Displaying items by tag: Chicago

When my husband announced that his company holiday party this year was 80s themed, my first thought was that it had been done before. I’d donned enough leg warmers and sported enough side ponytails at enough parties. My second thought was why not the 90s? Surely in 2023 people want to worship another decade? But when I read Chicago was getting American Psycho: The Musical, I dug out my favorite oversized blazer and headed to Wicker Park to watch the book-turned-movie-turned-musical that encapsulated and glorified the very decade I dared to criticize..

The cast was led by the showstopping talent of Kyle Patrick as Patrick Bateman, the stylish and sadistic center of American Psycho. Patrick’s performance was riveting, one couldn’t take his eyes away from him. He perfectly captured Bateman’s devilishly attractive and hypnotic presence, pulling you in with his charm and wit, turning psychotically evil effortlessly before falling back into his charm. The range Patrick displayed as Bateman was nothing short of breathtaking. The murderous chemistry between Patrick and John Drea as his nemesis Paul Owen was haunting and electric, their bravados embodying the 80s and their fight staging choreography scarily convincing. The play was accompanied with an indulgent soundtrack with original numbers like “Cards” and “Not a Common Man” along with seminal 80s bangers Everybody Wants to Rule the World and of course Hip to Be Square. You were dancing in your seat along with the cast.

The play was set appropriately on a cat walk, white business cards adorning the path, the cast using the cat walk to seamlessly transition from the Tunnel nightclub Tunnel, to the gym, to the office, to Paul Owen’s apartment, the entrances draped cleverly with white tarp. The choreography, directed by Breon Arzell, was nothing short of art. Arzell was able to take extremely difficult and violent scenes and make them hauntingly captivating. In one particularly sexually violet scene (read the book or watch the film if you are curious about this referenced scene), an adonis-like Patrick puppeteered two women, played by Emily Holland and Quinn Simmons, through a series of graceful movements, simulating a sexual throupling without being obscene, and navigating the violence with dignity, masked through the art of dance. Such scenes were made to be very effective thanks to Kokandy's incredibly talented Intimacy Coordinate Kirsten Baity and Fight Choreographer Kate Lass. 

(left to right) Kyle Patrick and John Dreain Kokandy Productions’ Chicago premiere of American Psycho: The Musical

The book-turned-movie-turned-musical has real staying power. Comments Director Derek Van Barham,  It’s horror, it’s satire, it goes for the guts and getsinto your head. And it’s all tinged with that David Lynchian unease of ‘What is actually happening?’ Extending that question of uncertainty into the live experience, we’re playing with what we show vs. what we don’t show, what you see vs. what you think you saw. A lot is going to be left up to the audience.” American Psycho: The Musical has many themes that are still applicable and relatable today. If I concede that the musical glorifying the 80s is still relevant and significant in 2023, then by proxy the 80s are still relevant and significant today, meaning I must find neon bangle earrings to match my leg warmers this holiday season…

Kokandy Production's American Psycho: The Musical runs through November 26, 2023 at The Chopin Studio Theatre (1543 W. Division St., Chicago). Tickets are available at https://www.kokandyproductions.com/american-psycho/.

*Extended through December 10th

Ahoy matey! Climb aboard Lyric’s thrilling, new-to-Chicago production of Wagner’s ‘The Flying Dutchman’ This spooky, nautical classic opens the 2023/24 season and is a perfect way to kick off the Halloween season. While short by Wagner standards, this two-and-a-half-hour opera is performed without intermission, but the cinematic score and dazzling theatrics make the time sail by. This Dutchman leaves its audience spellbound all the way through the final curtain call.

Despite its fantastical elements, ‘The Flying Dutchman’ might be one of Wagner’s most straightforward and easy to follow operas. Based on a century’s old myth, ‘The Flying Dutchman’ spins a yarn about a ghost ship doomed to sail the sea for all eternity unless the supernatural captain can have the true love of a mortal maiden. When the Dutchman suddenly appears on sea captain Daland’s ship offering riches for his daughter Senta’s hand in marriage, an eeriness starts to creep into the port town where Senta awaits her father’s return. If the Dutchman can have Senta’s unwavering love, he can remain mortal and bring about his sinister plans on land.

What’s always striking about Wagner’s operas are how much they sound like today’s movie scores. Though sung in German with English subtitles to guide you, there’s something immediate about the way Wagner’s score conveys emotion. A creepy plot paired with abundant full-cast choruses all add up to an exciting and suspenseful final act.

