Items filtered by date: November 2007

“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!

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

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

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

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

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

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

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

In 1996 Ragtime made its stage debut in Toronto and a year later it found itself making waves on Broadway. Based on the 1975 novel by E.L. Dotorow, the musical, with a book by Terrence McNally, lyrics by Lynn Ahrens and music by Stephen Flaherty, kept gaining momentum winning thirteen Tony Awards in 1998. Now, to close out its 2016-2017 season, Griffin Theatre Company reimagines the modern classic, thanks to the creative minds of director Scott Weinstein and Matt Deitchman, who adds new music orchestrations to the mix.

Taking place in New York City, Ragtime takes us back to the turn of the century, beginning in 1906, where three families who couldn’t be more different are followed – a young African American couple, a recently immigrated Jewish father and daughter and a privileged white family. As the story unfolds, the families come across one another, but in doing so, and along the way, we see the vast difference in treatment each receives as Ragtime touches on social justice, race relations and immigration. With plenty of parallels in today’s America, Ragtime serves as not just an entertaining musical, but also as a lesson to which we can all learn from.

Throughout the story we also meet a handful of influential historic figures including Henry Ford, Harry Houdini, J.P. Morgan and Booker T. Washington and are reminded of the impact each had made in a rapidly changing America.

Filled with many lively characters such as Coalhouse Walker JR (admirably played by Denzel Tsopnang) who brings "ragtime music" alive with his jazzy Harlem-styled piano playing and Tateh (played with great zest and sentiment by Jason Richards), the colorful Jewish immigrant who just wants to build a life for his daughter, this is a musical that constantly keeps one engaged.

Katherine Thomas makes quite an impression in her debut for Griffin Theatre as Coalhouse Walker’s love interest Sarah particularly shining in numbers “Your Daddy’s Son” and “President”. Laura McClain as Mother also impresses and moves the house during her rendition of “Back to Before”. Other standouts performances include Joe Capstick who undertakes a handful of roles including Houdini, Frederick Harris as Booker T. Washington, a very funny Caitlin Collins as Eveyln Nesbit and an ensemble that truly delivers in every way.

Imaginatively staged at Den Theatre’s Main Theatre, the venue holds a new look as it is transformed into a theatre in the round, the audience surrounding the action. A ragtime band is present throughout the show, two pianos, a clarinet (Dan Hickey) and an occasional flute to giving us a newly-orchestrated chamber version behind the music direction of Jermaine Hill and Ellen Morris, each of whom mans a piano throughout.

There is a reason that Ragtime has won so many awards and has been revived so often by numerous theatre companies. Simply put, the music is outstanding, it’s story is educational as it is entertaining and its message is timeless. Griffin Theatre does justice to this definitive production putting forth a commendable cast, an inviting set, polished music production and lighting and spot on costumes that throw the audience back in time to 1906.

Recommended.

Ragtime is being performed at Den Theatre’s Main Stage and has been extended through July 22nd. For this quality production tickets are a bargain at just $39. For tickets and/or more show information visit www.griffintheatre.com.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The storyline in Relativity is a supposed to be a mystery. The great physicist and mathematical theoretician Albert Einstein fathered a daughter, Liserl, out of wedlock in Switzerland with Mileva Marić– but all mentions of her disappear after the age of two.

What happened to her? Several theories have been put forward – that she died of scarlet fever, that she was put up for adoption - but the historical track was largely obliterated with the destruction of many records during World War II. Though Einstein later married Marić, his daughter disappears from the historical record after 1904.

Mark St. Germaine’s Relativity poses one possibility on her whereabouts , and Einstein is confronted with it many years later, by a mysterious visitor to his quarters in Princeton. Margaret Harding (Katherine Keberlein), a journalist who has come to profile him for the Jewish Daily News – and to challenge him on his neglect of his daughter.

Suffice it to say we witness a fair amount of unresolved anger in the encounter, during which Einstein also learns he has a grandchild – also a genius - who is seeking his support in entering a top university. This colorful and intriguing tale is enticement enough to see Relativity. But an added bonus is the fact that the lead is played by the oldest working union actor in the U.S. – the indomitable Mike Nussbaum. Known for his skillful and intelligent delivery including some of David Mamet’s most challenging dramas, Nussbaum at 93 makes a striking appearance. That he can do it at all may be surprising, but Nussbaum delivers a textured and nuanced characterization of the great physicist. He is bring his all to the role, though he doesn’t project at the same intensity as in days of yore – or maybe it’s my hearing going.

