Items filtered by date: November 2007

I would absolutely bomb out of jury selection cos I have a very definite bias: I’ve been a fan(atic) of Babes with Blades Theatre Company (BWBTC) forever – since their very first show in 1997. Favoritism notwithstanding, I try to always be scrupulously fair in my reviews, and it’s certainly fair to say THE S PARADOX blew my socks off! My companion was particularly impressed by the fighting, but that’s only to be expected from the Babes – BWBTC is all about women in arms telling the truth with precision and grace.

Playwright Jillian Leff ^she/her  has outdone herself; the script moves at a lightning pace yet leaves one thinking long afterward. THE S PARADOX won the 2019-2020 Joining Sword and Pen Playwriting Competition, and this production is the world premiere of the work. The script is very clever and often hilarious; all the characters are intriguing and believably portrayed.  But what the bloody hell is an S Paradox? It’s a real thing in statistics and, though I wander gormless through the world of statistics, I’ll take a stab at defining it. Simpson’s (S) Paradox is a phenomenon in which associations between two variables can change or even reverse direction when there’s an unrecognized factor that interacts strongly with both variables.

For example, take a study done in 1974 of the relationship between smoking and heart disease, which found just what you’d expect. However, recently the data were re-analyzed and found that, after 30 years more smokers (76%) were still alive than non-smokers (68%).

WhiskeyTangoFoxtrot? Does smoking prolong survival?? 

What confounded the data and produced the paradoxical finding is Simpson's Paradox – they failed to consider a third variable: age at the beginning of the study. Far more nonsmokers were over 64 – logical, because there simply aren't as many smokers who get that old – and naturally these older subjects died off sooner.  

Enough with the statistics already! let’s get back to the Babes. But the statistics are important cos THE S PARADOX is about time travel, where paradoxes abound and may have horrific unintended consequences.

Kayla Marie Klammer (she/her) and Elisabeth Del Toro (she/her) in THE S PARADOX

THE S PARADOX opens in a distant and (seemingly) utopian future: tax reforms have virtually eliminated poverty, healthcare is free, and guns are totally banned – the police are armed with (you guessed it) swords. Sounds good, yeah? Our hero is a young woman named Sloane, gorgeously played by Kayla Marie Klammer^she/her.  Through various machinations and interventions by Dez, the armorer, Sloane acquires a sword and is offered a sensational job with a shadowy government organization.

Dez is brought to exuberant life by Elisabeth Del Toro^she/her. I adored her! Funny and frolicsome, DelToro’s Dez sparkles with such droll enthusiasm that Sloane can’t resist her… and nor could I!

Sloane is pretty pumped about all this, but she gets a sharply unfavorable reaction from her partner Ava, who’s suspicious that the job looks too good to be true. More importantly, Ava is older than Sloane and remembers the times before the reforms; she wants no chance of returning to a world of guns! Cat Evans^they/she/him gives us an Ava who mounts these logical arguments but is primarily motivated by her love and concern for Sloane. This honey works better than the vinegar of logic, and Sloane agrees to return the sword.

All well and good, but she’s thwarted on numerous fronts: first, Dez is weirdly reluctant to accept the sword back. Weirder still, this woman who claims to be from the future appears and warns Sloane that she’s about to make a dreadful mistake … but disappears before she can explain herself. And who are these anonymous cloaked strangers following Sloane? Could something be happening in the future that is paradoxically non-utopian?

I can’t say more without grievous spoilers, but I do need to make a couple more introductions, as their characters will appear (and disappear and re-appear and disappear and re-re-appear and disappear again). William, the businessman who recruited Sloane, is brilliantly played by Steve Peebles ^he/him, who portrays him behaving ever more peculiar, fast approaching frankly creepy.

Sonja Lynn Mata^she/her/ella is a delightful Dez-of-the-future, a perfect sequel to her irrepressible younger self.  Mata portrays Dez as earnest and indefatigably persistent (mulish would not be far off the mark), particularly about this project she’s trying to conscript Sloane into. Thankfully, gravitas has not quelled the vivacity and ebullience of her youth, and Sloane finds her fully as engaging as before [me too!].

And for Sloane the elder, future Sloane – now simply called S – who else to cast but Maureen Yasko^she/her, Artistic Affiliate with BWBTC and stage combat maestro extraordinaire?  Yasko masterfully portrays S as a complex character, scored by grief and regret but preserving the passionate, indomitable woman of yesteryear deep within. She’s courageous, accepting without complaint the emotional pain of truth as well as the physical battering of the time leaps. And S never loses hope. Yasko manages to convey all this; admittedly with assistance from the stellar script, but these intangibles can’t be depicted by words alone.

Also brilliant were the four Nameless, the anonymous cloaked figures who inflict Sloane’s reality, and are still around to daunt the world of S: Tina-Kim Nguyen^she/her, Deanna Palmer^she/her, Jessica Pennachio^she/her, and Thomas Russell^he/they. All four of them were superb, but Russell’s performance was remarkable. Overall, the Nameless ensemble was suitably portentous and creepy.

The cast was uniformly splendid and, happily, their excellence was matched by the production team. Director Morgan Manasa ^she/her devised some amazing conceptual strategems; with Technical Director Line Bower ^they/them and Lighting Designer Laura J Wiley ^she/her, the time jumps were brilliantly accomplished; Wiley’s Light design was crucial during the many scenic transitions in time and space. Fight and Intimacy Director Samantha Kaufman ^she/her (and how fabulous is it that one woman directs both these seemingly antithetical functions?) had the finest material to work with in BWBTC, and she honed them to flawless precision. Scenic (Rose Johnson ^they/them) and Props (Evy Burch^they/she) Designers created a stage set that transformed seamlessly and believably. I loved how Costume Designer Rachel M Sypniewski ^she/her arranged Sloane’s and S’s hair! And LJ Luthringer’s^he/him Sound thrilled me: 1960’s bands Rolling Stones, Jefferson Airplane, The Shondells … be still my heart! Stage Manager Taylor Stageberg ^she/they brought it all together superbly (and I love that they credited their cat!).

That’s the lot, and a stellar lot they are. I expect no less from the Babes of course, but it’s always a happy surprise to see how brilliantly they deliver. Their mission is to speak for marginalized voices, with stage combat a consistent storytelling tool. Rare, and fabulous!  as is THE S PARADOX!

THE S PARADOX plays Thursdays – Sundays at Factory Theatre through May 18.

Highly recommended!

You got trouble, my friends, if you’re going to put on Meredith Willson’s The Music Man.

If you’re going to stage a show that’s been staged ten thousand times since its 1957 Broadway debut—from Hugh Jackman on the stage to Matthew Broderick on the screen to every doggone high school from Clear Lake to Mason City.

A show lovingly recreating an era (Willson was born in turn-of-the-century Iowa) and themes (Willson’s virtuosity on the piccolo found him playing in John Phillip Sousa’s band and Toscanini’s New York Philharmonic) that aren’t quite old enough to be ancient but aren’t familiar enough not to seem dated.

To try and recreate those songs.

