Displaying items by tag: Chicago

As the Chicago premiere of Dave Malloy’s Ghost Quartet was set to start, a cast member walked across the stage, stopping to thank us for attending before adding, “See you on the other side,” in the spookiest voice and with the spookiest face, setting the stage for more than an hour of spooky musical and musicality to come.

I was not too familiar with the content of Malloy’s “song cycle” before the show, only aware that he’d also penned the renowned Tony winner, Natasha, Pierre & The Great Comet of 1812. I’d also given a preliminary listen to some of Ghost Quartet’s soundtrack during morning train rides, finding a favorite here or there among the play’s songs, but leaving myself in the dark as to its story.

Having seen the show now, I’m still not sure the story is any clearer, but I’m pretty sure that’s purposeful (and why it’s referred to as a “song cycle”). And I’m pretty sure that titling it a “Quartet” is a perfect label. Because over the course of an hour-and-a-half (with no intermission), the story (or stories, as Poe and Scheherazade and Thelonious Monk and a telescope and a bear and a subway and, I think, Little Red Riding Hood, are all mashed up together) became secondary to everything else the audience was offered. And because over the course of said production (directed by Ed Rutherford), the four-piece cast acts much as a classical or vocal quartet does — playing with and off one another to deliver a delightful and disparate musical program.

The feel of a musical program (as opposed to a musical musical) is highlighted with the introduction of each of the 20 tunes — each “track” presented as part of an album or a mixtape. Some of the songs are part of a greater whole (perhaps this could be described as a “concept album”?), but many stand alone on their own musical merits. The ethereal “Starchild” is equal parts Bowie and ballade. “Any Kind of Dead Person” rollicks and frolics into Klezmer territory. “Fathers and Sons” is a duet, both vocally and via cooperative percussion. And “Four Friends” is one of the better drinking songs I’ve heard in quite some time (seriously, I wish I’d known that chorus back in my whiskey-drinking days!).

But each of those songs, and the other 16 that make up the show, are only as powerful or playful or seductive or stunning as the four extraordinary talents who give them life. And what extraordinary talents each of the four cast members possesses.

Possessed of extraordinary talent both vocally and physically, Amanda Raquel Martinez (the one whose spooky salutation greeted us) brings the chills throughout. At times displaying an operatic soprano, at others displaying the ability to contort her face into a possession that’d make Linda Blair’s head spin, Martinez had my focus through the show, and my musician’s admiration, as well, as she played ukulele, guitar, accordion, and percussion throughout.

Martinez’s counterpart Rachel Guth earned my equal admiration, come to think of it. Going from vixenish to virtuous, from gangly and girlish to sultry and seductive, Guth displayed an acting range only bolstered by her timeless look and her ability to sing anything from heartbreaking ballad to boozy barroom belter.

But if it seemed I couldn’t peel my gaze from Martinez or Guth, I think the cast member I watched with the most awe was Alex Ellsworth. Ellsworth played the cello for the entire show, grounding the quartet in its stringed roots. And while he played various roles (and some percussion), it was Ellsworth’s ability to make the cello just about anything but a cello that kept drawing my eyes and ears to his corner of the stage (decorated eerily and beautifully by Jeremy Hollis, I should add). At times it was a violin, at others a fiddle. When needed it provided ethereal sound effect. And at one point it was held on Ellsworth’s lap like a giant banjo and strummed with a pick. About the only thing Ellsworth’s cello didn’t do was harmonize with the other three actors — thankfully its owner’s got an enviable knack for vocal harmonies that turned a trio into a foursome.

And the fourth of the foursome, T.J. Anderson, I’d liken to that oft-forgotten stepchild of the string quartet, the viola, if you don’t mind me keeping on with that analogy. While his castmates might have gotten the juiciest parts to play (remember, this story’s made up of many stories, so each actor fills quite a few roles) and the choicest songs to sing, Anderson holds the whole thing together. He does so on the piano, which he plays for most of the show (accompanied here and there by man-behind-the-curtain musical director Nick Sula). He does so while pounding a tom-tom or while donning a black leather jacket. He does so by making each of the other three better and the sum of their parts greater.