The script is okay, with its once over lightly descriptions of Einstein’s unprecedented theorems, and the family angst grows tiresome pretty quickly. There is also a lot of exposition in which the reporter recounts famous quotes and anecdotes from Einstein, who fills in with one liners that elicit some laughs.

Ann Whitney plays a crotchety housekeeper and secretary, the real-life Helen Dukas, and her chemistry with Nussbaum is delightful. Their scenes provide insight into the suffering of an aging genius who is unlikely to discover new universal theories. Nussbaum brings an unusual gift to this aspect of the role, and a hunt for a piece of chalk to write a formula on a blackboard captures the essence of the matter, opening a window into the unsettling existential void.

As always Northlight delivers high production values (Jack Magaw on scenic design; JR Lederle on lighting; Stephen Mazurek fir Projection Design) and director BJ Jones does an excellent job orchestrating the production. Relativity runs through June 25 at Northlight Theatre in Skokie.

A small theatre resides on the most unlikely of streets in Chicago. Just steps from the Howard Red Line stop sits the Factory theatre, with only fifty seats in its small storefront property, this little powerhouse has produced original work for nearly 25 years. Adding to its catalog of work is The Night Season by Rebecca Lenkiewwicz and currently performed by the cast of the Strawdog Theatre Company.

When the tiny, seaside hometown of W.B. Yeats gets occupied by an English film crew making his biopic, the Kennedy's figure giving lodging to the lead actor will put a few extra coins in their pockets. They do get plenty of change, and not just Euros, as the family's three sisters and their delusional grandmother all decide it's time to stop letting life pass them by. The mother who ran away, the father who can barely leave the house, a big pile of pent-up desire, it all gets confronted in this skewed romantic comedy.

At times, The Night Season relies too heavily on stereotypes; the drunk Irish father, the senile old grandmother, the romance between a sister and the visiting actor. But one can overlook these unoriginal plot points for witty one liners expertly delivered by the superb cast of Strawdog. Two performers in particular carried the show and commanded attention whenever they were on stage, particularly together. The grandmother, Lily, played by Janice O’Neill, and the middle daughter Rose, played by Michaela Petro. These two characters epitomized the central theme of the play, that they cannot let life pass them by. Both literally and figuratively embrace the English actor played by John Eastman and it becomes clear that Lily and Rose are mirror images of one another, separated by generations but seeing themselves in each other. Both share the same blunt, crass, forceful passion for life and love, and it is through the actor that they discover their similarities and deep understandings of what each woman wants and needs in their lives. Were the play to focus solely on these two characters it would have made for an even better theatre experience.

Overall, The Night Season is funny, honest, and holds its own amidst the incredible theatre in Chicago. The cast of Strawdog Theatre Company is well worth the CTA ride to Roger’s Park to see their plays at Factory Theater. Before Spring leads to Summer, see The Night Season this season. The Night Season runs through June 24th at Factory Theater. Tickets and more can be found at www.thefactorytheater.com.

The 90s really must be back because this is the second show about Tonya Harding and Nancy Karigan to debut in Chicago in the past year. American Theater Company's telling is a new play called "T" by Dan Aibel. "T" is a ninety-minute retelling of the infamous 1994 incident from the perspective of Tonya Harding's family. Margot Bordelon returned to Chicago to direct the conclusion of Will Davis' first as artistic director of American Theater Company.

"T" steers clear of camp and tabloid. What this play is essentially about is how much T, or Tonya Harding was worth to the people around her. In quick-moving scenes, Dan Aibel calculates all the ways in which Tonya Harding's husband Jeff Gillooly could profit from endorsements. In other scenes, we see her only female companion is her coach who's desperate for a win.

There is something a little strange about "T"­--a slightly lyrical tempo to the dialogue. Sentences read like work emails, missing regular parts of speech. It's an interesting choice, but it often puts uncharacteristically poetic words into otherwise simple people's mouths. It takes for granted that most of us are probably too familiar with the particulars of this crime, and therefore breezes through events without much context. There's a lot to cover in this story and while it's brief, it sufficiently wraps up in a single act.

Leah Raidt plays Tonya Harding with fierce intensity. The look is perfect. There's a duality in her interpretation that strongly resembles the real Tonya Harding without resorting to impression. She's endearingly naive but also bullish and brash. Her coach, Joanne is played by Kelli Simpkins. Her performance is like a cross of Tilda Swinton and Jodi Foster. Her scenes are the most captivating. Her character, however flawed, proves to be the moral backbone of the play.