“Trouble”

“Till There Was You”

“Seventy-Six Trombones”

To try and attempt to touch the hem of the salesman’s trousers worn by Robert Preston’s Professor Harold Hill—Preston not only originated Hill and played him for much of the original production’s 1,375-show run and the beloved 1962 Hollywood adaptation, he is Professor Harold Hill. Nobody—not any one of those ten thousand (or more) high school or professional actors, not even Hugh Jackman—can be the band instrument-peddling flim-flam man like Preston was and is and always will be.

My friends, if you’re going to attempt all of that… well, you’ve got trouble.

Unless you’re Katie Spelman, who is directing and choreographing Marriott Theatre’s current production of Meredith Willson’s The Music Man. Spelman’s production lovingly embraces and focuses on some aspects of Willson’s original, while avoiding the pitfalls such an iconic show presents. But what this production does best is it knows its strengths, and it leans into them, giving Spelman’s show its own unique flair.

We see the sort of Harold Hill we’re going to spend the evening with right away aboard the train from Rock Island. In most productions I’ve seen, me and the rest of the audience know the first scene’s big reveal, and our eyes remain glued to a particular passenger despite the cast’s best efforts at the syncopated opening number, “Rock Island.” But even though we spot KJ Hippensteel at the back of the train car, we don’t focus on him. Instead, we focus on the enthusiastic ensemble that everyone—Marriott’s in-the-round setup means it’s always the best seat in the house—sees up close and personal and from all angles. Ron E. Rains, all dolled up like a turn-of-the-country fellow, leads the charge, while his fellow passengers run through Spelman’s clockwork choreography. Right away, I was glad to see a familiar face, Michael Mahler, who brought the same charm to each role in this play as he has in many past.

After Hippensteel’s Professor Harold Hill disembarks from the train to River City, Iowa, this closeness and intimacy we felt aboard the train transfers right into town. This production doesn’t try to recreate River City on a Hollywood scale. But it really focuses on certain things and gives us a good, close look at them, which we might not have gotten on the Broadway stage or the silver screen.

The citizens of River City are each and every one unique. And, as they move around the round, allowing us to see each and every one of them, we appreciate the details of each of their costumes (by Raquel Adorno), we appreciate that each one is someone. Particularly charming are youngsters Emily Ann Brooks and Sam Linda, Janet Ulrich Brooks’ Widow Paroo, Elin Joy Seiler’s Amaryllis, Alex Goodrich’s Mayor Shinn, Melanie Loren’s hilarious Eulalie Mackecknie Shinn, and the spot-on barbershop harmonies of the school board quartet (Matt Edmonds, Quinn Rigg, Michael Potsic, and the afore-mentioned Mahler).

Besides the ensemble’s vocal strengths, the singer who really shines is Alexandra Silber as Marian Paroo, the town librarian. No shrinking violet, no old-maid-against-her-will, and not even Mrs. Partridge (although I do love Shirley Jones’ Marian the Librarian), Silber brings her Grammy-nominated vocals to the fore. This production’s brought Julie Andrews-caliber pipes to the party—Silber’s soprano as she sang of “My White Knight” gave me chills.

But while all of these strengths—the ensemble’s skill, the cast’s charm, the performers’ pipes, the theater’s—are recognized and utilized and add up to a unique and charming take on an old favorite, I’ve not yet addressed KJ Hippensteel as Professor Harold Hill. And that’s because, like the production itself, Hippensteel’s Hill reads the room and knows what the room needs, or he knows how to sell the room what the room thinks it needs.

Hippensteel’s Hill doesn’t try to go toe-to-toe with Preston’s over-the-top traveling salesman—he’d have failed like every other Hill since Preston caught his last train ride. But Hippensteel’s Hill knows his own strengths.

He’s city pretty and, while out of place in a place like River City, he’s a curiosity. He’s slippery, slinking around with an easy physicality that sometimes seems to be at twice the speed of the Iowans moving around him. And Hippensteel’s Hill seems like he might just be a nice enough fellow—while Preston’s Hill, played by an actor who up until then had usually played screen villains, is a bad guy you hope could see the light, Hippensteel’s Hill is a good guy who you hope can right the ship after some bad life choices.

But, because this is The Music Man, a show we music theater folks know and love, Hippensteel’s Hill does give us the flourishes, the hand gestures, the hops, the dips, all the pizazz we came into the theater expecting from the professor. However, Hippensteel does it on his own terms, as his own Harold Hill. Just like the entire charming and unique production of Meredith Willson’s The Music Man does, playing now through June 2 at the Marriott Theatre in Lincolnshire.

This year's Alvin Ailey American Dance Theater 65th-anniversary engagement at Chicago's historic Auditorium Theatre held particular importance as it marked the company's first season after Artistic Director Robert Battle's departure. Battle was only the third person to lead the company in its 65-year history, following Alvin Ailey and Judith Jamison. During this transitional period, Matthew Rushing is serving as Interim Artistic Director. Despite these changes, the program offered a dynamic evening of dance, featuring both iconic works and innovative new pieces.

The performance opened with a vibrant expression of grace, patience, and elegance in Ronald K. Brown's "Dancing Spirit."  A dancer gracefully moves through a sequence of elegant arm extensions while standing in a spotlight upstage. Soon, other dancers join in, echoing the movements with slight variations. The pulsating African-diasporic soundscape fueled the dancers, clad in tie-dyed blue and white dresses and separates. They moved with a reverent, almost ecstatic joy. "Dancing Spirit" served as a potent reminder of the company's deep connection to its African American heritage and as a homage to Artistic Director Emerita, Judith Jamison.  The exceptional cast of dancers, Hannah Alissa Richardson, Deidre Rogan, Coral Dolphin, Jacquelin Harris, Solomon Dumas, Christopher Taylor, Christopher R. Wilson, Michael Jackson Jr., and Xavier Mack brought the stage to life with their extraordinary performances.  Throughout the performance, glimpses of the opening are interwoven into the choreography, leading to a jubilant finale. The music selection, featuring compositions by Duke Ellington, Wynton Marsalis, Radiohead, and War coupled with the lighting design by Clifton Taylor provided a rich and dynamic backdrop that complemented the dancers' artistry and passion.

Alvin Ailey American Dance Theater in Kyle Abraham's Are You in Your Feelings

Kyle Abraham's "Are You in Your Feelings?" marked an emotional shift in the performance, presenting a sexually and emotionally charged piece that contrasted with the regal opening. The dancers, dressed in jewel tones of indigo, ruby, emerald, citrine, and amethyst by costumer Karen Young, explored themes of vulnerability and self-discovery, navigating the complexities of finding and losing love. Abraham's choreography emphasized nuanced gestures and emotional authenticity, with the dancers expressing a range of emotions, including longing, frustration, jealousy, contempt, same-sex and self-love. Their performances featured voguing duckwalks, fluid body waves, and other sensual movements. The narrative was supported by modern music choices, including Erykah Badu's soulful "I'll Call U Back" and Jhené Aiko's tender "While We're Young," as well as classics like The Flamingos' "I Only Have Eyes for You" and Shirley Brown’s “Woman to Woman” and contemporary tracks such as Kendrick Lamar's "LOVE”.  The featured dancers included Caroline T. Dartey, Solomon Dumas, Samantha Figgins, James Gilmer, Ashley Kaylynn Green, Michael Jackson, Jr., Renaldo Maurice, Ashley Mayeux, Corrin Rachelle Mitchell, Chalvar Monteiro, Miranda Quinn and Deidre Rogan. Ultimately, this introspective work offered a profound glimpse into the emotional complexities of the human experience.

