Displaying items by tag: Gary Griffin

I’ve said it before and I’ll surely say it again: We Chicagoland theatergoers find ourselves wandering through — lost in, even — a fairyland of shows and venues and world-class talent. And never was that more evident than when I experienced the Writers Theatre’s current production of Stephen Sondheim’s Into the Woods, directed by Gary Griffin.

The show, of course, is part of the Broadway canon, beloved by so many and sure to please. And the theater, with its in-the-round set transformed by Scott Davis into something both sensational and sinister, promised the same as soon as I ventured into its woods found my seat therein.

But, as I’ve said before and will surely say again, it was the cast that performed the most magic, that inhabited the characters who are Sondheim’s wondrous woods’ inhabitants and explorers and tragic tales. As strong as any cast I’ve ever seen, here or elsewhere, this was an all-star ensemble of Chicago’s artists and actors.

Set by Writers Theatre artistic director Michael Halberstam (as narrator) and conductor/pianist Charlotte Rivard-Hoster’s three-piece orchestra, the stage becomes a world that reveals one fantastic character after another — characters fantastic since their creations centuries before, but made even more so by those now portraying them.

Lucy Godínez’s Little Red Riding Hood is bright-eyed and bushy-tailed, but winkingly so, letting the children of all ages watching her that this fairytale land isn’t what we remember it to be. Michael Mahler (who I last admired for his Jeff-winning musical direction of 2018’s The Buddy Holly Story) grounds us as the longsuffering but steadfast Baker. And Ximone Rose’s Cinderella is equally spellbinding whether grubby from soot or gowned for the ball. Each of the stars is a force to be reckoned with.

The force those characters all must reckon with, however, is Bethany Thomas’ Witch. From beginning to end, whether hunched over in rags or wowing with her presence and her voice, Thomas is the star of the show. Even when surrounded by sights and sounds that would catch eyes and ears and turn heads in any other setting, Thomas is the focus whenever she’s onstage. Sure, that comes with the role. But Thomas’ talent magnifies the inherent star power the Witch possesses. She’s imposing, enthralling, enchanting.

But so, too, is the ensemble that populates the Witch’s world. Brianna Borger grounds the woods in the real, human world as the Baker’s Wife. William Brown brings gravity (and a bit of gaiety) whenever his Mysterious Man appears. Mary Poole’s a hoot (or a moo?!) as Milky White. Ryan McBride and Alex Benoit bring the princely racket with both renditions of “Agony.” And just as riotous are Cinderella’s kin, played by Kelli Harrington, Nicole Armold, and Molly Hernandez (like Mr. Mahler, also part of Buddy’s Jeff-winning ensemble).

So, be assured that this production is one that not only that does right by Sondheim, but gives his classic a stunning and unique interpretation. And, as I’ve said before and I’ll surely say again, the fact that this unique interpretation is available to us Chicago theater lovers — and performed by the unique gathering of talent we are so blessed with — is magical, indeed.

At Writers Theatre through September 22nd.

I had a blast enjoying this production of ‘Footloose the Musical’ based on the 1984 movie starring Kevin Bacon and so did the opening night audience who roared their approval and stopped the show after the rousing rendition by Ariel played with real sass and excitement  by Lucy Godinez of "Holding out for a Hero." I had a blast enjoying this production of ‘Footloose the Musical’ based on the 1984 movie starring Kevin Bacon and so did the opening night audience who roared their approval and stopped the show after the rousing rendition by Ariel played with real sass and excitement  by Lucy Godinez of "Holding out for a Hero." 

Where have all the good men gone

And where are all the gods?

Where's the streetwise Hercules to fight the rising odds?

Isn't there a white knight upon a fiery steed?

Late at night I toss and I turn

And I dream of what I need

I need a hero 

I'm holding out for a hero 'til the end of the night

He's gotta be strong

And he's gotta be fastAnd he's gotta be fresh from the fight

I need a hero

I'm holding out for a hero 'til the morning light

He's gotta be sure

And it's gotta be soon

And he's gotta be larger than life!

