The government is feeding you lies. The Numberless are here to bring you the truth of what really happened. No, this isn’t a story ripped from conspiracy theorist’s website; this is RISE OF THE NUMBERLESS, a new glam rock production playing at the Flat Iron Arts Building in Wicker Park. So don those four cornered glasses, skinny jeans, and scarves and get ready to rebel – hipster style.

 

From the moment you arrive at the Flat Iron you are brought into a rebellious movement that has been going on for generations. You are greeted by ‘the Numberless,’ (the cast already in character) and offered cans of PBR and ear plugs (both of which I highly recommend you take). I thankfully had a seat in front of a speaker, but much of the audience was left standing in true underground-fight-the-power rally fashion. Throughout the 90 minute show (without intermission), the ensemble cast tell their story of a futuristic/historic/quasi realistic/science fiction world where a group of underground throwaway Americans rebel against their government for acknowledgement and equality.

The basic story :: in the future Congress passes a law mandating that each family is only allowed to have one child who is then encoded with a number on their wrist. Any additional child a family produces is illegal, given no number (hence the ‘numberless’) and sent to live in secrecy in pods across the country, their very existence denied by the government. This all occurred 25 years ago according to the play, making this an interesting past/future timeline. The Numberless are now fighting back and we learn the history of the each member, tragic events that lead to the downfall of their first rebellion, and their resurgence into normal society.

 

The interesting story and history of the Numberless are told by the ensemble cast of ‘RISE OF THE NUMBERLESS’ through monologues, reenactments and of course glam rock. Some of the pieces are better than others and some cast members shine much more brightly in this loud, foot stomping performance and as an audience member, you must have a willing suspension of disbelief and an uncanny ability to follow the storyline. It is a little jumpy in parts, but the cast does a fairly good job at distinguishing past events from present events through their eyes. As you are brought into the numberless world of rebellion and rock, try not to dissect the story too much (even the Hunger Games left the reader with a lot questions about the context and environment). The play is not about the finite details, it’s about escapism, and ‘RISE OF THE NUMBERLESS’ is a departure into another world (be it historic or futuristic) for 90 minutes of your life. Enjoy the ride, but be warned if you are not a fan of dark crowded spaces, standing for a 90 minute show, or are simply don’t like loud eardrum-erupting music,  ‘NUMBERLESS’ might not be for you. But the music is actually very good and the songs and lyrics are all original. Audiences looking for a departure, or a little bit of fight-the-power energy, head to Wicker Park and see ‘NUMBERLESS,’ you won’t be disappointed. Careful though, you could be found to be a Numberless sympathizer and be jailed, banished into exile, or killed. Totally worth the risk to see it.

 

What price would you put on family? On every single object your family owned? What price would you put on memories? On jealousy, envy, bitterness? These are only some of the questions an audience will reflect on about after they see The Price at Raven Theater. The Price, a play written by Arthur Miller, set in 1966, in an old attic piled high with antique furniture, stored away mementos, and buried memories. Two brothers, played by Chuck Spencer and Jon Steinhagen, meet in the attic to sort through their deceased parents’ belongings. Decades of sacrifice, resentment, bitterness and jealousy ignite when the fraternal debate moves beyond the costs and values of the items to the price and successes of their own lives.

The beauty of the play is that is doesn’t require a lot of deep thought and analysis to see what Miller was really trying to get across. As Director Michael Menendian states, “[the play] deals with universal issues of family loyalty, sibling rivalry and commitment to a certain code of conduct. I want the audience to question what they would do in the shoes of the characters.” So what would you do if you were the aging Victor on the brink of retirement, forced to go into active police duty to help support your sick, out-of-work father and ultimately sell away his possessions in order to put the money towards your future? What would you do if you were Walter, the successful brother whose familial loathing caused a chasm between you and your only sibling, a sibling who resents your choices and wants nothing to do with you no matter how many olive branches you extend? All very tough questions for someone to face.

