Displaying items by tag: chicago theatre

Having read that Six Corners was the “third in a loose Cop trilogy” by playwright Keith Huff, I was concerned that not seeing the first two stories (A Steady Rain and The Detective’s Wife) would lessen my experience. But from the moment I entered the theatre the stage was set, both literally and figuratively.

Thanks to the realistic set design, I was transported from a theatre to the Six Corners Police Precinct to watch this mystery unfold. The use of lighting to move the story between locations was especially effective as it simulated the fluorescent lights of the police station or the dimly lit bench at the bus station. The incorporation of a moving wall, however, was too complicated and not essential. That it failed during the show causing a disruption should be a signal to the creative team that it should be removed rather than risking another distraction. In my opinion, the pacing improved without it.

The opening scene brought the precinct to life, as we looked in on Detectives Nick Moroni (Peter DeFario) and Bernadette Perez (Monica Orozco), two burnt-out cops feeling the stress of failing marriages, being absentee parents, and being cops; not to mention the sexual tension between them. With a fast-paced verbal exchange full of both insults and empathy, it was clear that these two detectives were not looking forward to another late night dealing with the murder of a CTA employee. Relying on ethnic stereotypes of a chest-beating macho Italian and a fast-talking fiery Latina switching between English and Spanish, the actors’ portrayals were at times cartoonish as they overacted to earn some laughs. I assume this was intentional direction, and not the actors taking license.

In subsequent scenes we join the detectives as they investigate the crime by interviewing the only two witnesses, Carter Hutch (Manny Buckley) and Amanda Brackett (Brenda Barry), as their stories slowly unravel. Are these two witnesses really just strangers in the wrong place at the wrong time? Can they convince the detectives (and the audience) that they truly were Good Samaritans? Buckley and Barry portrayed their characters with emotional honesty and integrity. They were believably sympathetic as they displayed a nervousness and uneasiness that you might feel after witnessing a murder. Barry stood out to me for her portrayal of the struggling pregnant late-night waitress.

Intertwined with the murder investigation, we see a backstory develop as the show travels back in time. We are at the bus stop where an 8-year-old girl, Katie Yates (Lyric Sims), is alone after being separated from her mother. She encounters a stranger, a transient, BJ Lyles (Byron Glenn Willis) who she innocently befriends. Sims’ portrayal of 8-year-old Katie Yates was perfectly on point bringing an innocence to the child that felt real. While Willis adeptly portrayed transient BJ Lyles as a sympathetic character, he still gave the audience reason to mistrust his character as he got eerily close to the vulnerable child.

As the Backstage Guide reveals, the writer is influenced by CPD’s reputation for disregarding civil rights, inequality in treatment of female police officers, the blue code of silence, and the lack of public trust.

Throughout the story, the writer subtly weaves in evidence of unconscious bias and inherent racism. At the same time, he develops characters who are outwardly sympathetic even as their faults, deceptions and corruptions are exposed.

In spite of my criticisms, I enjoyed and am recommending this play, directed by Gary Griffin. The story line is well conceived and presented. More importantly, the subtext is both thought provoking and relevant.

Winner of the Edgegerton Foundation New Play Award, American Blues Theater’s production of Six Corners by Keith Huff runs at Stage 773 through March 24, 2018. 

Before I set foot in the Goodman’s Owen Theatre to see the Chicago premier of Sarah DeLappe’s acclaimed play The Wolves, I tried not to read or hear or learn too much about it. I knew it had been a finalist for a Pulitzer, and won other awards. I knew it was about a girls’ high school soccer team. And that was about it.

The first tidbit informed my own expectations – this ought to be good, I figured. And the second informed who I’d bring along – my own 14-year-old soccer-playing daughter. I was excited that the subject matter might excite her, sure, but was more intent on using her as a litmus test for not just the play’s quality, but its authenticity. And boy, did we both find that it delivered on both counts.

While the play’s 20-something playwright and cast might seem like whippersnappers to an old dude like me, their ilk are positively elderly to a teen. After the play, my daughter admitted she’d been worried that the presentation would be the usual – what old people think young life is like these days. But The Wolves portrayed young life – the young life of today, of yesterday, of time eternal – in a way both dad and daughter found realistic. That is, the play portrayed life realistically.