Larger than life

Somewhere after midnight

In my wildest fantasy

Somewhere just beyond my reach

There's someone reaching back for me

Racing on the thunder and rising with the hea

tIt's gonna take a superman to sweep me off my feet

This production of Footloose the Musical directed with fantastic energy and humorous insight by Gary Griffin is the PERFECT show to see right now for young and old alike because it is all about real love and communication and doing the right thing in your own hometown even if there is opposition on all sides. 

The surface storyline is about a small town whose church leaders have banned dancing following a fatal car crash following a school dance.

  
Of course, the show is about dancing and there is AMAZING dancing choreographed with great sexiness and joy by William Carlos Angulo throughout this show. 

Aidan Wharton plays Ren, the kid who comes from Chicago and creates a stir throughout the town when he lobbies for the right to dance. With wonderful unabashed enthusiasm and a skilled dancer, Wharton is an even better dancer than he is a singer and that's okay because this show needs Ren to be a super-natural standout on the dance floor. 

This show is all about teenagers falling in love and dancing and being footloose and fancy free for the first time in a long time. In small towns when this play took place people were often wed to their first loves, so relationships between teens were highly monitored. 

When Ren arrives in the small town from bustling Chicago the local kids warn him that "eyes are everywhere” and that every move they make is dissected day and night. There is no place to escape this scrutiny and even explore their own feelings for each other - like a dance party.

This somber and slightly scary dance number really reflects how many teens today feel about growing up in the internet age. They are feeling the constant pressure " to post...or not to post" and either way people are watching them and if they post the wrong thing or don't post anything at all. People are still judging them 24/7 often finding their lives and actions lacking. 

Ren tells everyone he sees that he is restless and can't stop moving, so he dances around all the time - which makes him seem weird or suspect in itself to those observing him for the first time in this reserved town. 

At one point the adorable country nerd and bumpkin Willard Hewitt played (delightfully by character actor Ben Barker) says to Ren in distress about his new hope for a girlfriend - "She scares me! She is the fastest talking woman I've ever met!" Ren says honestly to reassure the awkward Willard, "She talks fast ‘cause she LIKES you! She's just horny for ya!" Ben is insecure because he can’t dance, but later there is a fantastic bit of physical comedy by Ben Barker as he learns that he really CAN dance with his new girlfriend, all he needs is rhythm, sway and a little loving encouragement from Ren and the other kids.

 
Ariel, the town pastor’s daughter, is involved with the town bad boy Chuck Cranston (Ryan McBride) who is slightly mean to her and pushes her around when she doesn't want to follow him.  Chuck claims he is the "best time to be had in this tiny town” and demands that Ariel follow him into his truck whenever new teen Ren is in sight. The chemistry between Ren and Ariel is obvious from the first time they see each other. 

Ryan McBride is a dead ringer for the actor Andy Samberg and has a similarly wry sense of comic timing. McBride is also a solid singer/dancer and stands out well in this production. 

Lucy Godinez is a great singer and actress with real fire in her eyes. Godinez plays Ariel as a strong, independent woman who has a secure sense of her own blossoming sexuality even though her father is the highly judgmental and protective Reverend Moore. 

Johanna McKenzie Miller as Ariel's mother, Vi Moore, is stunningly intelligent in her role as always and emits an essence of spiritual peacefulness that lends the whole play an anchor of calm, and quiet belief in her daughter and in others to do the right thing for ALL in the end. 

To me it is obvious that Ren's character is very much a Christ figure of hope and change in this show. Ren appears without warning in the small town where dancing has been banned by the elders for several years, yet he is so FULL of life and joy that he can't STOP dancing! 

At the crucial moment of judgement by the town as to whether they will allow dancing again, several quotes about the very positive nature of dancing itself are read to the council members from the Bible by Ren in Christ-like fashion: 

Psalm 149:3 Let them praise his name with dancing, making melody to him with tambourine and lyre!

Ecclesiastes 3:4 A time to weep, and a time to laugh; a time to mourn, and a time to dance

Psalm 30:11 You have turned for me my mourning into dancing; you have loosed my sackcloth and clothed me with gladness

Jeremiah 31:13 Then shall the young women rejoice in the dance, and the young men and the old shall be merry. I will turn their mourning into joy; I will comfort them and give them gladness for sorrow.

