Displaying items by tag: Theatre Wit

Early in the first act I whispered to my companion and said “I love this!” Extremely well written by Joshua Hartman with stellar performances directed by Jeremy Wechsler, “Prayer for the French Republic” (a Northlight Theatre Theatre Wit co-production) attempts to reveal the soul-searching and angst among a Jewish family in Paris amid the recent rise in antisemitism in their country.

After generations of security in the comfort of acceptance by their countrymen, the Salomon family encounters violent attacks by newly emergent antisemitic factions in France. How can this be happening?

In three acts we see the sweep of history across five generations of Salomons, who manufacture and sell pianos.
The opening scene is in a Paris apartment in 2016, where Marcelle Salomon (Janet Ulrich Brooks is sensational) welcomes a newly arrived American cousin, Molly (Maya Lou Hlava is perfect, brimming with Francophile excitement). We are given to understand their conversation, and the entire play, is all in French—though delivered in English.

Raised as a secular Jew and not very observant, Molly is something of a renegade. “My parents didn’t want me to come, because of the, you know, terrorism.” Despite her fluency, Molly is largely ignorant of French culture, but it’s love at first sight, expressed largely by her preternatural fixation on croissants. A little cringeworthy, maybe, but Hlava perfectly captures the tone of a good hearted American in Paris. I've been that way. 

After Marcelle delivers a comical machine-gun paced recitation of the family tree outlining their familial connection—one that has Molly nodding but bewildered—Marcelle goes on to explain that her husband, Charles Bertharnou (Rom Barkhorder) is a Sephardic Jew, his family having emigrated from North Africa as France withdrew from its colonies in the 1960s. And the added horror that Nazis did away with 25 percent of the Jewish population during the war. 

Larence Grimm as Patrick Salomon in "Prayer for the French Republic."

“Most Jews in France are Sephardic,” explains Marcelle. “Why is that,” asks Molly in her abject ignorance. Marcelle's brother, Patrick (Larence Grimm), appears periodically as aloof narrator, and in the family drama as well. He has shed his Judaic heritage even as his nephew Daniel leads his family to renew their embrace of it. 

The action is interrupted with tragedy. Marcelle’s husband returns with their son Daniel (Max Stewart in a magnetic performance), bloodied by an attack on the street. Suddenly, Molly, the secular Jew, is confronted with a violent anti-semitism that she has not experienced before. In the course of the play, she will be adjacent to the profound impact this has on the Salomon family—her character something of a device, the naive observer, for the script to examine these challenging issues.

Playwright Hartman then jumps through time artfully, with a vignette of 1944 as an earlier generation of Salomons weathers the Vichy government’s persecution of Jews under Hitler’s dominion. Adolphe and Irma Salomon (Torrey Hanson and Kathy Scambiaterra) are the perfect odd couple, whose sons Lucien (Alex Weisman) and Young Pierre (Nathan Becker) have fled without warning. Adolphe and Irma themselves are spared by a sympathetic policeman, and they suffer the war physically unscathed, selling pianos now to German Nazis, though beset by angst over the welfare of their sons.

Rae Gray as Elodie and Janet Ulrich Brooks as her mother Marcelle.

Then we’re back to 2017, where Rae Gray turns in a compelling performance as Elodie, Daniel’s manic depressive sister—a familiar and haunting presence in the Paris apartment, she sleeps until noon and shrugs off her mother’s hectoring diatribes urging her to get a life. In one manic moment, Gray launches into a monologue always nearing but almost never quite reaching its concluding "My point is" that rivals the showstoppers familiar at the Steppenwolf stage. Accoloades are due the playwright, and Gray, for pulling this off so very, very well. 

Meanwhile the family has been ruminating on the cloud of antisemitic fervor sweeping across their homeland. Charles weighs emigrating, while Daniel and Molly have other things on their minds: they have fallen in love.

All this comes to resolution in Act 3, where the promise of the first two acts is delivered upon, unsatisfyingly in my view, but it pleased the audience, which rose to its feet as the curtain dropped.

