Displaying items by tag: Ron OJ Parson

Court Theatre, under the leadership of Marilyn F. Vitale Artistic Director Charles Newell and Executive Director Angel Ysaguirre, is proud to announce its 70th season. The 2024/25 season will feature Eugene Lee's searing and rhythmic East Texas Hot Links, directed by Resident Artist Ron OJ Parson; the groundbreaking musical Falsettos, with music and lyrics by William Finn, book by William Finn and James Lapine, produced in partnership with TimeLine Theatre Company, and directed by Nick Bowling, TimeLine Theatre Associate Artistic Director; A Raisin in the Sun, Lorraine Hansberry's tale of class and aspiration, directed by Associate Artistic Director Gabrielle Randle-Bent; and finally, Berlin, the exhilarating world premiere by Mickle Maher based on Jason Lutes's graphic novel of the same name, directed by Marilyn F. Vitale Artistic Director Charles Newell.

Court's 2024/25 season spans genre and form, with productions that speak to our current moment with clarity and heft. The season begins with a skillful work of lyricism, simultaneously a love story and a thriller; it continues with a shimmering musical about family, followed by a South Side classic rooted in lived history and liberation; and it concludes with a fast-paced world premiere.

The landmark 70th season is a celebration of milestones. This season is the year in which Charles Newell will transition from Marilyn F. Vitale Artistic Director to Senior Artistic Consultant and the year in which Court will welcome its new Artistic Director. Furthermore, each production in the season is representative of a milestone of its own and is imbued with a keen sense of foresight; staging these plays at this moment instigates a fascinating exploration of what it means to live in a present that was imagined by works of the past. The 2024/25 season is here, and the time is now.

"The lineup for the 2024/25 season is jaw-droppingly good," shares Marilyn F. Vitale Artistic Director Charles Newell. "These productions interrogate community; the cost of striving for a better life; and the very ways we tell stories, all of which are themes that feel particularly resonant. The timeliness of this season speaks to the enduring power of classic theatre and the continued need to revisit these stories. We can't wait to share this season with our audiences."

"Court continues to push the boundaries of what classic theatre can be, and that is clearly reflected in the 2024/25 season," says Executive Director Angel Ysaguirre. "Each of these plays has an acute sense of relevance and urgency; now is the time to tell these stories with these artists. The work that we're doing offstage to complement and support the art – our engagement programming, our education initiatives, collaborations with the University of Chicago, a producing partnership with TimeLine Theatre, and deepening our relationships across the South Side – will only enhance these creative endeavors."

The 2024/25 Court Theatre Season Up Close:

EAST TEXAS HOT LINKS

By Eugene Lee

Directed by Resident Artist Ron OJ Parson

September 6 – September 29, 2024

Nominated for a Pulitzer Prize, East Texas Hot Links is a gripping character study, a lyrical masterpiece, and portrait of community. It is 1955 in the piney woods of East Texas and racial tensions are high, yet the Top O' the Hill Café remains a haven. There, regulars share stories, joke, unwind, and trade friendly barbs. The café is a refuge that keeps the outside world at bay, until a mysterious omen forces the outside in.

Court's 2024/25 season opener is a tribute to Resident Artist and Director Ron OJ Parson's (Two Trains Running) first production in Chicago, his deep collaboration with playwright Eugene Lee, and the founding of Onyx Theatre Ensemble, the storied theatre company that first produced East Texas Hot Links in Chicago thirty years ago.

By returning to Top O' the Hill Café decades later, Parson asserts East Texas's place in the modern theatrical canon, honors the legacy of Onyx, and obliterates the line between America's fraught past and its charged present.

FALSETTOS

Music and Lyrics by William Finn

Book by William Finn and James Lapine

Co-produced with TimeLine Theatre Company

Directed by Nick Bowling, TimeLine Theatre Associate Artistic Director

November 8 – December 8, 2024

Tony Award-winning Falsettos is a tribute to family and its many forms; a playful interrogation of faith and identity; and a celebration of the beauty, complexity, and necessity of love.

Marvin has left his wife, Trina, for his male lover; Trina has married Marvin's therapist; and their son, Jason, is grappling with his parents' divorce and his looming Bar Mitzvah. Everyone's world has been upended and now they must explore what their new lives may hold. Featuring a sung-through score and set against the backdrop of the AIDS epidemic, Falsettos is a humorous and heartbreaking web of ex-spouses, co-parents, new lovers, and the lesbians next door.

TimeLine Theatre Associate Artistic Director Nick Bowling (The Lehman Trilogy) returns to Court Theatre – where he began his career almost thirty years ago alongside Charles Newell – to make his Court directorial debut with this celebratory co-production with TimeLine Theatre Company. Groundbreaking in its depiction of queerness, Falsettos shines with ingenuity and contemporary relevance.

