Items filtered by date: November 2007

For more than 50 years, Tim Rice & Andrew Lloyd Webber’s powerful masterpiece, Jesus Christ Superstar, has wowed audiences with its unorthodox look at the life and persona of Jesus Christ through its soaring lyrics and driving rock score. And so, it is most appropriate that BrightSide Theatre concludes its 12^th season, entitled “A Season of Passion,” with this impassioned classic rock opera.

From the iconic solo guitar rift to the poignant close as Mary, Jesus’ mother, cradles her crucified son’s head in her lap, BrightSide’s production at North Central College’s Meiley-Swallow Hall in Naperville provides a fast-paced and thoroughly entertaining evening powered by the strong vocal performances of the main cast and an exuberant ensemble.

The show, loosely based on the Gospels, focuses on the final days of Jesus’ life leading up to his crucifixion, as seen largely through the eyes of Judas Iscariot. At the heart of the story are the personal conflicts between Jesus, his disciples, the Jewish people, and the leadership of Rome, with special attention given to Jesus’ relationships with Judas and Mary Magdalene.

Conceived at first as a groundbreaking rock double-album in the early 70s, the music and lyrics by Rice and Webber, then only 25 and 21 respectively, has held up through the years. In BrightSide’s production, artistic Director Jeffrey Cass takes a contemporary approach to the show by imagining Jesus’ story in a modern setting, challenging the audience to consider how Jesus might be received in today’s culture.

To set the tone, the cast is clad in contemporary, edgy clothes and the set is minimal, utilizing metal scaffolding to flow from one scene to another. Cass also adds nice touches such as when the ensemble takes out their cell phones to record Jesus’ response after meeting with the Jewish High Priest, Caiaphas (played by Stan Austin). And, as what would be expected with any celebrity-sighting today, they jostle one another to grab a “selfie” with the proclaimed Messiah.

The only off-note for me was the wardrobe choice for Jesus, played by BrightSide veteran Edward MacLennan. While everyone else is edgy and modern, Jesus arrives on stage with what looked like a hooded bathrobe. I would have preferred him to have a more updated, dignified vibe than he did.

That aside, MacLennan turns in a masterful performance and demonstrates his incredible vocal range in two incredibly powerful scenes. In Act One, MacLennan captures Jesus’ passion and righteous anger in “The Temple,” and then his frustration as Jesus is overwhelmed by the needs of those clamoring for healing and help. In Act Two, MacLennan is outstanding as he portrays Jesus in Gethsemane, as Jesus struggles to comprehend and accept that path before him, his anguish palpable through MacLennan’s masterful vocalizations.

Turning in an equally strong performance is Michael Davis Arnold as Judas. Making his debut at BrightSide Theatre, Arnold’s strong and expressive vocals underscore his character’s personal doubts and questions about this man Jesus and his claims to be God. Arnold ably portrays Judas’ inner struggles, which come to a crashing climax as Judas, horrified by Jesus’ harsh treatment and the knowledge that he will forever be remembered as a traitor, can no longer live with his regrets. Encouraged by the three Tormentors (wonderfully performed by Kassidy Alderman, Amber Golich, and Julia Hope Budd), Judas kills himself.

Meghan Kessel, another BrightSide veteran, shines in her role as Mary Magdalene. Her beautiful and soulful rendition of “I Don’t Know How to Love Him,” possibly the show’s most well-known signature songs, does not disappoint. And Caleb Hand’s Herod is hilarious. Flanked by his party-loving court, Herod struts and postures across the stage as he tries to coax Jesus into doing just one little miracle for him.

The show is propelled by an excellent ensemble that moves adroitly from adoring crowd to questioning disciples to a jeering mob calling for Jesus’ crucifixion, driven by the choreography of Jake Ganzer. The ensemble and cast are backed up by a talented group of musicians, under the experienced direction of Phil Videckis.

The show explodes into a glittering climax as the ensemble, led by Judas’ spirit, performs the title song, “Superstar,” questioning Jesus’ plan and purpose in coming to the world when he did before the dramatic closing as Jesus is led to the cross and put to death.

For those who grew up listening to the album as well as newcomers to this iconic rock opera, BrightSide’s entertaining rendition of Jesus Christ Superstar is a must-see production and well worth the trip to the western suburbs. You can catch Jesus Christ Superstar at North Central’s Theatre at Meiley-Swallow Hall, 31 S. Ellsworth, Naperville, now through June 23. Ticket information can be found at www.BrightSidetheatre.com or by phone at 630-447-TIXS (8497). 

This Pride Month, the electrifying musical "SIX" playing at the James Nederlander Theatre isn’t just a celebration of female empowerment – it's a vibrant anthem for self-expression and defying societal expectations. Forget the dusty history books and the traditional view of Henry VIII's wives as mere pawns. "SIX" explodes onto the stage with a pop-infused rebellion, reclaiming the narrative and reminding us that queens can tell their story in their own way.

"SIX," created by Toby Marlow and Lucy Moss, reimagines the six wives of Henry VIII as pop divas, each telling her story through a series of show-stopping songs. The musical is a fusion of history, pop culture, high camp, and a feminist reawakening, presented with a diverse and inclusive cast that adds layers of contemporary relevance.