Dialed-up vocals up under Christopher Alden’s direction really pay off. Part of what keeps people coming back to the same operas time after time are the beautiful moments of song that seem almost fleeting amidst something as sprawling as an opera. Such moments are plentiful too many to count in this production. This is especially true of Tamara Wilson as Senta. Not only can the Chicago native sing to the rafters, but she can also act. The same can be said of her co-star Tomasz Konieczny as the Dutchman.

When an opera takes place on the sea, staging is crucial. Kudos to the cast for doing this entire show on a diagonally slanted stage. Allen Moyer’s vision is more or less minimalism with touches of the old school. The ghostly wedding alone is worth spending two hours in the dark for. Each act though similarly staged provides an uneasy sense of suspense to match Wagner’s haunting music.

Some operas are just plain fun and ‘The Flying Dutchman’ much like Gounod’s ‘Faust’ is a devilishly good time. Wagner’s classic has a little bit of everything and it’s here you start to hear the beginnings of what would become musical theater as we know it today. An enormously talented cast of singers along with reliably sumptuous staging will have audiences under its spell and wondering where the evening went.

Through October 7 at Lyric Opera of Chicago. 20 N Upper Wacker. www.lyricopera.org (312) 332-2244.

There is something bittersweet of a one-time performance. The single moment in time displaying artistic excellence, be it music, dance, or art, retreats as quickly as it appears. The audience is often left reeling and wrestling with their emotions, reflecting on the performance, and recalling the beautiful moments they witnessed, as if trying to convert the fleetingness of the art to memory and make sense of their emotions. There is no better venue in all of Chicagoland suited to those brief artistic moments than Ravinia. 

This June, Ravinia was the backdrop for the Ruth Page Civic Ballet and Friends showcase featuring four talented dance companies (Ruth Page Civic Ballet, Deeply Rooted Dance Theater, Hedwig Dances, and Jumaane Taylor) performing classical and contemporary dance pieces that explored human nature and our emotions. More notably, the companies featured trainees of the dance companies, young burgeoning Chicago talent looking to launch their careers as professional dancers. Many of the young artists had offers in hand to prestigious programs and companies around the country with many more offers hopefully to follow.  

The showcase featured eight beautiful pieces roughly ten to twenty minutes in length. Deeply Rooted Dance Theater’s piece “Aisantnaf” featuring Ahmad Hill was a standout performance with intricate lighting highlighting the dancer’s body and movement in intricate detail, making the slow burning performance entrancing to watch. Hedwig Dances featured a single contemporary piece “Syzygy” featuring H. Meneses, Rigo Suara, and Paula Sousa that explored the power of three as both humans and something more cellular. The piece had an odd track that made it almost uncomfortable to watch and the musical accompaniment played almost too loud, distracting from the interlacing of the dancers on the stage. It would be worth a second watch and a possible track change to see the piece performed again. 

The absolute crowd favorite of the showcase was Jumaane Taylor and Kayana Latimer of Jumaane Taylor and Stone Soup Rhythms performing “Cheap Suites 1-5.” The tap dancers play in these five short lived rhythmic minutes-long wonders, scratching deep into the floor until they decide to "check-out." The ensemble taps into a determination to morph the strategi rthymic patterns of Karriem Riggins (Detroit master drummer and producer), using detailed tap steps to particularly collaborate with these intrumental vibrations. The tap number was high energy and showcased the incredible skill, speed, and mastery the craft requires. Each small tap or pounding step resonated with the stage and the music in perfect lock step. It brought a smile to every face in the audience and was a difficult act to follow within the showcase.

In every showcase there is one performance that leaves you wanting more. For me it was a Ruth Page piece. While “Pasajera La Lluvia” featuring Kaelen Gouveia and Oscar Uribe Zapata was a beautiful contemporary piece, the standout was the finale performance of “Abscission” by Adrián Marcelo Sáenz. The number featured all the Ruth Page trainees within their ballet company; Keely Clark, Kaelen Gouveia, Hannah Gonzalez, Mian Hirasawa, Alicia Rene Kenefic, and Oscar Uribe Zapata. The contemporary performance was an exploration of the most intimate and dark places of ourselves; a self-imposed chain, a toxic past, a double edged decision, are we free or lost without them? It was an intimate, technical, and passionate performance by all the dancers and truly was a culmination of their years of hard work and talent. The entire piece could be expanded on to be a standalone show.

