Displaying items by tag: Den Theatre

You might think that a rock musical featuring a genderqueer, hard-rockin’ and brokenhearted performer born on the wrong side of the Berlin Wall and the recipient of a sex-change operation gone horribly wrong might not be the show for you. But you would be making a big mistake.

Hedwig and the Angry Inch, a sometimes raunchy, sometimes heartbreaking rock-and-roll musical now playing with Haven at the Den Theatre in the heart of Wicker Park, is so much more. At its core, Hedwig is an inspirational search for identity, for acceptance, and ultimately, for finding one’s own voice.

And more than that, Hedwig under the skillful direction of JD Caudill, is just plain fun. You cannot leave the theatre without feeling that you have been entertained and uplifted. And in today’s current state of the world, that’s not a small thing.

The musical, with music and lyrics by Stephen Trask and book by John Cameron Mitchell, first opened off-Broadway in 1998 and won awards for Best Off-Broadway Musical. While it has been produced throughout the world in hundreds of stage productions, it wasn’t until 2014 when the show first made its Broadway debut starring Neil Patrick Harris and winning a Tony Award for Best Revival of a Musical.

The musical tells the story of “internationally ignored song stylist,” Hedwig Schmidt, in the form of a rock gig/stand-up comedy routine backed by the hard-rocking band “The Angry Inch.” Using song and monologue, Hedwig (Tyler Anthony Smith) tells her story which began as Hansel, a “slip of a girlyboy” growing up in East Berlin. Hansel meets Luther, an American GI, who promises to take him to America if he agrees to a sex change. The ensuing bungled operation leaves the newly renamed Hedwig with just “an angry inch.”

Luther abandons Hedwig in a Kansas trailer park, where she turns to music and meets the geeky Tommy Speck, whom she takes under her wing and soon falls for. But Tommy, too, is repelled by her “angry inch,” and after stealing her songs, achieves rock star fame. Hedwig once again is cast aside. She begins stalking Tommy, performing in dive venues next to the stadiums where Tommy is appearing. Throughout the show, Hedwig repeatedly pokes her head out the door where we can hear Tommy Gnosis (who Hedwig named) as he talks about himself, never mentioning or crediting Hedwig.

Hedwig is aided -- and hindered – by her assistant, back-up singer and husband, Yitzhak (Ismael Garcia), a Jewish drag queen from Zagreb. The two have an unhealthy, codependent relationship, and Hedwig verbally abuses Yitzhak throughout the evening, clearly threatened by his natural talent. We learn that Hedwig agreed to marry Yitzhak only on the condition that he never perform as a woman again.

Smith absolutely dazzles as Hedwig in their debut performance with Haven. They strut and swagger across the intimate setting of the Den, singing of their search for “The Origin of Love” and better half. A great deal of the charm of the show is Hedwig’s interaction with the audience, and Smith is quite adept at adlibbing and engaging with the audience, getting upfront and personal (very personal) with those sitting in the cabaret-styled tables. (As an aside, audience members do have the ability to indicate their preference for any audience participation with cleverly placed red, yellow, and green signs.)

It's all in good fun, and the audience loved it, as did the cast! Caudill also includes lots of local references and touches (like the Pepper Palace at the Salt Shed) that added to the performance, keeping it fresh and relatable.

Garcia, also making his Haven debut as the disgruntled and downtrodden Yitzhak, plays his role perfectly. It is clear that he yearns to come out from under Hedwig’s shadow, but he sullenly submits to his back-up role. Finally, in a complete breakdown, as Hedwig tears off her wig and takes off her makeup, Yitzhak must step up to sing the final song.

The show closes as Hedwig finds peace and acceptance within herself, and Yitzhak finds his true voice in a performance that brings down the house.

The two main performers are skillfully back by “The Angry Inch,” a hard-working and hard-rocking group of talented musicians led by musical director and keyboardist, Harper Caruso. Joining her onstage are Nate Hall on guitar, Alek Boggio on bass, and Mia Park on drums. In addition to keeping the beat moving, they also engage with Hedwig and Yitzhak in ongoing banter throughout the show and are very much a part of the overall performance.

