Displaying items by tag: Gabriel Ruiz

Walking in as curtain time neared for Photograph 51, the towering set took my breath away: a backdrop nearly three-stories tall, built of a latticework of delicately framed, vertical windowpanes with spiral staircases swirling down at each end, to meet a floor of foot-square hexagonal tiles.

Heavy quarter-sawn oak laboratory tables and cabinets filled the setting, a research lab that would play a pivotal role in the discovery of the structure of DNA molecules. As the play commenced, illumination flowed down the pillars of the window panels and along the irregular channels at the edges of the tile, creating an electrifying vision - mimicking the hexagon shape of those DNA molecules.

Strains of an evocative original score swelled as the action began in the laboratories of King’s College in London - the site of crucial research that led to the now familiar double helix structure of DNA molecules described by University of Cambridge researchers (and eventual Nobel laureates) James Watson and Francis Crick.

This play tells of unsung research heroine in that saga, Rosalind Franklin (played excellently by Chaon Cross), a chemist whose X-ray crystallography photographs (Photograph 51 was the big one) that provided a visual key unlocking the riddle of how DNA molecules were structured.

Watson (Alex Goodrich) and Crick (Nicholas Harazin) went on to Nobel glory, as did Franklin’s research partner Maurice Wilkins (played by Nathan Hosner), while Franklin’s pivotal role was largely forgotten. That is, until Watson’s outrageously misogynist portrayal of her in Double Helix, his autobiography. As the rare creature of her day, a woman research scientist, Franklin suffered the critiques of male peers that are familiar - she wasn't feminine enough, was hard to get along with, made the least of herself in dress and style. Needless to say,  these were taken more seriously in the 1950s. 

"Why collaborate with someone who's hard to get along with," as one of Franklin's peers puts it. Nonetheless, in this retelling of the story, Franklin asserted herself, insisting she be accorded equal respect, and resisting attempts to subordinate her research to her male lab partner, Maurice Wilkins.

"Dr. Wilkins, I will not be anyone's assistant," Franklin tells him, and she insists he refer to her as Dr. Franklin. 

Watson’s characterization of Franklin in Double Helix was widely criticized. Harvard, where Watson was teaching, refused to publish it.
Watson’s reputation and career has also been devastated by his advancement of theories that there is a link between race and intelligence.

Having lost his income, he became the only Nobel prize winner who to sell his award. U of C, which sustains the Court Theatre, may be trying to get on the right side of the issue by presenting Franklin’s story on stage – though it might want to revisit the distinguished alumni award it made to Watson in 2007. 

Would that the play measured up to such worthy goals, and the promise of its sets by Arnel Sancianco (scenic design), Keith Parham (lighting) Jeffrey Levin (sound). Instead, we have a show with great acting and production values – it reminds me of a Netflix pilot film – but with a story line, yet only a wandering plotline.

Plays need a drama to succeed, and instead we are given a timeline. All very interesting, to be sure, but not gripping.
As a result, instead of Franklin being the star of her own story, she is a supporting character. The closest thing we have to a protagonist is her partner Wilkens, who secretly carried a torch for her. That these scientists are such a nerdy bunch must have made it all the more difficult for playwright Anna Ziegler to develop the work. It was a success in London starring Nicole Kidman. The University of Chicago lent its academic bona fides and knowledge base to Court Theater’s production, and that greatly enriches the show.

There are moments, to be sure, including a wonderful soliloquy on the loneliness of a scientist's pursuit of knowledge. Likewise, the tortured moments of Wilkins, who struggled to recognize and express his feelings for Franklin.

We have a wonderful theatrical spectacle, and the direction by Vanessa Stalling made the most of Photograph 51, “mining Ziegler’s text for all its thematic complexities,” as artistic director Charles Newell puts it. Watson & Crick’s discovery in 1953 of the double helix changed history, and our view of ourselves as humans. The knowledge of DNA’s role – and the potential for engineering new directions using it – is the basis for a world of change in arts and sciences.

Photograph 51 is an illuminating story, and we are fortunate it is being told so beautifully - and perhaps that is enough to recommend it. The show runs through February 17 at Court Theatre.

