Displaying items by tag: Buzz Center Stage

"Life's a god damned laugh riot," writes Mart Crowley in his 1968 play "The Boys in the Band". Windy City Playhouse revives the iconic play under the direction of Carl Menninger. This is the first revival in Chicago in over twenty years. "The Boys in the Band" just ended a successful Tony Awarded run on Broadway in 2018. The film remake produced by Ryan Murphy is scheduled to premiere on Netflix later this year. 

Mart Crowley's play was a pivotal moment for LGBT representation when it opened off-Broadway in the late 60s. A play about five gay men throwing a birthday party for their friend struck a chord with both straight and gay audiences. It was a window into the previously taboo urban gay lifestyle complete with frank sexual references and queer vernacular. Crowley's observations about aging and love cover universal ground that many in their 30s and 40s can relate to. 

Windy City Playhouse's production is an immersive experience. A chic set by William Boles serves as both the seating and the performance space. Patrons are invited to the party snacks and are offered drinks throughout the two-hour show. This quirky touch adds to the fun of the first half of the play. The main character Michael (Jackson Evans) is hosting and one by one he receives his guests and bit by bit their life stories are revealed in searingly funny dialogue. The ensemble cast has great chemistry and the party environment is contagious fun. 

As the drinks flow and Michael's straight college roommate arrives, the play takes a decidedly darker tone. Similar to an Albee play, the witty banter ratchets up to cutting insults. The party is in Harold's (Sam Bell Gutwitz) honor but Michael has other ideas and initiates a demoralizing game. The battle for dominance between the two characters is uneasy and authentic. Gurwitz commands the stage in brief but withering lines. Jackson Evans makes Michael a sympathetic character even as he lobs outdated, racially insensitive insults at Bernhard (Denzel Tsopnang).

Despite 50 years of LGBT progress, the themes of aging, substance abuse and self-acceptance explored by Crowley feel as relevant today as ever. The world is much more accepting now than it was in 1968, but it's because of plays like "The Boys in the Band". Some aspects transcend sexual orientation while others are very specific to gay life. The play serves to humanize what people at the time thought of as perversion. "Boys in the Band" helped further a growing movement that would later open the door for more plays, novels and movies to tell LGBT stories in the mainstream. 

At Windy City Playhouse. 3014 W Irving Park Road. 773-327-3778

*Extended through May 17th!

It’s interesting to view the world through the lens of an early 20th century Italian opera composer. When “Madama Butterfly” by Puccini premiered in Milan in 1904 it was met with abysmal reviews. Audiences clamored that he had recycled music from his previous hit “La Boheme” which seems like the least of this opera’s problematic themes by today’s standards. After some quick revisions, “Madama Butterfly” emerged as one of the most recognizable operas in the world. Lyric Opera kicks off 2020 with a thrilling revival. 

“Madama Butterfly” is itself an adaptation of an 1898 short story by John Luther Long. Puccini worked with librettist Luigi Illica to bring this tragic semi-true story to the stage. The beloved opera has since been adapted many times since, mostly notably as “Miss Saigon”.  Puccini’s opera tells the story of a teenage girl who marries an American naval officer on a tour of duty in Japan. To him it’s a fake marriage so that he may sleep with her. To her, it’s true love. Predictably, the naval officer Pinkerton (Brandon Jovanovich) abandons her and she is left with a naïve hope that he will return to her. Despite other offers of marriage, Butterfly clings to the fantasy of Pinkerton while her maid Suzuki (Deborah Nansteel) shields her from a bitter reality. 

The opera was originally written in two acts, but audiences were left confused and disappointed. Puccini split the second act in two and inserted a hauntingly beautiful entr’act. Is this the best Puccini opera? Probably not. Where it excels at drama, it somewhat falters in the catchy melodies traditionally expected of Puccini. Afterall, it is Puccini whom we have to thank for influencing some of the best modern musical theatre composers like Andrew Lloyd Webber and Boublil/Schonberg. 

Lyric’s gorgeous revival directed by Louisa Muller seems understated. A subdued orchestra puts the spotlight on the cast, who more than delivers. Lyric stage favorite Ana Maria Martinez and Deborah Nansteel give two powerhouse performances. Martinez has a sung the role many times in her storied career and Lyric’s current production should be considered a real treat. 

Puccini and Illica’s perception are that Americans take what “fortunes” they want around the world with little regard to those they hurt. Puccini even goes so far as to sample the American national anthem many times throughout the opera. It’s deployed at such opportune moments that it would be impossible to read as flattery. Though, Puccini’s problematic orientalism in many of his operas often makes patrons bristle at unintentional stereotyping of Asian culture. While some of the themes of “Madama Butterfly” make modern audiences uncomfortable, what can’t be denied is that Puccini gave us some of the most accessible and entertaining operas ever composed. “Madama Butterfly” despite its flaws achieves what good theatre should. It grabs us by the heartstrings with an enchanting score and a compelling script. 

