Displaying items by tag: Evanston

Fleetwood-Jourdain Theatre today announced full casting and production team for its season-opening production of GEE'S BEND, the 2008 play by Elyzabeth Gregory Wilder, to play Saturday evenings and Sunday afternoons from May 23 to June 7 at the Fleetwood-Jourdain Theatre in the Noyes Cultural Arts Center at 927 Noyes Street in Evanston. GEE'S BEND follows a family —Alice, her daughters Sadie and Nella, and Sadie's husband, Macon — from 1939 to 2002 as they experience segregation, family strife, the Civil Rights movement, and celebrity. The play is set in the real-life community of Gee's Bend – an isolated community in West Alabama's Black Belt, which has become known for the hand-stitched quilts made by generations of its women. 

Tim Rhoze, Producing Artistic Director of the company since 2010, will direct the production and design the set. His cast features Toccara Castleman, who is double-cast as Alice, the matriarch of the family, and later as Asia, Alice's granddaughter. Castleman is a multidisciplinary writer and actress whose credits include CONFEDERATES at Redtwist Theatre and I DON'T WANT TO PLAY MYSELF at The Tank in New York City. Alice's daughter Nella will be played by Jasmine Robertson, who performed in the two-actor cast of FJT'S UNTIL THE FLOOD in 2024, and was seen there most recently in 2025's HONEYPOT: BLACK SOUTHERN WOMEN WHO LOVE WOMEN. Cast in the lead role as Alice's youngest daughter, Sadie, is Kaitlyn Fields, a recent graduate of Northwestern University, who was among the cast members of HONEYPOT. Sadie's husband, Macon, will be performed by Rashun Carter, whose Chicago stage credits include GODS AND MONSTERS at Theater Wit and REASONS: A TRIBUTE TO EARTH, WIND AND FIRE for Black Ensemble Theatre.

The GEE'S BEND production team, in addition to Rhoze as director and set designer, includes David Goodman-Edberg (Lighting Designer), Rick Sims (Sound Designer), Kate Parker Barrows (Costume Designer), Sarah Kaiser (Muralist), Ben Blount (Props Designer), Melissa Blount (Quilting Instructor), Howard Godfrey Jr. (Musical Director), Charity Moody (Assistant Musical Director), Tuesdai B. Perry (Movement Specialist), Phil Timberlake (Dialect Coach), Bria Walker-Rhoze (Artistic Associate/Dramaturg), Tara Malpass (Production Stage Manager), Mary Dixon (Assistant Stage Manager), Shadana Patterson (Graphic Artist), Sholo Beverly (Poster Artist), and Shane Rogers (Technical Director/Set Builder). 
 
DC Theater Arts said, "GEE'S BEND weaves the essence of the quilt into a theatrical experience that exalts universal themes of family, faith, and overcoming adversity in a deeply moving way. "GEE'S BEND was commissioned and produced by the Alabama Shakespeare Festival and has been performed at Denver Center, Cleveland Playhouse, Kansas City Rep, Northlight Theatre, Philadelphia's Arden Theatre, and Hartford Stage, among others. 
 
Tickets to GEE'S BEND are $33 and can be purchased at fjtheatre.com. Students and seniors can purchase tickets for $20 at the box office on the day of the performance. FJT is also offering Premium Gold Membership cards for $90.00 that include four reserved seats for any of the productions of the 2026 season, and other exclusive bonuses. The card can be purchased on Evanston's Parks and Recreation site. 
 

LISTING INFORMATION
 
GEE'S BEND
by Elyzabeth Gregory Wilder
Directed by Tim Rhoze
May 23 – June 7, 2026
Saturdays at 7 pm, Sundays at 3 pm
Fleetwood-Jourdain Theatre in the Noyes Cultural Arts Center
927 Noyes St., Evanston
Tickets $33.00, Students and Seniors $20.00 at the box office. On sale at www.fjtheatre.com
Phone 847-866-5914
 
GEE'S BEND is the story of the Pettway women, quilters from the isolated community of Gee's Bend, Alabama. Beginning in 1939, the play follows Alice, her daughters Nella and Sadie, who is inspired by the real-life Gee's Bend descendant Mary Lee Bendolph, and Sadie's husband, Macon, through segregation, family strife, and the Civil Rights movement. Throughout their lives, the women's extraordinary quilts provide a respite from the turmoil around them. In the finale, Part III of the play, it is the year 2002; the quilts have been discovered as highly praised and sought-after folk art. Sadie, now 78 years old, is delighted with the recognition, and despite the lure of celebrity and the big city, she returns home to Gee's Bend and continues her lifelong passion for quilting. Wilder's play explores the resilience of the human spirit, especially as it is expressed in art, language, and gospel music. 