Sarah DeLappe’s script sets up this portrayal like a champ. After the play, I read that DeLappe was influenced by old war movies – the kind where a gang of guys gain personal revelations in the face of greater situations – and I can see that. I also sensed the influence of 12 Angry Men or Tarantino’s Reservoir Dogs – art that finds greater truths by plopping a disparate troupe of characters into a script. But instead of machine guns and military rations, instead of a jury room or a bank heist, the troupe on the Goodman’s stage was armed with shin guards and phones and backpacks and headbands. But the idea was the same – flesh out a story by fleshing out the people telling it. DeLappe tells her story through her girls’ banter as they stretch and warmup before a series of soccer games. Her gift for said banter is something else – making it sound like how not just girls talk, but how people talk, as the characters flit from discussions of world events to feminine products, from hopes and dreams for the future to the sex and sexuality that seems so pressing in their present. Talk goes from Pol Pot to periods, from weirdoes who live in “yogurts” to punk rock chicks who lick coffeehouse microphones. The stuff real people talk about. And how real people talk about that stuff.

And, more than any play I can remember, director Vanessa Stalling’s production of a team shows it takes a team to pull it off. First off, the cast is great. Those grown-up ladies onstage could totally, like, pass as a gaggle of teen girls. And that’s not to belittle them or the material they’re working with. Most likely because I’m a nerd, myself, I connected with Sarah Price’s neurotic know-it-all, #11 (yes, the characters are only identified by jersey number, further enforcing the team concept, and further highlighting how both script and cast breathe life into these nameless roles). As the team captain, #25, Isa Arciniegas is – to continue the earlier war motif – Pattonesque in a Napoleanic package. Cydney Moody’s #8 is the moody one. Angela Alise’s #00 is the lonely goalkeeper. Erin O’Shea is the red-headed, homeschooled, yogurt-livin’ outsider (think Lindsay Lohan in Mean Girls, except with mad ball-handling skills). And the heart and soul of the team are Natalie Joyce and Aurora Real de Asua. Joyce’s #7 has the mouth of a sailor but the problems and insecurities of a girl, while #14 is the ego to 7’s adolescent id. The teammates kick around conversations as feverishly and randomly as they do their soccer balls, again making it sound not just like how high school girls talk, but how people interact.

The teamwork on display does not stop with the script and its interpreters, however. Collette Pollard’s set gave this soccer dad, who’s spent too much time hanging out at fields both outdoors and under domes, flashbacks. Lighting by Keith Parham is spot on, as are the musical choices by sound designer Mikhail Fiksel, both providing energy and intensity that match the actors’.

And so, this whole team comes together to not just tell a story of young girls, but of people. What starts as dissonant and diverse digressions between types and tropes turns into a realistic back-and-forth you’d hear not just on the field or in the mall or in a classroom, but at work, on the train, in the checkout line, on the street. Given great material to work with, the cast and crew of the Goodman Theatre’s production of Sarah DeLappe’s The Wolves give us something that’s funny, sad, uncomfortable, cute, ugly, and beautiful – that is, art that pulls off the rare feat of feeling like real life. And, like, my teen daughter seconds that!

*Extended through March 18th

Gone are the days of traditional theatre when actors and audience members were politely separated by at least an imaginary buffer zone. Enter Southern Gothic, written by Leslie Liautaud, created by Carl Menninger and Amy Rubenstein, and directed by David H. Bell, with its concept of “immersive theatre” where the audience members (only 25 are allowed per each show) are given an opportunity to be a “fly on the wall” at a birthday cocktail party in Ashland, Georgia in the summer of 1961.

There’s really no stage, the entire set is a replica of a southern mid-century house; it is meticulously designed by Scott Davis and complete with the kitchen, dining room, living room, bathroom and a back porch. Every fabulously authentic detail of the house, including the furniture, dishes, the actors’ costumes, as well as the food and drinks, are spot on. And if going back in time sounds exciting, then being able to snoop around the house, open the kitchen cupboards and the fridge, and eavesdrop on intimate conversations is a dream come true!

And speaking of dream come true: just because the audience is “invisible”, doesn’t mean that they can’t sample that delightful mid-century American cocktail party fare: the spam-topped crackers, bright red jello dessert and the retro cocktails occasionally being passed around. All that is sure to put one in the mood for the unfolding drama; and there’s plenty of drama.

Four couples get together at Ellie and Beau Coutier’s house to celebrate Suzanne Wellington’s 40th birthday. Alcohol flows freely and guests are mostly enjoying themselves, when the good times turn sour once drunken guests start spilling their dirty secrets.

