Displaying items by tag: Ken Payne

Catchy songs, hilarious characters and a man-eating plant. Little Shop of Horrors now playing at Drury Lane Theatre in Oakbrook has it all. With music by Alan Menken that fall in the style of 1960s rock and roll, doo-wop and Motown, we get a soundtrack that helps deliver this humorous story, perfectly enhancing writer Howard Ahsman’s vision into what became a stage and film sensation in the 1980s. Songs like "Skid Row (Downtown)", "Somewhere That's Green", and "Suddenly, Seymour" are as kitschy as they come as are the characters in this far-fetched, but seriously funny story.

We find ourselves in a local plant and flower shop – “Mushnik’s”. Business is bad and owner Mr. Mushnik is not sure how he can hold on for very much longer. His two employees, Seymour and Audrey, stand around all day with nothing to do since there is – nothing to do. But Seymour has a secret. He has been experimenting in the shop’s basement on a plant that resembles a Venus Fly Trap. But it is no ordinary fly-eating plant, it is much larger and quite unusual looking. He finally brings the plant upstairs and suggests it be placed in the store window to possibly attract passersby’s. Mushnik scoffs at the notion but figures he has nothing to lose – and wouldn’t you know it, a man enters the store within minutes to purchase a hundred dollars’ worth of roses. The plant becomes a sensation as it gets larger and larger by the day, business is off the charts and everything seems rosy for the once struggling shop. But what makes the plant grow so quickly? We soon find out and a whole world of absurdity and suspense is opened. Twists and turns ahead, folks.

At the same time, Audrey seems to show up to work each day with a new injury. It is suspected that her boyfriend, a sadistic dentist, is to blame – and Seymour won’t have that. He has a crush on Audrey and has in fact named the plant Audrey Two. As the story progresses, it becomes crazier and crazier – silly but engaging. A trio of talented singers (Melanie Brezill, Candace C. Edwards and Melanie Loren) help narrate the story, also switching back and forth between roles.

Will Lidke is terrific as Seymour and is as nerdy as one could get in the role while Kelly Felthous as Audrey nails the squeaky-voiced, ditzy blonde stereotype, ala many a Marylin Monroe role. Both deliver great comedic moments and are truly fun to watch. Ron E. Rains is well cast as Mushnik and has plenty of key moments, as well. But it is Chicago acting veteran Steven Stafford who steals many of the scenes as the abusive dentist (also playing many other roles), displaying epic comedic line delivery and perfectly timed physical humor. The voice of the plant (yes, it talks – and sings) is beautifully done by Lorenzo Rush Jr. while Matthew Sitz takes on the tough task of bringing the plant to life.

A light, though twisted, story with a slew of laughs and one likeable song after another is the prefect way to kick off the Fall season. Together with brilliant direction and choreography by Scott Calcagno and musical direction by Roberta Duchak, the musical’s superb performances and an amazing set design do this funny classic the way it should be done.

Highly recommended.

Little Shop of Horrors is being performed at Drury Lane Theatre through October 28th. For tickets and/or more show information visit www.drurylanetheatre.com.

When Million Dollar Quartet hit Chicago, it was only scheduled for a month-long trial run at the Apollo Theatre. MDQ was the fascinating story about that historic night when Elvis Presley, Carl Perkins, Johnny Cash and Jerry Lee Lewis met together at Sun Records Studio, the place where they all got their start. They had some laughs and jammed the night away, never to reunite again. Well, we all know what happened. Million Dollar Quartet became a staple show in Chicago and ran for multiple years before finally closing its doors. The show’s writer and director, Floyd Mutrux, now takes us to the beginning when Elvis Presley met Sun Records owner Sam Phillips (Matt McKenzie) as we watch a musical career blossom like we have never seen before and will most likely never see again. The show, Heartbreak Hotel, could very well have a similar success than its predecessor, because it is packed with all the right ingredients to be another smash hit.

Performed at the Broadway Playhouse, Heartbreak Hotel gives us a glimpse to the future success of Presley, starting the show with a scene from the 68’ Comeback Special. Then we go back – to the beginning – where a young, shy Elvis (Eddie Clendening) sheepishly walks into Sun Records to record a song that he’d like to give his mother for her birthday. Prior to his visit we overhear Sam Phillips saying how if only there was a white young man who could capture the essence of the blues and make it his own – he’d become a sensation! Timing is everything. Not overly impressed with him, Phillips assistant asks Elvis what kind of music he likes to sing. Gospel – and thankfully, some blues. But Phillips sees potential after he hears him. After a few sessions of Elvis trying to get his sound at Phillips direction, it is during a break when Elvis and the studio musicians monkey with the blues tune “That’s Alright Mama” by speeding it up and adding a “rockabilly” sound to it, that heads turn, and it is realized they might just have a rising star on their hands.