While this play still translates well into our  modern day, ultimately what holds this back is how drastically different of a time this play was set in. As twenty and thirty-somethings, we’ve all read or heard stories from our parents and grandparents of the difficult times the depression and WWII caused. And we know that in the 60’s, most people were able to retire at the age of fifty with a modest retirement fund. But what is hard to gauge from the play are the cultural and socioeconomic pressures that were being placed on the characters of the time. It’s all understated throughout the play, only glimpses through stories and memories of the characters. But it obviously is necessary to truly grasp the weight of the decisions the characters are making, particularly when the appraiser in the play offers Victor $1150 for all his father’s furniture and possessions. That is a small sum by today’s standards, but in the 1960’s that was a huge chunk of change, or as my fiancé said, a new car. It’s the only thing that would come between an understanding of the play and an empathy for the play’s theme. While I can empathize with Victor and Walter’s sibling tension and fighting, I cannot wholly understand the impact of the value they place on the furniture for that time.

The Price really is a multifaceted play. On the one hand, the actual price in the play is focused around the possessions in the brownstone which is about to get demolished. The price being offered for Walter and Victor’s childhood toys, furniture, and the like by the eighty-nine year-old appraiser. On the other hand, and the real deep meaning within the play is the price one has to pay to get to where they end up in life. Walter ends up a wealthy and successful doctor, but his success came with an alienated brother, a wife who divorced him, and an emotional and mental breakdown. Victor ends up a police officer, walking the same beat for twenty eight years, afraid to move on with his life, afraid of ending up like his father, and regretting that he was never able to continue his education. The price they paid for their decisions, and the price we all pay for our decisions, is something no one wants to think about. Arthur Miller brings to light a painful and deeply personal subject in this play. Between the estranged brothers, the disappointed wife, and the philosophical appraiser, the themes of life, loss, and the choices we make are thrust to the forefronts of the audience’s minds. 

What I can say is this very worth the price to see The Price at Raven Theater. That is, if you value my opinion.

I have heard about ‘Fiddler on the Roof’ my whole life and don’t know why I waited so long to see this musical. I remember bits and pieces from seeing it as a child, but probably couldn’t begin to appreciate how true-to-life the play really is. ‘Fiddler on the Roof’ embodies the same challenges, struggles and changes that families have had for hundreds, I’d wager thousands, of years; from breaking arranged marriages, to falling in love with a teacher, and even falling in love with an outsider not of the same faith. The themes portrayed in this musical and set to amazing musical numbers and scores you can find in modern society.

For those who have never seen the play, ‘Fiddler on the Roof’ is a musical about Tevye, a poor Jewish milkman, and his five daughters living in the 1905 Tsarist Russian village of Anatevka. Tradition is a way of life in the village, where fathers are the bread winners and teach their sons their trades, like tailoring, butchery and farming; the mothers are the keepers of the household and teach their daughters to sew, cook, clean and maintain a household for their husbands. Throughout the play, Tevye attempts to maintain his religious traditions and his family’s happiness while outsiders, and outside forces, threaten their simple way of life.

The most prominent storyline focuses on Tzeitel, Tevye’s eldest daughter, who objects to the village matchmaker’s ‘match’ for her with the butcher. She confesses to her father her love for the village tailor and beseeches her father to allow her to marry him, thus defying tradition of matchmaker’s making matches for young girls (matchmaker, matchmaker, make me a match, find me a find, catch me a catch). But what if you were forced to walk away from the one you love to marry someone your father chose? It was a harsh reality for girls, and a tradition that was thankfully broken long before my generation. In the play, it’s Tevye who must decide if the proposal of marriage with the butcher (a match that would ensure prosperity and financial security) be broken for his daughter’s happiness or if he sticks with tradition and deny his daughter’s heart (but inevitably save her from a life of a tailor’s wife and financial hardship). Sweetly, he rescinds the offer and he allows Tzeitel and the tailor to wed.

Don’t think that sounds scandalous? Well let’s put this into perspective, shall we? In 1905, males ruled the household, tradition ruled the day, and beggars were not choosers. Tzeitel and the tailor were defying a father’s decision, a big no-no in patriarchal society. Also, a ‘match’ like one that Tevye and the village matchmaker struck, would allow a poor man’s daughter to marry into a rich and prosperous marriage. It was one of the greatest things a man could ask for; the betterment of his children (and his female children at that). Tevye embodies a man who chose the happiness of his daughter over that of his better judgment. Which leads him to one of the best numbers in the musical, “If I Were a Rich Man,” a song so true and timeless that Gwen Stefani sampled it in her 2004 hit ‘Rich Girl,’ (a fact which an enthusiastic twelve year old in our audience was too happy to share with us). It was challenge enough for Tevye to allow his daughter to choose her husband, but Tevye is challenged further when his second eldest daughter, Hodel, falls in love with her tutor, Perchik, the idealistic outsider from Kiev. In the second act his next eldest daughter, Chava, elopes with the Russian gentile, Fyedka, whom her father has forbidden her to see, let alone marry. A Jewish girl marry an outsider and a man not of their faith? It was Tevye’s breaking point which made him disown his daughter. Don’t worry, Tevye makes amends before his family and the villagers are viciously cast out of their homes and village by the Tsarist Russians.