I love the intimacy of the Den Theatre. It was the perfect venue for this type of show, but because of its size, I did feel the band sometimes overwhelmed the vocals and it was hard at times to clearly hear the words of the songs.

That aside, the evening was truly enjoyable and entertaining, and I would definitely recommend this production of Hedwig. As billed, it was funny, it was touching, and in the end, it was a wonderful reminder of every person’s need to find their own voice and use it.

Hedwig and the Angry Inch plays at the Den Theatre now through August 4. For ticket information, visit the Haven website.

For those who love theater, “Being Seen” is a delicious window into the heart of the actors’ world. Written and directed by Richard Gustin, with excellent performances by Will Clinger as a sinister director, and Kelly Anne Clark as an auditioning actor, this show at the Den Theatre offers 90 minutes of tension and humor that at its best moments reminded me of Tom Stoppard, with notes of Pinter.

The action opens with the actor (Clark) on stage under the spotlight, readying for what seems to have been an impromptu audition. The happenstance brought her to try out for an unspecified role in an unknown play being developed by a highly acclaimed director (Clinger), who emanates as a disembodied British voice somewhere in the shadows. Gustin has placed him midway up with the audience, where we slowly locate the origin of his voice.

Adding to the tone of mystery are the series of enigmatic questions he poses to the actor, none of which help us identify which play, or even what type of play, he may have in mind. Rather, they seemed designed to establish his authority and preeminence, at least in the mind of the actor.
Periodically the director holds forth on one acting theory or another.

Bemoaning a dearth of great scripts, the director ostentatiously declared, “What I’d give for another Aristotle, another Sophocles, Sophocles, as well as a few minor female playwrights,.” And the actor—a supplicant seeking to be cast—readily agrees to his point of view on this and matters small and large, even abandoning her position if she inadvertently contradicts the director’s point of view.

So desperate for a role th auditioning actor will do anything the director asks. We learn that she has been an understudy in a number of significant roles, but the leads made all the performances in the runs. She also provides more information than the director requests, demonstrating her ability in dance, and volunteering a dramatic reading that she always has at the ready. The questions seem to grow increasingly off-base, too penetrating, overbearing, even abusive. She’s asked to sum up outlandish numerical totals in her head, for example. But seemingly no matter what she does, it doesn’t seem to please the director. At one point, he asks about her shoe size.

“Five and a half, but I can wear smaller,” she says.“We were looking for a seven,” the director replies dismissively. “Well I can do that,” she responds hopefully, claiming she actually did some of her best work wearing a size eight. But no matter what she does, she doesn’t seem to be able to curry the director’s favor.

The audition moves toward inquisition, heightening the edginess. Her obsequiousness against the pretentiousness and self-infatuation of the director’s views are the basis for much of the humor, which is continuous during the show. At one point, she is asked “How do you spell “theater,” and pausing after the second t—to big laughs and great comic effect—makes the 50-50 guess on which is the director’s preference.

Finally, after an hour, the actor cracks, declaring she is tired of being “on.” And for the last 30 minutes of the show, the plot thickens, and we are led to an unexpected ending. Will Clinger will be familiar to Chicago audiences as the host of the former Public Television show Wild Chicago and frequent parts in locally filmed television dramas. He proves himself a good stage actor. Clark is among the most regularly cast actors for Chicago’s musical theater scene,and starred in the U.S. premiere at Goodman Theater of “The Return of Martin Guerre.”

This show was well received in New York, with sold out performances and was voted a fan favorite at the New York Fringe Festival. The Den Theatre production benefits from having the author as director. But I often felt in “Being Seen” that we were continuously being lead-up to a really big laugh, but never quite getting there—titters, not quite guffaws. But for actors and theater geeks like me, this is an entertaining 90 minutes. “Being Seen” runs through July 2, 2023 at Den Theatre in Chicago. .

Artistic Home has given theater goers a rare jewel of a comedy, a 1928 send-up of Soviet society that was never seen by Russian audiences because Stalin banned it. Well, his censors must have read only half way through, and clearly had no sense of humor, because this is comedy of the highest order. 

