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Displaying items by tag: Chicago Dramatists

Pegasus Theatre’s “Dontrell, Who Kissed the Sea” is a family drama with plenty of comedic overtones. Director ILesa Duncan relies on very strong performances by Maya Abram as Mom, the whirling core of the family, along with David Goodloe as a deadpan Dad, to center the show in the Jones household dynamics. These have been thrown askew by Dontrell Jones III, a 18 year old dreamer who has always followed his own direction.

Written by Nathan Alan Davis, the play gives us a dramatic shift early in the opening scenes. In a vivid dream, beautifully staged with the company of players forming a chorus, Dontrell is visited by ancestral figures, and directed to seek out the remains of his great great great grandfather, who died in transit by jumping from a slave ship—the Middle Passage from Africa. Now Dontrell is to dive to the seabed where the Chesapeake River meets the Atlantic, to find his ancestor’s remains.

On awakening, this becomes Dontrell’s mission. Never mind that his parents have other plans for him. Or that he is to enter Johns Hopkins as a freshman in the fall. Or that he cannot swim. With an innocent single mindedness he embarks on this mission, Dontrell begins keeping a tape recorded log of his quest, dictating similarly to the Star Trek captain’s log, tracking his progress.

Immersed in this electrifying dream vision, Dontrell’s family senses he is estranged. His good buddy Robby (Zay Williams) reaches out to him, but while the old bond is there, Dontrell is not there with it.

Soon he heads to the public pool and diving into the deep end, and sinks, only to be. And then rescued by the lifeguard on duty, Erika (Emma Wineman). The two bond, and she becomes his confidant and comes home to meet the family, including younger sister Danielle (Aundria TraNay).

The play then follows the dynamics of the family conflict, filled with humor, angst, anger, and love. While working from the same script as a 2018 version of “Dontrell, Who Kissed the Sea,” it is remarkable to how differently this production interprets the author’s work. The earlier version was more dreamlike, centering on Dontrell’s vision and quest. Pegasus’ production centers on the conflict between a young Black man compelled to reckon with his heritage, and his family’s goals to keep him headed to college. Both are satisfying shows, but call me a dreamer, I lean toward the First Floor Theatre interpretation, which is why I returned five years later to see this play once more.
“Dontrell Who Kissed the Sea” plays through August 18 at Chcago Dramatists theater, 798 N. Aberdeen.

Published in Theatre in Review

“We make the most money and take the most shit.” I’m sure most of us can relate to this line. We've all been there, working a minimum-wage job and getting nothing in return. Written by Ken Green and directed by Rachel Van, In the Back/On the Floor accurately portrays the hardships minimum wage workers endure in a workplace.

The show takes place sometime around the 2010s in a corporate retail store called “HomeBase''. HomeBase is pretty much the fictional equivalent to our present-day Costco or Walmart. The HomeBase branch in this play is located in the South Loop neighborhood of Chicago and is the workplace of the main characters in this story. Around this time, minimum wage was about $9/hour, barely enough to survive. You see this major pain point impacts the lives of the adult workers who are supporting families and just trying to get by.

The setting of the show transpires during the stocking hours for the HomeBase store. The stage is set with shelves, product boxes, and a break room with folding chairs and a crappy coffee machine. The stage was modest and the perfect setting to display the HomeBase store.

The diverse nine-member cast is extremely talented and each of them truly own their characters. They feel like real people or friends in your life. You grow close to them during the show as you learn more about their struggles at home. The cast consists of old, middle-aged, and young characters from a variety of backgrounds. Their working relationships create an interesting dynamic with growing racial tension and tough conversations.

“In the Back/On the Floor'' has a clever contrast of well-written comedy and the painful realities many working class Americans face. This play puts the toxic corporation work culture under the microscope and rightly criticizes the poor treatment of its workers. The show hilariously mocks cringey workplace phrases we all hate, like “We are more than just colleagues, we are a family.”

The show begins with an over-the-top scene from a HomeBase training video with two characters outlining the unrealistic expectations of its workers. Then it cuts to the break room filled with HomeBase stock team employees complaining about their jobs. The show continues to flip-flop between the ridiculous training video and the dialogue amongst the HomeBase employees. Giving you a taste of good hardworking people versus evil money-grabbing companies.

