Items filtered by date: November 2007

Keith (Debo Balogun) and Ryan (Nate Faust) sit in their rolling chairs in the middle of Keith’s office. The lighting is highly florescent, and the two are discussing Ryan’s current status and ability to convince a bank to give him a loan. Tension is high, and with Ryan’s desperation only increasing, Keith is doing everything in his power to help him out. We have been watching the duo become closer over the last many scenes, and at this point in time, you may feel yourself leaning in – nervous for Ryan’s fate and just hoping the two friends can figure out a path forward.

Then the lights shift. The stage becomes brighter, birds start to chirp, and the two bring their rolling chairs downstage so they are sitting directly next to each other. No longer are we in Keith’s office. The rolling chairs now represent a bench in a park, and the two single fathers are watching their kids play together. Through their commentary, it’s clear that the kids are becoming closer, and learning to share as they move through the various slides and playground equipment. Somewhere in mid-conversation, we hear Keith gasp as he grabs his phone. Their toddlers are holding hands, and the fathers simply have to capture the moment before it’s too late. As the two giggle on stage, I could hear the audience surrounding me share in the joy – laughing and appreciating the sweet humor.

Sam Hunter’s play is about a lot of things. The ups and downs of fatherhood. The challenges of bureaucracy. The difficulty of building a better life for yourself when everything seems to be stacked against you. But at the heart, this is a story about a friendship that forms between two strangers – two men who not only share the status of fatherhood, but also a certain sadness from their lived experience. As you witness Hunter’s cleverly-written story, you might just find that the journey is at times gut-wrenching, but also full of hope – a balance that keeps you intrigued and eagerly awaiting more.

Written by Sam Hunter, A Case for the Existence of God follows the story of Keith and Ryan. The two men come together on the day that Ryan arrives at Ken’s office door for help obtaining a loan. While the relationship begins with some tension, the barriers start to come down at the realization that both have a young daughter back home. From there, a friendship forms, and we witness the slow building of trust as they learn how to better support each other through both the financial and parental challenges that follow.

Directed by Robin Witt, the play is fast paced. The piece may only be 90 minutes, but once this train of a play starts, there is simply no stopping it until the lights come down at the end. Witt’s artistic team aids in that endeavor – particularly through the work of Scenic Designer Sotirios Livaditis. The stage is entirely consumed by Keith’s small office – a space that leaves little space for movement. The intimate feel of the Edge off Broadway thrusts the audience right into the action – forcing us all into this tiny office that represents multiple locations as the two characters start to uncover each other’s secrets. The ending result? For better or for worse, we are on this roller coaster with the characters – and personally, I feel that helps make the journey.

Hunter’s play is a two-hander, and considering the actors never leave the stage, the chemistry between the two actors feels essential. Balogun and Faust rise to the challenge. If you’re like this writer, then you have also perhaps caught these Steep ensemble members in many productions over the years. Always talented, but these roles in particular shine. In collaboration with Witt’s direction, the performances are gripping, and with every twist and turn, I personally found it impossible to look away.

With standout performances, a smart production, and a story that tugs at the heartstrings, this is one you do not want to miss. Steep does not disappoint and from the looks of the standing ovation surrounding me at the end of this particular performance, I was not alone in my opinion.

HIGHLY RECOMMENDED

A Case for the Existence of God runs through September 7 at the Edge of Broadway – 1133 W Catalpa Avenue.

I first read JRR Tolkien’s trilogy, The Lord of the Rings, when I was eleven; since then I have reread the entire story almost every year. My birthday is September 22, same as Bilbo and Frodo. The quote [NOT that of the One Ring!] tattooed on my arm is in Sindarin, the Elvish language. I travelled to New Zealand on an LotR tour and later lived in NZ for 2 years. So, understand that I’m not just a fan of, but fanatical about The Lord of the Rings. Believe me when I say I most definitely know Tolkien’s type.  

In 1999 when the first of the three movies came out, I was terrified, as I’ve never seen a movie based on a book I loved that was not totally calamitous. But Peter Jackson is a god, and he did as wonderful an adaptation as humanly possible (though I’ll never forgive him for Faramir).

So, when I first learned that the Chicago Shakespeare Theater was producing Lord of the Rings onstage, I immediately put in a request to review it for Buzz Center Stage. As the event drew closer, however, I started getting anxious: LotR a musical?! But my misgivings lightened as, about ten minutes before the production began, costumed characters started larking about together onstage and off-. And the opening song, ‘The Road Goes On’, melted my doubts (as well as my heart) altogether: it was beautiful, and so right!

From the start it was clear there were two distinct groups in the sold-out house: those who were LotR fans (though I daresay few as monomaniacal as myself), and those who were meeting hobbits, elves, and wizards for the first time. My companion was of the latter group – he knew the basics of the story but had no true familiarity with it – so exploring his views made an interesting counterpoint with my own.