Through March 8th at Lyric Opera Chicago. 20 N Upper Wacker Drive. (312) 827-5600

I have seen Riverdance productions in the past and have always enjoyed them, but the Riverdance 25th Anniversary Show, currently being performed at Cadillac Place Theatre, really ramped up the production value and left me breathless. With new soundtrack additions by original composer Bill Whelan, and amazing 3D projections in the background by producer Moya Doherty and director John McColgan, this new touring production inspires and delights the eye from beginning to end.

Of course, the dancing is spectacular and with numbers that merge several dance forms like American tap and Flamenco, the artform of Celtic Riverdance proves that this form of dance is just as demanding if not more so than other traditional forms of dance. 

I had forgotten that many of the dancers also sing, their voices and harmonies exquisite and uplifting. Several lead vocal performances mesmerized the audience whether a solo sung or the entire ensemble joining in song. 

But as beautiful as the singing and visuals, Riverdance is about wowing its audience with its rapid-fire movement, intricate footwork and choreographed tapping that can at times be thunderous. Every dancer was fantastic. The two main dancer leads, Maggie Darlington and Jason O’Neil, had great chemistry while other prominent performers Gianna Petracic, Will Bryant, Patrick O’Mahony and Jason O’Neil continuously dazzled with one stunning performance after another.

The loosely based plotline allows for the romantic imagination to place its own meanings and personal inspiration about love and family and travel to and from one's homeland in many of the numbers. 

New technology employed on the ever changing lights and backdrops makes for a hypnotic and colorful experience that theater goers will find exciting and refreshing as one is challenged to watch the magnificent footwork of the dancers as the lush scenery rolls into and out of the stage area flawlessly.

Riverdance has come a long way since its beginning when it was just a seven-minute dance piece as an interval act in the 1994 Eurosong Dance Contest. The feedback from this captivating dance segment, a synthesis of Irish and International performance art, was tremendous, and the show creators knew they had something big. Soon after, the music show was developed into a full-length production in 1995 and box office records were broken and Riverdance has never looked back selling out shows all around the world. Riverdance brings us a unique dance form that requires and incredible amount of skill and can be roaring one moment and gracefully flowing in the next - and audiences just can’t get enough.    

I thoroughly enjoyed and highly recommend this new 25th Anniversary production of the Grammy winning and highly acclaimed show Riverdance for audiences of all ages who wish to spend a lively and uplifting night at the theater and leave feeling entertained and refreshed - especially during these gloomy Winter months!  

Riverdance is currently staged at Cadillac Palace Theatre through February 9th. For more info visit www.broadwayinchicago.com or www.riverdance.com.

When Tracy Letts wrote ‘Bug’ in 1995, it was an age when, yes, though conspiracy theories existed, they haven’t yet run nearly as rampant as the have since the September 11th, 2001 takedown of the mighty World Trade Center buildings in New York. Today we live in a world where conspiracies take form on a daily basis - and certainly the advances of information availability via the Internet over the past couple decades has played a big part in it.  ‘Bug’ reminds us that paranoia is nothing new and that going down rabbit holes can lead to ultimate disaster for some. But who’s to say one’s paranoia isn’t warranted – that there is some truth behind it? Perhaps partial truths lead to more truths or perhaps they become exaggerated. Or perhaps there was never any truth at all.

In Steppenwolf’s ‘Bug’ there are certainly leading moments of volleying back and forth on whether a truth exists or if paranoia-fed delusions have created a personal horror movie. 

Set in Oklahoma, we find a waitress, Agnes White (Carrie Coon) living in a roadside motel. She uses hard drugs and alcohol to get through most days and fears the return of her ex-husband, Jerry Goss, who was recently paroled from prison where he was incarcerated for armed robbery charges. While more and more paranoid with every silent phone call she receives that Jerry is near, she opens her door to a low-key drifter, Peter Evans (Namir Smallwood). He seems gentle enough. The two indulge in small talk and smoking crack and his company becomes a comfort to her. They are both lonely and she takes him in, hardly knowing him at all. Not long after a love affair begins, and then…he sees bugs…and more bugs…and then come the bites. The story quickly becomes a creepy thrill-ride filled with suspicion and government conspiracies, even touching on Bilderberg meetings, population control and the Oklahoma bombing, a tragedy that struck a particular chord with the playwright who was born and raised in the same state. It is a story about fear and trust. It is also, as Lett’s himself describes it, “a love story.”

