Displaying items by tag: Donica Lynn

Do not see THE CRUCIBLE to unwind after a hard week. Do not take a blind date to THE CRUCIBLE. If you couldn’t get tickets to Second City, do not attend THE CRUCIBLE as a backup. But in any other circumstances whatsoever, DO see THE CRUCIBLE at Invictus Theatre.

Even if you didn’t read it in school you’ve probably heard the story: Arthur Miller wrote THE CRUCIBLE in 1953 about the Salem Witch Trials of 1692-93 in protest against McCarthyism. It still holds relevance today: the struggle to maintain critical thought processes in response to inflammatory public hyperbole … oh, yeah. Been there, done that.

Even simply reading the play is disquieting; brought to life on the stage THE CRUCIBLE is gut-wrenching, especially when well-played. And at Invictus it is well-played indeed. To echo the Buzz Center Stage review of a recent production: ‘I have to keep reminding myself this is a storefront theatre.”

I adore Chicago’s tiny storefront theatres; seeing the play while sharing the cast’s pheromone cloud greatly enhances the experience for me. Invictus is among the tiniest, with only 50-odd seats. I was in the front row and nearly had an actor catapulted into my lap at least twice. Mounting THE CRUCIBLE on such a miniscule stage is courageous, to say the least, and for anyone else it would be foolhardy. For Invictus it’s just the latest instance of achieving the inconceivable and doing it brilliantly.

Credit must begin with Charles Askenaizer, Artistic Director of Invictus and Director of THE CRUCIBLE. It would be easy for the frenzied activity to degenerate into a general brouhaha, but Askenaizer keeps the action crisp and focused, allowing the primary actors to perform without dissolving into the fracas.

Of course, he had the finest materials to work with: the cast was outstanding, every one, from the leads to understudy Steve Connell stepping in as Francis Nurse.  Managing a cast of nineteen certainly demands assistance, ably provided by Assistant Director Donica Lynn, Production Manager Todd Henry Faulstich and Stage Manager Gabby Rooney. And Amber Wutke certainly had plenty to do as Fight/Intimacy Designer & Movement Choreographer!

L-R: Michaela Voit (Abigal Williams), Frank Nall (Giles Corey), Joseph Beal (Reverend Parris), Lea Grace Biwer (Betty Parris), Charlie Diaz (Reverend Hale), Mike Cherry (Thomas Putnam), Laura Coleman (Ann Putnam), Barbara Roeder Harris (Rebecca Nurse). Photo credit: Through Line Studios.

Costume Designer/Wardrobe Manager Jessie Gowens did a superb job, adding intriguing (and no doubt authentic) details onto the severe Puritan garb. I was fascinated by the wide quilted sleeves and the double rank of buttons on Deputy Governor Danforth’s coat. 

One of Scenic Designer Kevin Rolfs’ brilliant adaptations to the limited space backstage was to keep most of the cast on the stage throughout, only retiring to opposite rows of hard straight-backed chairs when leaving a scene. From there they could serve as a modified Greek chorus: singing, hollering and finger-pointing to remind us that this lunacy infects the entire town. 

Props Designer Sam Paulson, Sound Designer Petter Wahlback, Lighting Designer Chad Lussier and Box Office Manager Steve Nordmark round out a truly extraordinary team creating a truly phenomenal production. Bravo!

As noted, the cast was massive and though each individual played their part irreproachably I can only comment specifically on a few, whom I’ll introduce by telling the story.

We begin in the woods with a circle of young women being led in a primitive, frenzied dance by Caribbean slavewoman Tituba  (LaTorious R Givens). Tituba furtively slips a mysterious drink to Betty Parris (Lea Grace Biwer), who begins to rave and convulse until collapsing into a coma. The screams of the frightened girls attract her father The Reverend Parris (Joseph Beal), a preacher who is far more ambitious than spiritual; he is both panicked and outraged by the spectacle. The girls, fearing the Pastor, turn on Tituba, saying she cast a spell on the girl.

The pusillanimous rector is horrified to learn the story has spread like wildfire through the entire town, with a widespread conviction that Lucifer is afoot. Parris, unnerved by these slights to his (illusory) good name, summons witchcraft expert Reverend John Hale (Charlie Diaz), who insists to the end that nonesuch is operating in Salem.

