Items filtered by date: November 2007

With foreboding I took my seat in Court Theatre’s One Man, Two Guvnors, knowing the actors had devised some parts of the play on their own. As the company frolicked and sang the opening number, the jollity on stage was leaving me stone cold.

But enter Francis Henshall (Timothy Edward Kane) – the ‘One Man’ in the title – and within minutes this British import by way of Broadway had the audience laughing. And me? Full throat guffawing – by the second half, to the point of tears.

One man, Two Guvnors is based on a 1745 Italian Commedia dell Arte, Servant of Two Masters, written in that period’s improvisational comedic form. It has been masterfully adapted to modern sensibilities by Richard Bean, but it helps to know that Henshall is a stylized character of this Italian genre – known as a Harlequin – a hapless, bumbling dolt. While this suggests a scholarly exercise, the show is anything but.

It is more akin to Monty Python or Fawlty Towers - with a dash of Second City and some smart clowning. The action centers on a British seaside in 1963 Brighton, with costumes (nice work by Mara Blumenfeld, who has dressed Mary Zimmerman's productions) and original music (Grant Olding) that match the period perfectly. The plot is ridiculous, centering on mistaken identity and this Harlequin butler trying not to tip off his two bosses about each other. There is some cross dressing. 

Henshall the Harlequin may be hapless - think Stan Laurel of Laurel & Hardy – but Kane makes him a completely sympathetic character who controls the stage and the audience. Carlo Goldoni was commissioned to write the 1745 original by Italy’s premier Harlequin, Antonio Sacchi, as a showcase for his talents - the thin storyline left open ended for improvisation. Goldoni then updated it to capture some of Sacchi's free-form genius.

 It may well be we are seeing our own Sacchi. This locally grown Harlequin, in Kane’s performance, is a stage wonder. He seems born to the role, and Chicagoans are afforded the unique opportunity to see a new type of character born right on the boards at Court Theatre.

Stage screwball comedy evaporates in a retelling, but be assured it is very, very funny – whether you like your humor high brow or low, physical or intellectual, in wordplay or horseplay. The range of scenes includes a very hungry Henshall (Kane) lusting after a piece of cheese on a mousetrap. When his tongue is caught with a snap, he struggles mightily to reach that cheese (without using his hands), to great comedic effect.

Another scene finds Stanley Stubbers (Erik Hellman) one of Henshall’s Guvnors, despondent at the loss of his love. Deciding to cast himself into the sea, he throws himself at the ocean backdrop – discovering it is just a painted sheet. The audience picks up on the joke while Stubbers is bewildered with encountering the “fifth wall” (a recurring point of humor). This was my “laughed ‘til I cried" point.

Once Henshall’s character grounded the action, all the actors’ performances came alive – for me, anyway. The producers hired coaches to school the troupe in language and the Commedia style. But this cast of worthies, in addition to Kane, is impossible to fault, all delivering over the top, memorable performances: Chaon Cross (Pauline Clench), Allen Gilmore (Lloyd Boateng), Alex Goodrich (Alan Dangle), Francis Guinan (Charlie Clench), Erik Hellman (Stanley Stubbers), Elizabeth Ledo (Rachael Crabbe), Ross Lehman (Harry Dangle) and Hollis Resnik (Dolly). You will recognize most of them from their plentiful stage and screen work.

The show runs through June 12, 2016 at Court Theatre, 5535 S. Ellis Avenue in Chicago. Don’t miss it.

Just on the cusp of the band’s latest release, Prayers for the Damned Vol. 1, Sixx: A.M. is already knee-deep into a full-fledged U.S. tour, last night stopping at Chicago’s Concord Music Hall before playing some dates in Europe. Not surprisingly, the band played their nearly two-hour set before a packed house of eager fans putting forth a well-balanced song list, taking key selections from each of their four albums including a handful of their newest, slightly untested material.  

Bassist Nikki Sixx has described the new release as an intermingling of 2011’s This Is Gonna Hurt and 2007’s The Heroin Diaries Soundtrack, and after giving the new album more than a few listens, he’s spot on. As already evidenced by the album’s first single “Rise”, the album once again carries the band’s now very well-known blend of energy, dynamics and melodic bliss along with meaningful lyrics that deliver a solid punch. Filled with raunchy, yet utterly tasty leads from guitarist DJ Ashba and singer James Michael’s versatile vocal range combined with a unified feel that only comes from a band that has played together for a decade, give or take, Prayers… might just be the best work from the band yet. Its message is simple but poignant – wake up, be aware, do not be complacent and scrap the existing state of affairs we are told to blindly accept. Like the band’s past album themes, Prayers – Vol. 1, produced and engineered by Michael, is also filled with optimistic undertones that truly inspire.  