Written to be staged in smaller theaters for a more intimate audience, Steppenwolf takes on the challenge of creating a larger production and, thanks to brilliant direction from David Cromer, who Letts calls the “greatest living director,” the theatre company pulls it off without a hitch. The play is up close and personal enough to really resonate while giving us a grand set that still puts every audience member inside the seedy motel room. Letts, a Pulitzer Prize for Drama winner, also shares his excitement of a larger venue. “’Bug’ has primarily been done in really small spaces, normally in theaters of 100 seats or fewer, so to see it in our theater with the caliber of our actors and David Cromer directing…I can’t wait,” says Letts.      

Ensemble member Carrie Coon, who previously tore it up in Steppenwolf’s ‘Who’s Afraid of Virginia Wolf?’ and was nominated for a Tony for the same role on Broadway, shows us once again why she is considered a top-caliber stage actor. Her portrayal of Agnes is nothing short of breathtaking. Coon courageously navigates this bold role with harsh demands and leaves us with a performance that is haunting and memorable but most of all real. Fellow ensemble member Namir Smallwood is also superb is his take of Peter Evans and watching him is as compelling as is gets in this thriller. So convincing is Smallwood, I could have sworn I was getting bug bites just watching him. Together, the two are a force. In addition to the dynamism of the play’s two leads, the show gets strong support from Jennifer Engstrom as R.C., Steve Key as Jerry Goss and Randall Arney as Dr. Sweet.

Though a psychological thriller, the play is not without well-placed humor. It’s got a little of everything. ‘Bug’ is just a damn good show from its suspenseful opening scene to its climactic ending. The tension throughout builds at a steady pace, keeping us in the dark just enough to continually thirst for its next moment.

Highly recommended.

‘Bug’ is being performed at Steppenwolf Theatre through March 15th. For tickets and/or more information, visit www.steppenwolf.org. 
    
 

Before seeing the co-world premiere (with Actors Theatre of Louisville) of Liliana Padilla’s How to Defend Yourself, read their program note. In it, they reflect on their fear that the play might be “harmful and re-traumatizing” (it might). They also state their aspiration “to be in the truthful chaos—to hold a space of pain and grief and complexity.” This it certainly does. With forays into montage and speculation, clearly delineated by shifts in light and sound, the truth is not in the reality, but in the emotional journeys of the characters. Padilla has an ear for realistic dialogue that cuts to the quick, despite a good dose of situational humor. Directed by Marti Lyons with a cast that physically and emotionally throw themselves into the highs and lows of the fraught relationships they navigate, How to Defend Yourself is a taut and powerful, if ultimately frustrating examination of sex, sexuality and consent in a world where #MeToo and Tinder hookups coexist. As one of the characters points out, it’s hard to express one’s desires if one isn’t sure what they are (and whether they are acceptable).

The play begins when a young college student, Susana, is hospitalized after a brutal sexual assault. Her sorority sister and mentor Brandi, a black belt, decides to act and host a self defense class. She recruits her sorority sister Kara to help. However, despite the emotion that the crime elicits, only three students show up—Diana and Mojdeh, who seem as eager gain access to the sorority they hope to pledge, and painfully shy Nikki. Diana is disappointed in the lack of firearms. Mojdeh is distracted by her upcoming date. Nikki struggles to speak audibly. After an empowering session of punching, Brandi introduces the fraternity men who have agreed to assist with the workshops, the overbearing Andy and the well-intentioned Eggo. It soon becomes clear that all the participants are bringing their own baggage and attitudes to the workshop, and a fair amount of guilt. The characters are well-drawn and well-spoken; all articulate their views with clarity, though emotions soon run high as they prove to have some irreconcilable differences. Despite the reason for their meetings, most of the conversation revolves around sex: communication, consent, and sexual desire. There are no villains, but sides are chosen and there is no way to avoid the feeling that complicity in the rape culture that led to Susana’s victimization takes many forms.