A RAISIN IN THE SUN

By Lorraine Hansberry

Directed by Associate Artistic Director Gabrielle Randle-Bent

February 7 – March 9, 2025

Winner of the Tony Award for Best Play, a Pulitzer Prize, and the first play written by a Black woman to be produced on Broadway, Lorraine Hansberry's A Raisin in the Sun is a stunning portrayal of a family's fight for dignity and the right to dream.

As the Youngers await their recently deceased patriarch's life insurance check, they allow themselves to imagine a bigger life – a life with room to breathe – until those plans are thrown into jeopardy. Hansberry's language rings as wise and prescient as ever in her moving answer to Langston Hughes's question, What happens to a dream deferred?

Staged sixty years after Lorraine Hansberry's passing, Associate Artistic Director Gabrielle Randle-Bent (Antigone) brings Hansberry's masterpiece home to Chicago's vibrant South Side and Court's stage for the very first time.

BERLIN

WORLD PREMIERE

By Mickle Maher

Based on the graphic novel by Jason Lutes

Directed by Marilyn F. Vitale Artistic Director Charles Newell

April 25 – May 18, 2025

Berlin is an unforgettable mosaic of intersecting narratives set amidst the decline of Weimar Germany. This original commission brings Jason Lutes's exhilarating and acclaimed graphic novel to life.

Fascism is taking hold; revolutionaries are organizing; creatives are trying to capture the ineffable nature of their changing city; and – as everything falls apart – everyone is faced with a choice: abandon Berlin or fight to survive.

Marilyn F. Vitale Artistic Director Charles Newell (The Gospel at Colonus) directs Mickle Maher's propulsive adaptation, an ever-shifting kaleidoscope of everyday people trying to survive one of the most remarkable moments in history. Set almost one hundred years ago, Berlin speaks to our current moment, and our future, with undeniable urgency.

Subscription Information

Three and four-play subscriptions to Court's 2024/25 season range from $114 to $280 and are on sale now. To purchase a subscription or to receive more information, call the Court Theatre Box Office at (773) 753-4472, or visit Court's website at CourtTheatre.org. Individual tickets for all productions will be available in summer 2024.

Court Theatre reimagines classic theatre to illuminate our current times. In residence at the University of Chicago and on Chicago's historic South Side, we engage our audiences with intimate and provocative experiences that inspire deeper exploration of the enduring questions that confront humanity and connect us as people.

Recipient of the prestigious MacArthur Award for Creative and Effective Institutions in 2016, TimeLine Theatre was founded in 1997 with a mission to present stories inspired by history that connect with today's social and political issues. TimeLine Theatre Company is currently helmed by Artistic Director PJ Powers and Executive Director Mica Cole. For more information about TimeLine, visit timelinetheatre.com.

Murder’s a hoot in Court Theatre’s revival of Joseph Kesselring’s “Arsenic and Old Lace.” Lighthearted and stylish, director Ron OJ Parson’s production makes for a charming season opener. Court Theatre was awarded a Tony award for best regional theatre and it feels fitting for a well-known classic to be this year’s kick-off. Slapstick humor and sinfully crackling dialogue are brought to life by an excellent ensemble of some of Chicago’s favorite performers.

It's hard to imagine this subversive comedy finding a mass audience in a less cynical era, but the 1941 Broadway production of “Arsenic and Old Lace” ran for years spawning a successful West End run as well. Boris Karloff, a major star of the 1940s, featured in the original Broadway run, contributing to its success. Frank Capra directed the popular film version starring Carey Grant.

According to lore, Kesselring had set out to write a serious play about the famed serial killer Amy Archer-Gilligan, but during the writing process found the story played better as a farce. The current popularity of murder-related podcast and docuseries makes this an especially relevant play to remount. It serves as an ironic satire of one of our nation’s favorite subjects—murder.

“Arsenic and Old Lace” tells the story of two sweet old spinster sisters who live in a Brooklyn mansion, they just happen to poison some of their guests. Hijinks ensue when their two nephews pay them a visit and discover their grizzly hobby.

In Parson’s production the Brewster sisters, Abby and Martha are played by Taylar and Celeste Williams. Their stage chemistry is fun to watch as they’re chased around the set by their adult nephews Mortimer and Jonathan (played by Eric Gerard and A.C. Smith). The latter, A.C. Smith, turns in another stage-filling and hilarious performance as the deranged long-lost nephew who returns to the family home with a secret to dispose of. Eric Gerard masters physical humor as he balances his frightening older brother, his murdering aunts and his engagement to the minister’s daughter Elaine (Emma Jo Boyden).

The action of the play is contained to the living room of the mansion. John Culbert’s set is the perfect backdrop for the door-slamming, stair climbing romp. Rachelanne Healy’s costumes transport us back to the 1940s and the absurd funeral costumes worn by the Brewster sisters play their own role in the laugh-out-loud spectacle.