Sixx: A.M. wastes no time in thrusting lethal blows towards its crowd, kicking off their set with the high-powered track “This Is Gonna Hurt”. James Michael, aptly self-assured as he continuously rises in the ranks as one of today’s best rock vocalists, delivers a true rock and roll performance hitting each note with precision, honing in with finely finessed power whenever called for. At the same time Nikki Sixx supports Michael with his ever-so-striking presence and flashy bass work while DJ Ashba and drummer Dustin Steinke respectively plug away on one track after another. Rounding out the band’s sound is a duo of backing vocalists Amber Vansbuskirk and Melissa Harding, adding a unique flavor to an already appetizing set. 

As previously indicated, Sixx: A.M. plays a somewhat generous dose of material from their latest release ripping into “Rise” early on, perhaps bringing down the thunder more so than any other on the album with an authoritative presentation of “When We Were Gods”. The new material went over as well as can be expected and then some while the familiar sounds of past albums were once again emphatically welcomed by a bursting house of loyal followers. Almost on cue, fans wildly cheered as Michael introduced the poetic and deeply moving “Accidents Can Happen” before Sixx and company jumped into the hard-hitting “Dead Man’s Ballet”, both songs coming from The Heroin Diaries Soundtrack. Theirs is a set that never lets up. From “Goodbye My Friends” to “Stars”, rest assured fans are thoroughly entertained, moved and inspired from the show’s beginning to its fitting encores “Skin”, a song that touches on the acceptance of yourself and others and Sixx: A.M.’s anthem that is full of positivity and hope, “Life Is Beautiful”. 

Seemingly unfazed by the difference in venue size he might be used to, Sixx genuinely appeared to appreciate every single second on stage now inserted into a much closer relationship with his fans, as did the other band members.  Close up and personal in this fifteen hundred seat or so venue, Ashba, Sixx and Michael clearly reveled in the experience, undoubtedly receiving a reciprocal vibe by the Sixx: A.M. faithful. With Motley Crue now in Sixx’s rearview mirror and no longer a side project of his, it will be interesting to see how Sixx: A.M. evolves. So far, based on volume one of the new two volume release and a commanding touring presence that is both youthful and mature at the same time, there is no reason to think that Sixx: A.M. wouldn’t be able to headline their own arena tours sometime in the near future – if they so desire. With a following that has already existed, and is continuously growing, thanks to the band’s electric material, it should be noted that Sixx: A.M. is NOT a band riding off the successes of their previous band affiliations. Rather, they are the full package – songs, image, musicianship and message, created by insightful musicians that happened to have previous music notoriety. Nonetheless, wherever they play – however many fans they play in front of, one thing is certain – Sixx: A.M. is a highly-passionate band that plays each show with heart and a sincere love for music. 

Currently, one of the best bands on the touring circuit, Sixx: A.M. has again made it look easy by putting out yet another album that rocks through and through. Prayers for the Damned Vol. 1 is filled with thought provoking songs compiled by a veteran presence that has been there done that, has had life failures and successes, has learned by its mistakes and now shares its hope with others. In other words, it’s real. 

The Princess Complex: Little girls grow up with fairy tales about princesses who are rescued from some terrible fate by a dashing prince, fall in love, get married and live happily ever after. These little girls may dress up as princesses, replay their favorite scene and dream of the day their prince will come. This all leads to the Princess Complex, a cultural enforced delusion of reality but in Disenchanted, the well-known Disney princesses that created these false expectations of life and love tell it like it really is, shattering the happily ever after ideal once and for all.

Disenchanted is a cabaret style variety show featuring familiar characters such as Snow White, Cinderella and Sleeping Beauty, who team up to MC the show, shedding light on the reality of princess-hood. Along with their friends, Belle, Mulan, The Little Mermaid, Pocahontas, Rapunzel, and others they challenge the many biases seen in traditional Disney princesses – they are mostly white, often culturally inappropriate, dependent on a man to save them and usually quite well endowed! The style of the show allows for direct engagement with the audience and even a little audience participation in the song calling out the extreme amount of commercialism associated with these beloved Disney fairy tales.