The hostess (beautifully played by Sarah Grant) is having an affair with one of the guests, Charles Lyon, a charming politician (Brian McCaskill), whose wife Lauren, a very wealthy woman with her own secret [or two] is pre-occupied with her problems. The birthday girl (a superbly colorful and lively Brianna Borger), whose reputation for being obnoxious precedes her… well, she is just very hungry because the party caterer was being held up and she’s reduced to dining on saltine crackers. It’s a very intimate play, made more so by being so physically close to the actors. There’re several plots going on, and as events intensify, it is virtually impossible to follow through on every one of them, which makes the entire experience sort of customizable. But as the sounds of crickets are heard outside the windows, cool 60’s vibes palpable throughout – it’s a good feeling to jump back to the simpler times. Just be sure not to bump into actors as you try to take it all in.

Opened in 2015, Windy City Playhouse prides itself on providing non-traditional high quality theater experience starting with a welcoming full-service bar in a luxurious lounge. Theatergoers are encouraged to stay after the show and mingle with the actors.

Southern Gothic is being performed as an open-ended run at Windy City Playhouse. For more show information visit http://windycityplayhouse.com.

*Now extended through July 29th

If you are a passionate fan of the original "Phantom of the Opera" musical, its sequel "Love Never Dies" will surely peak your curiosity and is a 'must see'.

The continuation to one of the greatest love stories of our time takes place in 1907, ten years later after the Paris Opera House fire. The Phantom fled at that time, escaping tragedy, but not before releasing Christine and Raoul, so moved by his love for her. Christine now resurfaces after receiving an invitation to travel from Paris to make her singing debut in New York and the Phantom is determined to win back her love. After so many years have gone by, we finally see a life changing reunion between the Phantom, Christine and other ghosts from the past.

Magnificently directed by Simon Phillips, the stunning musical includes a new set and costume designs by Gabriela Tylesova, choreography by 2011 Astaire Awards winner Graeme Murphy, lighting design by Nick Schlieper and sound design by Mick Potter. Together they produce what can be described no less than an enchanting theatre experience that is as haunting as it is seductive.

A handful of characters return from the first musical, including the Phantom portrayed with fierceness by Cardar Thor Cortes who was born in Iceland and is making his debut in the United States in this performance. Cardar Thor Cortes comes directly off the heels of a successful run of Love Never Dies in Hamburg, Germany. Christine is beautifully acted by Chicago native Meghan Picerno. The music and lyrics created by Andrew-Lloyd-Webber and Glenn Slater seem personally written for these two amazing singers who held the audience in awe.  Other return characters were Raoul (Sean Thompson), Madame Giry (Karen Mason) and Meg Giry (Mary Patterson).

The musical number impress one after another and are in many ways as powerful than those in the original “Phantom”. "Once Upon Another Time" will touch your heart while offering meaning to the story line of this play. Meghan Picerno, (Christine) and Gardar Cortes mesmerize the audience singing beautifully together, their words enhanced by every powerful note. "Love Never Dies", without question reveals Meghan's emotionally charged and extremely talented voice.  

Applause, applause and more applause...

“I have the great joy of being able to say that I think this production is probably the finest one I could ever, ever hope for,” said Andrew Lloyd Webber just minutes after seeing the musical’s first run through.

One of the play’s nice surprises was 13-year-old Casey Lyons native of Lake Forest who was a joy to watch sing and perform. Casey is a natural and has a wonderful gift of song.  

The Coney Island atmosphere freed the stage up to every kind of performer singing and dancing together to present a mystical, delightful and creative wonderland. The fluid stage changes were excellently done and the orchestra gets an A-plus in every way.

Not to give the plot away, I can say the story line is unique, a little unexpected, and keeps you wondering until the very end. "Love Never Dies" is well worth attending.  

“Love Never Dies” has a running time of two hours and twenty-five minutes with one intermission and is being performed at Cadillac Palace Theatre through March 4th. For tickets and/or more show information, visit www.BroadwayInChicago.com.

Marriott Theatre’s Ragtime might just be one of the best adaptations to make its way through the Greater Chicago Area - ever. E.L. Dotorow wrote the novel in 1975, which has stormed theatre stages since 1996, snagging thirteen Tony Awards in 1996.

With lyrics by Lynn Ahrens, music by Stephen Flaherty and a book by Terrence McNally, the highly-acclaimed musical follows three very dissimilar families beginning in 1906 New York. One family is a white, advantaged and wealthy, one consists of an immigrant Jewish father and his young daughter while the other is a young African-American couple following the birth of their new child. Throughout the story, the families become intertwined with each other as the story paints a vivid picture of privilege versus the struggles of those less fortunate. Ragtime is a moving story of hard times, prejudices and the will to survive by those who have been dealt a much tougher hand in life and also the understanding – and lack of understanding – that is had by those more prosperous. It is also the ultimate story of determination.

