Displaying items by tag: Kara Davidson

Since premiering at Court Theatre in 2018, Manual Cinema's Frankenstein has stood as one of Chicago's most remarkable theatrical achievements. Returning for just five performances at the Studebaker Theater, the work remains every bit as mesmerizing today as when theatergoers first encountered it. More than an adaptation of Mary Shelley's classic Gothic novel, Frankenstein is a work of brilliant art, a breathtaking fusion of theater, film, music, and visual storytelling that pushes the boundaries of what live performance can accomplish.

Few companies blur the line between theater, cinema, and visual art as completely as Manual Cinema. Through the collective's signature combination of shadow puppetry, miniatures, projected imagery, live acting, original music, and meticulously crafted sound design, Frankenstein unfolds with the wonder of watching a dream take shape in real time. Perhaps most impressive is the dual experience the company creates, allowing audiences to become immersed in the finished cinematic image while simultaneously appreciating the artistry required to produce it.

What makes this version so compelling is its refusal to settle for a straightforward retelling. Rather than focusing solely on Victor Frankenstein and his doomed creation, the piece intertwines the familiar narrative with the life of Mary Shelley herself. Conceived and directed by Drew Dir and devised by Dir, Sarah Fornace, and Julia Miller, the work finds unexpected psychological depth in the parallels between creator and creation. The result is an emotionally resonant exploration of grief, ambition, responsibility, and the mysterious spark behind artistic creation. Shelley's experiences become inseparable from the tale she imagined, giving fresh dimension to a story many may think they know by heart.

Manual Cinema's Frankenstein. Photo courtesy Elly White.

Manual Cinema's technical accomplishments remain astonishing. The performers serve simultaneously as actors, puppeteers, camera and overhead projection operators, and illusionists, constructing intricate visual worlds before our eyes. Every shadow, every miniature landscape, and every carefully choreographed movement contributes to a cinematic language that feels both innovative and timeless. At times, the work's rich layering of imagery demands careful attention, but the payoff more than justifies the investment. Watching the mechanics at work only deepens one's appreciation for the craftsmanship involved. The production's richly imagined visual language owes much to an exceptional design team. Shadow Puppet Design by Drew Dir and Liza Breit, Projections and Scenic Design by Rasean Davante Johnson, and 3D Puppet Design by Liza Breit provide the foundation for the show's arresting imagery. Lighting Design by Claire Chrzan adds atmosphere and dramatic texture, while Costume and Wig Design by Meka van der Ploeg and Prop Design by Lara Musard enrich the world with thoughtful detail and period character.

Sarah Fornace is a force and anchors the evening with beautifully realized portrayals of both Victor Frankenstein and Mary Shelley, illuminating the parallels between the ambitious scientist and the visionary author who imagined him. Kara Davidson proves equally compelling as both the Creature and Elizabeth Frankenstein, bringing remarkable humanity and quiet complexity to each role. Together, their performances ensure that beneath the show's dazzling technical achievements beats a deeply human heart.

The evocative original score and sound design by Ben Kauffman and Kyle Vegter prove equally vital, transforming every scene into an immersive sensory experience. The music heightens the emotional stakes while the live effects establish an atmosphere that ranges from intimate reflection to Gothic grandeur. There is also something undeniably enjoyable about watching the musicians positioned around the stage assemble the show's haunting sonic landscape in real time, revealing yet another layer of Manual Cinema's theatrical ingenuity. The visual and sonic elements combine to produce an experience that feels as sweeping as a feature film while maintaining the immediacy and vulnerability of live theater.

That artistry was especially evident from our seats directly in front of percussionist Justin Peters (performing the night I attended), whose work became a captivating attraction in its own right. Surrounded by towering xylophones and an eclectic collection of suspended objects that ranged from hubcaps and planters to what appeared to be a kitchen sink, Peters coaxed an astonishing variety of sounds from each piece, his dexterity and precision adding another captivating layer to Manual Cinema's intricate theatrical machinery. The variety of instruments on display is every bit as fascinating as the sounds they produce. 

Sarah Fornace as Mary Shelley in Manual Cinema's Frankenstein. Photo by Drew Dir.

One of the evening's greatest delights came after the final curtain. Guests were invited to join the actors, musicians, projectionists, and artistic team onstage to discover firsthand how Manual Cinema brings its signature illusions to life. Visitors could handle puppets, experiment with projectors, appear on camera, and watch their own silhouettes become part of the visual storytelling. Beyond the opportunity to ask questions, take photographs and videos, and interact with the artists, the experience beautifully reinforced one of the company's central ideas: understanding the process does not diminish the magic - it makes it even more extraordinary.

