Items filtered by date: November 2007

What a thrill to see a costume piece with moderately contemporary dialog. Charles Hampton's adaptation of Choderlos de Laclos' "Les Liaisons Dangereuses" premiered during the height of theatrical decedance in the 1980s. Razor sharp wit borrowed from Laclos' 18th century epistolary novel about sexual conquest among bored aristocrats make this an extremely titillating and provocative piece. Just reading the text is tickling enough. The play garnered critical praise on Broadway, and was followed by an even more successful film starring Glenn Close and John Malkovich.

AshtonRep bites off a bit more than they can chew with their current production at the Raven Theatre in Edgewater. The problem with this production is casting. The role of the conniving Marquise de Merteuil is played with cool dignity by Sarah Pavlak McGuire, her composed cruelty is fascinating to watch. Unbalanced co-star and AshtonRep founder Robert Tobin takes up the role of Valmont. It's imperative that Valmont be a suave casanova, one who ebbs sex appeal. Tobin is neither. He also tends to misplace the dialog. He often delivers his lines with a confusing modern inflection on purposefully crafted antiquated phrasing.

Director Charlie Marie McGrath makes an interesting choice by changing the time period from pre-revolutionary France to pre-revolutionary Russia. Though, for what reason? Hampton's script leaves the audience with a powerful image conjured by projecting the silhouette of a guillotine on the background. It feels like a missed opportunity not to give this play the full depth it needs. The staging is well-conceived, running with the idea of a chamber drama, having the curtains drawn to accent scenes like storybook chapters.

All in all, AshtonRep presents a faithful production of "Les Liaisons Dangereuses." It's an ambitious play for an emerging theatre company to take on, but there is a great deal of chemistry between the female ensemble here. Hampton's script is sturdy and holds up well in an era in which most people are more familiar with the teenage re-telling "Cruel Intentions."

Through June 21st. The West Stage at Raven Theatre Complex. 6157 N Clark St. 773-828-9129

“Picasso at the Lapin Agile” is a charming “what if” story that has twentieth century groundbreakers Albert Einstein and Pablo Picasso unexpectedly meeting at a bar in 1904. Set in Paris, France at the Lapin Agile, both men are on the brink of remarkable ideas – Picasso just a few years away from his famous Les Demoiselles d’Avignon and Einstein months away from publishing his revolutionary theory of relativity. Both men are also very confident in their genius and competitive in gathering attention for their intellect.  

Written by Steve Martin in 1993, “Picasso at the Lapin Agile” debuted at Chicago’s Steppenwolf on October 13^th of the same year following a brief workshop of the play in Melbourne, Australia. There are plenty of laughs as Einstein tries to impress the bar patrons with his wayward predictions of the future such as the automobile being a fad, or France becoming the superpower of the twentieth century while Germany becomes the voice for peace.

At one point, Picasso, quite the ladies’ man and not one to be pushed out of the spotlight - especially in front of one of his lovers, challenges Einstein to a drawing duel, creating a scene that is preposterously funny and really shows the boyish competitiveness in each of them. It takes many an intriguing debate or perceptive musing before the two fianlly realize that their contributions to the human race are equally valuable. Interestingly enough, Martin makes a weighty statement on how the contributions of these great difference makers of the twentieth century are remembered by most as Einstein and Picasso meet Elvis towards the end. As the three look to the heavens and see their names in the stars, Elvis points out, “There’s my name. Above both of yours and three times as big.”

The play is filled with interesting characters. Outside of Einstein and Picasso, we have a bartender, Freddy, who now and then surprises all with a profound statement of his own. We also have an idealistic barmaid, Germaine, Picasso’s art dealer, an inventor and a few regular patrons at the bar to which Einstein is often found attempting to break down his theories in a much simpler language in order for them to understand.

Superbly directed by Josh Anderson, the Organic Theatre Company’s current production of “Picasso at the Lapin Agile” at Greenhouse Theatre is an insightful piece that is both imaginative and funny. Joel Moses is wonderful as Einstein and Anthony Perrella Jr. is equal to the task as Picasso, together providing just the right touch of parodic humor to each character while keeping an appropriate tribute in place.      

The highly amusing “Picasso at the Lapin Agile” is being performed at Greenhouse Theatre through June 26^th.  For tickets and/or more show information visit www.greenhousetheatre.org.   

About a month ago, CNN began running a series of clips showing self-proclaimed Islamic State militants destroying Middle Eastern artifacts. While their motives remain unclear, it does point to an unsettling idea that significant pieces of history are lost or destroyed in times of civil unrest.