Appealing to the popular anti-hero tropes in today’s pop culture, Court finds a pleasant way to welcome back audiences with an amusing production of a beloved classic. Thrills and laughs abound in this refreshing yet traditional staging. Ron OJ Parson nods to heartfelt film director Frank Capra, famous for ‘It’s a Wonderful Life’ and many other classics in his endearing production. Comedies in the “farce” style have mostly disappeared from new work, so plays like “Arsenic and Old Lace” are a nice trip down memory lane to a simpler time. Though the play is about murder, there’s a sweet natured charm to the tongue-in-cheek candor of the lines and plot. Seeing this excellent cast counter physical humor with witty banter is sure to bring a smile to your face.

Through October 2^nd at Court Theatre. 5535 S Ellis Ave. www.courtthreatre.org

It’s not often that Goodman Theatre imports plays from other theatre companies. It’s also an exciting moment when a frequent Goodman actress gets to showcase her newest play on the mainstage. “Relentless” by Tyla Abercrumbie was originally developed and produced by TimeLine Theatre in Chicago as part of their Playwrights Collective. The past year was still tricky for most theatre companies, and many had to reconfigure their seasons on short notice. Directed by Ron OJ Parson, “Relentless” premiered at TimeLine in early 2022 to rave reviews and has since been moved to the Owen stage at Goodman.

Set in 1919, “Relentless” tells the story of two Black sisters who return to their family home in Pittsburgh following the death of their mother. Janet (Jaye Ladymore) and Annelle (Ayanna Bria Bakari) are two bourgeois young women who live in Boston. Janet and Annelle see the world differently. Annelle sees the bright side of things, which seems easy from her perspective as a doctor’s wife. Janet is unmarried and doesn’t see much use for marriage. It’s when Janet begins reading her mother’s diary that she considers keeping the house and staying in Philadelphia.

For many Americans, the year immediately following WWI and the 1918 flu pandemic, was a time of great optimism. For those still reeling from the horrors of slavery, seemingly very little had changed in the 60 years since the Civil War.

In fluidly moving scenes, Janet is transported by her mother’s diary to the twilight years of slavery. As middle-class characters, her and Annelle have been somewhat shielded from some aspects of discrimination, but the details of their mother’s journal pull back the veneer on the gilded life they live. Annelle would rather not know anything at all, but the injustices spurn Janet to rage.

Abercrumbie’s story has the look and feel of an August Wilson play, but with a unique perspective. This is a story about Black women, told by a Black woman. Female characters are dimensional here, they swear, they drink, and they talk about sex. Culturally we assume previous generations were somehow more innocent but that couldn’t possibly be true. Though like Wilson’s plays, “Relentless” underscores that every generation of Black Americans has had to deal with the same issues of violence, racism and oppression. “Relentless” asks if anything has really changed.

Performances by Jaye Ladymore and Ayanna Bria Bakari are what this play hinges on. Both actresses fill the space with their characters, both giving them distinct personalities and similarities that create a sisterly chemistry on stage. Demetra Dee as the mother, Zhuukee, in the years of slavery is the discovery of the evening. There’s a fragile yet strong delivery in her lines. She’s soft in situations that would make others harsh. “Relentless” is a play with anger at its core, but perhaps Zhuukee represents a sense of forgiveness, or healing.

Through May 8 at Goodman Theatre 170 N Dearborn Street www.goodmantheatre.org

We are rarely privy to the forthright conversations traded among the wealthy about class dynamics and privilege. Doubly so when they involve the rarified class of rich, well-borne African Americans.
In Stickfly, playwright Lydia Diamond said she wanted to “write a play that talks about class and class strata within the African American community. I don’t think people think of that very often, and it is fascinating.”

In Diamond’s Stickfly, receiving a stellar production at Writers Theatre, we become a fly on the wall for a combative and contentious family battle, one that veers toward ugly, and delves into family secrets perhaps better left unspoken.

All this makes for a rousing, thought provoking evening, with a beautiful production under the direction of Ron OJ Parsons. Part melodrama, part soap opera, the two acts fly by, as engrossing as a Netflix binge watch.

We meet the LeVay family, who are like any other African American family in many ways, exceptional in that they are very well to do, highly educated and they own property in the elite Edgartown section of Martha’s Vineyard. We learn this property has been in Mrs. LeVay’s family (the Wickhams) for generations, a gift to one of her ancestors. But it’s Joseph LeVay’s money that keeps it up.

The set design (Linda Buchanan) suggests a wealthy, old money lifestyle. There is expensive (including museum-caliber impressionists) artwork on the walls. Outside the kitchen window sailboats ply the Atlantic Ocean. There is a staircase leading up to several bedrooms. The family room is nicely appointed with fine furniture and bookcases. The kitchen has the latest appliances and a fully stocked refrigerator. To the left of the kitchen, a door leads to the back porch and garden, with seating. You can almost feel and hear the seaside.

Class dynamics figures prominently in this excellent production. As the play opens, a young woman, Cheryl (Ayanna Bria Bakari) is preparing the house for guests. She is college bound, but filling in for her mother, the longtime housekeeper who has fallen ill. Cheryl is in some respects an honorary member of the LeVay household, but within limits - owing to her household duties.

