Displaying items by tag: LiliAnne Brown

GRACE -- “Let me try to explain something to you. The Nacirema Society is not a social service group nor a political organization. Our challenge and our joy is to celebrate the best of us, not by giving scholarships and financial assistance, but by recognizing the fact that there are some of us who don’t need it [a beat}. Who has never needed it." - From the script, "The Nacerima Society..."

Commissioned by The Alabama Shakespeare Festival in 2009, “The Nacirema Society Requests the Honor of Your Presence at a Celebration of their First One Hundred Years” comes to The Goodman Theatre thanks to the association its Artistic Director, Susan V. Booth, has with playwright Pearl Cleage. Chicago theatergoers cannot be happier. “The Nacirema Society Requests….” is a laugh out loud spectacle.

As some may have noticed “Nacirema” is simply “American” spelled backwards. Cleage borrowed the term from a satirical essay by Horace Miner, an anthropologist. Miner believes what one culture does and believes to be normal, others may see as unusual. Cleage feels African Americans have been forced to adopt values and norms of white society to survive and this process of assimilation has come at a cost.

Montgomery, Alabama, 1964 conjures up feelings of dread for African Americans. The play is set 10 years after the Montgomery bus boycott, and there are freedom rides into the deep South, challenging segregation. African Americans, under the tutelage of Dr. M.L. King Jr., are gearing up for a march from Selma to Montgomery to demand voting rights. But to Grace Dunbar, doyenne of the exclusive Nacirema Society, nothing is more important than its upcoming 100-year celebration ball. That set-up, in and of itself, begs one to laugh.

From the moment we meet Grace Dubose Dunbar, portrayed brilliantly by the exceptional E. Faye Butler, we know we must mind our manners. She is a high strung, outspoken, aristocrat. For a glimpse into her personality, one need only to remember Dunbar rhymes with bourgeois. She’s in the midst of preparing her granddaughter, Gracie, brought to life wonderfully by Demetra Dee, for the debutante ball organized by the Nacirema Society.

Assisting Grace is her dearest friend and fellow society member, Catherine Adams Green, played with an air of affluence by the talented Ora Jones. Catherine, being sure her grandson, the dashing Eric Gerard as Bobby Green, will propose to Gracie, has planted a story of their engagement to the local society papers. Gracie and Bobby have absolutely no intention of marrying, but out of respect for their grandmothers, they play along with the charade, at least until after the ball. Marie Dunbar, Grace’s Daughter-in-law and Gracie’s mother is aware of Gracie’s intentions and fully supports her. She is played by Sharriese Hamilton with strength and honesty.

Janet Logan, a reporter, played with steely resolve by Jaye Ladymore, will be covering the Debutante Ball for the New York Times. She will be the houseguest of Grace Dunbar, creating an extra layer of anxiety for Madame Grace to get everything just right. As if having a reporter from a major newspaper breathing down her neck weren’t enough, the daughter of the Dunbar’s late former maid, Alpha Campbell Jackson, a devious portrayal by Tyla Abercrumbie, is in town with her daughter Lillie Campbell Jackson, a lovely turn by Felicia Oduh to settle a family affair. Everyone gets more than they bargained for.

In a non-verbal role Shariba W. Rivers nearly steals the show as Jessie Roberts, the maid of Grace Dunbar, proving once again, there are no small roles.

The dual set for this production can only be described as a conspicuous display wealth. Arnel Sancianco, set designer, did a visually amazing job of creating a 1960’s upper middle-class home. There is a great room with a crystal chandelier hanging in the center. The furnishings are noticeably french, with several seating areas. There is a set of stairs leading to a library that is just as opulent as the rest of the home. The home of the late Lillie Campbell is just as impressive in its scope, a 1960’s working class kitchen with colored refrigerator and matching cabinets. Costume design by Samantha Jones was gorgeous. I can tell she likes working in this era. The jewel toned dresses were fabulous.