Mark Pracht is amazing as John Proctor, the local farmer who manages to maintain his integrity. Proctor is a decent, though flawed, man who sincerely loves both his wife and his God but evades hypocrisy by seldom attending Parris’ church. Pracht reveals Proctor as intelligent and insightful enough to differentiate God from religion and to penetrate the disguise of ordainment, seeing the clergy – Parris in particular – for what they truly are. His loyal friend and fellow skeptic Giles Corey is brought vividly to life by Frank Nall.

Devon Carson plays Proctor’s wife Elizabeth so skillfully that we understand and sympathize with the subtle currents of her mind and her heart. She loves her husband dearly, but can’t resist using that love to torment him – as wives of that time, lacking other dominion, were wont to do. Carson gives us a full view of Elizabeth’s development and maturation over time. Excellent acting and superb direction let us literally see the moment when Tituba recognizes ‘I have power here, I can take control’, and deflects the accusations onto Abigail Williams (Michaela Voit). Likewise, we can clearly see Mary choosing the opposite course and deciding to take the blame on herself rather than give Mary up to the inquisitors.

 As we would say today, the recriminations, allegations, insinuations and accusations go viral and the whisper network renders them ever more specious and malicious. I ultimately lost track of who was accusing whom of what, and I suspect the characters did as well. The arrest of honest Goody [‘Goodwife’] Nurse, played by Barbara Roeder Harris, makes clear the situation has descended from outrageous to grotesque.

Into this bedlam struts Deputy Governor Danforth. Danforth is a self-righteous bastard, in love with his own limitless sovereignty and equating it to that of God himself. What Deputy Governor Danforth says, is. I purely loved James Turano in this role! which he plays with both vivacity and subtlety. Clearly Governor Danforth relishes the opportunity to flaunt his distinction: a prestigious trial with copious defendants to browbeat and countless openings for thundering, Scripture-laden speechification – what’s not to love? And Turano himself is clearly having a ball with the role. I had a word with him after the show where he confirmed, “it’s always fun being the villain.” 

So … this is pretty much it for my review, but if you’ll hang in with me I’d like to take a moment to wax philosophic on THE CRUCIBLE and what makes it a classic. Start with the title: a crucible is a vessel in a refining fire where precious substances are tested, purified, and strengthened. And indeed the trial demonstrated how our legal system has been strengthened by erecting safeguards: spouses need not testify against each other; the defendant is protected from self-incrimination [‘the Fifth’]; each litigant is represented by an advocate; hearsay is not admissible as evidence. Our system still clings, however, to the final decision on clemency resting with the governor rather than the judge. Deputy Governor Danforth shows us just how precarious this may be.

Miller wrote THE CRUCIBLE in 1953, in the midst of the McCarthy hearings and just eight years after the fall of the Nazi party, so peoples’ responses to an evil situation was a natural theme. Most discussions of THE CRUCIBLE assume the evil situation is the trials themselves, forgetting that Massachusetts was also in the midst of the terrifying French and Indian Wars. The Rev. George Burroughs writes of the Candlemas Massacres, ‘God is still manifesting his displeasure against this Land’; a sentiment with clear impact on the Salem Witch Trials. One wonders why Miller, himself traumatized by war and a harrowing political atmosphere, did not more fully examine the settlers’ traumas.

Debate continues over just what happened to the young girls in Salem, historically as well as in fiction. ‘Faking it’ is just too simplistic. Some have suggested ergot poisoning –  hallucinogenic mold in the bread – but then why only those particular girls?

Another, more plausible theory is a psychogenic disorder called mass conversion, in which anxiety, whatever its cause, is so extreme that they unconsciously convert their mental anguish to physical symptoms. The Salem populace was living under the strain of both a hideous and bloody war and, more to the point, the omnipresent threat of witchcraft; with equally dire risks of accusation and of being a target: “She killed my babies!” wails a townswoman. In mass conversion disorder, long-term stress converts messages from the brain to the muscles, expressing anxiety as twitching, shaking, garbled speech, and trance states.