What’s not to like? The set for an upscale Parisian apartment didn’t measure up, nor the language and demeanor. to my mind. did not evoke the refinement one might expect - much more Manhattan than Paris. And the storyline unravels at the end as the script devolves into more preachy and polemic than the thinking and convincing leading up to the final act.

Strings were tied up perhaps too neatly in a packaged ending. Daniel might have made a different choice than what seems to have been foreordained by the playwright. And about the piano: it seemed out of tune. And would the fifth generation owners of a piano manufacturer be reluctant to ship an instrument due to weight? I think not.

Nevertheless, this show is recommended for the pure joy of excellent performances, and the intellectual and emotional processes that lead to the resolution, unsatisfying as it might have been for me. “Prayer for the French Republic, co-produced by Northlight Theatre and Chicago’s Theater Wit, runs through May 18 at Northlight Theatre in Skokie, IL.

*This review is also featured on https://www.theatreinchicago.com/!

“James was deeply aware of the anguish associated with denying others their authenticity; His famous Frankenstein wasn’t a murderous monster. His heart’s desire was friendship cleverly bestowed upon him by a blind man”.    Norm Woodel

Frame of Reference Productions In Association with The Woodel Inspiration Fund has embarked on a daring and poignant new stage adaptation of "Gods & Monsters," based on Christopher Bram's 1995 novel "Father of Frankenstein" and its acclaimed 1998 screen version. This production, under the innovative direction of Paul Oakley Stovall and the creative script by Tom Mullen, brings to life the fictionalized final days of James Whale with a fresh perspective and a profound exploration of identity, empathy, and the human condition.

Scott Westerman as James Whale delivers a masterful performance, capturing the complexity of a man whose health and career are in decline, yet whose spirit remains fiercely alive. Westerman’s portrayal is both haunting and tender, embodying Whale’s struggles with mortality and his reflections on a life marked by both brilliance and tragedy. His nuanced performance allows the audience to feel Whale’s pain, his moments of joy, and his gradual descent into the depths of mental decline.

Rashun Carter as Clayton Boone is a revelation. In a bold move, Boone is reimagined as a Black man, a decision inspired by Whale’s own casting of Black activist Paul Robeson in "Show Boat." Carter, who I recently saw in “Judy's Life's World” brings depth and sensitivity to Boone, portraying him as more than just a muse or object of affection; he is a fully realized character whose presence challenges and ultimately changes Whale. The chemistry between Westerman and Carter is palpable, their interactions charged with warmth and a delicate balance of power and vulnerability.

Doreen Calderon as Maria Ramirez, Whale’s housekeeper, provides a compelling performance that adds another layer of richness to the narrative. Calderon’s Maria is both protective and candid, her Mexican heritage bringing a new dimension to the story. This character’s evolution reflects the broader themes of race and empathy that Mullen seeks to explore. Calderon’s ability to convey strength and warmth in her role makes her a standout in the cast.

Ethan Check as Edmund Key and Michael Stejskal as David Lewis offer strong supporting performances, each bringing their unique dynamics into Whale’s world. Check’s Edmund Key, a figure from Whale’s past, and Stejskal’s David Lewis, Whale’s loyal companion, both serve as crucial elements in understanding the protagonist’s internal and external conflicts.

The decision to center the theme of race in this adaptation is executed with sensitivity and insight. Mullen’s script honors Bram’s original work while introducing contemporary resonances that feel both timely and timeless. The narrative weaves together the personal and the political, showcasing how Whale’s identity and experiences shaped his empathy for the marginalized—a trait that is evident in his cinematic masterpieces.

Paul Oakley Stovall’s direction ensures that the story remains intimate and character-driven, even as it tackles broad societal issues. Stovall’s understanding of the material’s emotional core allows for moments of genuine connection and introspection. His approach, combined with Mullen’s articulate script, brings out the universal themes of loneliness, aging, and the desire for intimacy in the face of repressed desires and past traumas.

Most of the action unfolds within the mind of James Whale, brought to life through the creative vision of set designer Ben Lipinski and the collaborative efforts of lighting and projections designer Mike Tataj. They seamlessly weave time and place together, creating a cohesive tapestry of scenes. The use of scrims with projected scenes pays homage to Whale’s legacy as a filmmaker. This production boasts the highest production values I have seen thus far this year.