So, if you’re looking to see four of our city’s talented actor/singer/musician types who I hope we all come to know better tackle a “song cycle” that you’ll leave knowing better, catch Black Button Eyes’ Ghost Quartet at Stage 773 from now until August 17.

If anyone can be trusted to pay tribute to the late Sam Shepard’s work, it’s Steppenwolf. While they didn’t necessarily originate Shepard’s now classic play, their 1982 production certainly had something to do with the play’s legacy. In fact, Steppenwolf owes a lot of their respected standing in the international theatre community to this particular production. Directed by Gary Sinise and starring then unknowns John Malkovich and Laurie Metcalf, the storefront theater’s production transferred Off-Broadway in 1982. It ran for nearly 2 years and did better than the play’s original Off-Broadway run just a year earlier. 

In 2018 it was announced that Steppenwolf would revive their production in the 2019 season. Of the original ensemble cast, Francis Guinan is the only member to return (in the same role no less). Randall Arney replaces Gary Sinise as director and the results are fairly revolutionary. Some audiences may struggle with Sam Shepard works, but in Arney’s hands Steppenwolf delivers a comprehensible revival worthy of the hype. 

‘True West’ is at its core a simple story. Austin (Jon Michael Hill) is a successful writer taking some time away from his wife and kids to house-sit outside LA for his mother (Jacqueline Williams). His peace is disturbed by his screw-up older brother Lee (Namir Smallwood). The two spend the play battling out their dominance in near primal terms until their mother returns early. 

Sam Shepard had a gift for taking typical American life and turning it on its side with odd, but profound dialogue. ‘True West’ is an examination of the old west and what glimmers of it remained by 1980. It’s especially expounded upon when the two brothers vie for film producer Saul’s (Francis Guinan) attention. ‘True West’ also represents Shepard’s own duality; the slick Hollywood writer and the rebellious hellion described in Patti Smith’s memoir ‘Just Kids’. 

Sam Shepard plays are thinkers. They can be tedious to read, and even more tedious when done badly. This cast and director have a solid grasp of Shepard’s intention rendering a very easy to follow performance. While the ethnicity of actors should be irrelevant, Arney has made an interesting choice by making this a primarily African American cast. This casting adds a layer of complexity perhaps even Sam Shepard never thought of. Both Jon Michael Hill and Namir Smallwood turn in intense performances. They deftly switch between their character architypes and by the end you aren’t sure which character should be feared more. The last image will leave you breathless.  

If you’ve never seen ‘True West’ this is the production to see. It’s epic in scale with an impressive set by Todd Rosenthal and it’s incredibly well acted. For those Steppenwolf enthusiasts, this is an important revival for the institution itself, as this was the play that put them on the map. It’s hard to believe that without Sam Shepard’s ‘True West’ we may not have the iconic space on Halsted and maybe Chicago wouldn’t be nearly as reputable for outstanding regional theatre. In any case, this ‘True West’ is a bit of history reimagined for a new generation to not only find Shepard’s work relevant, but also consider the impressive legacy of one of Chicago’s finest institutions. 

Through August 25th at Steppenwolf Theatre. 1650 N Halsted. 312-335-1650

In 1956 a psychological horror-thriller film hit the big screens across America that undoubtedly shocked audiences nationwide. The film, The Bad Seed, was based on William March’s 1954 novel of the same name and also hit the stage that same year. In a time when UFOs and alien invasions caused country-wide panic, now comes a film where a sociopathic eight-year-old girl, Rhoda, murders when she doesn’t get what she wants when she wants it. Her mother, growingly suspicious of her daughter’s wicked deeds, is caught at a crossroads not knowing what to do since she also loves her more than anything in the world. The film goes on to debate whether criminal behavior is caused by one’s environment or perhaps is inherited. Sometimes a person is just a bad seed, right?

As serious and as creepy as the film is, it is the perfect material for the Hell in A Handbag theatre company to parody. Adding their own twists and turns and injecting their own unique blend of humor, the masters of camp have now given Chicago its newest comedy hit, The Drag Seed, by David Cerda. You may have guessed by the title that a drag theme is added to the story, this time the villain is not eight-year-old Rhoda but eleven-year-old Carson (Kristopher Bottral), a spoiled drag queen whose temper is turned on with a flick of the switch the moment he (in this case, “they/them,” as demanded by the child) doesn’t get what they want. The plot thickens as a trail of mysterious deaths occur throughout and Carson always seems to be found nearby.