‘Fiddler on the Roof’ is a wonderful show that captures Jewish and family culture and the happiness and hardships that eclipsed the village of Anatevka. The humor and love in the musical are timeless, the humor priceless, and the lively Jewish Klezmer tunes will have you dancing on the Auditorium Theater’s roof. Let’s hope the wandering Fiddler hitches a ride to Chicago on Tevye’s wagon soon, and when he does you won’t want to miss it.

The Merchant of Venice is not one of Shakespeare's most well known plays, in fact few of the people sitting around me in the theater had even read it let alone seen it. But the play is a gem, portraying cultural and religious stereotypes that are still prominent in today's society. The central themes in the play are simple: tolerance/prejudice, justice, mercy, and revenge.

The play is a tragic comedy centered on the wealthy, Christian merchant Antonio. Bassanio, a friend of Antonio asks for money in order to woo Portia, a rich heiress whom he is in love with. Antonio cannot afford the sum, but asks the Jewish moneylender, Shylock, for the funds. Shylock agrees, but only under the condition that if Antonio does not repay him, Shylock will take a pound of flesh from Antonio for payment. The story plays out, culminating in a trial that decides where fault lies, questions justice and fairness, tests forgiveness and ultimately determines right and wrong in the religiously one sided city of Venice.

With multiple storylines and minor characters, The Merchant of Venice can be difficult to follow on paper, but the cast of the Shakespeare for a New Audience company seamlessly bring to life the play for a new generation. The play is acted out on a single, industrial, technology-enabled set that even incorporates Mac computers and graphic designs. Similar to the styling of “Ten Things I Hate About You” (a modernized portrayal of Shakespeare's Taming of the Shrew), the company takes the Merchant of Venice and puts the modern, relatable twist on the play. The masquerade in which Leonardo and Jessica, the daughter of Shylock, steal away with her father’s riches is turned into a wild rave featuring techno music, Bassanio’s friends: Solanio, Salarino, and Salerio, work on the stock exchange. Lancelot, the foolish man in the service of Shylock, is a pot smoking delivery-boy who tells it like it is and is hilariously portrayed by Jacob Ming-Trent. Ming-Trent stole the show each and every time he was on stage with his adaptation of the goof Lancelot, from his facial expressions and subtle nuances, to his live delivery. But the true standout performances came from the female powerhouses of Portia and Nerissa, played by Kate MacCluggage and Christen Simon Marabate (respectively). Portia and Nerissa play smart, strong, sharp witted women.

The big highlight of the play and the company was watching F. Murray Abraham (Scarface, Amadeus) play the Jewish moneylender, Shylock. Shakespeare often made Jews the evil characters in his stories, pitting them against good Christians. In this case, Shylock is the “evil” Jew, who demands flesh in lieu of payment from the good and kind Antonio. We learn about his pains of living in Christian Venice, how others spit on him, cut him down, steal his goods, treat him like an alien. He wants fairness in Venice, and famously beseeches Bassanio’s friends with the heartfelt plea;

"If you prick us do we not bleed?

If you tickle us do we not laugh?

If you poison us do we not die?

And if you wrong us, shall we not revenge?"

But as much as we can empathize with his character, we also despise him. He is a man seeking revenge from Antonio but refuses even greater sums than he was owed, viciously demanding blood and flesh. He is also despised by his daughter Jessica, who runs away to escape her father’s household and further betrays and enrages him by running away with Lorenzo and converting to Christianity. It isn’t easy to balance this on the stage, but Abraham beautifully brings the two sides together in his portrayal of Shylock. Abraham brings an art to Shakespeare’s signature character and leaves the audience wanting more.

Chicago is filled with amazing theater, and we’re lucky to have an amazing choice of Broadway productions. The Shakespeare for a New Audience company, along with Broadway in Chicago, put on an incredible performance in the Merchant of Venice that any theater lover will not want to miss. The Merchant of Venice is plays through March 27th, 2011. For tickets and more information visit www.BroadwayInChicago.com.