Michele Lowe’s 2009 play ‘Inana’ makes its Midwestern premiere at TimeLine Theatre. ‘Inana’ centers itself around an Iraqi museum curator Yasin (Demetrios Troy) and his recent bride Shali (Atra Asdou). Yasin is in love with a statue named Inana and fears that with the impending U.S. Invasion of Baghdad, she will end up in the wrong hands. His fanatic obsession leads him to an arranged marriage with Shali, who despite her servile disposition is smarter than she seems.

Director Kimberly Senior arranges her stage in a way that compliments Lowe’s non-linear script. While the present-tense action of the play takes place in a London hotel room – a series of past events are revealed in vignettes that lead us to a final revelation.

TimeLine has assembled a talented cast of Chicago actors, but it’s really Atra Asdou in the role of Shali on which this show hinges. Asdou is a gifted reactionary actress, every little offense Yasin commits registers on her face, and a single tear hangs in her eyes throughout the show. In many aspects Asdou and Troy’s interaction begins as a comedy of errors, but ends a bittersweet love story. Some explosive dialogue builds in between and the chemistry is thrilling.

The political slant in Lowe’s 90-minute play preaches to a choir whose opinion is now the majority in the U.S. “Operation: Iraqi Freedom” is widely regarded as a debacle these days. This play goes back in time to show us a view from the other side of the lines. We sympathize with a people who knew no other world than Saddam’s regime, people who were actually content with what was. Considering today’s disturbing post-war Middle Eastern climate; a crumbled Syria, and the volatile Iraqi infrastructure, it’s hard not to see the parallels between a sacred statue being guarded from corrupt hands and that of a region destroyed by global machismo.

Through July 26^th at TimeLine Theatre – 615 W Wellington Ave. 773-281-8463

“Chicago Rhythm Fest” at the Auditorium Theatere was the culminating performance of the STOMPING GROUND event that included five programs across Chicago neighborhoods, bringing together five amazing percussive dance groups from around the world including The Trinity Irish Dance Company, Ensemble Español Spanish Dance Theater, Muntu Dance Theatre of Chicago, Mexican Dance Ensemble and Chicago Human Rhythm Project. 

This was my first time in the Auditorium Theatre and to be honest, I would have been happy just sitting and enjoying that space for the next two hours. The gilded theater is an icon of Chicago, hosting culturally diverse shows since 1889 and it was such a treat to be there.

On hand to MC the vent was Lane Alexander, the artistic director and co-founder of Chicago Human Rhythm Project. His introductions of each company and performance tied together the diversity of each performance, bringing everything back to the universal language of rhythm.

Many pieces were performed a cappella, or to the simplicity of a single instrument letting the dancing provide most of the music. The stage was simple with no set, and basic lighting to set the mood while allowing all of your focus to be on the dancers. At times the lighting felt a bit off with bright white light coming from the wings but overall it was kept simple and unobtrusive.

Performances ranged from the fun, grounded rhythms of the Muntu Dance Theatre of Chicago, to the lighthearted and at times comical performances of the Mexican Dance Ensemble that transported you to Mexico, to a wonderful throwback to classic American Tap by Chicago Human Rhythm Project. With all the variety, the common theme of rhythm held it all together well.

A few standout performances for me were by the Trinity Irish Dancers and Ensemble Español Spanish Dance Theater. The Trinity Irish Dancers performed a series of three pieces – starting with a traditional soft shoe piece which was well executed, and fast paced, followed by two hard shoe pieces. The real magic for me was at the start of their second piece. The stage went black and two small overhead spotlights shone on the feet of a single male dancer. His hard shoe footwork started out simple and clean but quickly built up in speed and complexity making the audience erupt in cheers.

Ensemble Español Spanish Dance Theater got off to a slow start for me with a single female performer dancing to a drum and vocal performance. However, it quickly picked up next going to a unique piece featuring the men of the group, performed entirely sitting down with an interesting mix of flamenco footwork and drumming on their stools. Finally it all came together in a piece featuring the entire company that had so much power and precision the whole audience was transfixed.

Throughout the show, you could feel the audience tapping their feet to the rhythm and I found myself tapping at the bus stop after the show proving the rhythm really will get you! This was a one night only performance but I can recommend seeing any and all of these dance companies!