Yet for all its technical and musical wizardry, Frankenstein never loses sight of its humanity. At its heart lies a poignant examination of loneliness, longing, and the desperate need for connection. The Creature emerges not merely as a monster but as a profoundly sympathetic figure whose search for acceptance speaks across centuries. Likewise, the portrayal of Mary Shelley reveals the often-painful relationship between art and life, suggesting that creation itself can be both beautiful and terrifying.

The Halloween season offers no shortage of spooky entertainment, but few works achieve the artistic depth, technical ingenuity, and emotional impact of Manual Cinema's Frankenstein. Years after its debut, it remains a defining achievement of Chicago theater and a shining example of the city's creative excellence. For those fortunate enough to experience one of its five performances only, October 28-November 1, 2026, at the Studebaker Theater, this extraordinary presentation serves as a reminder that great theater can still inspire awe.

Frankenstein is more than a theatrical event. It is a masterwork of visual storytelling, a triumph of imagination and technique, and one of the most distinctive theatrical works to emerge from Chicago in the past decade.

Manual Cinema returns to the Studebaker Theater with A Christmas Carol for a limited engagement December 18-27.

Highly Recommended.

Studebaker Theater in the Fine Arts Building

75 minutes – no intermission

Tickets and information: Fine Arts Building - FrankensteinFrankenstein

The House Theatre is currently performing one of its past productions, The Great and Terrible Wizard of Oz, Phillip Klapperich’s 2005 spin on L. Frank Baum’s classic Wizard of Oz. First produced by House Theatre of Chicago in their third season, Klappernich’s The Great and Terrible Wizard of Oz is a darker version of the original, magnifying the story’s undercurrents while keeping the integrity of the Baum’s story intact. Modern touches are also added throughout the show that bring Dorothy and friends to present day. 

Most of us know the story of Dorothy, a teenage girl from Kansas who is magically transported from her family’s farm house (thanks to a massive tornado) to the enchanting and vividly colorful world of Oz, a magical place where almost anything can happen. Klapperich’s version gives us a whole new perspective on the classic.

Contemporary Dorothy (played by the talented Kara Davidson), armed with a cell phone and toting her beloved dog Toto, (animated by Joey Steakley, who truly makes the stuffed animal come to life) both land in the whimsical land of Oz (specifically Munchkinland) when a severe storm carries the two by means of the beforementioned powerful twister. Upon landing, we soon find out that Dorothy’s house ends up crushing the wicked witch. Dorothy is greeted and admired by the locals (Munchkins, played by Elana Elyce, Ben Hartej, Carlos Olmedo, and Tina Munoz Pandya) and The Good Witch Glinda (Amanda de la Guardia). Everyone wants their new hero to stay, after all, she killed the wicked witch. But Dorothy longs to get back home to her family in Kansas. The deceased witch however, had a sis who is very nasty and is out to get Dorothy to reclaim her sister’s magic boots that are now clinging to Dorothy’s feet. And so, Dorothy is given directions on how to the grand Emerald City to find the Wizard of Oz, who will hopefully help her get back home. While searching for the great wizard, Dorothy befriends our favorite characters from the classic: The Scarecrow (enchanting Christina Maryland Perkins), Tin Woodsman (Jeremy Sonkin), and Cowardly Lion (lively Michael E. Smith). 

But it’s not as easy as simply meeting the Wizard of Oz. Dorothy, now called the “Witch Slayer” thanks to the Munchkins, is asked by the Wizard to kill the wicked witch in exchange for passage home. 

The Great and Terrible Wizard of Oz is beautifully directed and choreographed by Tommy Rapley and is very well cast. Kara Davidson transcends expectation as Dorothy while AnJi White is absolutely mesmerizing as The Wicked Witch of the West. White moves with grace, speaks with conviction and injects just the right amount of wicked into the wicked witch.

The show is delightful non-stop entertainment featuring live music, giant animated puppets, monsters and even flying monkeys soaring through the air, OH MY! Creative, energetic and colorful, it’s mostly joyful, occasionally dark and even sad, but always entertaining. 

Highly recommended.

The Great and Terrible Wizard of Oz is being performed at Chopin Theatre through May 7th. The performance schedule is Thursdays - Saturdays at 7:30 p.m., Saturday and Sunday matinees at 3 p.m. and Sunday evenings at 7 p.m. Preview tickets (evenings March 17 – March 26, no performance March 25) are $15 and regular run tickets range from $25 – $45. For tickets and/or more show information, visit www.TheHouseTheatre.com. 

*This show is not recommended for children under ten.