As the story carries on, the employees face personal difficulties, challenges with their assistant manager, and a tremendous amount of pressure to work harder. As friction builds between the corporate executives and the overworked part-time employees, talks of unionizing naturally arise. You’ll find yourself cheering for the employees, while worrying for their job security. I highly recommend watching this play to see what happens next!

The show is held in the intimate Chicago Dramatists Theatre in the River West neighborhood of Chicago. Opening night was packed full of an excited crowd. We received a warm welcome and were encouraged to contribute a donation to the Stage Left Theatre charity. Masks are required during the show and provided by the staff. Not only do you get to experience a great show, but you also support their charity that supports unheard voices in the theatre community and local artists.

The runtime of the play was around an hour and 45 minutes, with no intermission. Overall, the show was enjoyable and went by quickly. “In the Back/On the Floor” has a showing every Thursday, Friday, Saturday and Sunday April 28th-May 28th. Tickets are $25 per person and definitely worth it! Grab a friend, family member, or loved one and have a wonderful night with great acting and some good laughs.

Performances of Stage Left Theatre’s In the Back/On the Floor run through May 28th at Chicago Dramatists, 1105 W Chicago Ave Ste 202.

Purchase your tickets here: https://checkout.square.site/buy/NNMIMR22NVKYZ6VYX7PU3PRQ

Published in Theatre in Review

“The Shroud Maker” is a look into the world of Hajja Souad, an 84-year-old Palestinian seamstress, plying her artisanal trade amid the rise and fall of violence in Gaza City adjacent to Israel. Her specialty: shrouds used in Islamic funerals to wrap the deceased.

Unfortunately for the world, Souad’s business is good, and demand trends offer a depressing timeline of decades of violence in what had been Palestine. Boiling down a lengthy history, in 1948 the British relinquished control in the region pursuant to a U.N. mandate that partitioned Palestine to create a place for modern-day Israel. Surrounding Arab states launched a war against the U.N. action, and in 1948 the Arab League established a state for Palestine, which along with Israel claimed Jerusalem as its capital. And the rest is more war-striven history.

A businesswoman and expert in crafting finely stitched shrouds, Souad has seen it all over the years, and is played ably by Roxane Assaf-Lynn. The 70-minute monologue by noted Palestinian author Ahmed Masoud is drawn loosely from a real individual. Souad shares the gallows humor that is a familiar companion to those whose lifework is death.

Souad is also a survivor, someone who has suffered personal loss as one by one, over the years, every member of her own family became collateral damage in someone else’s wars. Her non-stop descriptive chatter tells her own epic story—against the backdrop of that of the people of Palestine.

Set in Gaza City, the opening scene finds Souad mid-way through an animated phone conversation, where she is warned yet again that she is in danger and should evacuate her home. This time it’s because of a limited Israeli incursion into Gaza, intended to destroy border tunnels through which contraband flows, some of it the very cotton she uses for shroud making.

“I’m not going anywhere….Besides your bloody tanks are everywhere,” Souad yells into the phone. “Your freaking army will have to kill me first.” Is she just a cranky, unreasonable old woman?

We learn she is much more than this in the course of the play, and Souad voices other characters in her life: her younger self, her father, an adopted son, and his wife, and Ghassan, their child. Two more characters from her past also appear, all of them voiced by Souad, who at 11, was removed from her farm (along with her parents) to make way for a kibbutz.

During the period before Israel was formed, her father Mahmoud was hired by the British High Commissioner Sir Alan Cunningham, as a gardener for his estate—the same Sir Cunningham whose British Army forcibly removed Mahmoud from their farm. Lady Cunningham takes a liking to Little Souad, and enculturates her as a British girl with piano lessons and training in posh British English. Essentially she is wantonly stealing Souad from her parents to replace her own child, now lost. But Lady Cunningham also teaches Souad to sew, and in her later life, Souad applies these skills to producing traditional Palestinian garments, including shrouds.

The production by the International Voices Project is nicely directed by Marina Johnson with set by Jonathan Berg-Einhorn. Ahmed Mousad’s script leans a little more toward literary—something to be read—than to stage delivery, though he generally weaves exposition in effectively. The story comes across, though the emotional side is not fully expressed. Even the best actor would be challenged, especially the demand to voice numerous characters. But the story is so authentic and compelling, coming as it does from those living in Gaza, that is is one the must be heard

“The Shroud Maker” runs through April 8 at Chicago Dramatists, Fridays and Saturdays at 7:30 p.m. and Sundays at 3:00 p.m.