I’ll admit I was tempted to bail at intermission, as the humor in the first half felt a bit forced, and was mostly inside jokes for Soviet citizens. But as a reviewer I am pledged to see it through, and the outcome of the pivotal turning point was set up right before break. So I had to come back to find out what would happen. OMG was it funny! Take my advice and see this whole play, because you need the set-up to get the jokes in Act 2.

I’ll offer no spoilers, but in the first act we meet the hapless Semyon (Daniel Shtivelberg), an unemployed and hopeless young man who lives with his wife Masha (Kayla Adams) and mother-in-law Serafima (Kathy Scambiatterra is a hoot) in a crowded flat—perhaps situated in the apartment building lobby. The public setting of their dwelling and a common bathroom shared with the other residents assures us the opportunity to meet the postman Yegor (Reid Coker is great)—a model Soviet citizen—and another gentleman, Alexander (Todd Wojcik is a delight, as always) who seems to be sex trafficking with his willing partner, Margarita (Kristin Collins).

Semyon laments his unhappy fate, jobless and living from the earnings of his wife, while his mother-in-law manages the housekeeping. The two women are supportive despite Semyon’s dire emotional state. After failing in a last ditch effort to become a busker—he gets a tuba and instruction booklet but can’t master the instrument—his inner conflicts drive him to end it all. (The original play by Nikolai Erdman was called ‘The Suicide’ and is freely adapted here by Moira Buffini.)

Kristin Collins, Kayla Adams, Todd Wojcik and Kathy Scambiatterra in The Artistic Home's production of "Dying For It" at the Den Theatre.

Ironically, his decision to off himself makes Semyon suddenly of interest to others, and we soon see the arrival of three counter-revolutionary tropes of Stalin’s day: a member of the intelligentsia, Aristarkh (John Laflamboy plays it for all he's worth), the Westernized temptress Kiki (Brookelyn Hébert) a romantic poet Viktor (Khyel Roberson in a spot-on performance), and an Orthodox priest Father Yelpidy (Patrick Thornton). All hope to leverage Semyon's suicide to their benefit, mostly by encouraging him to write about them in his suicide note.

His neighbor the hedonist sees the occasion as a good excuse for a party, and with that Semyon’s plans to off himself become bigger than him—and the laugh fest begins in earnest.
Watching the players perform for all they’re worth in the first act had me curious, their earnest performances almost over the top with energy. Now I know why: they had all seen the second act!

Comedy is all in the timing, and credit director Monica Payne for keeping everyone on cue. Scenic design by Kevin Hagen is excellent, and costumes by Rachel Lambert are noteworthy in their authentic feel.

This rare opportunity to see a hidden gem should not be missed. "Dying For It” runs at The Den Theatre through April 23.

Perhaps it was the pandemic, or maybe it’s the cultural divide between the left and the right, but it seems like small town gay bars are vanishing. Playwright Samantha Mueller sets out to commemorate these safe spaces in their new play “Laced” making its world premiere at About Face Theatre. Directed by Lexi Saunders, “Laced” is a unique backstage look at LGBTQ nightlife and those who help create that world.

In the aftermath of the Pulse Nightclub shooting and before the 2016 election, three bartenders at a small town Florida gay bar come to work to find the bar has been vandalized. Minnow (Daniela Martinez), Audra (Mariah Copeland) and Cat (Collin Quinn Rice) are close coworkers and the incident leaves them rattled. Minnow becomes obsessed with figuring out who did this. The three work to piece together the previous evening. In the telling, each share intimate thoughts and experiences.

There’ some heavy content here, but overall this is a play that celebrates queer spaces and those who work tirelessly to ensure everyone feels welcome. The staging by Sydney Lynne immediately sets “Laced” in a specific atmosphere. Local queer scene DJ Ariel Zetina creates a hot soundscape with tracks by Charli XCX and Robyn peppered in. About Face directly borrows from the Chicago queer nightlife scene and it lends a real sense of authenticity to “Laced” that is somewhat missing on the page.