It’s just a not-so-everyday life in the affluent suburbs where Miss Charles (David Cerda) is a live-in landlord. Miss Charles has taken a liking to tenants Miss Lingus (Ed Jones) and her dear Carson. Lee (Kelly Anchors) serves Miss Charles as the estate’s very quirky handyman and loves nothing more than teasing young Carson, who attends The Josephine Baker Rainbow Academy for Gifted Students led by Miss Ficus (also played by Anchors). It’s when fellow student Summer Breeze (Tyler Anthony Smith) wins a competition over Carson and is found dead shortly thereafter that the intrigue begins.

Carson’s mother Miss Lingus (“just call me Connie”) is at first ignorant to the clues being laid out in front of her, but slowly pieces them together and becomes conflicted since she loves her son more than a "fuck ton of kisses". Carson’s as a matter of fact behavior surrounding every death is not just a big clue, it’s downright creepy.

Directed by Cheryl Snodgrass, The Drag Seed, is a hilarious ride that’ll keep audience members on the edge of their seats. Ed Jones is like fine wine and just keeps getting more delicious with each show. I’ve probably said that this the last time around, but it’s true once again - Jones’ performance as Miss Lingus may be one of his best yet. His knack for executing the perfect facial expression at just the right moment coupled with capturing just the right tone in his line delivery makes him a comedic force. Excellent performances flood the stage in this production with Kristopher Bottral’s all-out hilarious and highly energetic “Carson” while David Cerda is comedic perfection as Miss Charles. Kelly Anchors doubling up for the roles of Miss Ficus and Lee is yet another highlight in this show, particularly the brilliance she infuses in her role as Lee, creating yet another sidesplittingly funny character that we won’t forget anytime soon. Handbag fave Elizabeth Lesinski returns, this time as Wendy Breeze, Summer’s drunk and distraught mother, and makes the most of her role with a flawlessly camped performance of Eileen Heckhart’s character in the 1956 film version. I know – high praise all around. Yes, but well-deserved. Sydney Genco and Tyler Anthony Smith also rock their roles, making this a truly well-round effort.

Handbag stalwarts will undoubtedly be very pleased with Cerda’s newest production and newbies that attend will be sure to get hooked on Handbag’s camp theatre.

The Drag Seed is perfect mid-summer fun and is an easy show to recommend. If you get the chance be sure to check out the The Bad Seed prior to seeing this production, if for anything just to appreciate Cerda’s brilliance that much more and the character nuances that these talented actors have so brilliantly executed into their roles. If you’re unable to catch the film first, don’t worry, you’ll still have a blast.

The Drag Seed is being performed at Mary’s Attic in Andersonville through August 24th. For more show information visit www.handbagproductions.org

I’ve probably said this before — the sheer volume of shows we here in Chicago have on offer makes me count my lucky stars whenever I enter a theater, be it for an opulent touring production or for a more intimate local performance. But it’s always the latter for which I feel even more blessed — that I am, that we all are, privileged to witness the variety and virtuosity of talented artists who ply their trade around town. And no show has left me smiling more widely, tapping my toe as hard, humming along as loud, and feeling more blessed to be a witness to Chicagoland’s theater scene as Theo Ubique’s current production of John Cameron Mitchell and Stephen Trask’s now-classic Hedwig and the Angry Inch.

Entering the Theo Ubique Cabaret for this show, you enter the show’s world immediately — a bar and a black box, both — as the tools of a rock band’s trade sit onstage and colorful and off-color and culturally significant graffiti decorates the walls around it. Along with the earplugs offered at the door, Colt Frank’s simple but striking set lets you know you’re in for an evening of rock ‘n’ roll, and the best kind, to boot — the kind that’ll piss off those it’s supposed to and provoke those it’s meant for.