Northlight Theatre, under the direction of Artistic Director BJ Jones and Executive Director Timothy J. Evans, proudly announces its inaugural season in the company's new home at 1012 Church Street in Downtown Evanston. With its own venue built from the ground up, Northlight will open its doors with a celebratory gala planned for August 15, 2026, and the first public performance on September 9, 2026.  Northlight will welcome subscribers, supporters and the public in advance with opportunities to explore and celebrate the new venue.

The five-play 2026-2027 season, including three world premieres, opens with Jeffrey Hatcher's The Front Page, a world premiere adaptation of the rapid-fire classic comedy that also inspired the 1940 film His Girl Friday. The season continues with the world premiere of Lauren M. Gunderson's new love story All the World, followed by The American Five by Chess Jakobs, about the planning of the March on Washington and the speech that inspired Americans to act toward their shared vision of equality and justice for all. Northlight will then present the 2024 Pulitzer Prize Finalist Here There Are Blueberries by Moisés Kaufman and Amanda Gronich. The season concludes with the world premiere of Art Manke's Pearl's in the House about the life and music of trail-blazer Pearl Bailey.

Subscriptions to the 2026-2027 Northlight Season are available at northlight.org/subscribe or 847.563.8400. With its wide range of ticket prices, discounted subscription packages and complimentary parking at the 1800 Maple Garage, Northlight remains of one of the best theatrical values in Chicagoland. Package options include traditional 5-Play Subscriptions and 4-Ticket Flex Passes.

The new state-of-the-art facility is a major component in the arts and cultural scene in Chicagoland and the North Shore and features approximately 285 comfortable seats with excellent sight lines, state-of-the-art sound and lighting systems, a dedicated box office and contemporary bar/café in the lobby, a second floor rehearsal and event space, and lounge and gathering areas on the first and second floors. Located in the heart of downtown, with easy, nearby access to parking and public transportation via CTA and Metra, Northlight will contribute to a vibrant local economy and will serve as an economic driver for downtown Evanston.

Artistic Director BJ Jones comments, "Opening our brand-new theatre in our founding hometown is a truly special moment. I cannot begin to list the artists, ticket buyers and donors who, over 50 years, delivered us to this moment. In their honor we offer a season rendered by the finest of Chicago's artists, beginning with a refreshed Chicago classic, and continuing with world class work, presented through a local lens."

Executive Director Timothy J. Evans adds, "After five decades, Northlight Theatre finally has a home of its own. A home in the heart of a revitalized downtown Evanston entertainment district steps from public transportation, parking, restaurants, shops, and Northwestern University. Our long-awaited homecoming to Evanston will transform the theatre landscape on the North Shore and Chicago. The New Northlight will serve as a vital place for exchanging ideas, storytelling, community gathering and a long-needed cultural hub for the many communities we serve. We can't wait to share it." 

The 2026-2027 season includes:

The World Premiere of

The Front Page

Adapted by Jeffrey Hatcher

From the original by Ben Hecht and Charles MacArthur

Directed by BJ Jones

Featuring Kate Fry and Timothy Edward Kane

September 9 - October 18, 2026

A world premiere adaptation of the rapid-fire classic comedy that also inspired the 1940 film His Girl Friday.

In a 1930s Chicago press room, wise-cracking reporters are abuzz with the latest news: ace reporter Hildy Johnson is quitting her job and getting married. Editor Walter Burns has no intention of letting her go– out of the newsroom, or into the arms of another man. When a death row convict manages a daring escape, Walter wrangles Hildy into covering one last irresistible story, a tangle of rival reporters, crooked politicians, and a scoop too big to ignore!

The World Premiere of

All the World

By Lauren M. Gunderson

Directed by Jessica Thebus

November 11 - December 20, 2026

'Tis the season for a love story! Gunderson's signature blend of romance, wit, and bittersweet beauty shines in this world premiere.