This link to trauma is not demonstrated in Miller’s play. In the 1950s psychiatry was not well understood, particularly by the general public; the diagnosis of conversion disorder had not yet been described. Miller himself was also probably experiencing his own anxiety symptoms from the chronic stressors of WWI, the economic collapse following it, and the persecutory atmosphere generated by McCarthyism. He may have sought to relieve his anxiety symptoms by creating THE CRUCIBLE – as artists are wont to do.

Thanks for hanging in with me in my digression, but let me not forget the paramount message: THE CRUCIBLE IS VERY HIGHLY RECOMMENDED! Should you miss this production (playing through June 11 at Reginald Vaughn Theatre 1106 W Thorndale Ave in Chicago), first kick yourself, then remember that Invictus is a safe bet for quality theatre, whatever is playing.

From the Director’s Note:

I couldn’t help thinking of Pastor Martin Niemoller’s quote from his reflections on the Holocaust:

First they came for the socialists, but I did not speak out – because I was not a socialist

Then they came for the trade unionists, and I did not speak out – because I was not a trade unionist.

Then they came for the Jews, and I did not speak out – because I was not a Jew.

Then they came for me – and there was no one left to speak for me.

One by one, the town is ‘purified of witches’ until cows wander aimlessly along the roads and untended crops rot in the fields. Soon there is no one left to speak out about the injustices or take the time to rationally think about the accusations made. Soon all that is left are empty chairs and silence.

The current production of 42nd Street at Drury Lane Theater left me breathless! With book by Michael Stewart and Mark Bramble, music by Harry Warren and lyrics by Al Dubin, the newly updated and improved 42nd Street blends different periods of dance from the sixties to the present including some of the best tap dancers (don't call them hoofers) I have seen assembled for one show. 

Telling the age-old fantasy of Broadway performers everywhere as newcomer to New York, Peggy Sawyer, gets her chance at stardom and saving the show when the star falls during rehearsals and breaks her ankle. But this version is sympathetic to both the aging star, Suzzanne Douglas as Dorothy Brock, who has worked a long time and entertained the advances of a sexist producer just to finally have her stage time. Douglas has a beautiful rich, soulful singing voice and is very beautiful in this role. 

Kimberly Immanuel as Peggy Sawyer is also seen more realistically as a starving artist who just wants a break instead of a conniving backstabber out to hurt the leading lady. She is cute and unassuming as the newcomer who really has flying feet. Immanuel does a great job staying likable in her singing and acting and then dazzles the audience with some "out of this world" tap dancing which truly pleases the ears and eyes.  

Gene Weygandt as Julian Marsh, a Broadway director with the power to make stars and break them, also turns in a lovely performance with top-notch vocals, which make the character of Marsh more concerned with the dream world of Broadway life and less scary and sexist than I have seen director portrayals in other productions. 

This spectacularly energetic, colorful and sparkly, yes sparkly, production is directed artfully by Michael Heitzman, with choreography by Jared Grimes, music direction by Roberta Duchak, scenic design by Collette Pollard, costume design by Emilio Sosa, lighting design by Mike Baldassari, sound design by Ray Nardelli, and music arrangements by Everett Bradley.

The set and lighting changes and costume design really do satisfy Chicago audiences’ need to see productions that dazzle just as much as the run on Broadway on every level and leaves the audience energized and happy to have seen this show. 

I want to name the other stars and the ensemble because every single character was fully drawn in this wonderful production with Phillip Attmore as Billy Lawler, Justin Brill as Bert Barry, Donica Lynn as Maggie Jones, Brandon Springman as Pat/Ensemble, Cedric Young as Abner Dillon, Erica Evans as Andy Lee/Ensemble, and Sierra Schnack as Annie/Ensemble. The cast also includes Bret Tuomi, Time Brickey, Lamont Brown, Tristan Bruns, Joe Capstick, Joel Chambers, Andrea Collier, Gabriela Delano, Annie Jo Ermel, Rachel Marie LaPorte, Mandy Modic, Thomas Ortiz, Allie Pizzo, Marisa Reigle, Anthony Sullivan Jr., and Davon Suttles.

Full of fun hits such as “We’re in the Money”, this is a show that doesn’t stop. One of the most memorable scenes I have ever witnessed is a highly complex, mind blowingly and highly difficult six person tap piece that eventually turns into a full cast number worthy of anything I have seen in Broadway productions or at larger theaters in downtown Chicago or New York.