The program culminated with the iconic "Revelations," a cornerstone of the Ailey repertoire. Divided into three sections, “Pilgrim of Sorrow”, “Take Me To The Water” and “Move, Members, Move”, each section represents different aspects and experiences in the African American Southern Baptist worship. From the prayers for salvation in “Didn’t My Lord Deliver Daniel”, the baptism in “Wade in the Water,"  and the congregate of members in “Rocka My Soul in the Bosom of Abraham “ each section resonated with emotional depth. The dancers delivered powerful performances, their bodies embodying the struggle, resilience, and spiritual fervor depicted in the music.

Ailey once said in an interview. “I’m interested in putting something on stage that will have a very wide appeal without being condescending; that will reach an audience and make it part of the dance; that will get everybody into the theater. If it’s art and entertainment—thank God, that’s what I want to be.”   

The audience erupted in a standing ovation, a testament to the enduring power of this groundbreaking work.  Ailey's choreography remains a potent portrayal of the African American experience, weaving spirituals, and gospel music into a moving journey.

While Artistic Director Robert Battle's absence will certainly be felt, the company will navigate this transitional period with grace. The program's curation, showcasing established masterpieces alongside contemporary voices, hints at the stability of the company.

Celebrating its 55th engagement at the Auditorium Theatre, the Ailey company's return held a special significance for Chicago audiences. The historic venue, with its ornate architecture and rich acoustics, provided the perfect backdrop for these powerful works. The palpable energy between dancers and audience offered a potent reminder of the transformative power of live dance and the importance of artistic expression, especially during times of transition.

As the curtain fell on "Revelations," one couldn't help but feel the joy of witnessing exceptional artistry and the hopeful anticipation of what the future holds for the Alvin Ailey American Dance Theater. This 65th anniversary program served as a poignant bridge between the company's rich legacy and the exciting possibilities that lie ahead.

Highly Recommended

When: Through Sunday

Where: Auditorium Theatre, 50 E. Ida B. Wells Drive

Running time: 2 hours, 25 minutes with two intermissions

Tickets: $40-$174 at 312-341-2300 and auditoriumtheatre.org

For the final show of its 30th anniversary season, Trap Door Theatre—the little company that could—has selected a sure-fire hit with a production of “Nana,” a play based on the 19th century melodrama about an actress and bordello courtesan, Nana, by French author Emile Zola.

Adapted for the stage by the late Olwen Wymark, and co-directed by choreographer Miguel Long and managing director Nicole Weisner, this reimagining of the original 2002 production at the tiny theater—tucked away behind a restaurant at 1655 W. Cortland—was flawless on opening night. It’s a cabaret style musical, and the premise of the story gives us a Parisian cabaret that doubles as a bordello, allowing occasions for song and dance that fit the storyline perfectly.

As the audience arrives, the actors are already in character, welcoming us as patrons of the establishment. At curtain time, the anticipation builds among onstage patrons—mostly emotionally overwrought, palavering males—all hoping for a glance of recognition from Nana when she arrives.

After this artful build-up, which heightens the expectation of the audience as well, drapes are snapped opened for the big reveal: Nana (Maryam Abdi is miraculous) emerges on a swing as a vision of Venus—long blonde tresses, and a gossamer robe opened to barely cover her breasts, minimally hidden by glittery clamshell pasties. It’s all very nineteenth century, and the men fit exactly in our expectations of swooning romantic gestures salted with salacious innuendo.

Amber Washington in "Nana"at Trap Door Theatre through May 19. 

We also meet the coterie of sophisticated ladies in orbit around Nana. There is Sabine (Amber Washington) just too too, all wrapped in a gorgeous gown and chapeau, waving a cigarette holder while delivering bon mots and pithy observations. And her dresser Zoe (Emily Lotspeich), who carefully manages the arrivals of suitors, parceling them out to every room until Nana’s apartment is filled. And Satin (Emily Nicholson), Nana’s BFF and occupying the same role, just at a lower echelon than our diva.
The song and dance numbers were quite good, and flawlessly performed.

Dan Cobbler, Emily Nichelson, and Emily Lotspeich in "Nana" at Trap Door Theatre through May 18, 2024.

Always in need of cash, Nana is pursued by a chorus of snarling creditors, who snarl in unison, to powerful effect on stage.Yet there is a substantial core to Zola's story: Nana, as she rises in stature as the object of desire for wealthy men, extorts them in their ardor, then walks all over them when their funds are depleted. She does this with greater rapidity, yet their generosity never falters. For example, Steiner (David Lovejoy is terrific) has given her a country retreat amid a high society and royal enclave, yethe never receives thanks or very much of Nana’s attention, who only escalates her demands for cash and orders this paramour to surrender his own key to the house he bought for Nana.

Indeed, Nana plays all her many suitors to the limit, relenting only enough when she senses she has pushed too far, an incredibly adept dominatrix.

Yet amid all this, Nana has a private life, and we learn where her earnings go. She retains her maiden aunt (Tia Pinson is the essence of propriety) to care for her infant. And she also has a significant other, Fanton (Caleb Lee Jenkins is the playful, yet mercenary scoundrel). We soon see that Fanton does to Nana what she does to her suitors, though far worse, as he is also physically abusive.

Nana, whose reputation has preceded her, is rejected by the "polite" society around her country home, though local suitors visit surreptitiously. And ultimately, Nana  meets her fated downfall in full expression of melodramatic justice. 

Costumes (Rachel Sypniewski) are spectacular, as are wids (Igor Shashkin) and make-up (Zsofia Otvos). Most amazing in this Trap Door Theatre production is the performance of Maryam Abdi as Nana. Abdi dominates her suitors, and the stage. She is fully in the role, inhabiting Nana’s character in a star-is-born delivery that would fit comfortably in an Off-Broadway, or even Broadway. So too for the entire cast. The Trap Door Theatre has outdone itself with “Nana,” a jewel in its 30th season celebration. “Nana” runs through May 19 at Trap Door Theatre, 1655 W. Cortland St. in Chicago.

*Extended through May 25th

Chicago Writers' Bloc has announced the lineup of plays and musicals for its biennial festival of new plays, to be held this year from May 5 to 19 at Theater Wit, 1229 W. Belmont Ave., Chicago. The 2024 festival will feature five new plays and five new musicals from 14 local Chicago playwrights, lyricists, and composers. This year's roster of writers includes John S. Green (Jeff winner and Pulitzer nominated for THE LIQUID MOON), Chloe Bolan (O'Neill semi-finalist for LOVE IN THE TIME OF DEMENTIA), and Joanne Koch (National Nantucket Short Play Competition winner for STARDUST). The works to be performed as staged readings will cover genres from comedies and dramas to documentary theatre, and subject matter that ranges from history to current events, and fantasy to reality.

