Displaying items by tag: theatre

It’s a tough time to be a straight white male. Playwright Ellen Fairey returns to Chicago with a new play called ‘Support Group for Men’ now running at Goodman Theatre. Fairey’s work was last seen in Chicago when the now defunct Profiles Theatre produced her smash hit ‘Graceland’ in the mid-00s. Directed by one of the city’s foremost directors, Kimberly Senior, this of-the-moment play is certain to hit home for locals.

‘Support Group for Men’ isn’t exactly a winning title, but it does fit the bill. In it, four men of various ages and ethnicities meet weekly to discuss personal problems they’re having. Fairey took the idea from a real-life friend of hers who told her about a support group he went to for lonely men. Without that piece of info from the playbill, this scenario would seem somewhat unplausable. That said, how sad that there are so many lonely people out there that don’t seek company?

Fairey sets her four characters in Wrigleyville. There’s tough guy Roger (Keith Kupferer), new agey Brian (Ryan Kitley), sensitive Delano (Anthony Irons) and token millennial Kevin (Tommy Rivera-Vega), but it’s the entrance of Alex (Jeff Kurysz) in drag that changes the course of the evening. While most of the dialogue is topical and relevant, the jammed-in Chicago references ring very false. Suburbanites may appreciate the cultural shout-outs but really, how many locals actually go to Weiner Circle?

This is not to say the play is bad. Fairey’s characters discuss the things in everyday pop culture that are so fluid for the young, but so confusing for the middle-aged. Her points about middle-aged men feeling winnowed out are devastating. It almost answers the question of “why do people commit mass shootings?”

Roger is established as the main character and his monologue about the realization of middle age and the feeling of being invisible is heartbreaking. Keith Kupferer is perfectly cast for this role. When the Chicago stage needs an everyman, Kupferer is the guy for the job. There’s a toughness to his look, but a wealth of sensitivity just below the surface.

This is a comedy and though it does try to reach for depth, it often comes up empty. The problem here is that Fairey isn’t saying anything that hasn’t already been said better by other writers. Though, it is important for mainstream, suburban audiences to see themselves in a play. If they can’t relate, then how can a play make them see the world differently? Fairey’s play is a light-hearted referendum on male privilege and it’s easier to swallow a little criticism with some comedy. Is this a play everyone in America needs to see? No, but it’s a play that has themes everyone in American should be discussing.

Through July 29 at Goodman Theatre. 170 N Dearborn. 312-443-3811

Hell in a Handbag is at it again, this time following up last summer’s smash hit The Golden Girls: The Lost Episodes with a Volume 2 that might even be funnier than its predecessor, if that’s even possible. Last year, Handbag’s Golden Girls was so successful it added a second run at Stage 773 after an already extended run while at Mary’s Attic in Andersonville.

Like last time, the show opens with that ever-so-popular theme song, "Thank You for Being a Friend" that is eagerly sung along with by audience members.

I have to stop right here and THANK David Cerda "for being a friend"!

I grew up in Miami, Florida, watching The Golden Girls on TV with my mother who had just returned to the work force after a 30-year hiatus at First American Bank after the men in our family had left our home due to tragic disability, genetic Ataxia (cerebellar atrophy).

As two gals trying to keep a household afloat on our own, the recurring themes in the show about a woman's right to independence and struggling to make ends meet, trying to date again after divorce etc. all really gave my mom, Joanne, and I a sense that we were not alone in our struggles, not by a long shot. In fact, my mother Joanne Newmark-Katz, actually interviewed Bea Arthur and other stars like Ricardo Montalban back in the day as an English/ Journalism Major from Purdue University! My mom fondly remembers speaking to Bea Arthur backstage at The Coconut Grove Playhouse where Bea actually gave her a kiss on the cheek and ever so graciously thanked her!

Now, flash forward to 2018 and my mother Joanne is 84-years-old, a true Golden Girl and we are BOTH fighting for her life and financial well-being again. 