Mueller makes some relatable observations about queer life in their 90 minute one-act. Mueller digs in deep on the idea of what makes queer relationships; romantic or otherwise, different from the heteronormative standard. In doing so, they build a compelling case for why queer spaces need to be defended.

There’s a lot of chemistry between the three leads. While some of the dialogue sounds like it was taken from internet memes, Daniela Martinez keeps it sounding fresh and cool. Mueller’s well-intentioned dialogue does beg the question, who is the audience for this show? The plot never quite builds but “Laced” seems more about the journey than the destination.

As more exclusionary laws are introduced around the country, theatre companies like About Face become even more essential. Much like the bar in “Laced” About Face is a safe space for LGBTQ stories and perhaps through storytelling can bring awareness to an epidemic of small-town gay bar closures.

Through April 16 at About Face Theatre at The Den. 1331 N Milkwaukee. www.AboutFaceTheatre.com

The Artistic Home chose a sure-fire winner for its return to in-person productions, with a creative staging and knock-out cast in Eurydice by celebrated playwright Sarah Ruhl. The "press night" show October 28 at the Den Theatre found a well-oiled machine delivering flawless performances. The joy of sitting in a sold-out room was soon surpassed by the show itself.

Distilled from a range of Greek and Roman myths, Eurydice recounts the story of Orpheus, the renowned demigod musician—his playing could draw tears from the stones—who descends into hell to lead his young bride Eurydice back to life. She was killed prematurely, and so the lord of hell permits her to leave—but Orpheus must not look back before they reach the surface, or she will be lost to him. When he reaches the surface, Orpheus does look back, losing Eurydice, who hasn't fully emerged. Most retellings focus on his tragic loss.

Ruhl’s 2003 play resets the story, taking the perspective of Eurydice. Played by Karla Corona, this Eurydice is a captivating character, a reader and thinker, a modern young woman immersed in self-discovery. Corona gives us an endearing innocent but strong Eurydice, magnetic. She has fallen in love with Orpheus, but he is even more in love with her. Bored at her own wedding reception, Eurydice strays and meets her early end, triggering Orpheus quest to bring her back. 

But in the underworld, Eurydice has an enveloping experience vastly more intriguing than Orpheus efforts, and she eventually meets her father (Javier Carmona). The play centers largely on the immense and unshakable love between Eurydice's father and his daughter. (Ruhl dedicated the play to her own father.)

Carmona gives us a surpassingly good performance. Before his daugher arrives, he is following her wedding from below, and by a simple shift in his expression goes from joy to sorrow, and back again, as he suffers the lost opportunity to give the bride away. When they are later brought together, he nurtures Eurydice and comforts her in his new home.

"Rock-star" performances are given by the incredibly entertaining and mean-spirited Chorus of Stones: Will Casey as Big Stone, Alexander McRae as Loud Stone, and Ariana Lopez as Little Stone. And as real standout is Todd Wojcik (above), arguably the best performance of the night, as “Nasty Interesting Man.” Wojicik gives us an almost indescribable package of self-infatuation, malice and brattiness, that alone is worth the price of admission. 

The production team includes Kevin Hagan (Scenic and Lighting Design), Zachery Wagner (Costume Design), Petter Wahlback (Sound Design), Randy Rozler (Properties Design), Julian Hester (Assistant Director), and Jac Pytlik (Stage Manager).

Eurydice had its world premiere at Madison Repertory Theatre, Madison, WI in 2003, and following high profile productions at Berkeley Repertory Theatre and Yale Repertory Theatre, it opened off Broadway at the Second Stage Theatre in 2007 and at the Young Vic in London in 2010. Artistic Home's production will be performed at The Den Theatre, 1331 N. Milwaukee Ave. in Chicago, Thursdays through Sundays, November 4 through November 21, 2021. 

The usual holiday tales that bring us together around the winter season fill us with joy but there has also been a not-so-usual tradition in Chicago that brings a titillating thrill to the holiday season! Who needs the Nutcracker Ballet, when you can have the Buttcracker Burlesque (#buttstuff)! The fantastical holiday show gives a sexy and alternative spin to the traditional Nutcracker tale and you can catch it at at The Den Theater for 4 showings in December (the 5th, 12th, 19th and 26th.)