The cast and company were enormous; forgive me if I don’t praise everyone individually but only comment on the standouts.

Only the expertise and artistry of Directors Edward Hall and Kimberly Motes could produce such a monumental show. I’ll always see Aragon as quintessentially Viggo Mortensen, but Bob Mason’s casting was spot on: Will James Jr. fully engaged me in the role. Sir Ian McKellan is a tough act to follow, but Tom Amandes’ Gandalf was magnificent. The Hobbits – Eileen Doan as Merry, Ben Mathew as Pippin, Michael Kurowski as heroic Sam Gamgee, and Rick Hall as Bilbo – were all sensational – though I wish we’d heard more from them and gotten to know them better. Frodo’s is a very complex character, from the lighthearted Frodo of Bag End to the tormented Frodo on Mount Doom; a challenge for any actor. Elijah Wood nailed it of course, and so amazingly did Spencer Davis Milford. [It’s true Spencer isn’t (quite) as cute as Elijah, but then few folks are.]

The highest kudos I must reserve for Tony Bozzuto, whose portrayal of Gollum was phenomenal. Bozzuto accomplished the physical gymnastics of that kinetic creature and faultlessly enacted the contradictory mindset of that haunted, driven … what? not a person, more a wraith or an apparition, and a groveling vassal of the unholy trinity: the Ring, the Dark Lord, and Frodo Baggins, simultaneously and irreconcilably. Poor Gollum! Bozzuto managed to incite in me both Sam’s cynical aversion and Frodo’s compassionate empathy. He owned the stage whenever he appeared.

Justin Albinder (Legolas), Ian Maryfield (Gimli), and Matthew C Yee (Boromir) completed the Fellowship of the Ring, appointed by Jeff Parker as Elrond (and later pursued by Parker as Saruman). Unfortunately, we never got a chance to know any of them, aside from a few quips (“Never trust an Elf!”)

LotR is no chick flick; it’s totally a bloke’s story, but the sensual Arwen (Alina Taber) injected a bit of estrogen. I was disappointed at Galadriel: Lauren Zakrin played the terrifyingly beautiful elven queen, but the sound / mic system (Chicago Sound Designer Nicholas Pope) failed to capture the full range of Zakrin ‘s lovely soprano voice.  

Spencer Davis Milford as Frodo and Lauren Zakrin as Galadriel in Chicago Shakespeare’s US premiere of The Lord of the Rings – A Musical Tale, based on J.R.R. Tolkien’s beloved trilogy of books.

The most awesome scene in the movie Fellowship of the Ring is when Gandalf defies the Balrog, and by far the most wrenching scene is the desolation of the Fellowship, most especially Frodo, when Gandalf falls. This production gave us none of that. We barely hear Gandalf’s final gasp of “Fly, you fools!”. Then, when the Fellowship reconvenes afterwards, there is no reaction from the characters. Aragorn rather reminded me of the monitor on a primary school trip: “Everyone get to the bathroom? All here? Ok, let’s go”.

It was necessary, of course, to cut a great deal of material to bring the production in at three hours. One thing they cut was Book Two, The Two Towers. There’s no mention of Rohan at all, only nominal lines from Treebeard (voice by John Lithgow). They don’t go to Minas Tirith, no acknowledgement of (let alone depiction of a battle) Helm’s Deep. I don’t mind skipping Tom Bombadil, I never much liked him any road, but why on earth does Gandalf mention him at the end? Those unfamiliar with the books were left thinking ‘Huh? Tom Bombadil? Who dat?’

Scenic and Props Designer Simon Kenny, working with David Castellanos’ Stage Management crew, had a monumental task enacting the myriad venues and tableaus the characters move through, from the buoyant gaiety of the Shire, through the mystical glory of Lothlorien, to the malevolent horror of Mordor, with all number of epic battles generously interspersed. These phantasmagorias were enhanced by Light Designer Rory Beaton (albeit with a couple of glitches). Many of Kenny’s costumes were superb – the Black Riders in particular were truly terrifying – but not so much with the monsters, Balrog et al. And I’m not sure about Galadriel’s outfit; I kept losing track of the action in speculating whether it was a dress or a catsuit.

Oh! The Music! … yeah, that’s right; this is a musical. Book and lyrics were written by Shaun McKenna and Matthew Warchus, and the music composed by AR Rahman, Värttinä, and Christopher Nightingale. Each composer’s background and style was evident within the whole.

Christopher Nightingale is a prolific composer, orchestrator, director, and conductor, celebrated in the UK as well as the US. AR Rahman is said to have ‘redefined contemporary Indian music’. His music has been brought to national attention by multiple Academy Awards, Grammys, a Golden Globe and a BAFTA, and he brought his Eastern imprint to bear on the music of THE LORD OF THE RINGS. Värttinä is a contemporary Finnish group with a folk music/roots-based style, using multiple vocals and instrumentalists to combine traditional Finno-Ugric elements with traditional and original compositions.