From the moment the lights go down and the opening chords reverberate through the theater, "SIX" grabs the audience’s attention and never lets go. The set, minimalist yet striking, thanks to lighting design by Tim Deiling, serves as a dynamic playground for the queens, with each number featuring dazzling choreography and impressive vocal performances. The cast, a powerhouse ensemble of six immensely talented women, delivers each song with such conviction and charisma that it's impossible not to be swept up in their stories. They are accompanied by The Ladies in Waiting - a four-piece band consisting of Jane Cardona on keyboard, Sterlyn Termine on bass, Rose Laguana on guitars and Kami Lujan on drums

The show kicks off with the exuberant "Ex-Wives," an introduction immediately establishing the premise: the six queens are here to reclaim their narratives, casting off the shadow of Henry VIII to shine in their own right. Each queen’s song is distinct, reflecting her unique personality and circumstances.

Catherine of Aragon’s (Kristina Leopold) "No Way" is an anthem of resilience and defiance, performed with fiery passion that sets the tone for the show’s celebration of female strength. Anne Boleyn’s (Cassie Silva) "Don’t Lose Ur Head" blends humor with tragedy, capturing her youthful rebellion and ultimate downfall. Jane Seymour’s (Kelly Denice Taylor) heart-wrenching ballad, "Heart of Stone," showcases vulnerability and loyalty, providing a poignant contrast to the more upbeat numbers.

“House of Holbein,” set in the portrait studio of Germany's Hans Holbein the Younger, is the most techno-infused song of the evening. From the costumes to the lighting to the song's lyrics ("Try these heels, so high it’s naughty, but we cannot guarantee that you’ll still walk at forty"), the musical number transported me back to the iconic club scene of NYC’s Limelight circa 1989.

Anna of Cleves (Danielle Mendoza) brings the house down with "Get Down," a confident assertion of independence that resonates with themes of self-acceptance and freedom, core values of Pride Month. Katherine Howard’s (Taylor Sage Evans) "All You Wanna Do" is a powerful critique of objectification and a moving testament to her desire for genuine love and respect. Finally, Catherine Parr’s (Adriana Scalice) "I Don’t Need Your Love" is a triumphant declaration of self-worth and autonomy, a fitting culmination that leaves the audience empowered and inspired.

What sets "SIX" apart is not just its infectious music and compelling performances but also its underlying message of reclaiming identity and rewriting history. In the context of Pride Month, this theme takes on added significance. The LGBTQ+ community has long fought to assert their identities, often in the face of marginalization and erasure. "SIX" echoes this struggle, as each queen refuses to be defined by her relationship to Henry VIII, instead asserting her individuality and worth.

The production’s commitment to diversity is also noteworthy. The casting is refreshingly inclusive, reflecting a range of ethnicities and body types, which enhances the show’s relatability and appeal. This inclusiveness extends beyond mere representation; it is woven into the fabric of the performance, celebrating differences and promoting a message of unity and acceptance.

The show’s structure as a pop concert allows for a level of interaction and engagement that traditional musicals might not achieve. The queens frequently break the fourth wall, directly addressing the audience and inviting them into their world. This interactive element creates a sense of community and shared experience, much like the atmosphere of Pride celebrations.

"SIX" is more than a musical; it is a powerful declaration of empowerment and identity. The vibrant celebration of the queens’ stories beautifully aligns with the values of Pride Month, making it an essential production to experience during this time of year. With dynamic performances, infectious energy, and profound messages, "SIX" leaves an indelible mark on its audience, emphasizing the importance of owning our narratives and celebrating our true selves. It's a reminder that finding your voice and claiming your story is the ultimate act of rebellion. "SIX" is a celebration of defying expectations and embracing who you are, unapologetically. So, get ready to "Get Down With Herstory" because this show reminds us that even queens can rock.

When: Through July 14

Where: James Nederlander Theatre 24 W. Randolph Chicago

Running time: 1 hour, 25 minutes

Tickets: $35.50-$95.50 at 800-775-2000

                  www.broadwayinchicago.com

Something special has been afoot at Chopin Theatre for the past few weeks: the world premiere of “Turret,” written and directed by Levi Holliday. Created as a vehicle for two-time Oscar nominee Michael Shannon, the production by A Red Orchid Theatre (Shannon is a founding member) has turned into so much more, signaling to the Chicago theater community what it takes to produce a sell-out show that generates infinite buzz as it progresses toward the end of its run, extended to June 22 to accommodate the crowds.

In fact, in anticipation of Shannon’s star-power draw, A Red Orchid Theatre decamped from its tiny digs on Wells street for the more capacious, historic Chopin Theater building at Milwaukee and Division. Still, that was not enough. Discounts, rush tickets, and the like fell by the wayside and would find people crowding the lobby in the hopes of snagging a seat.
Shannon ends his run on June 16 - and he is epically good in the role of Green, the mentor and master of Rabbit (Travis A. Knight). The audience will come for Shannon, but Knight really steals the show in this post-apocalyptic tale of two men sequestered in a vault, and the evolution of their relationship.