The cast was fantastic overall, bringing some unexpected versions of these household princesses to life with amazing voices and perfect comic timing. Merritt Crews plays the role of Snow White, the primary MC for the evenings shows. She flows between the high sing-songy voice expected of snow white and a gritty and powerful voice that belts some hysterical lyrics. Madison Hayes-Crook plays Cinderella who is a perfect mix of ditsy blond and exceptionally socially aware woman. Miriam Drysdale and Ann Paula Bautista take on three roles each covering The Little Mermaid, Belle, Rapunzel (Drysdale) and Mulan, Pocahontas, and Baldroulbadour (Bautista). They effortlessly move from character to character and back again. Uche Ama, as the princess who kissed the frog, and Danielle Richards, as Sleeping Beauty round out this phenomenal cast.

The costumes were creative and unique, capturing the spirit of the princesses everyone knows and loves but with a spunky and sassy twist. Designed by Vanessa Leuck and covered in sparkles, the costumes really added pizazz to the intimate show.  The Broadway Playhouse is a smaller theater allowing the audience to feel close to the performance and the simple yet elegant set design, by Gentry Akens, further enhances the cozy atmosphere. 

With song after song, joke after joke, Disenchanted will keep you laughing for the full hour and a half production. Book, music and lyrics by Dennis T Giancino, address every questionable aspect of the cherished Disney princesses including the fact that the real Pocahontas was actually a 10 year old girl who would not even dream of kissing John Smith unlike the mini skirt clad 20 year old pin up vixen the movie version, and questioning the mental state of a French book worm with an oddly American accent who thinks it is normal to talk to appliances. 

This show will forever transform the way you watch Disney movies and will remind you that life is not about perfect waistlines, dashing princes and happily ever after. It is packed full with so many subtle details that you will find yourself laughing for days after the show.

Disenchanted is playing at the Broadway Playhouse through June 5th. Get your tickets now for this unique and creative show.

Prepare to be taken on a journey with Timeline Theatre at their production of "Chimerica." Directed by Nick Bowling, "Chimerica" is an epic saga of a play by British playwright Lucy Kirkwood. While a solid three hours of theater may be discouraging for some, this play makes it well worth the time. 

Spoiler alert, "Chimerica" is a story about Chinese-American relations, not Chicago. That said, John Culbert's stage design addresses it pretty head-on. One side of the stage is an ironically vintage New York City apartment, a wide gulf separates it from a shabby Beijing tenement. A Macbook sits on the coffee table of the American apartment, a well-known symbol of strife between these two worlds. 

Lucy Kirkwood's play makes its American debut at Timeline. It is the story of a photo journalist, Joe Schofield, who took the famous picture of a man standing in front of a tank during the Tiananmen Square Massacre in 1989. We catch up with Schofield (Coburn Goss) in 2012 as he tries to persuade his magazine editor to do a story about the Tank Man 23 years later. Joe's kept a long-time friendship with a professor in Beijing, Zhang (Norman Yap), who is the story's window into Chinese life. Joe falls in love with largely uninvolved marketing expert, Tessa (Eleni Pappageorge) who's on a mission to "figure out" the Chinese for a credit card company. Joe becomes determined to track down the man he accidentally made famous, and in the process, a global chase ensues. 

There are a ton of characters in this play. Some more consequential than others. Nick Bowling has assembled a very talented cast of Asian-American actors on which the moral backbone of this story hinges. In fact, there's not a bad performance in this play. 

One could dissect the themes of this show for hours, but for the sake of brevity, we won't. What is immediately fascinating is that this is a story told from the mindset of someone caught in the middle. It's a story about how America and China are becoming more alike as well as their inherent differences. It’s a story about what is actually dictating "free press" in America. It’s a story about how foreign countries see American politics, particularly Hillary Clinton. It's also a story with great heart. Lucy Kirkwood is not just delivering a geo-political thesis, but also a compassionate look at the lives of ordinary people. At times this very-right-now drama can seem to go on and on, but in the end it adds up to a very bittersweet conclusion and a lot to take home and unpack. 

Through July 31st at Timeline Theatre. 615 W Wellington Ave. 773-281-8463.

When you've seen a classic musical as many times as I have seen Chicago, you really hope for something new and exciting to bring a basically great show to life and this large young, mostly unknown cast (outside of John O’Hurley) really delivers. Now playing through May 15th at Cadillac Palace, theatre fans have the chance to see one of the most popular musicals of our time that spawns from a tale of corruption, greed, and murder that takes place in 1920’s Chicago.

