Displaying items by tag: Christy Arington

Invictus Theatre Company’s latest production of The Tragedy of Macbeth, adapted and directed by Sarafina Vecchio, delivers a potent, intense experience that brings Shakespeare’s tale of ambition vividly to life. This production leans into the raw and brutal aspects of the play, creating an atmosphere thick with dread and foreboding. With excellent performances and a thoughtfully designed set, Invictus’s Macbeth stands out in the Chicago storefront theatre scene as a bold approach to one of Shakespeare’s most famous works.

At the heart of the production is Mikha él Amin in the title role. Amin brings a formidable presence to Macbeth, portraying a general-turned-tyrant with both vigor and subtlety. His portrayal balances Macbeth’s inherent ferocity with moments of doubt, remorse, and even fear as he descends into madness. Amin’s performance is well-matched by Carolyn Kruse as Lady Macbeth, who brings a fierce, complex energy to the character. Kruse’s Lady Macbeth is haunting, ambitious, and unyielding, yet she skillfully peels back layers to reveal her character’s vulnerability and psychological unraveling. Amin and Kruse ignite the stage with their magnetic performances, creating scenes of palpable intensity that hold the audience spellbound.

Adding to the haunting atmosphere are the three witches, portrayed by Christy Arington, Tessa Dougherty, and Julia Rowley. Their performances are eerie and grounded, capturing the supernatural essence of their characters while also bringing an almost elemental quality to the stage. Their dynamic movements and interwoven voices create a sense of otherworldly presence that lingers throughout the play, underscoring the tragic path Macbeth chooses.

The supporting cast is equally impressive, with Michael B. Woods as Macduff and Diego Longoria as Malcolm delivering strong performances. Woods’s portrayal of Macduff is both intense and deeply felt, particularly in his reaction to the tragic news about his family. His confrontation with Macbeth is powerful, filled with a mix of righteous anger and despair that grounds the play’s emotional climax. Longoria brings a sense of resolve to Malcolm, effectively conveying his transformation from a hesitant prince to a determined avenger. Joshua Razavi as Lennox, Aimee Kleiman as Rosse, and Charlie Diaz as Banquo also add depth to the story, each bringing unique qualities to their roles.

Manuel Ortiz’s scenic design and Cindy Moon’s costume design work in harmony to create a visually arresting production. Ortiz’s set—a sparse, Scottish clearing with stone carvings—evokes the stark beauty and rugged landscape of the Highlands. The carved stones suggest an ancient, mythic past that mirrors the play’s themes of fate and inevitability. Meanwhile, Moon’s costumes are richly layered, providing insight into each character’s status and role. Her war outfits are particularly notable, with armor and fabric choices that reflect the grueling, blood-soaked conflicts in the story. The costumes not only enhance the period feel but also convey a sense of realism, showing the wear and tear of lives shaped by relentless battle.

Under Vecchio’s direction, the production maintains a taut, relentless pace. The play feels almost claustrophobic in its intensity, with each scene building steadily toward the tragic climax. Vecchio’s staging highlights both the psychological turmoil of the central characters and the brutal violence that punctuates their journey. The fight choreography by Violent Delights is visceral and realistic, adding to the bloody, unforgiving tone of the production. In many ways, Vecchio’s direction echoes the grandeur and darkness typically associated with larger, more established theaters, making it clear that Invictus Theatre is a force in the storefront theatre community.

Overall, Invictus Theatre Co.'s Macbeth is a triumph. With exceptional performances, evocative design, and tight, effective direction, the production successfully brings Shakespeare’s tragedy to life in a way that is fresh yet faithful to the original text. It’s an immersive and unforgettable experience that cements Invictus Theatre’s place among the top-tier Chicago theatre companies.

Highly Recommended
When: Through Dec. 15
Where:  Invictus Theatre @ Windy City Playhouse, 3014 W Irving Park Rd, Chicago
Tickets: $25 - $38
Info: invictustheatreco.com

So, remember a while back, when I took my kindergarten daughter with me to review the American Girl Doll Musical? No? Well, I wish I didn’t remember it, either. But I do. And I learned two lessons from it in the time since.

First, before the show started, my daughter was just as delighted to take her doll Violet, who is the Target-brand version of an American Girl doll, to see the American Girl Doll Store across the way. While there, I heard a girl in the store point out that Violet wasn’t a real American Girl doll, to which my daughter just shrugged and gave Violet a hug and told her she loved her. And right then I realized I love my little girl for being that kind of person who loves something unconditionally, warts and all. Maybe I’ve done something right.

And the second thing I learned that night was, as soon as I walked into that theater, I realized I’d done something very, very wrong. I wasn’t the target audience. But my daughter and all the other little girls in the seats were the target audience, and they were thrilled and delighted and entertained by what this old man thought was a bunch of snake-oil-salesmanship.

I was reminded of that second lesson this past Friday evening at the opening of the Factory Theater’s Oh Sh#t! It’s Haunted! I wasn’t the target audience. Nope. The target audience is indeed an old man, but an actual old man (I just play one here on the internet and after 8pm on weeknights). And he’s an old man from Chicago, which I’m not. And he’s an old Chicagoan who’s Polish and likes jokes about Polish stuff and likes Peter Cetera and likes jokes about Peter Cetera. That guy is the Oh Sh#t! It’s Haunted! target audience, I thought as I sat there, unsmiling, wondering when the Scooby-Doo spoof I’d been expecting was going to yank the mask off and reveal itself.

But then I looked around at everyone else there — the Factory’s cozy stage and cozier seating makes for the audience being as intimate with one another as they are the actors who I worried would trip over the feet of the folks in the front row — and I noticed that a good portion of them — all ages, all backgrounds — were cracking up and having a blast.

A big reason for that was that the cast seemed to be having a blast, especially Timothy C. Amos, who played Pa Aldrichzewski, the very kind of dad-joke-telling, kielbasa-chomping, Peter-Cetera-namedropping Chicago old guy who I pictured as the target audience. Christy Arington played Pa’s wife, Ma, and the two of them would be perfect for some kind of 1970s Polish Good Times or All in the Family or something. They looked their parts, too, thanks to Rachel Sypniewski’s costuming (she also nailed 50s sweetheart looks for Jose Cervantes and Raven Nichole, and a ghostly Jimi Hendrix played by Michael Jones). This was a total night for character actors, with Eric Frederickson’s looming Peter Jasonczevik landing somewhere between a spook and an Eastern European villain you’d see being dispatched on the big screen by James Bond or Liam Neeson or Keanu Reeves, and Stacie Barra’s needle-nosed, preening, scoffing real estate villainess stealing any scene she strutted into.

So, yeah, I get that the enthusiastic and eager cast earned both the audience’s attention and admiration, but I guess it was the play itself I just didn’t get. There were some Scooby-riffic music cues, and a haunted house and a ghost story and a gang, I guess, in there somewhere, too. But I guess I just wasn’t the target audience for what the Factory’s ensemble was trying to do with Scott OKen’s play. Apparently, most of the rest of the crowd was, leaving me remembering the first lesson I learned way back on my American Girl evening — maybe they’re all the understanding, accepting, loving little girls who can love something warts and all, while I’m the prissy little sourpuss pointing out those warts. In that case, if you enjoy humor that leans toward Chicago (the land and Peter Cetera’s band) and the Polish, then you just might enjoy Factory Theater’s Oh Sh#t! It’s Haunted!, running through November 9. If not, then maybe join me and the rest of the party poopers while we watch some old Scooby-Doo reruns, so long as it’s before 8pm.