The story takes off from that point as we see Elvis’ popularity take off, his record more in demand by radio listeners and a slew of sold out performances while touring, including his time with the Louisiana Hayride, a traveling show with several acts that included the likes of Johnny Cash, Johnny Mathis, Hank Williams and even Willie Nelson. Local disc jockey Dewey Phillips (played with precision by Colte Julian) can hardly keep up with the requests to play Elvis’ records. Elvis quickly outgrows Memphis. Of course, the smell of success attracts those who would like to take advantage of such. Enter Colonel Tom Parker (Jerry Kernion). Parker, a former carnival promoter, is as sleazy as they come, but he does have some big ideas and an endless supply of promotional gimmicks up his sleeve. Elvis, now too big for Sun Record’s distribution, is on the verge of being bought out by RCA – and Parker wants to manage him – for 50% of the profits. Well, Elvis does decide to go with Parker, and the rest is history as he becomes the most popular entertainer of all time.

Heartbreak Hotel mimics the style of Million Dollar Quartet in the way the songs are performed to be larger than life, capturing the excitement of the era. A highly animated, slap-happy stand-up bass player (Zach Lentino tearing it up as Bill Black), a twangy guitar with tasty fingerwork (Matt Codina as Scott Moore), big backing vocals and dancers, and, of course, a whole lot of Elvis make for plenty of electrifying action. Many numbers are co-performed by the song’s original artists, Geno Henderson very impressive in multiple roles of B.B. King, Jackie Wilson, Ike Turner and many others. By doing so, we admire, and appreciate, the origin of many songs and the artists that wrote them, and we marvel at Elvis’ creative vision to which he took those songs to a place unimagined at the time. The play hints that Sam Phillips coined the phrase “rockabilly” regarding the music of Elvis and the Blue Moon Boys, though his music traveled to places far beyond as his career matured.

Heartbreak Hotel is packed with early Elvis hits such as “Jailhouse Rock”, “Blue Suede Shoes”, “Don’t Be Cruel”, “All Shook Up”, but also contains other greats like Chuck Berry’s “Maybellene”, Little Richard’s “Tutti Frutti” and The Drifters “Money Honey”. Eddie Clendening does a really nice job in capturing the essence of Elvis from executing the moves we know so well to exuding the boyish charm and naivety the future King of Rock and Roll displayed in his younger days. The cast as a whole is well worth the wait and the band just as sensational, Zach Lentino the oft scene stealer with his happy-go-lucky bass antics. Other standouts include Katherine Lee Bourne in multiple roles, Erin Burniston as Elvis' girlfriend, Dixie Locke and Andrea Collier also in multiple roles.

Heartbreak Hotel is the extraordinary, energy-driven prequel of the highly successful Million Dollar Quartet, giving us not only a fun fact-filled history of the beginning of rock and roll, but also an exciting ride from beginning to end thanks to one power-packed musical performance after another. It is a show that can be enjoyed over and over again and is sure to stick around for a lengthy run. Clap along, laugh and enjoy what is sure to be Chicago’s next big show. This show is not just a must see for Elvis fans, but for all rock and roll fans alike.

Highly recommended.

Heartbreak Hotel is currently being performed at Broadway Playhouse. For tickets and/or more show information, visit www.BroadwayInChicago.com.

“Victims of Duty” starts with Madeleine (Karen Aldridge) sitting aside a clawfoot tub where she knits silently as her husband, Choubert (Guy Van Swearingen), reads the newspaper from his chair. Breaking the silence, she finally asks if there is anything knew in the news. There is not. Same old, same old. Their conversation centers on the humdrum of society. We sense a strong boredom between the two. Madeline enjoys the theatre, but Choubert points out how mysteries are so predictable – crime, detective (Michael Shannon), solved. It is then a knock is heard at their neighbor’s door. The two make little of it. Not much longer, the knock is heard at their own door. Enter the detective. This excites Madeline. She asks him to come in, but at first he says he can’t stay. He’s running late, he shows them his watch. He then comes in. He just has a few questions to ask them. When the two are asked about a missing neighbor, “Mallot with a ‘t’ at the end”, the mundane quickly turns into an introspective journey filled with twists and turns (literally) Choubert and Madeline will never forget.

