Displaying items by tag: Kelsey Shipley

At The Ready, a small theatre on Chicago’s Northside is currently hosting the classic parable play “Round Heads and Pointed Heads”. Penned by Bertolt Brecht in 1936, its current Chicago run is being brought to you by Red Tape Theatre - a fine theatre company I would urge one to become familiar with. The play is a sardonic anti-Nazi tale that takes place in in the made-up land of Yahoo where its leaders explore maintaining and strengthening their control by pitting “round heads” against “pointed heads” which replaces racial relations for their aggressive class relations.

Composed of 11 scenes in prose and poetry and 13 songs, the story unfolds in two acts that include an intermission. I found the play a bit long-winded but very well done. Multiple plot lines intertwine throughout and is sometimes quite a bit to digest in one sitting, but its overall message is quite poignant. Having said that, the play is very entertaining.

Several actors in this extremely well-acted production successfully take on more than one role, showcasing a wide variety of talent. Despite the fact that “Round Heads’ is not really a musical per se, there were a good handful of interesting songs that helped tell the story in a unique way.

Social issues like racism, revolution and prostitution made up some of the plot lines. Like I said, it was a lot to digest. As much as I enjoyed the play, the fact so many serious topics are brought to the table and are condensed into a couple hours, can overwhelm one’s attention span at times. However, the story ties together nicely.

Directed by Max Truax, the cast features Maryam Abdi, Ambrose Cappucio, Ben Chang, Casey Chapman, Nora King, Peter Laughlin, Diana Lee, Felix Mayes, Emily Nichelson, Brandon Rivera, Caleb Roitz, Kelsey Shipley, Stephanie Shum, and Ann Sonneville.

What I really like about productions like this set in intimate settings, is that the audience feels they become part of the scenes taking place. I guess having a powerful play so rich and meaningful presented up close and personal is not much of a surprise with a group like Red Tape Theatre. I felt some on the audience consisted of fellow thespians who were there to support the theatre community. Works for me. I like that idea.

Small theatre in Chicago has a lot to offer. There is much to see, and the price of admission is generally reasonable…in this case, free but they do appreciate donations. This production is well worth your time to see, and I look forward to checking out more Red Tape productions. These actors are not doing this to be rich, although it may be a stepping stone to greater things. So, go give them the lift they need…it all comes back to you.

Red Tape's “Round Heads and Pointed Heads” is being performed at At the Ready (4546 N Western Ave, Chicago) through April 21st. https://redtapetheatre.org/  

In Strawdog Theatre’s final performance at the popular northside theatre bar, Hugen Hall, we are presented with Elizabeth Lovelady’s world premiere adaptation of Rudolph Mate’s film noir thriller D.O.A.

Intrigue is the name of the game in this whodunit and audience members are kept guessing to the end.

When Frank Bigelow walks into a police station to report a murder, the intrigue begins immediately as we find out the victim is none other than himself. Poisoned and running out of time, Bigelow frantically searches for the reason he has been targeted and the people responsible. Going over past events leading up to the present and speculating on all possibilities as to why someone would want him dead, Bigelow puts the pieces of the puzzle together, bringing to light a few surprises along the way. As the sixty-minute play unfolds, clues are slowly revealed at a nice pace and the plot steadily gains traction.

The plot has enough to keep one interested though not necessarily keeping one on the end of their seat. What makes the play special is its setting. Thanks to commendable efforts by costume designer Raquel Adorno, lighting designer John Kelly, sound designer Heath Hays, prop designer Jamie Karas and scenic designer Mike Mroch, the simple space is nicely transformed to which D.O.A. embodies a classic flatfoot detective style with scenes reminiscent unforgettable films such as The Third Man or Double Indemnity.

Capturing the smallest of details to add a genuineness to the proposed era are the women made up in black lipstick, the stylish 1940s suits and dresses, the smoke-filled room that creates moving shadows amongst the white spotlighting and the snappy dialogue filled with film noir jargon. Actors gracefully walk around the stage and seating area as the scenes quickly change, often leaving a cast member standing or sitting right alongside a member of the audience, making this a unique theatre experience.   

The play also offers its share of humor as a handful of scenes over-emphasize the drama with extended freeze frames, gazes and deadpan deliveries of cheesy lines.

Mickey O’Sullivan leads the capable cast as a desperate Frank Bigelow with fellow cast members contributing nicely – many in dual roles, especially getting strong performances by Sean McGill (Harry, Bartender, Chester) and Kelsey Shipley as Elaine/Ms. Foster.  

Strawdog Theatre’s D.O.A. is being performed at Hugen Hall (3829 N. Broadway) through April 5^th. For tickets and/or more show information visit www.Strawdog.org.