And an evening of rock ‘n’ roll it was! Will Lidke, headlining the show and fronting its band The Angry Inch, turns what was an Off-Broadway and Broadway musical about a rock frontwoman’s concert into said concert. Lidke’s got the posture, the preening, and the pipes to pull it off, too. Strutting on heels, flashing his fishnets, and flaunting wig after wig (all of them designed by Keith Ryan), Lidke’s Hedwig is transfixing from start to finish, equal parts Transformers-era Lou, Ziggy-era Bowie, and East German derelict and diva. He tears things apart on numbers like “Tear Me Down” and “Sugar Daddy,” breaks our hearts with “Wicked Little Town,” and makes us all a part in the singalong “Wig in a Box.” I kept thinking to myself, what I’d give to see Lidke front a band in a small rock club, and then I’d realize, I’m getting to see that right here at Theo Ubique!

Equally stage-worthy is Jacob Gilchrist (AKA Mikki Miraj), who plays Hedwig’s first husband as well as her backup singer on our side of the Berlin Wall/cabaret stage. Each time we were graced with Gilchrist’s enthusiastic song and dance, I’d think they’d be someone I’d love to see fronting a band, too. And wouldn’t you know it — by show’s end my wish came true when Gilchrist came out as Hedwig’s one-time understudy in life, rock star Tommy Gnosis.Lidke and Gilchrist are joined by a ridiculously talented cast and band. As Hedwig’s spouse and sidekick Yitzhak, Brittney Brown shows she’s got perhaps the best voice of the bunch. And as Hedwig’s Berlin mutter and his backup singer East, Adriana Tronco keeps up with her castmates throughout.

And the whole shebang wouldn’t be a banging rock show without a killer rock band, The Angry Inch. Led by pianist and musical director Jeremy Ramey, these guys KILL. Guitarist Perry Cowdery gets things started by shredding “America the Beautiful.” Jakob Smith, also on guitar, switches between electric and acoustic as the mood requires. Joseph Drzemiecki brings the bong-rattling bass. And drummer Carlos Mendoza brings the beat.

So, if you want an intimate rock show, see Theo Ubique’s Hedwig. If you want to see a production of a musical that’s now hung around long enough to reach classic status, see Theo Ubique’s Hedwig. And if, like me, you just love being reminded what terrific talent our wicked little town’s blessed with, see Theo Ubique’s Hedwig and the Angry Inch from now through the end of July.

June 2019 marks the 50th anniversary of the Stonewall Riots and the New York City funeral for Judy Garland. Some suggest that the emotional intensity of the day lead to the patrons of the Greenwich Village bar resisting the police thus starting what we know as “Pride” today. As we head into Pride season in Chicago, fewer cabarets would be more fitting than ‘Angela Ingersoll Sings Judy Garland’.

Some may remember Ingersoll’s excellent performance as Judy in Porchlight Music Theatre’s production of ‘End of the Rainbow’ in 2016. She bears uncanny likeness to Judy Garland in both appearance and voice. This is the closest to seeing the real Judy Garland perform as any of us will get.

Not only does Angela Ingersoll do Judy’s songbook justice, but she’s a real Judy Garland historian. In the two rousing sets, she relays the story of Judy’s life as well as many interesting bits of Garland trivia. This is a show for fans. Interestingly enough, she worked with Judy Garland’s surviving son, Joey Luft, on this act which has now toured the country and has been recorded for PBS.

For those who are well versed in Garland’s work, each song will be a delight. Watching her move to the band with Judy’s signature mannerisms is almost eerie. As she goes through the medleys from the famed Carnegie Hall album, it would be impossible not to smile.

But it’s not just a Judy tribute concert. Angela is very charming as herself. She keeps an informal attitude throughout, while telling her own stories of how she relates to Judy. Some are funny and some are very authentic, creating a bond with the audience the way Judy had with hers. It’s as if she’s holding every patron in the intimate cabaret space in her arms to say I’m happy you’re here.

Angela Ingersoll has made a name for herself as the Judy Garland impersonator. As Judy’s life and death fade further into history, it’s important someone with as much enthusiasm is out there keeping her memory warm. It’s startling how many people from younger generations don’t even know who Judy was or that she’s Liza Minnelli’s mother. Ingersoll is keeping a star alive and doing a first-rate job. This cabaret is a pleasing way to celebrate Pride this year.