Chicago, now in its twentieth year is not only the number one longest running American musical in Broadway history, it is the winner of six Tony Awards, two Oliver Awards and even a Grammy. This touring cast with Dylis Croman (Roxie Hart), Terra C. MacLeod (Velma Kelly), Paul C. Vogt (Amos Hart), Roz Ryan (Matron “Mama” Morton) and John O’Hurley of Seinfeld and Dancing with the Stars fame along with a slew of other talented actors not only hold their own, they do its residency show on Broadway justice. 

After nightclub dancer Roxie Hart (played splendidly by Dylis Croman) murders her lover on the side after he threatens to leave her, she plays the media and even her cellmate (and later partner) Velma Kelly by employing the slimiest Chicago lawyer she can finds who turns her act of murder into a series of sensational headlines, creating a media circus that distracts from the crime itself. The Jury has no chance. 

Though filled with simple, darkened backdrops reminiscent to the jazz era, the show’s sultry one-liners, big chorus and dance numbers are what makes this production the hit that it has been. Chicago is a crime-based comedy that has all the components of an intriguing and thoroughly entertaining musical. It is filled with cliché’s that embody Chicago during the 1920’s and also points out the fame and glamour given to high profile criminals that can so easily be had the doting public at the time.  

Dylis Croman may steal the show with her brilliant portrayal of Roxie Hart, but the star power brought in to give this production a boost, John O’Hurley, is nothing short of outstanding as the sensationalizing, smooth-talking lawyer Billy Flynn.   

Thanks to flawless performances both dancing and vocally, songs like “I Can’t Do It Alone”, “When You’re Good to Mama”, “My Own Best Friend” and “Funny Honey” will be sure to stick in your head afterwards, yet probably not so much as the show’s most popular tune “All That Jazz”. 

I highly recommend this sharp, streamlined, exciting and yet sumptuous musical for both theatre fans that have and have not seen Chicago in the past. With just the right amount of pizzazz, a soundtrack that is among theatre’s best and some of the most original dance numbers in recent times, Chicago is comprehensively fun stage production not to be missed.  

Chicago is being performed at Cadillac Palace through May 15th. For tickets and/or more show information, visit www.BroadwayInChicago.com.

Once in awhile a musical comes around so weird that you have to see it to understand it. Based on a 1960 b-movie of the same name, "Little Shop or Horrors" tells the story of a man-eating plant raised by a nerdy guy working in a flower shop. Legendary composers Alan Menken and Howard Ashman collaborated on a musical version of it as a tribute to 60s rock 'n roll and drive-in movies. It started as an Off-Off Broadway show in 1982 and then transitioned to the Off-Broadway Orpheum Theatre, where it ran for five years.  The film version followed in 1986 and is considered one of the best movie musicals ever made.

It's no surprise American Blues Theater had to extend their production by popular demand. Jonathan Berry directs an excellent "Little Shop of Horrors" for American Blues Theater with musical direction by Austin Cook. From the get-go, audiences will find themselves caught in the tentacles of this plant tale. Real-life married couple Michael Mahler and Dara Cameron play Seymour and Audrey. Both have incredible voices and make these characters their own. The result is very charming. The stoop urchins: Chiffon, Ronette and Crystal (aptly named after the girl groups they sing in the style of) are so good they may even outshine the plant. Camille Robinson, Jasondra Johnson and Eunice Woods crush their roles as the doo-wop Greek chorus. It seems like these three fantastic voices are having a blast working together. That said, the voice of the man-eating plant, Audrey II, provided by Lorenzo Rush Jr is really powerful, with a contagious evil laugh.

Despite the strong talent on the stage and in the pit, this "Little Shop of Horrors" further succeeds in its well designed set by Grant Sabin. This show requires a good puppet master. Sarah E Ross' Audrey II puppets are awesome. The puppet creates some of the best laughs of the evening, especially in the finale.

Like "Rocky Horror", and "Grease" - the music of "Little Shop of Horrors" makes you feel good. The team behind this musical was also responsible for Disney's string of critically acclaimed animated musicals like "The Little Mermaid" and "Beauty and the Beast."  "Little Shop of Horrors" at America Blues Theater is a show you'd have to be a mean, green, mother not to enjoy. (John Accrocco)

Through June 26th at The Greenhouse Theatre. 2257 N Lincoln Ave. 773-404-7336

"Punch me," is the first line of dialog in Dry Land, and those two words sum up the effect of this play - gut wrenching and, in a climactic scene, hard to watch. If you are looking for lighter fare, move on; but you will not find much better than this Rivendell Theatre production.