The 2024 New Plays Festival will launch on Sunday, May 5 with a 7:30 pm benefit including a reception and an 8:00 pm performance of the musical HEARTS IN THE WOOD, with book by Joanne Koch, and music and lyrics by Jim Lucas. Lively bluegrass tunes and moving country ballads. weave through the story of a once popular West Virginia folk singer who decides to try for a comeback in Chicago when he discovers he has a grown granddaughter. The proceeds from the benefit will go toward continuing Chicago Writers' Bloc's mission to develop and present new plays and musicals from Chicago area writers. Over the past 32 years, the organization has helped launch many new plays and musicals. Many produced works have gone on to win national and international prizes with productions locally and around the country.

In addition to HEARTS IN THE WOOD, the festival will include four additional new musicals including HELL IS CANCELLED (by Wencke Braathen with music by Gerald H. Bailey), DRIVING THE DREAM (by Chloe Bolan with music by Gerald H. Bailey), DREAM CITY (Book and Lyrics by June Finfer, Music and Lyrics by Elizabeth Doyle), and "Merry Widows, The Musical" (Book by Joanne Koch and Diane Dorsey, Lyrics by Francesca Peppiatt, Music by Ilya Levinson).  Plays will include two documentary dramas about Venezuelan refugees by former CHICAGO TRIBUNE feature writer Fran Zell, John S. Green's REMEMBER ME, about a Nigerian American veteran from the war in Afghanistan, Nic Hamel's NO KIND OF HERO (about French philosophy professor Simone Weil pictured here, who fought fascism in the 1930s), and THE DECONSTRUCTION OF A HONKY, written by Blake Levinson.

LISTING INFORMATION
 
CHICAGO WRITERS' BLOC 2024 NEW PLAYS FESTIVAL
May 5 – 19, 2024
Theater Wit, 1229 W. Belmont Ave.
www.theaterwit.org
Sunday – Wednesday, May 5 – 8
Sunday – Tuesday, May 12 – 14
Sunday, May 19
All performances at 7:30 pm
Further Information at https://writersblocfest.org/2024-play-festival
Tickets $25.00 for opening night benefit May 5. $20.00 all other evenings
Tickets available now at https://www.theaterwit.org/tickets/productions/box_office/#coming_soon
 
Staged readings of ten new works by Chicago writers. The festival features five new musicals and five new plays from 14 local Chicago playwrights, lyricists, and composers; including John S. Green (Jeff winner and Pulitzer nominated, THE LIQUID MOON), Chloe Bolan (O'Neill semi-finalist, LOVE IN THE TIME OF DEMENTIA), Joanne Koch (National Nantucket Short Play Competition winner for STARDUST), and former Chicago Tribune feature writer Fran Zell. The works to be performed as staged readings will cover genres from comedies and dramas to documentary theatre, and subject matter that ranges from history to current events, and fantasy to reality.
 
SCHEDULE AND SYNOPSES
May 5 benefit performance at 8:00 pm, all other performances at 7:30 pm
 
Sunday, May 5 HEARTS IN THE WOOD. Book by Joanne Koch, and music and lyrics by Jim Lucas.
 
A West Virginia dulcimer maker and once popular folksinger discovers he has an adult granddaughter and decides to reconnect with life. His newfound granddaughter prompts him to bring his regional music to Chicago. Grandfather and granddaughter find unexpected romances and finally get past their differences, united by bonds of love and their special musical heritage.
 
Monday, May 6. HELL IS CANCELED. Book and Lyrics by Wencke Braathen, Music by Gerald H. Bailey 
 
Archangel Michael lands in Hell and announces to Lucifer that God has decided that this department is defunct and will be liquidated. Michael gets stuck in Hell with Lucifer and a lost soul while Hell disintegrates. Archangel Raphael causes problems from above, and Katie and Kevin save the day by sending new feathers to Lucifer's wings.
 
Tuesday, May 7. DREAM CITY. Book and Lyrics by June Finfer, Music and Lyrics by Elizabeth Doyle
 
The musical story of Chicago in a Gilded Age not unlike today, when immigrants, women, and minorities fight for inclusion in an economy controlled by the wealthy. The 1893 Chicago Columbian Exposition World's Fair seemed to offer all Chicagoans opportunities for participation, visibility, and jobs, from the architects who designed it to the workers who built it.

Wednesday, May 8. REMEMBER ME. Written by John S. Green.
 
The story of Jake, a second-generation Nigerian American who joined the army to prove that he was a "real American." When he returns from fighting in Afghanistan, he reaches out to his acting teacher, Earl, seeking comfort, sanity and a chance to rekindle his broken dreams. They work together to conquer their own personal demons and perform Hamlet.
 
Sunday, May 12. DRIVING THE DREAM,  Book and Lyrics by Chloe Bolan, Music by Gerald H. Bailey.
 
A musical bioplay on the life of Bertha Benz, the woman who drove the first motorwagen farther than anyone before her and so introduced the world to the age of the automobile. She might seem like a conservative hausfrau, but her rebellion at three different times in her life testify to her strong instincts, her indomitable courage, and her belief in a dream she and her husband shared. 
 
Monday, May 13. "How I Learned to Stop Worrying and Love the Venezuelans" / "My Name is Renny Edward Milano Salgado," both written by Fran Zell.
 
Two timely one-act documentary theatre pieces about asylum seekers will be presented. "How I Learned to Stop Worrying and Love the Venezuelans" is based on the playwright's experiences volunteering with asylum seekers in Chicago. "My Name is Renny Edward Milano Salgado" recounts one asylum seeker's journey, a story of loss, grief, mortal danger, and always, hope.
 
Tuesday, May 14. NO KIND OF HERO, written by Nic Hamel.
 
Amidst the growing threat of fascism in the 1930's, the young French philosophy professor Simone Weil struggles against the oppression she witnesses all around her. Caught between practical limitations and an unrelenting idealism, Simone's choices are both absurd and inspiring as she seeks to embody hope and heroism in an increasingly chaotic world.
 
Sunday, May 19 at 7:30 PM. Double-bill of "Merry Widows, the Musical," Book by Joanne Koch and Diane Dorsey, Lyrics by Francesca Peppiatt, Music by Ilya Levinson, Directed by Joan Mazzonelli;  and "The Deconstruction of a Honky" written by Blake Levinson.
 
In "Merry Widows, The Musical," women and men gather together in grief groups to help each other grieve. Only our grief group doesn't just talk about their profound losses. They, along with their empathic leader, use the magic of music and some gentle humor to go beyond their sorrow and bring themselves to reconnect with a new life. With 14 million widows and widowers in the U.S. today, and thousands of these grief groups, the creative team thought it was about time to offer something more than a fluffy operetta. 