Through June 30th at Venus Cabaret. 3745 North Southport Avenue. 773-325-1700. 

Does not supporting Israel make you an anti-semite? This is the central theme of playwright Steven Levenson’s work ‘If I Forget’ now running at Victory Gardens under the direction of Devon De Mayo. Levenson is best known for providing the book to Broadway’s smash hit ‘Dear Evan Hansen’. “If I Forget” made its Broadway premiere in 2017 at the Roundabout Theatre Company.

“If I Forget” is a classic family drama that echoes of Arthur Miller. The set up is very simple, a DC-based family reunites for their father’s 75th birthday. Their father, Lou (David Darlow) is still mourning the recent death of his wife when his three adult kids come to visit. The action mainly concerns itself with a controversial book his son Michael (Daniel Cantor) is writing titled ‘Forgetting the Holocaust’. In two acts deep familial revelations are made as the family hotly debates what Jewish heritage means in our modern world.

While Michael is the main character, this is largely an ensemble piece. His older sister Holly (Gail Shapiro) is a socialite with few ethical cares, while his younger sister Sharon (Elizabeth Ledo) is the caretaker-type to whom Judaism is quite sacred. Michael’s wife Ellen (Heather Townshend) has no religious affiliation but serves to represent the respect for tradition some non-believers have. When it’s discussed what is to be done with their father’s valuable real estate, each character confronts their connection to their lineage.

The female ensemble gives very compelling performances. Elizabeth Ledo provides the moral backbone of the play even if her character has selfish intentions. She’s the voice of traditional values lost along the way to progress. Ledo’s performance is touching and complicated and even tragic by the play’s end. Gail Shapiro is a Karen Walker-flavored character that gives the play its levity. She saunters about naturally with the cool authority of the upper classes, seemingly untouchable by political tides.

“If I Forget” is an uncomfortable play to watch. As we move further from the recent memories of the Holocaust, we see generations become destigmatized by the horrors found at Dachau and Auschwitz. The scary part is that without the memory of it, there’s a chance it could happen again. This play also picks apart the nuances of the politics around Israel. Talking about this play will be difficult as some of the dialogue could be triggering for some audiences. This is exactly what good theatre should do. There are bits of dialogue so divisive your jaw might hang open. Levenson’s play hinges on a single hypothesis and rarely strays from that essential question. De Mayo gives this play an impressive Chicago premiere with a strong cast and a commitment to the intensity of the words.

Through July 7th at Victory Gardens Theater. 2433 N Lincoln Ave. 773-871-3000

The Den Theatre returns to original programming for the first time in nearly five years. Director Lia Mortensen directs their revival of the Joel Drake Johnson play ‘Four Places’. In the intimate space at the Den, ‘Four Places’ gets its first Chicago production since its premiere in 2008 at Victory Gardens. 

‘Four Places’ is a fast-paced one act about two siblings dealing with aging parents. The action is fairly simple; a car ride to lunch, the meal and the car ride back.  Warren (Bruch Reed) and Ellen (Amy Montgomery) are the disgruntled siblings. Throughout, there’s an underlying bitterness between the adult children and their mother. Peggy their mother (Meg Thalken) first appears as any other sweet old lady with a slight distance from modern life. The awkwardness seems merely like a generational gap. Once they begin the lunch, the revelations unfold and we get a glimpse into not only this specific family, but the aging process in general. 

This is a tight-knit cast and the nature of the play requires it to be so. Montgomery and Reed are convincing siblings. There’s a familiar chemistry between them adds a complicated layer to the story. They love each other, but rarely like each other. Reed is the sensitive one and Montgomery is the tough one. Good cop, bad cop. Though, it’s really Meg Thalken’s show. Lia Mortensen’s production is gritty and real. Thalken hits all the comic notes but seems more focused on authenticity. Thalken’s visible and palpable unraveling throughout the play is disturbing and achieves the play’s goal. Johnson’s play is about how uncomfortable it is to age, especially into the twilight years when control and dignity begin to slip away. 

