Items filtered by date: November 2007

Badfic Love, the new play directed by Aaron Henrickson and written by Adam Pasen, proudly delves into the nerdy world of fan fiction – its readers, its creators and its auditors. What is fan fiction some might ask? For those of you who are not familiar with this somewhat underground phenomena, fan fiction is the act of fans taking characters or settings from an original work (in this case Harry Potter) and creating their own storylines, steering the story into whatever direction they want, despite the fact that the work they create is hardly ever authorized.

In Badfic Love, Kyle works by day at Staples, but his nights are consumed as he is part of an organization (FIC) that monitors fan fiction writing, making sure to keep readers safe from the bad. The group particularly targets Michelle whose self-made continuation of Harry Potter is the epitome of what the organization stands against with its ridiculous storyline and poor grammar. Kyle, thoroughly condemning Michelle’s writing plans on spoofing (“sporking”) her work in his highly-followed blog to the delight of the other FIC members. However, the story takes a turn when Kyle instead falls for Michelle. What would happen to the characters should Michelle stop writing?

A good portion of Strange Bedfellows Theatre’s Badfic Love has Michelle’s fanfic of Harry Potter acted out as her story progresses. Utterly hilarious are Conor Konz and Jake Szczepaniak as Harry and Draco in this twisted adventure where the two former enemies become gay partners and Michelle writes herself in as the hero in every battle. Konz not only strikes an uncanny resemblance to Harry Potter but nails the campy dialogue going far over the top with reckless abandon while Szczepaniak is simply hysterical in his line delivery and physical comedy. But together, they are simply dynamite.

Also funny are the many references to the iconic fantasy epics such as Lord of the Rings, Star Wars and of course Harry Potter. Kyle and other likeminded individuals spend their time at a coffee shop called Middle Earth. Kyle’s favorite table is in the back just under a large picture of Legolas. Benny, a member of FIC, tries in vain to create force fields over doors or pick things up with telekinesis. Proudly donned Marvel t-shirts are worn and insults are thrown around that only have meaning if familiar with the fantasy from which they are spawned.

For the most part, the show is nonstop funny. It would be hard not to be with such an entertaining cast. Badfic Love does slow down a tad towards the end - character and plot resolution, etc, etc, but not enough to take anything away from this very amusing tale of nerdy creativity, being an outsider and finding love.

Besides the show’s fun costumes, projections and sound effects are also used to help in creating the alternative reality of our newly fashioned Harry Potter and Draco, not to mention a handful of well-choreographed fight scenes where blows are met with the trumpeting sounds reminiscent of the 1960’s Batman series. With C2E2 a couple weeks away, Badfic Love is the perfect show to take in to help in preparing your inner geek.   

Badfic Love is at the Den Theatre (1333 N Milwaukee) through May 2^nd. I should also mention that doors open a half hour before each performance for the Badfic Love Wizard Rock Concert Series (free with Badfic Love ticket) where bands including Diagon Alley, Tonks and the Aurors and Hawthorne and Holly will be performing Harry Potter-inspired rock music. A graphic novel of Badfic Love is also available for purchase. For tickets and/or more information visit www.strangebedfellowstheatre.com or call 773-697-3830.  

Continuing its 125^th Anniversary celebration, the Auditorium Theatre of Roosevelt University adds two, one-night-only performances to its momentous season. On Friday, April 10, 2015, “An Evening with the Roosevelts” celebrates Roosevelt University’s 70^th Anniversary. The star-studded evening features Ed Asner performing his one-man show, “FDR” as Franklin Delano Roosevelt and Loretta Swit performing her one-woman show, “Eleanor” as Eleanor Roosevelt. The excitement continues on Sunday, May 31 when Grammy and Academy Award®-winning musician A.R. Rahman makes his Auditorium debut as part of a multi-city North American Tour. “JBL PresentsA.R Rahman: The Intimate Concert Tour” features a range of material from his illustrious career spanning two decades.

“The momentum of our spectacular 125^th Anniversary Season is not slowing down as we bring new and diverse performances to our historic landmark stage,” said Auditorium Theatre Executive Director Brett Batterson. “We are delighted to help celebrate Roosevelt University’s 70^th Anniversary with the special performance of “An Evening with the Roosevelts” starring the incomparable Ed Asner and Loretta Swit. We are equally excited to welcome the internationally renowned talent of A.R. Rahman to our stage. His list of musical accomplishments is unmatched in modern music and his live shows always leave his fans breathless.”

