Displaying items by tag: theatre

The season of fall has arrived. The skies are filled with clouds, the leaves have turned orange and brown and have  trickled down onto the ground. As the city  grows darker so does our theatre. The Barrens Theater Company kicks down the door to start the Halloween season with an interactive production where you play the jury for the trial of Elizabeth Bathory, one off the most famous vampires of all time. Bloody Bathory offers an alternative history where you will experience her side of the story.

Millie Rose’s Bloody Bathory is the story of 16th century Countess Eliza Bathory and her trial for murder. Through detailed accounts from various characters the audience is informed of Elizabeth’s past and the crimes they swear she did or did not commit. From there, the audience is in control of who and where they want to tell them the story. Millie Rose shows herself to have a talent for writing dialogue that seemed authentic despite the story’s expression of ghosts, demons, and witches. 

The production is located at the Epworth United Methodist Church which is an ideal setting for the dark story to unfold. The brownstone building sits in the shadows of Kenmore Ave with dark, wide doors that creak loudly when opened. The high ceiling, pale lighting, uneven walls with cracks running in every direction add into the eerie vibration felt throughout the play. The production absorbs the church’s interior and exterior. Inviting the city to involve itself with the characters and audience as they search for a dead body.

Millie Rose stars in her own play as Elizabeth Bathory and gives a decent performance in the role. The dozen actors that surround her give honest performances and do a fine job staying in character as they direct and interact with the audience. Each character provides a few pages worth of information that can be difficult to decipher and retain. The production, directed by Chicago based Molly H. Donahue, is designed in a way where the audience is forced to experience the “main” scenes, but those scenes fail at providing a clear picture of what exactly is going on. The “optional” scenes outside of the “main” scenes leave themselves vulnerable for an audience member to walk into and have no idea what’s going on, or why it’s happening, leading them to wonder why they should care. 

Bloody Bathory provides a fun alternative for families and couples to dive into for the Halloween season. The freedom it provides for the audience can suit everyone. The young can enjoy the thrill of running behind some characters while the older can walk in stride and nitpick which character they rather follow. The characters may be forgettable along with the plot, but Bloody Bathory will leave you with an unforgettable experience.

Through November 16, 2019 at Epworth United Methodist Church.

Here comes Halloween, one of my favorite holidays of all and, of course, the incomparable Artistic Director David Cerda of Hell in a Handbag Productions along with composer Andrew Milliken have created a Halloween camp extravaganza that is sure to satisfy even the blood/laugh thirstiest of Handbag's extensive loyal fan base. 

This time the much beloved TV show The Facts of Life has been crossbred with the TV movie Satan's School for Girls to create a colorful, musical, and hilarious, spot-on spoof!! As always Ed Jones steals most of his scenes this time as school headmaster, Edna Garrett. Jones is a superbly talented character actor and never fails to capture and mimic the juiciest and funniest quirks of the character in such a way that the audience can see and hear the original he is seemingly channeling throughout. Jones never drops the voice or tics for even a second and it sheer pleasure to watch and re-experience the humor of that time period revamped with sexy humor for today.

Madison Smith (whose acting work I also love) does a smash up job as director of this large, multi-talented cast. Stevie Love (who looked especially beautiful opening night BTW) did an amazing job on the super fun choreography. 

David Cerda also slays the room with his dry delivery and long legs in a lush auburn trussed wig with every entrance as Claudia, "a young boarding school student" going undercover to discover the mysteries of Satan worship that is lurking behind closed doors at Eastland. 

The lovely and gifted Graham Heacock makes a beautiful, and scary Blair come to life while Alexa Castelvecchi totally rocks the part of deadpan, butch "Jo" and gets to display her amazing singing voice.  

The whole cast is a delight as Handbag regular, Robert Williams, plays an adorable, goofy Tootie, while newcomer to Handbag - Brenna L. Watkins boldly brings back the character of Natalie.

I won't go too deep into the plotline because that's half the fun of a NEW Hell in a Handbag spoof! I like to just let the twists and turns unfold and surprise you as they wash over your brain with unexpected humor and joy. Highly recommended for old and NEW fans of Hell in a Handbag's productions at Mary’s Attic where you can relax in an intimate yet lively and rowdy theater environment, have dinner or drinks and just let the comedic memories of the shows they revive and also make fun of - energize your heart with laughter for the future! 

