Items filtered by date: November 2007

Being a Chicagoan, it’s always fun to take in city history – to learn about the great things that made Chicago what it is today – one of the best known metropolitan areas on the planet, rich in history and tradition. In ‘Burnham’s Dream: The White City,' the play focuses on Daniel Burnham, a man who became an architect while learning on the job rather than with an education. Burnham, perhaps best known for authoring The Plan of Chicago in 1909, one of the most significant documents on urban planning, was one of the chief minds behind taking on the massive job of building the 1893 World’s Fair over what was then just a swamp-ridden Jackson Park. ‘Burnham’s Dream’ focuses on Burnham’s life throughout this miraculous endeavor.

Pavi Proczko is palpable as Daniel Burnham, giving us a good sense of the architect’s smarts, determination and dedication to the colossal project. Proczko provides an inner depth to the character that is easy for audience members to relate. Burnham’s business partner and long-time friend, John Root, is well-played by Sam Massey. Root, perhaps more of a big picture dreamer wants the fair to be all-encompassing, “a fair that is truly welcoming to everyone.” The two play off each other well; one the visionary the other making ideas a reality. Chase Wheaton-Werle also puts forth a strong performance as the likable Irish immigrant, Michael O’Malley while Genevieve Thiers impresses the audience with her vocal talent as Bertha Palmer. Jessica Texidor’s choreography is unique and gets the most out of its limited open stage.

Throughout the play, we get a myriad of 1893 World’s Fair fun facts such as learning that that is where the zipper and Cracker Jacks were first introduced, and that one of the many buildings was designed by a team of female architects (something unheard of at the time). We are also made privy to the fact that in order to complete the fair on time and to save a huge sum of money, the building’s exteriors were finished with staff plaster since atop steel frames, after all, the buildings were meant to be temporary. Though primarily dealing with the fair’s creation, it’s setbacks and triumphs, ‘Burnham’s Dream’ also provides a window into how women’s rights and those of African-Americans were dealt treated – Root certainly an advocate of inclusion, a stage for the world to see America’s advanced ideologies.

And while viewers might not go home humming the songs, the play in itself is interesting enough, moves along at a nice pace and is well-acted. For 1893 World’s Fair buffs, ‘Burnham’s Dream’ will be an entertaining way to watch it come to life piece-by-piece. For those who are not so familiar with the story, you’d be in store for an engaging Chicago history lesson.

Finely directed by Erik Wagner, Lost and Found Productions world premiere musical “Burnham’s Dream: The White City’ is being performed at Theater Wit through July 1st. For tickets and/or more play information, visit www.theaterwit.org.

Strindberg’s quintessential battle of the sexes play, ‘Mies Julie’ is retold by award winning South African playwright Yael Farber. ‘Mies Julie’ is a modernized version set eighteen years after the abolishment of apartheid. Directed by Dexter Bullard, Victory Gardens presents this regional premiere.

‘Mies Julie’ has been a controversial play since it premiered in the late 1800s. Strindberg’s representation of a strong-willed aristocratic woman has always been a plum role for actresses. The sexual tension between Miss Julie and her servant is an apt metaphor for the competition between men and women especially in an era where women had few, if any rights to property.

Putting this play in modern day South Africa is a wise way to address the racial inequality still present nearly thirty years since apartheid’s end. The stakes are raised here as John is fighting for more than just dominance. His ambition is to win back the land he believes was stolen from his ancestors, while Julie represents the white ruling class that fears change.

Heather Chrisler plays Mies Julie, a young woman we learn has recently broken off an engagement. Chrisler flawlessly reproduces a South African accent. In fact, it’s so good there are times you struggle to follow. Her performance is wild and untamed. She’s endlessly tempting and viciously wicked. Her co-star Jalen Gilbert in the role of John is just as seductive. While Gilbert’s performance is more sympathetic, there’s a violent undercurrent that is thrilling to watch. There’s a great deal of chemistry between these actors and seeing it ebb and flow is incredibly sexy.