For me, in this totally stressful, very real "episode" of our lives, getting to have a few hours of superb acting and comedy by Jeff Award Nominee and dear friend, David Cerdas' Hell in a Handbag ensemble is like two hours in paradise, because in these turbulent times particularly trying for the elderly and disabled -- laughter is still the BEST medicine. 

Hell in a Handbag Artistic Director David Cerda wrote the show which parodies the famed 1980’s sitcom where four women who share a home in a Miami Senior Community are not ready to stop living life to the fullest. The show, still widely popular today and followed by a whole new generation, is the perfect target for Cerda’s rich and pinpoint lampooning.

Cerda again takes the treasured TV show to new heights, his knack for delicious camp blazing its way to what should be yet another summer hit for Handbag.     

Blanche is played by Grant Drager (A.J. Wright handling the role last year). Drager encapsulates Blanche’s flirty, southern charm with just the right amount of cheekiness and is stupendous in the role. Adrian Hadlock returns as Dorothy’s quick-witted mother who wisely and desperately needs to appease her roommates or be sent back to the dreaded "Nursing home". Hadlock trades jabs with dry as a martini wit and, as last year, steals a good share of scenes delivering razor-sharp barbs that are perfectly timed in Cerda’s hilarious script. 

Dear, sweet and naïve Rose is played once again by Ed Jones who is sheer perfection in the role.  Jones’ flawless timing and subtle expressions make Rose as endearing as she is funny. And Cerda as Dorothy? Priceless! Each add their own spice to the entrée but it is Cerda, Jones, Drager and Hadlock together that makes this production a veritable feast for the eyes, ears and arthritic funny bones!   
 
With every Handbag production comes a hysterical ensemble and Golden Girls: The Lost Episodes Vol. 2 is no exception. A series of hilarious performances are also offered by Chazie Bly, Michael Rashid and Michael Miller with fun-tastically talented ensemble member, audience wrangler and hostess, Lori Lee. 
 
Excellent stage and costume design, smart humor, a talented cast and a side-splittingly funny script make Golden Girls Vol. 2 an all-out, highly uniquely fun experience.
 
Golden Girls' Lost Episodes are more relevant than ever because they wisely combine humor with a cascade of compassionate understanding of each woman's precarious lifestyle when reaching middle or old age and the very real desperation that ensues when four women try to keep a household afloat in a man's world. David Cerda really comprehends and makes funny the things that push mother/daughter love and girlfriend to girlfriend love to its limits. 
 
The adventure continues! Created by popular demand, Golden Girls: The Lost Episodes Vol. 2 is as uproariously funny as ever. Perhaps (fingers crossed) a Vol.3 is on the horizon in what will hopefully become an incredibly fun summer tradition.
 
Golden Girls: The Lost Episodes Vol. 2 is being performed at Mary’s Attic in Andersonville through September 7th. Visit http://www.handbagproductions.org/ for more info. 

Call your mother seems like the resounding theme of Jen Silverman’s new play ‘The Roommate ‘now running at Steppenwolf. Directed by famed television and stage actress Phylicia Rashad, this new play explores the often overlooked lives of women over a certain age.

Sharon (Sandra Marquez) is a middle-aged woman living alone in a big house in Iowa. Her simple life is turned upside down when a mysterious new roommate, Robyn (Ora Jones), from the Bronx moves in. Though Robyn is careful not to answer all of Sharon’s questions, she helps get Sharon out of her shell. While the play is mostly a sit-com style comedy, it goes deep on how women in their 50s can sometimes become invisible to even their own children.

