Displaying items by tag: Anji White

James Ijames' Pulitzer Prize-winning play, Fat Ham, bursts onto the Goodman Theatre stage in a vibrant, deeply resonant co-production with Definition Theatre. Directed with an expert hand by Definition Theatre's Artistic Director Tyrone Phillips, this contemporary reinvention of Hamlet dazzles with humor, heart, and a profound exploration of identity, toxic masculinity, and generational burdens.

Set in a Southern backyard during a family barbecue, Fat Ham transforms Shakespeare's dark tragedy into a poignant yet hilarious meditation on living one's truth. At the center of this narrative is Juicy, played with remarkable nuance and emotional depth by Trumane Alston. Juicy's journey of self-discovery unfolds amid the ghosts—both literal and figurative—of his family's past, grappling with expectations of masculinity and the weight of inherited trauma.

Alston's performance is layered and compelling; his Juicy is introspective and tender yet brimming with an undercurrent of resilience, given time he will lean more into the character arc. His comedic timing is impeccable, delivering Ijames' sharp and incisive dialogue with a natural ease that invites the audience into his emotional world. Juicy's interactions with his spirited best friend Tio, brought to life by the dynamic Victor Musoni, provide some of the play's most humorous and thought-provoking moments. Musoni's portrayal of Tio is electric, offering a counterpoint to Juicy's introspection with boundless energy and unfiltered wisdom.

Ronald Connor impresses in the dual role of Rev and Pap, seamlessly shifting between the domineering ghost of Juicy's father and the charismatic over-sexed preacher presiding over family affairs. His presence looms large, embodying the toxic masculinity that haunts Juicy's world with an intensity that is both chilling and oddly comedic. Opposite him, Anji White as Tedra, Juicy's vivacious mother, delivers a powerhouse performance—balancing maternal warmth with an underlying desperation to escape her own past.

Ireon Roach’s Opal is a revelation, with her confidence simmering to the surface, while Sheldon Brown’s Larry, a stoic Marine grappling with his own identity, offers a poignant reflection of the play’s central themes. And no production would be complete without the powerhouse that is E. Faye Butler, whose presence on stage is nothing short of magical.

The technical elements of the production elevate the storytelling to new heights. Arnel Sancianco’s set design captures the essence of a Southern backyard with rich, lived-in detail, creating a tangible sense of place that enhances the play’s themes of home and heritage. Jos N. Banks’ costume designs are vibrant and character-driven, reflecting each individual's inner conflicts and outward personas. Jason Lynch’s lighting design cleverly shifts from naturalistic warmth to eerie supernatural hues, underscoring the play’s tonal shifts. Meanwhile, Willow James’ sound design punctuates the emotional beats with a careful blend of music and ambient sounds that ground the play’s heightened moments.

Phillips’ direction is both deft and sensitive. He embraces the play's comedic elements without undercutting its emotional weight. He crafts a production that honors Ijames’ bold vision while allowing the cast to fully explore the complexities of their characters.

Fat Ham is a triumph—an innovative, riotously funny, and ultimately moving exploration of what it means to break free from the ghosts of the past and forge an authentic future. Whether you're a Shakespeare purist or someone looking for a fresh, contemporary take on a classic story, this production offers something truly special.

With an outstanding ensemble, sharp direction, and a creative team firing on all cylinders, Fat Ham at Goodman Theatre is a must-see theatrical event that redefines what it means to inherit, to resist, and to thine own self be true.

Highly Recommended
When:    Through March 2
Where:  Goodman Theatre, 170 N. Dearborn St.
Tickets:  $25 - $85
Info:     Goodmantheatre.org/Ham

I was skeptical when I learned that Court Theatre was staging "East Texas Hot Links." The Pulitzer prize nominated play first debuted in Chicago at Onyx Theatre Company in 1995, with subsequent productions in 1998 and a recent one at Writers Theatre in 2019. Although it’s not rare for a play to receive so many renditions, interestingly enough, each production has been directed by Ron O.J. Parsons, who has kept basically the same cast since its premiere. This piqued my curiosity enough that I felt compelled to see the show for myself. After the performance, fellow theatergoers shared this was the finest version of the play they had seen. I would have to agree. This production had me tingling from start to finish.