Reinforcing Padilla’s script, director Marti Lyons has assembled a cast that is diverse racially, ethnically, and in body type. The contrast between the leggy, confident sorority sisters and the shorter, less secure would-be pledges and the mousy Nikki serves as a constant reminder of the power dynamic they inhabit, as does the difference between the powerfully built Andy and the less physically imposing Eggo. In addition to the physical types, which serve as a reminder of the typical dynamic between victim and attacker, the characters cannot escape their skin or their backgrounds. For example, it is clear that part of what has shaped Eggo’s considerate attitude toward sexual partners—besides the fact that he’s a nice guy—in contrast to Andy’s gladiatorial attitude, is the fact that, as an African-American male, he needs to be more concerned about mis-read cues than Ken-doll Andy. Lyons keeps the rapid-fire dialogue tight and pulls no punches with the heavy themes that underscore the play. Yu Shibagaki’s scenic design transforms the Victory Gardens space into a photo-realistic gym. Christine Pascual’s costumes show the evolution of the characters in athletic wear, as well as giving insights into their transformations outside of the safe space, and, in an extended sequence of evolving parties, traveling through time and developmental stages. Paul Toben’s lighting design and Thomas Dixon’s sound design shape the focus on the play between intimate exchanges, amped up training sequences and resonant emotional asides. Movement director Steph Paul, fight director Matt Hawkins and intimacy director Rachel Flesher work seamlessly to show the relationship between fighting, friendship and sex. Training violence spills over into real violence, which gives way to an easy physical camaraderie, a simulated attack leads to the recognition of a spark of attraction. The balance between violence and sexuality that is explored in the script is well represented by this movement design team and the actors who realize their work.

The cast not only looks perfect, they fearlessly commit to Padilla’s vision, which is not always comfortable. Though on the surface, the characters are the sort of enviable success stories of college, the assault on their sorority sister reveals doubts and fears that are impossible to shake. As Brandi, the woman who tries to teach her peers how to defend themselves, Anna Crivelli is poised and self-possessed until the questions from her trainees start chipping away at her surprisingly brittle veneer. Crivelli portrays Brandi’s downward spiral initially with gritty resolve, then with frightening vulnerability. Isa Arciniegas’ Diana struggles to fit in, but her role as outsider makes her a sounding board for the other characters’ fears; Arciniegas finds the insecurity behind her character’s survivor mentality. Ariana Mahallati’s Mojdeh is awkward and desperate, trying to achieve the comfort in her own skin that the other characters seem to have by adopting the script that she thinks she is supposed to learn, whether or not it is her own. Andrea San Miguel’s Nikki goes from barely visible and audible, hiding behind a baggy sweatshirt, to embracing her physical and verbal power, with heartbreaking results. San Miguel navigates this journey in an often hilarious portrayal as her character surprises herself moment to moment. In a powerful and complex performance, Netta Walker as Kara defends her desires while recognizing that they might give license to men who extend them to other women. It is arguments like the one between Kara and the solicitous Eggo that most powerful convey the difficulty of effective communication. Invited into the space by Brandi, the men in the story struggle with their role there, as they find themselves cast alternately as attackers, objects of desire and representatives of masculinity. Jayson Lee’s Eggo brilliantly encapsulates the dilemma faced by men who want to care for women the way they want, while Ryan McBride’s Andy articulates the need for positive consent but disparages Eggo’s version of this as less masculine, calling him an Incel at one point. McBride somehow balances his character’s entitled self-confidence with a desire to do the right thing. All the characters do their best to communicate and ensure a sense of safety, but even with the best of intentions safety proves elusive.

Liliana Padilla’s How to Defend Yourself does not give any insight into how to do this. In fact, it clearly shows the difficulty in doing so when attackers are often people one knows, when even shifting attitudes and the ability to clearly and openly talk about desires and sex do not necessarily get to the point, and when one is smaller or less well-armed than potential aggressors. Padilla’s play articulates that, with all the progress that appears to have been made, there are still entrenched attitudes about gender, sexuality and communication that make this world no less dangerous than the one that fostered Harvey Weinstein. Under the incisive direction of Marti Lyons, supported by a crack team of designers and an ensemble that mines the script’s humor while committing fully to the underlying themes. Often raucously entertaining, How to Defend Yourself finally arrives at the conclusion that learning self-defense may not be as effective as one would like, and, more importantly, it should not be what we learn.

How to Defend Yourself runs through February 23 at Victory Gardens Theater, 2433 N. Lincoln Avenue. Performances take place Tuesdays – Fridays at 7:30 pm, Saturdays at 3 pm and 7:30 pm, and Sundays at 3 pm. Regular performances are $31 - $65. Tickets can be purchased at www.victorygardens.org or at the box office. 2433 N. Lincoln Avenue. 773-871-3000.

Jeeves has returned and the ever-loyal valet is just waiting to get wealthy Londoner Bertie Wooster out of trouble – again. Quick-witted, reliable and extremely resourceful, Jeeves first order of business is always to keep a close eye on his charming and oft adventurous employer, Bertie, but in First Folio’s current production ‘Jeeves Saves the Day,’ he is tested to the fullest when Aunt Agatha and Cousin Egbert Bakewell enter the mix.