The play is well written and very funny, but it’s the two actresses that really make this. Marquez and Ora Jones are both ensemble at Steppenwolf and it’s a rare treat to see two such accomplished actresses show their comedic skills in this light-hearted comedy. Marquez’s performance is transformative from start to finish. Her delivery and timing is pure midwestern homemaker, reminding us all of our own mothers just a little bit. Her character’s naivety about the world at large is endearing. Ora Jones plays the cool talking roommate Robyn. Jones has a lot of stage presence. There’s something both intimidating and soothing about her performance. The play’s revelations should make her character seem untrustworthy but the chemistry between her and Marquez makes you questions whether someone’s past is who they are today.

Phylicia Rashad is best known for her role as Claire Huxtable on the Cosby Show. She’s wise to distance herself from that now. Since then she’s appeared on Broadway and has moved on to directing. Rashad knows sit-com. She also seems to have a real understanding of these two characters. This show could have easily played for the “shock the old lady” trope, but instead there’s a real heart at the core of this new play. It may not change the world, but it’s a play that makes an observation about what happens to our moms when we grow up and fly the nest.

Through August 5 at Steppenwolf Theatre. 1650 N Halsted. 312-335-1650

Jules Verne wrote one of the first science fiction novels in 20,000 Leagues Under the Seas, the story of three travelers who find themselves imprisoned on the Nautilus, a submarine captained by the megalomaniacal Captain Nemo. The novel was light on political detail, though Captain Nemo occasionally claimed to use his supremacy in the seas to right wrongs committed on land, especially those perpetrated by colonial powers. Nemo’s reasons were more fully articulated in Verne’s follow-up, The Mysterious Island, elements of which become the framing device for this Lookingglass Production, adapted by David Kersnar, who also directs, and Althos Low (aka Steve Pickering). Ensemble member Kersnar shows a deft hand and strong familiarity with the resources he can muster to bring the undersea world of the novels spectacularly to life, though the attempt to explain Nemo’s vengeful politics weighs the production down.

At its heart, 20,000 Leagues Under the Seas is an entertaining yarn, filled with hair-raising encounters with monsters, encounters made more terrifying by the fact that they take place in the unforgiving confines of the world’s oceans, with their more ordinary terrors. Kersnar and Low have done a remarkable job of bringing this world to the stage, staying true to Verne’s vision while making updates that make the story more accessible to contemporary audiences. One of these is changing the gender of the marine biologist who recounts Nemo’s travels and scientific discoveries. Pierre Aronnax and his aide-de-camp, Conseil, are recast as Morgan Aronnax and Brigette Conseil. This proves to be a strong choice in terms of storytelling, as it makes a little sense of Aronnax’s initial sympathy for Nemo, as both have felt the sting of being underestimated by those in power. The creators have assembled a team of artists and designers who are up to the task of bringing the tour of the seas to the stage. Todd Rosenthal’s set contains a toy-theater proscenium for the wide-angle shots of the ocean, from the sinking of ships to the horrors of the drowning sailors to the view from the windows of the Nautilus. The Nautilus itself is realized as an exterior platform that rises and tilts precipitously as the story demands, and hints at the confinement of the underwater craft that can be accessed only through a small hatch. Costume designer Sully Ratke combines story-telling and function, creating designs that capture the altered states of the characters as their journeys unwind, as well as their backgrounds and social stations. Props by Amanda Hermann avoid getting too steampunk, but capture the Victorian aesthetic of the novel, reminiscent of the original illustrations. However, it is the more ephemeral design elements that really transport the audience to the depths: sound designer Ric Sims and lighting designer Christine Binder immerse the audience in locations from New York City, the decks of various water crafts, to the depths of the seven seas. Floating in this aural and visual landscape are the puppets designed by Blair Thomas, Tom Lee, and Chris Wooten and athletic actors performing Sylvia Hernandez Di-Stasi’s brilliant aerial choreography, which allows the characters to float and dive beneath the waves. The puppets themselves are worth the price of admission: lifelike and magical at once, they float behind and off the stage to invite audience and characters fully into the terrors and wonders of the oceans.