The whole show reminded me how important dancing really is in relation to feeling a sense of love and joy in your daily life. Director Gary Griffin mentions in the press kit that he chose this show in part due to the current oppressive and depressing political climate especially for young people, which is mirrored in 'Footloose.' 

Dancing is a thing I rarely take the time to do anymore publicly or privately and being reminded in such a colorful and glorious way by this production that dancing is actually "prescribed" as a healthy form of activity by God makes me want to dance around the best I can! 

Highly recommended for all ages. I suggest you see this show and get your Spring on! 

‘Footloose the Musical’ is being performed at Marriott Theatre through June 2nd. For more show info click here.

“A blink in time.” is a phrase repeatedly projected throughout Paula Vogel’s play ‘Indecent’ now running at Victory Gardens. The line could have many interpretations but perhaps it means that the nature of theatre is but a blink in time. Plays are ephemeral, especially where fickle Broadway audiences are concerned. “Indecent” was a critical darling in New York last year and marked the first time Pulitzer Prize winner Paula Vogel’s work had appeared on Broadway. Vogel’s ‘How I Learned to Drive’ was awarded the Pulitzer in the late 90s and is now considered a topical modern classic.

“Indecent” tells the true story story of the ill-fated 1923 Broadway premiere of Sholem Asch’s play ‘God of Vengeance’ —the first Broadway play to ever feature a homosexual kiss. As a result, the entire cast was jailed and deported on charges of obscenity. The play is a collaboration between director Rebecca Taichman (who originally conceived the idea) and Paula Vogel (whom she teamed up with to write the script). Unlike a typical Vogel play, “Indecent” features many musical numbers with instruments being played by the cast. Director Gary Griffin has kept much of the original staging for his production at Victory Gardens.

A hallmark of Vogel’s style is her use of structure and narrative. “Indecent” follows a similar pattern. Its genius is its show-within-a-show charm. The forth wall is often broken giving you the true feeling of being in a vaudeville theater. The small troupe of actors skillfully transitions between the various roles. Though all an all a tremendously talented cast, perhaps nobody stands out as much as Kiah Stern. Her character is the spirit of the play, the reason why in spite of the hardship this cast goes on. There’s something luminous in Stern’s performance. Catherine LeFrere consistently delivers the laughs as Halina.

“Indecent” touches on a lot in its short run time. There’s of course the intolerance of homosexuality and the prevailing antisemitism, but also a history of how theatre became a more established art form in the early 20th century. It’s because of plays like “God of Vengeance” and the like that the theatre has become a place where audiences attend in order to be challenged.

Anyone with a basic knowledge of world history knows that things weren’t looking good for European Jews by the mid-1930s. The tragedy of “Indecent” is that we know what happened to our troupe of actors when they were returned to the old country. One of the show’s most powerful moments is when the cast gives the final performance of “God of Vengeance” in the Lodz ghetto.

Vogel is great at non-traditional storytelling. The show is unlike any play or musical recently seen on Broadway. Its subject matter also holds a mirror up to Broadway. It asks who censorship protects and ultimately what we classify as entertainment. Director Gary Griffin’s highly anticipated regional premiere is worth the hype as this show will likely not be produced again to such high standards.

Through November 4th at Victory Gardens Theater. 2433 N Lincoln Ave. 773-871-3000

Having read that Six Corners was the “third in a loose Cop trilogy” by playwright Keith Huff, I was concerned that not seeing the first two stories (A Steady Rain and The Detective’s Wife) would lessen my experience. But from the moment I entered the theatre the stage was set, both literally and figuratively.

Thanks to the realistic set design, I was transported from a theatre to the Six Corners Police Precinct to watch this mystery unfold. The use of lighting to move the story between locations was especially effective as it simulated the fluorescent lights of the police station or the dimly lit bench at the bus station. The incorporation of a moving wall, however, was too complicated and not essential. That it failed during the show causing a disruption should be a signal to the creative team that it should be removed rather than risking another distraction. In my opinion, the pacing improved without it.