The Facts of Life: Satan’s School for Girls is being performed at Mary’s Attic in Andersonville through November 2nd.

What’s the big deal about Sherlock Holmes? What is it that makes Sir Arthur Conan Doyle work some of the most well-known mysteries of all time? Sherlock Holmes and his adventures were published over a century ago, yet Doyle's writing has continuously surfaced through time on film, television, and theater. Could it be that Sherlock Holmes is simply a magnetic character that draws you in with his attention to detail, bravery, intellect, and supreme confidence? Or is it Doyle’s swift pen and ability to craft a memorable mystery? Terry McCabe’s adaption of The Hound of Baskervilles at City Lit Theater showcases Doyle’s writing at its finest.

Sir James Mortimer requests the service of Sherlock Holmes and Dr. Watson after his friend Sir Charles Baskerville dies suddenly from a heart attack. The expression on his face was one of horror. He goes to tell the infamous tale of the hound that haunts the men of Baskervilles and reveals that he discovered paw prints near the scene of the crime. Sherlock finds the tale of the hound ridiculous, but the details of the case interest him enough to investigate. Baskerville’s heir, Henry Baskerville, arrives from America to claim his inheritance with an anonymous note warning him to stay away for Baskerville’s Hall. Out of fear for Henry’s life, Holmes task Dr. Watson to accompany Henry and Mortimer to the Baskerville’s Hall, an isolated mansion surrounded by miles of wild moor. There Dr. Watson encounters shady characters, sounds of horror at night, and an escaped prisoner hiding among the moor. Holmes and Watson uncover it all and in the end discover that the truth was more terrifying than what they’d imagined.

James Sparling (Sherlock Holmes) appears on the stage as an almost spitting image of the great detective. He steps on and off the stage and snatches the audience’s attention with his movement and spot-on delivery. Adam Bitterman (Dr. Watson) reprises the role for the third time at City Lit theater. Bitterman’s talent and experience with the character may very well be the reason why he takes such a vigor command of the role. In this adaption, Bitterman is tasked to narrate and drive the play and does it without skipping a beat.

At a theater that was founded in 1979, City Lit continues to host gripping productions, but the small stage inevitably fails its material. The Hound of Baskerville is a story involving chase, a dark, foggy moor, an isolated mansion, and a vicious hound. These are elements that are left up to the imagination of the audience. Though this doesn’t ruin the production it gives moments of disappointment that makes you yearn to see a hound that’s asleep somewhere far away.

Bitterman’s performance allows the audience to understand why Doyle never wrote a mystery from Sherlock’s perspective. To watch Sherlock as Watson does and anticipate his arrival, wait anxiously for his conclusions, intertwines with the excitement of the mystery. Dr. Watson has never been as alluring as his counterpart, but he also never lost his ability to remain the most relatable character in Sir Arthur Conan Doyle’s world.

Through November 10, 2019 at City Lit Theater.

The pairing of Kevin McKillip as Sherlock Holmes and Joe Foust as the sleuth’s ever-loyal sidekick Dr. Watson could not have been any more perfect. The chemistry between the two alone, as audience members are treated to a volley of entertaining banter back and forth throughout, is well-worth the price of admission for First Folio’s latest production ‘Sherlock Holmes Last Case’ at the Mayslake Peabody Estate by Charles Marowitz.

Splendidly directed by Janice L. Blixt, we are taken through a series of twists and turns (some on more comical side) as Sherlock may have met his match once and for all. Mainly set in the impressive study of Sherlock’s home, it doesn’t take long for a mystery to unfold and the wits of a master detective put on display. Sherlock, no stranger to patting himself on the back, is self-assured as always, though his fantastic intelligence is put to the test like never before. Yes indeed, Sherlock is in for the fight of his life.