Two actors find themselves in an ever-shifting relationship during the most emotionally charged time of the year: the holidays. Set amidst the backstages and quick changes of the world's most beloved seasonal classics, they try to keep the mess of their private lives offstage, whether they're falling in love or falling apart. Surprising, heartbreaking, and hopeful, All the World reminds us why—year after year—we keep stepping into the light, telling the story, and leaving it all on the stage.

The American Five

By Chess Jakobs

Directed by Mikael Burke

February 3 - March 3, 2027

"In rousing resistance to injustice and inspiring cohesion and connection, this play is a triumph of doing what it's about!" – DC Theater Arts

"I have a dream..." The words that galvanized a nation weren't written alone. Through late nights and shared meals, differing approaches but collective dreams, Dr. Martin Luther King Jr., Coretta Scott King, Bayard Rustin, Stanley Levison, and Clarence B. Jones plan the March on Washington and craft a speech to inspire Americans to act toward their shared vision of equality and justice for all. On their way to shaping a defining moment in the civil rights movement, five individuals became a family. Together, they became history.

Here There Are Blueberries
By Moisés Kaufman and Amanda Gronich

Directed by Charles Newell

April 7 - May 17, 2027

2024 Pulitzer Prize Finalist | 2025 Lucille Lortel Award Winner for Outstanding Play | Two-time Helen Hayes Award Winner | Named one of the "10 Best Plays of 2024" by The Wall Street Journal

In 2007, a mysterious album featuring Nazi-era photographs arrived at the desk of a U.S. Holocaust Memorial Museum archivist. As curators unravel the shocking truth behind the images, the album soon makes headlines and ignites a debate that reverberates far beyond the museum walls. Based on real events, Here There Are Blueberries tells the story of these historical photographs—what they reveal about the perpetrators of the Holocaust, and our own humanity.

The World Premiere of

Pearl's in the House

By Art Manke

Directed by Kenneth L. Roberson

Featuring E. Faye Butler

June 7 - July 18, 2027

The life and music of trail-blazer Pearl Bailey take center stage in this compelling world premiere.

Legendary performer Pearl Bailey navigated the waters of being a Black woman in America the only way she knew how – through her music. On the eve of a scheduled performance in the Reagan White House she agrees to an interview, not expecting the ambitious journalist who calls into question some of her more controversial choices. The personal and political come into sharp conflict as the savvy entertainer reveals her multi-faceted life through flashbacks and some of her most memorable songs.

Subscriptions to the 2026-2027 Northlight Season are available at northlight.org/subscribe or 847.563.8400. With its wide range of ticket prices, discounted subscription packages and complimentary parking at the 1800 Maple Garage, Northlight remains of one of the best theatrical values in Chicagoland. Package options include traditional 5-Play Subscriptions and 4-Ticket Flex Passes.

Traditional Subscriptions range in price from $180 to $325. See the entire 5-Play inaugural season with Northlight's most popular package. Returning subscribers can receive a 10% Founders Discount when they subscribe by May 15, 2026. Seniors 65+ receive $10 off 5-Play Subscriptions on Wednesday matinees or evenings. The Senior Discount applies to Premium or Standard seating on full price subscriptions. Discounts may not be combined.

Flex pass options are $159-$295. Receive four ticket credits to use how you please: see four shows, attend two shows as a couple, or bring three friends to one performance. Flex passes can be booked up to one hour before curtain and can also be purchased online.

Curtain times are: Wednesdays at 2:00 p.m. and 7:30 p.m.; Thursdays at 7:30 p.m.; Fridays at 7:30 p.m.; Saturdays at 2:00 p.m. and 7:30 p.m.; and Sundays at 2:00 p.m.

The complete 2026-2027 season will be performed in Northlight's new home at 1012 Church Street in Downtown Evanston.

Northlight is supported in part by generous contributions from BMO; Bulley & Andrews; Byline Bank; ComEd, An Exelon Company; Dr. Scholl Foundation; Eckenhoff Saunders Architects, Inc.; Evanston Community Foundation; Franklin Square Foundation; Full Circle Foundation; Grumman Butkus Associates; Hagerty Consulting; Illinois Arts Council, a state agency; John R Halligan Charitable Fund; Kirkland & Ellis; LionBird; Lloyd A. Fry Foundation; Mabadi Realty; Mammel Family Foundation; Modestus Bauer Foundation; Northwestern University; Paul M. Angell Family Foundation; The Revada Foundation of the Logan Family; Patrick G. and Shirley W. Ryan Foundation; The Schubert Foundation, Inc.; SLOAN; The Harold and Mimi Steinberg Charitable Trust; The Sullivan Family Foundation; Tom Stringer Design Partners.