The opening scene brought the precinct to life, as we looked in on Detectives Nick Moroni (Peter DeFario) and Bernadette Perez (Monica Orozco), two burnt-out cops feeling the stress of failing marriages, being absentee parents, and being cops; not to mention the sexual tension between them. With a fast-paced verbal exchange full of both insults and empathy, it was clear that these two detectives were not looking forward to another late night dealing with the murder of a CTA employee. Relying on ethnic stereotypes of a chest-beating macho Italian and a fast-talking fiery Latina switching between English and Spanish, the actors’ portrayals were at times cartoonish as they overacted to earn some laughs. I assume this was intentional direction, and not the actors taking license.

In subsequent scenes we join the detectives as they investigate the crime by interviewing the only two witnesses, Carter Hutch (Manny Buckley) and Amanda Brackett (Brenda Barry), as their stories slowly unravel. Are these two witnesses really just strangers in the wrong place at the wrong time? Can they convince the detectives (and the audience) that they truly were Good Samaritans? Buckley and Barry portrayed their characters with emotional honesty and integrity. They were believably sympathetic as they displayed a nervousness and uneasiness that you might feel after witnessing a murder. Barry stood out to me for her portrayal of the struggling pregnant late-night waitress.

Intertwined with the murder investigation, we see a backstory develop as the show travels back in time. We are at the bus stop where an 8-year-old girl, Katie Yates (Lyric Sims), is alone after being separated from her mother. She encounters a stranger, a transient, BJ Lyles (Byron Glenn Willis) who she innocently befriends. Sims’ portrayal of 8-year-old Katie Yates was perfectly on point bringing an innocence to the child that felt real. While Willis adeptly portrayed transient BJ Lyles as a sympathetic character, he still gave the audience reason to mistrust his character as he got eerily close to the vulnerable child.

As the Backstage Guide reveals, the writer is influenced by CPD’s reputation for disregarding civil rights, inequality in treatment of female police officers, the blue code of silence, and the lack of public trust.

Throughout the story, the writer subtly weaves in evidence of unconscious bias and inherent racism. At the same time, he develops characters who are outwardly sympathetic even as their faults, deceptions and corruptions are exposed.

In spite of my criticisms, I enjoyed and am recommending this play, directed by Gary Griffin. The story line is well conceived and presented. More importantly, the subtext is both thought provoking and relevant.

Winner of the Edgegerton Foundation New Play Award, American Blues Theater’s production of Six Corners by Keith Huff runs at Stage 773 through March 24, 2018. 

Apparently thrill-killing isn't a new sign of the gradual breakdown of society. John Logan's historical thriller "Never the Sinner" explores the trial of wealthy, local killers Leopold and Loeb in what was once hailed as the crime of the century. Director Gary Griffin brings this story to life in an exciting new production at Victory Gardens Theater. 

Logan's wordy script has the potential to be really dull, even with the gory details. That's not the case with this quick-moving production. Set against a minimal set draped in peacock damask, Griffin's staging makes the telling active. Each twist and turn in the tabloid drama is accented by slick reporters. The cheeky headlines pose the question whether there's profit in crime? And if so, who benefits from a court room sideshow? Certainly not the victim. It also serves to underscore that in America, we're all just rubber-neckers happy that a crime didn't happen to us. 

A play like "Never the Sinner" is really only as strong as its Leopold and Loeb and luckily they’ve got two great actors. Japhet Balaban plays the part of introverted Nathan Leopold and he's unnervingly creepy. His attention to diction is a wise character choice. While Loeb technically carried out the crimes, Balaban's Leopold has the Norman Bates-type aloofness that most serial killers tend to possess. Jordan Brodess' Loeb balances the rage and panache which likely serves Logan's point that some people will sink to deplorable depths for fame in America. 

The true surprise of this story is their country lawyer Darrow played Keith Kupferer. Kupferer is known for his "every man" roles, and this show will prove a high point for him. Of course the knee-jerk reaction to brutal murder committed by two remorseless college boys makes us demand the ultimate penalty: death. Logan uses this real-life instance to debate the ethics of the death penalty. In high profile cases up to this point in history, rarely was the philosophy of capital punishment ever questioned. Even in our times it’s a hard question without an easy answer. Ultimately Logan uses this shlockey murder trial to ask the audience, is killing in the name of justice, just? 

Through December 6th at Victory Gardens Theater - 2433 N Lincoln Ave.