“An Evening with the Roosevelts”

Founded in 1945, Roosevelt University will celebrate its 70^th Anniversary with a special performance and gala dinner on April 10. “An Evening with the Roosevelts” features two, one-act performances by stars Ed Asner, who portrays Franklin Roosevelt and Loretta Swit taking on the persona of Eleanor Roosevelt. Asner, recognized for many roles, including “The Mary Tyler Moore Show,” “Lou Grant,” “Elf” and “The Good Wife,” depicts the former president’s achievements that propelled the country through difficult times in World War II and The Great Depression. Asner’s emotional performance also touches upon Roosevelt’s struggles with his declining health and polio. Swit, who starred as Major Margaret “Hot Lips” Houlihan on the TV show “M*A*S*H,” spotlights the difficulties that Eleanor Roosevelt experienced in her marriage, as well as her accomplishments as a human rights advocate and First Lady. 

Helping to raise funds for student scholarships, the star-studded evening will also feature a special dinner prior to the performance where Roosevelt President Chuck Middleton and FDR’s granddaughters, Anna Eleanor Roosevelt and Nina Roosevelt Gibson (Honorary Chairs of the evening) will be in attendance. Gala dinner Co-Chairs include Roosevelt Trustee Marsha Goldstein (My Kind of Town) and Michael Goldstein; Roosevelt Trustee George Lofton (Lofton & Associate, LLC) and Felecia Lofton; Roosevelt Trustee Alvin Dinwiddie (Loop Capital Markets) and Helen Ashford; and Roosevelt Trustee and Alum Al Golin (Golin Communications) and Alumna June Golin.

Corporate sponsors of “An Evening with the Roosevelts” are Mesirow Financial and McDonalds. For sponsorship opportunities and dinner information please contact Lauren Chill at (312) 341-3849 or This email address is being protected from spambots. You need JavaScript enabled to view it..

Program Schedule and Ticket Information

“An Evening with the Roosevelts”

Friday, April 10, 2015 | 7:30 p.m.

Performance tickets ($25 – $65) are available online at AuditoriumTheatre.org, by calling (800) 982-ARTS (2787) or in-person at Auditorium Theatre’s Box Office (50 E. Congress Pkwy). Discounted tickets for groups of 10 or more are available at (312) 341-2357 or This email address is being protected from spambots. You need JavaScript enabled to view it.. Tickets are free for Roosevelt University students by visiting the theatre at 50 E Congress Pkwy through March 27. Two per valid RU Student ID.

Dinner and performance tickets ($250 single tickets, $5,000 table of 8) are available by contacting Lauren Chill at (312) 341-3849 or This email address is being protected from spambots. You need JavaScript enabled to view it.. 

Title and Deed is a one man show, a 65 minute monologue delivered on a bare stage with a few subtle lighting changes and the gentle rolling of the lead actor’s wheelchair to signal movement throughout the play.  Will Eno’s writing is often compared to Beckett but I found Eno’s work to be much more sensitive, compassionate and outright funny than Beckett’s plays. 

Chicago actor, Michael Patrick Thornton, (one of the founders of The Gift Theatre Co.) is brilliantly cast in the role of the “Traveler” from another world who is traveling feeling estranged from his own homeland, hoping that “the change of locale that comes with international air travel will somehow change him”.

Thornton is confined to a wheelchair - although the play does not call for the use of a wheelchair, and once seeing the play with him at the helm, one cannot imagine the play succeeding as well in its message without the lead character being disabled. Thornton has a remarkable sense of humor and a sad voice, rough with heartfelt regret, which lobs Eno’s long poetic sentences at the audience with a casual yet thoughtful pinpoint accuracy that evoked laughter and sometimes tears in a way that a lesser actor could not achieve. I was totally surprised to find out that the play was not written to be played by an actor in a wheelchair because much of the understanding we feel towards the Traveler comes naturally from seeing a young-ish man confined to a wheelchair - not from seeing a poor wanderer describing his mother’s death and his alienation from the world now that he has no real connection to his home and it’s joyful traditions.

 We all know instantly when we see the young man rolling up the small hill to the stage that because he is in a wheelchair he has suffered permanent and irreversible losses regarding his own lifestyle.  It almost doesn’t make sense to me to see this play cast with an actor without the wheelchair because so much of the truth about the character is implied and is true about the alienation from daily life, the shrinking of your whole world and fortune, which occurs when you are permanently disabled.