Set in a girls' swimming pool locker room at a Florida high school, the play revolves around the bond between an unlikely pair: Amy (Bryce Gangel), a girl who gets around too much with teenage boys;  and a much sweeter young woman, Ester (Jessica Ervin).

Playwright Ruby Rae Speigel has received plaudits for Dry Land, celebrated in its New York Off-Broadway production. In fact, the excellent set built at Rivendell (Joanna Iwanicka is scenic designer) tracks closely to the New York version.

A recent Yale grad, Speigel is now writing a series in development for Netflix. Her script, with its scenes broken by blackouts, is strong in its spare yet realistic dialog - one that lets the action unfold all the exposition, a mark of good writing.

Amy,  who moves with the fast crowd, is pregnant - a fact she prefers not to share with her best friends, or her mother. Ester, chosen as confidant, accepts that role in a dynamic familiar to any high school kid looking for a friendship. This pairing plays out against a backdrop of the ordinary stresses of high school life, amped up by pressures of a compeitive women's swim team.

From that "Punch me" opening, Ester assists as Amy meanders through ignorant attempts at terminating the pregnancy - Ester sits on Amy's stomach; punches her diaphragm; drinks hard liquor with her. Snippets of google searches are shared, and eventually leading to the morning after pill. It's a risky choice for the second trimester, and leading to the barely bearable scene in which the pill does its work.

Bryce Gangel is commanding as the weak and somewhat off-putting Amy. Jessica Ervin's Ester is convincing as an innocent who is solid to the core. Just two male characters make brief appearances.Ester's kindly young suitor, Victor (Matt Farrabee is spot on), who reveals a less than flattering perspective on Amy.

And it is the Janitor (Ric Walker in a world-weary performance) who provides the most telling commentary, in a silent scene in which he methodically cleans up the bloody aftermath of that pill. In his matter-of-fact mopping and wiping, we can tell this Janitor has seen it all, and seen it all too often.

Life goes on. As the action draws to an end, college acceptance letters arrive - or don't - and these two young women who passed together through the worst of life will go their separate ways.

Dry Land is also a cautionary tale of the dire punishments suffered by young women through ignorance. For more than two decades, the Rivendell Theatre has followed its mission of recognizing and cultivating the talents of women in theatre and exploring the unique female perspectives of everyday stories. Dry Land advances that mission and takes it a step further.

In 2013, The Lyric Opera of Chicago made a commitment to produce five Rogers and Hammerstein musicals and on Saturday night, they opened The King and I – the fourth show of the five – directed by Lee Blakeley in his Lyric Opera directorial debut. 

The King and I tells the tale of Anna, a young widow who travels to Siam with her son to serve as English teacher to the King’s multitude of children. In a country where patriarchy and old traditions prevail, Anna - referred to as “sir” by the King’s wives – is a strong, independent and well educated woman whose strength challenges a king who has never been challenged before. As the strict but loving teacher gets to know her pupils, her relationship with the King grows and despite their differences, she soon finds herself working with him to help convince the western world he is not a barbarian.

Kate Baldwin makes her Lyric Opera debut as Anna and was truly the star of the show, although the youngest of the Kings children certainly gave her a run for her money with a few beyond cute moments! Baldwin swept across the stage in her magnificent hoop skirts and brought strength and beauty to her songs. Unfortunately, Paolo Montalban – also in his Lyric debut – could not quite match Baldwin’s presence on the stage as the King of Siam. His singing was light and needed more power, as did his portrayal of the King which did not quite resonate the the intense and intimidating authority expected of this role.

It was an immense production overall with a massive cast once all of the wives, children, dancers, ensemble and main characters are accounted for. The sets and costumes are direct from the Théâtre du Châtelet in Paris. Everyone was dressed in colorful and glittering costumes, designed by Sue Blane, that filled the stage with magnificence. The sets, by Jean-Marc Puissant, were rich and intricate bringing the audience from the opulent palace to the classroom and the ship that brought Anna to her new home. 

For dance lovers, the ballet production of “The Small House of Uncle Tom”, choreographed by Peggy Hickey, was excellent with a beautiful blend of traditional ballet and an influence of traditional eastern dance styles. The production within the production incorporated puppets and creative use of props. Lisa Gillespie brings life to the role of Eliza in the ballet which is beautifully narrated by Ali Ewoldt as Tuptim. 