‘Mies Julie’ is like watching a game of tennis. Each line between the two characters is a volley and often the meaning of words and feelings changes on a dime. In the short span of seventy minutes, Yael Farber tells a complete story of the family trees of Julie and John. The dialogue is a constant one-up-manship and in the end, you may wonder who really wins.

The sultry atmosphere envisioned by Dexter Bullard is the perfect backdrop for this titillating drama. The heat is palpable. With simple touches the stage is set for an edge-of-your-seat verbal and physical struggle for power in a changing world.

At Victory Gardens through Jun 24th. 2433 N Lincoln Ave. 773-871-3000.

Even if you’re not familiar with Sondheim’s ‘A Little Night Music,’ chances are you’ve heard the song ‘Send in the Clowns.’ BoHo Theatre revives the 1973 musical farce under the direction of Linda Fortunato. Surely there’s not a more romantic summer musical than ‘A Little Night Music – and this production heightens the intimacy in staging and a unique re-orchestration.

At the surface, this comic tale of infidelity and romance set in the Scandinavia countryside is just a drawing room farce. It’s Sondheim’s complicated and soaring music that gives this show flight. He also cleverly lifts themes and ideas from a film by Ingmar Bergman and the works of Ibsen. Despite its seeming lightness there’s great depth in this musical.

‘A Little Night Music’ weaves the affairs of lawyer, Egerman and his young wife Anne. Henrik, Egerman’s son, is in love with similar-aged Anne. Egerman is in love with stage actress Desiree Armfeldt. Then there’s Desiree’s lover Count Malcom, and his jaded wife Charlotte. All these couplings reach a climax during an idyllic weekend in the country.

This is a fun cast to watch. Strong-voiced Rachel Guth provides much of the comic relief as Anne. Desiree is played with a certain sensuality by Kelli Harrington. Her emotionally-charged ‘Send in the Clowns’ is worth the evening alone. Standing out in the role of bitter Countess Charlotte Malcome is Stephanie Stockstill. Donning a cropped pixie cut, Stockstill’s Charlotte is hilariously morbid.

Fortunato makes the most of the space at Greenhouse Theater. Her ‘Night Music’ is scaled back and puts more focus on the music than the effects. She’s able to fill out the ensemble without making the stage feel crowded. The group numbers that make this musical so enjoyable are re-orchestrated by Malcom Ruhl and make perfect sense. An on-stage chamber orchestra provide a charming centerpiece around which the action happens.

Three hours in a theater on a summer night can be a lot to ask. BoHo rewards its audience with a truly charming production of one of Sondheim’s best. Fans of the show will be happy to see some modern touches and those new to this work will surely be piqued by this lovely production.

Through July 8th at BoHo Theatre at the Greenhouse Theater. 2257 N Lincoln Ave. 773-404-7336

During a time when the world is discussing the role of women in a society among men, of a world of equality to men, there was a woman who stood out before her time, a woman independent and liberated in an industry dominated by men, Bette Davis.  Embodying the screen heroine is actress and author, Jessica Sherr, the image of a young Bette, who brings us into the 60-year history of “The First Lady of the American Screen” on the night of the 1939 Academy Awards. “Bette Davis Ain’t for Sissies” is an up close and personal conversation at the Athenaeum Theatre from May 24th to June 10th with the two-time Oscar winning (“Dangerous” (1935) and “Jezebel” (1938)) and ten-time Oscar nominated actress, Bette Davis.

What began for Jessica Sherr as a class assignment to perform as a known star, drawn to fiery redheads, the decision lay between Lucille Ball and Bette.  A fan of Ball’s work, Sherr was attracted to idea of learning more about Bette, the tempestuous battles for the challenge of new scripts, the desire to be paid her worth and stand up for what she believed she deserved and could do as an actress. A short script of 28 minutes in 2008/2010 became a new hour and half for its 2018 showing. With background information drawn from books, biographies and personal accounts are used from Bette’s adopted son, Michael and close friend and assistant Kathryn Sermak.  No truer a recollection or performance of the life of Bette could be created with more depth and care, or actual Bette Davis memorabilia (Red scarf and teal gloves).