Written in 1953, French-Romanian playwright Eugene lonesco taps into his own psyche in what is considered his most biographical piece. Choubert’s voyage includes real-life experiences of lonesco such as his tumultuous relationship with his father and a memory where he holds his mother’s hand along the Rue Blomet just after the bombing. “Murder for Two” is as penetrating as it is suspenseful as Choubert is forced to face his deepest fears. Michael Shannon as the detective or “Chief Inspector” is as powerful as they come as he guides Choubert through every step into his subconscious. He plays his character with ferocity and yet with a vulnerability that we can easily relate to as viewers, and to see the passion that Shannon so often exudes on the big screen in such an intimate setting is almost overwhelming. Karen Aldridge also puts forth a powerhouse performance as Madeline and does so by going through a gamut of emotions without skipping a beat. Rounding out the main trio is Guy Van Swearingen as Choubert who not only impresses with finessed acting ability but adds plenty of meat to the role with a strong physical performance, most of which is done while soaking wet. Richard Cotovsky (Mary-Archie Theatre fame) also makes a splash (again, literally) as French poet Nicholas D’eu.

Astutely directed by Shira Piven, takes this one-act play and runs with it showing provocative imagery at just the right moments to add to the show’s intensity. With an artistic team of Danila Korogodsky (Production Designer), Mike Durst (Lighting Designer) and Brando Triantafilou (Sound Designer), all the right touches are in place to make this a truly unique theatre experience. And smartly so, Artistic Director Kirsten Fitzgerald brings back Shannon and Swearingen who reprise the same roles they undertook in 1995 when the play first hit A Red Orchid Theatre. To round out the list of returnees, Piven also directed the play’s first run while Korogodsky was on hand as Production Designer.

“'Victims of Duty’ was the very first show I ever saw at A Red Orchid,” says Fitzgerald. “I am not entirely sure lonesco’s investigation of life made logical sense to me at the time, but it made perfect emotional sense and was viscerally stunning. So much so, that I knew I needed to work with these people in this space. That was 1996. With many of the originals returning, the investigation promises to go even deeper.”

Outside of memorable performances and its unusual setting, what makes this play so engaging is how much is left to the audience’s interpretation. Undoubtably, there are several certain moments that will relate heavily with many. There are several questions posed in the concentrated 90 minutes. Are we the victims of duty? Is it because of our place in the system that our actions should be forgiven to those we affected negatively? For instance, as Choubert speaks with his father – a former soldier - whom he has been so filled with anger for so many years, perhaps realizing that the chain reaction set off by his father’s “duty” must be recognized as the source of certain intrinsic behaviors that could not be helped rather than taking all actions at such a personal level. Maybe he should forgive his father. Maybe we should all have a deeper understanding of those around us and realize how being in such a system, whether the role that had to be taken on, has affected those they love.

Highly recommended.

“Victims of Duty” is being performed at A Red Orchid Theatre through August 5th. For tickets and/or more information visit www.aredorchidtheatre.org.

When we think of traditional whodunits, we think of a carefully plotted murder, a list of suspects, and an inquisitive detective who gradually pieces new clues together until the crime is solved. Marriott Theatre’s “Murder for Two” is just that, albeit a musical-comedy that stars just two actors taking on 13 roles. How is that done exactly? With a lot of precision, spot on timing and with a special actor named Jason Grimm who bravely takes on the roles the twelve party goers (all suspects) as well as the victim.

When a surprise birthday party goes bad and Great American Novelist Arthur Whitney is murdered, small town cop Marcus Moscowicz decides to use his sleuthing skills to find the killer since the nearest detective is an hour away. Everyone in attendance of Whitney’s birthday party are suspects including Arthur’s wife, Dahlia, who relishes in the thought of being a “murderess”, prima ballerina, Barrette Lewis, renowned psychiatrist, Dr. Griff, Whitney’s niece, Stef, who is studying criminology in college, an elderly couple that bickers every chance they get and a handful of other interesting characters. Moscowicz wants badly to make detective and the clock is ticking, giving him less than an hour to solve the crime before he must turn the case over.

Noel Carey stars as Marcus and does a bang-up job as the eager detective-wannabe, perfectly complimenting Grimm as he goes from suspect to suspect – and back again. Both Carey and Grimm take turns playing the piano whether it be for a musical number or just ambience music.

Directed by Jeff Award Winner Scott Weinstein, “Murder for Two” is a fast-moving, suspenseful ride that offers big laughs in rapid-fire succession.