Beautifully directed by Nick Bowling, the story includes several colorful characters that really make a strong impact such as Tateh, the Jewish immigrant from Latvia, played impeccably with much intensity by Benjamin Magnusun. Tateh, a portrait artist, is inspired to succeed in America after watching the great Harry Houdini (Alexander Aguilar), another immigrant, make his rise to fame. Marriott Theatre veteran and actor/singer extraordinaire Nathanial Stampley once again rises to the challenge this time as Colehouse Walker Jr. the show’s champion and pioneer of “ragtime” piano-driven music. Katherine Thomas compliments Stampley well as Walker’s fiancé, Sarah, her role as powerful as any in the story that holds such a political relevance in today’s current state.

Ragtime was a long time coming for Marriott and this staging is well-worth the wait. Bowling decides to change the play’s ending, a decision for audience members to take home and ponder.

Chicago favorites Larry Adams and James Earl Jones II this time find themselves leading a highly gifted ensemble, adding even more punch to this influential musical. Brilliant performances run rampant in this production with riveting work from Jonathan Butler-Duplessis as Booker T. Washington and Kirsten Hodgens, known only as “Sarah’s Friend” in the program. Hodgens has show-stopping vocals that are certainly highlighted in this production.

With a running time of two hours and forty minutes, the production’s high engagement level from beginning to end without lull is testament to its quality. For those who have seen the musical before, just seeing it from another perspective, that of its in-the-round staging, is entertaining in itself. With spot on costume and set design, moving musical numbers and tremendous acting and vocal efforts, Marriott’s Ragtime should be in line for a Jeff Award nomination.

Highly recommended - a perfect piece of musical theatre.

Ragtime is being performed at Marriott Theatre through March 18th. For tickets and/or more show information visit www.marriotttheatre.com.

Buffalo Theatre Ensemble presented a two act play at the McIninch Art Center in Glen Ellyn titled Time Stands Still this past weekend and I was fortunate enough to see the opening night performance. The entire play is set in a Brooklyn loft apartment that really serves well in creating a New York feel. The cast is power packed though small as four actors take on the roles of two couples in this story that mostly centers around the pair living in the loft though the other couple is still strongly placed in the story line.

As the story is described, Sarah, a photo journalist, is recovering in the Brooklyn apartment she shares with her foreign correspondent boyfriend James after being injured by a roadside bomb while covering the Iraq war. When they receive a visit from their photo editor friend Richard and his young new girlfriend Mandy, it forces Sarah and James to re-examine their relationship, and address the ethics of journalism in a world torn by conflict and suffering.

Times Stand Still is powerful and comes with acting is of very high caliber, each actor as impressive as the next. I never actually felt like I was watching actors, which in itself is testament to the players’ convincing performances. This play provides four very believable characters, and all decidedly different. It is also thought-provoking a play that prompts some very interesting conversations going on during the intermission. Written by Donald Margulies with Connie Canaday Howard serving as the production and artistic director, Time Stands Still is well-produced in every way. College of DuPage alumni Chris Kriz handles the play’s original music as sound composer and designer while Michael W. Moon does a fantastic job with scenic design, and Claire Chrzan with lighting design.

The central character, if you could say there was one, was Sarah Goodwin, played by Lisa Dawn, who has done work with BTE before. I found her character the most controversial in many ways. Having said that, the audience may have disagreed. In talking to, and overhearing, audience members afterward it appeared many had differences of opinions, the play encouraging some good conversation – always the mark of a good script.

Amanda Raudabaugh, played by Mandy Bloom, is also a provocative character. She is the new wife of Richard Ehrlich, played by another BTE veteran, Kurt Naebig. Brad Lawrence played James Dodd, who was the other half of the couple with Goodwin.

I don’t think two people could walk away with the same description of what they took from this play. Personal and moral values are questioned by the characters in the cast, as well as the audience. There are also some light-hearted moments, though the subject matter was anything but light. The story really makes you think and really puts into question your own thinking. How would you handle yourself if you were put in the position of the central character?

