Displaying items by tag: Buzz Center Stage

If you’re weary of Chicago’s delayed Spring, do yourself a favor and take a warming break with the sunny pairing of two rarely heard one act operas by Gaetano Donizetti as presented this chilly Saturday evening at the Studebaker Theater by Chicago Opera Theater.

“Il Pigmalione” was Donizetti’s first opera, completed when he was 19, studying at the Bologna Academy. He was a prolific and highly successful composer over three decades of the early 19th century. The comic opera “Rita” was written a quarter century later at the height of his musical and theatrical abilities. In between these operatic bookends are nearly 70 more operas. Only a few have remained in the standard repertoire: the beloved “Lucia di Lammermoor”, “The Elixir of Love”, “Don Pasquale”, and happily of late, the Tudor Queen operas. His other works are occasionally dusted off as a curiosity or a vehicle for an important singing artist. COT does much more than blow the dust off these two neglected pieces; they are infused with life in a thoughtful, loving and altogether winning way.

We have nothing but praise for Amy Hutchinson’s stage direction. It unfailingly served the music and the drama with a light touch which is, sadly, infrequent these days. Ms. Hutchinson trusts the material, the performers and, most importantly, the audience. Her abundant creativity is evident throughout, but she never bludgeons us with her “concept”. Both operas are set in post-World War II Italy, a time of hope and renewal. The press notes would have us think that during intermission, years pass and Pygmalion and Galatea age and develop into the characters for the second opera of the production. This contrivance is neither apparent nor necessary. If they were either, they wouldn’t need to be explained. The contrasting works go quite well together, yet each stand on their own merit as performed by the talented cast and creative team.

“Il Pigmalione” is based on Ovid’s telling of the myth of Pygmalion and Galatea; the sculptor who falls in love with his own creation - a beautiful statue of a woman - who comes to life. George Bernard Shaw’s play adaptation concerns not a sculptor and a block of marble, but a professor of phonics and a Cockney flower seller. This version was famously adapted for the Broadway stage by Lerner and Lowe, as “My Fair Lady” starring Julie Andrews, and an Oscar-winning movie featuring the exquisite Audrey Hepburn (with the voice of Marni Nixon), as Eliza Doolittle. An image reminiscent of Ms. Hepburn, or as Bill thinks, more like Sophia Loren, graces the COT promotional materials for the performance and sets the tone for a fresher look at the myth.

Recalling Mozartean strains of the 18th century, we find the artist Pigmalione alone in his shabby, cluttered studio surrounded by his works: paintings, photographs, films, - and a life size statue under wraps. In a space reminiscent of the garret of Puccini’s Bohemians, the distraught Pigmalione tastefully and poetically expresses his obsessive and rather creepy love for his sculpture, as a lonely person might for an inflatable sex aid.

Tenor Javier Abreu brought an ingenuous stage presence and uncommonly warm leggiero voice to the title role. He possesses an innate musicality and an affinity for the Bel Canto style. Florid passages were clean and elegant, but his highest notes lacked the clarion ring our ears wanted to hear. There were also a few awkward register changes, perhaps a technical issue, or as Bill suggested, perhaps the young Donizetti hadn’t yet learned how to write for the tenor voice, which, in time he would do so well. Mr. Abreu has tremendous talent, so we hope he will work those things out.

Projections designed by John Boesche, brought magic and charm to Pigmalione’s dream of his ideal love and the transformation scene, in which Galatea, played by the alluring Angela Mortellaro, comes to life. She joins her creator/new lover in a sweet duet, giving us just a brief taste of Ms. Mortellaro’s vocal gifts. The opera ends with the couple in each other’s arms, with no hint of what lies ahead.

Reading that the cast would be joined by supernumeraries and 500 Clown with Adrian Danzig as “Director of Clowning” gave us pause. In 50 years of opera-going, we’d never encountered a Director of Clowning before. Too often stage directors, especially those with only spoken theater experience, clutter up the stage with meaningless antics as if they themselves find opera boring. Naturally, we were wary, but all fears were dispelled by the remarkably clever but never cloying work of the ensemble. We were introduced to the clowns during the intermezzo, with two bumbling “stage hands” trying to clear the Pygmalion set for the next offering with classic slapstick comedy, in keeping with the tradition of Commedia Dell’ Arte as passed down to Charlie Chapman and Laurel & Hardy. Fun, but not overdone.

