Displaying items by tag: The Den Theatre

Just as there are many Santa’s around town, this time of year we have a wide selection of Christmas and Holiday-themed shows on stage. While I’ve grown quite jaded about the diminishment of “real” theater during the holidays—steadfastly avoiding the Goodman show each year—there was something that overcame my reluctance in the concept of “Charles Dickens Begrudgingly Performs ‘A Christmas Carol’ Again.”

The darkly charming premise is tantalizing: that Dickens is still alive, and has for 171 consecutive years been annually performing his stage reading of a version of his 19th century book “A Christmas Carol." In fact, as we learn in the course of the show, Dickens did read an adaptation of his book onstage for years. This piece, however, is a remarkably artful riff on Dickens' original, written and performed stunningly well by Blake Montgomery.

This is an actor with chops, a Jefferson Award winner seen over the years on stages at Steppenwolf, Writers and Court Theaters. About 10 years ago Montgomery developed this show, and has given himself a script that is a great showcase of his skills. Walking among the audience before curtain, dispensing candy canes and wearing ridiculous holiday antlers, Montgomery gradually shifts into the Dickensian story.

Speaking candidly of the character of contemporary Christmas Carol shows, including the “large well-known theater downtown” where “snow falls on stage, and Christmas ghosts literally fly,” Montgomery adds dryly. “All I can do is talk.” And with that, Montgomery shifts gradually into the character of Dickens, holding the audience in the palm of his hand.

But Montgomery is also present, all the while, playing moderator. After spending some time somewhat disabusing us of our preconceived notions of what Dickens’ “Christmas Carol” holds, he deconstructs the story, then disarms us, and we are open to hear the story anew. The more opulent productions risk masking the human tale embodied in Dickens’ work. Montgomery reveals more of the internal workings of Scrooge. At times, he allows Dickens to read directly from the text. In other moments Montgomery re-enacts scenes holding up two sides of a dialog. He asks us to examine Scrooge's transformation during the ghostly visits. In one dream-like celebratory Christmas party scene that Scrooge visits in company of a ghost, Montgomery tells us, "The activity is dancing; the action is about what is happening within Scrooge."

In all it’s a remarkable reenvisioning of “A Christmas Carol,” and a work and performance not to be missed this season. “Charles Dickens Begrudgingly Performs ‘A Christmas Carol’ Again” runs through December 22, 2024 at The Den Theatre in Chicago.

“To love the beauty of the mistakes….the imperfect.”  Isis Elizabeth, Playwright

In Beneath The Willow Tree, playwright Isis Elizabeth weaves an emotionally rich tapestry that examines the intricacies of familial bonds, generational trauma, and the delicate interplay between tradition and change. Set in the heart of the Louisiana Bayou, the Bordeaux family home becomes both a sanctuary and a battleground for three Black women whose lives, secrets, and desires come crashing together. Expertly directed by Aaron Reese Boseman, this world premiere delivers a gripping, spiritual family drama that hits deeply personal and universal notes.

At the center of the play is Willow Bordeaux, portrayed with emotional nuance by Sierra Coachman, a young woman who returns home from NYU, bringing more than just academic achievements—she’s accompanied by her lifelong friend  Ree, beautifully brought to life by ASH. She has also brought with her a life she’s building beyond her family’s reach. Willow’s return unearths long-buried family secrets, revealing how trauma, often unspoken, festers beneath the surface. As the audience watches Willow grapple with her past and present identities, her journey becomes emblematic of the broader struggle between old traditions and new ways of being.

The heart of Beneath The Willow Tree is the three generations of Bordeaux women, each dealing with the weight of their histories. Yahdina U-Deen, playing the family matriarch Beatrice Bordeaux , offers a towering performance—her stern exterior masking years of sacrifice, grief, and unspoken pain. Her relationship with her daughter Gloria Bordeaux played with an inner strength by Monique Marshaun,  is fraught, tinged with tension but layered with a palpable sense of love and obligation on both sides. Boseman’s direction ensures that the tension never veers into melodrama; instead, it simmers, allowing the emotional stakes to rise naturally, leading to moments of catharsis that feel earned rather than forced.