The play begins with a group of refugees from the American Civil War meeting the man who enabled them to survive their escape, Captain Nemo, now older, alone and questioning his prior life as a terror of the seas. It then flashes back to where the book begins, introducing French professor of natural history Morgan Aronnax, who receives a last-minute invitation to join the crew of the USS Bainbridge, under Captain Farragut, who is commissioned to seek and destroy whatever is terrorizing the seas—be it craft or creature. Aronnax postulates a giant narwhal in a scene that brilliantly establishes her character and her position vis-à-vis her male colleagues. Kasey Foster does an admirable job of injecting charm into the generally no-nonsense and humorless professor, who is almost as single-minded in her pursuit of knowledge as Nemo in his pursuit of vengeance and domination. Kareem Bandealy is hampered by a script that does not allow him to fully realize the zealous evil of Nemo—despite his powerful presence and overbearing bluster, he gets bogged down in the scenes that switch to introspection and long-winded revelation. Scenes that allow him to do this while perpetrating acts of terror (the sinking of a naval vessel, for example) serve the plot much better than dinner time polemics and elegiac remembrances of his role in the Great Mutiny of 1847, which led to the losses that spurred his vengeance against imperialism. Rounding out the quartet that forms the center of the narrative are Walter Briggs as the cheeky Ned Land, a harpooner brought on board the Bainbridge to help destroy the monster responsible for the deaths of so many sailors, and Lanise Antoine Shelley as Conseil. Briggs brings the right balance of swagger and empathy to his role, and Shelley makes a good audience foil for the occasionally delusional professor, pointedly and humorously reminding her of the realities of their positions as women in a male world, and then as prisoners (not guests) of the mad Captain Nemo. Nemo’s “guests” also prove themselves to be up to the physical challenges of taking on human and cephalopod foes (Shelley has a brilliant and harrowing encounter with the latter). The rest of the cast—Thomas J. Cox, Joe Dempsey, Micah Figueroa, Edwin Lee Gibson and Glenn-Dale Obrero--provide some of the most striking moments of the evening and fill the stage with a multitude of supporting characters. Cox anchors the crew of Civil War wanderers and helps flesh out the alternate narrative. Joe Dempsey makes an impression as Pencroff, whose gratitude towards Nemo fuels his understanding and as the surprisingly open-minded and humorous Captain Farragut. Edwin Lee Gibson brings stalwart nobility to Cyrus Smith, one of the men who encounters Nemo in the first scene, and a roguish pragmatism to the self-serving constable who allows Ned Land to board the U.S.S. Bainbridge with a little persuasion from the Captain. Micah Figueroa and Glenn-Dale Obrero also fill the ranks of the Civil War escapees (with a humorous turn from Figueroa as the naïve Harbert), as well as handling the bulk of the fighting and diving, including an amazing sequence of pearl diving that captures the best of Lookingglass’s take on Verne’s novel—providing spectacle and social commentary in a seamless melding of physical theater, puppetry and characterization.

It’s not perfect, but 20,000 Leagues Under the Seas has enough to satisfy young (tweens and up) and old. Though it tries valiantly and not always successfully to engage with the political themes of human rights and colonization, ultimately it is buoyed by a strong sense of good old-fashioned story-telling. The breathtaking special effects, aerial dance, puppet magic, and a committed and capable cast who can match the acting and physical demands of the spectacle more than make up for some ponderous philosophical ballast. There is enough food for thought to inspire conversation, but the focus, as it should, remains mostly on the undersea journeys of the Nautilus and its willing and unwilling crew members’ battles with Kareem Bandealy’s power-hungry Nemo and the natural perils of the seas. It is well worth hopping on board to witness the sea battles, sea spiders, fish, squid and other undersea wonders dreamed up by Lookingglass’s team, under the assured direction of David Kersnar.

20,000 Leagues Under the Seas runs through August 19, 2018, at Lookingglass Theater, 821 N. Michigan. Performances are Wednesdays-Sundays at 7:30 pm, and Sundays at 2:00 pm. For tickets and more information, visit www.lookingglasstheatre.org or call 312-337-0665.