The opening of “Rita”, set on the Amalfi coast, was close to breathtaking – the colors, the light, the sea and the attractive hotel-café make it seem the best place ever for your next vacation. Rita (Ms. Mortellano) owns the establishment, and her second husband Beppe (Mr. Abreu) does all the work. You might think he would have to have ten hands and feet to get it all done. The comic flair and physicality displayed by Mr. Abreu was an unexpected treat after his serious and sincere portrayal of the troubled Pygmalion. He is a brave performer.

Ms. Mortellano pulled off the tricky task of making Donizetti’s strong headed female lead, (like Norina and Adina), seem self-assured without becoming a virago. Her plush lyric soprano was at times glorious, but at times lost focus, usually at times of excessive physicality. Bill noted that the best vocalism of the night was when the artists were allowed to stand still and sing. Conductors sometimes needs to rein in the stage directors so that the cavorting doesn’t interfere with the singing.

A guest arrives at the hotel and is discovered to be Gasparo, Rita’s first husband, presumed to have died in a shipwreck. Baritone Keith Phares as Gasparo has a fine robust voice, clear and even from top to bottom, and brings off the swagger and arrogance of a bullying husband in a believable but not too disturbing way. There is no getting around the domestic violence in the piece, but it is handled with care and humor, so that it is not dismissed, but not distressing either. Lessons are learned, and just desserts are served.

In an amusing twist on the usual baritone vs. tenor rivalry for the soprano, the two men actually vie to get away from Rita. In an utterly enchanting scene, Beppe rejoices in his new-found freedom when he wins the right to leave Rita to her first husband.

Written in the opera comique style with spoken dialogue between the musical numbers, as in “The Daughter of the Regiment”, this production took advantage of the opportunity to engage the audience, adding contemporary references and jokes. Brava to Ms. Hutchinson for making the most of the wit and comedy without having to resort to vulgarity or triteness. Credit also must go to Ms. Hutchinson and Mr. Danzig for their collaboration; the clowning was perfect - hilarious and always part of the scene.

The set, ingeniously designed by William Boles and handsomely lit by Ted Nazarowski, the orchestra under the sensitive and capable direction of Francesco Milioto played well. Margaret noted the especially the lovely oboe solos of Grace Hong. Congratulations are due to Mssrs. Boles, Nazarowski and Boesch for the stunning visuals. They provided a refreshing antidote to the dreary Chicago weather outside. Shanna Foster’s creative and appealing costumes were enhanced by the make-up and wig design by Becky Scott.

We left the theater with a feeling of joy. Lovers of Bel Canto opera should relish this opportunity to hear two of Donizetti’s lesser known operas in this marvelous production. More casual opera goers wanting to elevate date night will find it thoroughly entertaining. Two performances remain, Friday April 20th at 7:30 p.m., and Sunday afternoon April 22 at 3:00 p.m. at the Studebaker Theater, 410 South Michigan Avenue, Chicago, IL 60605. For tickets go to chicagotheater.org or call 312 704-8414.

By the OperaSwains (Bill and Margaret Swain)

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.

“South Pacific” is a timeless Rodgers and Hammerstein's musical full of wonderful romance and social commentary about racism that is important for young and old to experience today and I was thoroughly impressed with Drury Lane’s warm, happy, romantic interpretation of the classic show. It is the latest of shows to run at the theatre and perhaps the best I can remember in recent history.

Taking place on a South Pacific island during World War II, the plot revolves around Ensign Nellie Forbush, an American nurse, who falls in love with a French plantation owner, who is middle-aged and quite a bit older than her. It is when she discovers Emile de Becque’s children from his late, Asian wife, that she struggles with her own prejudices. As the island hosts American naval troops, nurses and its own natives, another love story develops between the handsome, young Lieutenant Joseph Cable and a beautiful Tonkinese woman, Liat. But he, too, fears the social costs.

Each and every voice in this production is outstanding. Robert Cuccioli as Emile de Becque really played the role nicely with a good sense of humor and his vocal numbers soared with great feeling and the experience of a seasoned pro bringing the entire audience under the spell of new and intoxicating island romance. Cuccioli has a wonderful, rich operatic voice and is very likable in the role, leaving us little doubt to his ability as a talented vocalist with his final, powerful note of “Emile’s Terrace” to close out Act I.