I highly recommend this run of 42nd Street at The Drury Lane for an exciting, feel good, upbeat Holiday spectacle about the joy of showbiz as we used to all envision it unfolding for a young star in the making. 

42nd Street is being performed at Drury Lane Theatre in Oakbrook through January 7th. For tickets and/or more show information visit www.drurylanetheatre.com.

For Chicagoans that grew up in the 1980’s music scene, we remember favorite rock clubs such as The Thirsty Whale, Chances R and Dirty Nellies where spandex and rayon were the materials of choice and eye-liner on Aqua-net sprayed, long-haired guys was all the rage. For the glam rock scene, Chicago was always the minor league affiliate (Single A) to its Los Angeles big brother, where new bands seemingly broke out nearly every week. Almost grinding hair bands out akin to a factory assembly line, Los Angeles set the bar for rock bands all across the world, its clubs The Whiskey a Go Go, Troubadour and The Roxy stepping stones for the next big thing. In “Rock of Ages” the hilarious 1980's musical, we are taken to Los Angeles where the fictional Bourbon Room, one of the last rock hold outs, is under the threat of eminent domain as big money developers have other plans for the property.

Club owner Dennis (riotously played by Chicago favorite Gene Weygandt) runs The Bourbon Room with his sidekick and fellow rocker Lonny (Nick Druzbanski), who also serves as the play’s narrator. Realizing the club’s days are numbered, the two decide to go all out by bringing back Arsenal, a major band that got the start from The Bourbon Room, to play their final show with lead singer and egomaniac, Stacee Jaxx, who is off to pursue a solo career.

And what would an 80’s musical be without a cheesy love story? Bar back and aspiring musician, Drew, is instantly love struck when Dennis hires Sherrie (of course a hopeful actress) to be the club’s new waitress. From there we root for The Bourbon club, along with those protesting the new corporate development, and also for Drew and Sherrie to find love.

“Rock of Ages” is a fun time capsule filled with 80’s rock classics that includes Warrant’s “Heaven”, Journey’s “Don’t stop Believin’”, Twisted Sister’s “We’re Not Gonna Take It”, “Extreme’s “More than Words” and many, many more. Though a parody of the era, “Rock of Ages” is an entertaining tribute to an age in music that, though considered kitschy by some, left a major impact in the world of music. The musical makes several 80’s refences that can’t help but make us forty-to-fifty-somethings laugh, such as Drew’s date with Sherrie where he tries to romance her with a four-pack of Bartles & James wine coolers.

The show boasts as good of a cast as one could ask for. Adam Michaels as self-aggrandizer and vulgar lead singer, Stacee Jaxx, is absolutely hysterical in the role. His moments are plenty as he puts on full display his great knack for physical comedy along with some pretty raging vocals. And as one who has seen this production more times than I remember, I can say quite confidently that Nick Druzbanski may just be the best Lonny I have seen yet. Druzbanski really fires on all cylinders and is a comedic whirlwind, also contributing nicely with strong vocals, certainly deserving a Fogmaster 5000 for a performance nothing short of outstanding.

Notable vocal performances are aplenty in this production with both Cherry Torres as Sherrie and Russell Mernaugh as Drew impressing with their singing prowess in number after number. Both skilled singers as they are actors, Torres and Mernaugh also spark a wonderful chemistry and are able to deliver plenty of funny moments. Though many, other performances of note are Donica Lynn, who sings beautifully when called upon and Nick Cosgrove who nails the role of Franz, the flamboyant German son of developer Hertz, who draws a laugh in just about every scene he occupies.

“Rock of Ages” is silly fun. It’s a campy drive down memory lane. It’s highly recommended. It’s also part concert, as a live band plays from a stage upon the stage throughout the show, tasty guitar licks and all. For some, they will relive the highly memorable era, for others they will receive a tongue-in-cheek glimpse of a time when the Los Angeles rock scene churned out hair bands like Motley Crue, Poison and Ratt.

With Falls theatrical productions in full bloom, this is a must see.