While a single performance can leave one bittersweet, it can also be the culmination of years of training displaying the years of hard work and talent put into the artform. The young talent on display at Ravinia for Ruth Page Civic Ballet and Friends was beautiful in its fleetingness. Chicago and Ravinia should expect to see these talented artists soon as they embark on the next chapters of their careers. To learn more about the Ruth Page Center of the Arts’ programs and initiatives, please visit www.ruthpage.org. To view Ravinia’s 2023 and lineup and purchase tickets visit www.ravinia.org.

It's Mother's Day today and you know what that means, 

It's the day we honor those who rock cool mom jeans.

Don't pretend you don't own some, they're back in fashion, ya know,

So don those old favorites and step out for a show.

Grab your friends, hire a sitter, and venture out to the city,

To see a play that is irreverent, honest, sharp, and so witty.

Mothering figures will rejoice at this theme that’s well understood,

There is nothing quite like MotherFreakingHood!

The musical comedy plays out in two simple acts,

The songs encapsulating straight motherhood facts,

From pregnancy pee sticks and kid drop-off lines,

To postpartum, pharmacology, and teen robotic crimes.

Three women meet while preggers, each one a mom troupe,

Finding love and support with each in the groupe.

Tafadzwa Diener plays Rachel, the excited new mom,

Whose joy is contagious but she’s anything but calm.

Jacquelyne Jones depicts Angie, the Type A CPA,

Planning every minute of kid life like a project ETA.

Leah Marrow plays Marcia, a seasoned mother of three,

She's blunt and uncensored and longs to break free.

Rounding out the ensemble is the great Maya Rowe,

Who plays “everywoman,” and who often steals the show.

Julie Dunlap and Sara Stotts who wrote the music and book,

Understood the assignment and knew just where to look,

For the content and humor that peppered this play,

For the sometimes sad, lonely, and miserable days.

The long lonely nights, the joy and the pain,

That only a mother figure can capture and explain.

It truly takes a village, we make mistakes and we try,

But like motherhood this musical made us laugh more than cry.

MotherFreakingHood! The musical runs through mid-June

Find tickets here and get to Southport very soon,

Buy the tickets to thank all the moms who’ve been there,

Grab a Mom Water, or two, or three (you don’t have to share!)

While we reflect on this day, with the mothers we love,

Be them our own, the ones we make, or the ones now above,

This world would be greyer without them around,

And remember they’ve loved you, from that first ultrasound.

If we can agree on one thing, it’s that we all do good,

In this crazy, fantastic, thing called MotherfreakingHood!

I’m going to do my best to not provide any spoilers in my review of “Fairview” the 2019 Pulitzer Prize winning play by Jackie Sibblies Drury. It’s going to be hard. Definition Theatre’s production under the direction of Tyrone Phillips will certainly challenge its audience. This production starts in heightened realism, flows into surrealism, runs head on into the absurd before landing a moralistic gut punch. It would be unfair of me to describe the twist, turns and surprises. Everyone should be given a fair view of this excellent production for themselves.

Director Tyrone Phillips has staged “Fairview” as a play within a play. We are introduced to the home of The Frasier Family. It is a nice, if somewhat simple home. The type of home you may find in so many television sit-coms. It becomes obvious the Frasers are middle class African Americans once we meet high anxiety Beverly (Kandice Robins) and her hen-pecked, doting husband Dayton (David Goodloe). They are straight out of central casting, Perfect. If you closed your eyes and just listened to them, you would be hard pressed to guess their race. Yeah…those Black people.

Beverly is preparing a birthday dinner for her mother, the family matriarch, and everything must be perfect because, well, what would people think. As Beverly sits cutting carrots listening to Stevie Wonder’s “Happy Birthday” the channel on the radio changes and starts to play the traditional “Happy Birthday Song. It rattles Beverly for a minute, but the music quickly changes back, and she continues her preparation of the dinner as if nothing happened. Her sister, Jasmine (Martasia Jones) arrives with a bottle of rose wine to kick the party off. It is obvious Jasmine is a little more spirited (o.k. she’s ghetto)

than her proper sister. She’s opinionated, gossipy, loud and (well, ghetto.) We next meet Keisha, (Jada Jackson) the teenage daughter any family would want. She has the usual teenage problems but it’s clear she’s very smart and focused.