The story has some big reveals that tie-up the plot lines at the end - but leave some questions open-ended, too. As compelling as the story line is, the staging (Scenic Design by Grant Sabin); lighting (Mike Durst); and sound design (Jeffrey Levin, sound designer and composer) is as constantly powerful as the dialog. Work by Movement Director Drew Vidal and Fight Director Paul Deziel (assisted by Wes Daniel) may lead you to ask, “Is this a dry run for a film?” It’s that good.

“Turret” is that rare type of show that had me saying, “I love this” within 60 seconds of the curtain. Lawrence Grimm, who makes a brief but scintillating appearance as the third character, Birdy, is also understudy to Shannon, and will take on the lead role of Green when Shannon departs.

How to get a ticket? I live just six blocks from the theater, so I stopped over 10 minutes before curtain to buy that rare commodity - a ticket resold because its owner had not claimed their seat. There were just a few available that night.

While Shannon as Green turns in a truly excellent performance, so does Grimm as Birdy and I would urge you to see him when he takes on the role of Green for the extended run. The surprise here is Knight, who is on stage constantly as Rabbit, a voluble and expressive personality that is the antithesis of the terse Green. It is Rabbit that playwright Hollaway uses to make the dynamic of his relationship with his mentor Green accessible.

For me, the play is an exploration of the relationship of a father figure with a son. And Rabbit at a certain point begins to exert his will, defying Green to explore whether there are other survivors, and what might be left of the world. “I don’t want to be a pollywog anymore.”

The complexity of this relationship, when the son naturally matures and asserts his individuation and personhood separate from the father, was the essence of the story for me. Yet as this happens, the father suffers his own setbacks, becomes vulnerable, and Rabbit must rise to the role of caregiver and nurturer. Just like real life. “Turret” has been extended through June 22 at The Chopin Theatre and comes highly recommended.

"Stokely: The Unfinished Revolution" a world premiere written by Nambi E. Kelley and directed by Tasia A. Jones, ambitiously attempts to capture the essence of civil rights icon Stokely Carmichael in a mere 90-minute play. The title, hinting at a deep dive into Carmichael's revolutionary ideologies, might mislead audiences expecting a detailed exploration of his political maneuvers. Instead, the play serves more as a biographical sketch, intricately weaving his personal and public life, spotlighting his relationships and the internal and external battles he faced.

The enormity of condensing Carmichael's life into such a brief performance is a challenge that Nambi E. Kelley undertakes with both reverence and creativity. Kelley is no stranger to tackling monumental projects; her play "Native Son," based on Richard Wright's 400+ page book, is currently receiving a formidable production at Lifeline Theatre. In "Stokely: The Unfinished Revolution," the narrative framework is structured around Carmichael's awareness of his impending death, prompting him to reflect on his life and legacy. This introspective journey provides a poignant lens through which the audience views Carmichael not just as a historical figure but as a man grappling with his mortality and the weight of his contributions to the civil rights movement.

While Tasia A. Jones has made quite a name for herself in Chicago theaters, this production marks her directorial debut at Court Theatre. Jones's direction shines with emotional depth, sharp focus, and a remarkable ability to elicit compelling performances from her actors. She adeptly handles a challenging script, showcasing her exceptional directorial skills. The ensemble's stellar performance is a testament to her distinct and impactful style.

Anthony Irons delivers a compelling performance as Stokely Carmichael. His portrayal captures the charismatic and fiery spirit of Carmichael, while also delving into his vulnerabilities and moments of introspection. Irons manages to convey the depth of Carmichael's character, balancing his revolutionary zeal with the emotional complexities of his personal relationships.

Melanie Brezill stands out with her portrayal of Tante Elaine, Stokely’s aunt, as well as Miriam Makeba and other influential women from the civil rights era. Brezill's performance is marked by a powerful presence and a keen sense of empathy, bringing to life the experiences and struggles of these women. Her versatility and emotional range make her scenes particularly memorable, adding depth and resonance to the play.

Dee Dee Batteast is versatile in her roles, including Cecilia Carmichael, Stokely’s grandmother, and other characters. She adds layers of historical and emotional context to the narrative, seamlessly transitioning between different personas. Her ability to inhabit multiple characters with distinct voices and mannerisms enriches the storytelling and provides a broader perspective on Carmichael's life.

Kelvin Roston Jr. is reliably excellent in his multiple roles, including Adolphus Carmichael, Stokely’s father, and significant figures like Martin Luther King Jr and James Baldwin. Rolston’s ability to embody such diverse and iconic characters with authenticity and gravitas anchors the play, providing continuity and a sense of historical significance.

Wandachristine, playing May Charles, Carmichael’s mother, offers a nuanced performance that highlights the familial tensions and deep love that defined their relationship. Her interactions with Irons are charged with emotion, revealing the often-complicated dynamics between a mother and her son, particularly when that son is a prominent figure in a tumultuous era.

The fluidity of the play’s structure is mirrored in its set design. Yeaji Kim’s creation of a massive chest of drawers, filled with books and papers, serves as a dynamic backdrop. This design not only symbolizes the vast repository of knowledge and history that Carmichael sought to preserve but also facilitates quick transitions between different times and places. The set is both functional and metaphorical, enhancing the thematic elements of legacy and memory.  The main set piece transforms in a surprising and unexpected manner I won't reveal here, preserving the thrill of discovery.