In "The Deconstruction of a Honky," emerging white playwright Sam meets with DD, his influential Black director-dramaturg prior to the staged reading of his socially conscious play on racism. Their discussion takes a charged turn when she begins to question the authenticity of his Black characters. Tensions heighten as DD turns the spotlight on Sam's indomitably liberal character and exposes a shocking secret.
 
BIOS
 
Joanne Koch has had many of her eighteen plays and musicals toured to universities and produced in theaters around the country, including SOUL SISTERS, STARDUST, SOPHIE, TOTIE & BELLE and SAFE HARBOR. Joanne and Jim Lucas received an Illinois Arts Council grant for the original development of HEARTS IN THE WOOD. Through her work over the years as president of the Chicago Writers' Bloc, Joanne Koch has helped to bring over one hundred new plays to audiences in Chicago, with many of these new plays going on to other productions and publications.
 
Jim Lucas is a singer-songwriter who is a graduate of Hope College (B.A.), Indiana University (M.M.), and the University of Iowa (D.M.A.). He is Professor Emeritus of Music at Northeastern Illinois University, where he taught music for many years. While HEARTS IN THE WOOD is his only full-length musical, he has written many compositions for vocal and instrumental ensembles.
 
Wencke Braathen writes about relationships across dimensions. You'll find gods, angels, humans and ghosts in her work, and discover how they all influence each other's development. She delivers her controversial viewpoints unabashed, and challenges old dogmas and preconceptions wrapped in humor and entertainment and asks her audience to laugh with her.
 
Gerald H. Bailey In addition to his work on HELL IS CANCELED and DRIVING THE DREAM, Mr. Bailey has written music for COURTING, THE ENCHANTED ISLAND, and THE LEGEND OF KING ARTHUR, among others. Mr. Bailey is a proud member of The Dramatists Guild.
 
June Finfer has written plays and musicals and documentary films. Her plays, THE GLASS HOUSE and COUPLES THERAPY, were produced in New York at the Harold Clurman Theatre. Tonight's musical, DREAM CITY, is a rewrite of BURNHAM'S DREAM: THE WHITE CITY, which was produced at Theatre Wit in 2018 by Lost and Found Productions.
 
Elizabeth Doyle is an award-winning Chicago artist in demand for concerts and events. She is the composer of several theatre musicals, among them FAT TUESDAY, DUO, and BURNHAM'S DREAM, which have been mounted at prestigious locations such as Steppenwolf Theatre and Theater Wit.
 
John S. Green's play, THE LIQUID MOON, won Chicago's Jeff and After Dark Awards for Best New Work. It was subsequently nominated for a Pulitzer and published in New Plays Chicago. His play, TWILIGHT SERENADE, was published by Dramatic Publishing. His short story, "The Me Zone," won the Leon Forrest Prose Award and was published by Chicago Quarterly. 
 
Chloe Bolan recently had her O'Neill semi-finalist play, "Love in the Time of Dementia" stage-read for a Perennial fundraiser August 2023 and in Her Story Theatre's Women's Writers Festival in June 2023. She has received grants from the Illinois Arts Council ("Heart of Chac") and Target ("M. Kiki") besides a fellowship from Dale Wasserman's Midwest Playwrights ("Egg") sponsored by the University of Wisconsin.
 
Fran Zell is an award-winning playwright and fiction writer whose plays have appeared in festivals in Chicago and New York. Her book, THE MARCY STORIES, won the Banta Award for literary achievement from the Wisconsin Library Association. She is a former feature writer for the Chicago Tribune.
 
Nic Hamel is an actor turned playwright and the current artistic director of Chicago Writers' Bloc. A staged reading of his solo documentary play, TURKEY BOYS, was presented by the Writers' Bloc in 2016. In addition to artistic pursuits, Dr. Hamel is a scholar of theatre, performance, and disability studies with a specialty in theatre and intellectual disability.
 
Diane Dorsey is a Chicago actress/writer/director/coach and Meisner teacher who many years ago wrote a solo show called "Kaleidoscope." Today she thanks the creative team of "Merry Widows, The Musical" for inviting her to collaborate on the Book. And dedicates it to her husband Danny Goldring.
 
Francesca Peppiatt is a speaker, teacher, writer and performer. She wrote the book for the new musical "Golden" and book and lyrics for "Treasure Island." Francesca is an actor and Emmy nominated writer with 5 published books plus multiple produced non-musical plays. 
 
Ilya Levinson is Assistant Professor at the Music Department of Columbia College Chicago and Music Director and Co-Founder of the New Budapest Orpheum Society, an ensemble-in-residence at The University of Chicago. Levinson has composed four operas, four musicals, various symphonic and chamber music, film scores and original music for theatre productions.
 
Joan Mazzonelli has produced, directed, and designed for the theater in Chicago, Los Angeles and New York City. She has written "Border Crossing," a short play, with Marianne Kallen; the musicals REASONABLE TERMS with Marianne Kallen and Karena Mendoza; BOTTOM'S DREAM with James L. Kurtz, an adaptation of ALL IN THE LAUNDRY by Fred Rogers of MR. ROGERS NEIGHBORHOOD; and the operas HIGH FIDELITY and THE PROPOSAL with Philip Seward.
 
ABOUT CHICAGO WRITERS' BLOC
Chicago Writers' Bloc is a play development group that focuses on presenting new plays developed in monthly sessions and regular new play festivals. Led by Joanne Koch, a widely produced playwright and noted Emeritus Director of the National Louis University Master's in Written Communication Program, the not-for-profit 501 (c ) (3) Writers' Bloc has brought over 250 new plays and musicals to Chicago area audiences, supported in part by grants and by festival attendees and contributors. Many of these plays have gone on to win national and international prizes with productions locally and around the country, including Midwest, East Coast, West Coast, off-Broadway and in publications.

If you appreciate classical music and captivating stories about brilliant artists from the past, Hershey Felder’s one-man show, Monsieur Chopin: A Play with Music, is an absolute delight. Felder, an accomplished pianist and composer, has previously wowed audiences with his portrayals of the magnificent music and talents of Irving Berlin and George Gershwin. Now, he turns his attention to the prodigious Polish composer, Fryderyk Chopin, and the result is equally compelling.

Set in post-revolutionary Paris in 1848, Monsieur Chopin runs for an uninterrupted hour and forty minutes. It seamlessly blends theater and concert, with Felder embodying Chopin as he shares personal stories and insights. The audience is transported into Chopin’s salon, where we become students listening to his rehearsals and teachings. Throughout the performance, Felder, still in character, engages in question-and-answer sessions as Chopin, creating an immersive experience that makes theatergoers feel like they are truly in the presence of the master composer.

The staging of the play is elegantly simple, yet haunting. A beautiful grand piano graces the stage accompanied by two candlelit salon tables. The backdrop features projections and archival video from the period, some of which were specially created for this production.

Felder’s talents are commendable. While many actors could portray Chopin or write a script about a famous musician, none can simultaneously play Chopin’s music with the same skill and authenticity as Felder. Conversely, although there may be numerous pianists capable of performing Chopin’s compositions for an hour and a half, none could inhabit the role of Chopin with the emotional depth and believability that Felder achieves.