The family has the usual conversations any middle-class family would have. Beverly is hoping her lawyer brother, Tyrone makes the party. Keisha wants her Aunt Jasmine to ask her mother to allow her to take a gap year after graduation. Dayton is helping his wife as much as he can. Jasmine and Beverly have an on-going rivalry. Beverly gets more anxious as things aren’t going perfectly. When she realizes the cake has burnt she faints, chopped carrots fly everywhere. Lights down!

The lights come halfway up on stage. And for the next five to ten minutes stagehands reset the set. This happens right before our eyes. The genius of Phillips is giving the audience the opportunity to have a conversation while this is going on. Nothing truly remarkable happened in the first act. Its unremarkable nature was, in fact, was quite remarkable. There are going to be some interesting conversations going on during this non-intermission.

The actors start the show from the top, except this time they are doing it in silence. There are two new audience members seated arguably in the best seats in the house. As everyone’s conversation has subsided, these new audience members conversation is just starting. We’ll call the more aggressive White male, Jimbo (Max Stewart) and the more liberal leaning White women, Suze (Barbara Figgins). The topic of Jimbo’s conversation: If you can be any race, what race would you be? Poor guilt-ridden, bleeding-heart Suze is verbally abused by Jimbo. She refuses to answer, she doesn’t want to be wrong for one thing. Next to walk into this conversation is a white man we’ll call Mack (Collin Quinn Rice). He clearly knows what race he wants to be, Latinx, not Latino, Latinx. He practically fetishizes the Latinx. Rounding out this coterie, is European born Bets (Carly Cornelius). Asked the same question, Bets answer is probably the weirdest or rather the most interesting. She eventually comes around.

Initially, this conversation seems to have no bearing on the Frasier family’s affairs, with their prying questions and uneasy answers. I was tempted to disregard the actions on stage for the action happening in the audience. However, as Act ll progresses, the two plotlines converge and interact, creating some of the most hilarious comedy I’ve seen on stage in a very long time.

“Fairview” is an exploration on the white gaze. Writer Jackie Sibblies Drury has let us in on the private thoughts of white people. We get an idea of how people create whole scenarios based solely on race, especially the Black race. They weren’t even listening to The Frasiers. They made up the story to suit their individual biases. Director Phillips has made the “white gaze” an actual gaze done by actual white audience members. We see how matter of factly racist tropes are spewed especially when it’s “just amongst us”. This play is also an exploration in the art of the mindfuck. The Urban Dictionary describes a mindfuck as something to confuse or reshape your thought the way the "mind-fucker" wants you to think. making you question, doubt, or acquire a new set of ideas based on what the perpetrator has told you. Susan Lori Parks did a mindfuck with Topdog/Underdog. By naming her characters Lincoln and Booth, she tells us what is going to happen. Yet we act like we don’t know what will happen. Jackie Sibbles Drury is a bit more sly but equally effective.

This production is excellent. The ensemble was perfect. The Choreography by Jyreika Guest, who was magic in “How Blood Goes” another excellent production, was engaging and fun. Special recognition must go to Props Designer Mariah Bennett (you’ll understand when you see the show). The costumes by Alexandria Richardson ran the gamut from plain to unforgettable.

 Theater should challenge and inspire. Theater should beg you to question and dare you to act. Theatre should teach and enlighten. “Fairview” does all these things and if you have a heart it will move you, and don’t we deserved to be moved…….. ain’t it time!

HIGHLY RECCOMMENDED

When: Through May 28

Where: The Revival, 1160 E. 55^th Street Chicago

Running time: 120 minutes

Tickets: $35

Contact: definitiontheatre.org

As we drove away from Lifeline Theatre I asked my companion what she thought of From the Mississippi Delta. “I have no words yet,” she said. “I’m still just reveling in delight.”

This play is indeed delightful. Even when eleven-year-old Phelia is raped; even when she and Aunt Baby are squashing cockroaches; even when her own town shuns her – even these scenes manage to delight without ever compromising the gravity of the story.

