitor at A Red Orchid Theatre. 

The Virginia Toulmin Foundation helped fund the development of the script, and the Edgerton Foundation contributed to more rehearsal development. So we have a very refined show. 

For all the excellence in writing and acting, the playwright chose to focus on the family drama, rather than the workplace – where women struggle to make it in the trade careers. It might be even more interesting to look at the drama inherent in women as a frequently unwelcome intruder in those male-dominated precincts.

With Lettie, we risk characterizing an apprenticeship in the trades as a dangerous (Lettie sustains burns) job meant for rehabilitating felons. As presented in Lettie, welding sounds like a dead end, and that doesn't ring true in Chicago, though it may seem so to writers. Welders' median income is more than $57,000, and they are in great demand everywhere.

That said, it is a very well wrought play. As Lettie progresses through layers of revelation, and as scenes unfold, our insights into the characters' back stories tug our sympathies to and fro. We learn that Frank and Carla are running a deeply Christian household, and the children are expected to obey, and are pressured not to dream too much, and aim for practical lives. While it sounds oppressive, Killebrew deftly demonstrates the upside of a solid structure for the kids: emotional security.

We see that River and Layla are disaffected teens, curious but suspicious of their mother Lettie, and still reliant and attached to their foster parents. We discover Frank has lost his job and is struggling with the obsolescence many middle-aged white male managers have experienced.

And we learn more of the trials that Lettie has lived through, sexual abuse and adolescent pregnancy. In other words, there was suffering enough to go around for all. Our hearts are drawn to compassion for each of the players on this stage - and that is quite an accomplishment. 

Lettie challenges the status quo with her demands for her children’s return, but in the long run she does not have what it takes to create a home for them, or even herself.

The spare sets (Andrew Boyce in scenic design) help keep the focus on the dialog, and the projections of imagery on a backstage brick wall are very nicely done. 

Lettie runs through May 6 at Chicago's Victory Gardens Theatre in the Biograph.