There is plenty in this story to keep one engaged from one moment to the next thanks to its many cliffhanging moments, its quirky characters and the dynamic performances of it very talented cast. First Folio veteran and Chicago theatre favorite Kevin McKillip is nothing short of sensational as Holmes, grabbing the audience with nearly every line delivered. His precise timing commands laughs when needed and he is able to pull us in deeper to the mystery with a single utterance or glance. First Folio Joe Foust is always a pleasure to watch and his portrayal as Dr. Watson is no different. Foust and McKillip complement each so well in this production, it would be difficult to cast the roles any better. The play also gets a lift from Belinda Bremner who shines as Holmes dependable housekeeper, Mrs. Hudson, as well as Rene Ruelas who plays Inspector Lestrade. Lydia Hiller makes her First Folio stage debut as ‘Liza’ and makes a splash with a very solid performance. Hiller has worked with First Folio in the past where she adapted and wrote lyrics for the theatre company’s production of ‘Shew’d!’

Adding to the thrill of this play is its venue. Mayslake Peabody Estate in Oakbrook is the perfect home for ‘Sherlock’s Last Case’; the mansion seemingly coming out of Holmes’ mystery itself. We can easily imagine Holmes and Watson strolling through its vast hallways and perusing the many books in its perfectly-weathered library.

A well-designed set and along with era-perfect costumes successfully takes us back in time to the late 1800’s. This is thanks to Angela Weber Miller (Scenic Design), Rachel Lambert (Costume Design) and a very capable production team.

‘Sherlock’s Last Case’ is a wonderful theatre experience that is sure to absorb all kinds of theatregoers, especially those in search of a good mystery.

Highly recommended.

‘Sherlock’s Last Case’ is being performed at Mayslake Peabody Estate in Oakbrook through November 3rd. For tickets and/or more information visit www.fisrtfolio.org.

This Halloween season the Rough House Theater brings a very different haunted house experience to the Chopin Theatre. Written by Mark Maxwell and Clara Saxe, under the direction of Mike Oleon, The Silence in Harrow House is an updated version of last year’s production called The Walls of Harrow House, but with new puppets and new stories. 

The creators of the show take us on a self-guided tour of the house of a reclusive architect Milton Harrow, who has some bizarre experimental ideas of the world and what it should look like. His house is inhabited by hideously disfigured life-size mutants. They lurk in corners and tiny enclosures, slowly making their appearances; they make scary sounds and communicate messages to visitors (the audience), who are encouraged to wander around the space and interact with the creatures. All of the residents of the house, including the host, are portrayed by monstrous puppets animated by the actors (puppet design by Grace Needlman). Masked and dressed in all black, the puppeteers are nearly invisible, but for the sake of entertainment, it’s helpful to completely ignore them during the show.  

The show starts out pretty mellow, but the intensity does pick up half-way through, as the music gets creepier and creatures’ loud screams and banning get louder. Cool music and awesome sound effects (sound design by Corey Smith) intensify to unnerving levels at times, and prove a great tool that could’ve been utilized even more, as it has great potential to frighten the audience. I wouldn’t mind, really, it is a haunted house after all! But it is a fun show, and definitely worth checking out. With stunning puppet crafting by Vincent Adler, Anna Ogilvie and Severed Hand and masterful puppeteering by Felix Mayesand Lucia Mier, The Silence in Harrow House is being performed at Chopin Theatre through November 10th.  

So, remember a while back, when I took my kindergarten daughter with me to review the American Girl Doll Musical? No? Well, I wish I didn’t remember it, either. But I do. And I learned two lessons from it in the time since.

First, before the show started, my daughter was just as delighted to take her doll Violet, who is the Target-brand version of an American Girl doll, to see the American Girl Doll Store across the way. While there, I heard a girl in the store point out that Violet wasn’t a real American Girl doll, to which my daughter just shrugged and gave Violet a hug and told her she loved her. And right then I realized I love my little girl for being that kind of person who loves something unconditionally, warts and all. Maybe I’ve done something right.

And the second thing I learned that night was, as soon as I walked into that theater, I realized I’d done something very, very wrong. I wasn’t the target audience. But my daughter and all the other little girls in the seats were the target audience, and they were thrilled and delighted and entertained by what this old man thought was a bunch of snake-oil-salesmanship.

I was reminded of that second lesson this past Friday evening at the opening of the Factory Theater’s Oh Sh#t! It’s Haunted! I wasn’t the target audience. Nope. The target audience is indeed an old man, but an actual old man (I just play one here on the internet and after 8pm on weeknights). And he’s an old man from Chicago, which I’m not. And he’s an old Chicagoan who’s Polish and likes jokes about Polish stuff and likes Peter Cetera and likes jokes about Peter Cetera. That guy is the Oh Sh#t! It’s Haunted! target audience, I thought as I sat there, unsmiling, wondering when the Scooby-Doo spoof I’d been expecting was going to yank the mask off and reveal itself.