And the best part is it’s all true! Dr Endesha Ida Mae Holland (1944-2006) wrote the play From the Mississippi Delta based on her memoir/autobiography of the same name (which you can purchase in the lobby). As author and as playwright, Dr. Holland, professor emeritus of theatre at University of Southern California, chronicles her journey from dirt-farm poverty and the brutality of 1950’s Jim Crow, enduring rape and prostitution before finding herself in civil rights activism. It took twenty years, but Dr Holland completed her bachelors, masters, and doctoral degrees at the University of Minnesota. From the Mississippi Delta is a testament to Holland’s perseverance, and to the myriad sheroes who encouraged and sustained her.

The play, brilliantly directed by Lifeline Theatre’s Artistic Director ILesa Duncan, includes dozens of characters, all played by the cast of three actors: LaKecia Harris, Arielle Leverett, and Jenise Sheppard, billed in the program as Woman 1, Woman 2, and Woman 3. Harris and Sheppard alternate playing Phelia while Leverett primarily represents her mother, Aunt Baby. Aunt Baby’s artistry as a midwife leads a local (white, male – of course) doctor to call her ‘the second doctor’. The scene in which she rotates and delivers a breech baby left me stunned.

The play begins with the women relating hideous vignettes, beginning with Emmett Till, and each account ends with the words ‘This is the Mississippi Delta. This is where I was born and grew up’. After a handful of stories, they begin singing “Trouble in Mind”; that’s when I fell under their spell. Throughout the play they brilliantly perform at least a dozen iconic selections from blues and spirituals. Music Director Ricky Harris and Sound Director Deon Custard collaborate to meld the music perfectly with the action and with external and peripheral sound effects. Harris’ decision to forego accompaniment or instrumentation is inspired, as the three magnificent voices are enriched by a capella performance.

FunFact of the Day:  the a capella genre originated with African Americans singing in African American barbershops: the original barbershop quartets.  

(Top to Bottom) Arielle Leverett as Woman 2, Jenise Sheppard as Woman 3, and LaKecia Harris as Woman 1; in Lifeline Theatre and Pegasus Theatre’s “From the Mississippi Delta.”

Scenic Designer Angela Weber Miller’s amazing multi-level set has several doors and other options for egress, which choreographer Tanji Harper makes adroit use of to allow the three actors to instill a phenomenal amount of detail into each scene. Props Designer Wendy Ann caches props and bits of costumery (designed by Gregory Graham) all about the set, allowing the actors to change character by simply donning an apron or shucking a hat. The sparse furniture onstage is just as versatile: an ironing board converts to a birthing bed and later becomes grandstand seats for Phelia’s debut as a stripper. The transformations are skillfully abetted by Lighting Designer Levi J Wilkins. Stage Manager Roxie Kooi stitches it all together into an amazing package for Production Manager Adi Davis.

Everything lately seems to need an Intimacy consultant – even the American Ballet Theatre recently used one for a pas de deux – and Gregory Geffrard keeps the actors on the good side of the fine line separating stimulating from stodgy. 

An African American deep-south accent is tough to pull off without sounding like Amos & Andy, so my hat’s off to Dialect Coach Shadana Patterson. Her job was made even tougher by the fact that white folks are notoriously challenged by African American dialects and accents. In fact, though I was encouraged to see the theatre more than 2/3-full, it was almost totally lacking Black faces, which I find both surprising and concerning.,

My melanin deficiency invalidates my opinion, but I’m going to give it anyway: I think African Americans, particularly Black women, would very much enjoy From the Mississippi Delta. It exposes the singular brutality lurking at the intersection of bigotry and misogyny. It is a testimonial to the strength and resilience of Black women, a hymn to the human spirit. 

Look -- if for no other reason, go for the music.  See From the Mississippi Delta and be transported by these three magnificent voices.

HIGHLY RECOMMENDED

I’ve often said despite the larger houses producing August Wilson plays, they tend to work better in intimate spaces. After all, Mr. Wilsons’ inspiration came from intimate settings. He would write in bars, cafes, restaurants, and other places where his characters would be right in his face. He would often write long hand and sometimes on napkins to make himself invisible as a writer. It was important for him to catch the dialect, the accents, and the energy of his characters. Mr. Wilson began his career writing for small theaters, schools, and community centers where space was at a premium.

American Blues minimalist production of “Fences” under the direction of Monty Cole is powerful, bold, and beautiful. I love when theaters take chances. No guts, no glory….and there is plenty of glory here.