Through the research and connection Sherr found and made with the life of Ruth Elisabeth Davis from Lowell, Massachusetts, we come to realize it was not an easy one.  In true Bette frankness, raised by a single mother during the 20’s, enrolling in boarding school to her first Broadway debut in 1929, Bette’s real life was just as dramatic as her job. Sherr’s portrayal of the woman impassioned by her craft, who although was described as being difficult to work with, was able to span a career of 100 films and changed the way that Hollywood looked at actresses. Through the Academy evening and reminiscing through her life, we are given insight to Bette’s relationship with Hollywood and the world, her daughter B.D., the relationship she had with herself and the supportive relationship of her mother, Ruthie.  You will laugh, you will feel her pride, soar on her triumphs, and your heart will follow as Bette’s does, through her failures, as her attempts to rise above to do what she truly loves and as she pursues her passion in Hollywood.  A woman unlike many others, but a woman’s heart you can connect to, you will fall in love with Jessica Sherr and Bette Davis (again).

The Originalist, now playing at Court Theatre, poses Antonin Scalia as a tragic figure. The late Supreme Court Justice saw his opinions as unimpeachable; he thought he was never wrong, even when his views did not prevail in Court decisions.

“Where would the country be without me,” Scalia asks the audience. “I have moved the country solidly to the right.”
Edward Gero brings this larger than life personality to us in a dynamic performance that may leave you spellbound.

But this is not a one-man show. Rather, it is also a stirring drama (written by John Strand and directed by Molly Smith) with a plot centering on the fictional court clerk, Cat, played by Jade Wheeler. Cat is an African-American who researches and drafts Scalia’s dissenting opinion in the landmark gay rights case that struck down Congress’s Defense of Marriage Act.

Cat is a professional, and builds Scalia’s case against DOMA despite her personal feelings about the case. You will be so thankful we had Wheeler on stage as Cat. She exudes confidence and punches back at Scalia in arguments about as good as she gets.

To add to the tension, we also learn Cat is a lesbian, a fact she reveals to Scalia only to learn he does not care a jot about it. Scalia also assigns Cat a conservative legal research assistant, Brad – played to the hilt by Brett Mack. Scalia entertains a debate between the two and Cat acquits herself well against Brad. A later knock-down drag-out argument between the two on a range of opinions is almost cathartic to witness.

We learn of Scalia’s disappointment in not being name Chief Justice by George W. Bush, despite a ruling that put Bush in office after a contested recount in Florida. Lobbying for himself, he finally is told the mood of the country would not support his appointment. “It would be about as popular as a second Iraq War,” he says.

We also see him as a frustrated thespian, a lover of classical music, and, famously, a very close opera-going buddy with that liberal living legend, Justice Ruth Bader Ginsberg.

Ginsberg called him “charming”. Gero’s dynamic performance helps us understand how those two, who were at the opposite ends of the ideological spectrum – Scalia was against gay rights and affirmative action – could still be good friends. When Cat’s father dies after a long illness, Scalia puts the legal work on hold to allow for grief – and we again see redemptive qualities in the man. Scalia 

First produced in Washington, D.C., in 2015, The Originalist received tremendous acclaim, and was developed before Scalia died unexpectedly of heart failure in 2016. Gero got to know Scalia personally in his development of the character for the play.

“I want you to know I won’t be seeing the play,” Scalia told Gero. “But I’m glad they got someone good to do it.”
Gero has played the role regionally in Florida and California, but it is hard to imagine this excellent performance won’t find is way to Broadway.

The challenge, of course, is that this conservative jurist remains a lightning rod of liberal antipathy. New York may not be a welcoming market for a show that suggests any sympathy to Scalia. Its arrival at the Court Theatre, on the grounds of the University of Chicago where he taught, may be a way to test those waters.

The Originalist also gives us a valuable examination of ideological approaches to interpretation of the Constitution. Its title refers to Scalia’s purported approach, hewing close to the letter of the law in making decisions, as illuminated by examining the intentions of the original framers. But an insightful analysis of the originalist philosophy by David Strauss, law professor at the University of Chicago, suggests originalism is adopted by both liberal and conservative judges as a strategy to advance their own ideological agenda.