Also delivering excellent performances are Dylan Rogers, who skillfully portrays both Moses Bordeaux, the loving and enigmatic patriarch of the Bordeaux family, and Dante Ri’chard, Willow's charming and complex love interest. Rogers deftly navigates the dual roles, bringing a commanding presence to Moses while offering vulnerability as Dante. Mayiyah Brown also shines as young Gloria, capturing the innocence and intensity of the family’s earlier struggles with grace and authenticity. Special mention must be given to dialect coach Susan Gosdick, whose meticulous work ensured that the accents were pitch-perfect, seamlessly shifting from generation to generation, adding depth and authenticity to the play's rich Louisiana setting.

The Bayou setting is not just a backdrop; it is a living, breathing presence in the play. The willow tree itself becomes a symbol of both the Bordeaux family’s resilience and the weight of their past. Set design by Kevin Rolfs captures the mystical and haunting atmosphere of the Bayou, with sprawling branches casting long shadows that seem to stretch into the characters' souls. Adding to this immersive environment is Levi Watkins' lighting design, which subtly enhances the eerie and ethereal quality of the Bayou, playing with shadows and light to deepen the mood. Ethan Korvne's soundscape interweaves seamlessly, with whispers of the wind and the distant echoes of ancestral spirits by way of bass and percussion enriching  the play’s spiritual elements, grounding the story in both realism and mysticism.

One of the play’s strongest elements is its exploration of Black womanhood across generations. The conflicts between the Bordeaux women reflect broader themes of identity, legacy, and healing, resonating particularly in today’s world, where conversations about generational trauma and reclamation of self are becoming more prominent. Elizabeth’s writing doesn’t shy away from the pain these women carry, but it also offers them a path to healing—a journey that is messy, complicated, and deeply moving.

Iris Elizabeth and Aaron Reese Boseman are quickly establishing themselves as the future of theater in Chicago. While there's much to praise, a minor critique might be directed at the play's lengthy running time. Although the exceptional writing nearly makes the duration worthwhile, it may feel somewhat prolonged for some audience members. However, any potential concerns about the length are effectively alleviated by the riveting performances and the substantial thematic depth that resonate throughout the production.

Overall, Beneath The Willow Tree is a powerful debut from Isis Elizabeth. With Boseman’s sensitive direction and a cast that brings the Bordeaux family to life with authenticity and passion, the play delivers a potent mix of raw emotion, spiritual reflection, and the hard-earned path toward healing. A must-see for those who appreciate deeply human stories with cultural resonance.

Highly Recommended

When: Through September 29
Where: The Den Theatre 1331 N. Milwaukee Avenue, Chicago,
Tickets: $25-$45
Info: www.pulsetheatrechicago.org  (773)697-3830
Running time: 2 hours and 30 minutes with one intermission

The witch is back, Jen Silverman’s ‘Witch’ that is. Since first being commissioned by Writer’s Theatre back in 2018, Jen Silverman’s take on Jacobean theatre has become a somewhat popular selection for regional theaters. The Artistic Home Ensemble brings this play back to Chicago in a revival directed by Devon Carson going on now at The Den.

What continues to be striking about this play is its exploration of hopelessness. ‘Witch’ is about an ostracized woman living in the 1600s who the townspeople have decided (without basis) is a witch. Her miserably lonely life is spiced up when the devil himself comes to town and begins meddling in the lives of the villagers. Some are more easily tempted than others, but the supposed witch, Elizabeth Sawyer (Kristin Collins), is harder for the devil to convince. Besides, what can anyone offer someone who has lost hope for a better future?

The devil played with fiendish fun by Julian Hester finds himself enamored with skeptical Elizabeth Sawyer who is also drawn to him. They spend long nights discussing their world views and within their conversations, Jen Silverman peppers in some humorous, but unsettling monologs about the human condition. Kristin Collins as Elizabeth has a great way of shifting between comedic relief and heart-rending vulnerability. Her character all the while pleading, “can things ever really get better?”

As the devil and Elizabeth get to know each other, the devil also inserts himself into the lives of the richest family in town. His gentle suggestion sets in motion a bitter rivalry that plays out with classic dramatic irony.

Silverman’s script is wise in its sharp tongue and makes a statement on the general apathy many feel every day. In her version, the devil himself has hopes and dreams, but outcasts like Elizabeth have long lost hope that her neighbors can ever evolve past their pettiness.