Join Clara at her holiday party and delight in the wild trip she takes to the Land of Sweets. Enjoy the treats of this partial parody and variety show- as Clara battles the rats, and experiences the thrills of burlesque/boylesque, ballet, body positivity, and circus acts. ‘The Buttcracker is wonderfully directed by Leah Urzendowski and choreographed by Jenn Freeman/Po’ Chop.

Each show will have a new cast of featured dancers and acts, nodding to the traditions of vaudeville, cabaret, and burlesque.

December 5th's introductory show of the season delighted Clara with the following sweet treats as her reward for victory over the Rat King. Vodka (Rockabilly Ronnie), Tea (Brad French - a juggler with brilliant comedic timing), Coffee (Lolita Love- a lady who can work a cape/crepe dress), Chocolate (Sio Bast a stunner with feather fans) and Mother Ginger (Angelica Grace an unbelievable high kicking, high energy dancer). The show is supported by a great ensemble cast - Clara (Nikki Hartung), The Buttcracker (Scarlett Begonias), Drosselmeyer (Miguel Long), Boss/Rat King (Molly Gloeckner), The Sugar Plum Fairy (Mocha Mocha) and the Ensemble dancers (Michael Ashford, Harlie Honeypot, Nicole Amber, and Olivia Cucco.) ‘The Buttcracker’ is hour and a half of exciting costumes, solo performances and group dances with fun that just keeps on going.

Bring your friends and, if you like, bring most of the family! Have dinner and drinks in the Haven Lounge before the show. Bring your drinks into the theater from the bar, refill them during the show. With a variety of seating options: GA $25 (to stand) and $30 (to sit) and VIP tickets available at $55 (which offers early entrance, table seating, cast meet and greet, swag and entrance to Clara’s Late Night Holiday Party), this show accommodates every which way to enjoy theatre. All ticket holders can also stay for Clara’s After Party! For an additional $15 theater goers are treated to another hour of more intimate, scintillating performances beginning at 10:30 after the show.

‘The Buttcracker: A Nutcracker Burlesque’ should be your new holiday tradition. Go to one show or go to all of them for unique holiday memories you will never forget! Each show will be a new gift and different performers to unwrap!

Happy Ho-ho-ho-holidays!

Patsy Cline was only 30 years old and at the peak of her career when she died in a plane crash in 1963. But her sweet voice and music lives on in Firebrand Theatre's 'Always...Patsy Cline', a story written by Ted Swindley and based on true events.

After hearing a Patsy Cline (Christina Hall) record on the radio, housewife Louise Seger (Harmony France) became an immediate and avid fan of Cline's and she constantly called in to the local DJ to play Cline's records on the radio.

In 1961, when Louise and her friends show up early to see Patsy Cline sing live, it’s only by fate that Cline shows up early too.

The two women hit it off and the meeting culminates with Cline spending the night at Seger's house. Over a few too many drinks, the two women shared stories (happy and sad) late into the night. Shortly after Cline left, Seger received the first of many letters from her. The two exchanged letters over the next two years, right up until the plane crash that ended her life. Featuring over two dozen songs, 'Always…Patsy Cline' is both a musical and a concert rolled into one. While Louise Seger narrates the story, Patsy Cline moves on and off the stage singing tunes that still evoke emotions today.  “Walkin' After Midnight”, “She's Got You”, “Sweet Dreams”, and “Crazy” are just a few.

Actress Christina Hall brought Patsy Cline to life. She perfectly captures Cline’s emotions, accents and sound. She shows off her strong vocal chops with "It Wasn’t God Who Made Honky Tonk Angels" while also perfectly capturing the heartbreak in "She's Got You."

Harmony France shines equally bright as Louise Seger. She pulls off the difficult task of being both a character and narrator in this story. Her transition from star struck superfan to close friend and confidant felt real and believable.

Growing up in a home where Patsy Cline’s records were in constant rotation, I really enjoyed this walk down memory lane.The only “problem” with this production of 'Always…Patsy Cline' is that you’ll want to see it a second time since France and Hall swap roles on alternating nights.