I can’t pinpoint which portion of which songs derived from which composer, but it’s my private opinion that Värttinä’s folkloric imprint was what brought special charisma and bewitchment to my favorite compositions in THE LORD OF THE RINGS. For example, the introductory The Road Goes On and both enactments of Song of the Traveller were exquisite. And in Act 2, Now and for Always was resplendent, coupling Sam’s poignant lines with Gollum’s piteous voice.

Other numbers, unfortunately, did not rise to this level. Some I must describe as saccharine and others vapid: trite, repetitive, and/or simply too damn long. The production could benefit from using some of that unproductive time by deepening other portions of the show.

The Finale was, in a word, jarring. The message throughout Act II is that, after such frightful trials and momentous events, however triumphant, life simply cannot “go back to normal”. Yet Finale seems to be attempting to bring the story full circle, returning to the celebratory ambience of the Birthday Party in the Shire. A song that combined consolation with hope would, to my mind, be more harmonious with the canon.

[Sorry, can’t help it; I’m a hopeless LotR nerd! Geek]

Jeff Parker as Elrond and Spencer Davis Milford as Frodo, at center, with Will James Jr. as Aragorn, Ian Maryfield as Gimli, Eileen Doan as Merry, Michael Kurowski as Sam, Alina Jenine Taber as Arwen, Ben Mathew as Pippin, Tom Amandes as Gandalf, Justin Albinder as Legolas, and Matthew C. Yee as Boromir.

The acting was universally excellent, from the pivotal roles of Frodo, Gandalf and Gollum to those of Rosie Cotton (Suzanne Hannau) and the Ensemble: Joey Faggion, Mia Hilt, James Mueller, Jarais Musgrove, Hannah Novak, Adam Qutaishat, Laura Savage, Bernadette Santos Schwegel, and Arik Vega. Amandes was absolutely magnificent in Gandalf’s confrontation of the Balrog at the Bridge of Khazad-dúm. James’ Aragorn was regally magnetic; he brought Aragorn’s character deftly and smoothly from the rude Ranger of the North to the august High King of Gondor.

Frodo … Frodo Frodo Frodo. One of my favorite characteristics of Frodo is that of a reluctant hero – a small and insignificant person who finds himself a hero by simply doing what must be done. Milford’s acting was compelling and poignant, capturing this subtle but crucial quality. And I’ve already spoken of Bozzuto’s brilliance as Gollum.  These two actors delivered Tony-level performances.

The choreography and movement, directed by Anjali Mehra, with Fight Captains Ian Maryfield and dance captain Laura Savage, were less impressive. Again, the opening scene and song was very well done, but that good first impression was not sustained. In several scenes the ‘dancing’ consisted of merely keeping the bodies in motion with no rationale or allure, particularly with the orcs. Granted, orcs possess negligible symmetry, not to mention allure. However, the Nazgul’s maneuvers and actions in the early scenes [Flight to the Ford] were quite effective in communicating menace. [NOTE: A Maori haka* illustrates how eloquently movements can convey threat.] The center turntable was helpful in some scenes, but it doesn’t work to simply send the actors in circles as they make duplicative gestures.

The fight scenes were augmented by Beaton’s light shows, though they must be carefully coordinated to enhance without obscuring – a couple of poorly-timed light effects left the principals in the dark. And the special effects were not very special: once the Nazgul lost their horses we never saw them again (though the shriek was very well done). The Balrog … meh. And worst of all was at Mount Doom; we saw no trace of the Ring, and the explosion was decidedly anticlimactic.

The most important omission was the emotion. I mentioned the absence of grief at Gandalf’s fall, but the more important exclusions were in defining the characters and their interpersonal relationships. Sam’s love and devotion to Frodo was barely hinted at, though this relationship is of paramount importance from the beginning, in his insistence on accompanying his Master, to the end, where he is essential to Frodo’s ability to complete his Quest. Instead, it’s simply puzzling when Sam volunteers to carry the Ring. Nor do we see Frodo’s gradually falling under the Ring’s enchantment, so the climactic scene where he declares he will keep It became a ‘where’d that come from?’ moment. Similarly, we have no clue that Boromir is coming under the Ring’s spell until suddenly, at an inappropriately hectic moment, he makes a grab for it.

I could go on and on – but don’t panic, I won’t. Suffice to say that THE LORD OF THE RINGS - a Musical Tale has hobbits and elves, wizards and dwarves in the cast, but the story isn’t about them. The characters and their stories get lost, becoming merely a placeholder between songs, many of them with minimal relevance to the action (and variable quality).