Samantha Hill as the down to earth “hick” “Ensign Nellie Forbush” is a pleasure to watch. Hill also has a gifted voice and her enthusiastic, good natured portrayal of Nellie falling in love with De Becque during “(I’m in Love with) A Wonderful Guy” was exactly the type of joyful, naïve, and honest portrayal of true love and excitement that the play needs to counter the heavy nature of the tragedy of war.

The musical, well-directed by Victor Malana Maog, also includes perhaps one of the strongest supporting casts in any production of “South Pacific” I have ever seen. Yvonne Strumecki is absolutely stunning as “Bloody Mary”.  Strumecki’s vocals are rich and impressive and she is able to both hit the high notes and get the laughs in this role, which can be heavy handed if not approached just the way she did, with more warmth than anger. Strumecki’s voice is simply beautiful during my favorite song from the show, “Bali Hai,” and both desperate and wry during “Happy Talk,” as she tries to talk the Lt. Joseph Cable into staying with her beautiful native daughter, Liat.

As Lieutenant Joseph Cable, Austin Colby stuns the audience with his rendition of “Younger then Springtime,” his voice angelic and finely finessed – literally a show stopping moment.

In this well-cast classic, the ensemble of nurses and soldiers and officers are excellent singers and dancers - really drawing laughs from the audience and getting them involved during the adorable numbers “There is Nothing Like a Dame” and “I'm In Love with a Wonderful Guy”. Matt Crowle as Luther Billis is exceptional, displaying flawless comic timing, perhaps harnessing a bit from the school Art Carney.

The set design is a delicious tropical island with low hanging palm trees that rotate around the stage per scene, soft pools of light breaking through the leaves, really placing the audience in the Southern Pacific. The set was a delight to behold and immediately places the entire audience right in the middle of the warm, steamy heat and action from the moment the play switched from the impressive interior of de Becque’s ritzy home.

Overall, the cast is superb and meshes incredibly well with each other while the orchestra provides us with a dreamy soundtrack that along with the imaginative set, puts us in a tropical paradise.
“South Pacific” is almost in a category by itself. Few other musicals actually open with the leads falling in love at first sight to magical, unmatched quintessential lyrics like:

Some enchanted evening
When you find your true love,
When you feel her call you
Across a crowded room,
Then fly to her side,
And make her your own
Or all through your life you
May dream all alone
                                            
I highly recommend seeing Drury Lane’s production of “South Pacific” for the many wonderful vocal performances of spectacular songs like “Some Enchanted Evening”, “Bali Hai” and “Younger than Springtime” and also for the wonderfully warm, inviting and joyful interpretation of this enduring classic about true love.

“South Pacific” is being performed at Drury Lane through June 17th. For more show information visit www.DruryLaneTheatre.com.

“The Diary of Anne Frank” is a familiar story to many people. While two Jewish families are hiding out from the Nazis in Holland during World War II, the story centers around the diary of a young girl, Anne Frank, belonging to one of one of those families. Such circumstances sound like a setting for a story one might find difficult to watch. That being said, it is a play well worth seeing.

Despite the fact this is a student production, the performances rival that of many established theatre actors. Director Connie Canaday Howard directed, and the play was adapted by Wendy Kesselman. All the actors are students at College of DuPage and they were very good overall. The quality of theatre at this level should really not be this good, thus a pleasant surprise. Though not professional actors, bright stage futures are certainly in store a handful of its cast members.

The set design is well crafted. I really liked the cutaway walls that allowed an open view of rooms other than the main room in the upstairs location where the families hid for nearly two years. Imagine that if you will. Hiding in a relatively small space for almost TWO YEARS. No sunlight. Having to remain silent for a good portion of the day because the space you are occupying is over a business that operates during the day. And in spite of all this, the people did still function. The ending is unfortunate, and I am sure not too uncommon during World War II.

There are some feel good moments even though the overall mood could be rather dark in a situation like this - one being the concept of people risking their own lives attempting to save someone from death. That alone gives someone a sense of the fight for survival spirit that humans must have at times. This play needs to be seen. The world sometimes needs to be reminded of how a madman came very close to taking control of Europe and the atrocities that occurred during his attempt. I was personally close to a few survivors of the holocaust, so this play hit close to home. Another thing worth noting is that this occurred less than a century ago.