If you’ve ever worked a day in your life, ever waited a table or slaved the day away in a cubicle, then you’ll love the Broadway musical Working. This upbeat, funny, hauntingly true-to-life musical capturing the stories of everyday working people has something for everyone.

Working is a musical based on the book by Chicago’s own Pulitzer Prize winning author, Studs Terkel. With songs written by Tony Award winners, Grammy winners, and Broadway composers, it should come as no surprise that the songs are not only catchy, but beautifully composed. Quirky and funny songs like “Delivery” about a fast food worker enjoying the days he gets to deliver and breathe fresh air, to songs like “Cleaning Woman” about a woman ending the cycle of her family becoming cleaning women and working to give her daughter a better future and better occupational options. There are over twenty characters portrayed in the musical through various scenes all seamlessly strung together, played by an all-star cast made up of only six actors and actresses. E. Faye Butler gave standout performances, stealing the stage every time she belted out a ballad, portraying a project manager, a housewife, a prostitute, and a cleaning woman. Emjoy Gavino captured our hearts as the hilarious flight attendant, a millworker, a receptionist, and a caregiver. Gabriel Ruiz was an absolute crowd favorite as a food delivery boy, a receptionist, a community organizer, a caregiver, and a young ex-newsroom assistant. Michael Mahler, Barbara Robertson, and Gene Weygandt rounded off the cast with memorable portrayals of workers in all types of professions from all walks of life. With so much talent in this six person cast you’d think there were more than twenty cast members in the company and throughout the show the transitions from one character to another are so seamless that it’s hard to comprehend that the steel worker just became the hedge fund manager in the blink of an eye.

You don’t have to be a fan of musicals to enjoy this show as it appeals to anyone who has ever had a job for any reason. Studs Terkel believed that our work became a part of our identity and his interviews in 1974 shed light on the lives of those whose occupations may be less than desirable, but more than necessary to our society. The musical was originally adapted for the stage by Stephen Schwartz (the brilliant mind behind Wicked, Pippin and Godspell), who made it both entertaining and believable. Throughout the play you’re introduced to hard working people we might overlook every day, from a cleaning lady to an architect and construction worker. Have you ever sat in your cubicle in your building and thought of the people that designed the building? Built the building? How about those who clean the building each night? Ever thought about the lives of those people, where they come from, what their dreams are? Perhaps not, but after seeing this play you might think twice about those people. We all work for a living, no matter what our job is. It isn’t the job that defines us, but we who define our jobs.

Tickets are a little on the pricy side, but in my opinion they are worth every penny. Any musical that can bring both humor and truth to everyday life and open your heart with inspirational and hopeful tales of hard working people. Working is playing at the Broadway Playhouse, for more information and tickets visit www.broadwayinchicago.com.

When I told my boyfriend that I was going to be reviewing Powerman 5000 at the Cubby Bear, he thought I was joking. How can a Glee loving, pop music enthusiast possibly enjoy the hard rock of Powerman 5000? Simple; the music is the perfect blend of pulse racing, head pounding, pure rock. Their angry anthems rocked the walls of the Cubby Bear on November 17^th, and amidst the black-leather- wearing groupies were girls. Yes, girls listen to Powerman 5000. The music is not going to be found on a typical iPod mix of the North Shore girl, but Powerman does have a subconscious appeal that pulls in fans from all walks of life, even the Ugg wearing Wrigleyvillettes. Take “When Worlds Collide,” off their album “Tonight the Stars Revolt!” The song epitomizes the energy and the anger that Powerman 5000 injects into all of their songs:

What is it really that motivates you
The need to fly or this fear to stop
I'll go along for the ride but surprise
When we get there I say 9 of 10 drop
Now who's the light and who is the devil
You can't decide so I'll be your guide
And one by one they will be hand chosen
Now this is what it's like when worlds collide

Powerman embodies a sense of controlled chaos. It’s the kind of music that matches your anger and frustration after a tough day at work; the music that pumps you up before a big match. Sure it isn’t for everyone, but just give it a try after a long day and see if it doesn’t channel all of that negative energy out of you – because let’s be honest, some days yoga and meditation simply does not cut it.