Court Theatre's production of Eugene Lee's East Texas Hot Links, directed by Ron O.J. Parsons, is an electrifying, poignant reminder of the harsh realities of life for Black communities in the segregated South, in this case East Texas, during the 1950s. Under Parsons' skillful direction, this production transforms Lee's taut, suspenseful character study into a deeply immersive experience that brims with tension, emotion, and tragedy.

Set in a small, rural Texas café, East Texas Hot Links offers a snapshot of a Black community's attempt to survive in a world where racial violence and oppression are omnipresent threats. The café, owned by the strong-willed Charlesetta (played by AnJi White), serves as a sanctuary for the local Black men—blue-collar workers who gather to talk, joke, and seek refuge from the dangers outside. However, as the play progresses, the audience senses the mounting tension, and it becomes clear that this safe space is not immune to the violence brewing in the surrounding white community.

AnJi White's portrayal of Charlesetta is  beautifully compelling. White brings strength, warmth, and an underlying vulnerability to the role, making Charlesetta the emotional core of the community. She commands the café with authority, yet her fear for the safety of her patrons is palpable. White’s performance is a delicate balance of resilience and fear, making her final moments on stage all the more heartbreaking.

Juwan Lockett imbues XL Dancer with an air of mystery, leaving the audience constantly questioning his motives. Lockett masterfully conveys a sense of an underlying threat simmering beneath XL’s surface, keeping the audience on edge. The other characters' scrutiny of XL only adds to the intrigue, with Lockett's performance subtly hinting at hidden depths and secrets the character may possess.

David Dowd's depiction of Delmus Green vividly captures the essence of youthful optimism amidst severe societal challenges. His naivety and idealism are clearly evident in his expressions, bringing a tangible sense of hope to his character. When faced with the reality of his situation, his body and expressions change and it’s a beautiful arc.

Geno Walker's portrays Buckshot as a formidable intimidating character who both commands respect and instills fear within the community. Beneath his tough exterior, however, lies a deep loyalty to his friends and family, as well as a profound concern for the well-being of his fellow community members.

Veteran actor Alfred Wilson excels in the role of Columbus Frye, portraying him as the entrepreneurial spirit of the group. A.C. Smith also delivers a standout performance as Boochie Reed, the town's soothsayer, infusing the character with a mystical, almost prophetic presence that lends an air of foreboding. Wille B shines as Adolph, the blind man whose insight seems boundless, and Kelvin Roston captivates as Roy Moore, adding further depth to this talented ensemble.

The technical elements of the production further heighten the atmosphere of dread and tension. Jack Magaw’s scenic design transforms the stage into an authentic, intimate Texas café, with every detail—from the worn wooden floors to the shabby advertisements on the wall —helping to create a lived-in, familiar environment. The set is both a haven and a trap, capturing a sense of characters hemmed in by the world outside.

Christine Pascual and Janice Pytel’s costume design provides a vivid glimpse into the characters' personalities and statuses, grounding the story in its 1950s setting with period-appropriate clothing that feels organic to each character. Jason Lynch’s lighting design works in tandem with the narrative’s rising tension, using flashing lights and stark contrasts to build suspense to signal the looming danger.

Special effects consultant Jim Guy’s work, especially as firearms coordinator, is crucial in creating the shocking, violent moments that punctuate the play’s climax. The sound of gunshots and the chaos they cause feel visceral, jolting the audience and underscoring the immediacy of the threat.

Ron O.J. Parsons’ direction weaves all of these elements together into a cohesive, gripping production that pulses with energy and urgency. His direction is meticulous, allowing the audience to feel the characters’ emotional and physical entrapment while slowly ratcheting up the tension until it reaches a boiling point. The sense of dread that builds throughout the play culminates in a devastating and powerful finale that leaves the audience shaken.