“This production provides a fantastic evening of murder mystery, zany comedy, and true virtuoso performances. There are only two performers that take on 13 roles throughout the entire 90 minutes, “says Weinstein. “They not only remain on the stage for the entire show, but one or both of them are also playing the piano throughout. Whether you are a fan of comedy, mystery, or anything in between, this production will have you begging for more.”

Weinstein couldn’t be more correct. Grimm’s ability to go from personality to personality without pause is nothing less than astonishing. The script is rich with humor and holds the perfect amount of suspense. The set's impressive revolving stage keeps all the action moving - literally.

“It is 90 minutes of nothing but silly,” Grimm says. “One character accidentally incriminates himself. One character, for attention, loves the idea that she is a suspect and basks in it.”

Joe Kinosian and Kellen Blair are the writers behind this exciting comedy and Carey and Grimm couldn’t be better cast (Carey has starred as Marcus in the musical’s national tour).

Highly recommended.

“Murder for Two is being performed at Marriott Theatre in Lincolnshire through August 26th. For tickets and/or more information visit www.MarriottTheatre.com.

Being a Chicagoan, it’s always fun to take in city history – to learn about the great things that made Chicago what it is today – one of the best known metropolitan areas on the planet, rich in history and tradition. In ‘Burnham’s Dream: The White City,' the play focuses on Daniel Burnham, a man who became an architect while learning on the job rather than with an education. Burnham, perhaps best known for authoring The Plan of Chicago in 1909, one of the most significant documents on urban planning, was one of the chief minds behind taking on the massive job of building the 1893 World’s Fair over what was then just a swamp-ridden Jackson Park. ‘Burnham’s Dream’ focuses on Burnham’s life throughout this miraculous endeavor.

Pavi Proczko is palpable as Daniel Burnham, giving us a good sense of the architect’s smarts, determination and dedication to the colossal project. Proczko provides an inner depth to the character that is easy for audience members to relate. Burnham’s business partner and long-time friend, John Root, is well-played by Sam Massey. Root, perhaps more of a big picture dreamer wants the fair to be all-encompassing, “a fair that is truly welcoming to everyone.” The two play off each other well; one the visionary the other making ideas a reality. Chase Wheaton-Werle also puts forth a strong performance as the likable Irish immigrant, Michael O’Malley while Genevieve Thiers impresses the audience with her vocal talent as Bertha Palmer. Jessica Texidor’s choreography is unique and gets the most out of its limited open stage.

Throughout the play, we get a myriad of 1893 World’s Fair fun facts such as learning that that is where the zipper and Cracker Jacks were first introduced, and that one of the many buildings was designed by a team of female architects (something unheard of at the time). We are also made privy to the fact that in order to complete the fair on time and to save a huge sum of money, the building’s exteriors were finished with staff plaster since atop steel frames, after all, the buildings were meant to be temporary. Though primarily dealing with the fair’s creation, it’s setbacks and triumphs, ‘Burnham’s Dream’ also provides a window into how women’s rights and those of African-Americans were dealt treated – Root certainly an advocate of inclusion, a stage for the world to see America’s advanced ideologies.

And while viewers might not go home humming the songs, the play in itself is interesting enough, moves along at a nice pace and is well-acted. For 1893 World’s Fair buffs, ‘Burnham’s Dream’ will be an entertaining way to watch it come to life piece-by-piece. For those who are not so familiar with the story, you’d be in store for an engaging Chicago history lesson.

Finely directed by Erik Wagner, Lost and Found Productions world premiere musical “Burnham’s Dream: The White City’ is being performed at Theater Wit through July 1st. For tickets and/or more play information, visit www.theaterwit.org.

It’s been three days since seeing Jesus Christ Superstar at Lyric Opera’s Civic Center and I still find myself going from character to character in the kitchen, in the car, while I’m working, while doing chores around the house and, moments ago, in the elevator. I may not be able to hit the brassy baritone notes sang by Cavin Cornwall as Caiaphas (or any of the character’s notes for that matter) but I give it my best shot because it’s just one of those shows – the songs stick – as they should. After all, we are talking about what many consider Andrew Lloyd Weber’s greatest work and perhaps one of the most masterful musicals of our time. We are talking about a musical that does not have a single weak number.

Having seen several variations of Jesus Christ Superstar from it’s very early runs in the 1970’s with Ted Neeley, many as he aged (the last while in his mid-sixties), and with a handful with others in the role of Jesus, Lyric Opera’s stage adaptation stays true to form – and then some. Cast members donned in hoods spread out across the main floor of the theatre before running to the stage during the opening overture. The set and costumes take us to a somewhat post-apocalyptic era, and though unnecessary as the musical is ever so effective taking place in biblical times, we still get the point.