Cleage's is work is known for its sharp wit, and insightful commentary. “The Nacirema Society” shows her ability to combine humor with social critique. It is a thought-provoking look at the dynamics of a specific segment of African American society all wrapped up in a romantic comedy. Lili-Anne Brown did a fantastic job directing this situational comedy, she keeps the ball and the tension in the air, and despite the running time, makes us forget about the worries in the world, exactly what a comedy should do.

“The Nacirema Society” runs through October 15 at the Goodman Theatre in Chicago.

There is a Pearl Cleage festival in Chicago. Most of the events are free. You can get details at https://www.goodmantheatre.org/event/pearl-cleage-fest/

Drury Lane brings Alice Walker’ 1982 novel ‘The Color Purple’, which found major success as a film in 1985, to the stage in what is sure to be a memorable experience for theatre goers. After its opening night performance, many who had seen either the Broadway run or national touring version of the classic story, emphatically stated that Drury Lane’s production is the best they have ever seen. That’s saying something.

 
The story takes place in the early 1900’s and continues through about halfway through the century. Following the journey of Celie, an African American woman in the American South, we get a story of heartbreak, unspeakable atrocities and more importantly that of hope and perseverance. Still a child, Celie has two children by the age of fourteen – both by her father, Alphonso. Not long after her second child is born; her father tells Celie he is going to get rid of the child just like he did with the first. Celie’s only comfort is in spending time with her slightly older sister Nettie and the two vow to never leave each other’s side. 

But four years later, a local farmer, Albert “Mister” Johnson asks Alphonso to have Nettie’s hand in marriage. Alphonso refuses, but offers up Celie instead, who is constantly referred to as “ugly”. Mister doesn’t bite but finally accepts when Alphonso throws in a cow. Mister, who had helped Nettie pursue her dream of becoming a teacher, also takes Nettie in shortly after she pleaded to stay with him and her sister alleging Alphonso is mistreating her. Mister accommodates Nettie, but always having eyes for her, attacks her one day and when she fights back is sent away along with the promise the two sisters will never see each other again. Once again, Celie finds herself in what turns out to be abusive relationship with a much older man.

It seems hopeless for Celie until a racy lounge singer comes into their lives – Shug Avery.

From there the story takes on many directions and we wonder if Celie will ever see her sister again or be released from the clutches of Mister.

 
With an already powerful book by Marsha Norman and music and lyrics by Brenda Russell, Allee Willis and Stephen Bray, the direction by Lili-Anne Brown and gifted cast assembled puts this production over the top. Eben K. Logan is stupendous as Celie in every way as we are hopelessly drawn into her character one moment and marveling at her vocal ability the next. Logan is a true find and leads this amazing cast that also features Sydney Charles who brightly shines as Shug Avery, Nicole Michelle Haskins whose moving portrayal of Sofia truly resonates and Melvin Abston who is nothing short of commanding as Mister. The cast rounds out with an incredibly skilled ensemble that features Drury veterans Adhana Reid and Lorenzo Rush Jr. along with Camille Robinson, Jos N. Banks and a host of other talents. Kyrie Courter is just wonderful as Nettie while Gilbert Domally’s Harpo couldn’t be better. 

Besides a powerful story that is sure to move its audience members, it contains one enjoyable musical number after another from its title song “The Color Purple” to touching numbers like “What About Love” and “Somebody Gonna Love you”.
Drury Lane’s ‘The Color Purple’ is engaging from beginning to end as it retells a classic story of strong will and courage.

Highly recommended.

‘The Color Purple’ is being performed at Drury Lane Theatre in Oakbrook through November 3rd. For tickets and/or more information, visit www.drurylanetheatre.com.  
 

I came into the American Blues Theater for its Chicago revival of Buddy: The Buddy Holly Story a bit apprehensive. See, I’m a Buddy Holly superfan. Seriously. I’ve got a couple tattoos inspired by the rock legend, I once even wrote an entire novel about him (which nobody can or will read…not just yet), and I know his story and his music about as geekily and obsessively as a guy could. So, having a special spot in my heart for this legend who’d been gone for decades by the time I came along, I’m often very critical of cultural (mis)representations of Charles Hardin Holley, including a traveling tour of the same show I saw back in college.