In conclusion, "Gods & Monsters" is a triumph, primarily due to the compelling bond between Whale and Boone. This thoughtful, provocative, and deeply moving adaptation honors its source material while offering fresh insights. The powerful performances, meticulous direction, and insightful script coalesce to create a theater experience that resonates on multiple levels, emphasizing our shared humanity and the transformative power of empathy. This production not only tells the story of James Whale but also mirrors society, highlighting the ongoing struggles and triumphs of those who dare to be different, all through the lens of Whale and Boone's evolving friendship.

Highly Recommended

When: Through June 2

Where: Theatre Wit 1229 Belmont Avenue

Running time: 1 hour, 30 minutes

Tickets: $12.75 - $47.75 (student & senior tickets)

www.godsandmonstersonstage.com 

I have seen “Blues for an Alabama Sky” several times, all very good productions. However, the production by Remy Bumppo in the intimate space of Theater Wit was sublime. 

As soon as you walk into the theater, you are transported to an apartment building on iconic Lenox Avenue in the heart of Harlem in the 1930’s. The production design is truly remarkable. Lauren Nichols’ depiction of a Harlem tenement complete with fire escape and two apartments on each floor, encapsulates the essence of tight-knit living in New York City. The meticulous attention to interior details provides valuable insight into the lives of its occupants.

This setting is beautifully enhanced by Becca Jeffords’ carefully crafted mood lighting and Ricky Harris’ evocative 1930’s musicscape. Set against the backdrop of the Harlem Renaissance and the opening salvo of the Great Depression, Pearl Cleage’s poignant play masterfully weaves together themes of love, loss, ambition and social change. Each character is searching for their identities and places in the world. They all experience love whether romantic, platonic or familial and the sacrifices made for love. They experience loss but are never defeated.

More than anything, they dream. They dream big dreams and they have the tenacity to bring them to fruition. Cleage created multi-dimensional characters, put them in proximity, sat back and
let them live. The characters are truly the heartbeat of this production.

Tiffany Renee Johnson, evoking a young Diana Ross, fully embodies the role of Angel. She exudes a magnetic charm, begging everyone to love her but unable to reciprocate the love she so desperately needs and wants. Pearl Cleage, we extend our gratitude for crafting the character of Guy Jacobs. Breon Arzell brings this role to life with grace and authenticity, resisting making him a stereotype.

Delia Patterson who works tirelessly to introduce family planning to Harlem is played by the talented Jazzlyn Luckett Aderele. Aderele’s vocal nuances and gestures transport us seamlessly to a time when women were just learning about agency over their bodies. Edgar Sanchez last seen by me in Goodman’s production of “Toni Stone” disappears into the conflicted persona of Dr. Sam Thomas, showcasing a depth I had previously overlooked. He proves himself capable of portraying a mature, distinguished man with flair.

Ajax Dontavius, last seen in American Blues production of “Fences” as Cory, transforms himself to become Leland Cunningham, the broken, dogmatic paramour of Angel. Dontavius lays bare every facet of this intricate character, leaving the audience captivated.

In Director Mikael Burke’s steady and capable hand, not only do these characters live, they soar. We are introduced to five very different, complex people as well as a host of era specific luminaries such as Langston Hughes, Margaret Sanger and Adam Clayton Powell, they are all real people. Cleage’s dialogue is authentic and resonant, tackling issues of race, gender, and sexuality with sensitivity and intelligence. The plays intersectionality of identity is particularly relevant.

Remy Bumppo’s “Blues for An Alabama Sky” is a triumph. It is a powerful commentary on the human condition. It invites introspection and reflection on our own dreams, aspirations and sacrifices we make to achieve them. It challenges us to confront the complexities of love, friendship, family and societal expectations. This play is a must see for anyone who craves entertaining and thought-provoking theatre.

Also notable, 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/

"Blues for an Alabama Sky" runs through October 15 at Theatre Wit, 1229 W. Belmont Avenue in Chicago.