Northlight Theatre aspires to promote change of perspective and encourage compassion by exploring the depth of our humanity across a bold spectrum of theatrical experiences, reflecting our community to the world and the world to our community.

Founded in 1974 with its inaugural season in 1975-76, the organization has mounted over 250 productions, including more than 45 world premieres. Northlight has earned 238 Joseph Jefferson Award nominations and 37 Awards, as well as 11 Edgerton Foundation for New Play Awards. As one of the area's premier theatre companies, Northlight is a regional magnet for critical and professional acclaim, as well as talent of the highest quality.

Fleetwood-Jourdain Theatre, the Evanston theatre company that has been thrilling audiences with stories of the Black American and African diaspora experience since 1979, today announced its programming for the 2026 season. Tim Rhoze, the company's Producing Artistic Director since 2010, unveiled the slate of three plays, all of which were written by women and premiered in the 21^st Century. 
 
The season will open in May with GEE'S BEND, the 2008 play by Elyzabeth Gregory Wilder, which follows a family —Alice, her daughters Sadie and Nella, and Sadie's husband, Macon — from 1939 to 2000 as they experience segregation, family strife, and the Civil Rights movement. The play is set in the real-life community of Gee's Bend – an isolated community in central Alabama which has become known for the hand-stitched quilts made by generations of its women. DC Theater Arts said, "GEE'S BEND weaves the essence of the quilt into a theatrical experience that exalts universal themes of family, faith, and overcoming adversity in a deeply moving way. " GEE'S BEND was commissioned and produced by the Alabama Shakespeare Festival and has been performed at Denver Center, Cleveland Playhouse, Kansas City Rep, Northlight Theatre, Philadelphia's Arden Theatre, and Hartford Stage, among others. The FJT production will play from May 23 through June 7. 
 
The season will continue in July with the Pulitzer Prize-nominated IN THE CONTINUUM —  a play that tells the parallel stories of two Black women, one in Los Angeles and one in Zimbabwe, who discover they are pregnant and HIV positive. It was written by the playwright and actress Danai Gurira (author of Broadway's ECLIPSED and cast member of HBO's THE WALKING DEAD) and the OBIE Award-winning actress and writer Nikkole Salter. It premiered at New York's Primary Stages in 2005 and was later produced at Chicago's Goodman Theatre, Washington D.C.'s Woolly Mammoth Theatre, and in Zimbabwe and South Africa. THE NEW YORK TIMES called it "A moving, smart, spirited and powerfully funny production."  It will be performed by Fleetwood-Jourdain Theatre from July 25 through August 9. 
 
The season closer will be THE NICETIES, by Eleanor Burgess. This two-character play follows a 20-year-old Black college student meeting with her white professor to discuss the student's term paper about slavery's effect on the American Revolution. The paper's thesis is that the revolution would not have succeeded without the contributions of black slaves. The professor disagrees, and what begins as a polite clash in perspectives explodes into an urgent debate about race, history, and power. The world premiere of THE NICETIES, directed by Chicago's Kimberly Senior, was co-produced during the 2018-2019 season by the Huntington Theatre Company in Boston, Massachusetts; Manhattan Theatre Club in New York, New York; and McCarter Theatre Center in Princeton, New Jersey. THE NEW YORK TIMES said it was "a bristling, provocative debate play about race and privilege in the United States, and it begs to be argued with." DC THEATER ARTS called it "a brilliant and important play." It will be performed by Fleetwood-Jourdain Theatre from October 31 through November 15. 
 
Fleetwood–Jourdain Theatre will also produce the third annual Gloria Bond Clunie Playwright's Festival on July 18 and 19. The festival, named for the founder of Fleetwood-Jourdain Theatre and acclaimed playwright Gloria Bond Clunie, will present professional staged readings of three new plays. Titles and playwrights to be announced.
 
Premium Gold Membership cards, priced at $90.00 and including four reserved seats that can be used in any combination throughout the season, are on sale now at https://app.amilia.com/store/en/cityofevanston/shop/memberships/70643 . The card also includes the added benefit of an automatic bonus seat, along with access to other exclusive specials during the season. Tickets to individual plays will be offered later in the year.
 