In concert, Powerman 5000 is a little difficult to appreciate. While the Cubby Bear is a great bar, the acoustics aren’t that of a concert hall, so while the music permeates the room the lyrics end up falling just shy of screaming, leaving your ears ringing and wanting a soft ballad. Powerman 5000, at least for beginners, is best listened to in your car, the bass turned up.

On September 10^th the Riviera Theater was swarmed with Chicago hipsters, preppy wannabees, emo teenagers, intellectuals, and your friendly neighborhood stoners; this might sound like a scene out of a John Hughes film but this was the crowd that gathered to watch Bobby Birdman open for Dom and the headliner Ratatat.

In my experience, about half the people that show up for a show will show up late for an opener, drink and socialize during the opening performance, or not show up at all until the headliner comes on to perform. Where is the respect for the opening artist? Luckily, Chicagoans did not follow the normal pattern and did not disappoint when they paid the proper respect to the West Coast artist, rocking out to his electronic-pop-ultrasonic-rock music.

Bobby Birdman, also known as Rob Kieswetter, is a San Diego-Nevada City-Portland native rocking off his latest album ‘New Moods.’ His music is eclectic with good beats perfectly suited for that afternoon drive along the coast of California, or in our case Lake Shore Drive. With songs like ‘Weighty Wait,’ ‘You’d Be Surprised,’ and ‘I Will Come Again,’ it’s surprising that this artist isn’t better known in the Chicago music scene. He’s touring with Dom -- a lack-luster group of long haired East Coast youth who was booed off stage following Bobby’s performance at the Riviera -- and Ratatat, who electrified the North Side stage. Bobby Birdman could have easily stood as the lone opener for Ratatat, their styles and beats are much more aligned than Dom-Ratatat, and Bobby was able to command the audience with his music and his stage presence (joking constantly about surfing). Bobby Birdman rocked Chicago before heading off to his California roots in LA.

On September 21^st we saw him rock out in Los Angeles at the Nokia Theater once more, with the same adoration and approval of the LA hipsters. Birdman is here to stay and the next time he flies through Chicago be sure to check him out. Though he’s still touring with Dom, the same reaction to his music vs. that of Dom was astounding, though not entirely surprising. Who doesn’t love a laid back musician with cool cruising music, besides, disenchanted youth garage-bands are so overrated. Let’s hope the next time Bobby Birdman flies through Chicago and the Midwest – or Los Angeles – that he comes alone or with an equally impressive band. Bobby Birdman-Ratatat concert in 2011? I think Chicagoans can agree to that.

As a writer I am younger than one of the longest running musicals in history, but “A Chorus Line” still glitters and shines with the same fervor since its premiere on Broadway in 1975. This timeless play about a talented group of dancers going through the grueling, challenging, and emotional tryouts to make it in the chorus is one that everyone can relate to, whether they have two left feet or not.

A Chorus Line follows an ensemble cast of aspiring dancers throughout three stages of cuts on their way into the chorus. The opening scene begins with the dancers practicing a complicated choreography routine while being criticized and judged by the director and his assistant; “How many Broadway shows?” “Keep your head up.” “Arms up on the fourth count not the third.” The ensemble cast has all the caricatures and stereotypes of dancers during the audition process; you have the standouts that shine and completely steal the spotlight, like the outgoing and overly-confident Val, played by Nina Fluke; you have the dancers who struggle with their confidence such as Paul, played by Bryan Knowlton, dancers who are battling nerves like Judy, played by Laura E. Taylor, the sassy veteran dancer like Sheila, played by Anika Ellis, and funny and flamboyant-like Bobby, played by Drew Nellessen. The entire cast was phenomenal with voices that carried the weight of desire and passion for dancing. The only exception the outstanding performances was the solo dancing sequence featuring Mara Davi as Cassie; her solo “The Music and the Mirror” was a spotlight number in which two way mirrors dropped from the ceiling adding a stunning visual backdrop for the actress, but Davi, who is an experienced Broadway performer, lacked the fluidity and grace the number required. The dance needed to embody Cassie’s passion and hold up to her statement, “God, I’m a dancer!” Her number, which should have been the crowning piece in the second half of the play, was lackluster and slowed the play, particularly following the hilarious and entertaining “Dance: Ten, Looks: Three” number by Val.