“Jersey Boys”, currently playing at Cadillac Palace, is the story of the Four Seasons and their journey from Newark, New Jersey to becoming a multi-million record selling group. I went to the opening night expecting an entertaining performance, but really, unsure of what lied ahead. I imagined the audience to be a little older, and it was, but there were a surprising number of young attendees as well. It even looked like it was close to a full house. Before seeing the performance I didn’t know much about the story of the Four Seasons, but I did know their hit song “Sherry”.

All I can say is, “Oh, what a show!” “Jersey Boys” is a thoroughly entertaining show right from the get go. The opening consists of a French band’s cover performed in 2000 of Four Seasons’ “Oh, What a Night”. The song set the tone for how their music transcended to younger generations well after the band broke up.

The first character you meet as the band’s history unfolds is Tommy DeVito, played by Matthew Dailey, who was the leader of the iconic group. You can’t help but to be drawn to this character; he is very powerful and commands the stage - and has a pretty good Jersey accent. Hayden Milanes who plays Frankie Valli, has a beautiful voice and does a fantastic job recreating the legendary voice we have become so familiar with over the years. And here’s a Four Seasons factoid - Joe Pesci, yes that Joe, was the one who introduced Frankie Valli to the group.

In addition to the amazing actors’ voices, one of the best scenes in the play is when the band performs on television. The group is shown filming for a show while simultaneously playing a live feed from an overhead screen on stage. Older images flash onto the backdrop and the design team does a great job of reducing the quality of film to mimic that of the sixties.

The show doesn’t have any set props on stage. The actors pull up a table or chairs every now and then for many scenes but is very limited. Instead, the show relies on graphics displayed on a large screen to set the stage. And although some of them work well, I found myself to be distracted by some of the art. Some of the images just don’t fit the sixties which threw off my attention.

What really captures the essence of the band is their songwriter Bob Gaudio who is played by Drew Seeley. Gaudio is a gifted musician and wrote many of the band’s hits including but not limited to “(Who Wears) Short Shorts”, “Big Girls Don’t Cry”, “Walk Like a Man”, and my favorite “Can’t Take My Eyes Off of You”. It is rare to find many artists today who write their own music making it refreshing to be reminded of the raw overall talent of this great band.

“Jersey Boys” covers gambling, infidelity, children, excess of money, and death. Director Des McAnuff is able to capture many of the things that I appreciate in a musical without getting too heavy. After a slew of brilliant performances and one favorite played after another, the show ends with everyone, including the audience, singing along to the Four Seasons’ anthem “Oh, What a Night”. I, for one, left “Jersey Boys” walking like a man and in a really good mood.

I highly recommend attending “Jersey Boys” at the Cadillac Palace before it leaves on May 24^th. For tickets and/or more show information visit www.BroadwayInChicago.com. 

If you come with a dollar you may just leave with two. However, if you are not careful, you could also lose the shirt off your back. In the Neo-Futurist’s latest endeavor “Trust Us/Screw You” we cautiously enter the world of the confidence man, as we meet the mark, the roper and the inside man. Created by Phil Ridarelli and Dan Kerr-Hobert, we follow the evolution of the age-old grifter from the 1920s to the deception that exists on massive scales today by banks, media and stock markets.  

Ridarelli and Kerr-Horbert also star in this production which is considered a two-man show, barring an occasional plant and a band whose members also contribute in a variety of roles. “Trust Us/Screw You” has a rich, vaudevillian flavor and is often reminiscent to The Three Stooges as the fast-talking Ridarelli and Kerr-Horbert size up one of their targets before hitting them with the swindle, ala Moe, Larry and Curly.

In "Trust Us/Screw You” the audience gets a close-up look at many of the scams confidence men were known to use in taking advantage of the average, unsuspecting Joe before fleecing their victim dry. An assortment of social experiments are used with audience members as the two “work” the crowd with seemingly simple card tricks, nutshell games and other scams using the art of misdirection – the key to all successful cons.

Seasoned acting pros Ridarelli and Kerr-Hobert are hypnotic and work incredibly well together in re-creating these old school hustlers (they always work in teams as we learn), paying special homage to one of Chicago’s most notorious confidence men, Joseph “Yellow Kid” Weil. The show is filled with one hilarious moment after another as the two victimize its clueless audience one susceptible mark at a time. As the show progresses, stories are shared regarding the scams they personally fell victim to from subway swindles to real estate deceit, likening the process and its players to a play whose cast of characters put on a show of smoke and mirrors for gain at a sucker’s expense. With that in mind, as funny as the sketches are portrayed, “Trust Us/Screw You” is also a learning experience, or perhaps a bonding experience for all those who have been victimized in the past – most likely each and every person in the theatre.    