LISTING INFORMATION
 
GEE'S BEND
by Elyzabeth Gregory Wilder
Directed by Tim Rhoze
May 23 – June 7, 2026
Saturdays at 7 pm, Sundays at 3 pm
Fleetwood-Jourdain Theatre in the Noyes Cultural Arts Center
927 Noyes St., Evanston
Tickets $32.00, Students $10.00. On sale later this year at www.fjtheatre.com
Phone 847-866-5914
 
GEE'S BEND is the story of the Pettway women, quilters from the isolated community of Gee's Bend, Alabama. Beginning in 1939, the play follows Alice, her daughters Sadie and Nella, and Sadie's husband, Macon, through segregation, family strife, and the Civil Rights movement. Throughout their lives, the women's extraordinary quilts provide a respite from the turmoil around them. In the last act of the play, it is the year 2000; the quilts have been discovered as folk art and have become very valuable. Sadie is pleased with the recognition, but despite the lure of the big city, she returns to Gee's Bend and continues to quilt. Wilder's play explores the resilience of the human spirit, especially as it is expressed in art. 
 
IN THE CONTINUUM 
by Danai Gurira & Nikkole Salter
Directed by Tim Rhoze
July 25 – August 9, 2026
Saturdays at 7 pm, Sundays at 3 pm
Fleetwood-Jourdain Theatre in the Noyes Cultural Arts Center
927 Noyes St., Evanston
Tickets $32.00, Students $10.00. On sale later this year at www.fjtheatre.com
Phone 847-866-5914
 
IN THE CONTINUUM puts a human face on the devastating impact of AIDS in Africa and America through the lives of two unforgettably courageous women. Living worlds apart, one in South Central LA and the other in Zimbabwe, each experiences a kaleidoscopic weekend of life-changing revelations in this story of parallel denials and self-discoveries.
 
THE NICETIES
by Eleanor Burgess 
Directed by Tim Rhoze
October 31 – November 15, 2026
Saturdays at 7 pm, Sundays at 3 pm
Fleetwood-Jourdain Theatre in the Noyes Cultural Arts Center
927 Noyes St., Evanston
Tickets $32.00, Students $10.00. On sale later this year at www.fjtheatre.com
Phone 847-866-5914
 
Zoe, a Black student at a liberal arts college, is called into her white professor's office to discuss her paper about slavery's effect on the American Revolution. What begins as a polite clash in perspectives explodes into an urgent debate about race, history and power.
 
BIOS

Elyzabeth Gregory Wilder (Writer, GEE'S BEND) has written THE FURNITURE OF HOME, which deals with the Gulf Coast recovery in the aftermath of Hurricane Katrina and premiered at the Alabama Shakespeare Festival in 2009. Her play THE FLAG MAKER OF MARKET STREET followed at ASF in 2011. THE BONE ORCHARD was commissioned by the Denver Center Theatre and workshopped at the Perry Mansfield New Works Festival. Other plays include FRESH KILLS (Royal Court/London), THE FIRST DAY OF HUNTING SEASON (EST), and THE SPIRIT OF ECSTASY. 
 
Danai Gurira (Co-playwright, IN THE CONTINUUM) Is an award-winning playwright and actress. As a playwright, her works include Broadway's ECLIPSED (NAACP Award; Helen Hayes Award: Best New Play; Connecticut Critics Circle Award: Outstanding Production of a Play), IN THE CONTINUUM (OBIE Award, Outer Critics Award, Helen Hayes Award), and THE CONVERT (six Ovation Awards, Los Angeles Outer Critics Award). Danai's play FAMILIAR received its world premiere at Yale Rep in 2015. She is a recipient of the Whiting Award, a Hodder Fellow, and has been commissioned by Yale Rep, Center Theatre Group, Playwrights Horizons, and the Royal Court. She is currently developing a pilot for HBO. As an actor, she has appeared in the films THE VISITOR, and MOTHER OF GEORGE. She also played Isabella in NYSF's MEASURE FOR MEASURE (Equity Callaway Award) and currently plays Michonne on AMC's THE WALKING DEAD. She holds an MFA from Tisch, NYU. She was born in the US to Zimbabwean parents and raised in Zimbabwe. She is the co-founder of Almasi Arts, which works to give access and opportunity to the African Dramatic Artist.
 