But then I looked around at everyone else there — the Factory’s cozy stage and cozier seating makes for the audience being as intimate with one another as they are the actors who I worried would trip over the feet of the folks in the front row — and I noticed that a good portion of them — all ages, all backgrounds — were cracking up and having a blast.

A big reason for that was that the cast seemed to be having a blast, especially Timothy C. Amos, who played Pa Aldrichzewski, the very kind of dad-joke-telling, kielbasa-chomping, Peter-Cetera-namedropping Chicago old guy who I pictured as the target audience. Christy Arington played Pa’s wife, Ma, and the two of them would be perfect for some kind of 1970s Polish Good Times or All in the Family or something. They looked their parts, too, thanks to Rachel Sypniewski’s costuming (she also nailed 50s sweetheart looks for Jose Cervantes and Raven Nichole, and a ghostly Jimi Hendrix played by Michael Jones). This was a total night for character actors, with Eric Frederickson’s looming Peter Jasonczevik landing somewhere between a spook and an Eastern European villain you’d see being dispatched on the big screen by James Bond or Liam Neeson or Keanu Reeves, and Stacie Barra’s needle-nosed, preening, scoffing real estate villainess stealing any scene she strutted into.

So, yeah, I get that the enthusiastic and eager cast earned both the audience’s attention and admiration, but I guess it was the play itself I just didn’t get. There were some Scooby-riffic music cues, and a haunted house and a ghost story and a gang, I guess, in there somewhere, too. But I guess I just wasn’t the target audience for what the Factory’s ensemble was trying to do with Scott OKen’s play. Apparently, most of the rest of the crowd was, leaving me remembering the first lesson I learned way back on my American Girl evening — maybe they’re all the understanding, accepting, loving little girls who can love something warts and all, while I’m the prissy little sourpuss pointing out those warts. In that case, if you enjoy humor that leans toward Chicago (the land and Peter Cetera’s band) and the Polish, then you just might enjoy Factory Theater’s Oh Sh#t! It’s Haunted!, running through November 9. If not, then maybe join me and the rest of the party poopers while we watch some old Scooby-Doo reruns, so long as it’s before 8pm.

Is love a commodity? Ibsen’s enduring drama “A Doll’s House” has asked audiences for over a century. Writers Theatre unveils a new 90 minute pared-down adaptation penned by Sandra Delgado and directed by Lavina Jadhwani. 

“A Doll’s House” is one of Ibsen’s most known plays. It tells the story of a society woman, Nora (Cher Alvarez) and her struggles with money. Her husband Torvald (Greg Matthew Anderson) patronizes her like she’s one of the children, as long as she plays the happy wife. All seems joyful until a childhood friend, Christine (Tiffany Renee Johnson), comes to ask a favor. Nora, though docile, has her own secrets and when a debt comes due, she must act in order to protect her husband’s reputation. 

Ibsen and Chekhov make some theatre-goers groan. Classic theatre can often be a long evening, but Delgado takes the lengthy work and shortens it down to a one-act without intermission. Her script begs the question, is that necessary? Translations can make all the difference in how we perceive classic works of literature. One translation can vastly differ from another and their authors are usually long dead. It’s hard to say if their intentions translate. In the case of Writer’s adaption of “A Doll’s House” it somewhat misses the mark. 

Performances are good, but they overshadow a wooden script. There’s a degree of inconsistency from line to line. Some dialogue is perfectly modern while other parts seem like a more literal word for word translation that leaves out most of the passion. Unfortunately streamlining this script for a 90-minute run time edited out the poetry, or any memorable strands of dialogue for that matter. This production feels more like a SparkNotes summary of the original rather than an adaptation. 

Cher Alvarez’s Nora is the heart and soul of this production. She breathes life into the clunky dialogue and by the end she’s the only character to elicit much emotional response from the audience. Her performance serves as the depth that’s missing from Delgado’s script. Greg Matthew Anderson as the doting husband Torvald, adds dimension to the character who is otherwise pretty flat. Which is just the issue here, it’s as if the playwright wrote caricatures of Ibsen characters in order to shift the focus toward a grander point about loveless marriages. That point never really solidifies and it’s up to the audience to decide what Ibsen’s intentions were. 