*Now playing through February 23, 2019

The story of the aftermath of the U.S. involvement in the Vietnam War has been told and retold, but never in such a lively and colorful manner as Vietgone, now playing at the Writers Theatre in Glencoe.

Written with the insight and perspective of a first-generation millennial, the play by Qui Nguyen gives us a fresh take not only on the story, but on storytelling and dramatic style and structure – a work that is part musical, part performance piece, all of it fitting for our era of Hamilton-style historical drama. Directed beautifully by Lavina Jadhwani, Vietgone features original music and music direction by Gabriel Ruiz, who has gained acclaim in Chicago’s venturesome Teatro Vista’s Ensemble. It features great choreography by Tommy Rapley.

If you feel the story of the Vietnam War has been covered ad nauseum already, you will be immensely surprised and entertained by this take from a group of people who were most directly affected the fallout of the event – Vietnamese who were hurriedly and even chaotically evacuated in April 1975, as South Vietnam’s capital, Saigon, fell to the North Vietnamese forces.

In Vietgone, we meet a series of character “types” – the author himself (who introduces the play as “possibly true”); also his father; and a young woman who plans to thrive on her new found freedom; her opportunistic middle-aged mother, who hopes to find romance, and to avoid learning English; U.S. soldier who falls for a Vietnamese girl; even a racist biker who stands in for the legions of Americans who had trouble laying down enmity against their Asian enemies after decades of war against the North Vietnamese Communist regime.

One character, a South Vietnamese army pilot, desperately wants to return to his wife and two young children. But if he does, he will likely be punished as a war criminal by the victors from Hanoi. Nguyen forthrightly addresses such stories of individual suffering and the culture clashes that ensued for these sudden transplants whose families and way of life were abruptly torn asunder.

But Nguyen also conveys the joy that was discovered in contemporary American rhythm and blues and rock and funk and dance as these individuals found their way. From this grounding springs an entrancing musical experience. Lyrics to the songs are rapped clear as a bell, with some songs “nearly sung” quite delightfully. This entrancing musical performance overlay may belie the darker aspects of the deeply powerful story that it also conveys. But the form brings us into the work so we can receive that story.

Vietgone centers its tale on the initial phase of evacuation, 130,000 South Vietnamese who were transported to via Guam into the United States, landing at resettlement camps at four military bases: Fort Chaffee in Arkansas, Camp Pendleton in California, Fort Indiantown Gap in Pennsylvania, and Eglin Air Force Base in Florida. Nearly two million more people followed them in separate exoduses, settling at points around the globe under U.N. auspices. 

Along with telling the story of that first cohort, Qui Nguyen introduces us to numerous memorable characters, whose background and personalities stay with us following the show. To have established so many individuals so vividly and concretely is quite an impressive accomplishment - all to the credit of this sterling cast. Standouts are Aurora Adachi-Winter as Tong and Matthew C. Yee as Quang. 

Vietgone is highly recommended. It runs through September 23 at Writers Theatre. 

*Extended through September 29th

It could have been any other Friday night for me; coffee, friends, and a few brief moments away from the responsibilities of motherhood, to talk and vent about the responsibilities of motherhood. But it wasn’t a Friday night with my friends, but Cry It Out, a new play written by Molly Smith Metzler. Like most evenings out, there were laughs, shared emotions and connections, and it ended far too soon leaving me wanting more.

Cooped up on maternity leave and eager for conversation, Jessie invites the funny and forthright Lina for coffee in their neighboring backyards. They become fast friends, quickly bonding over their shared “new mom” experience—and arousing the interest of a wealthy neighbor hoping for a similar connection. This insightful comedy takes an honest look at the absurdities of new motherhood, the dilemma of returning to work versus staying at home, and how class impacts parenthood and friendship. A comedy with dark edges, Cry It Out takes an honest look at the absurdities of being home with a baby, the power of female friendship, the dilemma of going back to work, and the effect class has on parenthood in America.

At a time when new mothers have little time off to care for their newborns, and even less time to mentally and physically recover from the trials of giving birth, this play shines a light on how depressingly similar our situations are. Three mothers represent three different economic situations. Each struggle with having a significant other who doesn’t fully understand their decisions and desires, discovering and accepting their new roles as mothers, and each face their own self judgement and worry about making the right choices for their families and themselves.