With clever and ever-so-fitting lyrics by Tim Rice and an unbeatable soundtrack by Lloyd Weber, Jesus Christ Superstar takes us through Jesus’ rise in popularity as the promised messiah for his people over his last days. At the same time the pharisees show alarm and fear as Jesus is as a threat to their teachings – a threat that must be destroyed. While taking us through the last supper and eventually the crucifixion, the musical closely examines the love/hate relationship between Jesus and Judas, and the inner conflicts had by the latter. We also get a look at Rice and Weber’s perception of Mary Magdalene’s bond with Jesus, as she takes on a motherly approach in “Everything’s Alright” and that of almost a confused lover in “I Don’t Know How to Love Him”.

Jo Lampert as Mary Magdalene soothes Jesus (Heath Saunders)

Over eighty artists take the stage to perform with the thirty-seven musicians strategically placed in plain view on the set. The talent in this production is nothing short of spectacular, the choreography original and fun, particularly in that of the pharisees in the number “This Jesus Must Die,” adding a unique element of menace. The standouts in this show are many. Ryan Shaw delivers big as Judas holding true to the role’s intention immediately impressing from his opening number “Heaven on Their Minds” while Jo Lampert as Mary Magdalene shows great vocal command as she goes from gentle and soothing to prevailing power.

Ted Neeley who portrayed Jesus in the 1973 film, touring the role prior and still doing so to this day, along with Deep Purple’s Ian Gillan who was the voice of Jesus on the original album recording, set a precedent that, if not met, can lead to disappointment by the production’s most loyal fans. Gillan and Neeley set the bar high. The two were so successful in adding a rock and roll element to Jesus - screams and all - so that many in the role to follow were doomed to fail. This is not the case in Lyric’s current production. Heath Saunders exemplifies what the Jesus Christ Superstar loyal want to see in the role of Jesus. Diehards of the production call for a rock and roll Jesus and Saunders gives them just that. While stunning the crowd with his wide vocal range and hitting the highs where we’ve come to expect the highs, Saunders also gives us a Jesus who is sensitive, caring and embodies that of a teacher.

After tearing it up as Judas in Paramount’s 2017 production of Jesus Christ Superstar and taking on an ensemble role in the recent NBC televised special, Mikal Kilgore returns to the classic musical, this time as Simon Zealotes. Kilgore again puts forth an untouched performance, only leaving the audience with the regret his lead numbers are limited. Michael Cunio as Pilate Shaun Fleming as Herod are equally impressive as they pass the buck on who will be responsible for Jesus punishment that is called for by the people. Rounding out the sensational cast are Joseph Anthony Byrd as Annas and Cavin Cornwall as Caiaphas whose performances as the sinister pharisees are also on point.

Shaun Fleming as Herod

Jesus Christ Superstar is one of the great modern-day musicals and Lyric Opera of Chicago is one of Chicago’s premiere venues. Their pairing makes a lot of sense. Lyric spares no expenses presenting an all-around magnificent cast, a collection of Chicago’s finest musicians, superb direction and choreography and a set and lighting design that includes a 37-foot cross illuminated with 101 lights and seven full-sized trees that stand in the background overlooking all the action.

Categorically recommended.

Jesus Christ Superstar is being performed at Lyric Opera of Chicago through May 20th. For tickets and/or more show information, visit www.lyricopera.org.

Steppenwolf Theatre’s latest production is going to generate much buzz – quickly - and with good reason. In fact, it’s already been extended through June 2nd. Playwright Matthew-Lee Erlbach’s The Doppelganger (an international farce) is a riotous comedy that doesn’t skip a beat, boasting a cast that is as good as it gets in a script that barely allows the audience to breathe between laughter. Reminiscent of the absurdity Hollywood so often would place the likes of Mel Brooks, Peter Sellers or the Marx Brothers smack-dab in the middle, The Doppelganger successfully takes farce to the stage where an uncontained series of events that are highly exaggerated, excessive, and consequently implausible are successfully translated. Erlbach’s vision is effectively met thanks to Tina Landau’s finely-tuned direction through the use of deliberate ludicrousness and gobbledygook, broadly stylized presentations along with a whole lot of physical humor.

Rainn Wilson, who is best known for his role as “Dwight Shrute”, the competitive, over-the-top, social-skill-lacking paper salesman on NBC’s award-winning The Office, takes charge of the leading roles as the wealthy British businessman Thomas Irdley and his doppelganger Jimmy Peterson, an American seemingly fascinated with everything in life and someone you wouldn’t be surprised to find at a Phish concert. One would be hard-pressed to find a more ideal actor for the dual roles. Wilson’s transition from TV/film back to live stage is flawless.