“Rock of Ages” is being performed at Drury Lane Theatre in Oakbrook through October 15th. For tickets and/or more show information, visit www.DruryLaneTheatre.com.

Two girlfriends grow up in Mississippi, one wants to be a hairdresser to the stars and the other a singing star in her own right. An opportunity to run their own beauty shop binds the two friends together for life, and helps a South Side Chicago neighborhood maintain a sense of community and safety, even a little glamour, that is until Starbucks and other corporations start moving into the neighborhood. Beautifully directed, A Wonder in My Soul is the heartfelt journey of two best friends who have shared a beauty salon for over three decades.

Aberdeen "Birdie" Calumet (Greta Oglesby) and Bell Grand Lake (Jacqueline Williams) play the two close friends and both do an amazing job with long speeches that could be coming out of the mouths of preachers. The audience even lets out a few, “go girls”, and “praise Gods” as if we are sitting in a church. In a way, their beauty shop, which once served some celebrity visitors, has stood for forty years as a type of church to the women of the neighborhood. A place where they can talk and be themselves where their best customer, a rich woman who prefers to be called “First Lady” (a fantastic Linda Bright Clay), who spends at least three afternoons a week just trying new hairdos to hang out at the salon to have company and help each other with daily troubles. 

Marcus Gardley's script creates very familiar and real characters, and utilizes the beautiful singing voices of young Birdie (Camille Robinson) and young Bell (Donica Lynn) in a way that vitalizes and makes real the talents and determination underneath the tough facade of these hard working, loving women. 

This play is about change and gentrification, and growth and strength. Change isn't always but a bad thing but A Wonder in My Soul pulls back the curtain on how gentrification affects this "family" of women and their whole neighborhood that tries to save the salon. Is it fair that the neighborhood rallies to save the community staple only for a Starbucks to ultimately knock them down as easily as a cannon ball would a bowling pin? No. But the way each woman chooses to go on with her life and keep the bitterness from affecting the wonder in their souls is truly inspiring. 

Highly recommended for satisfying, humorous and heartwarming performances, especially by Jacqueline Williams as the down, but not out, captain of her sinking ship.

Williams speeches about life and the value of struggling to keep some history and classiness intact in the neighborhood, which is being brought down by violence and greed, ripple through the audience with a deep resonance and truthfulness that the talented actor brings to all her stage work.

A Wonder in My Soul is being performed at Victory Gardens Theater through March 12th. Go to www.VictoryGardens.org for more show information.

While not explicitly a biography about The Supremes, "Dreamgirls" is awfully close. It's a Quincy Jones-flavored musical about the road to fame, and the pitfalls of show business. Porchlight Theatre concludes its season with a rarely produced modern classic. Choreographed and directed by Brenda Didier, with musical direction by Doug Peck, "Dreamgirls" is a delight. 

"Dreamgirls" is really one of the first musicals about the early days of rock 'n roll. Though it's about more than just the rise of the "girl group" in popular music. The book by Tom Eyen uses a familiar story to illustrate how mainstream music helped open minds about race in America. The original Broadway production opened in 1981 and ran for four years. It has since been adapted into an Oscar-nominated film. 

Porchlight has assembled an all-star cast for this production. Particularly Donica Lynn as Effy. The three Dreams fill the rafters with soaring vocals. While Lynn may be the voice, Candace C. Edwards and Katherine Thomas as co-Dreams, turn in strong performances as well. Eric Lewis is electrifying in the role of fictional soul legend Jimmy Early. His numbers are thrilling.  

Didier's vision for this show is vivid. Her choreography is high-energy and visually pleasing throughout. Peck's musical direction proves a high point as well. It's not often you find yourself thinking about the band in a theatrical performance - but the wall of sound coming from this pit is a funky good time. Rounding out aesthetics are Bill Morey's costumes, which are well conceived and provide an extra layer of authenticity. 

Porchlight Music Theatre turns out another gem at Stage 773. "Dreamgirls" is a feast for the eyes and ears. Shows like "The Wiz" and "Dreamgirls" aren't produced nearly as often as they should be, which makes this impressive production all the more rare. The vocals are so good you'll wish you could take the soundtrack home with you. 

Through May 22nd at Stage 773. 1225 W Belmont Ave. 773-327-5252