The first family member to arrive is Kent (Eric Gerard), a highly educated but meandering writer, along with his fiancée Taylor (Jennifer Latimore) a researching entomologist. Kent tours the property with Taylor, explaining his great great ancestor.

“He was never a slave. He was a shipper. But we don’t talk about that,” Kent says, foreshadowing other matters that we learn have also been unspoken.

Taylor, who comes from a poorer background, is awed and shocked, and intimidated, by the casual wealth of this family. But the gardens make good grounds for her research into insects, referenced by the play's title.

Soon we meet Flip (DiMonte Henning) the misogynistic, arrogant, plastic surgeon, the older brother of Kent. These two men are nothing alike. Where Kent is warm and understanding, Flip is abrasive and smug.

Tensions build and sparks fly when we learn Flip and Taylor had a fling several years ago – but no one else knows about it. Flip also exerts the pressure of class structure pressure on Taylor, who is an exuberant, free spirit.

“You seem to have no social constraints, which concerns me, because you will be my brother’s wife,” Flip says to her.

Joseph LeVay (David Alan Anderson) the family patriarch, arrives without his wife. He seems to be preoccupied, and when questions arise about Mama LeVay’s absence, Joseph quickly puts them to rest, revealing himself as a controlling bully.

Flip announces that his girlfriend is coming – and, notably, that she is Italian. This says a lot about his character. Flip could not introduce just any white girl to his parents, even though her family is as rich and accomplished as the LeVay’s. Her family has a home in tony Kennebunkport, and she looks good on his resume.

Tellingly, Kent says not that he is so in love with her, but that she’s Italian, which makes her exotic. He’s a playboy by his own admission. He’s also his father’s favorite…the reason why becomes clearer as the action unfolds.

When we finally met Kimber (Kayla Raelle Holder) we realize that she is in fact just your average socially conscious WASP. She is nether impressed nor notices the wealth around her - well, except for the housekeeper - but that is no biggie. She is comfortably at home, unlike Taylor, who feels compelled to assist Cheryl with her housekeeping duties.

The first half of Stickfly establishes the tensions among the characters. The fast-paced dialog turns up a notch in the second act, with emotions spinning out of control. Parsons does an excellent job keeping the highly charged production on pace. The actors move about the set, entering and leaving with a precision that looks natural.

By the end of the night you realize you will have weathered emotional storms with six very different people. And these characters are so real, you feel they have studied themselves, and some have even grown, as well. Stickfly is highly recommended. It runs through March 15 at Writers Theatre in Glencoe, IL.

Booming thunder unleashed by a violent storm marks a scene change in King Hedley II, the sound and fury expressing the clash of deep emotional confrontations playing out as the stage goes to black.

Under the direction of Ron OJ Parson, Court Theatre gives us what is surely a definitive rendition of August Wilson’s 2000 play.

Wilson gives vivid voice to the life of his African American characters, showing them hemmed in and struggling for opportunity accorded readily to others. In King Hedley’s 1980s setting, amid trickle down economics, Americans saw greater divides between rich and poor, and rising mass incarceration. And against this backdrop, Wilson’s characters live life – with all its glory, and all its monumental tragedy, which abounds in the play.

In King Hedley II, the action takes place in 1985 in the backyards of two modest brick homes. Following five years in prison, Hedley (Kelvin Roston Jr.) returns to the home where his aunt raised him, optimistic, and aiming to rebuild his life. He plans to marry Tonya (Kierra Bunch). His aunt died while he was away, and his birth mother Ruby (actress Taylar) is now living in the house.

Hedley plants flower seeds, a perfect metaphor for his aspirations to reclaim his life, then struggles to stop others from trampling his young plants, and dragging him down with pessimism. His mother warns him the soil is too weak. Tonya, already a single mom, rebuffs Hedley’s overtures.

“I got to make it whatever way I can,” says Hedley (Kelvin Roston Jr.). “I look around and say 'Where's the barbed wire?”
“You could cut through barbed wire,” says Mister (Donald L. Conner). “But you can’t cut through not having a job.”

The ninth in Wilson’s ten-part Pittsburgh Cycle, each play takes place in that city, and each in a different decade. A Pulitzer finalist, it earned Viola Davis a Tony in its original Broadway run. I had the chance to see it in 2001 at Goodman Theatre, and barely understood what I watched then.

But at Court I threw down my program and leapt to my feet to cheer and applaud, like the rest of the audience, even before the final spotlight ended. It is that good, and hopefully we the people are better audiences for Wilson than 20 years ago. 

Though August's womenfolk are more guarded than optimistic, there is a hopefulness brought to Hedley by his buddy Mister, who works in a nail factory. Characteristically, Mister is hoping for a raise, that never materializes, even though business is booming. Hedley is in line to work on a demolition job for the City of Pittsburgh, but his employer (presumed to be African American) was denied the contract because the bid was too low, and the city doubted his capabilities.

