Displaying items by tag: Anne Sheridan Smith

Mother-daughter relationships are somehow deemed different.  More seminal than the bond between a father and son. More instinctive than between sisters.  When trust is broken, all bets can certainly be off.  But that doesn’t seem to be the case for Thelma and Jesse, a mom and her daughter who live together in Marsha Norman’s magnificent ‘night Mother, just opening at Redtwist Theatre in Edgewater.  They have a balance and flow that suggests a seasoned understanding.  A harmonic acceptance of their lives together.

Thelma, played so fully by Redtwist ensemble member, Kathy Ruhl, is a pleasing mix of pragmatism and discreet earnestness.  A woman who’s lived a long life, withstood a lot and is making the most of the years in her final season.  Knitting on her well-cushioned sofa, cell phone dangling from her lanyard, TV playing in the background, she’s thinking about how she’s going to satisfy her sugar fix.  And settles on a snowball before contemplating many other options as the evening passes.

Thanks to the prodigious thought and scrupulous detail Bobbie Buie poured into the set design, Thelma’s modest home has the soft glow of easy unpretentious comfort.  Everywhere there are signs that point to a contentment that’s been well earned.  The world she created, along with Harper Justus’s precise and subtle sound design, saturated you in place.

Anne Sheridan Smith in the role of her daughter, Jesse, is much more wired; frenzied in an organized way.  When she shoots out of her bedroom door, she’s clearly a woman on a mission to get a lot of things done.  Quickly.  As she settles down, she’s simply determinedly methodical and impressively so.  There’s some light haggling with her mother.  It seems like something they just occasionally do.  Normal.  Tonight, giving her mother a manicure is high on Jesse’s to do list.  It’s not long before they settle down at the kitchen table and normal goes away.  

A small cloud of foreboding drifted in when Jesse began looking for some things in their makeshift attic. One of them is a gun. When her mother keeps pressing her on why she wants or needs one, she forces her daughter’s hand. Jesse declares to her mother, not coldly but matter-of-factly, that tonight she’s going to use it to kill herself.

It’s the kind of statement that instantly triggers incredulity.  And automatically, by reflex, Thelma’s “mom” response zooms past tilt.  Even though she may not initially believe Jesse, she hears her.   And intuitively she wants to fix it as she struggles to even comprehend the magnitude of what she’s been told.   ‘night Mother soon becomes a push and pull with Jesse always exhibiting the greater strength against a formidable opponent.  She has the inner conviction to see this grim task through.  You can sense that when she first told her mother what she was going to do. Like her mother, we too want to know why.

A dissection of one person’s why is what this intricate and intimate story is all about.  And the way Smith inhabits her character, she functions as an outstandingly plausible stand-in for many of us.   People who not only have had enough but also look at themselves and don’t see enough. 

Her mother doesn’t really understand. Not at first.  It’s as the tandem airing of their lives that reveals how it’s come to this. 

Well into this gripping one act performance, wonderfully directed by Redtwist’s Artistic Director, Dusty Brown, Thelma describes herself as a “plain country woman”.  Life for her is something you just did.  It’s the kind of existence where naivete and ignorance may thrive in abundance, but neither carries an especially detrimental cost.  When it came to Jesse’s early childhood rearing of Jesse though, perhaps it did. Thelma and her husband discovered late in their daughter’s development that the fits she experienced as a child were epileptic.   Undiagnosed and untreated for far too long, Jesse internalized them as manifestations of a personal flaw.  A flaw that inevitably, in her mind, produced terrible consequences.

She never directly states it, but it’s clear she blames herself for the way her son, Ricky, is turning out.  A thief, drugs, regularly in run-ins with the police.  Thelma says it’s just a phase.  He’ll grow out if it and be a “fine young man”.  But through a haze that’s draped in quiet anguish, Jesse senses otherwise.  It’s the same with her ex-husband. In Cecil’s case, he was there and then he was gone.  The man her mother found for her, who she came to love and who chose not to stay.

They’re all hard blows.  Jesse has weathered them.  Now it sounds like she’s tired.  Sick of it all.  Living with her mother.  Lonely present.  Lonely future.  She’s felt this way for so long that she’s used the last 10 years to plan for this night.    She’s gotten it so fine-tuned, she can give her mother detailed instructions on who to call when after the deed is done, and why.

For this compassionate plunge into the unthinkable, Marsha Norman won the Pulitzer Prize for drama in 1983.  A native of Kentucky, you can hear a faint sound of the south in the way Thelma and Jesse talk to one another.  The weight of the subject matter, the care in which these two women are drawn and portrayed, the way every argument Thelma raises against this tragic decision is rebuffed by unswayable conviction, keeps you rapt.  A sliver of life captured beautifully and unforgettably on the stage.