”Our system…is based mostly on precedent and tradition, instead of simply looking for authoritative commend from the Founders or the text of the Constitution,” says Strauss.

The Originalist runs through June 10 at The Court Theatre. It is highly recommended.

Buckle up for Damascus, the intensely suspenseful thriller having its world premiere at Strawdog Theatre.

Bennett Fisher’s tightly crafted script follows the journey of Hassan, a financially struggling Somali-American taxi driver at the Minneapolis airport, as he ferries Lloyd, a young man who says he is desperate to catch a flight out of Chicago’s O’Hare. Damascus, a clue to what will unfold, is also a township not far from O’Hare.

Cramming the six-hour drive into 90 action-packed minutes, we watch as the relationship between the two develops. Terence Sims as Hassan delivers a captivating performance, as he resists efforts by his passenger Lloyd (Sam Hubbard) to engage him in a conversation that moves too quickly and uncomfortably to the personal.

In the opening scene we learn Hassan is struggling to make a go of it, sleeping in his cab in order to pay the lease on his taxi. When Lloyd wakes him out of a solid sleep to ask for a ride to Chicago, Hassan is reluctant to do so – it’s a violation of the rules to drive inter-state; he could lose his license and even his vehicle. After Lloyd offers $300 for the fair and claims his mother is ill – that after a cancelled flight, he needs to get to Chicago to make the next plane home - Hassan agrees, then bids the fare up to $600. 

As the journey progresses, we begin to gather there is more to this story. . . and it turns out there is much much more. Avoiding a spoiler, suffice it to say that Hassan becomes a captive to Lloyd, though at points the role is reversed. You must see the play to watch how the story unfolds.

The shifting dynamic of any long distant drive is artfully on display, as the two get on each others nerves and dance into and out of intimacy. Lloyd, who seems just a tad off the beat, veers toward menace and puts us, along with Hassan, on alert.  

Nearly as compelling is the way the set – stripped down see-through minivan – keeps us focused on the facial expressions of Lloyd and Hassan. Since they are sitting and talking for most of the show, these faces carry the dramatic load. Sims is exceptionally good at keeping our attention with his highly emotive expressions. Hubbard carries off bringing us a far less sympathetic character

Cody Estle, newly appointed artistic director at Raven Theatre, makes a strong directorial debut with the company. And the set by Jeffrey Kmiec – a van on a turntable that affords us many vantage points on the dialog – is very inventive.

Bennett Fisher’s excellent script has been optioned for a film. It’s the kind of work you will want to see first on stage, and you’ve got until June 23 to make it to the Strawdog Theatre for Damascus.

It could have been any other Friday night for me; coffee, friends, and a few brief moments away from the responsibilities of motherhood, to talk and vent about the responsibilities of motherhood. But it wasn’t a Friday night with my friends, but Cry It Out, a new play written by Molly Smith Metzler. Like most evenings out, there were laughs, shared emotions and connections, and it ended far too soon leaving me wanting more.

Cooped up on maternity leave and eager for conversation, Jessie invites the funny and forthright Lina for coffee in their neighboring backyards. They become fast friends, quickly bonding over their shared “new mom” experience—and arousing the interest of a wealthy neighbor hoping for a similar connection. This insightful comedy takes an honest look at the absurdities of new motherhood, the dilemma of returning to work versus staying at home, and how class impacts parenthood and friendship. A comedy with dark edges, Cry It Out takes an honest look at the absurdities of being home with a baby, the power of female friendship, the dilemma of going back to work, and the effect class has on parenthood in America.

At a time when new mothers have little time off to care for their newborns, and even less time to mentally and physically recover from the trials of giving birth, this play shines a light on how depressingly similar our situations are. Three mothers represent three different economic situations. Each struggle with having a significant other who doesn’t fully understand their decisions and desires, discovering and accepting their new roles as mothers, and each face their own self judgement and worry about making the right choices for their families and themselves.

