Home

Displaying items by tag: Patrick Blashill

Set in 1830, Lifeline Theatre’s Middle Passage, beautifully directed by Ilesa Duncan, is an exciting show: absolutely entertaining, well-produced and well-acted.

And yet, entertaining as it is, Middle Passage also recounts the horrific enslavement and transport of Africa’s Allmuseri people, their inhumane treatment by a cruel ship’s captain, and the desecration of their sacred possessions. How do these opposites co-exist in one play? Look to the source.

Based on the bestseller by Charles Johnson (adapted by David Barr III and the director), Middle Passage the book is a fictional first-person narrative by a 20-year-old freed slave, Rutherford Calhoun (Michael Morrow), who makes his way from Southern Illinois to New Orleans to sow his wild oats.

“She’s a town with almost religious pursuit of sin,” Calhoun says of New Orleans, in an aside to the audience.

Johnson gives us a picaresque novel, with a wandering young man, like other 19th century literary characters (think Thackeray’s Barry Lyndon). Both the book and the play recount from the first-person point of view, Calhoun’s experiences – good and bad passing before his eyes - during his adventures. So, as in life, the good and the bad, the lighthearted moments and the tragic, co-exist.

Like Barry Lyndon, Rutherford Calhoun is on the make in New Orleans, and without means – courting young ladies, but also running up debts. This comes to the notice of Papa Zeringue (Bryan Carter), a Creole mob boss holding all Calhoun’s promissory notes. Papa Zeringue tells Calhoun he must pay, or he will be thrown into the deeps of the Mississippi.

Thankfully for Calhoun, he has flirted (chastely) with Isadora (Shelby Lynn Bias), a young black schoolteacher from Boston, whose family has been free for generations. Isadora has some savings, and unbeknownst to Calhoun, negotiates to pay his debts to Papa Zeringue, on one condition – Calhoun will be forced to marry her.

When he learns of the plan, Calhoun stows aboard the ship Republic. When it puts out to sea, he discovers it is a slaver, on its way to Africa to pick up human cargo.
And with that, the story opens to an exciting, rollicking seafaring tale with all the trappings- storms, cannon fire, mutiny, betrayals, slave rebellions. Calhoun is there for selfish reasons - “Of all the things that drive men to sea, the most common disaster, I've come to learn, is women” – as one character puts it.

As an “everyman” character, we watch Calhoun avoid dirtying his hands in the fray, but eventually, he moves from aloof observer to responsible man, developing his moral compass through the trials.

The cast is uniformly good - really good - and most play multiple ensemble roles, as well as their principle character. Particularly notable performances were delivered by Patrick Blashill as Captain Falcon and Andres Enriquez as navigator Peter Cringle. Shelby Lynn Bias’s Isadora is both nicely written, and very well delivered – she is very 1830s Bostonian. Hunter Bryant (Calhoun’s brother Jackson), also, notably plays the role of a young slave learning English who bonds with Calhoun. Bryant launches convincingly into a somewhat lengthy delivery in an Allmuseri language.

Michael Morrow as Rutherford Calhoun carries the weight of the play on his shoulders, also making asides to the audience about the action or his feelings. Opening night, Morrow seemed a little uncertain in the beginning moments – but eventually warmed and really did command the role.

The set (Alan Donohue) is a lovingly crafted sailing vessel with multiple decks, stowage, working winche, mast and beam – all integrated to the projection design (Paul Deziel and Alex J. Gendal) and sound design (Barry Bennett). With this we feel for all the world we are at sea, particularly during storms and battles. A puppet parrot was less compelling.

The play originated at Pegasus Players in 2016 under the title, Rutherford’s Travels. But this version seems very strongly rooted in African storytelling culture, which taps a type of magical realism, to my mind (like Colson Whitehead’s Underground Railroad). Its title is far more resonant today: Middle Passage, the slave shipping route that represents the crucible of emotional and spiritual transformation from free, cultured Africans to impoverished American slaves.

Lifeline Theatre is also making Middle Passage very accessible: Tickets are $20 for military, veterans, and students, and for rush tickets sold 30 minutes before curtain. Middle Passage runs through April 5 at Lifeline Theatre,6912 N Glenwood, Chicago 60626. www.lifelinetheatre.com

Published in Theatre in Review

In its opening scene, Blue Stockings sets us in a bustling 19th century train station, the crowd swirling quickly by, then shifting to slo-mo – just like a digital film – highlighting characters who soon become principal players in the action.

That cinematic touch seems to be used more frequently on stage, and underscores the growing crossover of film and stage. In fact, Blue Stockings - the true story of the struggle by 19th century British women for access to college degrees - is now being adapted for a television series by Jessica Swale from her 2013 script, which won a Most Promising Playwright award when it debuted at Shakespeare’s Globe Theatre.