Like Arthur Miller’s ‘The Crucible’, this play holds a Puritanical mirror to our own time, but unlike John Proctor, Elizabeth doesn’t have altruistic intentions. She may be the protagonist, but she’s not your standard heroine. Silverman’s point in comparing our two eras is to show that people haven’t gotten any wiser. People are still inherently selfish and highly subject to influence.

‘Witch’ is well-acted and well-styled. For a play with such a dark core, there’s a lot of comedy here and this cast really plays that up. Kristin Collins brings a Molly Shannon quality to the lonely Elizabeth that makes her plight far less depressing than it sounds. Hogan’s chemistry with Julian Hester is fun to watch.

More than anything, this play remains as timeless in 2018 as in 2023, because while some political and societal things have gotten better, some have inevitably gotten worse. There will always be cynics and optimists duking it out and perhaps the easiest place to be is somewhere in the middle.

Through December 3^rd at The Artistic Home Ensemble at The Den. 1331 N Milwaukee. 773-697-3830.

Murder, intrigue, and Angela Lansbury: the three universally acknowledged truths that make up a great mystery story. Hell in a Handbag's production of Murder, ReWrote: The Musical Parody at the Den Theatre is the perfect cross-section of drag show and musical. Expect to laugh, cackle, restrain yourself from singing along, and make an immediate tribute to the incomparable Angela Lansbury as you’re reminded of what an icon graced our screens and stages for the better part of a century.

Musical theatre references and camp abound alongside the talented singing and comedic performances. Whether or not you’re a fan of Murder, She Wrote the television show, you’re bound to be entertained outside of all context at Murder, ReWrote: The Musical Parody.

(Left to right) Britain Gebhardt, Grant Drager, David Cerda and Caroline Kidwell in Hell in a Handbag Productions’ world premiere of Murder, ReWrote. Photo by Rick Aguilar Studios.

In The Den Theatre’s Murder, ReWrote, our favorite comedically reimagined mystery novelist Bessica Feltcher (Jessica Fletcher, in the real ‘80s/'90s TV show) has a harrowing case on her hands: that of a rich hieresses's daughter found dead in the living room of the family mansion.

Who could have done it? Her mother? The maid? Bessica’s hapless nephew Grady? It’s like watching a game of Clue play out in real time, only way funnier.

Britain Gebhardt channels Lansbury in voice, looks, and persona as acclaimed mystery author and amateur detective Bessica Jeatrice Feltcher, aka BJ. The hobbyist slueth finds herself at the center of a whodunit murder mystery leaving everyone wondering, “Who killed Christina??”

The rest of the cast is hilarious and committed to their roles as well, from Grant Drager as Bessica’s goofy nephew Grady to David Cerda's haughty, RuPaul-esque portrayal of heiress June Crayfish.

(Left to right) Mark Bartishell, Caroline Kidwell, Britain Gebhardt, Daniel Hurstand, Cathy Reyes McNamara in Hell in a Handbag Productions’ world premiere of Murder, ReWrote. Photo by Rick Aguilar Studios.

Hell in a Handbag Productions goes all out in this production, from the creative and unexpected ways they adapt a television series to the stage, the thoughtful references to Lansbury’s other work sprinkled throughout, and the loving insults they lob at the corniness of the original TV show.

The music and lyrics by George Howe and Ed Rutherford, along with the direction from Anthony Whitaker, make this musical parody a sparkling one. You can feel the love and attention to detail that went into every joke, reference, and visual gag, showing that this creative team genuinely loves its source material. You can only make fun of something lovingly – and cleverly – if you admire it and respect its merit in the first place.

Murder, ReWrote: The Musical Parody is playing at the Den Theatre through September 16, 2023. Tickets can be bought at the box office at 1331 N Milwaukee Ave or on their website.

*Extended through September 18th

Language Rooms is a convincing portrait of the hidden world of government interrogators. These individuals use cajolery and flattery, or fear and intimidation, to persuade individuals to spill their secrets – all on behalf of securing the safety of the state.

This two-act piece (one intermission) flies by, as the characters go about their work. But we see as well the impact that these information-gathering activities have on those doing the questioning. Their personal integrity is compromised as they lie to get truthful answers. It also faces us with a distasteful prospect: if our government and our society condones using intimidation and even physical abuse to gather data, are we not complicit?