‘Four Places’ is a very bleak dark comedy. It asks what happens when the parental/child roles reverse. Each scene is perfectly structured, the needs of the characters are so clear that the ending sneaks up on you. It is a sit-comish style play that’s easy on the ears, but Mortensen has mined the depths of the script for the universal realities. You may not cry but you’ll certainly wonder, what are we going to do about mom? 

Through June 30th at the Den Theatre. 1331 N Milwaukee. 773-697-3830

Cirque du Soleil is back in Chicago with its latest touring production, Volta. Volta’s inspiration comes from the culture of street sports and just about any acrobatics that could have originated in an urban jungle.

Written and directed by Bastien Alexandre, the theme of Volta is finding freedom from the judgment of others while finding oneself. The main character, Waz, is a young game show contestant who feels different, but thinks that fame and fortune will make him feel good about himself. Over the course of the show he discovers that love and acceptance come from being true to himself, and that his difference is what makes him extraordinary. As always the case with Cirque du Soleil shows, music accompaniment is provided by a live band; tacked behind the blinds in an enclosure at the back of the stage, it adds a rock musical element to the show. A blend of new age electronic and rock music by Anthony Gonzalez, vocals by Eric DeShan. Costumes for the show have been designed by Emmy award winner Zaldy Goco, famous for his work with Lady Gaga, Michael Jackson, Britney Spears, Gwen Stefani and RuPaul’s Drag Race.

First Act starts out with a fun and engaging Mr. Wow Show. Rope skipping performers compete for “wows” from the audience, and wows they get. Next comes visually enticing “Meeting Ela”, with colorfully dressed performers doing Precision Walk, Roller Skating and a Unicycle numbers. “Acro Lamp” is a quietly beautiful aerial performance where a street lamp suspended high from the ceiling serves as a prop. For me, the most memorable number of the first part of the show is “Rise and Shine” – a high energy trampoline-based act. The stage becomes out quipped with a contraption reminiscent of a building construction site; a dozen or so performers jump out the windows and other surfaces, bounce off a trampoline, somersault, then jump back onto the building slowing down ever so slightly before landing with breathtaking precision. It‘s like watching a high quality video game where the characters are not limited by the nature of physics or human capacity.

Second Act opens with Acrobatic Ladders [that look like fire escapes]- a number called “Leaving the City” with performers defying gravity as they swing and fly around in horizontal planes. Following it is “Urban Jungle” - a flawlessly fabulous, albeit more traditional, act of Shape Diving. And then comes magnificent “Mirage” – a hair Suspension act with a Brazilian aerialist Danila Bim suspended only by her hair pulled into a tight bun. As she’s swept up high in the air, the only thought suspended in my head is: how’s this even possible?

Comedic relief is provided by the Russian performer Andrey Kislitsin; his pantomimes are fun and superbly executed, most notably, “La Plage”, that draws lots of laughs from the audience. Volta culminates in “Momentum” – Bicycle Motorcross act. Loud and exciting, it is the perfect ending to another great show that Cirque du Soleil is known and loved for.

Volta is being performed at Soldier Field’s South Parking Lot through July 6th.

With the Cubs finally winning the World Series in 2016 after a 108-year drought, it was probably inevitable a theatrical production would be created at some point to recreate the special magic Chicagoans felt over that incredible year. And so ‘Miracle’, the new musical by William Marovitz and Julian Frazin, has arrived at Royal George Theatre smack dab in the middle of baseball season. Directed by Damon Kiely, the story centers around Maggie’s Tavern in Wrigleyville and the direct effect a winning season has on its owners, friends and patrons.

Charlie (Brandon Dahlquist) grew up at Maggie’s. It was owned by his parent’s and not long after his mother passed away, Pops (Gene Weygandt) passed the family business on to his son. Now Charlie lives upstairs with his wife Sofia (Allison Sill) and his daughter Dani (Amaris Sanchez and Elise Wolf). Everyone helps out. Larry (Johnathan Butler-Duplessis) is Charlie’s best friend and though busy with his law firm, always makes time to lend a hand. Sofia, Pops and Dani also do their part. It is a true family business. But business is slow, back taxes have piled up (thanks to an oversight by Pops) and Charlie doesn’t want his daughter’s future to be the same as his. But they are all die-hard Cubs fans and enjoy every minute of Wrigleyville tavern life. Each year opens with new enthusiasm and optimism for everyone except Charlie.

