Displaying items by tag: Anthony Kayer

Get ready for a cosmic comedy of gods, monsters, and mayhem that refuses to play by the old rules. That’s right - the universe is ending, and apparently it booked a headliner.

In Lifeline’s world premiere Loki: The End of the World Tour, we travel to another universe where Norse gods wrestle with fate, power, and the consequences of welcoming a trickster into their midst. Loki, half‑god and half‑giant, storms into Asgard with the force of a live wire, intent on reshaping his identity and carving out a place in the celestial hierarchy. His charm wins over Odin almost immediately, but the rest of the pantheon isn’t so easily convinced. While gentle Baldur welcomes him with the sunny goodwill he offers everyone, Thor bristles at the sudden competition for his father’s attention, and Freya senses danger in him from the start. Meanwhile, Loki’s three unusual children - Hel, Fenris (a wolfen creature), and the slithery Midgard Serpent - appear in Asgard as the very figures described in the prophecy Odin dreads, the beings destined to spark Ragnarok and bring the realm to its knees. Caught in the middle, Sigyn finds herself drawn to Loki’s restless spirit even as these revelations cast a looming war between gods and giants across their path. Loki’s return from the land of giants sets off a quiet upheaval in Asgard, and it’s clear the realm will never look the same again. Yep, Lifeline Theatre certainly lives up to its “Big Stories, Up Close” tagline in this original creation, transforming ancient myth into a visceral, close‑quarters clash of gods, secrets, and fate.

The show kicks off with a blast of rock‑and‑roll as the onstage trio - guitarist and music director Kelan Smith, keyboardist Kara Alexander, and drummer/bassist Alek Boggio - tears into the opening number. These three performers also serve as the Norns, guiding the audience through the story with a mix of narration, commentary, and musical firepower. Penned by Lifeline ensemble members Christina Calvit and George Howe and directed by Heather Currie, the “World Tour” concept gives the production a playful, concert‑style frame that keeps the energy high from the very first chord. Earplugs are free for anyone who wants them, and even with the show’s solid sound mix, you might be glad to have a pair handy - particularly in Act Two, when Boggio unleashes a drum assault that rattles the room.

Jack Chylinski leads the company with a magnetic, mercurial turn as Loki, slipping between charm, menace, and mischief with the ease of a born shapeshifter. The physicality is sharp and unpredictable, and they ride the rock score with a swagger that makes the trickster god both dangerous and oddly irresistible. Opposite him, Scott Danielson brings a seasoned authority to Odin, grounding the production with a commanding presence and vocals that cut cleanly through the music. Danielson’s All‑Father carries the weight of prophecy and fear in every scene, and the show deepens whenever he steps into the light.

Kelan Smith, Alek Boggio, Kara Olander, Janelle Anabria in LOKI THE END OF THE WORLD TOUR. Photo by Josh Bernaski.

Janelle Sanabria’s Freya is a powerhouse in every sense, her vocals soaring across the theatre with clarity, range, and emotional bite. She plays the goddess with fierce intelligence and a simmering distrust that adds real tension to the pantheon. Keenan Odenkirk, meanwhile, delivers a standout comedic performance as Thor, balancing bluster, jealousy, and impeccable timing. His ability to punch a line, hold a beat, and land a laugh gives the show some of its sharpest moments. Peter Gertas brings a bright, buoyant charm to Baldur, radiating warmth as the god of light and shifting effortlessly into his more grounded work as Mason.

India Renteria offers a luminous, heartfelt Sigyn, grounding the chaos around her with sincerity and emotional clarity. Loki’s three children - Grace Reidenauer as the coolly witty Hel, Anthony Kayer as the feral and unexpectedly tender Fenris (and the delightfully bold Thrym), and Avery Thompson as the playful, serpentine Middy - round out the ensemble with vivid, memorable performances. Each brings a distinct energy to the stage, and together they form a trio that’s as funny as it is thematically essential. The cast as a whole fuels the production with personality, precision, and a rock‑and‑roll spirit that never lets the momentum dip.

The physical world of the production is intentionally spare, yet it feels remarkably tailored to the story thanks to the combined work of scenic designer Lindsay Mummert, props designer Saskia Bakker, and lighting designer G. “Max” Maxin IV. Instead of overwhelming the stage with spectacle, the design team leans into simplicity and lets the atmosphere do the heavy lifting. The band sits off to one side in full view, their presence giving the show the pulse and immediacy of a live concert rather than a traditional musical. Maxin’s washes of purple light bathe the space in an otherworldly glow, transforming the minimalist set into something mythic, shifting, and just a little dangerous.