In the captivating play about Chopin’s life, I discovered several intriguing and often tragic facts that were previously unknown to me, despite him being one of my favorite composers. For instance, Chopin’s renowned ‘Piano Sonata No. 2,’ commonly referred to as the “Funeral March,” was actually composed in response to the death of his younger sister, Emilia. This haunting piece has since become synonymous with funeral music worldwide.

Another revelation was Chopin’s deep affection for the brilliant French novelist George Sand. In the play, Chopin affectionately calls her ‘Madame’ and reveals that she was the true love of his life. Sand’s devotion to him and his music was so profound that she would recline on a chaise lounge directly beneath his piano, allowing her to experience the melodies ‘directly from his heart.’

Furthermore, I learned that Chopin’s musical journey began at an astonishingly young age—he made his debut as a pianist at just seven years old, showcasing his enormous talent. However, as he gained prominence, he grew disillusioned with public performances. Initial reviews criticized him for playing too softly, but the truth was that the enthusiastic upper-class audience drowned out his delicate playing with their chatter.

Monsieur Chopin weaves together many captivating stories, including the tragic childhood loss of his sister, the complexities of his love life, the challenges of safeguarding the women in his life across international borders, and his relentless battle with chronic illness. Sadly, Chopin’s untimely death at the age of 39 resulted from untreated health issues exacerbated by financial struggles. Despite his genius, he struggled to receive proper compensation for his work.

During my interaction with Chopin, I posed the question about the happiness he experienced in his life and whether there was a time when he felt successful and recognized as a genius.

Regrettably, as was often the case, Chopin responded with a resounding ‘No.’ He recounted how, after an initial reception that hailed him as a great talent, he faced subsequent criticism from critics. In response, he shifted away from live performances and instead focused on teaching music—a domain in which he excelled.

Allow me to wholeheartedly recommend this thoughtful, moving, and exhilarating musical theater piece to audiences of all ages. Hershey Felder has once again crafted a historically accurate and captivating portrayal of a brilliant genius brought to life. Throughout the performance, Felder’s intense portrayal, coupled with his remarkable pianistic skill, left the audience yearning for more of his exquisite piano playing.

Monsieur Chopin: A Play with Music, skillfully directed by Joel Zwick, is currently being staged at Writers Theatre until May 12th. For tickets and additional show information, please visit the official website.

Highly recommended.

The Player (Lorenze Rush Jr) has just run into Rosencrantz and Guildenstern with his troupe of players. As he explains how the players operate, he announces:

“Every exit is an entrance someplace else.”

As soon as he recites the line, his troupe jumps into action. They move with quickness as they prepare the stage to put on a show for Rosencrantz and Guildenstern – the willing audience they happened to run into on their travels. The line offers an opportunity to perform, and they are excited to take it. The ensemble is strong – particularly in their physical comedy, and they heighten the moment with ease.

On another level, The Player’s line offers the perfect backdrop for the play. Rosencrantz and Guildenstern find themselves at the top of the show unable to remember anything – including where they are or why. As the play moves forward, the anxiety only increases, and it’s clear that the Player’s line rings true. Every turn of events offers another possibility, and it’s unclear where the duo’s story will end.  

(left to right) Lorenzo Rush, Jr., Rob Lindley, Nate Burger, Erik Hellman.

Written by Tom Stoppard, the play follows Rosencrantz (Nate Burger) and Guildenstern (Erik Hellman) – the famous duo from William Shakespeare’s Hamlet. We catch a glimpse into what the two friends were navigating in the midst of Hamlet’s crisis – before, after, and during their visit with the Danish prince. As they battle questions of identity, loss, and fate, they meet the Players – the very same troupe that puts on the play in Shakespeare’s tragedy, exposing King Claudius as the murderer of Hamlet’s father. As Rosencrantz and Guildenstern struggle to put the pieces of their story together, they start to get at the root of what it even means to be alive. Burger and Hellman drive the play with spot-on comedic timing, as well as a chemistry that is exciting (and at times heartbreaking) to watch unfold.

Directed skillfully by Charles Newell, the production is fast-paced, and offers a deconstructed adaptation of Stoppard’s piece. If you are anything like this writer and familiar with Stoppard’s play, you may find the approach almost shocking at first. The adaptation is certainly different, and much is cut away to allow this more nuanced view of Rosencrantz and Guildenstern’s journey. However, upon finding your bearings, you may also discover that the approach immediately thrusts the audience into the chaos of what the duo is feeling as they navigate their story. As the piece quickly jumps through space and time, you may find that the approach almost creates an immersive experience for all witnessing.

Newell’s artistic team leans into the theatricality of the play – particularly in the scenic and lighting design. Scenic Designer John Culbert takes advantage of the vast openness of the stage itself. The furniture primarily includes benches that move about as needed, and the emptiness allows full view of the back wall that clearly states, “Court Theatre.” The story focuses heavily on the group of players, and exposing the stage in this way allows that meta story element to fully take form. Lighting Designer Keith Parham utilizes shadows, playing into the eerie, almost frightening themes of the play – especially those that offer questions around death and existence. 

You might find that the striking design allows for the surprises of the script to hit even harder – starting with the entrance of the players. At the beginning of the play, we meet Rosencrantz and Guildenstern almost at the foot of the stage – with a big red curtain draped behind them. As they start to hear whispers of others in the space, we see large shadows take form on the curtain. The darkness aids in this moment, and we can feel the duo’s fear as they search around, wondering what might attack them. Then, all of a sudden, the red curtain drops to the ground with a bang – shocking the audience with the reveal of the Players backlit in silhouettes. The gesture at this particular performance was met with a mix of gasps and applause as folks overcame the shock and absorbed the staging before them.

Stoppard’s play has been around since 1966, but you might find that Charles Newell brings a fresh take that even leaves long-time fans wondering what twist or turn may happen next. Along with a standout cast and stunning design, Court Theatre’s Rosencrantz and Guildenstern are Dead is one to remember.

RECOMMENDED

Running through April 28, 2024 at Court Theatre – 5535 S. Ellis Avenue.

Those were my first words when I left the performance of COCK to David Zak, producer and resident wizard of Open Space Arts, and he dared me to say it in my review so—here you go, DZ!

But COCK truly is. F***king amazing, I mean. Really.

I’ll introduce the venue first: Open Space Arts (OSA) is ‘dedicated to combating homophobia and antisemitism through the transformative power of creativity and cultural expression’. Nothing to argue with there! OSA Theatre is the quintessential Chicago ‘black box theatre’, and one of the smallest I’ve attended: only about 20 seats, with a stage about the size of my living room (which is pretty bloody small!) … plus, right smack in the center of the stage is this big ol’ vertical drainpipe. I always love seeing how companies work with and around the oddities and idiosyncrasies of their space, and Director Wren Wesner did a singularly splendid job with COCK.