In the fifth play adapted by playwright Margaret Raether based on the ‘Jeeves’ stories created by P.G. Wodehouse (which began in 1915), chaos is afoot when Bertie desperately wants out of a marriage commitment. Rigid and stubborn Aunt Agatha will hear nothing or the sort. It’s going to take a small miracle for Bertie to get out of this one since the haughty Sir Roderick Glossip is the father of the bride to be. It doesn’t help that Cousin Egbert, loveable as he may be, is a handful of trouble and is hiding at Bertie’s home despite the family sending him to South Africa. Egbert is love-stricken after all, when a night out before his expected departure instead has him fawning over the sexy club singer Red Hot Maisie Dawson. He has no plans of going abroad now. It’s a frenzied mess and Jeeves is the only hope in restoring order to the family.

Jim McCance is a pleasure to watch as our hero, Jeeves. McCance’s droll and deadpan approach serves the character perfectly and he is a strong presence on the stage – a picture of stability amongst the disarray. Bertie is played by veteran actor and Chicago favorite Christian Gray. Gray is as dependable as it gets and delivers a remarkable performance once again. This is McCance and Gray’s fifth time performing together as the comical pair and their chemistry couldn’t be better. The two polished actors anchor a fantastic cast that includes Lucinda Johnston as Aunt Agatha, Sean Sinitski as Sir Roderick Glossop and Almanya Narula as Red Hot Maisie Dawson. Dan Klarer makes his First Folio debut as Egbert Bakewell and -wowza - does he leave an impression! Klarer’s hysterical portrayal of Egbert is something to behold. A throwback to The Marx Brothers, Three Stooges and the likes of Oliver Hardy, Klarer steals scenes throughout the entire production with one funny antic after another. Klarer not only gets to display his well-timed, comedic line delivery but coupled with a genuine knack for physical comedy, he is a force to be reckoned with. No shortage of talent here with this superb cast. 

With an arsenal of such talent at his disposal, Director Joe Foust impeccably places all the pieces together to give us an engaging production that is entertaining from the word “Go”. Performed at the impressive Mayslake Peabody Estate, ‘Jeeves Saves the Day’ is a splendid stage presentation that everyone can enjoy.

‘Jeeves Saves the Day’ is being performed at Mayslake Peabody Estate in Oakbrook through March 1st. For tickets and/or more information, visit www.firstfolio.org.

Do you love a good whodunnit? If so, you will love this rich and funny production of ‘The Mousetrap’ directed with great staging and humor by Sean Graney.

Agatha Christie's ‘The Mousetrap’ opened in London in 1952 and never stopped running. It is the longest running play in stage history, and for good reason. Its well-crafted script is entertaining throughout, is filled with colorful characters and keeps one guessing right until the very end. And Graney takes the play in a great direction by casting character actors with serious chops in all roles. 

Mollie and Giles Ralston (wonderfully played by Kate Fry and Allen Gilmore) are a newly married couple who have decided to turn the house she inherited into a bed and breakfast. The couple are a little overwhelmed by the flurry of guests that arrive on their opening when they all become snowbound in the house and get news that a murder has occurred nearby - and the killer is still at large, and most likely heading their way. It doesn’t take long before everyone becomes a suspect. 

While piecing clues together, audience members can enjoy an eyeful of color and textures in the fabulous set design thanks to scenic design by Arnel Sancianco with lighting by Claire Chrzan, sound by Kevin O’Donnell and costumes by Alison Siple, which include a tall window with real rain falling and a smoky fireplace are ominous and luxurious at the same time. The costumes for all cast members are stylish and multi-layered and particularly delightful to the eye are Alex Goodrich’s in head to toe orange patterns and David Cerda’s in a spectacular ensemble of royal purple with fur trim on his floor length winter coat.   

No spoiler alerts here, if you have never seen the play you will have a great time guessing who the murderer is and if you have seen it, this well done production will still keep you engaged right up until the end.

Erik Hellman gives a great performance as Detective Sgt. Trotter, the lawman who arrives on snow skis in the middle of the storm, earnestly trying to protect all the houseguests from becoming murder victims. 

My favorite performances in this cast came from Alex Goodrich as Christopher Wren and David Cerda as Mr. Paravicini. Both are outstanding. Cerda is well known for his superb camp theater productions as the Artistic Director, actor, resident playwright and co-founder of Hell in a Handbag Productions. In this very funny production, Cerda steals every scene he is in and provides great comic relief as the tension on the set builds and builds all while dressed to the nines in royal purple, silk knee high knickers. 