I absolutely adored Eno’s sparing, yet lyrical use of words.  What rolls off Thornton’s tongue like ear candy, comes off as true poetry, prose poetry, and paints vibrant, multidimensional scenes in your mind without the use of any set pieces, a painted backdrop or even additional characters.

Eno describes life as basically a “series of funerals” and perfectly describes the universality of how human life begins, “We all come from blood and saltwater and a screaming mother begging us to leave." I actually nodded in agreement and sensed a strong group nod from the entire audience - or as the traveler called us “a clump” of humans gathered to hear him speak - when he said we all know that feeling that life begins triumphantly, but as we lose more and more of the people who constitute our memories of what “home” is, we experience"the human cannonball feeling at the beginning; the sickening thump at the end."

Before the play, I had recently flown to attend the funeral of a very close immediate family member and was not in the mood for something that addressed the issue of death in any way - but I was won over and in the end transformed by the self denigrating humor, common sense and hopeful poetic beauty of this piece.

There was a tremendously universal line in the script, just a heartbreaking and truthful line when the traveler describes the last moment of his mother’s life in the hospital room, “her voice made this sound, this horrible raspy sound and … she just wasn’t my mother anymore.”

I literally walked in to this production feeling shaken with grief, trembling inside, feeling all alone while trying to make sense of my sudden and recent loss but  left feeling that everyone in the mostly middle aged or older audience and indeed everyone in the world must be suffering from many of the same deeply depressing feelings and thoughts.

I highly recommend seeing this extraordinarily written and performed production especially when you are feeling that “life is a series of funerals until the last funeral which is your own” because Eno has created a powerful and profoundly funny monologue about self acceptance, life and compassion which has a very healing effect.

Title and Deed is being performed at Lookingglass Theatre through May 3^rd. For tickets and/or more show information visit http://lookingglasstheatre.org/. 

Northlight Theatre follows up the hard-hitting drama “White Guy on the Bus” with another extra-base hit with the charming comedy "Outside Mullinger". Set in the Midlands of Ireland, Artistic Director BJ Jones directs this humorous love story that, though mostly transparent in its direction, offers a handful of fun surprises. Outside Mullinger is written by Pulitzer, Oscar and Tony Award Winning author John Patrick Shanley (Moonstruck and Doubt). Needless to say, Shanley has done it again.

“Having survived to my 60^th year, I wanted to express joy,” says Shanley on writing Outside Mullinger. “I wanted to laugh, I wanted to name what is possible and beautiful about being alive.”

Set in the Midlands of Ireland we are introduced to two families that own neighboring farms that have been handed down for generations. Though Anthony and Rosemary have been neighbors for years, the two have secretly longed for each other, neither one the wiser. Despite the fact that they are somewhat outwardly gruff with each other, we see an underlying affection that is just dying to bust out. When Rosemary learns that Anthony's father "Tony Reilly" might not leave him the farm, she intercedes, changing paths in the process and ultimately creating new opportunities to express suppressed feelings.

The story is well written but its very talented cast is what truly makes this show a memorable delicacy. Acting and writing great Bill Norris is simply superb as "Tony Reilly", skillfully dishing out his lines with seasoned prowess and a profound candidness. Mark Montgomery is also right on mark and is highly likeable as Anthony and Kate Fry shines brightly with her razor sharp delivery and unbridled conviction as Rosemary. The chemistry and banter between Montgomery and Fry is nothing short of convincing, making the story as believable as it is cute and funny. Also contributing to the story’s sincerity is a rotating set that switches from one realistic farmhouse kitchen to another.   

If you want a love story with just the right amount of laughs, challenges, tenderness and emotional depth, Outside Mullinger is a play with quick-witted and heartfelt dialogue that will certainly be enjoyed.

Outside Mullinger is being performed at Northlight Theatre through April 19th. Northlight Theatre is located at 9501 Skokie Boulevard in Skokie. For tickets and/or more show information, visit www.northlight.org.

Former members of The Band, Levon Helm Band and the Rick Danko Band were playing songs popularized by The Band last Friday night at the Elgin Community College Arts Center. It was very nice seeing such well-seasoned players serving up some fine music. This talented musical outfit is simply called The Weight.