Nikkole Salter (co-playwright, IN THE CONTINUUM). This Los Angeles-born, OBIE Award-winning actress and writer arrived on the professional scene with her co-authorship and co-performance (with Danai Gurira) of the Pulitzer Prize-nominated play, IN THE CONTINUUM. As a dramatist, Ms. Salter has written eight full-length plays, been commissioned for full-length work by six institutions, been produced on three continents in five countries, and has been published in 12 international publications. Her work has appeared in over 20 Off-Broadway, regional, and international theatres. Ms. Salter is also the co-librettist with composer/lyricist Nolan Williams Jr. of the musical GRACE and made her directorial debut opening the 2023/24 season of Baltimore Center Stage with a production of LADY DAY AT EMERSON'S BAR AND GRILL. 
 
Eleanor Burgess (playwright, THE NICETIES). In addition to THE NICETIES, Eleanor Burgess's plays include WIFE OF A SALESMAN, START DOWN, CHILL, SPARKS FLY UPWARD, and GALILEE, 34.  Her work has been produced at theaters across the United States, including Manhattan Theatre Club, South Coast Rep, Geffen Playhouse, McCarter Theatre Center, Huntington Theatre Company, Writers Theatre, Milwaukee Rep, Merrimack Repertory Theatre, Geva Theatre Center, InterAct Theatre, Portland Stage, the Alliance Theatre and the Contemporary American Theatre Festival, as well as the Finborough Theatre in London. She has also written for film and television, including work on PERRY MASON for HBO, WE CRASHED for Apple TV+, INTERVIEW WITH THE VAMPIRE for AMC, and screenplays for Bad Robot, Amblin, and Anonymous Content. Originally from Massachusetts, she studied history at Yale College and Dramatic Writing at NYU/Tisch.
  
Tim Rhoze (Director, Producing Artistic Director) Tim Rhoze has been the Producing Artistic Director of Fleetwood-Jourdain Theatre since 2010. His directing credits include: THE BALDWIN | GIOVANNI EXPERIENCE, PASS OVER, HONEYPOT: BLACK WOMEN WHO LOVE WOMEN, UNTIL THE FLOOD, FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE/ WHEN THE RAINBOW IS ENUF, 1619: THE JOURNEY OF A PEOPLE, THIS BITTER EARTH, THE LIGHT, AMERICAN SON, HOME, TWILIGHT: LOS ANGELES 1992, THE MEETING, FIRES IN THE MIRROR, BLACK BALLERINA (co-writer),  NUTCRACKER(ISH), CROWNS, HAVING OUR SAY, FROM THE MISSISSIPPI DELTA, WOZA ALBERT!, GOING TO ST. IVES, SINGLE BLACK FEMALE, A SONG FOR CORETTA, YELLOWMAN, SWEET, LADY DAY AT EMERSON BAR & GRILL, BEAR COUNTRY, NOBODY, FENCES, PIANO LESSON, AIN'T MISBEHAVIN, K2, THE GLASS MENAGERIE, and others. Tim is also the writer/director of WHY NOT ME? A SAMMY DAVIS JR. STORY, and MAYA'S LAST POEM, both produced at FJT; and BLACK BALLERINA, produced at FJT and Pittsburgh Public Theatre. He was also co-writer and director of THE BALDWIN | GIOVANNI EXPERIENCE and A HOME ON THE LAKE. His performances in August Wilson's PIANO LESSON (1997) and JOE TURNER'S COME AND GONE (2024) at the Goodman Theatre were nominated for Jeff Awards.
 
ABOUT FLEETWOOD-JOURDAIN THEATRE 

Founded in 1979, Fleetwood-Jourdain Theatre is a professional, award-winning theatre company that has been thrilling audiences with over four decades of unique, inspirational, and invigorating Black American and African Diaspora-centered storytelling. The company has been honored by the Black Theatre Alliance/Ira Aldridge Awards and is frequently listed as a top-rated Chicago theatre company. From original plays to the best of Broadway, Fleetwood-Jourdain Theatre has remained committed to supplying the very best in theatre. "Umoja!! ....Working Together in Unity" is the foundation from which FJT began and continues to thrive!
 