In summary: I simply can’t evaluate THE LORD OF THE RINGS - a Musical Tale objectively. I’m not merely familiar with Tolkien’s work, I’ve spent countless hours immersed in it. I’m not simply knowledgeable about Middle Earth, I’ve lived there. And in this venue, I won’t elaborate on just how intimately acquainted I’ve been with the characters, as well as with the actors whom Peter Jackson selected to portray them. My companion, unfamiliar with the Trilogy, was enraptured by most of THE LORD OF THE RINGS - a Musical Tale.  For myself, I was too knowledgeable about (and I daresay too emotionally invested in) Tolkien’s stories to simply enjoy the show.

So, I’m telling you that, on the heavily-weighted scale of my judgment, THE LORD OF THE RINGS - a Musical Tale failed to tip the balance. However, I still RECOMMEND the program. So long as you’re not a total Tolkienophile, obsessed with the Canon and unable to tolerate even minor infringements, you will enjoy THE LORD OF THE RINGS - a Musical Tale. 

Recommended!

* The haka is a ritual dance that Maori warriors perform when commencing a fight. The New Zealand Rugby team, theAllBlacks, performs a haka on the field before each match.

There was only one star of the Cubs-Diamondback series this past weekend in Chicago and it wasn’t a player. It was a pigeon who spent a sleepy seven innings strutting along the third base line to the delight of cameramen and Cubs fans. Who can blame the cameraman panning in on the funny looking bird when our beloved Cubbies couldn’t manage to get a player on base let alone to third? At one point fans were telling the team to put let the Pigeon play. But my son cautioned us all: Don’t let the pigeon play baseball. This sentiment was agreed upon by all the children in our section of the stands. The reason was that pigeons think they are old enough, mature enough, talented enough, when in reality they can’t play baseball any more than they could drive a bus and the children had the Mo Willems receipts to prove it. But in a world of Don’ts, particularly involving our fine feathered friends, there is one thing we all should do, and that is seeing the soon to be crowd favorite of Don’t Let the Pigeon Drive the Bus! The Musical!

Hop on board for an unforgettable ride with the Pigeon in Don’t Let the Pigeon Drive the Bus! The Musical! In this feather-filled extravaganza based on Mo Willems’ bestselling books, the Pigeon is back and he’s ready to take the stage. When the Bus Driver has a crisis that threatens to make her passengers late, the wily bird sees his chance to take the wheel. With an innovative mix of actors, puppets, and feathers, this production brings the beloved characters to life like never before. Featuring a hilarious script co-written by Willems and Mr. Warburton and catchy songs by Deborah Wicks La Puma, this show is perfect for the whole family. Suitable for children ages 4 and up, Don’t Let the Pigeon Drive the Bus! The Musical! is an interactive and joyous experience.

Similar to Willem’s musical adaptation Elephant & Piggie’s “We Are in a Play!” that premiered at Marriott Theatre in Chicago, Don’t Let the Pigeon Drive the Bus! The Musical! brings the beloved children’s story about the Pigeon to life, focusing nearly entirely on Drive the Bus, but references Willem’s other Pigeon books such as Stay up Late, Duckling gets a Cookie, Pigeon Wants a Puppy and Pigeon Finds A Hot Dog. Unlike its predecessor, Drive the Bus relied too heavily on the one book for source material. The Pigeon was almost a secondary character behind the bus driver, and duckling hardly made an appearance the whole show. The play lacked a well crafted storyline that could have tied all the beloved books together, relying on overexaggerated bits and gags that had kids rolling in the aisles and some clever quips that adults ostrich chuckled at. What the musical story might lack, Marriott Theatre makes up for in its local talent. Actors and actresses belted out catchy tunes and demonstrated their breathtakingly impressive ranges. The actors make the musical accessible and easy to follow for children of all ages, using the full 360-degree stage to ensure every section of the theatre feels included in the show and can see the Pigeon. While the story might not be as strong or entertaining as the Piggie and Elephant musical, the magic and charm of Mo Willems still shines through and it is well worth the trip to Lincolnshire to delight your kids of all ages.

The Cubs might lose some, but there is plenty of season left. The same cannot be said for this limited run of Don’t Let the Pigeon Drive the Bus! The Musical!, now playing only through August 11^th at the Marriott Theatre in Lincolnshire. Maybe the Pigeon shouldn’t drive the bus, but maybe, just maybe, the Cubs shouldn’t discount the Pigeon to be a reserve player for the latter half of the season. Tickets for Don’t Let the Pigeon Drive the Bus! The Musical! are available at www.marriotttheatre.com.

Every once in a while I think about how lucky I am to live in the Chicagoland. A short drive or train ride away from the third largest US city that boasts more theatres than New York City. On any given night, during any season, one can find multiple theatre options to explore: immersive theatre, comedy, dramas, neighborhood gems, experimental plays, Broadway testers, classics and fan favorites, and never before seen world premiere plays. There is no shortage of good theatre in Chicago. This past weekend I was fortunate enough to see a world premiere of a play that captures the intelligence, wit, humor, and heart of a famous meeting of the minds. Wells And Welles envisions a conversation between two of the most celebrated and notable men in history, Orson Welles and H.G. Wells.

