Pat Metheny is one of the few jazz guitar players out there that can play a bigger place and fill it. He almost has Rock Star status. The reason? Maybe it’s the horizontal striped shirt? The leather pants? The hair? The smile? Hmmm…what I really think it is…is the music.

Pat seems to have a Pop sensibility to his compositions. His songs are very melodic. They’re Jazz but they sure are not BeBop. There are interesting rhythms found in each song. Along with that you get a variety of textures. The fact that he doesn’t seem to follow a formula per se adds that extra bit of appeal.

Metheny has changed his sound through the years. Different timbres not only coming from him, but his supporting cast. Pat does seem to have a signature sound, but since he has been putting out music for over forty years the signature has many variations. The band played a lot of his earlier material the other night at Ravinia Festival.

The first piece was a solo piece called “Into the Dream”. I highly suggest looking up the video, if you haven’t seen Pat play this song live. During the song he uses a guitar with a standard guitar neck plus a fretless/harp neck. In addition, there are two more courses of strings going across the body of the guitar. I’m just glad I wasn’t the person who had to tune the instrument. Each course was tuned differently, making the song sound like the title. You were in his dream.

After an impressive opening number, the rest of the band then arrived on the stage. Linda May Han Oh handled upright and electric bass. What a solid player this Malaysian-born young lady is. She held it down throughout the show and performed some very tasty solos.

Antonio Sanchez has been in Pat’s band for a while now on drums. I love Jazz drummers myself. The rhythmic interplay between guitar and drums has long been a part of the music in Metheny’s bands through the years. Hailing from Mexico, Sanchez fit the bill as well as anyone ever in his group.

Longtime collaborator Lyle Mays’ seat at piano was filled by Gwilym Simcock, a British musician. I personally missed Mays’ presence but the music didn’t really suffer any loss. Simcock played very well, perfectly complimenting Metheny.

The show went over two hours with THREE, yes three encores…again…Rock Star status. After what we thought was the last encore, he asked the audience if they wanted to hear one more. So, it made it a four-song finale. The second to last was “And I Love Her” by The Beatles done Pat’s way. There were also three duet sections performed that night. Metheny did one with each of the other group members. Standing out the most was the one he did with Sanchez.

The timbres he got from the different instruments was a big part of what kept the show from ever slowing down. Standard Jazz guitar, guitar synth, classical, plus a guitar with a bizarre tailpiece…that almost sounded like a fuzz tone acoustic…very non-traditional.

Other classic Metheny songs included “Better Days Ahead”, “The Red One”, “Phase Dance”, “James” and “Offramp”, giving the audience a wide spectrum of his work.

I felt lucky to see him. The show was almost rained out. For me, it was 32 years since I saw him last. I will not wait that long until I see him again (that would make him somewhere in his mid 90’s by then anyway). But you never know with this guy. The way he literally runs on and off the stage makes me think he might still be playing then…with hair, the striped shirt and of course the signature grin. Pat is almost always smiling.

Published in In Concert

As soon as I saw the warm, rich lighting of a luxurious futuristic bedroom on the Space Ship Destiny lit and decorated by designers Heather Gilbert and Christopher Kriz and the set design by Arnel Sancianco, where the entire action of the play takes place, I thought this is going to be an interesting show. To the right of the set was a spaceship departure board with the names and photos of the passengers, along with their assigned room number, as they were headed to a planet three months away from Earth. The other ships had names like Fortune, Kismet, Prospect and Horizon suggesting that the people leaving earth are doing so willingly and must have enough money to do so. Smooch Medina’s spaceship flight calendar and wall projection also counts down the number of days the passengers have spent locked on this room together, which is a great tension builder as well. 

There are just three characters in the play. One a soldier who is suffering from PTSD from a previous mission in which he witnessed the killing of civilians that haunts him still in a variety of deep emotional ways. He has requested a private room because he cannot sleep well while struggling with his inner demons but somehow an attractive young woman passenger has been placed in the room with him, much to his disapproval. Ed Flynn portrays this sensitive, journal-writing soldier (previously referred to as “Grant”) who is also prone to violent mood changes and outbursts with great feeling and a sweaty intensity that is frightening at times. 