Language Rooms involves two Arabic-speaking men on an unnamed government investigating team, quartered in a windowless vault with motorized doors that slide open with a whoosh at the touch of a button. Ahmed (Salar Ardebili) is a rookie, and his work is being closely watched by his supervisor, Kevin (Bradford Stevens). His co-worker, Nasser (Bassam Abdelfattah) is apparently even more fluent in Arabic than Ahmed, and is doing his best to help Ahmed with his weaker command of the language.

It soon becomes evident that the same hidden cameras and observational techniques used in questioning suspects are also trained on the men doing the questioning. They speak to each other with siielding their mouths from view, as they try to carry on private conversations. – just like any office, except that they have the continuous impression they are being watched. The manipulative techniques used on the subjects are also part of the office communication.

All of this provides a set up for a workplace wherein paranoia runs rampant. And as a subtext, these Arab-Americans feel they must not only do a good job, but prove their worthiness and loyalty to the government agency they work for - not to mention to society at large. The plot thickens dramatically as a new suspect is brought in, hooded and shackled: Samir (Bilal Dardai). This one, says Kevin, will be the great test for Ahmed, to prove both his loyalty and his competency. To avoid a spoiler here we can only say this sets up a dynamic, powerful tete a tete between the questioner Ahmed and his subject, Samir.

Samir (Bilal Dardai).

As the probe into his "suspicious" behavior goes on, Samir offers truthful answers, but not convincing ones. "You know the problem with being innocent is the facts don't serve you well," he says. "Innocence is not a good story."

This worldly, sophisticated script by Yussef El Guindi feels as though it will become a classic in the existentialist-absurdist roster, along with works like Miss Margarita’s Way or Master Harold and the Boys, plays in which a sinister undercurrent froths just beneath the surface. El Guindi provides a valuable service to us all just by telling this story. That he does it in such a timeless, universal way, will allow it to be told widely – and we hope it will be.

The production boasts extremely strong performances, especially Ardebili as Ahmed, the rookie; and Dardai, who delivers a perfect portrait of a good-hearted immigrant under a torrent of unfair questioning. I had a chance to see this show twice, April 22 and April 26 – and can say Ardebili had refined and heightened his delivery, and the dynamic between Ahmed and Nasser was even more intensely expressed. Director Kaiser Zaki Ahmed specializes in actor-driven new American plays, and has assistant director credits on two recent, illustrious productions: Guards at the Taj (Steppenwolf) and Hand to God (Victory Gardens).

The script is strong, but the first act could have been streamlined just a little, perhaps to give a stronger thrust to the dramatic rise and moment of suspense as it ends. The Broken Nose Theatre production of Language Rooms runs at The Den Theatre through May 18. It is highly recommended. www.brokennosetheatre.com.

The new show running at the Den Theater, Fun Harmless Warmachine, may surprise you. While treating the world of video games, which struggles for recognition against more established art forms, it delivers an important commentary on a powerful social phenomenon.

Video games are a cultural mainstay; when a new game “drops” it can earn $1 billion, far more than a typical Hollywood blockbuster. Often dismissed as trivial, video games are full, multi-media expressions, and they truly merit our attention.

Fun Harmless Warmachine is also seriously good, I dare say even an important play. But its setting in the social world of virtually-interactive video game players could not be further afield from the living, breathing world of live theater. Playwright Fin Coe has successfully brought that extremely virtual world to its polar opposite, the location known IRL (In Real Life) as the Stage.

The story tracks Tom, a realistic gamer who is one of the many loners, men (and a few women) who could be located anywhere in any location and time zone on earth, and who bond in massively interactive competitive battles, as a rule, without ever meeting each other.

The show’s production at Den Theater is wonderful largely because of great performances. Ayanna Bria Bakari lights up the stage from the moment she enters as Ekaterina. It is impossible to stop watching her performance, as she presents the essence of an empowered, emancipated coquettishness, providing a dramatic pivot point for the play, and for Tom, an everyman gone astray played convincingly by Daniel Chenard. We also witness a jaw droppingly powerful delivery in the closing soliloquy by Emily Marso as Melissa. 