Hedley and Mister devise side jobs, including re-selling refrigerators and, as opportunities narrow, plan a heist at a jewelry store. The plan and execution will remind you of  David Mamet's American Buffalo.

Into this intriguing setting come two even more powerful dramatis personae: the neighbor Stool Pigeon (Dexter Zollicoffer), a quirky person who is a hoarder, and delivers thundering prophecies drawn in ominous tones from long Bible passages. 

The other arrival is Elmore (A.C. Smith), hoping to recapture his lost love Ruby, and aiming to unburden himself of a secret that Ruby wanted both of them to take to her grave. (No spoiler here.) 

Smith tears up the stage with his larger than life Elmore. But then so does Zollicoffer as Stool Pigeon, a haunting character impossible to forget. And Taylar, Conner and Bunch all deliver remarkably good performances. And Roston gives us a complex, and nuanced portrait of Hedley.  

Wilson, who died in 2005, loads his plays with high-octane dialog. These can be challenging to deliver, or watch – with extra hurdles in understanding the overtones for white people like me. Parsons, working with this great cast, keeps each performance in balance with the others.

This is no small achievement when you realize that any of these characters could be the main protagonist in any other play. And indeed some recur in other works in the Pittsburgh Cycle. Act I of King Hedley II runs 80 minutes; after a 10 minute intermission Act II runs 70 minutes. You will be amazed at how quickly the time passes. Highly recommended for those who like great performances, staging, and a complex play. See King Hedley II through October 13 at Court Theatre in Chicago.

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Too Heavy for Your Pocket at TimeLine Theatre is both an important play, and a good one. Powerful, but not too heavy to bear, with a rock-star cast directed by Ron OJ Parsons, it tells the story of the Freedom Riders – groups of blacks and whites who traveled through the segregated South in 1961 on Greyhound and Trailway's buses, asserting the new freedoms set under the Civil Rights Act of 1957.

It is written by rising talent Jeron Breon Holder, currently a writer on NBC’s New Amsterdam, who developed it while working on his MFA at the Yale School of Drama in 2016. This project was triggered by a remark his grandmother made about a young friend who abandoned college to join the Freedom Riders. What followed were weeks touring locations and studying events that transpired more than 30 years before Holder was born.

The buses were met often with violence, and the passengers beaten and jailed. As stories of the lives of black people's experiences in the South are emerging – think The Butler, Hidden Figures, Selma – our awareness of this heritage of injustice grows. This is valuable.

Evelyn (Ayanna Bria Bakari) and Sally (Jennifer Latimore).

The challenge is that however well intentioned, these stories are filtered – even unconsciously - from a viewpoint of white people’s participation. We get what is called White Gaze, or depictions focusing on White Saviors. The overarching cultural perspectives make us feel good about the values, but we miss the full story. Think of the difference between the sentimental The Green Book, and searing works like August Wilson’s Fences, or James Baldwin’s If Beal St. Could Talk.
Holder takes the Freedom Riders as a backdrop to an engaging and rather incisive portrait of two young married couples, best friends living near each other in rural Tennessee. Bowzie Brandon (Jalen Gilbert) has just won a college scholarship; his wife Evelyn (Ayanna Bria Bakari) is the breadwinner. Their best friends are Tony (Cage Sebastian Pierre) and Sally (Jennifer Latimore).

Brandon decides to join the Freedom Riders. Yet this choice is not instantly celebrated, and instead throws this small circle of friends into emotional chaos. Each embodies a facet of that period’s African-American culture. But what elevates the work is that each represents a slice of the human condition.

Sally is a church-bound social conservative, who questions whether challenging the status quo is the moral path. Hardworking Tony, the salt of the earth and Brandon’s best bro, quickly supports his buddy’s choice. Most complex is the response of Evelyn, a former nightclub singer who has settled into the straight and narrow path with Brandon, and has supported his dreams - until this one. Bowzie goes ahead anyway.

"When I get on that Greyhound bus, it's gonna be the first serious thing I've done in my life," Bowzie says.

But what begins as an exhilarating ride, turns into a grind, and Holder  gives us real people, not symbols. Bowzie is broken and he longs for home, the only jailed protester who doesn't hear from his family and friends, while back home, the tides of change, and the pressure of Bowzie's plight, impact his friends and spouse. 

His wife Evelyn cuts off communication for her own emotional protection. Finally Bowzie reaches Tony, who tells him to come home and take care of his wife, "You ain't no Martin Luther King," And we see Sally hit a breaking point, when she realizes she is mistreated in her home, as well as outside it. In a stunning scene, she laments, "Everyone treats you like a dog," she says. "I want a freedom ride for me! Where is my goddam freedom ride!" 