In a whirlwind of mishaps that take place throughout mistaken identity, misunderstandings, partial eavesdropping and, “Whoops! Wrong door!”, we get an engaging story of international politics. Taking place in Bangui, the Francophone capital of the Central African Republic, the fun begins when Irdley is to host a weekend-long meeting to discuss a copper deal, inviting the likes of an American General (Michael Accardo), a Saudi Arabian prince (Andy Nagraj), and a handful of other players, including former African leader, Michel Masaragba (James Vincent Meredith) and his wife Lolade Masaragba (Ora Jones). But prior to the mini-summit, Irdley and his housekeeper Rosie Guerokoyame (Celeste M. Cooper) are preparing for another guest, Irdey’s doppelganger Jimmy Peterson, a kindergarten teacher from Quincy, Illinois. When Irdley mistakenly takes an elephant tranquilizer instead of his blood pressure medication, he is rendered unconscious, unable to participate in the weekend talks that will undoubtedly have an international effect. It is then that his housekeeper Rosie presses Peterson into action to take the place of Irdley in order to push her own agenda – that being the fair treatment of African workers. From there Rosie and Peterson become unlikely co-conspirators, the two hysterically finding themselves deeper and deeper into what can only be described as a hot mess of bargaining and back channel politics, every partaker conniving for their own selfish needs.

The humor is rapid fire and the play’s running time of nearly two hours and thirty minutes flies by. It is a quick-moving theatrical experience that is well-acted, offers one hilarious exchange after another while sprinkling in a seamless amount of intrigue to keep its audience guessing. The Doppelganger is a perfect tribute to the great farce comedies yet comes with its own unique flavor. Steppenwolf smartly provides Wilson with an airtight supporting cast of premium talent so that each character gets a serious amount of appreciation. Audrey Francis as the IBS-stricken Beatrix Geddes-Renwick is a comedic playwright’s godsend while Whit K. Lee as businessman Wen Xiaoping and Karen Rodriguez as the prince’s girlfriend, Marina, can do no wrong, also piercingly funny in several scenes.

                                                (left to right) Rainn Wilson and Karen Rodriguez in The Doppelganger (an international farce) - Photo by Michael Brosilow

If it takes the creation of a war to make everyone benefit from a copper deal, then so be it. While a comedy that supplies a laugh per minute, Erlbach also gives his audience a behind the scenes look at the perils of choreographed war not only showing the greed by its benefactors and lack of care for humanity but, in doing so, strengthens the premise that the rich will always become richer while the people who want to make a difference to better the world are often stifled and so easily dismissed. With plans to create self-induced atrocities in Africa knowing that certain countries will intervene, and certain products will increase in manufacturing (i.e. weapons), the elite group plans to meet their own agenda with the use of fake news to generate an international outpouring of sympathy and support. Though guised in an outrageous comedy, the point is made clear - political corruption exists and, unfortunately, often triumphs over good.

Brilliantly hilarious and vastly entertaining, Rainn Wilson’s superb performance certainly highlight’s The Doppelganger, though this play has so much more to offer from its sensational script to its commanding supporting cast - and a set that is a whole lot of fun in itself. But the play is also a breath of fresh air in an age where no one wants to offend or be offended. Says Chicago playwright Matthew-Lee Erlbach in an interview found in Steppenwolf’s playbill on the challenges of writing a traditional farce in today's climate, “We are provoked by reality, offended by the radical truths that shape our world. I am taking that farce and putting it on stage. I am writing the world as it has been recycled back to me, igniting those inherited devices, throwing them back at those oppressive power structures, and blowing them up on stage. Unchecked power is exploiting the human species, other species and the planet as a whole. I will use all rhetorical devices available to me to expose and disable those who are dangerous to society.”

“Also,” Erlbrach continues, “we have to be able to laugh at ourselves. If we lose the ability to find ourselves ridiculous and see the humor in those things that are painful, sensitive, nuanced, dear, we will become constipated, humorless and depleted of objectivity.”

The Doppelganger is not only a fitting homage to farce comedy, it is an eye-opening satire of today’s world-wide political happenings. This nearly immaculate, exceedingly humorous international adventure certainly falls in the “must see” category of Chicago stage works.

The Doppelganger (an international farce) is being performed at Steppenwolf Theatre through June 2nd. For tickets and/or more show information visit www.steppenwolf.org.