In 1940, the 25-year-old Orson Welles, previously known as a stage and radio actor, had achieved widespread fame for his 1938 radio play adaptation of the novel The War of The Worlds. The show was produced without the participation or even the permission of the novel’s author H.G. Wells, a slight which much angered the novelist. When Wells and Welles happened to be staying in the same San Antonio hotel while on separate lecture tours in October 1940, Welles had an opportunity to meet with Welles and make peace with him.

The world premiere play Wells and Welles by Chicago playwright Amy Crider images what might have been said in a private meeting between the 75-year-novelist, historian, and futurist. The dialogue is sharp and witty, capturing the heart and soul of 1940s US slang and transatlantic accents and gentlemanly British mannerisms and turns-of-phrases. The minimal set offers no distraction for the audience’s eye, relying solely on the delivery and pacing of the actors. Performed by two incredible Chicago actors who look like they embody the famous authors and creators, Pete Blatchford as H.G. Wells and Gerrit Wilford as Orson Welles effortlessly assume their roles, engaging in smart, witty, and sharp theoretical and practical conversations on ownership, creation of legacies and art, science and magic, and what is truly at the heart of every man. Crider does a superb job weaving fact with fiction to envision what these two astounding figures in the humanities would have discussed on the rainy evening in San Antonio. Blatchford and Wilford are so convincing as the famous Wells and Welles that in a moment where real audio is used from the 1940 interview, it takes a moment to register that it is the real broadcast and not reenacted for the play. It's that touch of magic that raises goosebumps on your arm and truly add to the wonderment of the production. 4

It's not every play where two actors can captivate an audience for 90 minutes and make it feel like it wasn’t long enough. It’s also not every day you can see a world premiere of a play that will no doubt be picked up by theatre companies across the country. It is well worth your time to see Wells And Welles and experience this world premiere production. In a time where the real war of the worlds could be happening any day now and radio is now what we stream, don’t miss your chance to see this incredible play.

Wells And Welles runs through August 11^th at Lucid Theater Company at 1020 W. Bryn Mawr Avenue on the second floor of the historic Edgewater Presbyterian Church. Tickets are available at www.eventbrite.com.

Pegasus Theatre’s “Dontrell, Who Kissed the Sea” is a family drama with plenty of comedic overtones. Director ILesa Duncan relies on very strong performances by Maya Abram as Mom, the whirling core of the family, along with David Goodloe as a deadpan Dad, to center the show in the Jones household dynamics. These have been thrown askew by Dontrell Jones III, a 18 year old dreamer who has always followed his own direction.

Written by Nathan Alan Davis, the play gives us a dramatic shift early in the opening scenes. In a vivid dream, beautifully staged with the company of players forming a chorus, Dontrell is visited by ancestral figures, and directed to seek out the remains of his great great great grandfather, who died in transit by jumping from a slave ship—the Middle Passage from Africa. Now Dontrell is to dive to the seabed where the Chesapeake River meets the Atlantic, to find his ancestor’s remains.

On awakening, this becomes Dontrell’s mission. Never mind that his parents have other plans for him. Or that he is to enter Johns Hopkins as a freshman in the fall. Or that he cannot swim. With an innocent single mindedness he embarks on this mission, Dontrell begins keeping a tape recorded log of his quest, dictating similarly to the Star Trek captain’s log, tracking his progress.

Immersed in this electrifying dream vision, Dontrell’s family senses he is estranged. His good buddy Robby (Zay Williams) reaches out to him, but while the old bond is there, Dontrell is not there with it.

Soon he heads to the public pool and diving into the deep end, and sinks, only to be. And then rescued by the lifeguard on duty, Erika (Emma Wineman). The two bond, and she becomes his confidant and comes home to meet the family, including younger sister Danielle (Aundria TraNay).

The play then follows the dynamics of the family conflict, filled with humor, angst, anger, and love. While working from the same script as a 2018 version of “Dontrell, Who Kissed the Sea,” it is remarkable to how differently this production interprets the author’s work. The earlier version was more dreamlike, centering on Dontrell’s vision and quest. Pegasus’ production centers on the conflict between a young Black man compelled to reckon with his heritage, and his family’s goals to keep him headed to college. Both are satisfying shows, but call me a dreamer, I lean toward the First Floor Theatre interpretation, which is why I returned five years later to see this play once more.
“Dontrell Who Kissed the Sea” plays through August 18 at Chcago Dramatists theater, 798 N. Aberdeen.