*Extended through August 26th

The Wizard of Oz is fun for all ages — this is as true today as it was in 1939. While there is a special kind of magic exclusive to the film due to the phenomenal cast as well as the strong nostalgia surrounding it, there is another kind of magic exclusive to seeing the musical live onstage.

A cherished family musical, this is the perfect show to bring kids to; with the upbeat musical numbers, colorful cast and sets, and lovable characters, they’re sure to be entertained. The classic songs by Harold Arlen and E.Y. Harburg include "Somewhere Over the Rainbow," "If I Only Had a Brain," "Ding Dong the Witch is Dead," and more, almost all featuring peppy dance numbers with lively choreography by Amy McCleary.

With direction by Dean Sabon, who previously created the national tours of Fiddler on the Roof and Seven Brides for Seven Brothers, this version of The Wizard of Oz brings new elements to a beloved classic.

One of the coolest things about this production is the use of a giant screen to serve as the various backgrounds, as opposed to elaborate set pieces for backdrop. This was utilized impressively during the twister scene when Dorothy and Toto seek shelter in Aunt Em and Uncle Henry’s house, among other scenes, having a 3-D effect that was exciting to watch. Throughout, the production uses a fun combination of traditional theatre sets and tech-y special effects.

The Wizard of Oz is playing at the Chicago Theatre through May 20th. Tickets on Ticketmaster.

The Buffalo Theatre Ensemble presented John Patrick Shanley’s “Outside Mullingar” at The MAC this past weekend. BTE has put together some very nice plays at College of DuPage and their latest falls into that same category once again. A relatively light-hearted romantic comedy, the play is set in rural Ireland and though the timeline is not really specified, the story has a timeless quality anyway.

Its small cast consists of four players, each important to flow of the story and adding the perfect touch of humor, which was very well received by the audience.

Robert Jordan Bailey plays Anthony. His character has the strongest connection to the rest of the cast in many ways. Bailey plays the part very well, which he must since Anthony is not your stereotype Irish farmer. With more than his fair share of issues and a lot of the jokes are on him. Playing Rosemary to perfection is Kelli Walker. Rosemary is a tough, young Irish woman who Anthony is interested in…or is he? The two show strong chemistry through the play, both very believable in their roles.

Rounding out the cast is Norm Woodel who plays Anthony’s father Tony and Milley Hurley who plays Aoife, a neighbor. They make up a durable support system to Bailey and Walker. Both are vital in the first set, as the second set focuses primarily on Anthony and Rosemary. The story is a simple but entertaining. The humor is what makes it a great play and it does not invoke heavy thinking or have the audience scrambling to search for hidden meanings. Theatre goers will, however, get a good laugh in. That is important these days or any day, I suppose.

“Outside Mullingar” is finely production directed by Steve Scott. The sets and sounds are excellent, which is par for the course in BTE plays. If you are in the mood for a good laugh, give it a go. Those seeking well-produced theatre experiences do not always need to go into the city to see a quality play. For us suburbians, this one is right in our backyard and the ticket price seems quite reasonable.

I am becoming more and more a fan of smaller productions. One of the reasons being the size of the theaters is small enough that you can see the faces of the actors – it’s intimate. You can hear the dynamics in their voices and catch the slightest facial subtleties. Buffalo Theatre Ensemble offers excellent actors that clearly enjoy what they do. It’s difficult not to respect these professionals that work so hard at their craft for somewhat small rewards. Having said that, they do need the support – and deservedly so. For little more than a meal at your favorite overpriced restaurant, you can visit The Playhouse Theatre and be thoroughly entertained. And in this particular production, not only will you save the calories, you will burn some off laughing. So, support local theatre companies. For some of you this involves getting out of the house and shutting off your phone. Both are…at times…good ideas…you can play Candy Crush when you get back home.