Said Ridarelli and Kerr-Hobert on the creation of “Trust Us/Screw You”, “We knew that if we did a show about con men, we’d have to do our best to screw over the audience. That’s been our goal since day one, and hopefully, we can pull it off in a way that the audience won’t go home hating us.”

The show is quick-paced with a ton of laugh out loud moments and the atmosphere so warm and welcoming that one gladly volunteers to be dragged onto the stage to participate when called for rather than slink into their chair to avoid the possible embarrassment. It is also engaging and educational as we learn the mechanisms, techniques and lingo of the American Confidence Man.

“Trust Us/Screw You” is a highly entertaining experience that might leave you with an empty wallet (kidding) but will certainly send you home having had a thoroughly enriching time with more laughs than you can handle. “Trust Us/Screw You” is currently playing at The Neo-Futurium. For tickets and/or more information visit www.neofuturists.org or call 773-275-5255.         

Fantastic stories filled with mermaids, giants, tornadoes and witches are told and Edward Bloom always comes out as the hero. These are the enchanted tales Edward has been telling his son, Will, since he was a child. Each story is more larger than life than the other and each act more heroic than the last. The only problem is that these stories have caused Will much embarrassment throughout life as they are told to anyone who will listen because Edward really seems to believe them as outlandish as they are. Years have gone by in a small Alabama town while Edward and Will have grown far apart. As traveling salesman Edward spends much of his time on the road, distancing himself from his son.

But as Edward’s life nears its end when his cancer advances, Will is determined to find out the truth about his father’s stories, and wanting to understand him better he carries out his own investigation and comes across a few surprises. Meanwhile, Will and his wife are planning for their first child.

“Big Fish”, currently playing at Theatre at the Center, is based on Daniel Wallace’s 1998 novel “Big Fish: A Novel of Mythic Proportions” that was later turned into the popular 2003 Tim Burton film “Big Fish” starring Ewan McGreggor, Albert Finney, Jessica Lange and Billy Cruddup. The main difference here is the Broadway version being a musical –and it works…well.

From the first number “Be the Hero”, an enthusiastic piece on slaying dragons, defeating giants and, well, being a hero, we get a healthy taste of Edward’s zest for storytelling. Edward is brilliantly played by Stef Tovar, and, though quite a bit younger in appearance than the sixty-year-old-ish father we expect to see from the story, Tovar couldn’t be more perfect for the role. Tovar’s ability to transform from that of an excited, awestruck boy as he goes from story to story to a loving husband, or a father who desperately wants to be close to his son, is quite fun to watch. Tovar, a whirlwind of energy, makes Edward’s character believable seemingly effortlessly and we are easily able to identify with him. At the same time Colette Todd, who plays Edward’s loving wife, Sandra, also puts on a tremendous performance as his perfect support system. Todd is charming as can be as she dances as sings her way to our hearts. Tovar and Todd are well cast and together are a tour de force to be reckoned with.

“It’s a good show. It’s got a lot of heart. It will make you laugh. It will make you cry”, says director William Pullinsi.

Pullinsi couldn’t be more correct. There are plenty of funny moments but also a great sadness as we see people who love each other so greatly have so much difficulty connecting.   

The song and dance numbers and uniquely choreographed and sang to perfection. Nathan Gardner, who plays Will, is among the talented singers in this amazing cast and really lets it go in “Stranger”, an emotional number where he describes the distance that has become between him and his father.  

Besides its enriched song and dance numbers, captivating story and strong acting performances, theatre-goers are treated to a colorful set and a display of dazzling costumes. Some of the scenic displays are simply breathtaking - one in particular invoking "oohs" and 'aaahs" from the audience.

Says Todd on the massive set and costumes, “There was one day when an actual semi-truck arrived to the theatre and all of these remarkable costumes were unloaded and unpacked.”

“Big Fish” is a beautiful story about father and son relationships that should not be missed. It is a heartwarming story filled with hope and living life as large as you can. “Big Fish” is being performed just thirty-five or so minutes from downtown Chicago at Theatre at the Center (1040 Ridge Road, Munster, IN) through June 7^th. For tickets and/or more show information visit www.theatreatthecenter.com.  