To contain the largest of emotions within boundaries, Scenic designer Yeaji Kim has created a huge, whitewashed fence reaching the heavens on both ends of the playing area. On the north end it appears to still be under construction. On the south end there is a door leading into the house while when closed is unnoticed. There are 5 cushions for players to be seated when they are not on stage. There are 60 chairs in total on either side of the playing area. It’s akin to a baseball field. The characters are so close you can count the beads of sweat on their brow, their emotions so big, no regular sized fence was going to hold them in.

We get up close and personal with Troy Maxson. Kamal Angelo Bolden’s Troy was not encumbered by anyone who previously played this role. This Troy was much more complicated than I’ve ever seen, FULL STOP. At varying times, this Troy showed love, he showed anger, he showed fear, he was a child, he was a monster, but most of all he showed a vulnerable side. It’s the vulnerability the audience connected with. Despite his ugliness, his meanness, and boorish ways if we look deep into his eyes, we see a man hurt. We see a man who values work more than education. In those rare moments of silence, we see what could have been, and our hearts ache for him.

Playing opposite Troy is the hard-working Rose, his wife of 18 years. She knows this man; she has built her life around him. She soothes over his relationships with his sons.  She is the heart and soul of this family. She cooks, she cleans, she loves. She is saint like in her patience with Troy until she isn’t. We see mini eruptions until it grows too much to control until she loses herself or does she find herself.  Shanesia Davis’ beautifully understates Rose until she can’t anymore. It is some beautiful theatre having a front seat to her emotional build.

A man like Troy Maxson needs all the support he can muster, and no one does it better than his friend and confidant, Bono, engagingly played by Martel Manning. No one could question Troy about his dalliance except Bono. Manning brilliantly steps into the lion’s den and raises the issue. I loved the way his mannerisms changed when talking to Troy about “that gal”.

Troy’s two sons born a decade apart, to two different women are Cory, energetically played by Ajax Dontavius and Lyons, the charismatic William Anthony Sebastian Rose II. Troy treats both men the same the only difference is Cory lives in his home, so he has more control over him.  He verbally abuses Lyons. Special shout-out to Charlie Baker, the Fight & Intimacy Director. Unbelievable stagecraft. The fights and intimacy looked awful real. I almost ducked when Cory was swinging the bat.

Rounding out this family is Gabriel, Troy’s brain damaged brother, played with wonderful control by Manny Buckley. I loved how tight and controlled Buckley played Gabriel. He played the character with great respect for brain damaged people without forfeiting characterization. Gabriel sees what we can’t see. He feels what we can’t feel. Buckley expressed this perfectly.

Stephanie Cluggish’s costumes suggested the times. I especially like what she did with Rose’s funeral outfit. Very inventive.

This production had an air of spirituality, of otherworldliness, I’ve never seen before. This was largely the result of Jared Gooding’s lighting design.  It worked beautifully

In Wilson’s N.Y. Times obituary, he is quoted as telling the Paris Review: “I think my plays offer (white Americans) a different way to look at black Americans. For instance, in ‘Fences’ they see a garbageman, a person they don’t really look at, although they see a garbageman every day. By looking at Troy’s life, white people find out that the content of this black garbageman’s life is affected by the same things – love, honor, beauty, betrayal, duty. Recognizing that these things are as much part of his life as theirs can affect how they think about and deal with black people in their lives.”

Yeah right, let’s hope this is true. In any case, American Blues Theater and Monty Cole has put these characters on full display with all the fury and might deserving of them and a weary America thanks you.

“Fences” runs through Aug. 6 at Theater Wit, 1229 W. Belmont. For tickets visit americanbluestheater.com or phone (773) 975-8150.

For the past two-plus years, I’d dreamed of doing all the things in Chicago that were shut down due to the pandemic. When restrictions were lifted and entertainment started to come back to the city, I was determined to say yes to every unique city experience. By far the most Chicago heavy hitting art came with the Joffrey ballet performing Don Quixote with the Lyric Opera.

Don Quixote is a ballet following the adventures of an aging knight-errant who reads epic tales of chivalry and romance, and seeks out on an adventure to revive chivalry and serve his nation, under the name Don Quixote de la Mancha. He recruits a simple farmer, Sancho Panza, as his squire, and together they travelin search of love and adventure. While Don Quixote is the focus on the ballet, the central theme is a love story; Kitri is the ballet’s feisty and wilful heroine of the ballet. When her father Lorenzo tries to marry her off for money, she doesn't play the victim, but hatches a plan to marry Basilio, the charming barber who has won her heart, and pursue her own version of happiness. It is Don Quixote who stumbles into town, sees what is transpiring and intervenes in the name of chivalry and true love.