Partly my apprehension is because of the many things that the show (and the 1970s Hollywood biopic that jumpstarted the career of Gary Busey) gets factually wrong. Thing is, most biographical jukebox musicals do the same for their subjects, as they need to manufacture drama and condense a life’s story (even a life cut as short as Buddy’s). But mostly it’s because every portrayal I’ve seen of Buddy falls into the same trap that other impersonations do. They all rely on caricature, on the obvious, instead of something that’s more fulsome and true.

But I promise you, rock ‘n’ roll fans, that the American Blues Theater’s current production of Buddy skirts these traps, instead providing an honest and beautiful portrayal of Holly’s lifework, while also showing the audience a rollicking good time.

The key to the show, of course, is Buddy. Playing the part of the young Texan is Canadian Zachary Stevenson. A veteran of this show (and others, including Million Dollar Quartet, from the same era), Stevenson knows the material and the man. It shows from the get-go, as Buddy’s early vocal and guitar performances are hesitant, if youthfully energetic. That youthful energy is kept up for the whole show (a must, since Holly was just 22 when he died), but Stevenson also gives us a Buddy who comes into his own as a singer, a songwriter, a guitarist, and a man. And while the twang and hiccups he includes in Buddy’s performances are there, as they must be, he doesn’t rely on these tics and tricks. Instead, Stevenson’s Buddy has a warm, beautiful voice, and serenades us (and his castmates) with tender ballads, as well as toe-tapping rockers. This Buddy isn’t just an impersonation with a drawl and a pair of black-rimmed glasses hastily slapped on. Zachary Stevenson’s Buddy is a labor of love.

But the rest of the cast, directed by Lili-Anne Brown, labor lovingly, as well. The theater’s intimate, and the performers all play their instruments and sing their songs up close and in view of the audience. Shaun Whitley (himself a veteran of Million Dollar Quartet, with almost 2,000 performances as Carl Perkins under his belt) holds down the Crickets’ low end, slapping the upright bass (and even riding it at one point!), while also providing vocal harmonies and even playing violin on a couple softer numbers. The Crickets’ drummer is played by Kieran McCabe, who provides the groove and youthful energy. A fourth Cricket is played by Michael Mahler, who is also the production’s music director, directing the rest of a ridiculously multi-talented cast.

And that cast really does everything, from playing the important roles in Buddy’s life to playing the soundtrack of his life. Liz Chidester lights up the stage whenever she’s on it, first as Vi Petty, the wife of Buddy’s producer, tickling the keys of a celeste on Buddy’s beautiful “Everyday,” before adding boogie-woogie piano on several songs, and energetic dancing to several more. Derek Hasenstab plays the part of Vi’s husband Norman, but also picks up the bass and the guitar for many other songs. Molly Hernandez is alluring as she plays Maria Elena, the woman who enjoyed a whirlwind romance with Buddy and a tragically short marriage to him, as well. And Vasily Deris and Cisco Lopez are right on as the two stars – The Big Bopper and Ritchie Valens – who accompanied Buddy on his final tour and on that final flight that ended in an Iowa cornfield in 1959.

Those famous names you probably know are not the only talent to grace the American Blues stage, however. It seems that all of the cast are multi-instrumentalists and very talented vocalists. Ian Paul Custer spreads the news as Buddy’s early champion, DJ Hi Pockets Duncan, while also playing the saxophone and piano. Chuckie Benson and Kiersten Hodgens get the crowd jumping and shouting at the famous Apollo Theater before an early and iconic Crickets concert there. And Ann Delaney, Daniel Riley, and Lauren Vogel round out this exceptional ensemble, playing multiple roles, singing acapella doo-wop, and helping tell Buddy’s story and play his songs.