The script: written (or premiered, anyway) in 2008 by British playwright Mike Bartlett, this is the Chicago debut. There are four characters: John (Eliot Hall), his long-time lover M (Kevin Woodrow), M’s father F (Michael Lomenick), and a woman John connects with, W (Sonya Robinson) [Obviously Man, Woman, and Father].  

And the story: John comes home to M after two weeks silent absence. The first act is John and M’s discussion of his absence and the past, present, and future of their relationship, where we establish that John has spent those two weeks with W, a woman he met passing on the street (albeit not a streetwalker) and very rapidly grew very attached to. John and M’s tête-à-tête culminates with John promising M he’ll break it off with W.

But the minute he’s away from M John starts vacillating … who is he anyway? What is he? Is he gay? he’s only ever had sex with men, but this woman is so attractive, and her ‘gap’ (we hear many appellations for this female characteristic, most of them from M and most of them unattractive) … did you get lost there? Sorry. I’m talking about John’s impression of W’s gap (she says that while John gets a hard on, she gets a gap-on) which, much to his surprise—and to ours, particularly having heard M’s singularly negative view — (not to mention our pre-conceived assumption of gay mens’ associations thereof) is a singularly positive impression.  [thank Someone for periods—the punctuation kind, not the gap kind—else that sentence might still be driveling on].

I’m not doing a very coherent job of this, am I? but that’s OK, cos this somewhat chaotic narrative is not inconsistent with the flavor of COCK – not that COCK is incoherent, and it’s certainly not drivel! but it did follow a circuitous course, with Bartlett leaving to us the responsibility of making sense of it all. Because that is just what John finds himself unable to do. Like a fundamentalist Christian, he’s desperately seeking a synopsis, a definitive sobriquet, a Revelation that will define What’s What—and thereby What’s Right and What’s Wrong. What a terrific query for election year 2024! How did Mike Bartlett know we’d need this right now? Luckily David Zak and co-producer Elayne LeTraunik did know, and they brought it to life at OSA to assist us in figuring out WTF is What with American democracy!

But I digress (no surprise there). Back to COCK.

The title is provocative; shouldn’t it be COCK & GAP? But no, the title refers to John’s confusion as to where said cock feels most at home. Some Brit producers called it COCKFIGHT—not inappropriate.

John certainly seems to be gay:  he’s had none but male sex partners all his life, his relationship with M is long-term and committed, he’s never felt any attraction to womankind … until W. So just what is John? Bi? [Though for him it’s more like Gay+1.] Naturally John has thought about What He’s Missing: having kids, belonging to the mainstream community, living a “normal” life … and so on and so forth, you know the drill.

Solution: Invite W to a dinner party where, over roast beef and red wine John will… will what? By the time it actually happens he’s promised both M and W that he will give the others their marching orders. Then the situation is further snarled by M announcing he’s invited his dad for moral support. F brings a surfeit of additional issues as well as additional attitudes to the issues already under review.

So, the story boils down to John making a Decision … does he stick with the gay relationship he knows, the man he loves, and a place that’s at least familiar, or will he choose a ‘normal’, mainstream life with this woman he can’t stop craving? Choose, John! Make a decision!

But wait! This decision is about an issue that they—we!—fervently believe is not a decision but an inborn trait! Decades of blood sweat and tears by LGBTQ activists, mental health professionals, religious leaders, and politicians has finally brought us to the widespread understanding that homosexuality (like heterosexuality) is not a choice, it’s a predilection that everyone is born with and that nobody can just change. So, in asking John to Decide, what happens to that issue? Do we bring back the conversion therapies, restore homosexuality to the DSM, return Anita Bryant to her pulpit, fire all the gay teachers and court-martial the gay soldiers? All just so John can decide where to put his cock?

The acting is extraordinary, beginning with Eliot Hall, who brings authenticity to and elicits sympathy for John’s emotional turmoil. Hall makes us see that John is not just a wishy-washy waffler; he’s genuinely torn, flummoxed by a question he never imagined he’d be obliged to answer … after all, no one should!  He projects intense chemistry with both M and W, spotlighting the degree of his conundrum.

Hall’s admirable performance is more than matched by Kevin Woodrow. M’s bewilderment is fully as unsettling as John’s, with the additional distress of total helplessness. There’s nothing M can do to resolve the situation, or even to influence it; he can only wait until John acts. And bake cheesecake. Woodrow illuminates this ferment, while never letting us (or John!) forget that John is the love of his life.  Woodrow also has terrific comedic sense. The entire script is full of wonderful metaphors, which Woodrow delivers flawlessly, bringing down the house with: “There’s so much emotional crap that orbits you, like you’re collecting space junk.” 

Sonya Robinson is a worthy foil – her performance illustrates the unenviable position W is in: unintentionally, reluctantly, involuntarily, she has fallen in love with this stranger, only to find she must fight for him in a battle she is personally disinclined for. W offers John both passion and compassion. My initial, natural proclivity was to root for M (anyone surprised by this hasn’t been reading my reviews), but Robinson made me understand her better and, if not favor her cause, at least appreciate what John saw in her. And, just BTW, she is NOT mannish!

F is in the action for only a fraction of the 90-minute run, but Michael Lomenick makes the most of that time. Lomenick reads through the script to his unwavering love for his son, both his sons. F brings us an historical aspect; he remembers the times of persecution and prison and as a father is relieved that his sons need not face this oppression.

My companion is new to Chicago theatre, especially the storefront sites; afterwards he told me he had assumed that such a small theatre would mount a “small” production. I laughed and told him, “This is Chicago, cher. There’s fully as much talent in the storefronts as at Goodman or Nederlander”, and he couldn’t but agree, particularly regarding the acting. I expect high-quality acting in the black boxes, but Lomenick, Robinson, Woodrow, and Hall [sounds like the name of a law firm innit?] sailed over even that high-placed bar.

Justin Walker managed the lighting, collaborating with Sound director Angela Joy Baldasare to signal scene changes with light and sound. Director Wren Wesner, with Teri Talo as Assistant, did a totally brilliant job with blocking; the physical space afforded them no other manner of defining scenes, and their magic let us clearly see the apartment: from the foyer, through the living room and back to the outdoor deck, as well as illustrating fluctuating moods and relationships. Talo was also Assistant to Stage Manager Desiree Stypinski; together they maintained the scaffolding for a magnificent production.

I must give a shoutout to Intimacy Coordinator Greta Zandstra: the sex was hot as hell, without a stitch of clothing shed or a single physical touch. Bravo! Masterfully done!

COCK is totally hilarious, and none of the humor is too British for us colonials. But the story is ultimately a tragedy, for John is facing the impossible; deciding whose heart he will break—including his own. No spoilers! but it’s a devilishly difficult situation, innit? and a theme with emotional, societal, political, and personal ramifications. I’ll be thinking about COCK for a long time.

And today I’m HIGHLY RECOMMENDING it!

COCK plays through May 11th at Open Space Arts

If you’re a magic enthusiast, Joshua Jay’s captivating new show, Look Closer, is currently enchanting audiences at the Rhapsody Theater. But even if you’re not a seasoned magic fan, this show promises to leave you spellbound. Joshua Jay, the Society of Magicians’ 2020 Magician of the Year, has recently concluded a successful New York City run that commenced at the illustrious Carnegie Hall.

