Items filtered by date: November 2007

Author Percival Everett is having his moment, and Exile in Bookville gave us a chance to meet him up close and personal, part of the bookstore’s ongoing Authors on Tap series at the lovely Studebaker Theater in Chicago.

Everett is the author of “Erasure,” which was adapted for the Oscar winning movie “American Fiction” starring Jeffrey Wright of the “Westworld” streaming series. After watching “American Fiction,” a send-up of book publishing in general and the particular challenges Black writers face, I ran out and bought “Erasure,” devouring it quickly.

Everett specializes in irony, and the book is immensely funny—the story line follows an author not unlike Everett himself (a literature professor, wood craftsman, fly fisherman) who is nonplussed by having his works shelved under Black authors, and by being far outpaced in sales by Black writers whose works focus on the struggles of ghetto life—like catnip for many White book buyers.

In “Erasure” (and the movie adaptation) he adopts a pen-name, then dashes off in just week, a parody of such books, “My Pafology,” which his agent quickly sells for a six-figure advance, and soon after a multi-million dollar movie option. There is an incredible irony in that Everett’s real-life experience is mirroring this, giving an extra level of meta-quality to the original work.

After reading “Erasure,” I picked up his short-story collection, “Damned If I Do,” and now I am a full-fledged fan.

Everett’s appearance at Exile in Bookville’s Authors on Tap coincides with the publication of “James,” a retelling of “Huckleberry Finn” from the slave Jim’s point of view, already receiving wide acclaim. And fitting, because as we learned at the event, Twain is among Everett’s favorite authors.
The audience might have expected Everett to read a bit from this or another of his more than 30 books. But no, Everett doesn’t do readings And he doesn’t sign books for devotees lining up at tables. (One could purchase pre-signed copies, so I bought “I Am Not Sidney Poitier,” said to be his funniest book.)

Everett is also considered a challenging interview, so his author colleague Gabriel Bump had his work cut out for him. Bump finessed Everett’s disinclinations by doing brief readings himself of provocative passages from a selection of books. And he asked the right questions, provoking Everett to speak entertainingly, and with great humor, and clarity.

Much of the conversation centered on the art of writing, and the author's experience in publishing. “I write fiction to make a living, which is itself ample evidence of mental deficiency, so to come to me for any direction in life?” Why does he write? “That’s the way addiction works,” he said to great laughter.

His first three books were with large houses: Viking (“I didn’t like the idea of finally being published—by Mobile Oil,” the owner); then Hyperion, a unit of Disney, which he didn’t care for.

Everett published with Grey Wolf for 29 years and gained something of a cult following. His long-time agent (“She was five feet tall in all directions and her voice was hoarse from whiskey and cigarettes”) advised him, “If you moved houses, you would make more money. She was right,” he said, and with Doubleday (“the publicists are slightly more fanatical and insane”) came the newest work, “James.”

Everett greatly appreciates Mark Twain’s classic, which is a product of its time in some of the objectionable language (by today’s standards) but was the first popular work to begin to humanize a Black slave character. .“That’s the beauty of Huck Finn: an adolescent representing young America, wandering through the landscape.” But Everett says his retelling in “James” examines more fully who Twain’s character Jim is. “It’s not about slavery. It’s about an enslaved person.” And this same quality is what is so compelling in Everett’s writing.

After the two authors finished their conversation, the audience could line up at a microphone, and Everett fielded questions. As to Everett’s daily routine for writing, he works in small bursts, but continuously, sometimes disappearing down rabbit holes of inquiry only loosely tied to the manuscript in hand.

“I work all the time, and I don’t work at all. I feel like the laziest person in the world.” His craftsmanship in woodworking and tying fly fishing lures inform his approach. “I’m not a perfectionist,” Everett says. “You have to be satisfied that nothing will be perfect.”

He commented that he does not worry while writing his works during writing or after publication, for that matter.
“I don’t really feel stress,” Everett says His “friends who are authors feel stress, and it gets in the way.” Once a book is published, he is on to the next, driving the book out of his life like a bear cub entering the world. “I call it the mother bear school of art.”

‘Jersey Boys’ is back in Chicago, bringing with it a little East Coast to the Third Coast. The hit Broadway musical about the lives of Frankie Valli & the Four Seasons played for over two years in the mid-00s at the CIBC Theater and helped establish Broadway in Chicago as more than just an importer of touring shows. Now ‘Jersey Boys’ will see another open-ended run at Mercury Theater.

Believe it or not, there was once a time when biographic, jukebox musicals were novel. While ‘Jersey Boys’ certainly wasn’t the first, it was one of the earliest and arguably better than some of the shlocky stuff plaguing Broadway these days. Digression aside, the music of Frankie Valli & the Four Seasons effortlessly lends itself to musical theater. Afterall, Frankie Valli did provide the title track for the film version of ‘Grease’. 

Co-directed by L. Walter Stearns and Brenda Didier, this production is every bit as good as the Broadway in Chicago sit-down. Mercury’s revival scrubs off all that Broadway gloss and presents a grittier, if not more authentic version of this Italian-American flavored drama. Is it family friendly? Sure, if you don’t mind the ubiquitous use of the F-word akin to the mob wife aesthetic of ‘The Soprano’s’. 

Though Frankie Valli was the frontman and eventual breakout star of The Four Seasons, their origin story is told equally from all four players. However, Adrian Aguilar as Tommy DeVito commands the stage as the main narrator.