Goodrich has also made his mark in Chicago area theater and is perhaps best known for his many leading roles at Marriott Theatre and Chicago Shakespeare. The talented actor reminds me so much of another great Chicago comic actor, John C. Reilly, and he fills the room with an energy of youthful disgust mixed with childlike wonder as he flutters about the large stage getting big laughs with his over-the-top manic energy, spot on delivery and physical comedy.

Carolyn Ann Hoerdemann plays a very convincing and killable guest as the picky and annoying Mrs. Boyle, while Tina Munoz Pandya is mysterious as Miss Casewell and Lyonel Reneau gives us a strong Major Metcalf.

I highly recommend this funny, exciting, and well-paced production of the classic Agatha Christie murder mystery for a night of suspense and laughs on a cold wintry eve at the lovely Court Theatre. For more show information visit www.CourtTheatre.org.

The title is a huge clue that Bill McMahon’s new play about Nancy Pelosi, The Adult in the Room, is not going to be a balanced political commentary. If you are a Trump supporter, be warned that he is cast as Voldemort to Pelosi’s Dumbledore. For anyone looking for a dissection of the venerable Speaker of House’s political history or an incisive examination of the dynamics of the office that she holds, this is not it. If you are looking for an entertaining hour or so with a political pioneer that gives a reverent overview of her entrance into politics and her evolving position, both ideologically and professionally, this is a very pleasant way to spend an evening. In the course of an online chat with the members of Running Start, a group of aspiring female politicians, Orlagh Cassidy’s unflappable Pelosi—elegant in a white pantsuit even when stress-eating chocolates or downing an emergency cold beverage—calms down her high-strung assistant who relays the latest tweets from He-Who-Must-Not-Be-Named, schools members of the CPC “Squad” on the importance of procedure, and inspires her young online interlocuters, who lob softball questions for Pelosi to knock out of the park. As directed by Heather Arnson and Conor Bagley, Cassidy nails Pelosi’s sense of humor, her understanding of the performative aspects of politics (especially as a pioneering congresswoman), and her passion for and faith in the Constitution and the government it informs.

There is no denying that Bill McMahon has done his homework on Nancy Pelosi. The Adult in the Room is a concise and entertaining biography of the sometimes-polarizing politician, recounted in the historical moment before the House embarked on impeachment proceedings. His Pelosi covers a lot of ground in the brisk 70-minute run-time, beginning with her introduction to politics as child watching her father campaign for and win a series of elected offices, and watching her imposing mother organize his campaign staff and rally supporters. She discusses her Catholic faith, her rejection of her mother’s desire that she enter a convent, and how she reconciles the tenets of the Church with her liberal views, including her unflagging support of gay and reproductive rights. She outlines her own relatively late entrance into the political arena after raising five children, inspired by Sala Burton, whom Pelosi succeeded in the House of Representatives after her death in 1987. McMahon does an excellent job of showing how her early inspirations shaped her uncompromising ideals and progressive values. With a strong actor in the title role, which this production certainly has, McMahon’s play makes a strong argument for the continued importance and legacy of the 79-year-old Representative. However, what little dramatic tension is generated is promptly buried in chocolate, drowned in diet Dr. Pepper, postponed, or dropped in a system reboot. The Instagram device gives Nancy Pelosi a great reason for telling her life story and outlining her political philosophy, but the scrolling questions that don’t get answered give a hint of what is missing, an antagonist in the room. The apocalyptic vision of a divided America that prefaces the coda of the play does not serve to add tension, and also seems out of keeping with the optimistic, consensus-seeking Pelosi who has been mildly scolding the Squad and her online acolytes throughout the play, even when she resorts to naming her would-be nemesis. 

Directors Heather Arnson and Conor Bagley have created a sleek, streamlined look and feel for the event, which serves the play well. Ann Beyersdorfer’s set reflects the no-nonsense Pelosi and affords opportunities for perching and pacing as needed. David C. Woolard takes his inspiration from the white pantsuit that Pelosi wore to Trump’s inaugural address in a show of solidarity with suffrage campaigners from the past and current female Representatives, while a costume change for the final scene mirrors the Congresswoman’s articles of impeachment black. Jamie Roderick’s lighting design is unobtrusive but highlights important moments and allows Brian Pacelli’s media-savvy projections—often ironic chat-heads, emoticons and screen names, along with a nod to the Constitution—to take focus when they should. Christopher Kriz’s sound design complements the action of the play, with nods to the onstage references and electronic interruptions. It is Orlagh Cassidy’s portrayal that makes The Adult in the Room worth a visit. Cassidy fills every moment and knows how to allow both the comedy and the somber moments to come alive. Though she does not mimic Pelosi’s voice, her vocal cadences combined with her elegant, yet energetic, physicality and a weaponized smile make Pelosi a figure that we want to listen to. As a bonus, Cassidy also slips into spot-on imitations of the voices that inspired Pelosi, and, in one well-curated moment, Donald Trump. Approachable, empathetic and intimidating at once, Cassidy’s Pelosi embodies the qualities that have enabled her real-life counterpart to forge her remarkable career.