It makes you wonder what the relevance of the Tonya Harding/Nancy Kerrigan feud is to today. Aibel tries to connect it to the beginning of the digital age, and maybe he's right. It was the last time in history that shlock news didn't go "viral." This story held a nation's attention at the speed of nightly news. Like the OJ Simpson trial, this time will always hold a special place in a certain generation's heart.

At American Theater Company through June 25th. 1909 W Byron St. 60613

Court Theatre’s production of Harvey tells the fable of Elwood P. Dowd.

Played wonderfully by Timothy Edward Kane, Dowd is an independently wealthy bachelor whose immense warmth and engaging demeanor earns him friendship readily with everyone. This includes the 6’ 3½” tall white rabbit, Harvey, who for most of the play, only he can see.

Elwood lives on the estate of his late mother, where his sister, Veta Louise (Karen James Wodistch) and young adult niece Myrtle Mae (Sarah Price), have moved from Des Moines, with hopes of climbing the social ladder. But they are thwarted by Elwood’s eccentric behavior – his ongoing conversations with Harvey are off-putting to polite society. They decide to have him committed to a mental institution.

Harvey won a Pulitzer in 1944 for playwright Mary Chase (beating Tennessee Williams the Glass Menagerie, no less), and became a movie with James Stewart in 1950 –  the version of Harvey people know. No one would get these scripts confused; Williams is objectively the better writer. 

Yet Harvey has momentum, and even reaches a moment of power – which is why it is beloved by many.

Chase’s character Elwood P. Dowd reminds us of Tom Hanks in Forrest Gump, someone floating above the fray, dispensing homespun wisdom and soothing the turmoil of those around him. (The play was revived famously with Big Bang Theory’s Jim Parsons in the lead on Broadway five years ago.)

Director Devon de Mayo has maintained the piece in its 1944 time frame, almost a requirement given the script. Artifacts of period mental healthcare like shock therapy, hydrobaths, and a vaguely sadistic undercurrent among the hospital staff are unsettling, and form the basis of much of the humor: As Veta attempts to commit Elwood, she ends up in a cell instead. Upon her escape, she tells of being forcibly stripped and placed in a hot bath by an attendant she describes as a “whoremaster.” I think that was cut from the film.

Chase has also delved into Irish myth with Harvey. The rabbit is a Pooka, in Celtic lore a shapeshifter that could tell the future, and visit outcasts to improve their lives. 

Court Theatre’s production of Harvey goes for the broad humor, and a sort of mad-cap pacing from screwball comedies. And the audience was laughing from the get go, though I was not caught up in the frivolity, at least not right away.   

Timothy Kane as Elwood P. Dowd provides the anchoring performance for all the froth on stage. Kane is a most remarkable comedic actor – hilariously funny in One Man-Two Guvnors at Court Theatre last year.

Kane’s Elwood hooks us in a soliloquy on how to live properly, building soon after to the climactic scene that gives the play it’s heft.

Here Kane turns on Elwood’s magic, playing admirably against Amy Carle, who also shines in the scene as cabby E.J. Lofgren. Elwood is about to be treated at the mental institution to end his visions of Harvey, when the cabby appears, angrily demanding the fare be paid before Elwood gets his treatment.

But then the cabby succumbs to Elwood’s charms as he pays her. When Elwood exits to meet his fate and loose his Pooka, the cabby explains to the family that other patients he has driven who are treated also lose their goodness, and become just like regular people – mean spirited and venal. That's why she wanted to be paid first - to get a bigger tip.

This scene is a clincher and saves the play. 

Maybe it is the writing, or perhaps the timing and delivery were a bit off, but it felt as though every character in this production were defining their role independently of each other. The chemistry worked reasonably well between Lyman Anderson, MD, (Erik Hellman) and Ruth Kelly, RN (Jennifer Latimore brought a grace to the role). Woditsch, Price, and A.C. Smith as William Chumley, MD didn’t make me laugh. And it seemed Jacqueline Williams was a too dour for the role of Judge Mara Gaffney - perhaps not a good casting choice.  

Kudos on the set and lighting. Harvey plays through June 11 at Court Theatre in Hyde Park. 

With an all Latino/Latina cast, Marisela Treviño Orta's 2014 one-act is brought to life with magic and wonder. The River Bride, set in a South American village along the murky and mysterious Amazon River is a romantic and touching production, which, thanks to director Rinska Carrasco-Prestinary and ingenious props created by Ellie Terrell, seems to have created a real river out of clever lighting, projection screens on the walls and a fourth wall-breaking set consisting of various docks and land areas with the audience seated so close. I could almost feel the water sweeping beneath my feet. 