Daphne Agosin's lighting design and Willow James's sound design work in harmony to create a vivid sense of time and place. The lighting shifts subtly yet effectively, guiding the audience through various moments in Carmichael's life. Meanwhile, the sound design incorporates period-specific music and ambient sounds, grounding the narrative in its historical context and enhancing the emotional impact of the scenes.

Kelley’s script is a deft blend of personal reflection and historical narrative. The dialogue is sharp and evocative, capturing the essence of Carmichael's rhetoric while also revealing his personal struggles. The tension between Carmichael and his mother is a central theme, adding a deeply human dimension to the story. This relationship is portrayed with honesty and sensitivity, illustrating how personal bonds can influence and complicate one's public mission.

"Stokely: The Unfinished Revolution" succeeds in presenting a multifaceted portrait of Stokely Carmichael. The production humanizes him by portraying his strengths, flaws, public triumphs, and private tribulations. While the play might not satisfy those seeking an exhaustive examination of Carmichael's revolutionary strategies — I would have loved to have seen the transformation from Stokely Carmichael to Kwame Ture—it offers a rich, intimate glimpse into his life and legacy.

In capturing the essence of a man who was both a pivotal figure in the civil rights movement and a son, "Stokely: The Unfinished Revolution" provides a powerful theatrical experience. It serves as a reminder of Carmichael's enduring impact and the personal sacrifices that underpin the fight for social justice. The performances, direction, and design elements coalesce to create a compelling and thought-provoking tribute to a man whose revolution, indeed, remains unfinished.

Highly Recommended

When: Through June 16

Where: Court Theatre, 5535 S. Ellis Ave.

Tickets: $23.50 - $69.50

Info: CourtTheatre.org

Run time: 90 minutes, no intermission

Chicago Opera Theater premiered a one-act opera, “Before It All Goes Dark,” in two performances over Memorial Day weekend at the Studebaker Theater in Chicago. Semi-staged with chamber orchestra conducted by Joseph Mechavich, the compact work was commissioned by Seattle-based Music of Remembrance. Acclaimed for developing new works that confront compelling issues such as the separation of families at the US-Mexico border, the worldwide refugee crisis, and the struggle for women’s rights in Iran. “Before It All Goes Dark,” which played in Seattle and San Francisco before its brief Chicago run, has unique local appeal, since it tells a story about an area Vietnam veteran that was uncovered by a local reporter some 20 years ago.

The performances by bass-baritone Ryan McKinny at Mac and mezzo-soprano Megan Marino as Sally/Misha/Emil—engaging as they were—became more compelling from the backstory of the opera, which was composed by Jake Heggie with libretto by Gene Scheer. The program in the jewelbox Studebaker included a wonderfully delivered precis by Mina Miller, founder of Music of the Remembrance, which since 1998 has commissioned 45 new works.

“Before It All Goes Dark” is based on an intriguing story series first reported by Chicago Tribune’s Howard Reich in 2001. Reich was on stage prior to the performance, in conversation with librettist Scheer, and shared with the audience the genesis of the tale.

As Reich tells it, he had gotten wind of a report that a museum in Prague was in possession of a trove of fine art looted by Nazi’s from pre-war Prague resident Emil Freund, who was Jewish. The museum had been charged by authorities with finding the rightful heir to this valuable legacy. But they did not know where to find him or her.

So Reich made it his personal quest to ferret out who that might be. Reich also hid his research from his editors, “Or they would have said, ‘Have it by Thursday,” Reich related. This was in the time before the Internet had simplified genealogical searches, so Reich searched obituaries and surveyed the descendants of Freund listed under “survived by.” He went through the generations until he tracked down the likely sole survivor and heir: Gerald McDonald, a Vietnam veteran who happened to live in Lyons, IL.

Reich set out for McDonald’s home, and once there was greeted by heavy metal music blasting inside, so loud he knocked for 20 minutes before McDonald somehow heard him, and beckoned him to enter. Reich told him the news: that he was likely the sole heir to the artwork in Prague, with the added implication: his ancestors were Jewish.

McDonald opened a strongbox, and withdrew birth and death certificates that confirmed his lineage. Despite being in fragile health—sick with Hepatitis C, desperately needing a liver transplant and was on many medications—within weeks, Mac, as he was known, scraped together airfare and was on a plane for Prague, accompanied by Tribune reporter Reich. The capper: once museum officials learned there was indeed a live heir intent on claiming the paintings, the artwork was designated a ”national cultural treasure,” preventing their removal from Prague. All this is recounted in articles by Reich.

Fast forward 20 years, and Reich encountered composer Jake Heggie, who had a commission for an opera from Music of Remembrance, and seeking a story with passion and drama to frame it. Reich suggested the story of Mac, and “Before It All Goes Dark” is the outcome.It is also the closing performance for Chicago Opera Theater's 50th season.