So this is a wonderful opportunity to see a significant work by a rising writer (Swale has two other movies in development). It is very well directed and produced by Spenser Davis for Promethean Theatre Ensemble (at the Den Theatre through October 13).

Following that opening scene, we quickly cut (movie style) to a foretaste of a future scene, where guest lecturer Dr. Maudsley (Jared Dennis) is holding forth:
“Except if theywith to sacrifice themselves, the higher education of women may be detrimental to their physiology,” he posits, noting the women who pursue education are of four types: scientists, mathematicians, writers, and “wealthy dilettantes” the latter known at the time as “Blue Stockings.”

When he reappears, Dr. Maudsley will also lecture on hysteria, “rooted in the Greek for ‘uterus’” he reminds the students. As preposterous as such assertions sound today, it was in fact exactly the type of “scientifically grounded” basis on which men objected to equality for women. “These are not opinions,” Dr. Maudsley says, “they are facts of nature proven by science.” And this sets the basis for the tension and drama that follow.

Girton College was founded in 1869 as the first of Cambridge University’s 31 colleges to admit women. By 1896, when Blue Stockings takes place, women also began agitating to vote – then restricted to males, just like the U.S. You may not need to know all the background to appreciate the play, but it helps – since Swale confronts us with the unbelievably bald misogyny of the period. These sentiments still infiltrate current debates, so revisiting them in Blue Stockings is instructive.

Girton’s headmistress, Elizabeth Welsh (Jamie Bragg), has been working steadfastly for decades to raise the stature of women’s education, arguing for the right to award degrees. Blue Stockings follows the action culminating in an 1896 vote by the all-male Oxford University Senate. But the men on campus, students and professors, found the prospect of women earning degrees just like men but threatening and perverse.

Promethean Theatre has developed a wonderful “Appreciation Guide to provide background for the play. And I must admit, watching it with no with no factual context made me think of it more as a PBS-style costume drama, like Dowton Abbey – interesting, but not gripping. Being reminded that the Cambridge Senate voted down the degrees measure, and women were not awarded Cambridge degrees until 1948 (!) makes it matter much more.

Swale gives us another mark of a good playwright, with a host of distinct and memorable characters, and an entertaining story line, too. Girton lecturer Mr. Banks (Patrick Blashill) is that inspiring and nurturant educator who helps reorder the women students’ thinking. He has them dress in bloomers (those billowy 19th century pants) and teaches them to ride a bicycle, astride no less. (In real life, this happened, and the male students protesting women’s degrees burned in effigy a woman on a bicycle.)

With 19th century co-education comes the first challenges of keeping the young men and women safely separated, and all the efforts college students engineer to circumvent that control. Swale Tess (Heather Kae Smith) plays an everywoman student, a gifted mathematician and astrophysicist. The women student performances overall were far stronger than their male counterparts. For the first time society proffers a choice for her between romantic love and the life of a mind.

Swale shows this up to be a false choice from a male-dominated society. With the right man, she can have both. Among noteworthy performances are Jamie Bragg as schoolmistress Elizabeth Welsh; Cameron Feagin as Miss Blake, a lecturer and active suffragist; Patrick Blashill as Mr. Banks and Jared Dennis as Dr. Maudsley. Blue Stockings runs through October 13 at The Den Theatre in Chicago.

Published in Theatre in Review

Stellar Performances in “Prayer for the French Republic”

21 April 2025 in Theatre in Review

Early in the first act I whispered to my companion and said “I love this!” Extremely well written by Joshua…

A WONDROUS SOUND - Orchestra and Chorus of the Chicago Lyric Opera is a wondrous compilation of the best of the best!

21 April 2025 in Theatre in Review

The repertoire for this fabulous program - A WONDROUS SOUND, showcasing the full force of Lyric’s amazing orchestra and chorus,…

Citadel's 'A Jukebox for the Algonquin" - The Reality of Life in a Senior Center sets the Stage for Tunes, Friendship and Rebellion!