I do not wish to discourage anyone to avoid watching the play because of the horrors in this heartbreaking story to which we are firmly reminded. Instead, seeing the playwright’s point of view may shine some light on the human element of war. There is so much that has happened that the history books do not tell you. The battles are all documented, but the story of how people were – and are - affected often never gets heard. The fight for survival never goes away.

“The Diary of Anne Frank”, A Tony Award winning play, is being performed at Playhouse Theatre at the College of DuPage through April 15th. For more show information visit http://www.atthemac.org/events/diary-anne-frank/.

All five piano concertos on one bill? Gulp…Yes. This is a rare treat. For those of you do not know what a piano concerto is exactly, I will tell you. First, you have the piano. But you probably guessed that. Second, is a medium sized orchestra. You may not have known that. What basically occurs in such an event is the exchange of virtuosic piano player and the majestic power of an orchestra. I heard some describe it as a battle between the two forces. I did not see it as that at all.

Wael Farouk is the talented pianist featured in the three-hour event, “Beethoven: Five Concertos – One Pianist”. In addition to his remarkable piano skills, he is an assistant music professor at Carthage College. The Egyptian-American Farouk has performed on five continents with venues that include Carnegie Hall. His resume is amazing to say the least and taking on a task such as this gives some serious padding to his already spectacular credentials.

While Farouk impressed The McAninch Arts Center audience with his talents as a classical pianist, the New Philharmonic Orchestra was conducted by Kirk Muspratt and was nearly as remarkable. Muspratt conducts several orchestras in the area and also has an impressive resume. With the stage presence of a classic concert master, his sense of humor adds a touch of lightheartedness to the evening’s entertainment.

The music was essentially flawless and the playing top notch. One couldn’t help but be very awestruck with Farouk. There are only a handful of players with the chops and stamina to tackle all five concertos in one performance – and he’s one of them. It’s a lot of work playing the piano, as it can be a very physical instrument. The amount of practice and rehearsal time exhibited in Farouk’s playing must have been what would equate to a lifetime of devotion to the instrument. The orchestra was the perfect foil to the Farouk’s piano.

The concertos were played in the order that they were written. That being the case, you could hear how Beethoven matured in his harmonic sense with each piece. The forms of all five concertos were very similar. Going back to the thought of this being some type of battle, I found it more like a musical conversation. The interplay between piano and orchestra was more playful than attacking. I personally prefer conversations to word battles myself. This extends to musical ideas as well.

The pieces performed went as follows:

Piano Concerto No. 1 op. 15 in C major, written in 1795, revised in 1800. Although Beethoven performed at many private occasions during his first few years in Vienna, his official Viennese debut did not
occur until April 1800, when he was the featured soloist and composer in an afternoon concert featuring this Concerto. Running time: 36 minutes.

Piano Concerto No. 2 op. 19 in B-flat major, composed primarily between 1787 and 1789. The concerto was first performed by Beethoven in Vienna March 25, 1795 and was dedicated to Carl Nicklas Edler von
Nickelsberg. Beethoven often referred to this as “not one of the best,” however the work was quite successful. Running time: 28 minutes.

Piano Concerto No. 3 op. 37 in C minor, composed in the 1800’s, was the first of Beethoven’s concertos to use a minor key and features the dynamic tone and the turbulent emotions for which he was become
known for. Running time: 34 minutes.

Piano Concerto No. 4 op. 58 in G major, composed in 1805-1806. With this concerto, Beethoven began to create concertos that were considered genuine solo instrumental symphonies. Running time: 34
minutes.

Piano Concerto No. 5 op. 73 in E-flat major, “Emperor” written between 1809 and 1811. The powerful themes and heroic note of the composition inspired the name for this concerto. It is commonly believed the name was not given by Beethoven but by one of his friends. Running time: 38 minutes.

Over three hours of music can make one really feel for the performers, and the audience was there to meet the challenge as well. With so much music crammed into three hours, it was a lot to digest, but as a musician, I found it very educational. It was a great way to see the evolution of the mind of someone considered to be one of the greatest composers. Ludwig von Beethoven was a compositional genius. It was nice to witness how his musical mind grew, despite the fact that he was almost deaf. It was simply amazing.

In 1959 director Douglas Sirk left his mark on Hollywood in the making of his final film, Imitation of Life, which was based on the Fannie Hurst novel of the same name. The film starred Lana Turner in the lead role and dealt with several topics that still loom large today, focusing on race, class and gender. This was the second film adaptation of the novel, the first being directed by John M. Stahl in 1934. Finding it "culturally, historically, or aesthetically significant" the United States Congress selected the film for preservation in the National Film Registry in 2015.