The opera itself, in rough Chicago vernacular laced with expletives, expressed with muscular clarity by the principal singers, is a compact and relatively short piece—just one act. To create the stage production, projections are used, including scenes from Prague, the planes and trains that conveyed Mac to his meeting with destiny, the art museum, and Freund’s home and parlor. To give the piece further context and heft, the program was extended to include an evening concert in Freund’s parlor, with eight short works by composers who died in the Holocaust.

Whether this is a timeless work that will be revived in future repertoires remains to be seen. It did not carry for me the emotional gravity of a previous work, “Soldiers Song,” that Chicago Opera Theater produced at the Epiphany Center last year. But “Before It All Goes Dark” has unquestionably captured something uniquely Chicago, yet universal in its emotional appeal.

I love stories about World War II, particularly about survivors of the Holocaust and the Camps. And I love stories based on real people. So naturally I was drawn to THE DANISH PLAY, which Canadian playwright Sonny Mills (he/him/they/them) wrote about her great-aunt Agnete Ottosen. THE DANISH PLAY addresses historical problems that are piercingly contemporary: nationalism, justice, freedom, and the politics of gender and sexuality. What could be more relevant in 2024?

Agnete Ottosen is brilliantly played by Artistic Director Selena Lopez (she/her), who skillfully enacts the different portrayals of Agnete as the story skips about between three eras. The play opens in the middle period, when/where Agnete is being processed and questioned in Ravensbrüch. Happily, more of the action takes place in the immediate pre-War era, examining Agnete’s passionate involvement in Danish Resistance … as well as her personality: difficult is the word used by Mads Pedersen (Stephen Dunn, he/him); I would upgrade that to obdurate, even surly – but always accessible (and likeable!) to the audience – to me, any road.

These pre-war scenarios let us get to know the other characters, with their close associations and deep affection for Agnete. Helga Hansen (Lisa Stran, she/her) is a practical influence; her shop girl Bente Jespersen (Mackenzie Williams she/her) brings emotional depth; and, my personal favorite, Kit Ratliff (they/them) brings to exuberant life her irrepressible and hard-drinking brother, Michael. Dolph Paulsen (he/him) and Madeline Wakley (she/her) multitask as Morten and Lisbet and several other roles. The entire cast was superb, upholding Three Crows’ standard of excellence.

The scenes of Agnete’s experiences in Ravensbrüch were predictably brutal, but more hideous still were our glimpses into Agnete’s life afterwards. Her uncompromising and confrontational nature increased her vulnerability to the ravages of what we now call Post-Traumatic Stress Syndrome; that implacable disease has profoundly grievous consequences for Agnete Ottosen. Her poetry, intensely radical and intimate, keeps her tethered to reality, but that stanchion is consistently and catastrophically frayed by societal judgments.

The creative team was equally superb. Director Kirstin Franklin (she/her) and Stage Manager Erin Galvin (she/her) had their work cut out for them! The rapidity of scene changes were as challenging for the crew as for the actors and, though that rapidity was sometimes bewildering, in retrospect I judge that my disorientation was an integral and crucial element of the theatrical experience.

As daunting a task was accomplished – and very well indeed – by Scenic Designer Chad Eric Bergman (he/him), Scenic Painter Hannah Keeler (they/them), Creative Producer Nathaniel Negrón (he/him), Sound Designer Samuel Fitzwater-Butchart (he/him), and Lighting Designer Bryan Byars (he/him). The set was elaborate, and was called upon to depict several disparate surroundings, from a publishing house to a wealthy (and/or indigent) family home, a bakeshop to a concentration camp. The acting skill of the cast was made crucial in these portrayals.

Intimacy/Violence Designer Michael Bevis (he/him) also rose to his formidable task wonderfully, making the Ravensbrüch scenes realistic but bearable. Costume Designer Dagny Mullins (she/her) managed the difficulty of the rapid-fire changes by Keeping It Simple: the most decked-out characters were guards and prison officers, while all others’ raiment was muted and unobtrusive, all in service of allowing Sonny Mills’ story, and the excellence of the actors enacting it, to shine through.

I was fortunate to be seated near Props Designers Judith Laughlin (she/her) and Jim Heatherly (he/him), and I utilized my finely-honed earwigging prowess to insinuate myself into their conversation, thus learning of the Daedalean plenitude of properties and the vicissitudes of their procurement.

This was not a pleasant, relaxing evening’s entertainment. THE DANISH PLAY required substantial concentration during and deliberation afterwards before I came to grips with it. I’m not presumptuous enough to say that I’ve grasped its entirety yet – I’m sure I’ll be thinking about THE DANISH PLAY for a long time.

HIGHLY RECOMMENDED

THE DANISH PLAY will run at Raven Theatre, 6157 N Clark St, through June 16^th. It is the mission of Three Crows Theatre to make stage performance accessible to all, and their policy is pay-what-you-can. A worthy investment! And definitely worthy of whatever you can pay.

“Viva La Mort: A Play With Songs” mines the 1956 Swiss novel “The Visit” by Friedrich Durrenmatt that came to further fame in a 1964 Hollywood melodrama with Ingrid Bergman and Anthony Quinn. In the original, a wealthy woman arrives in the poverty-stricken hamlet of her childhood, offering to restore the town and provide a bounty for each of its citizens, with one condition: she wants the man who spurned her as a youth, but now is a pillar of the community, to be killed. How far will the citizens go in exacting her retribution?