Charlie, a former college pitcher who gave up a possible Major League career to take on responsibilities at the tavern, asks himself why he and his family keep buying into the Cubs. He knows they are bound to disappoint. They are cursed. But don’t tell that to Charlie’s family or his regulars Babs (Veronica Garza) and Weslowski (Michael Kindston) – both hilarious, by the way. They just know the Cubs are destined to win the World Series.

The story evolves throughout the year, starting with an opening day win. We watch as the wins keep stacking up. A World Series win would sure do wonders for the struggling bar and no one has more faith than Dani.

Each step of the historic journey is captured as the Cubs make the post season and take out the Dodgers to play Cleveland for the World Series Championship. Images are displayed overhead as we relive those seven games that might just go down in history as the most exciting ever to have been played. Fans cheer from the audience as their Cubbies come back from the improbable 3-1 deficit only to snatch victory in an extra-innings Wild West adventure.

‘Miracle’ entertains from beginning to end. There are plenty of humorous moments, touching moments and the story flows smoothly thanks to a well-crafted script and an all-around very talented cast (Weygandt is just terrific as Pops). Even the musical numbers are catchy –Allison Sill really displays great vocal range while Dahlquist certainly holds his own.

There is really nothing to dislike in this engaging production that centers around one of Chicago’s most memorable moments. A great way to recapture the magic of 2016, ‘Miracle’ wins in every way.

Homerun!

‘Miracle’ is currently being performed at Royal George Theatre. Performance schedule for MIRACLE is Wednesdays at 7:30pm, Thursdays at 2pm and 7:30pm, Fridays at 8pm, Saturdays at 3pm and 8pm, and Sundays at 3pm. Tickets can be purchased at www.ticketmaster.com or by calling the box office at 312.988.9000.

*Extended through September 1st

Really? Another ‘Frankenstein’? The 2018/19 season was the year of ‘Frankenstein’. To celebrate the 200th anniversary of Mary Shelley’s classic gothic thriller, four theatre companies produced wildly different adaptations of the novel. If you find yourself wondering whether these companies knew of each other’s productions, they surely did. The beauty of the Chicago theatre landscape is that there’s a lot of room for good storytelling. Lookingglass Theatre wraps up their season with a bold adaptation from the same team who brought us ‘Moby Dick’ and ‘Lookingglass Alice’.

Conceived and directed by David Catlin, this take on ‘Frankenstein’ is as visually stunning as it is insightful. The in-the-round staging makes this telling feel more active, as the entire performance space is used throughout. Shifting around in your seat feels like a more engaging way to view the show. Not knowing where the monster or the next loud sound will come from, heightens the sense of terror. Catlin’s production is scary. Many of the other productions discounted that this is a horror story originally intended by Mary Shelley to scare guests at a party.

While nearly all the productions tried to weave Mary Shelley’s personal life into the retelling, Catlin’s version cuts right to the heart. In fluid transitions between Shelley’s life and ‘Frankenstein’, we get to see the range of Cordelia Dewdney’s talents as an actress. The show may be titled after the scientist, but this is a play about Mary Shelley. Dewdney’s dialogue as Mary Shelley is heartbreaking when considering her real life. Cruz Gonzalez-Cadel also turns in a strong performance in a variety of characters, all of which she plays comically large with a faux pregnancy belly.

The balance of good casting, inventive storytelling and arresting staging distinguish this production. Catlin has chosen to frame his version almost as children playing dress up while exchanging ghost stories. And since the characters are adults, there’s a simmering sexiness to this production. Sexy and ‘Frankenstein’ are two words rarely seen in the same sentence, but somehow Lookingglass achieves just that, making this a delicious evening at the theatre. Thrills, chills and titillation, the pillars of entertainment.

Even though we are now 201 years out from the original publication of ‘Frankenstein’, don’t sleep on this striking production at Lookingglass. For those with a grey memory of the novel from high school, or only familiar with the Universal-Boris-Karloff film version, Lookingglass serves up an unforgettable night of scary fun.

*Extended through September 1st