When you consider that he is locked into this “hotel room" for three full months due to a quarantine placed on certain sick members aboard the ship with a petite young female to whom he objects, it’s not difficult to imagine the strain that gradually surmounts. Janelle Villas does a wonderful job of showing the audience her fresh-faced bubbly enthusiasm while hiding a dark past that includes at least one rape, which has also left her in a state of PTSD. 


Co-directed by artistic director Michael Patrick Thornton and guest artist Jessica Thebus, the “Pilgrims” moves along quickly yet with subtle changes in the characters that seem very satisfying and real with a lot of emotional suspense and tension. We the audience wonder if these two characters will ever bond, or even reach their destination safely. We also ponder what will become of their edgy, ever-changing relationship once they are finally released from this artificial and close-quartered isolation into the general population of the new planet.  

The third character is a robot named Jasmine played with a great sense of humor and also an eerie, smiling menace by Brittany Burch. Jasmine has been programmed not only to answer all their questions and provide all their meals and cleaning services. She is also one of the older forms of “human-like robots” known for their ability to satisfy without any compunction - either member, male or female, with oral sex or intercourse if the human need arises.

The universality of two people meeting for the first time, learning about each other's baggage and foibles and being forced to overcome them in order to at least be friends if not lovers cannot be denied. This is a love story set in outer space plain and simple, even though it is suggested in the play that couples may have been placed together purposely to repopulate the new planet. 

I highly recommend this production for its unique retelling of a tale as old as time, when Fate meets Destiny and two very "human" human beings struggle to please each other while being true to their own individual dreams of the future but must in the end reveal the dark, undesirable places of their souls in order to overcome them and move into a deeper union free of mistakes or tragedies of the past.

Excellent performances and an imaginative script make Pilgrims a compelling and often humorous sci-fi love story that resonates. Pilgrims is being performed at Gift Theatre through July 30th. For more show information or to purchase tickets visit www.thegifttheatre.org.

Published in Theatre in Review

In Native Gardens, an ambitious young couple moves into a fixer-upper in an affluent DC neighborhood. Husband Pablo (Gabriel Ruiz) is a lawyer, his pregnant wife Tania (Paloma Nozicka) is working on her doctorate dissertation. Their nice and lively, albeit politically incorrect, neighbors are a defense contractor Virginia (Janet Ulrich Brooks) and her retired gardening-loving husband Frank (Patrick Clear). Shortly after moving in, Pablo has a bright idea to invite his entire law firm (all sixty people) to a barbeque in their embarrassingly unfinished yard, so the young couple gets to work. The old wire fence separating the neighbors’ properties (very nice design set by William Boles) has to go, but it soon becomes evident that Frank has been gardening on extra 23 inches of land that actually belongs to the new couple, according to the property plans.


Upon further calculations Pablo realizes that those 23 inches along the old fence translate into extra 80 sq feet of land which goes for “about $15,000 at a current market price”. Well, it’s a war then! Frank refuses to let go of his lovingly raised flowers right up against the ill-placed fence, while the young couple is on a mission to re-claim what’s rightfully theirs.


Who knew that an incorrectly placed fence would cause so much commotion? We all did, we saw it coming before the play even started. But despite its predictability, this comedy is still entertaining and somewhat thought provoking. Written by Karen Zacarias and directed by Marti Lyons, Native Gardens is more about generation clash, stereotypes, ageism and racism rather than the property lines. The older couple is from the pre-self-censorship era, and in their ignorance, they don’t always choose words carefully; they say what’s on their minds rather than hide behind politically correct words and ideas. But those words are often offensive to the delicate ears of Tania, whose proper opinions, frankly, make for sterile conversation, enough to put one to sleep. All in all, the two couples can’t effectively communicate, so they threaten each other instead. Will their peace be restored?


Native Gardens runs through July 2nd at Victory Gardens Theater. To find out more about this show visit www.VictoryGardens.org.