Upon signing to star in a remake of Imitation of Life, Turner was knee-deep in real world trouble. She had been involved in courtroom proceedings after her boyfriend was killed by her daughter in a domestic struggle. Hollywood seized on the media sensation and used the film as an opportunity to reclaim her star status on the big screen.

So, leave it to Hell in a Handbag to brilliantly lampoon the film and actual events surrounding Turner, intertwining the two stories into one. In “L’imitation of Life,” Ricky Graham and Running with Scissors take Bruce McNally’s original script and run with it, and thanks to outstanding direction by Stevie Love, we get a hilarious spoof that keeps Handbag at the top spot for Chicago comedy theatre.

In “L’imitation,” Lana Turner (Ed Jones) wants to succeed as a Broadway star no matter what the cost. She currently grabs any commercial she can get no matter how degrading the topic matter and is known as many things such as “The Queen of Flush” (yes, from a toilet brush advertisement). The widowed commercial starlet lives with her spoiled school-aged daughter Suzie (Katherine Bellantone), who, as in her real-life drama, had stabbed to death Turner’s boyfriend (perhaps with a little prodding from mom). It is when the two happen upon Annie Johnson (Robert Williams), a besieged African-American mother while at the beach, that a new life for both begins. With Annie and her daughter Sara Jane (Ashley J Hicks) having nowhere to go, Lana “charitably” invites the two to come home with her – with Annie becoming a maid and caregiver to Lana and the two girls.

With their new living situation comes many challenges. Sara Jane is rebellious. Light-skinned and defiant, she wants to be accepted as white, keeping her mother a secret from friends at school. Annie is there for Lana for anything and everything she needs with a smile but is massively overworked and disregarded. Lana is delusional about her talents as an actress and sleeps with anyone she can to move forward in the entertainment industry. And Suzie is weird – and flat out scary.

Ed Jones never lets the Handbag faithful down, and in “L’imitation of Life” we might just get his best work. A flawless performance by Jones highlights this very funny production as he so masterfully is able to capture and exaggerate Turner’s essence to comedic perfection. Jones gets strong support from Robert Williams whose Annie Johnson so perfectly plays off Turner’s delusions of grandeur, no-respect-for-others character. Chazie Bly plays Steve Martin (no, not that Steve Martin), Turner’s on again off again boyfriend, and is ferociously funny in doing so.

In “L’imitation,” Hell in a Handbag is able to spoof such touchy subject matter in their own unique fashion that actually finetunes what, in some ways, may have been the desired the effect of the film – to point out the absurdities where society falls short in poking fun at stereotypical behaviors. “It is the intention of Parody, as an art form, to hold a fun-house mirror to our culture and to reflect all attitudes in an art (past and present).’ Says director Stevie Love. “The beautiful, the garish, the righteous and the misguided. We intend to do that in 5-inch heels.”

Presented with visuals that help in providing a scene’s setting and also serves as yet another avenue for big laughs, “L’imitation of Life” hits on all cylinders.

“L’imitation of Life” is being performed at Stage 773 through May 6th. For tickets and/or more show information, visit www.handbagproductions.org.

Seated in the venue before the show, I wasn’t sure exactly what to expect. With a title like, The Rosenkranz Mysteries: Physician Magician, my first thought was of a murder mystery. The set, designed to mimic a well-appointed study or office, didn’t give any real clues. Enter our host for the evening, Dr. Ricardo Rosenkranz.

Dr. Ricardo Rosenkranz is not just a character. He really is a REAL DOCTOR. He is a neonatologist and Assistant Professor in Clinical Pediatrics at Northwestern University Feinberg School of Medicine. He has been practicing both medicine and magic for many years.

In the opening scene, The Puzzle of Life, the well-respected professor sets the stage for what the next 90 minutes will reveal. The Rosenkranz Mysteries are the doctor’s lessons and insights into life shared, with the audience through 12 vignettes using charming storytelling and theatrical magic.

Similar to Stevie Wonders’ weaving song titles like Confusion, Ordinary Pain and Joy Inside My Tears into the album “Songs from the Key of Life”, Dr. Rosenkranz weaves his story with scenes like The Magical Childhood, Perfect Empathy, and finally Ricardo’s Thread (a tribute to his mentor - highly acclaimed magician Eugene Burger).