Published in Theatre in Review

GDC Spring Program Eloquently Distills the Vagaries and Splendor of Life Through Dance

07 April 2025 in Dance in Review

Dance performances can often be moving events but rarely do they hold the density, breadth and depth of emotions Giordano…

‘Trial of Themistocles’ Shows Off Best of the Culture of Greece, and Chicago Jurisprudence

05 April 2025 in Theatre in Review

Walking into the Harris Theater for the “Trial of Themistocles,” I was expecting something translated from ancient Greek, togas, masks,…

A Hull Lot of Laughs: Titanique Makes Waves On Stage

02 April 2025 in Theatre in Review

All hands on deck Titanic fans! Get ready for a lavishly produced musical that boldly reimagines the Titanic story, navigating…

MOULIN ROUGE! THE MUSICAL is Now Playing

02 April 2025 in Upcoming Theatre

Welcome back to the Moulin Rouge! Broadway In Chicago is thrilled to announce the Tony Award® winning production, MOULIN ROUGE! THE MUSICAL is now playing…

Disney's THE LION KING Returns to Chicago

01 April 2025 in Upcoming Theatre

By popular demand, Disney’s The Lion King will return to Chicago for the first time since 2023, where the production played a sold-out…

Review: The Listeners at Lyric Opera of Chicago

31 March 2025 in Theatre in Review

THE LISTENERS has undergone several incarnations since the 2021 novel by Jordan Tannahill. It’s been a full-length movie, a TV…

IDENTITY PERFORMING ARTS: Spring Concert 2025 - 'Instinct' at Ann Barzel Theater (April 26-27)

31 March 2025 in Upcoming Dance

IDENTITY PERFORMING ARTS Presents Spring Concert 2025  “Instinct”   A captivating performance of four distinct works on April 26 & 27…

Dynamic South Chicago Dance Theatre at The Auditorium in one perf only, May 3

26 March 2025 in Upcoming Theatre

 The Auditorium (Chicago’s Landmark Stage® at 50 E. Ida B. Wells Drive) proudly welcomes back the eclectic energy of hometown favorite South…

Open Space Arts announces staged reading series and a powerful premiere for April through June

26 March 2025 in Upcoming Theatre

Open Space Arts (OSA), who recently won some of the top honors in the Joseph Jefferson Awards for 2024 productions,…

Review: 'it's been ten years since everybody died' at Open Space Arts

26 March 2025 in Theatre in Review

I’ve reviewed a number of shows at Open Space Arts (OSA) – I love the place – so I’m familiar…

Hell in a Handbag Productions' World Premiere of SCARY TOWN By Artistic Director David Cerda Directed by Cheryl Snodgrass April 9 – May 11, 2025 at The Clutch

25 March 2025 in Upcoming Theatre

Hell in a Handbag Productions is pleased to continue its 2024/25 Season with the world premiere of Scary Town, Artistic Director David Cerda's semi-autobiographical…

Definition Theatre Defines the Crisis: 'Splash Hatch on the E Going Down'

24 March 2025 in Theatre in Review

In Definition Theatre's production of "Splash Hatch on the E Going Down," Kia Corthron's 1997 work feels unnervingly relevant in…

Kokandy Productions Announces Line-Up for CHICAGO MUSICAL THEATRE FESTIVAL Returning April 3 – 6, 2025 at The Chopin Theatre

22 March 2025 in Upcoming Theatre

Kokandy Productions is pleased to announce the official selections for the annual Chicago Musical Theatre Festival, a celebration and showcase of the…

Hive of Hilarity: Copley Theatre’s 'Spelling Bee' is a Buzzing Triumph!