It is our mission to present powerful, thought-provoking, Theater Arts programming with a commitment to diversity and creative excellence. We are dedicated to providing a nurturing and creative environment for directors, playwrights, actors, designers, and stage managers. In this positive environment, they can further develop their creative skills and share their artistic expressions. The Fleetwood-Jourdain Theatre is funded by the City of Evanston and in part by the Illinois Arts Council, A State Agency.

I am new to Guy King. But I caught him at Blues Fest doing a solo set and was knocked out. He is all about the Blues with a heavy dose of Jazz and Soul. Wanted to hear more, I got a chance to check out him with his band at SPACE in Evanston Monday night. I was very impressed.

King was born in Israel but made his way to Chicago. His repertoire seems pretty broadly based. I hear so many varied influences in his playing and song choices. King is a multi-talented individual. I am not sure what is actually better, his voice or his guitar playing.

King’s voice seems to run the range of the deep Blues to Ray Charles. His style is very polished. I can’t believe I never really heard of him before seeing him at Blues Fest. Maybe I did but dismissed the name because it sounds like he just combined the names of two Blues legends. Perhaps his name could possibly serve against his success. What’s in a name? Well, first impressions are everything and sometimes that works for or against you. Having said that, I think he will do well in this business.

His guitar playing is top notch, and man, can he phrase! I never found him to repeat himself all that much, as he displayed a great vocabulary of chords. I hear a lot of Wes Montgomery voicings in his music. King also uses his thumb instead of a pick ala Montgomery. That may seem like a limitation, but the tone you get by doing that is much warmer than using a pick.

King’s band was great, and they had to be keeping up with a such a gifted performer. One very solid drummer, one adventurous bass player and a great keys player kept the music flowing. Nobody stepped on anyone else’s toes. It was clearly King’s show. A very nice balance of dynamics kept his fans reeled in. I plan on seeing his act again when I can. It would be interesting to see him with his Little Big Band. King turned out to be a really nice guy, too. I said hello to him after the show and he was quite approachable. That is always a good thing. Like I always say, go support live music whenever you can. It is much better in person.

“If you would shut off your phones, you might enjoy it more……”

This is the day of the cell phone, and in being so, there really needs to be some type of etiquette applied from time to time. I have also been guilty of this myself. When you are watching someone perform ANYTHING, turn off your phone. And the guy on stage shouldn’t have to tell you that either. That happened. I messaged my friend mid set, too.

Okay, but what about Ford's recent show at SPACE in Evanston? Robben Ford is one monster guitar player and hasn’t lost a step. He has played with people ranging from Miles Davis to Kiss. His solo work is very Blues based. Before you even hear a solo, you’ll notice that Ford is also a solid rhythm player. His singing falls right in there, too. Robben is a very precise musician in terms of rhythm. It’s easy to see how he got a lot of the work he has through the years.

Guitar players tend to get judged on their soloing abilities. No problem there. Ford was stepping out on an early 50’s Gibson Les Paul Gold Top. He had his classic Dumble amplifier and tone for days. I know, it’s not the guitar. I know, it’s not the amp. It’s that solid phrasing and the respect for what he is playing. The effects he used were completely unnecessary. He could have easily plugged straight in.

Bassist Brian Allen did his fair share of soloing throughout the set. I would also say he didn’t overplay. Bass players who overplay lose their role from time to time. I didn’t hear that.

Wes Little finished off the trio on drums. Little is a powerhouse type of drummer. A heavy hitter, he also gets a great jazz vibe when needed. He stepped forward for a couple solos, one longer than the others that really showed his chops. I think it takes some seasoning to play like that, to be able to hit hard and yet just right. Even the loudest crashes were musical. Ford even sat behind his amp while Wes took his solo. He may have been in a safe place there.

With an amazing song repertoire that includes “Worried Life Blues”, “High Heels and Throwing Things”, “Can’t Let Her Go”, “When I Leave Here” and so many more, it was surreal at times watching this legend play in such an intimate setting. Ford included a songs from his latest release Into the Sun, which I recommend picking up.

Other than Robben Ford having to tell the people watching to shut off their phones, it was a great show. His calling out cell phone abusers was actually kind of funny, anyway. On second thought, using your phone during a performance might be more sad than anything. When you are watching a musician playing at the top of their game…right in front of you - Pay Attention!

By the end of January, most people are over holiday theater. In the days between holidays, the Loop is a ghost town almost exclusively sustained by last minute ‘Christmas Carol’ and ‘Nutcracker’ matinees. Locals tend to stay local. For Evanston residents looking for quality theater, Light Opera Works is a great Off-Loop alternative. 