Published in Theatre in Review

The producers at Steppenwolf describe Pass Over as a “riff on Waiting for Godot” – and that’s true - except for this: Pass Over is not boring. In fact it is gripping and entertaining for every one of its 80 minutes of run time.

Written by Antoinette Nwandu and premiering under the direction of Danya Taymor, Pass Over is at once funny, alarming, sickening, and frightening. With shades of Master Harold & the Boys and Miss Margarita’s Way, it portrays two young inner city black men – Moses (Jon Michael Hill) and Kitch (Julian Parker)  hanging out under a street lamp, hoping to get off “the block.” To say these two give knock out performances is an understatement.

Like Groundhog Day, each morning they resume the wait, their hours punctuated periodically by gunfire, and the appearance of the menacing policeman Ossifer (Ryan Hallahan in a searing performance; he also plays the white-suited Mister) whose role is to dispel their hope, and keep them in their place.

Moses and Kitch are condemned, suggests Nwandu, to be “waiting for Godot” their whole lives. Unlike Beckett’s duo, Moses and Kitch are not abstract constructs, but real people. The warmth and mutual fealty of these two young men captures your heart through their amusing word games and youthful horseplay.

Nwandu also plumbs the depths of the emotional link between Moses and Kitch, and we bear witness to their bond. As in Beckett’s play, these characters form a suicide pact, but cannot do it.  

They survive, somehow, and hope returns repeatedly – even against all odds. But the two never escape, either, and Pass Over faces us with our contemporary social challenge. By making Moses and Kitch so accessible to us, by humanizing them, Nwandu brings a fresh immediacy to the lament, that Black Lives Matter.   

Pass Over is both timeless, and a powerful commentary on contemporary conditions. Into this piece, Nwandu has squeezed a book. Fully deconstructed, it could easily fill a college semester of study.

Part of the vaunted excellence of Beckett’s 1953 Waiting for Godot - an existentialist reverie on the seemingly endless insufferableness of life, and perhaps the meaningless of that suffering – is that the audience also experiences the ennui of that endless wait, in real time. Frankly it’s a bore.

Not so with Pass Over. It is fully realized in this production. I might quibble with the end of the play – it seemed heavy handed from a first viewing. But I am going to have to trust and respect the playwright's and director’s judgements, given the excellence of all that comes before. The performances by Hill and Parker in fact are so perfectly delivered, hopefully it is exactly what the playwright intended – because it is tremendous. It runs through July 9 at Steppenwolf Theatre.

Published in Theatre in Review

Let’s welcome in summer and enjoy the history of Hubbard Street Dance Chicago at the Harris Theater with a collection of eight dances of varying styles and intriguing music. Pieces old and new, reworked and original amazed one after another including Lucas Crandall’s (Imprint - Duet), William Forsythe’s (reproduction of One Flat Thing), Alejandro Cerrudo’s (One Thousand Pieces - Water Section), Jim Vincent’s (Palladio), Crystal Pite’s (A Picture of You Falling), Twyla Tharp’s (The Golden Section), and Lou Conte’s (Georgia and the 40’s).

This historical glance 40-year glance at the iconic dance company brings forth a walk through time and the growth of Hubbard Dance. Lou Conte’s romantic summer love of ‘Georgia’ was originally premiered in 1987 as part of “Rose from the Blues” and makes you ache for the loss of summer love. Even more history is bestowed upon the crowd with the happiness, creativity of the 40’s, also by Conte. Infusing big band music, 40’s style dance, jitterbug moves and the feeling of the celebrations of old Hollywood, the piece is truly a joy to watch.

“The Golden Section” choreographed by Twyla Tharp/Tharp Project, in its golden velour and unabashed 80’s energy that had originally been performed on Broadway in 1981, brought a liveliness and fun to the stage. The enthusiasm and vibrancy had audience members bobbing their heads and giggling along with the sheer fun of the dancer’s movement and energy.