Five piece band like the original, there were only a few differences. For one, there was no change in the drummer seat. In the original lineup Levon Helm would often jump on the mandolin and Richard Manuel would occasionally sit behind the kit. Friday night’s show had two keyboardists were playing the entire time, swapping places behind an electric piano and a Hammond B3. The guitar player was also covering the mandolin parts.

The musicianship was flawless. The vocals were very good, but naturally a slightly different blend than the Helm/Danko/Manuel harmonies of the past. Still, there were moments when you could close your eyes and take a trip back to yesteryear.

The Weight opened up with “Stage Fright”, a classic from the album of the same name. About half of the songs from the self-titled Brown album were covered. But they saved the big hits for the end, beautifully executing “The Night They Drove Old Dixie Down”, “The Weight” and “Up On Cripple Creek”. Ending on a high note, The Weight jumped into encores “Rag Mama Rag” and the Bob Dylan penned “I Shall Be Released”.

Everyone present in the crowd seemed to thoroughly enjoy the show. However, there were too many empty seats for the caliber of entertainment presented. You should have been there.

What's better than a good revenge story? How about a revenge comedy? Better yet, how about a revenge comedy musical? First Wives Club is all of that and then some. Partially driven by a Motown soundtrack, this glitzy musical taken from the 1996 film starring Goldie Hawn, Diane Keaton and Bette Midler presents many memorable numbers - some from hits we all know like “Reach Out…I’ll Be There” and “I Can’t Help Myself (Sugar Pie Honey Bunch)” and some written just for this production.

When three housewives reunite years later after their college girlfriend commits suicide due to an unfaithful husband, they soon realize they have something in common - all their husbands are cheating. Joining together, the three decide to form The First Wives Club and exact revenge upon their unfaithful spouses in bold fashion.

First Wives Club is bolstered by an incredibly talented cast. Christine Sherrill is lights out as “Elise Acton” while Broadway legend Faith Prince and Carmen Cusack also make a huge splash as gal pals “Brenda Cushman” and “Annie Walker”. Sherrill's velvety smooth voice stands out as she belts out one number after the next, especially noteworthy in “Old Me New Me”. Not to be overshadowed, Prince also displays her vocal prowess and even gets big house applause during “My Heart Wants to Try One More Time”. Patrick Richwood is tremendous as the flamboyant “Duane Fergusson” while Sean Murphy Cullen’s physical comedy Jackie Gleason-esque as the cheating, but loveable, “Morty Cushman”. The ever changing set was almost a show in itself. Colorful and dazzling, the set was massive as it was convertible, seamlessly changing from one world to another.

Gracing the red carpet to kick off the new Broadway-bound musical were musical contributors and Motown legends Brian Holland, Eddie Holland, Lamont Dozier, The Four Tops’ Duke Fakir, Martha Reeves of Martha and the Vandellas and two-time Tony Award winner Christine Ebersole along with five-time Emmy Award winner Linda Bloodworth Thomason.

The story is light with just the right amount of campy humor and the dancing and singing fully entertaining to one catchy number after another. With such likeable main characters (three women in their mid-forties) it is easy to see this production finding Mamma Mia-like success. Wonderfully directed by Simon Phillips, First Wives Club: The Musical is a laugh out loud, feel good winner. Revenge is sweet but even sweeter when done by a trio of women that are so much fun to watch.

First Wives Club: The Musical is being performed at The Oriental Theatre through March 29^th before it hits Broadway. For tickets and/or more show information call (800) 775-2000 or visit www.BroadwayInChicago.com. 

Attempting to tackle a slew of tough issues, Picture Imperfect is an emotional drama with good intention that raises awareness to the difficulties of...well, single motherhood, autism, drug abuse, gambling, abandonment, the hardships in dealing with Child Protective Services, spousal manipulationand eventually mental illness. Thoughall important issues, co-writing duo Joel Z. Cornfield and Richard James Zieman may have diluted their intended focus by planting too many different seeds in the garden. Still, as many subjects that are touched upon in its hour and forty-five minute duration, this story, partially inspired from true events, has its share of intense-filled moments, some stemming from sheer misfortune but most from a chain of poor decision making. 