When one first thinks of improvised comedy (and perhaps this is an unfair assumption), the mind immediately jumps to the image of a group of extremely energetic and theatrical actors, running onto the stage and asking the audience for a suggestion. From the start, TJ and Dave’s take on long-form improv brings in a completely different energy. There is no suggestion, and very little theatrics. They seamlessly pick up cues from one another and create a whole world with no external aids. Conversations happen at the pace of real life, not shying away from moments of silence, and characters are (for the most part) grounded in truth. The result is nothing short of hilarious, and very impressive.

The show lasts for 1 hour and 45 minutes, with a 15-minute intermission halfway through. The two actors walk on a bare stage, a black curtain as their background, and briefly introduce themselves. Then, they welcome the singer-songwriter Ike Reilly, who this time brings his son along. The two, with only their guitars and a harmonica, sing their way through the first half of the show, while TJ and Dave prepare backstage. There is a storytelling quality to all of Reilly’s songs, with a lyricism that mixes both poetry and hint of comedy. He and his son sing about a range of topics, from learning to apologize to dating somehow with horrible politics. The beautifully stripped-down musical performance somehow matches the type of improvisational comedy that follows.

After the intermission, TJ and Dave return to the stage, and dispensing with any audience participation, they jump right in. In real time, the two experienced improvisers act out a one-act play that somehow manages to have complete arcs, conflict, relationships, moments of seriousness and drama, some philosophical musings, and a whole lot of jokes and recurring bits. The play I got to witness featured two sons visiting their father at the hospital. There is an immediate tension between the two around who is entitled to more of dad’s money: the oldest son is significantly wealthier, and lives in a town called “Carefree”. The play features characters like the careless father (who ends up donating all the money to a shelter), two inexperienced nurses, a doctor lacking tact, and another one of the patients- all of which rotate between the two actors, who are able to inhabit every character with fascinating detail.
Without relying too much on creating unimaginable situations or out-of-this-world characters, most of the comedy comes from witticisms in the language, and the natural awkwardness of everyday life.

It was incredible to watch and would appeal to both lovers of theater and lovers of improvisational comedy.

100 days of summer. The unofficial Chicago holiday season between Memorial Day and Labor Day is a local challenge to get out and experience all the city has to offer from 1:20 games at Wrigley to concerts on Northerly Island, festivals, fairs, and everything in between. I can think of no better way to savor these fleeting days than spending an evening with Savor After Hours.

Savor After Hours is a decadent and artistic showcase of dance pairing beautifully choreographed numbers akin to a delicious glass of wine.Created, written, and directed by Mark Swanhart, Savor After Hours features a cast of exceptionally talented dancers, led by former dancing with the stars dancers, Valentin Chmerkovskiy, his wife, Jenna Johnson-Chmerkovski, and his brother, Maksim Chmerkovski. Artem Chigvintsev, Daniella Karagach, Pasha Pashkov, Allie Meizner, Jack Moore, Jalen Forward, Kayli Johnston, Kenidee Allen and Olivia Cava round out the intimate ensemble dance crew, and invite you to sit and savor the art of dance in the intimate Broadway playhouse. Like a good glass of wine they help you forget about the noise and bustling of Michigan Avenue only steps away.

The show is like a well-choreographed wine tasting, there is something for everyone. Those seeking bold flavors, there are spicy Latin tango sequences filled with passion and romance. For those with a sweet tooth, there are delicate contemporary dances with achingly long lines that pull taut on your heartstrings. From intimate tangos, quick hitting jives, sensual merengues, and cute and playful two steps, your eyes will feast and your blood will be pumping as you move from pairing to pairing, savoring each delectable dance and coupling. With beautifully choreographed routines coupled with exceptional lighting and incredible music, Savor After Hours goes down as smooth as summer wine.

100 days of summer are fast moving, so take a break from the heat to savor this delicetable show. Savor After Hours runs through Aug. 18 at the Broadway Playhouse, 175 E. Chestnut St. Tickets are available at www.broadwayinchicago.com.

You might think that a rock musical featuring a genderqueer, hard-rockin’ and brokenhearted performer born on the wrong side of the Berlin Wall and the recipient of a sex-change operation gone horribly wrong might not be the show for you. But you would be making a big mistake.

Hedwig and the Angry Inch, a sometimes raunchy, sometimes heartbreaking rock-and-roll musical now playing with Haven at the Den Theatre in the heart of Wicker Park, is so much more. At its core, Hedwig is an inspirational search for identity, for acceptance, and ultimately, for finding one’s own voice.

And more than that, Hedwig under the skillful direction of JD Caudill, is just plain fun. You cannot leave the theatre without feeling that you have been entertained and uplifted. And in today’s current state of the world, that’s not a small thing.