Jireh Breon Holder

Holder has done a great job establishing the settings and building the emotional dynamics of these characters -though at a couple points the exposition through dialog is a tad leaden. My heart was in my throat and my tears surfaced. But between the melodrama and angst, Holder drops in parodies of church life and services – in which Latimore’s gifts for mimicry, and Gilbert’s impersonation of the church pastor are priceless. Bakari’s irrepressibly beautiful voice surfaces immediately in the first scenes, as she simply hums to herself – and eventually in a nightclub scene with a scintillating song.

Shout-outs are due the dramaturg (Regina Victor) and artistic director PJ Powers) who brought this play to TimeLine; and to the scenic designer (Jose Manuel Diaz-Soto) for blending the household and its rural surroundings. And to whomever is responsible for this exceptional casting – the chemistry of these four is electric. Running at the TimeLine theatre through June 29, Too Heavy for Your Pocket is highly recommended.

"Nostalgia is a disease." bemoans Lynn Nottage's downtrodden characters in 'Sweat' now playing at Goodman Theatre. This 2017 Pulitzer prize winner examines the ordinary lives of factory workers in a Pennsylvania town in the years leading up to the 2008 recession. 'Sweat' is the second Pulitzer for playwright Lynn Nottage, making her the first woman to ever receive the prize twice. Goodman Theatre premiered her first prize winning play 'Ruined' in 2008. Ron OJ Parson directs an all-star cast in this Chicago premiere. 

'Sweat' switches between 2000 and 2008 as the changing economy finds factory work becoming scarce in traditionally blue-collar Pennsylvania. The play begins with two young men's release from prison for an undisclosed crime. One white (Mike Cherry), has a swastika tattooed on his forehead, the other a young black man (Edgar Miguel Sanchez), crisply dressed holding a bible. We're immediatley swept back to year 2000 when things were as they always had been. Three coworkers of different backgrounds celebrate their friend Tracey's (Kristin Fitzgerald) birthday in a local dive bar. When their friend Cynthia (Tyla Abercrumbie) mentions she's putting in for a promotion at the plant, tensions rise in quick moving scenes. 

The majority of the play takes place in a rundown bar tended by retired plant employee Stan (Keith Kopferer). Kupferer plays a reliable moral backbone of the play as Tracey and Cynthia are pitted against each other when the layoffs begin. Fitzgerald and Ambercrumbi deliver powerhouse performances. Both each other's match as they square off in scenes so intense you nearly forget to breath. 

Though first produced before Trump won the election, it's as if Nottage knew the outcome. It's a quick descent into blatant racism for these otherwise easy-going characters. Economic stress in these reliably blue states turns those at the bottom of an economy against each other. Nottage captures life for those holding onto the past with compassion but perhaps not dignity. 

It's nice to see a full length play these days. 'Sweat' runs two and a half hours but the scenes are so taught you'd hardly notice. This deeply human story has a long-burning fuse that leads right up to a full-fledge powder keg. In the four walls of a smelly bar we're shown some of the darkest sides of capitalism. In that regard, 'Sweat' is not just an American play, but a universal and timeless play about those left behind. 

Through April 14th at Goodman Theatre. 170 N Dearborn Street. 312-443-3800

Common sense dictates doing the right thing. On the surface, that seems obvious, but in August Wilson’s final play, Radio Golf, which premiered in 2005 and is receiving a timely and propulsive revival at Court Theatre, this is not at all clear. Though the characters are archetypal, and the situations contrived, it is precisely these extremes that cast the arguments of the play into sharp relief. What makes sense? No matter which side you choose in this examination of urban redevelopment, there is no outcome that benefits the residents of the Hill District or the protagonists of Wilson’s play, because no matter how far they have come, no matter what their ideals, it is 1997 and they are black and living in a racist America. Unfortunately, Wilson’s play has aged well—though broadly drawn, the events of the play are no less a reflection of American realities than they were two decades ago.

According to the program, director Ron OJ Parson has directed 25 productions of August Wilson’s plays. This is evident in his assured, lyrical work on this production. The characters are detailed, and the poetry of Wilson’s language emerges from the physical language of the blocking, so that the cracks in the sometimes conventional structure do not emerge until long after the final blackout. Though he allows Wilson’s humor to suffuse the evening, Parson has created a powerful and engrossing dialectic that offers much food for thought and few answers. Parson’s interpretation creates a sense of community and warm comradery among the characters, which accentuates the fact that the real threat lies beyond the action onstage. Given the surging poetry of Wilson’s script, it seems that this is the production that Wilson was writing to receive. Parson’s vision is complemented by a design team that is equally meticulous, setting the scene with unobtrusive but finely tuned details. Scenic designer Jack Magaw has created a grimy but well-appointed ground floor office for the Bedford Hills Development, Inc., jammed between neighboring buildings and accessed by a concrete stairwell. There are hints of the grandeur of the past in the tin ceiling and bay window, but the green-painted walls are stained, and the linoleum floor is more practical than elegant. Claire Chrzan lights most of the interior scenes in harsh, bright light, occasionally softened by practicals. She subtly shifts between moods and time, extending the magical realism to the windows of neighboring residences. Costume designer Rachel Anne Healy creates a period-perfect uniform for each character that allows each to evolve according to their fortunes, without veering into caricature. Sound designer Christopher M. LaPorte uses a funk-injected jazz score to set the tone, as well as contributing cool radio tracks and jarring sounds that invade the relative sanctuary of the office from the outside.