This is one of The Conspirators’ most ambitious efforts, and resident playwright Sid Feldman  (it's directed by Wm.Bullion) has artfully updated the storyline—the setting moves to small town Michigan, the wealthy woman is modeled after Madonna, and some fresh faces fill major roles. This includes Andrew Bosworth, who leads the cast as Mort Miller, the love interest of Viva, familiar to audiences for recent roles in “Innocence of Seduction” and “Man of the People.”

The title character, Viva, is played by Libby Conkle, who is superlative. So is Liam Ouweleen as her current flames in three convincingly delivered dialect roles: Spanish Lonnie, British Konnnie, and the American jock, Johnny. It was remarkable to see actors more schooled in naturalistic performance adopt The Conspirators unique style, with exaggerated expressions and heavy makeup playing against the continuous commentary of the percussionist, Aimee Bass. All were game for The Conspirators’ approach and blended pretty smoothly with the regular troupe. 

Costumes by Kit Medic are among the best we've seen at The Conspirators, a critical element for the character of Viva. And aspects of the show are on a par with the best The Conspirators have produced. (The hilarious "Commedia Divina" "Commedia Divina" returns in October 2024; don't miss it.)  

Alas, one weakness lies in the script, which might have been improved by cutting it into a single act of 90-minutes, instead of two acts with intermission. The first half lags, and scenes are inflated to allow for stage funny business, the stock-in-trade of The Conspirators’ neo-commedia dell'arte format, which they dub “The Style.” A sense of slapdash detracted from the power of the story, which examines how townsfolk will turn on their own, when enough money is dangled before them.

Sets were minimal, but this isn’t doesn’t detract from “Viva La Mort,” as is true of most of The Conspirators shows. The high energy hijinx are completely absorbing and largely entertaining. One other problem was the sound, which was good overall, but weak in a crucial scene where Viva sings wearing a headset that unfortunately muffled her vocals against the rest of the players.

Nevertheless the story carried, and the strength of the stars overcomes less successful aspects of the show. “Viva La Mort” runs through June 9 at Other World Theater, 3914 N. Clark in Chicago.

Language may be the backbone of human communication, but there’s a lot that happens between the lines. Sanaz Toosi’s 2023 Pulitzer Prize winner ‘English’ explores what we learn when studying a new language. Director Hamid Dehghani assembles an all-Iranian cast for Goodman Theatre’s Chicago debut of this exciting new play.

When American students take foreign languages in high school, it’s more or less travel lessons. There’s a sense that languages are more of an elective than a necessity. And sadly, most adults don’t retain much of their high school French after graduation—even those who travel extensively. The world reinforces the idea that English is the dominant international language and that the West is the dominant culture. Though history would tell us this is a relatively new idea.

Sanaz Toossi’s play takes place entirely in an Iranian classroom in which four students of various ages are learning the notoriously difficult English language. Each character has their own consequential reason for learning English. Marjan (Roxanna Hope Radja) teaches more than sentence structure to her students: Goli (Shadee Vossoughi), Roya (Sahar Bibiyan), Omid (Pej Vahdat) and Elham (Nikki Massoud)—she’s teaching them hope for a better future. However, it begs the question, why can’t there be hope in Iran, or rather in their native tongue, Farsi?

‘English’ premiered in New York in 2022 and went on to win the 2023 Pulitzer Prize. While it’s easy to see how this play could be one of the most produced around the world, ethnically ambiguous casting would be a disservice to the underlying messages of the play. Goodman’s choice to cast Iranian theatre-makers both on and off stage lends a truly authentic feel to this work, and this degree of perfection would be hard to recreate.

Goodman’s production soars thanks in huge part to this incredibly talented cast. While the action of the play does start off a bit slow, the 90-minute play really gets going when we learn why older student Roya is trying to learn English. Her story of emotional and physical distance from her adult son in Canada underscores what a person can lose when they renounce their culture. Sahar Bibiyan gives a devastating performance that cuts to the play’s overall message, empathy.

‘English’ is more complicated for teacher Marjan and her obstinate student Elham. The two characters spar throughout and Toossi makes not only a point about optimism versus pessimism, but also of the competitiveness that can arise between women. Roxanna Hope Radja and Nikki Massoud are well matched as the play’s two anchors.

Ultimately, ‘English’ has a happy ending if you consider whether the main characters get what they want. While the themes of this deeply human play are fraught, at its core it’s a celebration of what it means to be a foreigner. It’s a celebration of one’s home. Though the plot is straight forward, each of the brief scenes leaves an important mark on your heart.

This is a play meant to inspire Western audiences to practice more empathy when we hear an accent we aren’t used to. At the end of the day, everyone is trying their best and when we assume positive intent, it’s amazing how much we can learn even when words don’t come easy.

Through June 16 at Goodman Theatre. 170 N Dearborn St. 312-443-3800

Lifeline Theatre’s production of "Native Son," directed by Ilesa Duncan and adapted by Nambi E. Kelley from Richard Wright’s seminal novel, is a masterful exploration of urban naturalism. With powerful performances and an incisive adaptation, the play captures the harrowing tale of Bigger Thomas, a young Black man whose life spirals out of control in 1930s Chicago.