Something for everyone, Hubbard Street’s Summer Series 39 will truly grab your attention with the loving duet of “Imprint” by Lucas Crandall and romantic “Palladio” by Jim Vincent. Theater goers will fall under the mesmerizing spell of the smokiness and ethereal beauty of ghostlike figures and sounds of water in “One Thousand Pieces” by Alejandro Cerrudo. Children and adults alike will be enthralled with the chaotic energy of “One Flat Thing”, in awe of the dancer’s abilities to move between, over, under and through the flat things with such speed, grace and fluidity.

Beautiful and graceful, “A Picture of You Falling” by Crystal Pite will capture the audiences’ attention from start to finish, leaving you out of breath, and wondering, if this is how it really will be in the end.

Through a night of innumerable feelings and experiences, this historical journey into the past of “Hubbard Street Dance at 40”, was a thrill for all families and fans of dance. So very few places can provide such a complete feeling of history and nostalgia while also inspiring all of us to see what the future will bring.

Hubbard Street’s Summer Series 39 was performed at the Harris Theater for Music and Dance. For more information on this amazing dance company and to see future events, visit www.HubbardStreetDance.com.

 

Published in Dance in Review

Shannon McNally is a singer, song writer and guitar player. Black Irish is her seventh release, if I heard correctly last night at City Winery. There, at City Winery, McNally headlined with Big Sadie playing the first set.

Big Sadie is a Bluegrass quartet from Chicago? Yes, you heard correctly…a Bluegrass quartet from Chicago. A lot of people tend to think this is either a Blues town or cover band town, but there are plenty of hidden gems to be found. You either gotta look or get lucky.

Big Sadie is led by a husband (Collin Moore) and wife (Elise Bergman) team who handle most of the vocals, as well. Bergman plays upright bass and Moore plays guitar. Andy Malloy on banjo and Matt Brown on fiddle complete the quartet.

There were two things I really liked about seeing this group live. Number one were their harmonies. Moore and Bergman have a really sweet blend. Harmonies executed so well make such a difference - getting voices to blend like that. The second thing was they played and sang in front of ONE microphone. I loved it! Very reminiscent of the Grand Old Opry days. They did have the upright going direct but they had everything else going through one mic. With this method, you get your “mix” by your proximity to the microphone. Also, dynamics used by the other players is important. My only criticism of their set up is that the guitar gets buried. The guitar should go direct along with the upright. Moore was playing some hot licks, but they were fighting to be heard.

McNally was accompanied by Brett Hughes on guitars, mandolin and vocals. I see a lot of people playing without drummers lately, which tends to keep a nice volume in clubs sometimes. That way you can just dig into the songs. You can also hear the vocals, a lot of which are lost in the heavy mixes of the bass and drums that dominate a lot of times.

She played a short set, mostly originals. I would honestly have to describe her as seeming uncomfortable. I will admit, I am not familiar with her work at all. She had some nice bluesy moments and I did like her singing and playing. Her songs were good, but easy to forget. In between songs, she just seemed awkward. I understand some people are more creatures of the studio or the writing table and am guessing she’d be in that category. I did really enjoy her last song, a cover of “It Makes No Difference” by The Band.

It’s always a great night at City Winery Chicago. Great food, wine and music. The volume is always adjusted just right in the room, too. You always walk away with happy ears.

Published in In Concert

From the minute I stepped into Windy City Playhouse’s colorful, elegant the stage area designed by Courtney O’Neill with fantastic lights and sounds by Thomas Dixon, I knew I was in for a treat. 

King Liz is named for the beautiful, sexy and high-powered sports agent Liz Rico played superbly with real gusto and stage presence galore by Lanise Antoine Shelley. 

Liz Rico is a woman who grew up in the projects, overcame great poverty and rose to the top of a male dominated industry. Rico, one of the best sports agents in the business, is about to be promoted to the head of her firm by her retiring boss Mr. Candy (Frank Nall).

Mr. Candy's last offer to her to make her his new head of firm is based on her ability to sign a new and talented high school basketball player Freddie Luna (Eric Gerard). Luna is a true talent likened to Kobe Bryant but comes with a history of violence and temper tantrums as he too has been brought up in the projects and was doing his best to survive as he knew how. 