Overall, anyone who has been through an audition process, or even an interview for a job, can relate to the pain of just missing the cut, the relief and joy of being one of the select few to go onto the next round, and the unpredictability of the interview process that shakes your very core can truly empathize with these dancers. Often times we feel exposed, cast under a spotlight like Diana, played by Pilar Millhollen, who becomes anxious when asked the unforeseen question of “tell me about yourself…” rather than being asked to recite a scene from a play. We’ve all been in a situation like this, when we’ve had to explain to someone why we do what we do, why we dance, what got us started. Whether it was something you always knew you wanted to be like Maggie, played by Danielle Plisz, or someone who discovered a passion when given a scholarship to do something completely different like Richie, played by Max Kumangai. A Chorus Line resonates with the same power at Michael Bentley’s opening show on Broadway over thirty years ago. This is a show well worth the longer drive to the Marriott Theater in Lincolnshire, if only just for the show-stopping, closing number of “One.” The show runs through October 31st.

The Neo-Futurists are at it again with the thought-provoking, baffling, irreverent, confuddling new play “Daredevil’s Hamlet.” In true Neo-Futurist form this play offers more than their clever title initially implies.

Written by Neo-Futurist Ryan Walters, the play explores the work of Hamlet, led by the charming male members of the of the Neo-Futurist company including Walters himself, John Pierson, Anthony Courser, Jay Torrence, Brennan Buhl and even “the Intern-Trevor!” The play is a compilation of small scenes following the basic storyline of Hamlet, combining the acrobatic antics of ‘Daredevils!,’ the 2005 Neo-futurist play, all the while exploring the major themes of Hamlet: revenge, identity, masculinity, love, family, and death. “Daredevil’s Hamlet” is like a steady stream of consciousness; simultaneously flowing together while at the same time not having any rhyme or reason to the order of things.

Each player takes a scene or a theme from Hamlet and interprets it in their own unique way. One of the more charming and funny stories was Brennan Buhl, dressed in swimming trunks and wearing water wings, coming center stage to talk about a childhood memory involving some other boys with him in a kiddie pool where “wild time” vs. “calm time” were rules to follow. Brennan’s aunt would have equal time shared between these two times, 3 minutes each with “calm time,” designating everyone sit still, and “wild time,” letting the boys splash Brennan with no mercy. When his aunt ceases calling the different times to go into the house, his brothers “wild time” reigns and poor Brennan is left to fend for himself, with no relief in sight. During the play audience members actually get water guns to squirt Brennan while screaming “wild time” in order to recreate this childhood scene. This story, while seemingly random, equated to a central theme in Hamlet: justice and fairness. When rules are established and come down, what is a man to do? Does one rebel or follow the masses? What is fair and just and who decides this? And lastly, what happens when authority leaves and cooler heads don’t prevail?

Anthony Courser’s interpretation of masculinity called into play his favorite childhood character, Robin Hood. “Why would any child choose to be Hamlet, he didn’t even have a bow, or an action figure!” Anthony fires arrows using a Nerf gun in his makeshift cardboard archery armor to delve into the perception of masculinity in his mind versus that of Shakespeare.

Another Hamletisque theme, and a resurgent theme in today’s world, “Bromance” is explored when Jon Pierson, aided by Ryan Walters, describes a tender and intimate moonlit night with a male friend, staring out at the night’s sky and being within inches of one another, feeling a deep love and connection but not being in love. Can two men love one another without being in love as Horatio and Hamlet did? Is this experience still felt today?

These are just some of the interpretations provided by the fantastic cast of Daredevil’s Hamlet. There is no doubt, this play might leave you stumped for a quite a bit while you are watching it, but that is half the fun of visiting the Neo-Futurarium. This is the thinking man’s Hamlet, if Hamlet were to have been written with the philosophical jackass cast. Like the character of Hamlet, the players allow themselves to show their vulnerability, their faults and their frailties, and it’s because of this that Daredevil’s Hamlet is a success. It questions the crucial themes from the play; if your uncle killed your father, would you avenge him? Can two men share a deep plutonic love for one another without having to fear ridicule?

There’s nothing wrong in this state of Denmark, so make your way over to Ashland and Foster and see this charming play.

Daredevils’ Hamlet” runs through September 25, 2010 at The Neo-Futurarium at 5153 N. Ashland in Chicago. For more information or to purchase tickets, please visit www.NeoFuturists.org.

*Above photo - Jay Torrence, John Pierson, Trevor Dawkins, Ryan Walters,
Anthony Courser, Brennan Buhl; Ryan Walters performing "To be or not to Be" soliloquy from Hamlet