How odd that a play about nihilism could be so uplifting. ‘Be Here Now’ at Shattered Globe is just that. Shattered Globe ensemble member Sandy Shinner directs a new play by Deborah Zoe Laufer. A small, mostly ensemble cast opens the season with a relevant play about the state of happiness in the modern world.

Bari (Rebecca Jordan) is a former professor of nihilism who finds herself far from New York City working in a fulfillment center upstate. Her coworkers Patty (Deanna Reed-Fosters) and Luanne (Demetra Dee) are her coworkers who find themselves constantly at odds with Bari’s negative attitude. When Bari starts having severe headaches that bring about visions of optimism, her coworkers get worried. In an attempt to bring Bari joy, they set her up with local oddball Mike (Joe Wiens). As Bari and Mike get closer, she must decide if the potentially lethal vision-producing headaches are something she even wants to cure.

Rebecca Jordan is perfect in this role. Bari is a tough character to love even if you agree with half of her stream of negativity. Jordan cashes in on the dark comedy of Laufer’s script. When Patty and Luanne wax on about their own personal happiness, Bari pokes apt holes in their personal philosophies. Jordan’s performance elevates the petulance of the dialogue to something both humorous and academic. She tactfully drops her lines into the scenes so swiftly that you want to rewind so you can quote it. Deanna Reed-Foster also brings a great deal of humor to the philosophical discussions.

There’s a fine line between optimism and nihilism. In fact, the two may bleed into each other in Laufer’s interpretation. If the future of the world is as bleak as it seems, then why not enjoy the ephemeral beauty around us? In the end, it’s unclear if Bari really changes from nihilist to optimist, but is anyone capable of being just one thing? Life is a grey area and it’s probably better to be happy. Even if that takes work.

‘Be Here Now’ says a lot about the emphasis America puts on the idea of happiness. Laufer asks whether happiness is a choice and what difference does it make it we have it or not? Shattered Globe premieres this work to Chicago in a beautiful production designed by Angela Webber Miller. Sandy Shinner continues her tradition of directing new works that slyly make you question your very existence while also tickling your funny bone.

Through October 19th at Shattered Globe Theatre. Theatre Wit 1229 W Belmont Ave. 773-975-8150

Literary adaptation for the stage can be tricky. Even trickier is bringing the complex work of Dostoyevsky from the page to the stage. Shattered Globe opens its season with Chris Hannan’s 2013 version of ‘Crime and Punishment’. Under the direction of Louis Contey, this unique production is fresh and exciting.

As anyone who has read the lengthy novel by Fyoder Dostoyevsky can attest, this is not an easy work to muddle through. While not the most accessible novel, those who take on the challenge will surely be rewarded by richly drawn, and somewhat disturbing scenes that linger in the memory. Hannan’s script gets right to the point. Instead of long passages of internal monologue, his Raskolnikov (Drew Schad) has fever dream conversations with the people in his life. This device ensures a much more engaging presentation, though Schad is entirely capable of carrying the monologs on his own.

Between Hannan’s script and Contey’s vision, there’s a very artful quality to this production. Unlike the novel, the plot of this play is easy to follow. The ethical debates Raskolnikov has in his head are shortened and the scene work is very strong. The murdered pawnbroker is played by Daria Harper. In her scenes with Schad, she’s nearly diabolically evil. She represents the greedy reality of the world in which Raskolnikov lives. Conversely, Harper is perfectly double cast as doting mother Pulkheria Alexandrovna. Christina Gorman plays his sister Dunya with the same grace and elegance she consistently delivers in Shattered Globe productions. Rebecca Jordan brings to life one of the novel’s most unpleasant characters, the wife of a drunkard who’s killed by an unconcerned buggy driver. Watching her unravel throughout the play is unsettling and heartbreaking.

With a peak interest in true crime shows and podcasts, ‘Crime and Punishment’ is very timely. It asks its audience whether religious morality or utility should be the guiding compass in life. Hannan, like Dostoyevsky, seems to believe that an action should be judged by its usefulness rather than its means. What we have here is a play that works to convince its audience that we should be sympathetic to a cold-blooded murderer. And it works. By the end of the play you’re on the murderer’s side. Perhaps the next time you turn on 48 Hours, put yourself in the killer’s shoes rather than the victims. Would you see it differently? Does anyone have a right to murder?