“Outside Mullinger” is being performed at The Playhouse Theatre inside the McAninch Arts Center through June 3rd. Visit www.atthemac.org for more info.

Women Laughing Alone with Salad from Theater Wit is a funny mess. Based on the popular meme of stock photos of women who always seem to be having the time of their lives while eating a bowl of tasteless raw vegetables, the play tries to satirize this concept. The concept being that only stringently healthy and active women can be happy, and the only happy women are stringently healthy and active. As if the hysterical laughing accompanying the salad in the photo will trick us into loving the most boring meal known to humankind.

The best scene might have been when the four person cast did exactly what it says on the tin: they smiled and laughed and eventually full-out boogied while eating salad. The satire here was on point, and I loved the straight-up mocking of ridiculous advertisements aimed toward women. Look at how much FUN we're having depriving ourselves of any carbohydrates - a thing our bodies *need*, by the way!

As far as the actual storyline goes, it was, like the lettuce confetti that rained down onstage at one point, all over the place. Many things were trying to be said, I think, but the play never makes a clear point. Nobody learns anything, characters or audience. The audience is led to believe that all skinny women are annoying and bulimic and "real" women are confident in their voluptuousness, until the rug is pulled out from under us and we learn that, surprise, the "real" woman is a slave to salad, too.

There were a lot of elements that, on the surface, give this play an edge: nudity, a threesome scene, an Oedipal complex, some gender-swapped roles, which were entertaining, but to me seemed like folderol distracting from the fact that the story was haphazard.

I appreciated the bravery of the actors and playwright Sheila Callaghan for taking the leap -- the acting was well-done and the script did shine through occasionally with some great, funny lines -- but this play was anything but salad: Big, flashy empty calories. Fun to eat, but with little nutritional value.

Women Laughing Alone With Salad is playing at Theater Wit through April 29th. Tickets at TheaterWit.org.

*Extended through May 2nd!

On a beautiful plantation in the modern day South, a mother asks her three daughters what they would change in the world, if they could. After rattling off some Miss America-esque answers – including "giving a croissant to a homeless person" – the girls go back to their own self-interests, i.e. taking recreational painkillers and prepping for a reality show audition.

Their world gets turned upside down when their mother announces that they will be hosting, and gifting the deed of the family plantation to, three black women, women who are descendants of a slave who worked on the plantation and had relations with the family's great-great-grandfather. Although with very different backgrounds, upbringings, and access to privilege due to skin color, these seven women are family.

Not to get all "Webster's Dictionary defines..." but I have to say it a little louder for the All Lives Matter folks in the back: A privilege is a special advantage or benefit available only to a particular person or group of people. A benefit, for instance, like a big, beautiful plot of land that your family forced slaves to maintain. Or, for instance, a thriving business that has clothed, fed, and housed generations of white descendants for centuries while providing nothing to the black descendants of the people without whom there wouldn't be a business. The slaves did the work, yet it's the family of the slaveowners who reap the benefits.

This 21st century answer to reparations is inspiring and brilliantly funny, with a fast-paced and clever script by Kevin Douglas and superb directing by David Schwimmer. Plantation! is both a conversation starter and high quality entertainment. Chaos and comedy ensue while the six girls try to make nice and get to know each other, all while griping beyond each others' backs about who really deserves the plantation. The play is a hilarious send-up of well-meaning white people; who sincerely want to help, yet do nothing when presented with the chance to do so; who swear up and down they aren't racist, yet date a member of the KKK because he doesn't go to "all" of the meetings.

In one scene, the girls are all Southern-Belle'd out in big, old-fashioned dresses for a fancy dinner on the estate. When the black girls turn on some music and start dancing, one of the white girls yells that it's like they have Beyonce in the house. Her sister admonishes her, "That's racist."