Eric Gerard is also great in his role, showing how deeply he feels about needing to escape his checkered past and the projects by riding his basketball gifts into the big time. Gerard also plays the role well in that the audience sees and feels great compassion for him as he uses his limited social skills to try and fit into the fast-paced media swirl he is placed in, sometimes causing his own downfall, his sometimes feral temper getting the best of him. Though Luna can often be charming and polite, prying journalists after the next big sports story target his unbridled emotions and get the best of him when digging into his past that he so desperately wants to put behind him.

Gabby (Jackie Alamillo) is Liz Rico’s assistant and though grateful for her highly valued mentorship has been made to "eat crow" so many times, every day at work, by Liz. Gabby is also eager for Liz to get the promotion, if only because she will then fill Rico’s job. Alamillo is perfect as the once meek but now hardened assistant who has given up everything including her own sense of self-worth at times in order to succeed in this male dominated field. 

In the meantime, Knick’s Coach Jones does his best with Luna hoping this new prodigy will cement his long time career. Coach Jones, played with great compassion of soul and accuracy by Phillip Edward Van Lear, really drives the play’s message home and is totally believable in the role of a big league coach who also has been beaten down somewhat by an industry which cares more about profit margins than human lives and protecting the players who make the game possible.  

We learn along the way that "King Liz" had a sexual relationship with the coach in the past when over dinner he states he “would like to make love to her again”, that “she needs affection” and "was making animal sounds" the last time they were together but Liz will only accept his offer if he realizes she wants no commitment involved or even romance. 

Liz, over the course of the show, begins to realize that she has isolated herself from the world of love and relationships for so long that even though she is rich and on all the most important people lists like Forbes Fortune 500, she has also given up her chances to have children and a husband among other things and is faced with the biggest decision of her life to try and salvage her soul and dignity as a human being.

The play is delivered fast and furiously with many exciting twists and turns and light and scene design changes. It reminded me of the film “Draft Day” starring Kevin Costner that shows just how much constant pressure and money is riding on these agents and their young, often inexperienced and naive clients – the promises made and the slugfests that occur between agencies and teams to sign elite talent. We learn how much athlete image control weighs into a successful sports career for those that have a hard time staying out of trouble.

King Liz is also the story of two completely different paths taken from two people, both African Americans, who grew up in the same projects. Ambitious, disciplined and determined, Liz carved a trail for herself to succeed in the business world by obtaining a Yale education and learning the social graces and toughness that positions herself to rise up the corporate ladder. She’s hard-nosed and no-nonsense and does not make excuses. At the same time, Luna, though mega-talented, struggles to mature or find a sense of responsibility. He blows up with little provocation and misses key business appointments to go shopping with his friends. We want so desperately to shake him and say, “Wake up! You have been given a golden opportunity to shine and become an example to others.”

Lanise Antoine Shelly is a powerhouse as Liz Rico and is surrounded by an impressive cast in this fast-paced, knockout punch production. I highly recommend Fernanda Coppel’s King Liz, directed with real style and exciting action and catharsis by Chuck Smith.

King Liz is being performed at Windy City Playhouse. For tickets visit www.WindyCityPlayhouse.com.

 

Published in Theatre in Review

Drury Lane Theatre continues its 2017-2018 season with the Pulitzer-winning play The Gin Game written by D.L. Coburn, featuring Jeff Award winners Paula Scrofano and John Reeger, and directed by Ross Lehman. The Gin Game runs June 22 – August 13, 2017 at Drury Lane Theatre, 100 Drury Lane in Oakbrook Terrace.
 
Winner of the 1978 Pulitzer Prize for Drama and nominated for four Tony Awards, The Gin Game symbolizes life in the form of a card game in a two-act, two-character play starring Chicago theater legends Paula Scrofano and John Reeger. In The Gin Game, Weller Martin and Fonsia Dorsey strike up an acquaintance and begin to play gin. As the game progresses, intimate secrets of their lives are revealed and they begin to search for each other’s weaknesses in both the game and life itself.
 