Fun Harmless Warmachine looks at the horrible undercurrent of the misogynist male gamer, which rose to public awareness during the 2013 and 2014 scandal of #GamerGate, years before #MeToo, when women begin to complain about misogyny in the games, and others complained about their gratuitous violence.

This brought to public attention a group of violent gaming advocates, not so different from guns rights militants, who harassed their critics and attempted to stifle the discussion. 

In Fun Harmless Warmachine we meet Tom (Chenard), a wandering, disaffected youth, turning ever more cynical as he realizes he has been captured on a treadmill of a dead end job with an overbearing boss. The more trapped he feels, the more he escapes to the world of gaming, withdrawing from his real relationships with work friends, leaving calls from his family unanswered, and becoming further depressed by a lack of romance in his life.

Tom's world devolves ever more into role playing games, where he poses as an alpha male warrior in a popular mass-participant game known as “Iron Fate.” During a match, Tom is discovered by a secret group of alt right gamer rights advocates – the "Order of the Sword.” The whole thing might remind you of an online version of the Fight Club. Indeed members are sworn to secrecy.  

This group's leader is Hunter, that familiar dominant male presence who can also fortify a weak ego (played with perfect menace by Robert Koon). Hunter woos Tom, enlisting him in Order of the Sword's efforts to stalk, shame, and harass activists who protest gaming for its celebration of violence. It's testosterone-fueled agenda also feeds Tom’s emotional void, giving him a sense of purpose and belonging. Buoyed by the group, his self-esteem rises, and he begins to find success in a new job and in his love life with Ekatarina (Bakari).

As Tom succumbs and becomes part of the group’s sinister pursuits of degrading, stalking and harassing women through social media, he finds a purpose that boosts his ego. 

Ultimately the play comes to a satisfying resolution, and Tom faces up to the evils he has wrought. While it is an Everyman story and a moral fable, this does not diminish Fun Harmless Warmachine as a satisfying dramatic work. 

Though hundreds of millions of people play video games for recreation and enjoyment, there truly is a subset of hyper-masculine, frequently misogynistic communities who combine into teams formed in this world of massively interactive video gamers.

By trial and error such kindred souls bond, and in this social landscape some less healthy individuals do actually form small, and insidious groups of alt right meanies. The groups coalesce into a terribly unhealthy social cliques, often choosing women as targets of their uncivilized behavior.

These folks increasingly transferred their virtual cruelty into real life harassment of harmless individuals who had the misfortune of being caught in their crosshairs. As gamers began to be called out for their misogyny, the term Gamergate arose - resonating too in the pre-#MeToo complaints about Silicon Valley misogyny.

“I finished it in 2015, and I was afraid it wouldn’t be relevant anymore,” says playwright Coe. But given the #MeToo movement and the recent tribulation of the Supreme Court appointment hearings, the world is even more ready for this play. After its run at Den Theater, it would not be surprising to see Coes work reappear at someplace like Steppenwolf Garage or another new voices program. Dramaturgs take note!

Don't miss your chance to see Fun Harmless War Machine through November 4 at The Den Theater in Chicago.

Who doesn’t like magic? I love to be fooled just as much as the person next to me. Make me believe in supernatural powers and I’ll admire everything that’s dished out, even if some of it is a little loose and perhaps lacks a certain showmanship. Well, magician Brett Schneider accomplishes just that: he’ll blow your mind and make you believe in real magic; he’ll guess your innermost thoughts (or is it outermost thoughts, since he asks you to have them on the forefront of your mind)? I don’t know how that works, I was very impressed with his mentalist techniques. The only thing is: I can’t say that I was visually bedazzled, but then again, I need a real spectacle. Brett’s style is very down to earth, unassumingly casual, there’s really no eye candy of any kind, just a simple stage surrounded by the audience, which he boldly promises to unite in the name of magic. Everyone gets involved before the show even starts: you’ll be handed small pieces of paper and pencils and asked to write stuff down and then place them in a glass bowl. The audience is an active participant in most tricks, and everyone is delighted to oblige. It’s a great show in its own right.

Brett Schneider has been performing magic professionally for over 20 years. His work has received numerous awards; he’s also an actor who has worked with Steppenwolf, The Goodman, Lookingglass, Roundabout Theatre, Actors Theatre Louisville, and many others around the country.