The musical, with music and lyrics by Stephen Trask and book by John Cameron Mitchell, first opened off-Broadway in 1998 and won awards for Best Off-Broadway Musical. While it has been produced throughout the world in hundreds of stage productions, it wasn’t until 2014 when the show first made its Broadway debut starring Neil Patrick Harris and winning a Tony Award for Best Revival of a Musical.

The musical tells the story of “internationally ignored song stylist,” Hedwig Schmidt, in the form of a rock gig/stand-up comedy routine backed by the hard-rocking band “The Angry Inch.” Using song and monologue, Hedwig (Tyler Anthony Smith) tells her story which began as Hansel, a “slip of a girlyboy” growing up in East Berlin. Hansel meets Luther, an American GI, who promises to take him to America if he agrees to a sex change. The ensuing bungled operation leaves the newly renamed Hedwig with just “an angry inch.”

Luther abandons Hedwig in a Kansas trailer park, where she turns to music and meets the geeky Tommy Speck, whom she takes under her wing and soon falls for. But Tommy, too, is repelled by her “angry inch,” and after stealing her songs, achieves rock star fame. Hedwig once again is cast aside. She begins stalking Tommy, performing in dive venues next to the stadiums where Tommy is appearing. Throughout the show, Hedwig repeatedly pokes her head out the door where we can hear Tommy Gnosis (who Hedwig named) as he talks about himself, never mentioning or crediting Hedwig.

Hedwig is aided -- and hindered – by her assistant, back-up singer and husband, Yitzhak (Ismael Garcia), a Jewish drag queen from Zagreb. The two have an unhealthy, codependent relationship, and Hedwig verbally abuses Yitzhak throughout the evening, clearly threatened by his natural talent. We learn that Hedwig agreed to marry Yitzhak only on the condition that he never perform as a woman again.

Smith absolutely dazzles as Hedwig in their debut performance with Haven. They strut and swagger across the intimate setting of the Den, singing of their search for “The Origin of Love” and better half. A great deal of the charm of the show is Hedwig’s interaction with the audience, and Smith is quite adept at adlibbing and engaging with the audience, getting upfront and personal (very personal) with those sitting in the cabaret-styled tables. (As an aside, audience members do have the ability to indicate their preference for any audience participation with cleverly placed red, yellow, and green signs.)

It's all in good fun, and the audience loved it, as did the cast! Caudill also includes lots of local references and touches (like the Pepper Palace at the Salt Shed) that added to the performance, keeping it fresh and relatable.

Garcia, also making his Haven debut as the disgruntled and downtrodden Yitzhak, plays his role perfectly. It is clear that he yearns to come out from under Hedwig’s shadow, but he sullenly submits to his back-up role. Finally, in a complete breakdown, as Hedwig tears off her wig and takes off her makeup, Yitzhak must step up to sing the final song.

The show closes as Hedwig finds peace and acceptance within herself, and Yitzhak finds his true voice in a performance that brings down the house.

The two main performers are skillfully back by “The Angry Inch,” a hard-working and hard-rocking group of talented musicians led by musical director and keyboardist, Harper Caruso. Joining her onstage are Nate Hall on guitar, Alek Boggio on bass, and Mia Park on drums. In addition to keeping the beat moving, they also engage with Hedwig and Yitzhak in ongoing banter throughout the show and are very much a part of the overall performance.

I love the intimacy of the Den Theatre. It was the perfect venue for this type of show, but because of its size, I did feel the band sometimes overwhelmed the vocals and it was hard at times to clearly hear the words of the songs.

That aside, the evening was truly enjoyable and entertaining, and I would definitely recommend this production of Hedwig. As billed, it was funny, it was touching, and in the end, it was a wonderful reminder of every person’s need to find their own voice and use it.

Hedwig and the Angry Inch plays at the Den Theatre now through August 4. For ticket information, visit the Haven website.

“Truth, like art, is in the eye of the beholder” Jim Williams

The Goodman Theatre has conjured a spellbinding spectacle with the world premiere musical adaptation of John Berendt's captivating "Midnight in the Garden of Good and Evil." Tony Award winning Director Rob Ashford masterfully weaves together a tapestry of music, movement, and Southern Gothic, transporting audiences to the heart of Savannah's veiled secrets and vibrant eccentricity.

John Berendt's "Midnight in the Garden of Good and Evil" isn't your typical true crime story. It delves into the captivating underbelly of Savannah, Georgia, weaving a narrative rich with eccentric characters and veiled secrets. Berendt masterfully blended humor and suspense, as he explored themes of Southern charm, social facades, and the ambiguity of good and evil. The book's charm lie in its ability to transport you to a bygone era, where Spanish moss hung heavy with secrets and the line between truth and fiction blurred beautifully.