Overall, the Lyric Opera created another magnificent production with The King and I. While not perfect, the sheer magnitude of this show and some excellent performances are sure to please audiences. The show lacks some emotional depth but it still has moments that elicit laughter, bring a gently smile to the surface and even call up some light but somber memories of lost loves. The show runs at the Lyric Opera through May 22nd with weeknight, weekend and matinee performances. Get your tickets and enjoy your trip to Siam.

The image of sitting around a campfire under the stars brings to mind nights connecting with friends and family, sharing stories about the past and imagining what the future may hold. Connected, by Collaboraction, plays on this theme transporting the audience from campfire to campfire throughout history and into the future, examining how our connections to one another can shape our world.

The show opens as a young girl prepares for her dreams during “water sleep”. The audience puts on their time travel masks along with her and together they travel all the way back in time to the Big Bang – the original campfire. From there, the play moves from the first fire the caveman created, to a camp fire on the Oregon Trail, to a 60’s peace and love campfire, to our virtual campfire supported by technology and social media and ending with a glimpse of what our future campfire conversation could look like, coming right back to our young protagonist preparing for her “water sleep” in this imagined future. 

Connected is many things; maybe too many to appreciate fully in the moment. It is part science class, explaining the big bang, the creation of life on earth, and the extinction of the dinosaurs. It is part historical drama, showing human evolution from grunting cavemen to a virtual reality society. And finally, it is part social commentary dealing with how technology has changed the way we connect with each other. While all of our technological advances are intended to bring us closer together, Connected explores if it has actually isolated us from one another and what risks does that carry with it. With so many elements to this show, the initial audience reaction may include some confusion or feelings of being overwhelmed but with time and reflection the value becomes more clear.

The show is staged in the round for a small audience so that everyone feels they have a seat at the campfire. In addition to the epic and multi-dimensional story it is telling, the show integrates movement, puppets, video, social media and audience interaction to bring it to life. It is a one act show lasting about 80 minutes and the pacing of the show keeps it moving along, covering millions and millions of years in that short time. 

There were many elements to this show which were quite unique including a break in the 4th wall where the audience had a choose their own adventure moment which resulted in a group dance break to the Cha Cha Slide followed by selfie time. The show is full of so many stories, and constant surprises challenging the audience to reflect more deeply on their own connections. 

It is certainly not a traditional piece of theater so do not go in with those expectations. Be open and prepared for just about anything and you will likely enjoy the show, if not in those moments after the show ends when you try to piece through what you just saw, but certainly in the days that follow as you reflect on everything that happened in the small theater space of the Flatirons Building.

See for yourself. Connected is playing through May 29th. Get your tickets at collaboraction.org. 

Police brutality is nothing new. Having it broadcast on national news sources, however, is. The deep South in the 1960's wasn't a fun place to be if you were anything but a Christian Caucasian. Shattered Globe Theatre concludes its twenty-fifth season with Matt Pelfrey's adaptation of John Ball's best-selling novel "In the Heat of the Night." The film adaptation starring Sidney Poitier went on to win the Academy Award for Best Picture. 

Pelfrey's script keeps with the original time and setting, but adapts with a degree of hindsight. He's also good at keeping the pot boiling until the final conclusion, even if the dots don't exactly connect in the end. With the success of TV series like "Making a Murderer" and the podcast "Serial" - audiences can't get enough crime thrillers. What these all seem to have in common are police inadequacy. A disappointing trend among rural police forces. "In the Heat of the Night" tells the story of a small town reeling after a local real estate tycoon is murdered. The prejudiced, and largely incompetent law enforcement can't seem to find a suspect. After they accidentally profile an African American from out of town, they get help from an unlikely source. 

Louis Contey directs a large, and talented ensemble cast. Unfortunately the script is a bit clunky in parts. Too many entrances, exits and costume changes make for a puzzling caper. There's fun in the noir-esque stylings of Contey's vision, but it conflicts with the bigger themes this source material addressed. Character development suffers and the message of Ball's original novel gets a little muddled in empty one-liners and racial slurs. There's a major opportunity here to make biased police officers more three dimensional and Drew Schad as Sam Wood does his best to navigate the dialogue. Joseph Wiens' performance as Chief Gillespie is intense, but at times cartoonish. Christina Gorman as the victim's daughter is a high point, however brief. 

"In the Heat of the Night" is a sultry, and somewhat topical thriller. Its brevity and mathematical approach make for a satisfying murder mystery. What it occasionally lacks in substance it makes up for in exciting stage combat. An atmospheric who-dunnit, akin to "Twin Peaks." 

Through June 5th at Theatre Wit. 1229 W Belmont Ave. 773-975-8150.