In 1959 director Douglas Sirk left his mark on Hollywood in the making of his final film, Imitation of Life, which was based on the Fannie Hurst novel of the same name. The film starred Lana Turner in the lead role and dealt with several topics that still loom large today, focusing on race, class and gender. This was the second film adaptation of the novel, the first being directed by John M. Stahl in 1934. Finding it "culturally, historically, or aesthetically significant" the United States Congress selected the film for preservation in the National Film Registry in 2015.

Upon signing to star in a remake of Imitation of Life, Turner was knee-deep in real world trouble. She had been involved in courtroom proceedings after her boyfriend was killed by her daughter in a domestic struggle. Hollywood seized on the media sensation and used the film as an opportunity to reclaim her star status on the big screen.

So, leave it to Hell in a Handbag to brilliantly lampoon the film and actual events surrounding Turner, intertwining the two stories into one. In “L’imitation of Life,” Ricky Graham and Running with Scissors take Bruce McNally’s original script and run with it, and thanks to outstanding direction by Stevie Love, we get a hilarious spoof that keeps Handbag at the top spot for Chicago comedy theatre.

In “L’imitation,” Lana Turner (Ed Jones) wants to succeed as a Broadway star no matter what the cost. She currently grabs any commercial she can get no matter how degrading the topic matter and is known as many things such as “The Queen of Flush” (yes, from a toilet brush advertisement). The widowed commercial starlet lives with her spoiled school-aged daughter Suzie (Katherine Bellantone), who, as in her real-life drama, had stabbed to death Turner’s boyfriend (perhaps with a little prodding from mom). It is when the two happen upon Annie Johnson (Robert Williams), a besieged African-American mother while at the beach, that a new life for both begins. With Annie and her daughter Sara Jane (Ashley J Hicks) having nowhere to go, Lana “charitably” invites the two to come home with her – with Annie becoming a maid and caregiver to Lana and the two girls.

With their new living situation comes many challenges. Sara Jane is rebellious. Light-skinned and defiant, she wants to be accepted as white, keeping her mother a secret from friends at school. Annie is there for Lana for anything and everything she needs with a smile but is massively overworked and disregarded. Lana is delusional about her talents as an actress and sleeps with anyone she can to move forward in the entertainment industry. And Suzie is weird – and flat out scary.

Ed Jones never lets the Handbag faithful down, and in “L’imitation of Life” we might just get his best work. A flawless performance by Jones highlights this very funny production as he so masterfully is able to capture and exaggerate Turner’s essence to comedic perfection. Jones gets strong support from Robert Williams whose Annie Johnson so perfectly plays off Turner’s delusions of grandeur, no-respect-for-others character. Chazie Bly plays Steve Martin (no, not that Steve Martin), Turner’s on again off again boyfriend, and is ferociously funny in doing so.

In “L’imitation,” Hell in a Handbag is able to spoof such touchy subject matter in their own unique fashion that actually finetunes what, in some ways, may have been the desired the effect of the film – to point out the absurdities where society falls short in poking fun at stereotypical behaviors. “It is the intention of Parody, as an art form, to hold a fun-house mirror to our culture and to reflect all attitudes in an art (past and present).’ Says director Stevie Love. “The beautiful, the garish, the righteous and the misguided. We intend to do that in 5-inch heels.”

Presented with visuals that help in providing a scene’s setting and also serves as yet another avenue for big laughs, “L’imitation of Life” hits on all cylinders.

“L’imitation of Life” is being performed at Stage 773 through May 6th. For tickets and/or more show information, visit www.handbagproductions.org.

Akvavit Theatre’s latest presentation brings Astrid Saalbach’s Danish comedy “Bad Girls: The Stylists” to the U.S. for the first time where it is being performed at Strawdog Theatre Company.

Taking place in a beauty salon, the story follows four hair stylists through their daily endeavors in the workplace, getting all the more interesting as one client is more unique as the next. A series of outrageous scenes take place, the play offering plenty of laughs, as the banter between the stylists is quite funny at times along with some highly engaging interactions with their walk-ins.

An underlying plot takes place as a mysterious stranger, who shall be known as “A”, begins to visit the salon. First appearing as a homeless woman, more and more intrigue develops as she reappears as other characters. Jennifer Adams highlights this play as “A” and is absolutely hilarious in practically ever scene she graces. Adams well-executed line delivery, expression and comic timing make this play, transcending it from a so-so production to putting it on the worthwhile list.