With this production, married couple Paula Scrofano and John Reeger join an elite history of famous duos who have previously battled in The Gin Game, including original stars Jessica Tandy and Hume Cronyn (the 1977 Broadway production and 1981 TV movie), Mary Tyler Moore and Dick Van Dyke (the 2003 PBS television special), and Cicely Tyson and James Earl Jones (the 2015 Broadway Revival). Jeff Award winner Ross Lehman directs the renowned acting couple.
 
“We have wanted to produce The Gin Game for years, specifically with Paula Scrofano and John Reeger in the roles of Fonsia and Weller,” says Kyle DeSantis, President of Drury Lane Productions. “This marks Drury Lane’s twelfth collaboration with this legendary pair of Chicago actors, and we’re so excited to welcome them back to our stage.”
 
The creative team for The Gin Game includes Katherine Ross (scenic design), Mathieu H. Ray (costume design), Lindsey Lyddan (lighting design), Ray Nardelli (sound design), Mike Tutaj (projection design), Cassy Schillo (props design) and Claire Moores (wig and hair design). The production stage manager is Lucia Lombardi.
 
The Gin Game is recommended for ages 13 and up.

For more show information or to purchase tickets, or visit DruryLaneTheatre.com.

Published in Upcoming Theatre

Classical Music sounds so much better in person. Music is always better live in my opinion. And hearing magically composed sounds in a hall constructed for the occasion is the icing on the cake. The caliber of the musicians plays a huge part.

Vladimir Spivakov conducted the entire show this past weekend at Orchestra Hall that featured some of Russia’s highly talented musicians working together in a chamber orchestra. A chamber orchestra is a bit different than a symphony orchestra. At times, the music delivered was all strings, violins, violas, cellos and double basses. Some selections had French horn and oboe added.

Spivakov has been a respected musician since the 1960’s. He directed the ensemble with a high level of passion for what he was doing. The dynamics were flat out amazing – something you don’t get with your average Rock band. The softest of piano leads to the loudest of forte, all with a high level of grace.

Another interesting thing about seeing musicians play live is seeing the expression on their faces. Classical Music can on the surface appear stiff. Many might think classical musicians play straight off the page as written. This couldn’t be further from the truth. Yes, the notes are already chosen. Interpretation means a lot. The passion of the performance makes the page come alive. When the players do that, it is amazing.

The performance was divided into two sets. The first was mostly the chamber orchestra. Towards the middle of the set, Danielle Akta joined in on cello. She came out, looking like a kid of fourteen-years-old or so. The emotional intensity knocked the room out. I was watching the four other cellists on stage watching her. Two of them were at least double her age, yet she had their full attention. I can understand why. She took it to another level.

The second set featured Hibla Gerzmava. She is a soprano. It takes a strong voice to fill the hall with a microphone. I know there were mics set up, but I don’t believe they were being used as sound reinforcement. I couldn’t really tell from my vantage point. Having said that, I heard every inflection perfectly. Again, dynamics play a gigantic role in this type of music. It was very theatrical. Hibla at one point was singing to the lead violinist, other times to Spivakov. You can see why a good portion of the great Classical Music out there was written in the Romantic period. It is romantic. Almost, I dare say…erotic. Both Akta and Gerzmava had that quality at times. There was even a bit of humor, too. In a real quiet part of one of the songs sung by Hibla, someone dropped a bottle or something. Everyone heard it, but she kept a straight face. After the piece, she was all smiles.

I was impressed by the Moscow Virtuosi Chamber Orchestra overall. I loved the vibe of the pieces played. There was a playful interaction between performers that truly resonates.

I have heard a lot of amateur chamber orchestras. Violins are very unforgiving in regard to the intonation of the instrument. What a treat it was to hear this group of in-tune stringed instruments. I have also been trying to hear music and not just listen to it. The idea is to listen without analysis, just hear the music. Musicians know this struggle. Sometimes it is easy to forget the joy that art like this brings to our lives. Anyone can be a critic. I would rather be a lover of the arts. From Russia With Love? Yes, I saw that completely.