There’s been a renewed interest in this classic as Lucas Hnath’s Broadway smash hit “A Doll’s House Part 2” (2017) is one of the most produced plays in America right now. And there’s good reason, it’s a great modern take on the themes originally explored by Ibsen. There’s an edge to his sort of sequel. There’s no edge in this current production at Writers Theatre. For Ibsen purists, this production will be disappointing but those with a tepid interest will be rewarded by the short run time and outstanding performances. 

Through December 15 at Writers Theatre - 321 Tudor Court, Glencoe. 847-242-6000

Many operas are funny, but laugh out loud funny is harder to achieve. Lyric Opera opens the season with the ever-crowd pleasing commedia “The Barber of Seville”. Tara Faircloth directs this revival which first appeared at Lyric in the 2013/14 season. This production’s humor comes from an all-star cast of world renown voices and actors.

“The Barber of Seville” is an Italian opera by Gioachino Rossini with a libretto by Cesare Sterbini, from the original play by Pierre-Augustin Caron de Beaumarchais. In it, Count Almaviva falls for a Doctor’s young ward, Rosina. Doctor Bartolo plans to marry Rosina himself in order to gain her dowry. Through a series of goofy antics, Count Almaviva proves his love for Rosina and gains her love in return. With the help of a charming barber Figaro (yes, that Figaro! Figaro! Figaro!), the two trick Dr Bartolo in order to end up together.

Premiering in 1816 in Rome, “The Barber of Seville” was an instant classic. It remains one of the world’s most endearing operas and with this Lyric production it’s not hard to see why. Full of soaring orchestration and lighthearted arias, “The Barber of Seville” is a delightful romantic comedy.  Theatre director Rob Ashford was tapped to create this production for Lyric in 2013. His Broadway background lends a more traditional theatrical style to the performances, putting an emphasis on the physical comedy of the opera.

In the role of Rosina, Lyric welcomes back Marianne Crebassa who was last seen in the Mozart comedy “Cosi fan tutte” in 2018. If one had to sum up her entire performance in a single gesture, it would be a wiggling foot while being passionately kissed by Count Almafina. A knack for well-executed and unexpected physical comedy seems to be her second strongest suit. The first would be the incredible mezzo-soprano voice. The stage brightens when she enters a scene. There are fewer female voices in this opera, but Mathilda Edge as Berta also has great comedic timing and an impressive soprano voice.

The male ensemble is just as humorous. Adam Plachetka as Figaro has all the cartoonish machismo one would expect of the character, but a voice that backs it up. Though most of the laughs came from the deceived Dr. Bartolo played by Alessandro Corbelli. Lyric’s “Barber of Seville” makes for a lovely evening at the opera. Sumptuous costumes and staging are a feast for the senses, but it’s the Rossini music that really shines. It’s always a treat in any opera when there’s a large chorus on stage (and a real measure of an opera company’s financial standing). Lyric underdoes nothing. From the pit to the upper balconies, "The Barber of Seville" fills the theater with enchantment.

Through October 27th at Lyric Opera Chicago. 20 N Wacker Drive. 312-827-5600

If you haven’t already made plans to see 'Hello Again' at Theo Ubique Cabaret Theatre, don’t wait another minute! Director/Choreographer Brenda Didlier’s reimagination of this 1993 off-Broadway musical.

The story is composed of 10 interwoven vignettes focusing on 10 love affairs portrayed in a frolicking, whimsical, lighthearted tone and yet layered in the heaviness of sadness, loneliness, and emotional emptiness.

Performed in the intimate cabaret setting where the cast and audience were close enough to touch added another layer of depth to the characters as they were able to perform in normal voice levels and eye level, making the connection between the characters and the audience members more real, intimate, and believable.

The love affairs take place throughout the 20th century, so the scenes and the musical numbers cover 100 year of musical styles, wardrobes and fashion, and historical events and lifestyles. Music Director/Conductor Jeremy Ramey and the orchestra produced the perfect mood as he helped us travel from New York City in 1900 to present with stop offs in a 1930’s movie house, a 1970’s disco, and even a stop on a luxury liner in 1912. The five-piece orchestra produced a full sound to fill the room when required but never drew us away from the characters. Costumes and sets were fast-changing and minimalist, but eye catching and definitely transformative with the changing timeline.