And it’s those songs – from early Western numbers like “Blue Days, Black Nights” and “Rock Around Ollie Vee” to Buddy’s hits “That’ll Be the Day” and “Peggy Sue” and “Oh Boy” to later more mature fare (mind you, all of this output and growth was done in less than two years, a fact the show hammers home) such as “Words of Love” and “Raining in My Heart” and “True Love Ways” – that best tell the Buddy Holly Story. A story of talent and tragedy. A story of youthful rebellion and musical growth. And, as the last of those tunes shows when Stevenson plays it solo on an acoustic guitar for his pregnant wife on their living room couch before he leaves for his fateful final trip, it’s a story told warmly and lovingly and truthfully.

Buddy: The Buddy Holly Story is being performed at Stage 773 through May 26th. For more performance information, visit americanbluestheater.com. 

*Now extended through September 15th

"The Wiz" is a perfect collision of disco and show tunes. Appearing on Broadway in 1975, "The Wiz" went on to win the Tony for Best Musical. Though it was not the first all-black production on Broadway, the cross-over appeal of its music made it a sensation. A few years later it was adapted for film starring Michael Jackson, Diana Ross and Lena Horn. The film is considerably different than the stage version, for the worse. 

Kokandy Productions' "The Wiz" accentuates all the enduring qualities of the show while adding some modern flare of its own. This has to be the hardest working cast in Chicago right now. For two and a half solid hours director Lili-Anne Brown's cast of talented singers and dancers fill the space with an infectious energy. Sydney Charles as Dorothy is cute and brings a sense of humor to the character, her soaring vocals come to an inspiring crest during "Home." Though, it may well be Frederick Harris in the titular role (in fabulous drag no less) who walks away with the evening's biggest laughs. There's not a sour note in this production and each song is either a powerhouse ballad or a funky dance number. 

One of the show's many pleasant surprises is the costuming and overall aesthetic. This is highly conceptualized version that suits the intimate space at Theatre Wit. Borrowing from 90s-era TLC and blending it with today's street fashion, costume designer Virginia Varland creates a very stylish motif in an otherwise minimal set. The ensemble looks as great as they sound. 

Lili-Anne Brown doesn't complete her update of "The Wiz" with costumes alone. There's some fairly edgy humor written into this production, including a nod to the prevalence of police brutality cellphone videos. This version of "The Wiz" is how it was originally intended to be–for adults. What the movie and the NBC live version miss is a lot of the grown-up humor in the script. After all, this is an urban contemporary version of the Wizard of Oz, it should be cheeky. Miss Brown's vision for Kokandy Productions' "The Wiz" is a lot of fun and keeps its source material relevant. 

Through April 16th at Theater Wit. 1229 W Belmont Ave. 773-975-8150

*Extended through April 23rd

Last year the Chicago theatre community lost a major piece of its landscape. Longtime American Theater Company artistic director PJ Paparelli died abruptly before solidifying the company's thirty-first season. It's almost ironic that a man responsible for bringing so many uncomfortably topical dramas to the Chicago stage had such a soft spot for "Xanadu." As a tribute to the late Paparelli, ATC concludes their thirty-first season with this campy roller disco musical. 

For most, "Xanadu" is among the worst movies ever made. In 1980, still riding high on her "Grease" fame, Olivia Newton John was cast as Zeus' favorite muse sent to Venice Beach, California to help struggling street artist Sonny Malone achieve his destiny of opening a roller disco. The film also featured an aged Gene Kelly. Though the movie was an overwhelming flop, the soundtrack by Electric Light Orchestra and John Fahrer was a huge hit. 

In 2008, Broadway producers decided to satirize the now cult classic as a stage musical. Initial reviews were favorable and it even had a short engagement in Chicago. Unfortunately, due to the recession, "Xanadu" didn't last long, but is now enjoying great popularity in regional theaters. 

Somehow American Theater Company and director Lili-Anne Brown are able to make their "Xanadu" more significant than what's at the surface. There's no shortage of comedic gold in this cast of young faces, but what lingers are the incredible group numbers that fill the intimate garage space. This "Xanadu" has so much life that you can almost forget the source material. In the lead role of Clio, or Kira, is Landree Fleming who takes this role in a sketch comedy direction that turns out to be ripe with goofy humor. Jim DeSelm co-stars as Sonny Malone and is not only nice to look at, but he can really belt. 