What Metzler does so well with this play is keeping it simple and unabashedly honest about what mothers go through, and how they deal with the challenging newborns, new bodies, and new friendships. From subtle references to NoseFridas (accurately referenced as the greatest invention of all time), to more tragic realities like breech deliveries and life-altering injuries. Cry it Out is a painfully beautiful story that will leave you crying for more. Its talented cast includes Laura Lapidus (Lina), Gabriel Ruiz (Mitchell), Darci Nalepa (Jessie) and Kristin Valada-Viars (Adrienne).  

Cry It Out runs through June 17th at Northlight Theatre. Tickets are available at https://northlight.org/

The power of Having Our Say: The Delaney Sisters’ First 100 Years will creep up on you. It also reminds us that in theater, context can be everything, as this revival of a Broadway success may pack even more punch 25 years after its original appearance in book form.

On the surface Having Our Say could seem like a placid day of reminiscences between two centenarian sisters, Sarah Delany (Sadie) and Elizabeth Delany (Bessie). These two daughters of an emancipated slave invite us in to listen in as they recall 100 years they have spent together. You soon find yourself unable to turn away, and the show, nearly a quarter century after its Broadway run, provides a trenchant commentary – with the occasional bombshell - on issues of race, justice and the social unrest that continues to divide us. The stories of the Delany sisters will stay with you.

Adapted from a 1994 autobiography, the Goodman production under the direction of Chuck Smith also brings stellar performances by two actresses: Ella Joyce plays Bessie (1891 – 1995), who lived to 104; and Marie Thomas is her younger sister Sadie (1889 –1999) who died at 109. Working at the top of their craft, the two master the stage for this revival of Emily Mann’s 1995 Broadway hit. (It ran 317 performances, and it would be easy to imagine this incredible show staying around for months here, too.)

Having Our Say recounts the lives these determined, accomplished sisters lived, with a century of American life as the sweeping backdrop. We meet generations of their ancestors, black and white, slave and free. We hear of freedoms conferred as the Civil War ends, of the challenges to those freedoms with the rise of Jim Crow, the celebration of women’s suffrage, the tale of the Great Migration as blacks head North, the rich cultural outpouring of the Harlem Renaissance, and the personal trials and suffering of the Delany family members.

While there is no plot in the conventional sense, nonetheless this reverie is almost hypnotic as we watch Bessie and Sadie make tea, keep house, quibble, cook a ham and other dishes, and move through their day. The two have sharp minds, recalling names, dates and events without struggle, occasionally bickering over recollections.

Sadie became the first black woman to teach domestic science in the New York City Public School System; her older sister Bessie was the first black woman dentist in New York. The pair at first appear to be somewhat genteel spinsters, but quickly enough establish for us that Bessie is the acerbic and more combative of the pair; Sadie more even tempered and approachable. “We’re vinegar and molasses,” as Bessie puts it.

As Bessie and Sadie, Joyce and Thomas are working at the pinnacle of their craft, delivering two hours of non-stop dialog, all the while performing the most natural housekeeping – scene after scene loaded with seemingly guileless execution of “stage business” activities as they fuss about in the kitchen, dining room and living room. At one point I recall watching Joyce’s Bessie wipe crumbs from a kitchen table for a full ten minutes as a side note to her lines of dialog. Simple as such actions appear, the perfection of the timing in tandem to the scripted words is the mark of a great actress. We realize we are in the presence of masters of the craft.

While the time frame is historical – for example, Bessie and Sadie can only describe the possibility of the Obama Presidency they would never witness – their alignment with historic figures is illuminating. Sadie was a fan of George Washington Carver, an agent of change adhering to practical social and economic strategies. Bessie supported W.E B. DuBois, an advocate for active movement toward social change. Both sisters felt that given the choice between supporting women’s rights and black rights, their self-interest was most centered on black issues. While they celebrated women’s suffrage, they also professed to an abiding devotion to Eleanor Roosevelt, and explain the actions that boosted her appeal to the African-American population.