The Joffrey principle dancers and ensemble company brought the Spanish classic to life, dancing with all the grace, talent, and poise ballet dancers can possess. Their energy was unparalleled as they leapt and twirled around the stage. The casting was perfection in Victoria Jaiani at Kitri and Dylan Guitierrez as Basilio; notably the Joffrey has a rotation of principle dancers to play the ballet’s leads, offering patrons a unique flare each performance. Set against elaborate and immersive set designs, and accompanied by a live orchestra, Don Quixote was a visual and unexpected wonder. 

The visual and auditory spendlor of the ballet was only surpassed by being in such a historic venue as the Lyric Opera. Here I was, watching some of the nation’s best dancers, perform with a world renowned orchestra, sitting comfortably in a historic Chicago landmark; post pandemic I am grateful for the chance to see such a performance and that others have the opportunity to experience this as well. Thanks to the artistic group’s mask precautions and vaccination card screenings at the door, these performances can continue to bring beauty and light into an increasingly darker world. No matter how bleak the days might seem, The Joffrey helps to remind us that there is still grace and beauty in the world to be experienced, and we must leap at the artistic opportunities when they come our way the way Don Quixote leapt at adventure.

Don Quixote runs through June 12th at the Lyric Opera House at 20 N Upper Wacker Dr, Chicago. Tickets are available at Joffrey.org.

Initially, I had the jitters about reviewing Grandma’s Jukebox. Obviously the show was very much about music, and I’ve just never been really into music; I’d rather be reading. I didn’t even own a stereo in college! But I love theater so I arrived at the opening with an open mind and expectations.

The first acts established the groundwork: the four grandchildren are gathered to hear their family friend Richard, a lawyer, explain Grandma B’s estate. J Michael Wright portrays Richard’s excruciatingly awkward efforts to gain acceptance into the family circle, but the others form a closed wall. 

Jessica (played by Jessica Brooke Seals), as the eldest, assumes she will mount Grandma B’s matriarchal throne. She’s lost the respect of the other kids, however, by her submission to her domineering and chronically unemployed husband.

The play, written and directed by Michelle Renee Bester, is grounded in two cornerstones of African American life: family and music. Aeriel Williams as Parker gives a lovely rendition of “Song for Mama”, establishing that Parker’s overwhelming grief has silenced her, isolating her in a cocoon of mourning.  

After this poignant offering, Mikey, exuberantly played by Blake Reasoner, galvanizes us with James Brown’s “I Got the Feelin’”, then he and Chris (Vincent Jordan) manage to top it with their dancing as they crank out Michael Jackson’s “Beat It”.

Vincent Jordan’s Chris bares his pain and rage in PJ Morton’s “Heavy”, revealing how he’s manacled by a gang-ridden past, particularly the shackle of being labeled ‘felon’.

The pain of these four people’s personal traumas has been ignited by their bereavement, and each acts out their pain by blaming and belittling the others. Into this crucible steps Richard, the bumbling white guy, to inform them that Grandma B’s will has a condition: no one can inherit until they undergo family therapy. Richard frosts the cake by saying he’s been trained as a ‘family mediator’ and offering his services.

The following scenes intersperse therapy sessions with conversations. Jessica confronts her shiftless husband with “Hurt Me So Good” and Mikey (he’s NOT Michael! Michael is the abusive father that Grandma B rescued him from) and Chris rock the stage with “Ball of Confusion”.

Meantime, the jukebox sits in the background, and we’re wondering why this piece of furniture has been honored by the play’s title. After all, with the support of musicians Oscar Brown Jr (guitar/bandleader), Adam Sherrod (keys), Mark Miller (bass), and Myron Cherry (drums), this cast sparkles and shines performing each number. 

Then Parker is wistfully singing “I’ll be There”, when … But no. That would be telling.  Suffice it to say, the jukebox earns the title.

The finale, a roof-raising ensemble performance of “Before I Let Go”, reminds us that family love is not constrained by genetics, race, or personal quibbles; a reminder we all need from time to time.