"No, it's not. That's a compliment," one of the black girls replies, high-fiving her sisters. The white sister who thought she was rightly calling out racism shakes her head, "You people are confusing." The black sisters share a glance. "That's racist," they say. Case in point, maybe listen to what people who experience racism have to say about it before defining racism for them. (Also, rule of thumb, don't make black people explain Black Lives Matter to you – which, naturally, plays out onstage here. Google is your friend.)

Finally, the cast of eight women knocked it out of the park with their chemistry and comedic timing. Besides the fabulous poofy dresses, it seemed to me that this play could've been cast with either men or women and the story would be the same. Props to Lookingglass and Douglas for not setting the default to "male." And for not being afraid to have a mixed race cast discuss race and make everyone in the audience, to use the playwright's own word, a little "funcomfortable".

Plantation is playing at Lookingglass Theatre Company through April 22nd. Tickets on LookingglassTheatre.org.

When walking past the exterior of the unflattering storefront on Clark Street in Andersonville, a former laundromat, one wouldn’t give it a second glance. Perhaps a handful of classic magic posters littered around the entrance might cause pause for a brief second, but that’s about it. No marquee, no ostentatious logos, no windows to peer inside. Nothing but the words “The Magic Lounge” near its main door would suggest that maybe something is going on inside – something special.

Upon entering the laundromat – wait, it used to be a laundromat, yet a wall of washing machines are in use. All signs point to the place still being a laundromat - we see clothes freely spinning through the circular windows of each machine while an attendant holds up a pair of underwear and asks, “Are these yours? We’ve been trying to locate their owner.” But alas, suddenly a secret entrance opens and I can only compare the experience to the Wizard of Oz, when black and white becomes color.

Much like an old-timey speak easy, patrons are quickly transported from the unspectacular to the spectacular. Music is playing, the atmosphere is lively as people gather around a bar that centers around a magician performing close-up magic and challenging eager volunteers with bar bets for a free drink chip. This in itself is already something. Onlookers gaze down from a mezzanine above. We later learn these onlookers are club members – magicians only. Not long after an usher escorts us to a library, some of its contents authentic relics of a grand time when magicians like Harry Houdini, Harry Keller and Chin Ling amazed audience after audience. After a brief history lesson, the usher escorts a handful of people through another secret entrance. What we experience next is nothing short of astonishing, as we enter a vast theater laced in fine art deco finishes with high ceilings above the balcony, the floor accommodating multi-layered seating areas that surround a magnificent stage to host its magicians. No details are overlooked. Club employees are donned in clothing reminiscent of the 1920’s Jazz Era, the women in sparkling dress then men dapper with white shirts beneath vests or skinny ties and suit jackets. You can almost imagine Al Capone and friends walking in at any minute while instinctively looking for a hook to hang your fedora. The theater is appropriately named after Harry Blackstone, the famous magician who really put a stamp on “Chicago magic”, which we are reminded by the evening’s host is a real thing.

The Harry Blackstone Theater

The Magic Lounge is a time capsule. The multi-million-dollar facility is an homage to the once popular magic haunts that regularly entertained its Chicago patrons. Magic clubs that were once such a prevalent part of Chicago’s night-life since the early 1900’s, have slowly – and not so magically – disappeared.

“Chicago Magic Lounge brings back a style of magic unique to the Windy City, which once hosted over 15 bars, restaurants and lounges all dedicated to what would become known as ‘Chicago-Style Magic,’” said co-owner Joey Cranford.

It’s main stage (yes, there is another stage – the private back-room, 40-seat “654 Club” for those who don’t want the magic to end – literally) will host some of Chicago’s most talented and colorful magicians such as Luis Carreon, Dennis Watkins, Bill Weimer and Lee Benzaquin and also bring in top performers from around the world such as was the case on opening night with superstar mentalist/wizard of sorts Max Maven. the shows are as interactive as they are mind-bending. Yours truly was even called onstage to volunteer for the great Mr. Maven. The venue will also host live music fitting to its atmosphere.