Look Closer with Joshua Jay weaves together engaging storytelling, comedy, and, of course, astonishing magic. From parlor tricks to sleight of hand, each illusion surpasses the last in sheer amazement. In this latest production, Jay defies convention by turning the concept of misdirection on its head. Unlike most magic shows where the magician skillfully diverts attention, Look Closer invites the audience to scrutinize every detail. As you focus intently, the very shapes of the tricks seem to metamorphose. It’s a mesmerizing experience that challenges the norm.

The Rhapsody Theater, renowned for hosting popular magic performances since 2020, provides the perfect backdrop for this magical journey. And that’s not all—after his regular shows on Thursdays, Fridays, and Saturday matinees, Joshua Jay treats VIP ticket holders to an intimate close-up magic show for up to 16 people. If you’re not a VIP, don’t worry—you can enhance your experience by adding on this exclusive event for just $20, complete with a complimentary drink ticket.

“This show goes against everything magicians have touted for centuries,” says Jay. “Instead of misdirecting your attention, I encourage you to look closer. I want you to see my favorite thing about magic, the beautiful details, that are only noticed when viewed through the layers of deception, the mysteries embedded within the mysteries. Each piece has been carefully crafted so that the more you think about it, the more the shape of the trick changes.” Prepare to be amazed!

Filled with mind-boggling tricks and illusions, Jay, who has been featured on The Tonight Show with Jimmy Fallon and The Late Show with James Corden, also uses his humor to perfection, whether scripted or off the cuff, especially during audience participation. Jay keeps busy outside of performing live. He has also authored several books on magic and has created illusions for big hit shows such as Boardwalk Empire and Game of Thrones. But, as he explained in his show, many of these accomplishments may never have happened. Jay’s career in magic was almost cut short when an accident shattered his left wrist just as he was preparing to attempt to beat the Guinness World Record for Most Selected Cards Found from a Shuffled Deck in One Minute. The injury was so bad he was told he might have limited use of that hand – and as a magician one can only imagine the devastation of receiving such news. But he didn’t succumb to defeat. Instead, Jay worked passionately through physical therapy and regained his dexterity back withing three years. However, the feeling in his pinky and ring finger had not returned, which, he further expounded, makes sleight of hand magic extremely difficult to master. But, he persevered and the feeling eventually did come back and fortunately for Jay, and fans of magic, he returned to top form and not only continued his path in becoming one of the best magicians in the scene, but he eventually did become the Guinness World Record holder for Most Selected Cards Found from a Shuffled Deck in One Minute.      

Look Closer is a must see that will undoubtedly baffle and entertain crowds of all ages.  Jay’s new show not only gets a positive reaction from theatergoers – and yours truly, but the show also gets praise from fellow magician, Ricardo Rosenkranz, MD, a resident performer at Rhapsody. Rosencranz says about Jay, “Josh’s original run of Look Closer, which Rhapsody Theater produced last year, was a unique and fresh take on what a magic show can be. We are thrilled to have Josh back for an updated version of this show that subverts audience expectations while leaving them in utter disbelief. With our intimate performance space, and state of the art technology, the Rhapsody Theater is the perfect venue for audiences to Look Closer at Josh’s mind-bending tricks.”

Plan to be wowed as Jay takes you on a journey beyond the ordinary.

Look Closer with Joshua Jay will grace The Rhapsody Theater stage from April 4 to April 28. Showtimes are as follows:

• Thursdays: 7:30 PM
• Fridays: 7:30 PM
• Saturdays: 2:00 PM, 7:30 PM, and 9:30 PM

The entire experience lasts approximately 75 minutes, with no intermission. Don't miss this captivating performance!

Highly recommended.

Sometimes you wanna go where everybody knows your name. Sometimes you want to be surrounded by people to experience the intimacy of being in public. Lately the types of places where someone could venture to for either experience are dwindling in numbers. It's the loss of third places, a place that is neither your home nor your workplace, but a location to go and experience community. Covid has changed many things but one endearing and lasting desire is for a third place to go for a friendly chat, a drink, or simply to be with people and listen to an incredible soundtrack with original and unique renditions of your favorite songs. There is no better show in Chicago that captures the beauty of the humanities and the need to preserve third spaces more than The Choir of Man, now playing at the Apollo Theatre.

Welcome to The Jungle, we've got fun and heart! The Choir of Man is an uplifting celebration of community and friendship where everyone is welcome. Set in the best pub in the world, a cast of nine (extra)ordinary guys combine hair raising harmonies, foot stomping singalongs, world class tap dance, and poetic meditations on the power of community. Featuring pop, classic rock, folk melodies, and pub anthems from artists such as Adele, Paul Simon, Katy Perry, Red Hot Chili Peppers, Luther Vandross and more, The Choir of Man is 90 minutes of feel good entertainment that has something for everyone and is unlike anything else in Chicago.

If Pitch Perfect, Coyote Ugly, and School of Rock had a baby, it still wouldn’t be as fun,genuine, or entertaining as The Choir of Man; it’s a party, it’s a concert, it’s an immersive experience, it’s your neighborhood bar filled with exceptionally talented sings, musicians, and performers. From the moment you walk into the Apollo Theatre you feel welcomed as an old friend, invited to sit and stay for a yarn, to sing, to dance, to party. Like any good evening at the bar, there isn’t a particular storyline or climactic plot. Instead, the ensemble cast share their stories with you and reflect on community and commradery in a post-Covid world where third places are becoming more and more scarce. The performances have an improvisational element to it that plays off and responds to the vibes of the audience, including pulling willing participants onto stage to be serenaded to. The song arrangements include beautiful renditions of favorite songs that challenge the way you view and hear the songs; like “50 Ways To Leave Your Lover,” performed by Shane McDaid accompanied by George Knappe whose tap dancing sequence adds a poetic rhythm and heartbeat to the number; “Some Nights” performed by Benji Lord and the ensemble cast that would rival The Bellas Cups song; or a sad, bittersweet arrangement of Chandelier that gave me goosebumps. Though unlike a good night out at the pub, the cast encourage photos and short videos, asking only that the audience share the good ones. The level of familiarity and inclusiveness The Choir of Man sets is a love letter to community, to friends, to family, and to those third spaces that allow us to come together to sing, dance, tell stories, or simply just be together. 

The Choir of Man was made for a city like Chicago, capturing the bittersweetness of a bygone era. With beautiful and original song arrangements, a welcoming and immersive atmosphere, and a captivating and engaging ensemble cast, this show will sure to be top your 2024 favorites list. Like the fleetingness of a Chicago Spring, The Choir of Man is only here in town for a short engagement. So grab a pint, sit for a spell, and at closing time remember you don't have to go home but you can't stay there. 

The Choir of Man is now playing through May 26th, 2024 at the Apollo Theater at 2550 N Lincoln Ave, grab a pint and your tickets before closing time.

*Extended to July 14th!