‘night Mother

Through May 24, 2026

Redtwist Theatre

1044 W. Bryn Mawr Ave.

Chicago, IL    60660

For tickets and more information:  https://www.redtwisttheatre.org

Highly Recommended

This review is proudly shared with our friends at www.TheatreInChicago.com. 

For some, an evening of Chekhov may sound like pure misery, but Red Theater’s “The Seagull” running at The Edge Off Broadway soars. The original adaptation by Red Theater cohort Ian Mayfield imagines Anton Chekhov’s emotionally searing dramady as a chamber play. Under his direction, this faithful version is a hidden gem of this winter’s storefront theatre scene.

Though known for depressing family melodramas, Chekhov did have a sense of humor, and perhaps in no other play is his cynical wit more on display than “The Seagull”. Any production is only as good as its neurotic, self-involved Arkadina. Anne Sheridan Smith is a captivating presence in the role of the celebrated actress. She brings an amusing larger-than-life performance that’s devilish to watch. Lovelorn and constantly drinking Masha played by Magdalena Dalzell delivers cutting physicality that’s also quite thrilling.

Jamie Herb is one of the production’s strongest assets in the role of Nina. Her performance takes full advantage of the closely drawn staging. She tells entire stories with haunting gazes. Her eventual breakdown feels more disturbing than the play’s actual tragic conclusion. However, perhaps no character is as pitiful as Medvedenko the schoolteacher. Ben Murphy plays the role with a subdued quietness that’s like whatever the opposite of “golden retriever boyfriend” energy is.

Original scoring by Jonathan Hannau lends to the chamber play atmosphere and elevates the ambiance. Maggie McGlenn’s sumptuous costumes combined with Hunter Cole’s minimal staging keep the focus on the action. As the actors move in and around the space, audiences will feel personally drawn in, as if they’re a silent guest at a party.

Red Theater’s “The Seagull” is a great example of what makes Chicago’s fringe and storefront scene so exciting. While many may look to the bigger institutions like Goodman or Steppenwolf to tackle major works by important playwrights, with the right talent in place a small theater can be just as impactful, if not more in some cases. Ian Mayfield’s version spends a lot of time dissecting Chekhov’s musings on artistic forms, and that curiosity about the craft of theatre feels evident in this cast. The result is a labor of love, and exactly what you want from a good night of theatre–that you lived through something. 

Through March 15 at Red Theater at The Edge Off Broadway. 1133 W Catalpa Ave. Tickets via www.redtheater.org

This review is proudly shared with our friends at www.TheatreInChicago.com. 

The true story behind Lauren Gunderson’s “The Book of Will” is compelling—the efforts of actors John Heminges (Jared Dennis) and Henry Condell (Ben Veatch), Shakespeare’s colleagues—to compile and publish a definitive collection of the Bard's works in the years soon after his death in 1616. This they did over the course of four years until it arrived in 1623, and Gunderson uses a comedic form to render the story and characters involved in the effort. 

Comedy keeps the story energized, staving off the dreariness of what might have been a docudrama. And the Promethean Theatre Ensemble cast directed by Beth Wolf delivers top notch performances. Brendan Hutt in the role of Richard Burbage, the actor who originated many of Shakespeare’s most famous roles, gives real Shakespearean heft to his performance. Hutt also plays William Jaggard, a publisher who produces the definitive First Folio (several after producing a less accurate version) with 36 of Shakespeare’s plays, 18 of them published for the first time. These included "The Tempest," "The Taming of the Shrew," "Macbeth" and "Julius Caesar," an unimaginable tragedy had these been lost.

Gunderson’s script opens with Heminges and Condell (and the audience) witnessing a performance of “Hamlet” so badly rendered as to lose the playwright’s intent. We see “To Be or Not To Be,” Hamlet’s famous soliloquy  (delivered by Jesús Barajas playing beautifully, stunningly wrong), the delivery even more butchered due to a distorted script, perhaps recorded from another actor’s faltering memory. It’s like watching as someone belts out a song all off key.

Galvanized by this horror, the two determined they would gather up all the most original copies of Shakespeare’s masterpieces and publish them in a book, before they were lost. Some of Shakespeare’s works were published while he was alive, but others were relegated to the haphazard storage of working theaters, marked up scripts found at playhouses even today. 

Jonathan Perkins

All this is factually true, as is so much of the play. That Gunderson often leans toward almost jarring contemporary vernacular and a comedic approach may make us question whether this can all be the real story, but indeed it is, in details large and small. Most of the cast performed multiple roles, for example Jonathan Perkins in the role of a compositor at the printer and three other characters. Perkins was arresting in the quality of his performance.