Dr. Rosenkranz’s skill as a story teller is both calming and reassuring. There is a bit of a mystical vibe in the theatre when he is speaking. The intimate theatre setting, and the warm tone of his voice created a comfort level as if we were all sitting in the parlor of the doctor’s home listening to his sage advice and philosophies on life. He speaks of magic and medicine almost interchangeably, in a manner that I can only describe as Disney-esque. His demeanor could easily place him at Hogwarts. He quickly earned my trust.

The magical content of the performance was equally enjoyable and entertaining… and yes, mysterious. The illusions and magic were truly mind-boggling even though it was not grandiose or glitzy (no fireworks or clouds of smoke). From my front row seat, I was certain that I would “catch a slip up” to disprove the magic, but instead I was left pleasantly confounded and amazed. He is truly gifted as a magician. He definitely brings a personal element to the entire program, and frequently mentions his inspiration during both his dialogue and feats of magic. It’s easy to sense how important the weaving of magic and being a physician together is to him.

This is certainly a “feel good” experience in a way that stays with you. I still catch myself smiling as I’m writing this review 24 hours after the show. I highly recommend this show as it is both witty and intelligent.

While this show is family-friendly, the subtlety of the life lessons may go unappreciated by the pre-teen audience members.

The Rosenkranz Mysteries: Physician Magician is showing at The Royal George Theatre Cabaret, 1641 N Halsted Street in Chicago for a limited engagement.

They say you should never meet your heroes. That may be the case in Philip Dawkins' new play 'The Gentleman Caller' at Raven Theatre. Dawkins', a popular local playwright, was commissioned to write this play about the strange friendship between Tennessee Williams and William Inge. This is Cody Estle's first production as artistic director of Raven Theatre. Tennessee Williams and Inge are often featured in Raven seasons, and 'The Gentleman Caller' gets a fitting premiere here.

The play is told in two scenes, the first takes place in a young William Inge's garden apartment in St Louis in 1943. It's supposed that Inge, a newspaper critic attempted to interview a then unknown Tennessee Williams about his upcoming play 'The Glass Menagerie'. The second act is a few months later, New Year’s Eve. Inge visits Tennessee Williams in a Chicago hotel following the premiere of the play. No record exists of dialogue between the two playwrights, but they maintained a relationship of sorts over the years. The dialogue in Dawkins' play is as he imagined it would have been.

This is an important distinction to make. The events of this play are highly fictionalized. 'The Gentleman Caller' says a lot about what Philip Dawkins thinks of these two playwrights. The character he's written for Tennessee Williams isn't very likeable. Throughout the play Williams feeds Inge a frustrating string of non-answers. Inge, a closeted homosexual is uptight and put off by Williams' vulgarity. There's a lot of sexual tension between the characters, but who’s to say if that was really the case.

Dawkins' play has an inspiring message for creative types or anyone that feels different. It gets a little buried in slow-moving and often redundant dialogue but there's some solid wisdom in there. Estle seems to share a similar vision for this production. It has the feeling of being at a Tennessee Williams or William Inge play.

There are only two actors in this play, Curtis Edward Jackson plays William Inge and Rudy Galvan plays Tennessee Williams. Jackson is well suited for Inge's restrained temperament. His final monologue is captivating. Galvan is somewhat miscast. The depth of his character gets lost in an unconvincing and mostly unflattering impression of Tennessee Williams.

In this play, we see Inge so very disappointed in Tennessee Williams the man, rather than the hero he'd imagined him to be. It may be that when researching this play the author came to the same conclusion. There's a melancholic thread throughout 'The Gentleman Caller'. It shows us a side of our literary heroes we may not like to see. The part behind closed doors and sometimes without success. In that regard, Tennessee Williams would certainly approve of this play.

Through May 27th at Raven Theatre 6157 N Clark Street. 773-338-2177

*Extended through May 27th

Never has there been a more relevant time for Paula Vogel’s 1998 Pulitzer Prize winner ‘How I Learned to Drive’. By now, it’s considered a modern classic and has certainly made Vogel a hot playwright ever since. The fact that this play is now twenty years old and is arguably more topical now than when it premiered is unsettling. The Artistic Home Ensemble is reviving this play in hopes that we don’t have cultural amnesia regarding sexual abuse.