Lili-Anne Brown's ensemble of sister muses fills out this energetic cast and each provide stand-out performances, even if their character names and motives are somewhat arbitrary. The cast looks like they're having a lot of fun together and it's contagious throughout the 90-minute run-time. Even the band, which in some musicals can seem disconnected, are joining in the fun. "Xanadu" at American Theater Company is a high-octane good time and a really fitting tribute to one of Chicago's most groundbreaking theatre artists. 

Through July 17th at American Theater Company. 1909 W Byron Street. 773-409-4125.

I decided to review this wonderful new play by Aaron Holland partly because I loved the title and in spite of the mention in the PR materials saying that Holland’s inspiration were in part from Leo Tolstoy’s War and Peace.

I’m so glad I did because this play about one young “everyman” or “everywoman” as the case may be,  Amari Bolkonski, (played wonderfully by Armand Fields) has so much to say to all of us about the necessity of self love and friendship in overcoming life’s sometimes crippling blows to our sense of identity.

In Bailiwick Chicago’s Princess Mary Demands Your Attention, Amari is suffering from agoraphobia and OCD in part because his mother, Countess Bolkonski, (Pam Mack) openly disparages her youngest son by comparing him unfavorably to his distant older brother who is in her eyes, “the real man” in the family.

Luckily Amari runs into a few young gay club kids who become his “new family” and his closest friends and confidantes as he struggles to get out from under his mother’s controlling, domineering, apron and on with his own life.

Nathaniel (TJ Crawford), Bastian (Omer Abbas Salem) and Christian (David Kaplinsky) do a fantastic job of bringing these funny and sympathetic characters to life. Their scenes together are really fun to watch and seem to come from a very real, natural place.

Pam Mack does a wonderful job with the role of Countess and redeems her character’s seemingly abusive treatment of her youngest son in a truly heart wrenching scene telling Amari that she is truly sorry and that he must start to love himself as he is, after she has suffered a debilitating stroke.

The character of Stacy (Rus Rainear) is Amari’s fairy godfather of sorts, a flamer who has watched over Amari since his father’s death as a child and given him a place to work in his food stop since Amari is afraid to leave his house and deal with people in general. Rus Rainear is adorable in this role and gets many laughs with just a “look” or gesture.  Stacy’s undying support along with Amari’s loyal buddies who help him dress up and get him out of his basement  Amari realizes over time and with the hallucinated appearance of his own personal “Queen Mary”  inspire him to break out and realize that his hiding and self pity are ruining his life.

I thought director Lili-Anne Brown did a fabulous job integrating music from the period and strobe lights and smoke and into the piece in a way that maximized the laughs, glamour and fantasy world of Amari and his friends while keeping Amari’s transformation grounded in a very touching way that anyone gay or straight, male or female, can identify with.

In the lobby before the show the audience was encouraged to write on an index card the thing they feel is holding them back in life.  Also there was  a “wig room” with costumes and accessories for audience members to try on “Princess Mary’s glam clothes and wigs and take a “selfie”, which really appealed to me because it made me think about applying the play’s ideas to my own life before I even entered the theater.

I highly recommend this funny yet poignant piece by Holland not because it is perfect and needs no further editing but because in its current incarnation it is so joyous and uplifting one cannot help but feel moved and entertained by it. 

Princess Mary Demands Your Attention is being performed at Victory Gardens Richard Christiansen Theater through February 21^st. For tickets and/or more information call 773-871-3000 or visit www.victorygardens.org.

*Photo - (left to right) TJ Crawford, Omer Abbas Salem, Armand Fields and David Kaplinskyin Bailiwick Chicago’s world premiere of PRINCESS MARY DEMANDS YOUR ATTENTION by Aaron Holland, directed by Artistic Director Lili-Anne Brown.  Photo by Michael Brosilow.