“Book of Will,” to my mind, is a flawed thing. While Gunderson has the greatest intention in celebrating Shakespeare, there is very little of his work delivered. The play is based on the reasonable presumption that the audience loves Shakespeare—who else would be drawn to the heroic tale of the publication of his works? But it doesn’t present enough of it to remind us why, to stir our emotions for a moment with the real art of the celebrated subject.

Brendan Hutt convincingly offers some solid Shakespearean delivery in the role of Richard Burbage, the actor who originated many of the playwright’s most famous roles, delivers promising and skillful recitations of bits of Shakespeare. But the snippets offered us by Gunderson are too brief, and not gripping. Even worse are a couple scenes where “quotable quotes” from Shakespeare are offered, sometimes in multiple languages to reinforce his universality—but it comes off as an artfully executed but nonetheless bad “tribute” to the playwright. 

One lost opportunity arises after Heminges’ wife Rebecca (Ann Sheridan Smith in an exceptional performance) passes away (I didn’t see that coming) at the beginning of Act II. Rebecca has been his rock during the four year effort to secure rights and overcome financial hurdles to publish the plays. Inconsolable, Heminges seeks solace in the theater, spending sleepless nights there reciting monologs from Shakespeare’s plays, he tells us. Could not the playwright have let Heminges deliver us even one of these, an apt monologue voiced with the passion of his grief?

In short, this is a play about people who love Shakespeare, but he isn’t tapped for what he might bring to the party. I thought James Lewis turned in a remarkable performance as Ben Johnson, Shakespeare’s rival and critic, who wrote a dedicatory poem for the First Folio. Lewis gave me the one moment I felt touched at the level of emotion that Shakespeare evokes in his works. This comes as the begrudging Ben Johnson delivers the opening lines of his dedicatory poem for the First Folio. 

Nevertheless, “The Book of Will” tells an important story of the epic accomplishment of two devotees of Shakespeare, and one well worth hearing and seeing. Even as the web lulls us into believing that all knowledge and information is permanently and universally accessible, in fact we are seeing in present days the disappearance of content  the “Book of Will” reminds us anew of the evanescence and fragility of the written word, and the commitment required to maintain and preserve it. "The Book of Will" runs through October 25, 2025 at The Den Theatre on Milwaukee Ave. in Chicago. 

Do not bring the kids to TITUS ANDRONICUS; it has 14 killings, 9 of them on stage, 6 severed members, 1 rape (or 2 or 3, depending on how you count), 1 live burial, 1 case of insanity and 1 of cannibalism – an average of 5.2 atrocities per act. We’re talking kung-fu, sword-fu, spear-fu, dagger-fu, arrow-fu, pie-fu … heads roll, hands roll, tongues roll, nine and a half quarts of blood flow – pretty gruesome, even for Shakespeare. We were offered seats within or outside the ‘splash zone’; we chose the former (of course) and were duly splashed.

TITUS ANDRONICUS, Shakespeare's bloodiest script, brings prejudice and the politics of revenge to the forefront – timely and apt, yeah? TITUS ANDRONICUS is one of the Bard’s lesser-known plays; co-adaptors Dusty Brown, Caroline Kidwell and Jordan Gleaves showed courage and foresight in bringing this controversial story to the stage and are rewarded by the aptness of this story to 2025 America. Prejudice and revenge? Yeah.

Redtwist Theatre is one of Chicago’s signature black box venues; its mission is to ‘create searing hot drama that builds empathy, dissects cruelty, and reveals broader truths.’ Their tiny black box venue becomes a thematic asset (TITUS ANDRONICUS seated 20), every show tailored to close the gap between actor and audience – literally and figuratively – adding ‘a little red twist’ to every production by exploring the violence inherent in our humanity.

Fine aspirations but challenging to realize. Redtwist was recently renovated, though We aim to create brave spaces, where listening and learning can take place.

The cast was phenomenal, as is to be expected in Chicago’s rich thespian environs.  Anne Sheridan Smith in the title role maintained their martial dynamism through a score of brutal spectacles, as did Sabine Wan as their sister Marcus. Caroline Kidwell personified the heroism of their mutilated daughter Lavinia while Philip C. Matthews was a compelling Lucius, sole surviving progeny of the Andronicus line.

On the other side of the conflict, Laura Sturm was redoubtable as Titus Andronicus’ captive Tamora, Queen of the Goths; the Emperor Saturninus (Joshua Servantez) is sufficiently impressed to marry and make her Empress, abjuring his engagement to Titus’ daughter Lavinia. This delights his brother Bassianus (Madelyn Loehr), who is in love with and betrothed to Lavinia.

Are you still following this? Iambic pentameter is challenging enough without so convoluted a plotline. The talents of Text Coach Meredith Ernst Maryfield were absolutely vital!