For the final few days of the year, Light Opera Works presents the classic Johann Strauss operetta ‘Die Fledermaus.’ Artistic director Rudy Hogenmiller presents an amiable English language adaptation by Quade Winter. One of the show’s best draws is the 30-piece orchestra conducted by Roger Bingaman. 

‘Die Fledermaus’ or “the bat,” is a typical farce. The first act sets the stage for philandering husband Eisenstein (Michael Cavalieri) to attend a masked ball on the eve of his impending incarceration. His wife Rosalinda (Alicia Berneche) meanwhile carries on an affair with a former flame, Alfred (Tobias Wright). The real candy of Act I might just be Kelly Britt as Adele, a lovely chambermaid with ambitions of her own. Her comedic strength is consistent throughout. William Dywer holds the attention of Act II as the dashing and strong-voiced host of the masked ball. As happens in all farces, the central couple learns a valuable lesson that rekindles their love. 

Along with great vocals, Light Opera Works’ production is visually pleasing. Costumes and sets by Jana Anderson and Adam Veness work together to showcase Light Opera Works’ impressive budget. Suburban theatre is rarely this polished. 

“Die Fledermaus” at Light Opera Works in Evanston is a good choice for those close to home. The music is soaring and the comedy tickles all ages. A better bet in Evanston surely can’t be found. 

Through January 1st at Light Opera Works. Cahn Auditorium 600 Emerson St. Evanston, IL 

When I say the name Ben Hecht most of you will look at me with confusion not knowing who I am talking about. That is understandable, given that most people don’t seem to care about anything before 1990. I myself did not have the strongest handle of who the man was prior to seeing “The Ben Hecht Show” at the Piven theatre. 

Ben Hecht was a newspaper reporter for the Chicago Journal and Chicago Daily News during the 20s. He parlayed his success in the newspaper world into a successful stage-writing career along with a very successful career as a screenwriter. He wrote some great films during what is considered the “Golden Age” of Hollywood. He wrote The Scoundrel, Nothing Sacred, Wuthering Heights, Scarface (not the Al Pacino one), and was uncredited for working on Gone with the Wind. He won an Oscar for best original story for Underworld and best writing (along with partner Charles McArthur) for The Scoundrel. 

James Sherman wrote, as well as stars in, the one man “Ben Hecht Show” that is based on Ben Hecht’s books A Guide for the Bedevilled and A Child of the Century in which Mr. Hecht struggles to confront his identity as an American Jew. 

Mr. Sherman has found a sweet spot in writing and adapting the works of Mr. Hecht as the audience is treated stories from Mr. Hecht’s past as if you were the only person that he is talking to. There is a feeling of intimacy to it all. You are able to understand how and why this man is grappling with the notion of being Jewish and what it truly means to be Jewish.  When he figures it all out he is only back at the beginning as various leaders of different Jewish organizations condemn his words to the point of calling him Goebbels puppet. The internal struggle is real. The writing of Mr. Sherman and stage direction of Dennis Zacek are able to capture all of Mr. Hecht’s inner conflict. The performance by Mr. Sherman as Ben Hecht leaves something to be desired. 

The entire show takes place in what would be the imagined study of Ben Hecht. Mr. Sherman wanders across the stage playing the conflicted writer as if he is just moving from one thought to another. One moment we are treated to stories, with a slideshow presentation, about him working with Alfred Hitchcock, John Ford, and David O Selznick. The next moment we are shown a stack of books of Jewish literature. All of this plays out in a monotone one-note performance. While the words tell us that this is a man struggling with his own identity we are not shown this. Mr. Sherman gives no range of emotion and barely registers a slight chuckle when delivering sharp quips that he himself penned. 

Mr. Sherman must be congratulated on his efforts in accomplishing a one-man performance, as this is no small feat. The performance can be sculpted and formed to where a stronger connection with the audience can be made as it is playing through July 17th. This is a show that offers nothing but the promise of an enlightening 90 minutes of self-reflection and self-discovery, a self-discovery that anyone who attends the performance would be happy to have seen. 

The Ben Hecht Show

Where: Piven Theatre, Noyes Cultural Arts Center, 927 Noyes St., Evanston 

When: Now through July 17th 

Tickets: $35

Info: grippostagecompany.com