Extended through February 23rd, 2020 at The Den Theatre. This is an excellent show which I highly recommend.

So…a theatre, a rock band and a production company got together and decided to put a show together. Only this wasn’t just a theatre, it was Den Theatre, one of the most experimental and influential theatres in Chicago today. Nor was this just any production company. Jacaranda Collective is a theatre company, led by the out-of-the-box vision of artistic Sam Bianchini and associate artistic director Halie Robinson director, both who thrive on passionate and provocative storytelling, and the team responsible for this year’s outstanding production of “My Name is Rachel Corrie”. And The Family Crest is not your average band. Instead they are an orchestral indie rock band, led by Liam McCormick, that takes its listeners on a different journey with each song. Together, we have the perfect team of collaborators to pull off ‘Romeo and Juliet: The Spectacular Retelling of the World’s Greatest Love Story’. 

Performed in the largest of Den Theatre’s spaces, the audience is seated to form a three-quarters theatre-in-the-round, a stage for the band sitting at one end. The actors flow freely, not neglecting a single space in the theatre, as the Shakespeare’s story of Romeo and Juliet is beautifully told in both acting and in songs performed by The Family Crest. 

‘Romeo and Juliet: The Spectacular Retelling of the World’s Greatest Love Story’ revisits the classic tale of two young lovers, Romeo Montague (Alex Quinones) and Juliet Capulet (Halie Robinson), that fall in love despite the hatred that lies between their families. The unique play received an added boost with a live band accompaniment that really takes the story to another level. Several scenes had the San Francisco-based band perform wistful songs from their Beneath the Brine and The War: Act I albums, as the actors would join in with choreographed dance movements that perfectly synced with the dreamy sounds, creating a multi-sensory sensation that can only be had in this one-of-a-kind production. In all, we get a masterpiece of a story that is executed to perfection in its own original way thanks to its talented direction, cast and band.

The production also injects its own modern twists and sense of humor into the play’s dialogue - crowd favorite Mercutio (wonderfully played by Kade Cox) donned in drag and sharp, whimsical musings often spewed from the mouth of Juliet. Yet, at the same time, the play never loses the integrity of Shakespeare’s work of art as it was intended. The love was as refreshing as we have always experienced and the tragedy just as heartbreaking.

Here as a special three-day event, ‘Romeo and Juliet’ ends on a much higher note that we are accustomed, the theatre transforming into a concert hall as The Family Crest treats the audience to a live performance that includes songs from previous recordings and upcoming album The War: Act II. 

Theatre and Family Crest fans can only hope this production returns in the not-so-distant future – and maybe, just maybe that will happen. Near the show’s end, the fantastically Family Crest frontman, Liam McCormick asked attendees if they would like to see this show return to Chicago.

The answer – an unequivocal, enthusiastic “HELL YES!”

Kiss produced by Haven Theatre (and playing at The Den Theatre) is a stealthily crafted play. Delightfully engaging, loaded with laughs, it tells the story of two couples, none married, who double date regularly to watch soap operas at one of their apartments.

Kiss is also a theatrical event for Chicago: the production of a play by celebrated screenwriter Guillermo Calderon. He wrote Sundance winner "Violeta Went to Heaven;" "The Club," a Golden Globe nominee and winner at the Berlin Intl. Film Festival; and "Neruda," another Golden Globe nominee that was also a lauded at the Canne’s Film Festival. His plays are performed across Europe and in New York, including Neva, Diciembre, Speech, Quake, and Escuela.

The play Kiss opens as the good looking Youssif (Salar Ardebili) half of one couple, arrives at the apartment of comely Hadeel (Arti Ishak), the girl from the other couple. The two engage in friendly banter, mostly play-acting lines from the show. After awhile, though, the banter begins shifting to role playing scenes from the soap opera, and the tone gets more seriously heated and amorous, in an over-the-top melodramatic style.