What Metzler does so well with this play is keeping it simple and unabashedly honest about what mothers go through, and how they deal with the challenging newborns, new bodies, and new friendships. From subtle references to NoseFridas (accurately referenced as the greatest invention of all time), to more tragic realities like breech deliveries and life-altering injuries. Cry it Out is a painfully beautiful story that will leave you crying for more. Its talented cast includes Laura Lapidus (Lina), Gabriel Ruiz (Mitchell), Darci Nalepa (Jessie) and Kristin Valada-Viars (Adrienne).  

Cry It Out runs through June 17th at Northlight Theatre. Tickets are available at https://northlight.org/

Put acting greats Francis Guinan and John Mahoney on stage together and you undoubtedly get a performance that will certainly mesmerize. Add Jessica Dickey’s poignant script that delves into history and what we can take away from it, keen direction by Hallie Gordon and fine supporting performances from Ty Olwin, Karen Rodriguez and Gabriel Ruiz and you have a power-packed production that truly resonates with its audience. Steppenwolf’s latest, The Rembrant, is just that.

Guinan stars as longtime art museum guard Henry. A lot is going on this particular day. Henry’s boss Jonny (Ruiz) has just hired a new guard named Dodger (Olwin) and Henry needs to show him the ropes. The young, mohawk-wearing Dodger clearly isn’t in the same mold as his new mentor Henry and when art student Madeline admire a Rembrant before sketching it, the new guard encourages her to “touch the painting”. “Touch it”, he says, “feel the history.” Upon Henry’s return, he gazes at the same painting, one he has admired for years, Dodger urges him to do the same. Of course, this is absurd, thinks Henry. But Henry is troubled, his husband slowly dying from cancer. He has been a loyal guard for years. He wants so badly to touch the Rembrant – to feel the brush strokes. So, he does.

Once Henry feels the canvas, we are taken back in time to the life of Rembrant (also played by Guinan). We see the strong bond he has with his son Titus (Olwin), a son who wants nothing more to be by the side of his father. Dickey makes a valiant effort in encompassing the thought process behind Rembrant’s paintings. In one painting a man has a large hand and a small hand. This we learn is to keep father and son together forever, one hand belonging to Titus, the other to Rembrandt. The period is well-played and Guinan at the top of his craft.

Then emerges Homer, played wholeheartedly by Mahoney. Homer reminds us death is imminent for all of us. Though the time and the how unknown, the certainty for sure. It is a riveting dialogue that profoundly makes its way throughout the theatre prompting us to think about enjoying the gift of life while we can. We are also reminded of Mahoney’s powerful stage presence.

The play goes full circle, Henry by the side of his husband Simon (Mahoney) as they reminisce about the past, cherishing fond memories and exchanging their feelings for one another in a sad, but moving scene that adds an exclamation point to a very engaging story.

Guinan is sensational. However, he will take leave of the role after the October 22nd performance. Talented Chicago actor Joe Dempsey will reprieve Guinan and take over the role of Henry and Rembrandt as of October 24th. Inventive set design, wonderful acting performances and an engaging story, The Rembrandt is a warm production that connects the present to the past in a very creative way.

Recommended.

The Rembrandt is being performed at Steppenwolf Theatre through November 5th. For tickets and/or more show information visit www.steppenwolf.org.

*Extended through November 11th

In Native Gardens, an ambitious young couple moves into a fixer-upper in an affluent DC neighborhood. Husband Pablo (Gabriel Ruiz) is a lawyer, his pregnant wife Tania (Paloma Nozicka) is working on her doctorate dissertation. Their nice and lively, albeit politically incorrect, neighbors are a defense contractor Virginia (Janet Ulrich Brooks) and her retired gardening-loving husband Frank (Patrick Clear). Shortly after moving in, Pablo has a bright idea to invite his entire law firm (all sixty people) to a barbeque in their embarrassingly unfinished yard, so the young couple gets to work. The old wire fence separating the neighbors’ properties (very nice design set by William Boles) has to go, but it soon becomes evident that Frank has been gardening on extra 23 inches of land that actually belongs to the new couple, according to the property plans.