Court Theatre’s East Texas Hot Links is a searing and unforgettable production that captures the complex dynamics of community, race, and survival. The combination of outstanding performances, atmospheric design, and Parsons’ expert direction makes this a must-see theatrical experience. Regardless of how many times you’ve seen it before…see this now!

Highly recommended

When: Through Sept. 29

Where: Court Theatre, 5535 S. Ellis Avenue

Running time: 90 minutes

Tickets: $58 - $90.00 Student, Group and military discounts available

773-753-4472

www.Courttheatre.org

Some theatre is so unique that it defies genre, or even creates its own. 'For Colored Girls/Who Have Considered Suicide When the Rainbow is Enuf' by Notzake Shange is considered a choreopoem, a first and only of its kind to appear on Broadway. This pivotal work debuted on Broadway in 1975 and remains as potent today as it was then. Court Theatre's revival, going on now, is directed by original cast member Seret Scott. 

You may be asking yourself what a choreopoem is. As defined by Shange's work, it's a beautiful combination of spoken word poetry, song and dance. While narrative structure is fluid, there is a central storyline flushed out over the 90 minute run. 'For Colored Girls' tells eight black women's stories of urban life in sometimes joyful, sometimes tragic, but mostly empowering vignettes. The characters are identified only by the color of their dress, but are made distinct by their individual voices and stories. 

This piece isn't produced very often as it requires a solid and specific casting. Seret Scott has assembled a stellar cast for her production. Melody Angel as Lyric creates the rhythmic backbone as she shreds an electric guitar. Though all the women in this ensemble are hair-raisingly spectacular, Anji White's performance is truly transcendent. There's a moment near the middle of the show when White takes center stage as Lady in Red. From there on, you cannot take your eyes off her. The final monologue leaves an audience entirely surrendered to both her sensuality and gut-wrenching story. 

'For Colored Girls' is a timeless exploration of black female themes in American life, but perhaps there is no better time than right now to celebrate being other. If you've always wanted to see this piece performed to the best possible standards, don't skip this powerful production.

 
Through April 14 at Court Theatre. 5535 S Ellis. 773-753-4472

The House Theatre is currently performing one of its past productions, The Great and Terrible Wizard of Oz, Phillip Klapperich’s 2005 spin on L. Frank Baum’s classic Wizard of Oz. First produced by House Theatre of Chicago in their third season, Klappernich’s The Great and Terrible Wizard of Oz is a darker version of the original, magnifying the story’s undercurrents while keeping the integrity of the Baum’s story intact. Modern touches are also added throughout the show that bring Dorothy and friends to present day. 

Most of us know the story of Dorothy, a teenage girl from Kansas who is magically transported from her family’s farm house (thanks to a massive tornado) to the enchanting and vividly colorful world of Oz, a magical place where almost anything can happen. Klapperich’s version gives us a whole new perspective on the classic.

Contemporary Dorothy (played by the talented Kara Davidson), armed with a cell phone and toting her beloved dog Toto, (animated by Joey Steakley, who truly makes the stuffed animal come to life) both land in the whimsical land of Oz (specifically Munchkinland) when a severe storm carries the two by means of the beforementioned powerful twister. Upon landing, we soon find out that Dorothy’s house ends up crushing the wicked witch. Dorothy is greeted and admired by the locals (Munchkins, played by Elana Elyce, Ben Hartej, Carlos Olmedo, and Tina Munoz Pandya) and The Good Witch Glinda (Amanda de la Guardia). Everyone wants their new hero to stay, after all, she killed the wicked witch. But Dorothy longs to get back home to her family in Kansas. The deceased witch however, had a sis who is very nasty and is out to get Dorothy to reclaim her sister’s magic boots that are now clinging to Dorothy’s feet. And so, Dorothy is given directions on how to the grand Emerald City to find the Wizard of Oz, who will hopefully help her get back home. While searching for the great wizard, Dorothy befriends our favorite characters from the classic: The Scarecrow (enchanting Christina Maryland Perkins), Tin Woodsman (Jeremy Sonkin), and Cowardly Lion (lively Michael E. Smith). 