A one-man show, Communion: An Evening of Magic is written and performed by Brett Schneider and directed by Elana Boulos. It plays September 13-22, 2018 at The Den Theatre’s Upstairs Main Stage; there’re only 6 performances currently scheduled. Tickets are available at thedentheatre.com. Recommended for ages 13 and up.

Many of us know the story. Three women who work in an office and seek revenge on an abusive male boss. Who can forget Dolly Parton, Lily Tomlin and Jane Fonda as they made a united stand for women in the now classic film “9 to 5”. Our women heroes are lovable, fiery and smart and, with that said, “9 to 5 the Musical” is playing at The Den Theatre and is a must see!

Recently, I have been on a Broadway kick and even bought season tickets and with a lackluster start of the season, I was ready to check out some local plays – something I encourage everyone to do. The Den Theatre is cozy, and the bar is nice as well. This wasn’t my first visit, but my first since they had renovated the space. With upgrades and newly created theatres, The Den is vastly improved and gives theatre goers even more reason to check out a play. The theatre is divided up in different sections across its three floors, each space unique from the other in order to hold different styles of plays.

The funny musical with music by Dolly Parton is put on by Firebrand Theatre which is all about empowering and employing women in the industry. With movements like “Time’s Up” and “Me Too,” it is great to hear about the work they are doing. “9 to 5” makes sense for Firebrand Theatre to produce as the story includes three strong women who are looking to bring in flexibility and positivity into the workplace.

The caliber of talent in this show speaks for itself. The production’s set, through simple, with the phenomenal voices belonging to each member of the diverse cast really stuck out in my mind. Sharriese Hamilton who played Doralee, was fantastic. Her energy and flawless southern accent was perfection. We see her character being followed by an office rumor of her having an affair with the manager, Mr. Hart. It was quite disgusting to see Mr. Hart, played by Scott Danielson, degrade her and do things around the office that put her in such compromising positions.

Violet (Anne Sheridan Smith) and Judy (Sara Reinecke) round out the trio. With excellent performances and growth throughout in each character, I couldn’t get enough of the show!

“9 to 5” reminds me of how far we have come but is also a reminder that we still have so much more to go when it comes to the workplace. We should continue with the fight and advocate for fairness in all aspects of life. We should do better.

Go see the musical that includes a variety of fun songs, including its title number, at the Den Theatre (1331 N. Milwaukee) as soon as possible. The play will be running until May 20th and tickets costs $45 and well worth the experience.
“9 to 5 the Musical” is being performed at Den Theatre in Wicker Park through May 20th. For more show info visit www.firebrandtheatre.org.

It only takes a few moments into Lizzie’s opening number that audience members realize they are in for quite the unusual theatre experience. Haunting, yet beautiful, the creepiness quickly sets in as Lizzie’s four Victorian-clad characters solemnly sing the tale of the infamous Lizzie Borden who was accused of butchering her father and stepmother in August of 1892.

Lizzie Borden took an axe
And gave her mother forty whacks.
When she saw what she had done,
She gave her father forty-one.

Based on true accounts of the double murder that took place in Fall River, Massachusetts, the grim tale reimagined by Steven Cheslik-deMeyer and Tim Maner is told by Lizzie, her sister Emma, her neighbor Alice and the family’s maid, Bridget. Presented by Firebrand Theatre, whose claim is that of being the first feminist musical theatre company, Lizzie is a detailed account of the legendary crime that is one of the most talked about grisly murders in our Nation’s history.

Firebrand hits a homerun with their first ever production by delivering a deliciously enticing story that engrosses from beginning to end thanks to its strong acting performances and punchy soundtrack that is both powerful and, when called for, dreamlike.

The play offers great insight to Lizzie herself and speculates the heinous crime may have been prodded by the home’s maid while also suggesting she may have been lovers with her neighbor Alice. Liz Chidester is Lizzie Borden and dominates in the role. Chidester so well captures the essence of a girl who loses her grip on reality after years of being abused by her father and is subjected to a newly introduced stepmother who has manipulated her way into inheriting the family wealth.