The adaptation stays true to the novel’s brutal honesty, portraying a world where characters are shaped and ultimately doomed by forces beyond their control. Much like Upton Sinclair's "The Jungle," the narrative of "Native Son" is driven by the crushing weight of systemic racism and economic oppression. Duncan's direction ensures that every moment of this production is charged with a sense of inevitability, creating a haunting and immersive experience.

Nambi E. Kelley’s adaptation of "Native Son" powerfully employs W.E.B. DuBois's concept of "double consciousness" by dramatizing Bigger Thomas's internal conflict and the way he is perceived by the larger society. This duality is embodied in the character of The Black Rat, who represents Bigger's internal voice, and his awareness of the limitations imposed on him by a racially prejudiced society. Through dialogues and interactions with The Black Rat, Bigger’s consciousness is split between his self-perception and the identity forced upon him by systemic racism. This dramatization underscores the psychological toll of navigating a world where Bigger must constantly reconcile his personal identity with the dehumanizing stereotypes projected onto him by the white society, highlighting the perpetual struggle and fragmentation described by DuBois.

Tamarus Harvell delivers a riveting performance as Bigger Thomas, embodying the character's internal turmoil and external pressures with raw intensity. Harvell's portrayal captures the complexity of Bigger’s emotions—from his initial bravado and suppressed rage to his ultimate desperation and fear. His interactions with other characters reveal layers of vulnerability and frustration, making Bigger a deeply sympathetic figure despite his tragic actions.

Kamille Dawkins as Hannah, Bigger's mother, brings a poignant depth to her role. Her portrayal of a woman struggling to hold her family together amid relentless poverty and systemic racism is heart-wrenching. Dawkins' performance highlights the generational despair that permeates the Thomas family, adding a layer of emotional gravity to the narrative.

Mandy Walsh’s Mrs. Dalton is a study in benevolent racism. Blind and wealthy, Mrs. Dalton represents the liberal white America that believes in charity but remains blind to the systemic injustices it perpetuates. Walsh’s nuanced performance underscores the dissonance between Mrs. Dalton’s intentions and the impact of her actions on Bigger's life.

Laura Nelson as Mary Dalton and Nick Trengove as her boyfriend Jan play their roles with a blend of naivety and rebellious idealism. Their interactions with Bigger are uncomfortable, filled with well-meaning condescension that reflects their ignorance of the harsh realities faced by Black Americans. Nelson and Trengove adeptly capture the obliviousness of privileged youth, making their characters' tragic fates feel both inevitable and avoidable.

James Lewis, portraying The Black Rat, Bigger’s alter ego, adds a layer of psychological complexity to the production. This character, representing Bigger’s internal struggle and dual consciousness, is a haunting presence on stage. Lewis’ performance is both eerie and empathetic, providing insight into Bigger’s fragmented psyche and the pervasive influence of fear and anger.

Ashli Funches excels in her multiple roles as Bessie, Vera, and Leslie, showcasing her versatility and depth as an actress. Her portrayal of Bessie, in particular, is both tender and tragic, illustrating the collateral damage of Bigger’s actions and the broader societal constraints on Black women.

Gabe Fries as Detective Britten embodies the oppressive force of the law, delivering a performance that is both menacing and emblematic of institutional racism. His interactions with Bigger are charged with tension and prejudice, making the audience viscerally aware of the systemic barriers faced by the protagonist.

Dairyon Bolden’s Buddy, Bigger’s younger brother, brings a touch of innocence and hope to the bleak narrative. Bolden’s performance contrasts sharply with the despair surrounding him, emphasizing the devastating impact of systemic injustice on the younger generation.

The set design by Regina Garcia is both functional and symbolic, creating an oppressive urban environment that reflects the entrapment of the characters. The use of confined spaces and stark lighting enhances the sense of claustrophobia and inevitability that pervades the production. The minimalistic yet evocative set serves as a constant reminder of the harsh realities of Bigger's world. I wish the pre-show had featured music from the late 1930s to better immerse the audience in the play's historical setting.

Duncan’s direction ensures that every element of the production works in harmony to deliver a powerful message about race, poverty, and the human condition. The pacing is relentless, reflecting the constant pressure on Bigger as he navigates a world stacked against him. The use of sound and lighting to heighten tension and underscore critical moments is particularly effective, drawing the audience deeper into Bigger’s harrowing journey.

Lifeline Theatre’s "Native Son" is an important piece of theater, offering a poignant and unflinching look at a society riddled with racial and economic injustices. The stellar performances and Duncan’s incisive direction make this adaptation a must-see, offering a powerful reminder of the enduring relevance of Wright’s work. In capturing the essence of urban naturalism, this production not only honors the original novel but also provokes crucial reflections on contemporary issues of race and justice.

Highly Recommended

When: Through June 30

Where: Lifeline Theatre,  6912 N. Glenwood

Running time: 90 minutes

Tickets: $45 at

773-761-4477 and www.lifelinetheatre.com

There are no words.