20 April 2025 in Theatre in Review

Citadel’s latest production, A Jukebox for the Algonquin, truly captured my heart. It’s a refreshing reminder that as we age,…

A Night to Remember Aboard Marriott Theatre’s Titanic

17 April 2025 in Theatre in Review

As a lifelong aficionado of the ill-fated ocean liner RMS Titanic, I’ve always gravitated toward any experience that would leave…

The Artistic Home presents CUT TO THE CHASE festival of one-act plays May 1-4 at The Den Theatre

17 April 2025 in Upcoming Theatre

The Artistic Home Studio will present the 2025 edition of its annual CUT TO THE CHASE festival of new one…

Chopin Theatre & Gwydion Theatre present "Theatre of the Absurd" festival Eight Darkly Comedic Tales May 2 – May 25, 2025 | Chopin Theatre Studio

17 April 2025 in Upcoming Theatre

In an era that often defies reason, Chopin Theatre and Gwydion Theatre launch the first annual Theatre of the Absurd…

Pegasus Theatre Chicago announces cast for its revival of Shakin' the Mess Outta Misery

16 April 2025 in Upcoming Theatre

Pegasus Theatre Chicago and Director ILesa Duncan proudly announce the casting for the revival of playwright Shay Youngblood's Shakin' the Mess Outta Misery, which follows…

THE LOVE OF THREE KINGS Returns and Kicks Off the Opera Festival of Chicago, May 9 and 11

16 April 2025 in Upcoming Dance

The Opera Festival of Chicago announces the cast and creative team for The Love of Three Kings (L’Amore dei tre Re), with…

See Chicago Dance Announces the Return of Chicago Dance Month, May 31 - June 28, 2025

16 April 2025 in Upcoming Dance

See Chicago Dance, the dance industry's nonprofit service organization celebrating its 20th anniversary in 2025, is proud to announce that its popular…

Steppenwolf Theatre Announces LookOut's Summer 2025 Season

15 April 2025 in Upcoming Theatre

Steppenwolf's LookOut Series is pleased to announce its action-packed summer lineup of comedy, magic, storytelling, drag and more! The Summer 2025 Season…

Writers Theater Excels in Brian Friel's Funny, Complicated 'Translations'

15 April 2025 in Theatre in Review

Brian Friel’s “Translations,” now playing at Writers Theatre in Glencoe, IL, shows off the renowned Irish playwright’s signature skill in…

Chicago Shakespeare Theater announces casting for the NORTH AMERICAN PREMIERE of a new musical from the producers of SIX - 42 Balloons

14 April 2025 in Upcoming Theatre

Chicago Shakespeare Theater (CST) announces today the cast of the North American premiere of the new musical 42 Balloons. From the multi-award-winning producers Kevin McCollum (Oh,…

Chicago Shakespeare Theater announces a Bold 2025/26 Season of 12 productions

09 April 2025 in Upcoming Theatre

Chicago Shakespeare Theater (CST) Artistic Director Edward Hall and Executive Director Kimberly Motes announce today the 2025/26 Season. As the nation's largest year-round theater dedicated…

Tickets on sale April 11 for A Night of Mellon Collie and Infinite Sadness

09 April 2025 in Upcoming Theatre

Tickets go on sale Friday, April 11 at 10 a.m. Central time for the world-premiere performances of A Night of Mellon…

TWILIGHT In Concert Comes to Chicago

09 April 2025 in Upcoming Theatre

GEA Live and Broadway In Chicago in association with Lionsgate, today announced the highly-anticipated 60-city national tour of the first-ever TWILIGHT IN CONCERT ( www.twilightinconcert.com) will visit in…

Layers Unfold in “The Book of Grace” at Steppenwolf

08 April 2025 in Theatre in Review

In a masterful stroke of programming, Steppenwolf Theatre Company presents the Chicago premiere of "The Book of Grace," Suzan-Lori Parks'…

Theo Ubique and CPA Theatricals to co-produce SENTINELS, a play with music celebrating the contributions of women over the past 80 years, August 1-10

07 April 2025 in Upcoming Theatre

CPA Theatricals and Theo Ubique Cabaret Theatre today announced a co-production of the play with music SENTINELS, which imagines a…

KIMBERLY AKIMBO On Sale

07 April 2025 in Upcoming Theatre

Broadway In Chicago is thrilled to announce individual tickets for KIMBERLY AKIMBO, winner of five 2023 Tony Awards including BEST MUSICAL and the most…

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…

Chicago Shakespeare Theater Presents Lively Production of Sunny Afternoon

06 April 2025 in Theatre in Review

“It’s not us… all this mucking about with our sound.”   Sunny Afternoon is about many things. This is in…

‘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…

 

 

         17 Years and counting!

Register

     

Latest Articles

Guests Online

We have 199 guests and no members online

Buzz Chicago on Facebook Buzz Chicago on Twitter 

Does your theatre company want to connect with Buzz Center Stage or would you like to reach out and say "hello"? Message us through facebook or shoot us an email at This email address is being protected from spambots. You need JavaScript enabled to view it.

*This disclaimer informs readers that the views, thoughts, and opinions expressed in the text belong solely to the author, and not necessarily to Buzz Center Stage. Buzz Center Stage is a non-profit, volunteer-based platform that enables, and encourages, staff members to post their own honest thoughts on a particular production.