Shattered Globe dispenses with all the clichés of literary adaption and serves up an emotionally powerful interpretation of ‘Crime & Punishment’. Great performances and non-traditional storytelling make this a definitive adaption. Those who were not fans of the novel in school may find that there’s more to this story for our times than we’d like to admit.

Through October 20 at Shattered Globe Theatre. Theatre Wit, 1229 W Belmont Ave, 773-975-8150

Grand Hotel at Theater Wit is a revelation! It shows how much punch you can pack in a storefront stage production with the right mix of great singing talent and artful production.

Kokandy Productions has brought to life the 1989 Broadway musical extravaganza, which traces its roots back through the 1932 MGM feature film (starring Joan Crawford and Lionel Barrymore) to a 1929 German novel.

Grand Hotel is very reminiscent of Cabaret - but that 1966 blockbuster, currently in yet another revival, remains the standard for decadent pre-war Berlin shows. Grand Hotel tracks the passage of some larger-than-life guests during a single weekend in an elegant hotel in 1928 Berlin: a fading Russian prima ballerina; a fatally ill Jewish bookkeeper spending his final days living in luxury; a handsome and conniving, down-on-his-heels, Baron; a corporate executive who turns crooked under business pressures; and an actress (and typist) aiming at Hollywood while resisting the casting couch.

These characters and the Joan Crawford background could easily lead to a high camp meltdown. But director John D. Glover keeps it serious, allowing us to appreciate the artistry of the players. This is no Cabaret, in the sense that there aren't really memorable songs, but we do havve memorable performances. 

The singing is truly spectacular, with amazing voices bubbling up through the versatile chorus members, and real standouts include the wonderful baritone Erik Dohner as the Baron; the rich mezzo soprano Liz Norton as Raefella, the manager of the Russian ballerina; and Jonathan Schwart as bookkeeper Otto Kringelein.

I also loved Jenny McPherson (she plays Tootsie, Sandor, and a telephone operator). "I would like to occupy the royal suite, rather than mop the floors/with the whores," she sings. Pavi Proczko brings real menace to his role as Chauffer; and Jeff Pierpoint and Nick Arceo stand out among the chorus. 

Like Cabaret, the original Broadway production of Grand Hotel garnered lots of Tony Awards including best direction and choreography for Tommy Tune. Broadway was hoping it would repeat Cabaret's tradition, but the material is not at that level.  

Glover and music director Aaron Benham have uncovered magnificent talent in these Chicagoland performers, including Michelle Jasso as fading ballerina Elizaveta Grushinskaya. 

Glover says his vision was "to create a ‘vanished luxury’ and the fever dreams of a world on the brink of depression and war," and indeed this production does that very well. The characters may largely be caricatures, but it’s a great excuse for a musical. Don’t expect any post-show discussions, but do expect to rise and applaud! Grand Hotel runs through May 27 at Theatre Wit in Chicago.

“This world will remember me,” Bonnie and Clyde sing to each other in Kokandy Productions’ presentation of “Bonnie & Clyde” – a musical. Directed by Spencer Neiman, this odd-ball musical makes its area premiere after an unsuccessful Broadway run in 2011. This production also marks the fifth anniversary of Kokandy Productions, now a regular staple of Chicago’s storefront theater scene.

“Bonnie & Clyde” was developed in 2009 by La Jolla Playhouse in California, a frequent incubator for new Broadway work. The show opened officially on Broadway in 2011, but closed after 36 performances. Critics were not especially kind.

Even though it’s not a direct adaptation, it’s nearly impossible not to compare this musical to Arthur Penn’s stylish 1967 film. It’s an American film classic with iconic performances by Faye Dunaway and Warren Beatty. It’s widely considered a turning point in American cinema. The film was focused less on historical accuracy and more on drawing comparisons between the young outlaws and the political awakening of the late 60s. The musical tends to tread on the same territory as Penn’s film but in a less dynamic way.