But it’s not as easy as simply meeting the Wizard of Oz. Dorothy, now called the “Witch Slayer” thanks to the Munchkins, is asked by the Wizard to kill the wicked witch in exchange for passage home. 

The Great and Terrible Wizard of Oz is beautifully directed and choreographed by Tommy Rapley and is very well cast. Kara Davidson transcends expectation as Dorothy while AnJi White is absolutely mesmerizing as The Wicked Witch of the West. White moves with grace, speaks with conviction and injects just the right amount of wicked into the wicked witch.

The show is delightful non-stop entertainment featuring live music, giant animated puppets, monsters and even flying monkeys soaring through the air, OH MY! Creative, energetic and colorful, it’s mostly joyful, occasionally dark and even sad, but always entertaining. 

Highly recommended.

The Great and Terrible Wizard of Oz is being performed at Chopin Theatre through May 7th. The performance schedule is Thursdays - Saturdays at 7:30 p.m., Saturday and Sunday matinees at 3 p.m. and Sunday evenings at 7 p.m. Preview tickets (evenings March 17 – March 26, no performance March 25) are $15 and regular run tickets range from $25 – $45. For tickets and/or more show information, visit www.TheHouseTheatre.com. 

*This show is not recommended for children under ten.

The tumultuous personal life of the six-time married Henry VIII has been an inspiration for dramatists for centuries, and provided immortal fame to several of his ill-fated wives. However, as the wife who had the political astuteness to survive him and the luck to marry him after he had already produced his long-awaited male heir, Katherine Parr has usually been neglected due to her apparent lack of tragedy. That changed last year, when Canadian actress and playwright Kate Hennig’s new work, The Last Wife, premiered at the Stratford Festival. Narrowly focused on six richly drawn characters, Hennig’s play is a reminder of how remarkable Parr truly was, and that her political power stemmed from her ability to reconcile one of the English-speaking world’s most notoriously fractured families. In the play’s United States debut at Timeline Theatre, director Nick Bowling’s cast teases out the nuances of Hennig’s complex script, creating a surprisingly compassionate image of a court known mainly for its beheadings.

The play is in modern dress and language, with elegantly simple costumes by Melissa Torchia and a matching silver and black set by Regina Garcia. Katherine Parr (AnJi White) is a social-climbing noblewoman with a dying husband she never liked, and a handsome admirer in the highly desirable Thom Seymour (Nate Santana). However, at the top of the play, she is troubled by the gift King Henry (Steve Pickering) has made to her of a dazzling necklace. It is a clear indication that he wishes to make her wife number six, and to refuse his gift is even more dangerous than to accept it. Henry himself makes that clear when he interrupts the couple by forcibly kissing Katherine and humiliating Thom by pretending to forget his lack of title and pointing out his inability to protect “his” woman. Catherine makes a counteroffer of becoming Henry’s mistress, but he refuses, and surprises her by declaring that his interest in her is primarily due to his belief that the young prince Edward (Chinguun Sergelen, alternating with Matthew Abraham) needs a mother.

Katherine, or, as she prefers to be called, Parr, recognizes several opportunities. The king is ailing, and is in need of advisers, and possibly a regent. Furthermore, if she maneuvers correctly, she could place herself in a position to mentor his older daughters, Mary (Paola Sanchez Abreu) and Bess (Caroline Heffernan, alternating with Peyton Shaffer), whom he is currently estranged from due to abusing, and in Bess’s case, murdering their mothers. Parr would like to see more women in positions of power, and the first step to making that happen is to restore the girls to the line of succession. White possesses the strength and the warmth to communicate that Parr is a mixture of high ambition and idealism, with a long-disappointed hope of starting a family of her own. She craves power enough that she is willing to take grave risks to gain it, seeks it for others as well as herself, and, perhaps unexpectedly, finds herself falling for the Tudors even as she tries to negotiate her suddenly much more complex relationship with Thom. White’s astute choices regarding when to be vulnerable and when to be commanding make her a fascinating figure, and the driving force of the play.