As for the stars of the show, I was delighted that the entire cast are the stars together. While each brought their strengths to their characters, they all complemented each other perfectly and each of the love affairs played an equally important part in the overarching story. Neala Barron’s (The Actress) and Christopher Ratiff’s (The Soldier), both Jeff Award nominees for 110 in the Shade (Boho), lend their strong vocals and acting skills to a very talented cast.

I certainly felt an emotional connection to several of the characters, specifically the Husband (Royen Kent), the Writer (Max J. Cervantes) and the Senator (Courtney Jones). All of the characters were very honest and relatable.

While all the scenes and numbers were exceptional as well, a couple of my favorites include the opening number “Hello Again” featuring the Whore (Megan Elk) and the Soldier (Ratliff), “The One I love” featuring the Young Thing (Marco Tzunux) and the Writer (Cervantes)and “The Bed Was Not My Own” featuring the Senator (Jones) and the Whore (Elk).

'Hello Again' continues at Theo Ubique through November 3, 2019. This is an excellent show which I highly recommend.

Chicago is a blue-collar town that loves its blue-collar music. Blues, jazz, soul, punk, heavy metal, and hip hop. Each of these genres has been taken to new heights by legendary Chicagoans but were ultimately borrowed from their originators. That all changed in the early ’80s, from the underground came a sound we now know as House music. A bricolage of high diva vocals, Italo disco, turntables, and a 909-beat machine. The musical golden child of Chicago is an unorthodox sound that’s injected euphoria into the ears of listeners around the world. A sound that’s been studied, experimented and replicated by the most popular DJs of our time and can still be heard on the Billboard Hot 100 today. 'Revolution Chicago' is the play that steps up to the task of telling the story of House music’s creation and rise. It wants you to leave the building pumping your fist high in the air but instead leaves you wondering if that story was even told.

'Revolution Chicago' is the story of Chicago’s very own Mickey “Mixin” Oliver and his rise as a celebrated DJ. Beginning with Mickey Oliver getting ready to play the biggest show of his life in Las Vegas then goes into a long flashback of Mickey’s humble beginnings, his troubles at home and how it inspired his approach to music. The story then gives us the tale of Chicago’s WBMX radio and how it struggled to compete with the other popular, well-funded radio stations. WBMX radio program director Lee Michaels has an epiphany that tells him to recruit the hottest DJ’s in town and broadcast their talents to revitalize the program. The star DJ being, of course, Mickey Oliver.

From there, it’s hard to explain where the play takes you. You get moments of the actors dancing to house music to attempts of sketch-like comedy to attempts of a heartfelt musical number. Eventually, the play goes back to the main story and tops it off with the success of House music and Mickey Oliver and then the end.

Mickey Oliver’s 'Revolution Chicago'; written, directed and music by Mickey Oliver, calls itself a lighthearted musical with a comedy twist. The play achieves its light-heartedness by not taking itself too seriously except for that one scene where Mickey learns of House Music pioneer Freddie Knuckles death. That scene is then followed by a sad musical number that leaves you wondering if Freddie Knuckles was ever mentioned earlier in the play.

Unfortunately, Revolution falls flat on almost every aspect it tries to achieve. As a comedy, the jokes the characters tell one another are cheesy and forced. The comedic characters come off as awkward and out of place. It wants to be a musical, but the numbers are not there to move the story along nor do they enhance the story in any way. Their musical pieces inserted in between scenes to showcase Mickey Oliver’s earlier work.

However, Revolution’s young cast does well in showcasing their talents on a very intimate stage. They carry the task to sing, dance, and move props on and off the stage. They do it all with ample energy, but their performances suffer because the material they have to work with is very, very dry. The play wants you to feel for Mickey Oliver’s character. They want you to laugh at, laugh with, and care for him (and only him). Instead, the play will have you scratching your head from beginning to end.

The beginnings of House music, those who started the movement, and its impact is a story that needs to be told. 'Revolution Chicago' wants to provide that story but loses its way in wanting to be multiple things at the same time and loses its audience by being unsuccessful in all of them.

Through September 29 at Stage 773.