I know about as much Russian as a non-native speaker needs. I know how to say hello and goodbye (Preevyet and Da sveedaneeya). I know how to say thank you (Spaseeba), I even know how to say my little monkey (moya malen'kaya obez'yana) though that doesn’t come in handy too often. Just today I learned the Russian word for amazing (Izumitel'nij). But in Russian and English “amazing” falls short of describing the exceptional performance of “Up & Down” by the Eifman Ballet of St. Petersburg.

“Up & Down” is a story set amidst the roaring 20’s. A young psychiatrist falls in love with one of his mental patients who, as it turns out, is a fabulously wealthy socialite. They are wed and soon he is swept up into the money-fueled glitz and glamour that made the 20’s so spectacular. He wrestles with his desire to love and cure his new wife, the enticement of the sensuous social scene, and being the honorable psychiatrist performing his life’s work. Ultimately he succumbs to the pleasures and temptations of the times and it becomes his undoing.

Audience members might liken Eifman’s “Up & Down” to Baz Luhrmann’s version of The Great Gatsby. The set was bright and sleek, art-deco inspired and neon-powered. The dancers danced the Charleston and the tango to Gershwin’s jazzy score. Everything leant itself to immersing the company and audience into the 1920's providing the perfect backdrop for Eifman’s story. As Eifman himself said of “Up & Down, “This ballet is both a tragic and bright chronicle of a person’s spiritual death—the story about how a dream of happiness turns into a disaster, and an externally beautiful and carefree life flowing to the rhythms of jazz, into a nightmare. I want audiences to feel all of the emotions of these characters and become just as immersed in the characters’ lives as the dancers are.”

Eifman is often referred to as one of the leading choreographers in the world and it is easy to see why. His style is classic yet edgy, flowing yet jagged, smooth yet striking. He doesn’t force the audience to know the difference between a jeté and a relevé. His style of storytelling is easy to follow and understand, not an ounce of pretentiousness or far reaching concepts to be found. His dancers are afforded the room to convey charm, humor, lust, pain, and even madness. Despite criticism of the American debut of “Up & Down,” I found the ballet to be captivating. This was the ballet to turn new audiences onto the ballet; the story had loonies, beer drinkers, figments of a mind manifested as an evil twin, lust and love, glamour, humor, silent movie stars, evil investors, and a twist ending. What more could you want? “Up & Down” was also the perfect ballet to celebrate the Auditorium Theatre’s 125^th year. It personified the timelessness of the ballet while pushing the art form into the modern world.

“Up & Down” might have come and gone, but should you find yourself in the same city as this St. Petersburg Ballet Company, grab and friend and say “da-vai!” Let’s go to the ballet!

If you are Jewish, you will especially appreciate and love this play which is full of biting humor and keen observations about how modern day Jews define themselves philosophically and how that vision of themselves plays out in their family relationships.

“Bad Jews” is set in a beautiful New York pied de Terre or studio apartment on the Upper West Side of New York bought by the parents of brothers Liam and Josh and they are being visited by relatives following the death of their beloved grandfather

Their first cousin Diane Feygenbaum is a rabbinical student with an Israeli boyfriend who insists on being called by her Hebrew name Daphna a has to share the studio with them for a few nights and is outraged by the fact that spoiled cousin Liam has actually missed his grandfather’s funeral because he lost his cell phone while skiing in Aspen.

During the course of the play we find out that Daphna is very intent on inheriting the gold Chai (Hebrew for the number 18, and symbol of Life) medallion necklace worn by her grandfather during the holocaust. In fact, he had to hide it under his tongue for two years in the Holocaust death camp he was kept in while the rest of his family members were killed. It turns out Liam has a plan to give the medallion to his “shiksa” girlfriend instead of an engagement ring just as his grandfather gave it to their grandmother 50 years prior.

A ferocious verbal fight breaks out and the true feelings of each cousin for the other and their Jewish values, or lack thereof, pour out with the fury and passion that sometimes occurs particularly after the death of a loved one.

Liam, played by Ian Paul Custer and Daphna played by Laura Lapidus are both hysterically on point in their portrayals. The fantastic monologues for these two characters, written to perfection by Harmon and well directed by Jeremy Wechsler are cutting but truthful, funny yet excruciatingly honest.

Non-Jews will find this play funny and full of Jewish stereotypes handled with great political correctness. Jews will see themselves in all their self hating and neurotic glory, with intelligence bursting at the seams.