Anthony Kayer, Jack Chylinski, Grace Reidenauer and Avery Thompson in LOKI THE END OF THE WORLD TOUR. Photo by Josh Bernaski.

This production feels like lightning in a bottle, and the cast - backed by that ferocious onstage band - absolutely tears into it. New, original musicals don’t always find their musical footing right away, but this one arrives with a score that feels confident, catchy, and fully realized. Several numbers grabbed me on first listen, and by the time the show barrels into its final sequence, the music swells into a full‑throttle rock anthem that literally dares the audience to join in. The closing chorus suggests, with a wink and a blast of guitar, that if the world really is ending, we might as well crank the volume and go out in a rockin’ blaze of sound - and honestly, it’s hard to argue with that.

Loki: The End of the World Tour is the kind of original musical that proves, yet again, how fiercely inventive Chicago storefront theatre can be when it fires on all cylinders. Lifeline’s ensemble throws themselves into the chaos with precision, personality, and a rock‑and‑roll fearlessness that makes the whole night feel like a small miracle happening a few feet away. It’s smart, loud, heartfelt, and just strange enough to feel genuinely new - the sort of show you want to tell people about before it closes. And with the production running through June 27th, there’s still time to catch the lightning (or Thor's hammer) for yourself. As for logistics, street parking in the neighborhood remains one of the city’s best‑kept secrets: arrive a little early and you’ll likely snag a spot without the headache of garages or meters. For a show this fun, this fresh, and this full of talent, the trip is absolutely worth it.

For tickets/and/or more information, click here.

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

Chicago is well-known for its hidden gems: speakeasies hidden behind working laundromats, restaurants located down darkened alleyways, and even theatres located in basements and converted houses. One such innocuous playhouse resides in a small, transitioned home studio, just west of the Uptown neighbourhood. Like any hidden gem in Chicago, looks can be deceiving, and the hyper-intimate 25-seat theatre that is Open Space Arts is playing anything but small as they put on the Chicago Premiere of DORIAN.

DORIAN is a thrilling, queer-forward remix of Oscar Wilde’s timeless tale, brought to life in this bold and visually stunning stage adaptation by Phoebe Eclair-Powell and Owen Horsley. In a world obsessed with beauty and power, what happens when someone is given the chance to remain perfect—forever? This modern interpretation dives headfirst into vanity, desire, and the danger of refusing to age, illuminating the darkest corners of our obsession with self-image and fame. DORIAN fuses gothic horror, biting satire, and cabaret flair into an unforgettable night of theatre.

Similar to the space it was performed in, DORIAN, directed by Aaron Holland, is one of those surprise gems woven into the fabric of the city’s neighbourhoods. The play dramatises the story of Oscar Wilde’s novel THE PICTURE OF DORIAN GRAY in the present-day club scene, where Dorian, the main protagonist, Basil, an artist who idolises Dorian, and Henry, the aristocratic antagonist, gallivant around late 1800s London in search of art, beauty, and just a smidge of hedonism. The minimalist-maximalism of the Open Arts Space is expertly utilised by the play’s performers, Luke Gerdes as Dorian, Bosie, and others, Anthony Kayer as Henry Wotton, Oscar Wilde and others and Brian Kulaga as Basil, James, and other characters. The three performers bring the hedonism and exuberance of Wilde’s Victorian London to the modern stage with wickedly witty dialogue and a reverence for the late author. DORIAN juxtaposes THE PICTURE OF DORIAN GRAY alongside the historical record of Wilde’s prosecution and conviction for the “gross indecency” of his relationship with the much younger Lord Alfred “Bosie” Douglas in 1895, at the height of his literary success. The two stories intertwine beautifully, with plenty of camp and sass like The Victorian Homosexual Quiz, blended with respect and reverence that Wilde himself would applaud. The performances of Gerdes’ Dorian and Kayers’ Wilde are shockingly tender, perfectly capturing the drive and desire for beauty and youth that both the author and fictional protagonist sought in Victorian London.

DORIAN is as relevant and relatable today as it was in Victorian times. The play features many of the same challenges, vices, and themes that modern-day audiences can relate to. Told with poetic prose and perfectly picturesque poses, this production is a rare gem in the Chicago theatre scene. Just as our protagonist, Dorian Gray, or the author himself, Oscar Wilde, would do, we must covet and hold on to our Chicago gems, appreciate and admire them. Youth, beauty, art, and productions are all fleeting in their world, and DORIAN is no different. DORIAN will play through December 14 at Open Space Arts (1411 W. Wilson, Chicago). Tickets are $30 and are on sale now at www.openspacearts.org.