Ingeniously directed by Victoria Bussert, Lizzie is stacked with commanding performances. Leah Davis fiercely takes the reigns as the mischievous housemaid Bridget, injecting well-timed humor and velvety smooth vocals that make her character a powerhouse. Camille Robinson as Emma and Jacquelyne Jones as Alice round out what makes for an excellent cast. Our four characters deliver amazing vocal performances, each as unique as the other while smartly straying from the standard Broadway-esque sounds we are used to hearing in so many big musicals. No. These women truly rock. 

Instead we get a conceptual rock concert. Hypnotic, sexy and plot-rich, Lizzie is presented by a female-fronted rock group heading a talented band that sits rear stage. As engrossing as the music is the show’s often pithy dialogue exchanges, it’s costumes and creative effects (hint - ponchos are available for those who choose to sit in the first row).

Lizzie is a fun show that has it all – murder, treachery, sex and scorching music.

It is with high recommendation that I urge theatre lovers to see the story of Lizzie Borden that is presented in the most imaginative way. If such a brilliantly inventive production such as Lizzie is an example of what Firebrand has in store for theatre goers in the future, we can only look forward to what the young theatre company will bring us next time around.

Lizzie is being performed at The Den Theatre through December 17th. For tickets and/or more show information visit www.firebrandtheatre.org.

*Now extended January 3rd-14th with Broadway's Ciara Renee joining the production.

There was so much energy when I went into The Den Theatre, which I will rightfully chalk up to Haven Theatre Company’s infectious vibe. Upon entering, patrons were greeted with ear plugs before being thrust into a cloud of fog, as though attending a rock show. Curious, yet anxious, the crowd seemed spunky and exhibited a healthy amount of excitement in simply just being present. Unique and bold, “We’re Gonna Die” is the latest Haven Theatre Company production, and it’s engaging from the word “Go”.  

“We’re Gonna Die” features a live band, riveting storytelling and even some stand up comedy as the cast share true to life experiences in order to connect with the audience on a subject that not many choose to talk about – death. Its message is direct. Despite our darkest hours and personal tragedies, we are not alone.

When the show begins, Spencer Meeks who plays the guitar, gives us a brief history of the play and how it is part of a 12-part series. With his eyeliner meticulously applied, Meeks promptly kicks off the evening with a loud beat. 

Soon after, the main singer played by Isa Arciniegas emerges. She talks about her Uncle John and the experiences she shared with him when she was younger. The band breaks out into a song and it is quickly apparent that Isa is a natural entertainer. Arciniegas’ energy is contagious as she runs back and forth on the stage. She proceeds to tell the audience a couple more stories and concludes with a moving song about the death of her father. 

Soon, everything comes together. Many people are uncomfortable with death, and to be fair, death is sad. We miss the people we lost and are swiftly enveloped with so many different emotions, first asking ourselves how something so tragic could happen to questioning the fairness in death. As Arciniegas continues to sing, she profoundly exclaims, "We're all going to die!" 

In Young Jean Lee's “We’re Gonna Die” it is somehow made okay to be comfortable with death, a point made while jamming along with the show’s kick ass drummer played by Sarah Giovannetti. "We're all going to die!" is repeated over and over as confetti pours out from the ceiling along with balloons everywhere. Simply put, the play is a true celebration of life and a reminder that we all should live each day to the fullest since - we are all going to die. 

The talented cast and team for "We’re Gonna Die" includes: Isa Arciniegas (singers), Sarah Giovannetti (band), Jordan Harris (band), Elle Walker (band), Spencer Meeks (band) and Kamille Dawkins (singer u/s). The production team for We’re Gonna Die includes: Josh Sobel (director), Abhi Shrestha (assistant director), Julie Leghorn (stage manager), Krista Mickelson (production manager), Spencer Meeks (music director), Claire Chrzan (light designer), Izumi Inaba (costume designer), Mike Mroch (scenic designer), and Jon Martinez (choreographer).

Well-directed by Josh Shobel, “We’re Gonna Die” is an interesting play that sheds light on a scary subject. It is a play that really gave me a chance to reflect, as I am sure would be true with the rest of its audience. All in all, I left smiling and excited that I went to the newly renovated Den Theatre (1335 North Milwaukee) to see this very original and thought-provoking play. I recommend checking it out while you can as it will be performed through June 4th. Tickets are priced at $18 and can be purchased at www.haventheatrechicago.com.