Bill McMahon’s The Adult in the Room is not going to rock the world, but it is an entertaining tribute to Nancy Pelosi and a reflection of the current political moment. Orlagh Cassidy embodies the Congresswoman with passion, dignity and humor under Heather Arnson and Conor Bagley’s stylish, brisk direction. Nancy Pelosi’s journey from political neophyte to House Majority Leader, all the while espousing causes from AIDS advocacy, gun control, and health care to varying degrees of success, is a worthy playbook for her would-be successors to study. Pelosi’s mantra in McMahon’s play is “organize, don’t agonize.” There is not much agonizing in the play, but this leaves room for a plea to make things better for the next generation—and for the next generation to take up the mantle of social justice.

The Adult in the Room is now playing at Chicago’s Victory Gardens Theater’s Richard Christiansen Theater (2433 N. Lincoln Avenue) through February 15. Performances take place Tuesdays through Fridays at 8 p.m., Saturdays at 2 p.m. and 8 p.m. and Sundays at 2p.m. and 5p.m. Tickets to “The Adult in the Room” are priced at $49 and available through victorygardens.org or by calling the box office at 773-871-3000.For more information visit theadultintheroomplay.com

Roe V Wade might be the law of the land now, but playwright Lisa Loomer’s new play “Roe” suggests that it’s always been on shaky ground. Directed by Vanessa Stalling, ‘Roe’ makes its area debut at Goodman Theatre with a big cast of familiar faces.

In “Roe” Lisa Loomer pieces together the life stories of both the plaintiff (Jane Roe, played by Kate Middleton) and the ambitious young lawyer Sarah Weddington (Christina Hall)  who argued the case all the way to the supreme court.

Like the old telephone game, stories have a way of changing from telling to telling. The origin story of Roe V Wade is complicated and varies depending on who you ask. Lisa Loomer digs deep into the hearsay and rumors to compose what feels like a thorough account. When she’s unsure, or she found conflicting versions of the same event, she uses character asides to clarify. The effect brings a humorous tone to what could be a dreary subject matter for some.

The play is a non-linear, often scattery, look at the process it took to win the case as well as the checkered past of Roe, later outed as Norma McCorvey. While many American women champion the right to choose, it’s hard to avoid the exploitation narrative that would ultimately lead McCorvey to a tabloidy life in the years following the case. 

What could sound like a living history report, is anything but. Instead, Loomer’s use of structure and theatrical storytelling make this play leap off the stage. She’s good at finding the heart of the historic figures she’s writing of. The cast also brings a lot to the material. There’s something tragic and relatable to Kate Middleton’s performance. She really gets into the psyche of someone easily taken by the whims of the world around them, and sadly getting taken advantage by them too. Her transition from Jane Roe plaintiff to internationally known figure and subsequent rejection of abortion says a lot about the state of reproductive and religious education in America. 

“Roe” is not a play about abortion, that’s only part of the story. The irony is that the famous plaintiff never did get the abortion she sought. As Sarah Weddington once argued, this isn’t a case about being pro-abortion. This is a case about a woman’s right to decide what is best for her own body. 

Roe V Wade changed America, but even almost 50 years later it’s still being challenged by the religious right. Abortion was legalized on a national level as a result of the case, but when you include all the stipulations, its hard to call it entirely legalized. In fact, some states today have less than five clinics that perform abortions. Every election cycle, more and more restrictions are made on abortion. “Roe” makes a case for why we cannot have collective amnesia on the facts of this case. It serves as an education as well as a rallying cry to anyone in America who calls themselves a feminist.

It’s time to go back to high school – for a couple hours anyway – and the year is 1959. The time for slicked back hair with full-on pompadours, bobby socks with pleated knee length skirts and hanging out at the malt shop have once again returned as Marriott Theatre has begun 2020 on a strong note bringing the classic rock and roll musical ‘Grease’ to the stage. And though maybe not quite the R-rated, profanity-laced production that first hit Chicago when it was initially produced in 1971 by the Kingston Mines Theater Company in Chicago, there is still enough teenage-driven attitude, raunchiness and high school spirit to successfully deliver the spirit of the original. 