The issue is camp. Penn’s film is mostly devoid of camp even some fifty years later. “Bonnie & Clyde” the musical feels like two hours of pure kitsch. There’s no discernable reason this story needed to be told to music and unfortunately the empty songs prove that. Neiman’s cast seems to forget that these characters were indeed real people and not cartoon characters to be parodied. The nature of the material isn’t especially satirical, but this cast has decided it is.

Missy Wise as Blanche Barrow pretty much steals the show with her number ‘You’re Goin’ Back to Jail’, but the whole thing feels a bit Disney-fied, considering that the real Blanche Barrow served time for armed robbery.

The two leads Desiree Gonzales and Max Detogne are both incredible performers. Detogne’s voice is perfectly suited for the country-tinged folk rock of Frank Wildhorn’s music. Gonzalas also has a strong voice and makes some genuine choices for Bonnie Parker, adding a real dimension to her that isn’t otherwise in the script. The generic “I-wish” song feels sincere with Gonzalas singing. You will remember her, just like Clara Bow. Detogne also makes it his own. There’s a chemistry between the two that really translates.

If you were just dying to see “Bonnie & Clyde” during its Broadway run in 2011, Kokandy offers up a serviceable production. If you were hoping to gain more knowledge about the infamous star-crossed outlaws, you may be impressed at what playwright Ivan Menchel spins into his version of “Bonnie & Clyde.”

Through October 15 at Kokandy Productions. Theatre Wit 1229 West Belmont Ave.

"Atlantic City is like a real life, 3D Bruce Springsteen song, and not one of the good ones. Something off Nebraska," controversial monologist Mike Daisey waxes in his new show "The Trump Card." Daisey, a master storyteller, made a splash in 2010 when his Apple expose "The Agony and the Ecstasy of Steve Jobs" aired on This American Life. It remains the most downloaded episode in the show's history. It was retracted two months later when NPR discovered that some of the details had been fabricated. For some performers, this sort of public shame would be crippling. Daisey apologized and has moved on. 

As with his other works, "The Trump Card" positions Daisey at a long table against a black drop, on an otherwise empty stage. He occasionally reads his near two-and-a-half hour rant about Donald Trump, punctuating by wiping the sweat from his brow. Daisey fluctuates between an oral history of Trump, and his own commentary on the Republican nominee's troubled campaign. The genius of his monologue is how quickly he's able to include new and awful facts that seem to be bleeding out of the campaign everyday. While Daisey's contempt of Donald Trump is palpable, he doesn't shy away from skewering his smug liberal audience. He shifts in and out of the narrative, finding pit-stops and inventive metaphors along the way. 

Daisey holds his satire of the GOP candidate to a more intellectual standard than Alec Baldwin on SNL. Rather than bemoan what we've come to accept as normal, Daisey makes a case for the average Trump supporter. He even lectures the "American theater-going audience" for their elitism. He paints a somewhat bleak picture of the electorate, but that doesn't stop the laugh-a-minute jokes of this not-to-be-missed performance. "The Trump Card" is an illuminating and frightening look at how even if Trump loses, the conditions that made his candidacy possible will remain. Actors Elizabeth Ledo, Joe Foust and Steven Strafford will host a special Election Night performance here in Chicago where they will be performing parts of Daisey's monologues. 

Election Night encore November 8th at Theater Wit. 1229 W Belmont Ave. 773-975-8150. 

Right out of the gate CHOPS is a winner – in performances, production and script. Playwright Michael Rychlewski captures that ineffable quintessence of Chicago-ese as his three remnants of the 1950s and ‘60s glory days of Rush Street wash ashore at Vince’s bar.

Let’s hear it for the casting, too – director Richard Shavzin has corralled an exceptionally well-matched brace of players here, strong character actors from our city’s bountiful supply. As Walt (Randy Steinmeyer) launches full throttle into his opening monologue, the audience knows it is in on something big tonight.