In this tiny Brazilian village, we meet two sisters, Helena (Flavia Pallozi) and Belmira (Sofia Tew) who are preparing for the marriage of the younger sister Belmira to the older sister's childhood ex-boyfriend Duarte (Johnathan Nieves), which is a sad situation for the older sister.

But three days before the June wedding, Moises (Nico Fernandez U/S), a sensitive and mysteriously handsome stranger, is rescued from the river by Duarte and the girls’ kindly father, Sr. Costa, played with great love and gusto by Johnny Garcia. Once Moises is brought to the Costa’s home, life as the happy family knew begins to change as the young visitor has his eyes set on Helena.

Home to the Costa’s, their village is peaceful, charming and quite beautiful. It is the home of many fisherman, of which Sr. Costa and Duarte make their living. It is a simple place – a place where stories are shared. In this village, nested along the Amazon, an ancient myth is passed down from generation to generation regarding magical dolphins who are destined to find human love and become human in the process that are given the chance for three days each June to do the impossible! First these mermen must locate their true love, their destined human soulmate whom they will know instantly ONLY because "the very first sight of her looking into their eyes makes them feel true love in a place in their heart which has no words".  Secondly, they must convince the soulmate to marry them and third, they must place the magic wedding ring on the woman's finger by the side of the river in an act of secret marriage before sunset on the third day!

But the play is about more than such a grim fairy tale passed down, which dooms each merman to eternal and unbearable loneliness if they do not successfully seek out, find and grab hold of their own personal golden fleece, so to speak.

The play is about the complicated dynamic between sisters and the ability or inability to act for the sake of their own well-being. It's about the human in the fairy tale come true who is suddenly without notice faced with a magical, perfect love and her ingrained inability to recognize and seize the moment for herself. It’s also about the closeness of family.

I love the saucy, honeymooning chemistry between Sra. Costa and Sr. Costa, the sisters fun loving parents wonderfully played by Ana Maria Alvarez and Johnny Garcia. It should be noted that Nico Fernandez, Moises the stranger from the river, was understudying the role and had to step in with only 45-minutes notice before opening night! Fernandez, thrust into the role, did a great job creating chemistry with the two both Pollozi and Tew. The entire cast is delightful and believably creates the kind of welcoming nature one would hope to find in a close family from a quaint river village.

Along with its fine cast, there are a handful of twists and turns in this adoringly, capturing story that surprise and keep us guessing.

I really can't say enough of the cleverness of this stage design and lighting effects, which shows lightning bolts and rain on the walls and turns what once was the top floor of a Chicago church into a convincing and romantically, sensual experience of real life on the Amazon river.

I highly recommend this thought provoking, stunningly raw and romantic play which has been lovingly and lushly produced to theatergoers of all ages that wish to be transported to a magical land where fairy tales can come true, for better or worse. 

Halcyon Theatre’s The River Bride is being performed at Christ Lutheran Church, 3255 W. Wilson Ave in Chicago through June 18th. Tickets are just $20 and can be purchased at https://halcyontheatre.org/.

Warning - Do not proceed if you have not yet seen the play - Spoiler alert!

This isn't a total spoiler but it's such a great choice by the authoress, Marisela Treviño Orta', which is so brilliant and deepens the messages in this deeply affecting one act so much that I need to acknowledge this plot twist in this review. 

Although never directly stated in the play, only implied, it turns out that the blissful, everlastingly youthful and passionate love of Sra. and Sr. Costa is most likely the actual result of a successful transformation of a “dolphin king” and his true love, 

What is made clear is that Sr. Costa was also a man who appeared mysteriously by the river, on a busy fishing dock one day in a new town and wooed and married their happy mother within exactly three days in the month of June so many years before. This is crucial to me because it not only shows how the Brazilian people's modern lives are enriched by their own mythology but implies that the authoress feels some magic and mystery may still be left in the world at least where true love is concerned.

Another reason why I loved the implication is that the two sisters are the result of a magical wedding that led to a life of true love and sweet contentment, because when the sisters each make their choice - no spoiler here - the audience is made to envision and feel clearly the heavy, very real consequences of the wrong choice. 

The disbeliever or doubtful lover who makes the wrong choice results in just the opposite, a truly disastrous result – “Disastrous” from the Greek meaning "being torn from the perfect orbits of one's own fate or stars", a never ending lifetime of sadness, loneliness and discontent, perhaps a fate worse than death to people who love and treasure marriage and  their family life so much.