Like the TV shows, Kiss loaded with thwarted passion and impossible liaisons. That familiar soap opera-style music loudly punctuates the scene, as the soap opera jumps from screen to real life. In a real soap opera, the music is intended to conjure tension, or suspense. But here, it conjures up laughs from the audience – who were wildly amused by the overheated performances.

The characters struggle for words – they know the passion, but they don’t have a script. We hear clumsy lines like, “The heart is a big muscle, and yours is larger than normal,” and “You can love two women at a time,” or “I want to watch you eat and then lick your plate when you are finished.”

The role playing seems to be seriously leading to the real thing, and Youssif and Hadeel get there rather quickly: declarations of undying love lead to a proposal of marriage by Youssif, and Hadeel accepts. Then true to form for a soap opera, there is a knock at the door, and Hadeel’s beau, the hapless Ahmed (Monty Cole, who also directs) arrives, determined to propose to Hadeel himself.

Ahmed does, and Hadeel accepts. And so it goes, with complications rising as Youssif’s girlfriend Bana (Cassidy Slaughter-Mason) arrives, angry because she senses Youssif has been untrue. This meta-soap opera grinds on comically, until the action ends, and the actors take a bow. The playwright has drawn us close with this show.

And with us in his clutches, Calderon resumes the play with a faked post show discussion by the cast, and we are lead to another plane of performance that is mind-bending, to say the least. I won’t spoil the last 20 percent of the show, but to see where the mind of Guillermo Calderon takes us under the direction of Monty Cole – it’s well, well worth seeing. Likewise the performances by Ardebili and Ishak are excellent. 

Kiss is also a social commentary. The characters names and the Arabic script on the televised soap opera playing on the set let us know it is set in the Middle East. Information in the lobby reveals it is Syria, where soap operas are celebrated form of cultural expression. They are censored, in that criticism of the government isn’t permitted.

But Syrian actors and scriptwriters insert social commentary subversively. In the lobby you can also learn a bit of famous Syrian actress Mai Skaf, who died in exile two years ago, following harassment for political dissidence. If there is a Jeff Award for dramaturgy, the researchers who brings such scripts as Kiss (and also Pomona) to Chicago are certainly deserving of it. Kiss runs through August 18 at Den Theatre.

The Den Theatre returns to original programming for the first time in nearly five years. Director Lia Mortensen directs their revival of the Joel Drake Johnson play ‘Four Places’. In the intimate space at the Den, ‘Four Places’ gets its first Chicago production since its premiere in 2008 at Victory Gardens. 

‘Four Places’ is a fast-paced one act about two siblings dealing with aging parents. The action is fairly simple; a car ride to lunch, the meal and the car ride back.  Warren (Bruch Reed) and Ellen (Amy Montgomery) are the disgruntled siblings. Throughout, there’s an underlying bitterness between the adult children and their mother. Peggy their mother (Meg Thalken) first appears as any other sweet old lady with a slight distance from modern life. The awkwardness seems merely like a generational gap. Once they begin the lunch, the revelations unfold and we get a glimpse into not only this specific family, but the aging process in general. 

This is a tight-knit cast and the nature of the play requires it to be so. Montgomery and Reed are convincing siblings. There’s a familiar chemistry between them adds a complicated layer to the story. They love each other, but rarely like each other. Reed is the sensitive one and Montgomery is the tough one. Good cop, bad cop. Though, it’s really Meg Thalken’s show. Lia Mortensen’s production is gritty and real. Thalken hits all the comic notes but seems more focused on authenticity. Thalken’s visible and palpable unraveling throughout the play is disturbing and achieves the play’s goal. Johnson’s play is about how uncomfortable it is to age, especially into the twilight years when control and dignity begin to slip away. 

‘Four Places’ is a very bleak dark comedy. It asks what happens when the parental/child roles reverse. Each scene is perfectly structured, the needs of the characters are so clear that the ending sneaks up on you. It is a sit-comish style play that’s easy on the ears, but Mortensen has mined the depths of the script for the universal realities. You may not cry but you’ll certainly wonder, what are we going to do about mom? 

Through June 30th at the Den Theatre. 1331 N Milwaukee. 773-697-3830