Mac Arthur genius grantee Taylor Mac's book cleverly condenses the sprawling narrative of the novel, focusing on the key players in the central murder mystery. The Savannah social scene comes alive through witty dialogue and sharply drawn characters. Brianna Buckley as Minerva was captivating. Her magnetic presence and performance added a mystical, almost otherworldly dimension to the musical. Sierra Boggess imbues Emma Dawes with a delightful blend of pride and arrogance, perfectly embodying the President of the Preservation League. Austin Colby offers a nuanced portrayal of the ill-fated Danny Hansford, adding a layer of tragic complexity to the narrative.

Two-time Tony Award winner Jason Robert Brown's score is a mesmerizing blend of styles, echoing the diverse tapestry of Savannah itself. Lush ballads like Jim Williams' (Tom Hewitt) yearning "Mercer House" capture the city's languid charm, while the Preservation League ladies' “Savannah Is Restored” adds a touch of sardonic humor. The show truly takes flight with the electrifying personalities, which is what made the book a best seller. Tony Award winner  J. Harrison Ghee, a powerhouse in every sense, commands the stage as The Lady Chablis. Brown's music allows Ghee's vocal prowess to soar in anthems like the defiant "Let There Be Light," a showstopping celebration of self-acceptance that left the audience breathless.

The creative team behind this production deserves thunderous applause. Christopher Oram's set design transports us to Savannah's foreboding Bonaventure Cemetery, moss-draped town squares and the opulent Mercer House mansion, while Neil Austin and James Platt's lighting design creates an atmosphere both captivating and unsettling. Toni-Leslie James' costumes are a feast for the eyes, capturing the flamboyant style of The Lady Chablis and the understated elegance of Savannah society. Tanya Birl-Torres' choreography is a revelation, blending graceful waltzes with moments of raw, emotional energy. The ensemble cast deserves special praise for their versatility, seamlessly shifting from ethereal townsfolk to flamboyant partygoers.

Several numbers deserve particular mention. Anna Knox Carter's rendition of the mournful "Since My Mama Died" is a poignant expression of grief and loss, while Lavella Cole's "Clap On One and Three" injects the show with a shot of pure infectious joy and humor. The finale, "Butterflies," sung by The Lady Chablis and Company, is a triumphant celebration of opening up and living life to the fullest .

Adapting John Berendt’s book into a musical is a tall order. "Midnight in the Garden of Good and Evil - The Musical " is not without its flaws. The sheer number of characters and storylines can feel overwhelming at times, and the narrative occasionally sacrifices depth for breadth. However, the creative team behind this production rose to the challenge, the sheer brilliance of the production elements and the captivating performances more than compensate for these minor shortcomings.

This is a show that lingers long after the curtain falls. It's a dazzling spectacle,  a love letter to the captivating city of Savannah.  I would suggest seeing "Midnight in the Garden of Good and Evil" before it goes to Broadway….and it will go to Broadway. With its provenance, it is destined to be a Tony Award nominee. It may change a little, but this is a show garden.

Recommended

When: Through Aug. 11

Where: Goodman Theatre, 170 N. Dearborn

Tickets: $40- $175

Info: www.goodmantheatre.org

Run time: 2 hours and 30 minutes, including one intermission

With CAN YOU HEAR US NOW? Chicago Tap Theatre presents an original show directed by Molly Smith. CAN YOU HEAR US NOW? featured a series of original choreography from CTT dancers inspired by, referencing, and in honor of historical figures in tap dance and jazz music history from the LGBTQIA+ community. Part archival research project, part live show, this show combined tap history with the state of tap dance today, with a focus on LGBTQIA+ perspectives. The production was a celebration of queer culture and history through the eyes (and shoes) of the dancers themselves.

CAN YOU HEAR US NOW? THE QUEER TAP DANCE REVOLUTION, performed at the Edge Theatre, is Molly Smith's directorial debut, and a fine job she made of it! Each production was choreographed by a Chicago Tap Theatre (CTT) member or apprentice, including Molly herself. Her solo performance, to Lesley Gore’s You Don’t Own Me, was stunning and clearly heartfelt. She further discussed the connection she sees between tap dance and queerness.

Mark Yonally (he/him) is the founder and Artistic Director of Chicago Tap Theatre, one of the most critically well-regarded dance companies in Chicago. They perform an annual three-show season in Chicago and tour throughout both America and Europe. Their performances have been chosen as the Top Ten Dance events of the year by the Chicago Tribune, the Chicago Sun-Times, SeeChicagoDance and Windy City Media. CTT’s stated mission is to share the creativity, the history, and the pure joy of tap dance; these were clearly illustrated in CAN YOU HEAR US NOW?

The set was purposefully and effectively nearly neutral; not so the lighting! which was refashioned to enhance each piece.

The intervals between pieces were very short, which was useful for the most part. However, their duration might have been adjusted to coordinate with the mood of the dances, particularly near the end, with more emotionally charged pieces: Molly Smith’s solo, and the dance commemorating our martyrs to the AIDS epidemic. Here the rapid interruptions felt hurried and forced.