Upon further calculations Pablo realizes that those 23 inches along the old fence translate into extra 80 sq feet of land which goes for “about $15,000 at a current market price”. Well, it’s a war then! Frank refuses to let go of his lovingly raised flowers right up against the ill-placed fence, while the young couple is on a mission to re-claim what’s rightfully theirs.

Who knew that an incorrectly placed fence would cause so much commotion? We all did, we saw it coming before the play even started. But despite its predictability, this comedy is still entertaining and somewhat thought provoking. Written by Karen Zacarias and directed by Marti Lyons, Native Gardens is more about generation clash, stereotypes, ageism and racism rather than the property lines. The older couple is from the pre-self-censorship era, and in their ignorance, they don’t always choose words carefully; they say what’s on their minds rather than hide behind politically correct words and ideas. But those words are often offensive to the delicate ears of Tania, whose proper opinions, frankly, make for sterile conversation, enough to put one to sleep. All in all, the two couples can’t effectively communicate, so they threaten each other instead. Will their peace be restored?

Native Gardens runs through July 2nd at Victory Gardens Theater. To find out more about this show visit www.VictoryGardens.org.

“City of Angels”, which won several Tony awards back in 1990 is really two stories in one. One is the black and white sexy film noir plot that author Stine (played sympathetically by actor Rob Thomas) is writing about private dick Stone for a sleazy Hollywood producer and the other story revolves around his real life. Stone is played with nice masculine swagger by Kevin Earley. Director Nick Bowling has done a great job of bringing this very complex and sometimes confusing musical to life in the round space at Marriott Lincolnshire.

The women in this show really took the reins and each had some dynamite moments. Summer Naomi Smart is lovely to look at as the classic film noir femme fatale and has her best number dressed in tennis whites as she wittily seduces her newly hired detective into her employ. 

Erin McGrath as her missing step daughter Mallory has a very sexy number wrapped only in a bed sheet also trying to seduce the detective into taking her side in the romantic number "Lost and Found".

I just adored Megan Murphy's entire dual performance. She plays both Stone’s secretary, Oolie, and Stine’s mistress, Donna. Murphy had the entire audience laughing with her number "You Can Always Count on Me". 

I've been "the other woman" since my puberty began
I crashed the junior prom
And met the only married man
One joe who swore he's single
Got me sorta crocked, the beast
I woke up only slightly shocked that I’d defrocked a priest
Or else I attract 
The guys who are longing to do my hair
You can always count on me

Murphy has a really solid, terrific singing voice and her whole character really resonated with a sense of grounded humorous reality in both worlds of this show. Buddy Fidler, the sleazy yet success making producer was adorably played by the talented Gene Weygandt.

The quartet of singers playing the 'Greek chorus" that move the story along were reminiscent of group The Manhattan Transfer and their marvelous harmonies were a delight to listen to in each scene. 

Gabriel Ruiz shows a real star turn in his smaller role as Officer Munoz his number was sung with perfect comic timing in “All You Have to Do is Wait,” referring to what he thinks is  Stone’s upcoming  gas chamber execution.

This production definitely had more seductive bite than others I have seen at Marriott Theatre and I always enjoy the way the intimate theater in the round is used to keep the audience alert and involved as actors are constantly making their entrances and exits seamlessly right through the crowd without mishap. 

Though their productions are always top notch, the only bug that regularly occurs at The Marriott Theatre is that there are not enough service areas during intermission so you have to chug whatever you do get to purchase before returning to your seat. Also drinks, even bottled water, are not allowed in the theater. This is a real problem given that if you have a cough attack or other emergency during the show because you really cannot leave the theater discretely without literally running into characters in the show. This minor discomfort could easily be solved with a few more bartenders and a water allowed policy. 

I highly recommend this lively, seductive and funny production of the Tony Award winning “City of Angels" for young and old alike. It has the sexy humor adults will appreciate and the great music and action young people will be entertained by. “City of Angels” is being performed at The Marriott Theatre through August 2^nd. For more information about the show, visit www.marriotttheatre.com.