While having a bite and/or pre-show drinks (try the “Sleight of Hand”) prior to the evening’s main show, magicians circle the seating area entertaining each table with close-up magic. The club’s unique air of mystery, suspense and nostalgia is something that cannot be found at any other establishment in Chicago. And why Andersonville as opposed to a downtown location? Simple. Magic Lounge owners wanted to bring the gift of magic back to Chicago, therefore opting for a neighborhood location over an area that caters more to tourists.

Magician Bill Weimer entertains in the Performance Bar

Whether just going to hang out at the bar, attending a show in the main theater, catching an act in the more intimate 654 Club – or all of the above – a distinctively rich experience awaits you.

Live entertainment will be performed seven days a week. Monday and Tuesday evenings will welcome musical performances on the mainstage, Wednesday evenings will host David Parr’s “Cabinet of Curiosities” and Thursdays through Saturdays will offer the mainstage magic shows. A family-friendly show will be offered on Sunday afternoons. Depending on the show and ticket package, theater admissions range anywhere from $10-$55, though you can always stop in for a cocktail at the performance bar.

The Magic Lounge is an exciting scene that exudes the perfect combination of class, fun and awe. If its February 22nd grand opening is any indication of things to come, it will undoubtedly become a staple in Chicago entertainment for years to come.

For more information including performance schedules, cocktail options and pricing, visit www.chicagomagiclounge.com. 5050 N. Clark Street. 

Be amazed.

There are fewer things in theatre more exciting the curtain going up on the first act of an opera. Often there’s no ceremony or pre-recorded note from management. The lights dim and the overture begins. How enchanting to take your first look at the sumptuous sets and costumes Lyric Opera has created for this production. Pilgrim-chic you might call it. Tradition and form make opera a unique theatrical experience. On a snowy Sunday afternoon, the curtain came up on Bellini’s ‘I Puritani’, signaling to its audience, get comfortable.

Eric Einhorn’s production of Bellini’s drama runs just under four hours with two intermissions. The first act is the longest at eighty minutes. ‘I Puritani’ concerns a Puritan hamlet in which a young princess Elvira (Albina Shagimuratova) chooses another suitor, Arturo, over the pre-arranged marriage to Riccardo (Anthony Clark Evans). Just before the wedding, Arturo obliges himself to save condemned Queen Enrichetta (Lauren Decker). While he’s smuggling her out of the country, word returns to Elvira that her fiancé has run off with another woman. She is devastated and the army pursues him.

Yeah, that’s the plot. Nearly four hours to convey that relatively simple story along with Bellini’s beautiful score. This is why opera is special, because for four hours, we really don’t care what the plot is. For centuries opera was performed without the super script translations, leaving the audience to presume based on summaries in their playbills. Projected translations are used sparingly in this production of ‘I Puritani’ – maybe because the plot is so uncomplicated, they’re not necessary. In any case, they’re certainly not missed and would likely be distracting. What should be paid attention to are these beautiful singers and the gorgeous orchestra.

A significant difference between musical theatre and opera is that the leads are not expected to be great actors. Voice is most important in these roles, especially in Bellini’s works. He believed that a beautiful voice is what stirs audience emotions. He’s not wrong. Though, Russian soprano Albina Shagimuratova is a good actress. She’s not heard until the second scene, but her performance is easily the most accessible aspect of this production. Her heartbreak is palpable in voice and gesture regardless of language. Act II is worth the entire afternoon.

As always, the costumes and sets are overwhelmingly beautiful. Haunting imagery is captured by the large cast numbers and soaring melodies. ‘I Puritani’ may lose the attention of its audience during the lengthy solos, but will quickly recapture focus when the whole ensemble fills the stage. Just as exciting as the curtain going up, is the curtain coming down. Opera enthusiasts scream “brava” and beg for more curtain calls, a truly opera-specific tradition. In opera, the energy of the experience sustains the art itself.

Through February 28 at Lyric Opera of Chicago. 20 N Wacker Drive. 312-827-5600