21 March 2025 in Theatre in Review

I’m not holding back—Copley Theatre’s latest offering, The 25th Annual Putnam County Spelling Bee, is an absolute winner! I’ve seen…

The Search for Truth Turns to War in Oil Lamp’s Outstanding ‘The Lifespan of a Fact’

21 March 2025 in Theatre in Review

Don’t be deceived by the title.  The phrase “lifespan of a fact” sounds about as dry as the Mojave Desert…

Disability-inclusive company brings Frankenstein to Chicago Shakespeare Theater

21 March 2025 in Upcoming Theatre

A.B.L.E.—Artists Breaking Limits & Expectations—a Chicago-based nonprofit that creates theatre and film for, with, and by individuals with Down syndrome…

Invictus Theatre Presents Enchanting Production of The Winter’s Tale

20 March 2025 in Theatre in Review

Walking into Windy City Playhouse, audiences are immediately transported to somewhere new. Scenic Designer Kevin Rofls fills the space with…

Writers Theatre announces 2025/26 season

19 March 2025 in Upcoming Theatre

Artistic Director Braden Abraham and Executive Director Kathryn M. Lipuma announce Writers Theatre's 2025/26 season. The five-play season is marked by four productions never seen before…

About Face Theatre presents the return of Re/Generation Studio at The Alice at Goodman Theatre March 28-30, 2025

19 March 2025 in Upcoming Theatre

About Face Theatre announces the return of Re/Generation Studio, a weekend of community building, education, and performance to help build the future…

Steppenwolf Theatre Presents Broadway's Kelli O'Hara - April 18 & 19, 2025

19 March 2025 in Upcoming Theatre

Fresh off her critically acclaimed and Tony-nominated run in Broadway's Days of Wine and Roses, Steppenwolf Theatre Company and Mark Cortale are pleased to present…

Grand Opera that is Truly Grand: La Bohème at the Lyric

19 March 2025 in Theatre in Review

Going into “La Bohème” with little knowledge of Puccini’s masterpiece, I was just a naive theater-goer seeing it fresh at…

THE PHANTOM OF THE OPERA Returns to Chicago

18 March 2025 in Upcoming Theatre

Cameron Mackintosh is delighted to announce that a revitalized new production of Andrew Lloyd Webber’s legendary musical, THE PHANTOM OF THE OPERA, will play…

Marriott Theatre Continues 50th Anniversary Season with Tony Award-Winning Titanic the Musical - Opening April 16th

18 March 2025 in Upcoming Theatre

Chicagoland's longest running musical theatre, Marriott Theatre, continues its 50th Anniversary Season celebration with the epic production of Titanic The Musical, directed and choreographed by Connor…

Teatro La Plaza teams up with Chicago Latino Theatre Alliance for wonderful production of Hamlet at Chicago Shakespeare Theater

16 March 2025 in Theatre in Review

Ser o no ser   esa es la cuestión We are all familiar with Shakespeare’s iconic line: to be or not…

Announcing CityTalk: A Series of Conversations on Assimilation, Antisemitism and Culture

14 March 2025 in Upcoming Theatre

Theater Wit, in collaboration with the Crown Family Center for Jewish Studies at Northwestern and Northlight Theatre, hosts CityTalk: A Series of Conversations on Assimilation, Antisemitism…

Steppenwolf Theatre Presents THE BOOK OF GRACE - March 27 – May 18, 2025 - Chicago Premiere!

13 March 2025 in Upcoming Theatre

Steppenwolf Theatre Company, the nation's premier ensemble theater company, is pleased to continue its 49th season with the Chicago premiere of The…

Lyric Opera announces 2025/26 season, including major collaborations with Billy Corgan, avery r. young

12 March 2025 in Upcoming Theatre

Lyric Opera of Chicago today announces the company's 2025/26 Season, its first complete season under the leadership of new General…

BEETLEJUICE is Now Playing Through March 16

11 March 2025 in Upcoming Theatre

Beetlejuice, Beetlejuice… Beetlejuice! You’ve summoned him once again, Chicago— BEETLEJUICE is back for another hauntingly hilarious run! The edgy and irreverent Broadway…

The Auditorium proudly presents Parsons Dance One Night Only: Saturday, April 12 at 7:30 PM

11 March 2025 in Upcoming Dance

The Auditorium (Chicago’s Landmark Stage® at 50 E. Ida B. Wells Drive) proudly presents a special evening with Parsons Dance, the New…

The critically acclaimed hit production of Obliteration returns

10 March 2025 in Upcoming Theatre

Obliteration, LLC & The Revival Theater announce a limited engagement of Obliteration, written by Andrew Hinderaker, directed by Jonathan Berry, featuring Michael Patrick Thornton and Cyd Blakewell. Obliteration runs April 10-May 4,…

 

 

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