The cast of Radio Golf is uniformly excellent. As Harmond Wilks, the real estate developer hoping to bring back Pittsburgh’s Hill District while launching his bid to be mayor of both black and white citizens of the city, Allen Gilmore lends an Obama-esque, unruffled cool to his idealistic character, which gives way to almost petulant panic when he finds himself fighting for a future that seemed more secure than it turns out to be. As his golf-playing partner and newly-minted bank vice president Roosevelt Hicks, James Vincent Meredith is smoothly overbearing and casually abusive, while maintaining a boyish charm and ambition—he goes far enough in his self-serving tirades to draw derision but retains enough humanity to elicit sympathy. As Wilks’ wife, Mame Wilks, Ann Joseph is warm, no-nonsense and imperious; her attempt to open her husband’s eyes to the consequences of his choices for them both is heart-wrenching and powerful. Alfred H. Wilson plays Elder Joseph Barlow with a kinetic physicality that mirrors his scattershot philosophizing, rarely pausing as he reveals a strong gravitational center to his wandering thoughts. James T. Alfred brings comic timing and a self-aware physicality to the almost excessively forthright ex-con Sterling Johnson, who, while he has stopped punching everyone in the mouth to make himself feel good, still seems perfectly capable of doing so if he sees a need. As Wilks finds himself entangled in bonds that he thought had dissolved long ago, and Hicks finds himself presented with ways to turn his race into an asset, the battle lines are drawn, and it becomes clear that all the characters are casualties of a war that is being waged for profit by others, but there are promotions to be had if they join the winning side. As an ensemble, all the actors find the humor and good will in their characters, without allowing them to become bathetic or cartoonish. Though sometimes broadly drawn, each character finds his or her dignity in the sensitive and emotionally grounded portrayals onstage at Court.

Radio Golf alternates between laugh-out-loud (though at times decidedly un-PC) humor and incisive social commentary, spot-on examinations of familial and geographic loyalties and nearly stereotypical portraits of the members of a community and the different paths they take, and director Ron OJ Parsons and his expert cast, supported by a perfectly tuned design team, weave the tonal shifts into powerful, perfectly modulated quintet. On the surface, August Wilson’s final work may seem less haunting and lyrical than the previous plays of the ten-play Century Cycle that it completed, but this production belies that impression. Though some elements may seem facile, when the curtain comes down, one realizes that Wilson left behind a complex and uncompromising challenge for his audience. Wilson was an American who wrote about his country with awe, humor, rigor and compassion. In Radio Golf, he took on the issue of gentrification and redevelopment, and what happens when revitalization becomes disenfranchisement. In Court Theatre’s production, the play is an entertaining, empathetic and unyielding plea for doing the right thing, especially for those who wield the power to do so.

Radio Golf runs through September 30 at Court Theatre, 5535 S. Ellis Avenue, Chicago. Tickets, priced $50 - $74, are available at the Court Theatre Box Office, but calling (773)753-4472, or online at www.CourtTheatre.org.

In Skeleton Crew, playwright Dominique Morisseau hits close to home, presenting an event that still profoundly impacts America: the 2008 economic meltdown. It is captured here in the form of an imminent Detroit car plant closure.

Our memories are still fresh from that time, and wounds to our social fabric not fully healed from a period when millions lost their homes and savings, and we careened to the brink of a global depression, nearly bankrupting U.S. auto makers.

As Skeleton Crew opens, this tumultuous crash is still unfolding and American were living through early phases of what would befall us. At the plant, management has been whittling away at the employee headcount, raising workloads for those remaining, even as rumors abound that this auto body metal stamping plant may close.

The action plays out entirely in the break room, from which massive industrial gantries and cranes are visible overhead. The clamor of the production line permeates the set as we meet Faye, a senior factory veteran and United Auto Workers Union steward (Jacqueline Williams delivers a dynamic performance); Dez, an aspiring young entrepreneur just finding his in life and work (Bernard Gilbert is excellent); and Shanita, an expectant mom who is also model employee. (AnJi White offers a richly textured performance). A supervisor, Reggie (Kelvin Rolston, Jr.) who has risen through the ranks, represents management in the unfolding drama.

I suspect these characters also stand as archetypes, symbolizing familiar types and generational shifts – each carries also a large measure of personal baggage and backstory. We learn that Reggie’s late mom was very close to Faye, and that Faye was like a second mother to him. We see Dez mapping out plans to open a small business – a car repair and restoration shop - but sense the incursions of rising crime and social dissolution. Dez is jumped by two thugs at a convenience store, and with the perspective of today's #BlackLivesMatter sensibilities, see another young black male at risk. Dez begins to carry a gun, and perhaps Morisseau means to foreshadow the tribulation of inner city violence today.   