If you are looking for something light and funny, check out another play. If you do enjoy pondering over real issues, get yourself a ticket. Actually, go see it for yourself. Not everyone is going to walk away with the same perspective of this engaging story. The talented Buffalo Theater Ensemble does yet another a great job with this one. Time Stands Still show will be at The MAC on the grounds of the College of DuPage until March 4th and comes highly recommend. It just might make you think.

For more info on this play visit http://www.atthemac.org/.

Having been wanting to check it out for quite a while, I was excited to go see Nice Girl at the Raven Theatre, the theatre’s latest offering, this one by Melissa Ross and directed by Lauren Shouse. Upon entering the Edgewater located venue, I walked into the warmth and was greeted by two friendly gentlemen. It is an unassuming, no thrills theatre, and unfortunately was missing a bar. As I went to find a seat, I noticed the sense of community at Raven Theatre. It was clear the staff was close-knit and well-connected in the theatre community.

I was immediately transported to Massachusetts as they play started. Both Josephine, played by Lucy Carapetyan, and her mother Francine, who is played by Lynne Baker, show fantastic chemistry from the get go and the banter between the two is strong, to say the least. In fact, their repartee is so realistic at times as they both pushed each other's buttons it made me uncomfortable.

The premise of the play is that Josephine is 37, single, and living with her mother. She befriends a coworker named Sherri (Stella Martin) who happens to be the saving grace of this play. She brings a much-needed energy to the sad life that Carapetyan so convincingly brought to her character. As the play progresses we are introduced to Donnie (Benjamin Sprunger) who is an old classmate of Josephine and they start to build a budding romance. But the characters prove to be bland.

There is a twist in the second half of the play in which I missed completely, most likely due to the lack of interest in the play’s characters. I truly struggled with the play and what it offers to its audience. It is sad and without much hope until the end of the show. What I yearned for was the steady, noticeable growth of Josephine throughout the challenges of her relationship with her mother but again, some changes occurred at the end.

Nice Girl is a bit hard to watch but it does have some humor breaks here and there, albeit on the more minor side – not enough to salvage the play. I struggled with feeling much hope for the main character. If seeing the play, be prepared to be sad and have a lot of hurt in your heart. However, when walking out of the Theatre many patrons commented that they enjoyed Nice Girl, obviously appealing to the taste of several theatre goers. Who’s to say who will enjoy what so, as always, check it out and make your own opinion.
Nice Girl is being performed at Raven Theatre where it is running until March 11th. Tickets available at www.raventheatre.com.

Loosely based on a true story of the two infamous feuding families- Hatfield and McCoy – and inspired by Shakespeare’s Romeo and Juliet, the namesake musical takes place circa 1865 in West Virginia.

McCoy family loves to stage home plays and write poetry, while Hatfields spend most of their time drinking whiskey and planning revenge against McCoys. It’s mostly un-clear what started the hostility between the two families, but both parties are very much into it. The families occasionally take a break from killing each other for the annual talent competitions. There is a 3-piece live band on stage consisting of Matthew Muniz (Music Director/ Keyboard), Jake Saleh (Upright Bass), and Jess McIntosh (Fiddle). Actors sing, play acoustic guitars and mandolins. New music created for the play (Shawn Pfautsch and Matt Kahler) represents Americana styles across generations, from bluegrass to 2017 pop.

During one of such competitions, McCoys’ young daughter Rose Anna (sweet-voiced Haley Bolithon) accidentally falls in love with Hatfields’ young son Sam (Bradley Grant Smith); the two love birds immediately conspire to get married and thus reconcile their families once and for all. But the other family members do not trust each other, so things don’t exactly go as planned.

Interesting choreography bordering on dance combined with great period costumes (by Emily McConnell) makes for a visually enticing show. Director Matt Hawkins, who is also a fight choreographer and movement director, incorporated several dance-like fight scenes into the play with terrifying outcomes, and those are some of the highlights of the show.

Lengthy monologues peppered with Bible quotes, as both patriarchs are fond of searching Bible for quotes to justify their actions - the play has a strong Christian presence. But despite many great passionate performances, most memorably by Robert D. Hardaway as “Devil” Anse Hatfield, Marika Mashburn as Levicy Hatfield and Stacy Stoltz as Sarah McCoy, it is vaguely reminiscent of a high school play as it lacks certain emotional maturity, especially considering the horrifying subject matter.

Rivers of fake blood, loud guns and violent knife stabbings – Hatfield and McCoy takes no prisoners, quite literally. Tragic ending serves as a cautionary tale: “There ain’t no winning in war”.

The House Theatre Company’s Hatfield and McCoy is being performed at Chopin Theatre through March 11th. For more show information visit www.chopintheatre.com.