I think Daphna could have been played with a little bit more compassion and a little less self righteous bitterness. At one point she mentions poignantly her education about the holocaust and her grandfather’s “tattoo’” or concentration camp number burned into his arm.  We realize as an audience just how deeply touched  and perhaps scarred emotionally a sensitive child is by being thoroughly  exposed to the horrors of the holocaust at the tender age of 13 , as every Jewish child who studies for a bat mitzvah is required to do.

There are a lot of self-hating Jews out there. I was one of them for a while, in part because of the patriarchal and misogynistic attitudes towards women in the Old Testament that Liam brings up during the play to combat Daphna’s self righteous religious rants. Ironically, it took the realization that Jesus or “Yeshuah” (Jesus’ Hebrew name) was the greatest Rabbi, indeed the greatest Jew who ever walked the earth that made me the proud, comfortable, self loving Jew I am today.

The title by Harmon, “Bad Jews” is both eye catching and absolutely perfect because by the end of the play it is clear there are no bad Jews, only good Jews who are internally judging themselves or being judged by others too harshly.

Skillfully directed by Jeremy Wechsler, I highly recommend this thought provoking and hysterical piece of theater for its brilliant writing and two fantastic performances created lovingly and delivered with mind blowing rapid fire delivery by Lapidus and Custer.

“Bad Jews” is being performed at Theatre Wit through June 7^th. I highly recommend this play. For tickets and other info visit www.theatrewit.org.

In Irish Theatre of Chicago’s newest production “The White Road”, performed at The Den Theatre in Wicker Park, we get exactly what we are hoping for – an intense adventure that pits man against nature at its most vicious form. Based on the true heroics of Irish-born polar explorer Ernest Shackleton, “The White Road” tells the story of yet another incredible undertaking where all hope lies solely in one’s will to survive.

Setting sail from South Georgia on December 5^th, 1914, Shackleton’s Trans-Antarctica expedition triumphantly leaves shore aboard The Endurance with a crew of twenty-eight with the intent on crossing the Antarctica continent from one coast to the other by way of the South Pole. Hopes are high and excitement is in the air as the crew embarks on a journey never before accomplished.  

Said Shackleton beforehand, "After the conquest of the South Pole by [Roald] Amundsen who, by a narrow margin of days only, was in advance of the British Expedition under [Robert Falcon] Scott, there remained but one great main object of Antarctic journeying - the crossing of the South Polar continent from sea to sea". 

As history tells, it was a plight that was never meant to be.

Upon approaching Antarctica they are met with pack ice that surrounds their sea vessel threatening to sink it. Completely alone and hundreds of miles away from any form of civilization, this is where one of the greatest tales of survival begins.  

In the two-hour-plus play, we meet a variety of characters that make up this memorable crew – and we like them all. From a nature photographer who keeps the camera rolling at all costs to life and limb, to an enthusiastic stowaway boy starved for adventure, to a whaler/banjo-plucker who lifts the men's spirits with song, we don’t just see a nameless crew, instead we really get to know a unique and diverse lot of individuals. Piven ensemble member Paul Dunckel’s performance of the fearless expedition leader makes Shackleton highly likeable, as the wise and self-sacrificing explorer. Dunckel leads this talented cast with the constitution and perseverance one would associate with an expedition leader, whereas he can convincingly make the tough decisions whilst his loyal troops still rally behind him.

Along with Dunckel, Irish Theatre Company ensemble members Kevin Theis and Matthew Isler are accompanied by Nicholas Bailey, Steve Herson, Neal Starbird, Michael McKeogh, Joseph Stearns, Stephen Walker and Gage Wallace, comprising this fine cast that generates a whirlwind of strong performances.   

Making this play even more entertaining is the way the set is used to put us aboard The Endurance smack dab in the middle of the frozen, glacier-filled waters. Sound effects are strategically used in tandem with projections to successfully create storm effects while creative choreography takes us on a deadly hike through icy mountains.

This is one of those true incredible adventure stories that are long forgotten by most that, thanks to storytellers like The Irish Theatre of Chicago, we now get to experience and share in the surprisingly unbelievable depth of human spirit brought on by fantastic circumstances.

I should note that though this is a wonderful story taken from the pages of early 20th century history, if you are thinking of bring a young adult, be aware that there is a scene containing as a crew member streaks across the deck of the ship. 

Fittingly directed by ensemble member Robert Kauzlaric and written by Karen Tarjan, the world premiere run of “The White Road” is being performed at The Den Theatre through June 13^th. For tickets and/or more information visit www.irishtheatreofchicago.org.