The more circumspect Shanita represents self-reliance and maturity. Perhaps just a little older than Dez, she fends off his less-than-serious amorous advances, until shifting gears when she becomes pregnant. Faye is the establishment, the UAW go-between to management negotiating secretly with Reggie over how workers will be affected by the shutdown. We learn the circumstances of her personal life are crumbling - as is the auto industry, and perhaps Morisseau is suggesting, social norms.

Morisseau’s earlier installments in her trilogy of plays, Detroit 67 (at Northlight in 2013) and Paradise Blue at Chicago’s Timeline Theatre in July 2017 – also displayed her facility for rich dialog, and an eye for character and dramatic trajectory. All three have been directed by Ron O.J Parsons (formidably well in Paradise Blue and Skeleton Crew; I missed Detroit 67). Parsons is also a frequent interpreter of August Wilson’s dramas at Court Theatre, where he is an artist in residence, and around the country. That is a fit for Morisseau, who says she aspires to give voice to Detroit (she uses the word “griot” for her role here) just as August Wilson was for Pittsburgh in his cycle of plays set there.  

Northlight Theater's high production values have given a fine expression to this show, with Scott Davis (scenic design), Samantha C. Jones (costumes), Keith Parham (lighting), and Ray Nardelli (sound). Rita Vreeland is Production Stage Manager. The show is highly recommended, especially so since you are well advised to watch for revivals of the rest of Morisseau's trilogy. Skeleton Crew runs through March 3 at Northlight's home, the Northshore Center for the Performing Arts in Skokie.

The live sounds of 30’s and 40’s jazz transform Court Theatre into a music venue in this production of Five Guys Named Moe. Written by Clarke Peters and directed by Resident Artist Ron OJ Parson, with Music Director Abdul Hamid Royal and Associate Director Felica P. Fields, this lively musical is a tribute to the great songwriter and saxophonist Louis Jordan (1908-1975), who went down in history as an innovator and popularizer of “jump blues,” a dance forward mix of jazz, blues and boogie-woogie, that paved the way for rock’n’roll in the 1950’s.

The uncomplicated plot provides the perfect canvas for Louis Jordan’s greatest hits and goes something like this: Nomax (Stephen ‘Blu’ Allen) is a clueless but perfectly lovable young lad who is broke and heartbroken because his girlfriend left him. Drinking at home one night and listening to Louis Jordan’s hits on the radio, depressed Nomax is whining about his life, when out of the blue (no pun intended) his radio erupts with five guys, who climb out one by one, introduce themselves as Big Moe (Lorenzo Rush Jr), Eat Moe (James Earl Jones II) , No Moe (Eric A. Lewis), Four-Eyed Moe (Kelvin Roston Jr), and Little Moe (Darrian Ford), and get the party started with ‘Five Guys Named Moe.’ Because five heads are better than one, The Five Moes are very helpful in trying to solve Nomax’s lady problem; the dynamic and superbly fun hits “I Like ‘Em Fat Like That” and “Messy Bessy” are prove of that. Not to mention “I know What I’ve Got” and “Safe, Sane and Single,” which were outstanding. Louis Jordan’s use of comedy in his songwriting had become one of the most prominent elements in his music, for he “laughed to keep from crying”. Besides, having been married five times, he most certainly contemplated the relations between the opposite sexes in his own life.

There was some great talent on that cleverly designed stage made to look like inside of an old radio (scenic design by Courtney O’Neill). Powerful voices, the most remarkable of them Darrian Ford’s [whose new original vocal jazz album, The New Standard, is set to release later this year], impressive dancing with occasional somersaults thrown in for a good measure (by James Earl Jones II), Lorenzo Rush, Jr’s commanding presence and hilarious relic, always on.

The band is no slouch either: led by the pianist/Music Director, winner of the NAACP Image Award for Broadway’s Five Guys Named Moe composer/arranger Abdul Hamid Royal, who had worked with many recording artists, such as Liza Minelli, Stevie Wonder, Natalie Cole, and Christina Aguilera, to name just a few; it produces a tight sound.

By the end of the First Act, the audience is playfully forced to sing the silly lyrics to “Push Ka Pi Shi Pie,” and some fortunate first row attendees are dragged onto stage to dance with the cast and then led to the lobby bar. Hey, “What’s the Use Of Getting Sober?”, right?

Second Act takes us to The Funky Butt Club, where the Five Moes have a gig to do. The sounds of old jazz are like an anti-anxiety remedy, taking us to a different time far, far in the past, it seems. What great 63rd Season opener for Court Theatre! “Five Guys Named Moe” is being performed at Court Theatre through October 8th. For more show information visit www.courttheatre.org.

*Now extended through October 15th