 

Published in In Concert

A Red Orchid Theatre announces its 25th Anniversary Season, including Evening at the Talk House by Wallace Shawn, directed by Ensemble Member Shade Murray, and featuring Ensemble Members Lance Baker, Kirsten Fitzgerald and Natalie West; the World Premiere of Traitor, an adaption of Ibsen's Enemy of the People by Brett Neveu, directed by Ensemble Member Michael Shannon, and featuring Ensemble Members Dado, Larry Grimm, Danny McCarthy, Guy Van Swearingen and Natalie West, with lighting designed by Ensemble Member Mike Durst; and 33 to Nothing by Grant Varjas, featuring Ensemble Member Steve Haggard. In summer 2018 A Red Orchid will also present a bonus presentation of Victims of Duty by Eugene Ionesco, directed by Shira Piven, and featuring original cast members Michael Shannon and Guy Van Swearingen.
 
In addition to the company’s Chicago productions, A Red Orchid's 2013 production of Simpatico will open the season at the prestigious McCarter Center in Princeton, New Jersey. Simpatico will feature the original cast and creative team, directed by Dado and featuring Kristin Ellis, Jennifer Engstrom, Mierka Girten, Michael Shannon, Guy Van Swearingen and Doug Vickers, with designs by Grant Sabin, Christine Pascual, Mike Durst, Joe Court and stage manager by Christa van Baale. 
 
“Our 25th anniversary season is full of landmark events for A Red Orchid,” comments Artistic Director Kirsten Fitzgerald. “In 2017-2018 we will see our first collaboration with an iconic playwright, our tenth world premiere with an ensemble member playwright, and a second collaboration with a local playwright. Ensemble is at the heart of everything we do, and we’re thrilled to present a 25th anniversary season packed with ensemble members both onstage and off. With an eye toward reaching out we are also over-the-moon to collaborate with Emily Mann and Debbie Bisno to bring A Red Orchid to the McCarter Center, as well as with Ike Holter, Tony Santiago and The Roustabouts in incubating new work right here at home."
 
A Red Orchid Theatre’s 2017-2018 Season includes:

Evening at the Talk House
by Wallace Shawn
Directed by Ensemble Member Shade Murray
Featuring Ensemble Members Lance Baker, Kirsten Fitzgerald and Natalie West
October 5 - November 19, 2017
Previews: October 5 - 8, 2017
Red Night Opening: Friday, October 13, 2017 at 8pm
 
Remember when you felt you could do anything, when there was still nothing to fear? Evening at the Talk House is a reunion at your favorite club, where old friends cozy up, raise a glass and remember gentler times when culture had value and terror wasn't the every day. This ultra-dark comedy invites us all to celebrate the 10th anniversary of the opening night of Robert's under-appreciated masterpiece, Midnight in a Clearing with Moon and Stars.  Please come. We need each other. 
 
The World Premiere of
Traitor
an adaption of Ibsen's An Enemy of the People
by Brett Neveu
Directed by Ensemble Member Michael Shannon
Featuring Ensemble Members Dado, Larry Grimm, Danny McCarthy, Guy Van Swearingen and Natalie West, with lighting designed by ensemble member Mike Durst
January 11 - February 25, 2018
Previews: January 11 - 14, 2018
Red Night Opening: Friday, January 19, 2018 at 8pm
 
In this world premiere adaptation of Heinrich Ibsen's An Enemy of the People, a small, North Chicago suburb finds the town's restart button with an investment in a newly opened charter school. After issues with the school grounds are discovered by its head of sciences, Dr. Stock, a quest to inform and correct is met with support.  But suspicion and rancor mount as truths bubble to the surface.  A play that mirrors our vital, absurd and often hilarious political times.
 