She’s in good company. Steve Pickering’s Henry is a sardonic, miserable, but highly intelligent and dangerous old monster. “I’m capricious; that makes me a fascist, not a liberal,” he declares early on in what is also an example of Hennig’s generally strong ability to describe Renaissance dynamics in modern language. (It’s not perfect; everything onstage is contemporary, but the characters still refer to cannons.) Henry cannot be tricked by false affection, but Parr is old enough to remember there was a time when he was a genuine sex symbol, and still has lingering admiration for the person he was when he took the throne as a teenager. Henry misses that person, too. Santana’s charming, but somewhat feckless Thom is depicted more sympathetically than the historical character usually is, as is Sanchez’s wounded and sour Mary. Heffernan’s Bess starts very guarded, but grows to reveal her intellect as well as her insecurities. Sergelen’s Edward is an innocent who has an adorable tendency to get underfoot at awkward moments, one of which implies early on that Parr and Thom may be a little sleazier than we’ve been led to believe.

Hennig is too clever a writer to make The Last Wife a morally simplistic story. Her characters are messy, and she treats her audience as people who don’t need to be preached to. At two and a half hours, The Last Wife is unusually dense and lengthy for a new play, and at times, Hennig’s style seems suited for a novel. There are a few big dramatic scenes, but most of the character development takes place through quieter moments during which they are clearly thinking more than they say. For example, while discussing Edward’s succession, Bess takes a tactless tone while pointing out that seventy percent of males in their family die before the age of eighteen. Mary responds with a veiled comparison between Bess and Richard III. But Bowling has done such a fine job of casting and pacing that the story never drags (and for those who absolutely prefer something shorter, Timeline’s production of Bakersfield Mist will be continuing through mid-October). For fans of the Tudor era, as well as people who enjoy intimate studies of ambitious families, The Last Wife is highly recommended.

The Last Wife is playing at Timeline Theatre, 615 W. Wellington Ave through December 18. For tickets or show information, see timelinetheatre.com.

What drew me to this play is the powerful message around civil rights and the negative impact it had on the children of activist. Sunset Baby is about a women named after Nina Simone whose parents were a part of the Black Panthers. After her mother passes away, her father comes back into her life after what seems to have been a long stint in prison. playwright Dominique Morriseau, who landed the Edward M. Kennedy Prize for her previous work, Detroit '67, comes back with another fine effort Sunset Baby a story of generation gaps and healing old wounds.

As I walked closer to the stage at Timeline Theater, I saw large signs of many individuals who have contributed to the civil rights movement such as Audre Lorde, Bell Hooks, Malcolm X, Tupac Shukar, Nina Simone, and DeRay Mckesson who works with Black Lives Matter. The short descriptions of these individuals were informative and appreciated and also helped set the tone for this play.

The plays opens up with Nina, played by Anji White, getting ready to go hustle and make some money with her boyfriend, Damon (Kelvin Roston Jr.). As she is getting ready, she gets a buzz from downstairs thinking it was him but it is instead her estranged father Kenyatta (Phillip Edward Van Lear). Nina blames her father for the addictions her mother had which ultimately led to her death. What is uncovered through this encounter is Kenyatta's desire to locate unsent letters from Nina's mother, Ashanti X, while in prison. 

Although the play had a lot of ups and downs to keep the audience busy, I still left wanting more. There could have been more about the political activism around Kenyatta. I believe more details should have been explored a bit more as well as character development. The acting itself was very strong. Phillip Edward Van Lear's demeanor throughout the play was calm as Kenyatta but when he talked about his experiences, he did a great job of appearing physically agitated, making his role even more believable.

Sunset Baby will be at Timeline Theater from January 21st through April 10th. Visit http://www.timelinetheatre.com/sunset_baby/ for more details on obtaining tickets to see this powerful cast.