Who’d have thought a Cuban-born playwright could endear an auditorium of liberals to Ronald Reagan. Rogelio Martinez’s new play ‘Blind Date’ is a fictionalized account of the very real first meeting between Soviet general secretary Mikhail Gorbachev (William Dick) and President Ronald Reagan (James D. Farruggio). Robert Falls returns to the Goodman to direct this world premiere.

Billed as a comedy, some will wonder what could be funny about a world on the brink of nuclear war? As it turns out, quite a bit. ‘Blind Date’ is basically a drawing room comedy. Most of the scenes are two-person conversations between the various historic players of the time. Beginning with US Secretary of State George Schultz (Jim Ortlieb) and Soviet foreign minister Eduard Shevardnadze (Steve Pickering) all the way up to the fateful meeting between Gorbachev and Reagan in Geneva.

The narrative structure of this piece is interesting. In some cases, cast members speak their opinions directly to the audience. In other instances, there’s narration by way of British biographer Edmund Morris (Thomas J. Cox). The narration serves the playwright’s thesis that even his own biographer didn’t really understand Reagan. The asides are more often a conveyance for one-liners. Though, they do provide insight into the mindset of the Soviets and Americans in these meetings.

It’s no surprise that Falls has assembled some of Chicago’s foremost actors for this new play. Deanna Dunagan plays Nancy Reagan, in a nearly perfect likeness no less, while Goodman favorite Mary Beth Fisher plays Raisa Gorbachev. The two first ladies share a scene in which almost nothing of consequence is discussed, but the slight backhanded compliments and fuss made over tea bags versus loose leaf underscore how tenuous relations between the super powers were. Each thinking themselves superior in domesticity and political ideology. Scenes featuring Dunagan and Fisher are the most engaging as the dialogue sharpens to a point. What few may consider is how much influence these two women had over their husbands. Despite contradicting opinions, both sides desperately wanted to see an end to the nuclear arms race. A noble idea that has unfortunately taken a wrong turn since the mid-80s.

There’s danger in glorifying Ronald Reagan as an innocuous savior from nuclear war. His optimism regarding the Soviets was certainly helpful but in the end, the Soviet Union collapsed from a failing economy, not Reagan’s pro-Democracy initiatives. And yes, it’s easy to look at Reagan and think, at least he’s not our current president, but let’s not forget the homophobic blind eye his administration turned toward the AIDS crisis, and the lasting effects of the unsuccessful war on drugs.

This play is a lot like an average Oscar-bait movie. You know the type: polished historical drama about a specific section of history, usually starring high profile British actors like Judi Dench. Ones that you know you should see, but probably won’t. It’s okay for a play to be ephemeral. In this case, the global nuclear stakes are so high right now that it’s vital for Americans to understand how serious even the tiniest miscommunication could be. It’s important for Americans to remember what diplomacy looked like. Think of the current president’s impulsive behavior on Twitter. Rogelio Martinez’s play may make you giggle at Reagan’s loveable weirdness, but the gravity of this meeting with Gorbachev in 1986 should frighten us all. These were poor leaders who made a very smart decision. It’s a terrifying shame our current leaders would rather go back in time.

At Goodman Theatre through February 25th. 170 N Dearborn. 312-443-3811

Unlike the preamble to the constitution, you – the people – won't find any established justice or domestic tranquility in Trump's America. Enter the Anti-Trump Musical.

Last Saturday, Flying Elephant Productions premiered We the People, a new musical featuring a cast of six singing original songs with music and lyrics by Leo Schwartz and book by Sean Chandler. In a little over an hour, the show revisits the Democratic and Republication national conventions, election night 2016, the immediate morning after, and the dawning chaos of what it means to live under a President Trump.

The musical serves as a warning of sorts, but it is too little too late. If anything, it would likely inspire people to vote in the midterm elections, and just VOTE in general so we don't wind up in this "unpresidented" (to use a term from our current president) situation again.

Part of me wanted the show to be harsher on Trump, but I can see where too abrasive of an approach would potentially turn people off. Another part of me wanted it to be funnier, because what's more of a joke than a highly unqualified reality television star becoming one of the most powerful politicians on the planet? But the reality of that is truly frightening far more than funny. The songs convey anger, and yes, some humor, but what the show does best is present the facts and give intelligent, level-headed commentary – something our country is in vast shortage of these days.

We the People is playing at Stage 773 at 1225 W Belmont Ave through February 10th.