33 to Nothing
by Grant Varjas
Featuring Ensemble Member Steve Haggard
April 12 - May 27, 2018
Previews: April 12 - 15, 2018
Red Night Opening: Friday, April 20, 2018 at 8pm
 
Taking place during a real-time band practice, 33 to Nothing is a play that rocks hard and breaks hearts.  Feeling the incessant call of adulthood, individuals begin to question their role in the ensemble. Ultimately begging the question: to break up or to build stronger?  An anthem of forgiveness, loyalty and resilience when your world is being torn by the seams.
 
Summer Bonus 
Victims of Duty 
by Eugene Ionesco
Directed by Shira Piven
Featuring original cast members Michael Shannon and Guy Van Swearingen 
July-August 2018
 
Much of the original 1995 team come together to revisit Ionesco's absurd masterpiece. Choubert, the archetypal bourgeois everyman, and his wife Madeleine are spending a quiet evening at home when the Detective arrives to enlist their help in finding the previous tenant.  A roller-coaster ride of high comedy and horrific tragedy as Choubert examines his past present and future in a quest to find out where Mallot could be hiding.
 
Incubator
Also in 2017 A Red Orchid's Incubator hosts The Roustabouts inaugural production/pop-up. Founded by Ike Holter and Tony Santiago, The Roustabouts are responsible for Ike Holter's Stay Lit at Oracle and Steppenwolf theatres, and the Winehouse concert at Oracle. They will produce a new play by Ike Holter as part of A Red Orchid's Incubator series. Cast, production team and plot information are under wraps, but the project will premiere before the end of the year.
 
Ticket Information
A Red Orchid continues the FLASHPASS. As always, FLASHPASS holders get reserved seats, ticket and date flexibility, no-fee ticket exchanges, discounts for friends & family tickets, and early access to events such as readings, panel discussions, and more. The Three-show FLASHPASS is $80 and includes one ticket to each of the 3 shows in our 25th Season, excluding Press Opening and Red Nights. The Three-show Red Night FLASHPASS is $150 and includes a ticket to each of the 3 show's Red Night Opening and post-show reception with the cast and creative team.  The Preview Saver FLASHPASS is $50 and includes one ticket to a preview performance of each of the 3 shows in our 25th season. Add a ticket for the Summer Bonus, Victims of Duty, to any FLASHPASS at the time of purchase.  
 
Flashpasses may be purchased from the Box Office at 1531 N. Wells Street, Monday through Friday from 12 pm to 5 pm, by telephone during office hours by dialing (312) 943-8722, or online at www.aredorchidtheatre.org. Individual tickets will go on sale at a later date.
 
With our 25th season of ambitious and powerful storytelling, we are thrilled to announce the launch of A Red Orchid Theatre’s Red League.  At $1k or more, The Red League represents a donor community of our most committed and impactful cultural investors. Every profound and shocking moment on our stage is made possible through their critical annual contributions. Their philanthropic leadership fosters the development of raw and relevant work, creates a platform for our talented ensemble to reach new audiences, and ensures that A Red Orchid Theatre remains a source for honest, compassionate, and aesthetically rigorous theatre.
 
About A Red Orchid
A Red Orchid Theatre has served as an artistic focal point in the heart of the Old Town community of Chicago since 1993 and was honored this year with a 2016 MacArthur Award for Creative and Effective Institutions. Over the past 24 years, its Resident Ensemble has welcomed into its fold an impressive array of award-winning actors, playwrights and theatre artists with the firm belief that live theatre is the greatest sustenance for the human spirit. A Red Orchid is well known and highly acclaimed for its fearless approach to performance and design in the service of unflinchingly intimate stories. In addition to its professional season, the company is also committed to an OrKids (youth) project and hosts The Incubator (providing artists with space and time to explore new work, new forms and new artistic collaborations).
 
A Red Orchid Theatre is: Lance Baker, Kamal Angelo Bolden, Dado, Mike Durst, Jennifer Engstrom, Kirsten Fitzgerald, Joseph Fosco, Steve Haggard, Mierka Girten, Larry Grimm, Karen Kawa, Karen Kessler, Danny McCarthy, Shade Murray, Brett Neveu, Michael Shannon, Guy Van Swearingen, Doug Vickers and Natalie West.

 

Published in Upcoming Theatre
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