The story, which is based on co-writer and co-composer Jim Jacobs’ own experiences at Taft High School in Norwood Park, takes place at ‘Rydell High,’ walks us through the senior year of a handful of colorful characters. Greaser Danny Zuko (Jimmy Nicholas) returns after summer break to lead the T-Birds while, at the same time, Sandy Dumbrowski (Leryn Turlington) is just getting her feet wet at Rydell, a brand-new student whose family just moved to the area. It turns out the two had a relationship over the summer while on vacation, but their stories couldn’t be more different. While too-cool-for-school Danny tells a more vulgar description to impress the gang where the two were “getting friendly down in the sand,” Sandy, intercepted by the Pink Ladies led by tough and sassy Betty Rizzo (Jacquelyne Jones) a.k.a. “Rizzo,” tells the girls a wholesome version more along the lines of meeting a cute boy, holding hands, having lemonade and staying out until 10 o’clock. Thus, explained to perfection in the show’s second number “Summer Nights”.   

Not long after, the two are beyond surprised to find out they are attending the same school, but Danny’s cool image that he holds so dearly might just get in the way of rekindling any kind of romance they once had. While centering on Danny and Sandy, ‘Grease’ also keeps us busy with plenty of T-Birds and Pink Ladies action. Danny’s second in command, Kenickie (Kevin Corbett) is building a hot rod the fellas call “Greased Lightning”. It’s a hunk of junk, but he can dream. T-Birds Sonny LaTierri (Jack Cahill-Lemme), Roger (Jake Elkins) and Doody (Michael Kuroswki) cause trouble whenever they can, talk about rumbling with other gangs (they don’t) and just love to horse around any chance they get. 

The Rizzo-led Pink Ladies take Sandy in. She’s far too squeaky clean for their taste but maybe a pajama party with booze, cigarettes and ear-piercings might loosen her up. Frenchy (Landree Fleming) wants to be a beautician and drops out of high school, Marty (Michaelle Lauto) crushes on TV dance host Vince Fontaine (Curt Bouril) and Jan (Tiffany Taylor) has the hots for Roger, a T-Bird who really loves mooning people. 

There are plenty of ups and downs along the way for these seniors and plenty of unforgettable moments take place. Director Scott Weinstein not only does a fantastic job at staging this production in the round, he gives the audience what we want most of all – a nearly flawless recreation of the hit show so many of us grew up with. William Carlos Angulo beautifully choreographs the dance numbers to Ryan T. Nelson’s musical direction, particularly in “Greased Lightnin’” and “Born to Hand Jive” and the casting is just superb. Jimmy Nicholas brings the looks, the cool and the comedic timing to pull off an admirable Danny Zuko, while Leryn Turlington delivers the sweetness and innocence (and toughness at times) needed to play Sandy. Turlington also impresses vocally, especially in the key number “Hopelessly Devoted to You”. As good as Nicholas is as Danny, you can’t have a convincing leader of the T-Birds without strong support from his gang and Corbett, Cahill-Lemme, Elkins and Kurowski are simply terrific. Each have plenty of their own moments to shine, but when together, it’s not hard to imagine these goofballs being the best of friends.

Equally impressive is the chemistry and individual acting chops of our Pink Ladies. While Jones truly does stand out in this production (her rendition of “There are Worse Things I Could Do” – wow!), Fleming has plenty of laugh out loud moments as Frenchy while Lauto and Taylor have their own scene-stealing moments. 

Garrett Lutz also makes a funny Eugene and Kelly Anne Clarke is solid as Miss Lynch, but it is Jonathan Butler-Duplessis as Teen Angel who, though not as featured as the rest of the cast, might just leave the audience with the biggest impression of all after his show-stopping performance of “Beauty School Dropout”. 

‘Grease’ is a hit for good reason. What took off from a small Chicago theater company, made its mark on Broadway (16th longest run in history) and inspired a 1978 mega-hit starring John Travolta and Olivia Newton John, has now become an iconic part of pop culture. It is a story that so many of us can relate to, no matter when we went to high school.  From real teenage moments and hysterical antics throughout from the show’s many lively characters to well-executed song and dance numbers that keep your toes tapping, Marriott Theatre’s ‘Grease’ successfully keeps the classic musical alive in their own unique way while holding onto the integrity of the show. 

The arsenal of great songs is plenty and includes such familiar tracks as “We Go Together,” “You’re the One the I Want,” “Look at Me, I’m Sandra Dee” and “Alone at a Drive-In Movie.” 

Highly recommended for those who enjoy laughing and listening to catchy music. 

‘Grease’ is being performed at Marriott Theatre through March 15th. For tickets and/or more show information, visit www.MarriottTheatre.com.