‘How I Learned to Drive’ is simply staged. There’s a few seats on a platform to be the car, and then a few other small set pieces here and there. What’s not so simple is Vogel’s narrative structure. This is almost like a personal essay come to life. Non-linear, or non-traditional structure is a hallmark of Vogel’s work. In this play, Li’l Bit (Elizabeth Birnkrant) relates how her uncle taught her how to drive and also taught her about adult love.

Using driving and cars as a structure, Vogel spins Li’l Bit’s story about growing up in 1960s conservative Maryland. Intermittently, she includes cleverly constructed nuggets of sexual wisdom learned from her mother and grandmother. As Li’l Bit matures into a woman, she notices how the world around her changes. Her Uncle Peck (John Mossman) takes advantage of her isolated feeling. What adds layers to a familiar story are the moments when Li’l Bit initiates or at the very least plays into a pedophile’s hand. There are such moments of tender depth that you nearly forget how illegal their affair is.

With an almost absence of scenery to hide behind, Elizabeth Birnkrant plays to the comedy in the script. She’s often more engaging to watch when she’s portraying Li’l Bit in her teenage years. Adults are quick to forget the agony of being so unavoidably vulnerable. Mossman delivers sex appeal without seeming like a predator, which is what makes his performance all the more slick.

It’s tough to bring much character to the “Greek chorus” as their purpose in the play is mostly to pipe in with mortifying one-liners. Though, Jenna Steege distinguishes herself as Li’l Bit’s heavy smoking mother. She provides some pretty sound advice on how a lady (or anyone) should drink on a date.

Artistic Home Ensemble is a storefront theater that specializes in the Meisner (or method acting) approach. Therefore, their productions tend to rely more on character than set pieces. ‘How I Learned to Drive’ perfectly lends itself to director Kayla Adams’ black box vision. This story is so compelling that you don’t need scenery. The images conjured in Vogel’s script are as familiar to us as a Coca Cola ad. It’s a trip through Americana, which fittingly includes an older man taking advantage of a young woman. It’s an odd thing to comment on the chemistry between a pedophile and his victim but since the actors are both around the same age, it seems okay to say. These two seem very comfortable with each other and that makes the seduction all the more tragic. ‘How I Learned to Drive’ tells us what’s old is new again, but a 2018 audience may ask itself, does it have to be?

Through May 6 at The Artistic Home. 1376 W Grand Ave. 866-811-4111

Akvavit Theatre’s latest presentation brings Astrid Saalbach’s Danish comedy “Bad Girls: The Stylists” to the U.S. for the first time where it is being performed at Strawdog Theatre Company.

Taking place in a beauty salon, the story follows four hair stylists through their daily endeavors in the workplace, getting all the more interesting as one client is more unique as the next. A series of outrageous scenes take place, the play offering plenty of laughs, as the banter between the stylists is quite funny at times along with some highly engaging interactions with their walk-ins.

An underlying plot takes place as a mysterious stranger, who shall be known as “A”, begins to visit the salon. First appearing as a homeless woman, more and more intrigue develops as she reappears as other characters. Jennifer Adams highlights this play as “A” and is absolutely hilarious in practically ever scene she graces. Adams well-executed line delivery, expression and comic timing make this play, transcending it from a so-so production to putting it on the worthwhile list.

Though the plot is iffy and the ending questionable, there is enough good comedy to make this production quite enjoyable. Some scenes are flat out shamefully funny. There is plenty of original humor to be found here.
In a story that examines individuality and appearance, Breahan Pautsch directs this dark comedy where five women bravely play twenty-eight characters. Adams is joined by Kim Bolger (Boogie), Jennifer Cheung (Jorun), Kirstin Franklin (Mette) and Madelyn Loehr (Trine).

Making up the production team for “Bad Girls” and putting us in the center of a beauty salon is Chad Eric Bergman (scenic design), Lily Walls (costume design), David Goodman-Edberg (lighting design), Nigel Harsch (sound design), Hillarie Shockley (props design), Rick Gilbert and Victor Bayona (violence/intimacy design) Keith Ryan (hair/wig design), Lindsay Tornquist (asst. director), Harrison Ornelis (technical director) and Hannah Harper-Smith (stage manager).

“Bad Girls: The Stylists” is being performed at Strawdog Theatre Company through April 14th. For tickets and/or more information on this often laugh out loud production, visit www.chicagonordic.org.