There are a couple of things I’d like to have seen highlighted more.  The first couple of scenes were a bit slow, the singing not quite up to the performers’ rousing best, and the humor a bit forced.  This resolved as the cast relaxed and settled into their performances, and was blown away completely when Chris and Mikey pounded out James Brown and Michael Jackson. 

The playwright’s stated intention is to display ways for healing generational trauma, but the traumata explored were limited to the current generation.  I think “Grandma’s Jukebox” could have delved deeper into intergenerational trauma and recovery.

The artistic team is Executive Producer Jackie Taylor, writer/director Michelle Renee Bester, Robert Reddrick as music director, and Oscar Brown Jr leading the band.  The design team – Bek Lambrecht (set), and Denise Karczewski and Marquecia Jordan (costumes) showed welcome minimalism, simply dressing the room as home and the players as family, with a couple of quirks like Parker’s blankie and Mikey’s exuberant colors.

“Grandma’s Jukebox” plays through June 26 at the Black Ensemble Theatre, continuing the 2022 “Season of Excellence: Season of Healing and Joy”.  If a musically torpid white girl like me can be brought out of her seat by “Grandma’s Jukebox”, then a music lover’s cup will be running over.

“A man came by chance, saw it, and destroyed it” repeats Chekhov in his psychological melodrama “The Seagull”. Such a simple phrase says so much about the ways humans can treat one another. Steppenwolf Theatre revives the classic play under the title “Seagull” in a new adaptation by company member Yasen Peyankov who also serves as the director. Steppenwolf invites audiences to their new impressive theater space for its inaugural production. The cast primarily features ensemble members in what feels like a celebration of Steppenwolf’s rich legacy.

“Seagull” is a great introduction to the impressive new building on Steppenwolf’s campus as well as a great introduction to Anton Chekhov. Yasen Peyankov worked on this script for many years, occasionally working with Russian language experts from Northwestern University to maintain Chekhov’s original intent. Audiences will be struck by how fresh this script sounds. Plays of this era can be a bit of a slog for the uninitiated, but this version has a stronger sense of immediacy to the lines. Peyankov focuses his script on the dark humor that often gets diluted out in tedious repetition and lengthy scene-work. The main points are easier to grasp here and overall serves the tragic ending more because the characters feel more relatable.

Peyankov’s script is peppered with a reality TV flare. Nobody perhaps better inhabits that flavor than Lusia Strus as Irina Arkadina. Her character is a fading stage actress who’s summering at a country house with her new beau and her adult son. Her adult son Konstantin (Namir Smallwood) is also struggling writer and loathes his mother’s successful writer boyfriend Trigorin (Joey Slotnik). He’s in love with Nina (Caroline Neff) but she much favors fame than love. Konstantin cannot return the love of the caretaker’s gothic daughter Masha (Karen Rodriguez) though she’s the only one who believes in his talent as a writer. Emotions run high and reactions run big, just like an episode of “Real Housewives.” Lusia is a bold, sexy and smokey voiced Irina, often walking away with most of the laughs in the play.

“Seagull” seems more focused on the female ensemble and that’s just fine because this is a stellar cast of actresses. Masha is arguably one of the best roles an actress can ask for. Karen Rodriguez doesn’t get bogged down in the angst of the role, but rather uses physicality to enhance the comic absurdity of Masha’s moroseness. Masha’s mother Paulina is played by Sandra Marquez who also does a great job of pulling out the humor of an otherwise pathetic character. This script brings the young starstruck Nina character to life more than previous versions. The play gets its name from her character afterall. Caroline Neff delivers a notably emotional performance. The beauty of the new in-the-round space is that in the final moments of the play audiences are able to see and experience the facial expressions of the actors in a way not possible in their existing spaces. Neff is devastating as she manically circles the performance space vacillating between clarity and delusion. Throughout the play Neff speaks the dialogue so naturally that it almost doesn’t feel like scripted words at all.

Purists will have their qualms with this new adaptation but there are only so many ways to use the same dusty old scripts. Yasen Peyankov’s script is definitely cheeky, but there’s real depth in his version. By cleaning up the clutter of words in traditional translations he makes room for the character ambitions to be clearer. When they don’t get what they want, it makes it all the more tragic. If you’re looking for a lighter dance through Chekhov, this is the version to see.

Through June 12 at Steppenwolf Theatre Company. 1650 N Halsted. www.steppenwolf.org/seagull