On Walt's arm is a dame, Kaki (Clare Cooney), claiming to be older than she is, and unnaturally well schooled in the music and dance from the waning days of 1950s and 1960s big band jazz. Tending bar, the world-weary Vince (Larry Neumann Jr.) is a perfect counterpoint to Walt’s bravado, as he eyes with suspicion this young lady’s game.

The story line is straightforward. Three late middle aged men – the third, Philly (Danny Sullivan) makes a backdoor entrance along the way – are competing for the attention of the comely young lass. They dance, talk big, and tell tales of their past. Chicagoans of a certain age will glow at references to now-vanished Rush St. locales like Mr. Kelley’s and the Gaslight Club.

Then the big talk turns competitive, and a storytelling contest ensues – shades of August Wilson here. A contrivance? Perhaps, but it arrives naturally and these guys are so compelling, the audience doesn’t begrudge a minute of it.

This scene also paints an even richer portrait of Chicago’s bygone era, captured in the color of its speech. While David Mamet has abstracted this linguistic naturalism into a generalized form, Rychlewski gives it the specificity of its locale – all the more enjoyable. Chops is a must-see just for this scene.

As the story continues, the plotting became harder to follow. But given the caliber of the performances, it seems that the director and author may need to coax a bit more from this section to get across the nature of the con that is being set up. Past that scene, the power struggle among the characters continues to a satisfying dramatic conclusion.  

There is one point in CHOPS that gave me pause: the character Kaki takes restroom breaks for the convenience of the dramatic trajectory, but at some point these become too many, and one runs unnaturally long (is she doing cocaine in there?).

The set is very good; Grant Sabin has done an impressive job with set design while Chris Neville handled the props. As CHOPS reveals itself to be a cut above the ordinary, I felt myself wishing even more resources were given so that Sabin and Neville could take their artistry further.  

In addition to the choreography and music that spice this play, there is also a compelling story behind its authorship, a first work, 25 years in the making by Rychlewski, a Schurz High School English teacher. He brought a 120- page script to director Shavzin, who cut it back to 74 pages – another factor in its excellence.

Dashnight Productions’ CHOPS runs through August 14 at Theatre Wit. May that run be extended.  

Police brutality is nothing new. Having it broadcast on national news sources, however, is. The deep South in the 1960's wasn't a fun place to be if you were anything but a Christian Caucasian. Shattered Globe Theatre concludes its twenty-fifth season with Matt Pelfrey's adaptation of John Ball's best-selling novel "In the Heat of the Night." The film adaptation starring Sidney Poitier went on to win the Academy Award for Best Picture. 

Pelfrey's script keeps with the original time and setting, but adapts with a degree of hindsight. He's also good at keeping the pot boiling until the final conclusion, even if the dots don't exactly connect in the end. With the success of TV series like "Making a Murderer" and the podcast "Serial" - audiences can't get enough crime thrillers. What these all seem to have in common are police inadequacy. A disappointing trend among rural police forces. "In the Heat of the Night" tells the story of a small town reeling after a local real estate tycoon is murdered. The prejudiced, and largely incompetent law enforcement can't seem to find a suspect. After they accidentally profile an African American from out of town, they get help from an unlikely source. 

Louis Contey directs a large, and talented ensemble cast. Unfortunately the script is a bit clunky in parts. Too many entrances, exits and costume changes make for a puzzling caper. There's fun in the noir-esque stylings of Contey's vision, but it conflicts with the bigger themes this source material addressed. Character development suffers and the message of Ball's original novel gets a little muddled in empty one-liners and racial slurs. There's a major opportunity here to make biased police officers more three dimensional and Drew Schad as Sam Wood does his best to navigate the dialogue. Joseph Wiens' performance as Chief Gillespie is intense, but at times cartoonish. Christina Gorman as the victim's daughter is a high point, however brief. 

"In the Heat of the Night" is a sultry, and somewhat topical thriller. Its brevity and mathematical approach make for a satisfying murder mystery. What it occasionally lacks in substance it makes up for in exciting stage combat. An atmospheric who-dunnit, akin to "Twin Peaks." 

Through June 5th at Theatre Wit. 1229 W Belmont Ave. 773-975-8150.