The show is loaded with lessons in history and the story of lives – Bessie and Sadie mourn the death of their mother and of their disabled sibling, their loneliness in old age (“Lord, send us someone new,” they pray). We learn their spiritual practice (yoga and prayer daily); their pride in their parents (Dad was the first African-American Episcopal Bishop and Mom was head of operations at St. Augustine College).

Without question, Having Our Say is a great show, beautifully acted and directed. Also worth noting: The lovely turntable set that rotates between the Delany kitchen and living room, designed by Mike Tutaj.

Having Our Say, scheduled with four matinees and four evening performances weekly, and runs through June 10 at the Goodman Theatre, comes highly recommended.

a“There’s no honor in self destruction.” An interesting line to ponder when thinking about what Sam Shepard’s Pulitzer Prize winner ‘Buried Child’ says about our current times. Sadly we lost Sam Shepard recently. Writers Theatre’s production of ‘Buried Child’ serves as a fitting homage. Director Kimberly Senior assembles a dream cast for her well-conceived revival.

Senior is a meticulous director. The attention to minor details of staging makes for an immersive experience. ‘Buried Child’ is a complicated play, reading it can be challenging. Senior’s version is clear. Her grasp of the script and the meaning of Sam Shepard’s words shines through. While it adds a little to the runtime of the show, two intermissions is a wise choice.

This production changes the focus somewhat. Shepard was known for male-driven plays and some critics argue his female characters are underdeveloped. Senior mines the script for a new interpretation; that ultimately the women are the ones who keep the play moving. Shannon Cochran plays Hallie, the matriarch. Her performance is riveting, she stalks the stage doling out anger and jokes. Also playing against type is Arti Ishak as Shelly. This character is ordinarily somewhat meek but here she’s a dominant figure that forces this family to its reckoning.

The male roles are notably cast. Mark L. Montgomery is nearly unrecognizable as Tilden. His portrayal of an emotionally stunted man-child is haunting. Timothy Edward Kane delivers a sort of ‘Texas Chainsaw Massacre’ vibe as the younger son Bradley. His wandering eye contact has an unsettling effect. Larry Yando becomes Dodge. Yando’s an old pro at playing a grumpy old man but the physicality of sickness and depression are palpable.

Shepard wrote this play in the 70s as an observation on the misery of rural American life. Once idyllic places got decimated by closed factories and failing farms. Unfortunately not much has changed for the better in these places, and for that this production seems timely as ever. Kimberly Senior’s production would make Sam Shepard proud. The atmospheric staging and guttural dialogue combined with powerhouse performances will surely leave a lasting impression. A thrilling version for our modern times.

Through June 17 at Writers Theatre. 325 Tudor Court, Glencoe IL. 847-242-6000

The Wizard of Oz is fun for all ages — this is as true today as it was in 1939. While there is a special kind of magic exclusive to the film due to the phenomenal cast as well as the strong nostalgia surrounding it, there is another kind of magic exclusive to seeing the musical live onstage.

A cherished family musical, this is the perfect show to bring kids to; with the upbeat musical numbers, colorful cast and sets, and lovable characters, they’re sure to be entertained. The classic songs by Harold Arlen and E.Y. Harburg include "Somewhere Over the Rainbow," "If I Only Had a Brain," "Ding Dong the Witch is Dead," and more, almost all featuring peppy dance numbers with lively choreography by Amy McCleary.

With direction by Dean Sabon, who previously created the national tours of Fiddler on the Roof and Seven Brides for Seven Brothers, this version of The Wizard of Oz brings new elements to a beloved classic.

One of the coolest things about this production is the use of a giant screen to serve as the various backgrounds, as opposed to elaborate set pieces for backdrop. This was utilized impressively during the twister scene when Dorothy and Toto seek shelter in Aunt Em and Uncle Henry’s house, among other scenes, having a 3-D effect that was exciting to watch. Throughout, the production uses a fun combination of traditional theatre sets and tech-y special effects.

The Wizard of Oz is playing at the Chicago Theatre through May 20th. Tickets on Ticketmaster.