Well, obviously that’s not true cos I’m about to say a whole bunch of words – they can pretty much all be found in the thesaurus under glorious, magnificent, gorgeous … you get the idea. The only bad news is that it’s a short run, just May 17-19, but don’t despair: HUBBARD STREET DANCE is Chicago-based, and they’ll be back. Get on their email list so you can get tickets to their next show. Pricey? maybe. Value for the money? inestimable!

I’m unabashedly biased: I’ve been watching and loving HUBBARD STREET DANCE for almost forty of their forty-six years, but despite that familiarity, OF JOY blew my socks clean off. OF JOY is the third and final series in HUBBARD STREET DANCE’s 2023/24 Season: OF ABUNDANCE. The 47^th season will kick off in November, so start watching your inbox in October.

The program included four pieces with two intermissions. The dances made the need for the intermissions clear: the company needed to recuperate, recover, regain, rehydrate, rebound, and rally. OMG the amount of pure energy expended!

First was Echoes of Our Ancestors, choreographed by the world-renowned Maria Torres and danced by the entire company to music by Philip Hamilton. Its narrative choreography connected with the traditional Caribbean Latino rhythms, and Luis Razo’s costumes used the brilliant colors characteristic of Afro-Latino culture, with enormously wide skirts that became wings and striped shawls swept with the rhythms. One dancer described Echoes of Our Ancestors as ‘a melting pot’, and Torres agreed that she intended the work to form a bond between Afro-Latino and other cultures. The dance was a whirling turbulence with dancers all over the stage – I’d like to watch it several more times to catch the action in other realms of the stage.

After intermission the show resumed with a solo, Show Pony, danced on the night I attended (5/18/24) by Cyrie Topete (she/they) [on other nights the dancers were Alysia Johnson (Alysia/she/her) and Aaron Choate (they/them)]. Kyle Abraham choreographed, and Fritz Masten costumed Topete in a full leotard of gleaming gold, which took on other tones under Dan Scully’s lighting. Cyrie says she danced Show Pony with “spontaneous and playful choices … I feel powerful and confident, and I feel safe to roar!” – all of which was wholeheartedly evident in her dancing. The music, Hatshepsut, was written and performed by Jlin and was equally spontaneous and playful. The music and choreography were truly one, not simply complementary but reciprocal, interchangeable.

A Duo was choreographed by Resident Artist Aszure Barton (she/her), working with dancers Abdiel Figueroa Reyes (he/they) and Aaron Choate (they/them). I adore M/M pas de deux, and I believe it was subtly enhanced by both dancers being nonbinary. Another augmentation was the collaborative choreography: Barton continually evolved it in response to each dancer’s strengths and virtuosity, as well as the chemistry between the dancers, which was palpable. Choate says Barton’s work is so difficult that performing it gives a dancer fresh insight into their capacity and potential. Two words used in reference to A Duo were curiosity and playfulness. Yup, two in a row, Show Pony and A Duo, with ‘playful’ intrinsic to the choreography and performance. The music was amazing as well: “Miu” and “Shaolin Mantis” composed, produced, and recorded by Maria Herlop. Performing on electric bass was Oscar Garrobe; Mix James Ginzburg and Marina Herlop. I needed the intermission myself to get my breath back after this!

The final selection was Impasse, choreographed by Swedish Johan Inger, who also did the Scenic Design, with Fernando Hernando Magadan as Stager. This was a complex piece, very energetic, with fourteen dancers:  Alexandria Best (she/her), Jacqueline Burnett (she/her), Michelle Dooley (she/her), Aaron Choate (they/them), Elliot Hammans (he/him), Jack Henderson (he/him), Alysia Johnson (she/her), Shota Miyoshi (he/him), David Schultz (he/him), Matt Wenckowski (he/him), Simone Stevens (she/her), Cyrie Topete (she/they), and Craig D. Black Jr (he/they; also Rehearsal Director).

It was astonishing to witness some of the incredible contortions a human body can tangle itself into! Dancers reported being initially dubious about some of the choreography, not completely sure a human body could do that … but it could, and they did! The erstwhile impossible configurations were achieved, then passed into muscle memory and were embraced. Aggregates of dancers formed patterns and enactments, working together to weave storylines then unravelling into new compositions. The music included Diagnostic by Ibrahim Maalouf, distributed by Harmonia Mundi – Lily (is 2), Will Soon be a Woman, Maeva in the Wonderland, Your Soul, and Never Serious. Original composition by Amos Ben-Tai.

I have only one criticism: the volume of the music. It was excessive for me, even with my rock band-hardened eardrums. My companion has sensory processing issues and was at times in pain, even with their fingers in their ears. The music was gorgeous, all of it, and absolutely perfect with the choreography, but it was almost too loud to hear – kind of like being too tired to sleep y’know? Neither are pleasant.

I wish I could tell you to see HUBBARD STREET DANCE perform OF JOY, but the run is over … was over before I had this review written. But some individual dances will be repeated, and additional ones performed, in the 47^th season. And just think: the 2027/28 season will be HUBBARD STREET DANCE’s 50^th, so there’s bound to be an extravaganza of dance that year!

VERY HIGHLY RECOMMENDED