Though the plot is iffy and the ending questionable, there is enough good comedy to make this production quite enjoyable. Some scenes are flat out shamefully funny. There is plenty of original humor to be found here.
In a story that examines individuality and appearance, Breahan Pautsch directs this dark comedy where five women bravely play twenty-eight characters. Adams is joined by Kim Bolger (Boogie), Jennifer Cheung (Jorun), Kirstin Franklin (Mette) and Madelyn Loehr (Trine).

Making up the production team for “Bad Girls” and putting us in the center of a beauty salon is Chad Eric Bergman (scenic design), Lily Walls (costume design), David Goodman-Edberg (lighting design), Nigel Harsch (sound design), Hillarie Shockley (props design), Rick Gilbert and Victor Bayona (violence/intimacy design) Keith Ryan (hair/wig design), Lindsay Tornquist (asst. director), Harrison Ornelis (technical director) and Hannah Harper-Smith (stage manager).

“Bad Girls: The Stylists” is being performed at Strawdog Theatre Company through April 14th. For tickets and/or more information on this often laugh out loud production, visit www.chicagonordic.org.

In a departure to their oft musical-driven productions, Theater at the Center kicks of the 2018 season with the comedy-drama Steel Magnolias, Robert Harling’s 1987 play that became a blockbuster film directed by Herbert Ross just two years later.

Set in the deep South, in a northwestern Louisiana town, the play revolves around the bond between a handful of small-town women that frequent a local beauty salon, Truvy’s, whose owner is of the same name. Based on the premature death of Harling’s own sister caused by diabetes, the play’s character’s strength is tested as they struggle with the imminent and eventual loss of one of their own.

Run by Truvy Jones, Truvy’s Salon is seemingly the gossip hub of the town. Regulars such as the gleeful widow of the town’s former mayor, Clairee Belcherand, and Louisa "Ouiser" Boudreaux, the irritable and sardonic neighbor, often pop by whether getting their hair serviced or not – just to hear, or pass on, the latest. M’Lynn Eatenton and her daughter Shelby are also staples in the shop, Shelby now getting ready for her wedding day. At first it seems we are thrust into light-hearted beauty salon talk. Truvy loves to listen as much as she loves to dish out advice. Even though it mainly consists of neighborhood small talk, the dialogue is so rich and humorous, we can’t help but get pulled in. Quickly the characters become charming in their own ways; each personality so well-crafted in just the first scene. Minutes into the play, we feel we know them.

It’s Annelle Dupuy’s first day and she’s got a lot to take in.

Lighthearted soon goes to serious at the drop of a hat when Shelby falls into a hypoglycemic state while sitting in a salon chair. M’Lynn rushes to her aid with a juice box forcing her to drink the sugary liquid. From there theatre goers are on notice to proceed with caution – tear jerker coming.

As the story progresses, Truvy begins to look at Annelle as the daughter she never had, something they each so desperately seem to need. We watch Annelle grow from timid employee to becoming a confident woman. At the same time, an impending doom looms over the story concerning Shelby’s condition, especially when she announces she is pregnant – something doctors warned her against due to the strain it would cause on her body. Though greeted with a series of “congratulations” by each of the women, M’Lynn does not share the enthusiasm, knowing the risks that would be involved.

Linda Fortunato directs this production as smoothly as a gentle southern breeze that brushes against a Weeping Willow. The exceptionally well-acted play is really cut into four scenes, each one as engaging as its colorful characters. Theater at the Center favorite Cory Goodrich returns as M’Lynn Eatenton and powers her way through the complicated role displaying a much-needed warmth, concern and love for her daughter. Shelby is wonderfully played by actress Landree Flemming. We immediately connect with her, which makes us relate to her mother even more so. Heidi Kettenring successfully turns on the southern charm as Truvy and is extremely likeable in the role as the salon’s queen bee.

The cast is superb – all players adding just the right amount of personality to each character. Myesha-Tiara is finely-cast as Annelle, while veteran performers Joslyn Yvonne Jones as “Ouiser” and Jeannie Affelder as Clairee add the final touches that makes this such a powerhouse cast.

The three-quarters theatre-in-the-round staging give us an up close and personal peek into the well-constructed set that consists of Truvy’s in-home beauty salon complete with all the works, mists of hairspray and all.

Women as strong as steel yet as fragile as the magnolia flower, the title suggests we can all be broken yet each one of us has the inner strength to prevail no matter how bleak a situation might seem, even if some of that strength is on loan to us by a friend.

Highly recommended.

Steel Magnolias is being performed at Theater at the Center in Munster, Indiana through March 25th. For tickets and/or more show information visit www.TheaterAtTheCenter.com.

*Tissues are offered by ushers upon exit.