Cole is an autistic boy who expresses his thoughts with a paintbrush and canvas. His mother Mary is trying hard torebound from a string of unwise decisions that puts Cole's future into the hands of the Child Protective Services and, Eric, the eldest son, has all the athletic talent in the world but turns to a life of heroin abuse. George, the boys' gambling addicted father, has left four years ago where he has latched onto a stunning young beauty and convinces her to make pornographic videos for money. After his lengthy hiatus, George soon after returns to his family but with suspicious motives. With the threat of losing her son, Cole, to the system, Mary tries to recreate a healthy family environment. Our George and Mary here are about as far as they could be from the same named beloved couple in It's A Wonderful Life - rich in morale fiber, clean-nosed, thoughtful and family oriented. Perhaps the playwrights purposely played on such a disparity to demonstrate the immense contrast in character and circumstance - the results of love,understanding and sacrifice versus a selfishness to the point of destruction.

This is Dr. Joel Cornfield’s first contribution to the theatre is a tragedy piece but as the writer puts it, “There’s hope springing from tragedy.”

Barring a handful of passionate exchanges betweenmother and son and wife and estranged husband that get pretty penetrating, the two brightest spots in this play are Sarah Bright's demanding portrayal of Mary and Jamie McKinney's heartfelt performance as Eric. Alyssa Thordarson also delivers and is very convincing as Pam, George's seemingly unlikely mistress. The three are able to carry the cast to make this a respectable production along with its story that does just enough to keep it interesting. I do commend the writer's desire to bring to the table so many subjects that warrant concern and more awareness, but in this case slightly less may have been so much more.

Picture Imperfect is being performed at The Athenaeum Theatre through April 4^th. For tickets and/or more show information call 773-935-6875 or visit www.athenaeumtheatre.org.

The “For the Record” series brings John Hughes’ films back to life with a combination of memorable soundtracks and classic scenes from TheBreakfast Club, Pretty in Pink, Ferris Bueller’s Day Off, Weird Science, Some Kind of Wonderful, and 16 Candles. Dear John Hughes is a Broadway concert that showcases talented actors and actresses as they take on the roles of some of our beloved movie characters, all falling under the Hughes’ teenage classification system of the Basket Case, the Athlete, the Brain, the Princess, and the Criminal.

Despite the band being situated on center stage, the cast still makes it seem like they have all the space in the world to perform. They make the stage their own, utilizing its remaining space to the fullest. Ensemble members also make good use of the theater, pushing their way through aisles and high-fiving excited audience participants.

In the costume department, all the obvious steps were taken to make the era come to life - flannels tied around the waist, while leather jackets, suspenders and John Lennon glasses are as vital as ever. Watts is never without her drumsticks as portrayed in Some Kind of Wonderful and there are plenty of Molly Ringwald-esque floral patterns and floppy hats.

Which classic scenes were brought back to life? “Anyone? Anyone?” Ferris’ romp around Chicago in Ferris Bueller’s Day Off to Andrew Clark’s tear jerking monologue in The Breakfast Club and Blane’s “forgotten” prom date leading to a humiliated Andie in Pretty in Pink.

Michael Thomas Grant perfects Duckie’s solo in Pretty in Pink, “Try a Little Tenderness”. Grant’s voice has that quality which allows him to sing any style of music, and this talent makes him shine. He has the most range from character to character and convincingly delivers the over-confident lines of Ferris, immediately followed by the timidness of Anthony Michael Hall’s classic series of “nerd” types.  

Rumer Willis rocks out on the drums during a medley of songs that includes a haunting rendition of Suzanne Vega’s, “Left of Center”.  Jackie Seiden and Patrick Mulvey, the “narrators”, help in guiding us through Hughes’ catalog of films and add strong vocal performances of their own along with timely comic relief in between the heartbreaking scenes. After a highly colorful and visual journey into the world of John Hughes, the show finally goes out with a bang ending with The Breakfast Club’s signature Simple Minds number "Don’t You Forget About Me”.

Encore! Encore! Dear John Hughes is highly recommended. This is an exciting, all around fun production that actually deserves a larger stage with a larger audience - and a louder round of applause!

For the Record: Dear John Hughes, is playing at Broadway Playhouse (Water Tower Place) until March 15th. Tickets are available at all Broadway In Chicago Box Offices or by calling the Broadway In Chicago Ticket Line at (800)775-2000. For more information, visit www.BroadwayInChicago.com.

*(Note that Evan Rachel Wood will be stepping in for Rumer Willis starting March 12th)