Meanwhile, back at the Emperor’s palace, Empress Tamora gives birth to a baby whose dark skin proves he was fathered, not by the Emperor but by the lowborn (not to mention Black) Aaron (James Lewis). Aaron is devoted to the infant, in stark contrast to his unrelenting inclination for inciting evil. He helps Tamora’s sons Chiron (Elijah Newman) and Demetrius (Quinn Leary) foil their brother Bassianus by capturing Lavinia, gang-raping her, and cutting away her tongue and hands to prevent her identifying them.

Tamora arrays herself as Vengeance and appears to Titus Andronicus with her sons, disguised as Murder and Rapine. Undeceived (and understandably, vexed by their pillage of Lavinia), Titus sends ‘Vengeance’ away, retaining ‘Murder’ and ‘Rapine’, both of whom he kills. He invites Tamora and Saturninus to a banquet and, after they’ve scarfed down every bite, reveals that the pie he served was made with the hearts of Demetrius and Chiron.

Once Tamora has eaten her fill of scion pie, he kills both her and (for some reason) his own daughter Lavinia. A rash of killings ensues, leaving alive only Marcus, Lucius, Young Lucius, and Aaron. Lucius has Aaron buried alive and Tamora's corpse thrown to the beasts and having thus demonstrated his fitness for office, he becomes the new Emperor, promising to Make Rome Great Again. The people of Rome refuse to accept it and march en-mass on the nation’s Capital … oops, sorry; that’s 2025; Lucius Andronicus took the throne in … well, TITUS ANDRONICUS is fictional so we can’t be sure, but we can be sure that history repeats itself.

Redtwist’s creative team makes all of this work, from Director Dusty Brown with Assistant Andie Dae to Stage Managers Eliot Colin, Raine DeDominici, and Ashley O’Neill.  I was deeply impressed with Scenic Designer Eric Luchen’s set: austere, even spartan, it accommodated the script’s complex depredations and treated most spectators to contact with a corpse if not baptism in blood. I loved Costume Designer kClare McKellaston’s fusion of modern and bling. Michael Dias’ gruesomely convincing stage combat was perfectly balanced by Intimacy Director Erin Sheets; powerful even at very close contact.

If you’d like to follow (another) depraved empire crumble from within, TITUS ANDRONICUS is for you. But let me repeat:  do not bring the kids!

TITUS ANDRONICUS plays at Redtwist Theatre through March 30.

HIGHLY RECOMMENDED!  By Sarz Maxwell

*Extended through April 6th

*You can also find this review featured on https://www.theatreinchicago.com/.

Many of us know the story. Three women who work in an office and seek revenge on an abusive male boss. Who can forget Dolly Parton, Lily Tomlin and Jane Fonda as they made a united stand for women in the now classic film “9 to 5”. Our women heroes are lovable, fiery and smart and, with that said, “9 to 5 the Musical” is playing at The Den Theatre and is a must see!

Recently, I have been on a Broadway kick and even bought season tickets and with a lackluster start of the season, I was ready to check out some local plays – something I encourage everyone to do. The Den Theatre is cozy, and the bar is nice as well. This wasn’t my first visit, but my first since they had renovated the space. With upgrades and newly created theatres, The Den is vastly improved and gives theatre goers even more reason to check out a play. The theatre is divided up in different sections across its three floors, each space unique from the other in order to hold different styles of plays.

The funny musical with music by Dolly Parton is put on by Firebrand Theatre which is all about empowering and employing women in the industry. With movements like “Time’s Up” and “Me Too,” it is great to hear about the work they are doing. “9 to 5” makes sense for Firebrand Theatre to produce as the story includes three strong women who are looking to bring in flexibility and positivity into the workplace.

The caliber of talent in this show speaks for itself. The production’s set, through simple, with the phenomenal voices belonging to each member of the diverse cast really stuck out in my mind. Sharriese Hamilton who played Doralee, was fantastic. Her energy and flawless southern accent was perfection. We see her character being followed by an office rumor of her having an affair with the manager, Mr. Hart. It was quite disgusting to see Mr. Hart, played by Scott Danielson, degrade her and do things around the office that put her in such compromising positions.

Violet (Anne Sheridan Smith) and Judy (Sara Reinecke) round out the trio. With excellent performances and growth throughout in each character, I couldn’t get enough of the show!

“9 to 5” reminds me of how far we have come but is also a reminder that we still have so much more to go when it comes to the workplace. We should continue with the fight and advocate for fairness in all aspects of life. We should do better.

Go see the musical that includes a variety of fun songs, including its title number, at the Den Theatre (1331 N. Milwaukee) as soon as possible. The play will be running until May 20th and tickets costs $45 and well worth the experience.
“9 to 5 the Musical” is being performed at Den Theatre in Wicker Park through May 20th. For more show info visit www.firebrandtheatre.org.