Few grown men can hit the notes Frankie Valli was capable of, but Michael Metcalf does so with seeming ease. To look at him (or hear his speaking voice), you’d never expect he could go that high, but that and his performance as an actor showcase what a multi-purpose talent he is.

‘Jersey Boys’ doesn’t often address the personal lives of the band members, but instead tells the story of how they came to be, their rise to fame, and all that comes with it. However, it’s not empty in the way that so many of these jukebox musicals end up being. That’s likely due to a book co-written by Marshall Brickman, who helped write some of Woody Allen’s most iconic films (‘Annie Hall’, ‘Manhattan’), and Tony Award winner Rick Elice. Brickman writes from a place of personal experience as he was working in the entertainment business around the same time as the head writer for Johnny Carson. The result is a really fun, ‘VH1 Behind the Music’ of Frankie Valli & the Four Seasons.

Though Frankie Valli and the Four Seasons made bubblegum pop, their story is far from saccharine. What’s surprising about this story, and the likes of the Rat Pack, is how intertwined their successes were with organized crime. The title says it all. There’s something about this show that non-musical people will find really appealing, in the same way ‘Grease’ appeals to nearly everyone.

Wonderful performances, hot choreo, great costumes and a full-blast band make ‘Jersey Boys’ at Mercury a heavy hitter for the Wrigleyville theater company. You’ll be clapping in unison by the end (whether you want to or not).

at Mercury Theater. 3745 N. Southport Avenue. 773-360-7365

*extended through July 28th

After many years without seeing the movie or reading the story of Peter Pan, the moment I learned that Peter Pan: The Hit Broadway Musical was coming to Chicago, my inner child couldn’t contain its excitement. I arrived at the James M. Nederlander Theatre, quickly found my seat, and noticed joyful children surrounding me. The adults were definitely outnumbered, but hey, we are still kids at heart and have imagination, too! As expected, on opening night, the theater was filled to capacity, and excitement was palpable.

As the lights dim, theatregoers are welcomed into the shared childhood bedroom of Wendy, John, and Michael. Their parents, preparing for an event that evening, are putting the kids to sleep as they prepare to leave. As soon as the parents are gone, Wendy is woken up to Peter Pan and Tinkerbell rummaging through the bedroom. Wendy confronts Peter, and he explains he’s looking for his lost shadow. Wendy helps him reclaim his shadow, and in the process, wakes up her brothers, John and Michael. One thing leads to another, and before you know it, Peter is sprinkling a bunch of fairy dust on the children. They take flight, and with a magical poof, they soar out of the window, embarking on their journey to Neverland. Sounds familiar, doesn’t it?

While the plot of the show shares similarities with the movie, it also introduces its own unique twists. Notably, a conflict arises between Tiger Lily’s tribe and Peter Pan along with the Lost Boys. The ongoing battle involves accusations of theft between the groups. Surprisingly, once Captain Hook enters the scene, Tiger Lily’s Tribe and the Lost Boys decide to form an unlikely alliance and become best friends.

The unification of Tiger Lily’s tribe and Peter Pan and the Lost Boys is, in my opinion, the best scene in the play. This performance is packed with ambient singing and beautifully choreographed dance. The musical number called “Friends Forever” plays as they dance along and try to find a new handshake to seal their newly established bond. The song boasts a wonderful melody, seamlessly intertwining with the joyous celebration.

The cast of Peter Pan is wonderfully diverse, featuring actors from various racial backgrounds. This production breathes new life into the story, making it feel more inclusive and significantly more multicultural than the original 1953 animated movie. Every actor delivers an outstanding performance, with special recognition for the young Reed Epley, who has captivated audiences on stage since the tender age of four.

Captain Hook, played by Cody Garcia, is excellent. Garcia is everything you could ask for in an antagonist. He is funny, sassy, and downright evil. Throughout the show, we watch him sing and dance his way into wicked plots to kill all of the children. Surprisingly dark for a kids’ show, I must say. Every time Hook is on stage the crowd laughs, captured by his beguilement. He has what sounds like a Scottish pirate accent and owns it with every word. Garcia’s singing is also impressive with a surprising vocal range that has depth and great heights.

Nolan Almeida, portraying Peter Pan, showcases remarkable acting skills. His singing, dancing, and ability to charm the audience with magic are truly fascinating. Almeida flawlessly hits all his cues and fully embraces his character throughout the show.

My only disappointment stemmed from the choice for the character of Tinker Bell. Anticipating the fairy in physical form, I was surprised when the show opted for what appeared to be a flashlight’s glow instead. Despite my reservations, the children in the audience adored the fairy light, with some even declaring Tinker Bell as their favorite character.

The live orchestra is phenomenal. Their music does a wonderful job complementing the show with whimsical sounds and adventurous beats. Each song is sweetly crafted to help tell the story of Peter Pan, the Lost Boys, and the children versus the dreaded Captain Hook. The music by Morris (Moose) Charlap is perfect and brings the show to life.

Beyond the enchanting music, the choreography by Lorin Latarro truly captivates the audience. Every dance, intricately woven into the musical numbers, is a resounding success, executed flawlessly by the talented cast. The exhilarating flips and graceful couple dancing add an extra layer of excitement. Amidst the choreography, the simulated fights between characters during the show provide an entertaining spectacle. And let’s not forget the magical flying sequences, seamlessly orchestrated by Paul Rubin, which transport us into the heart of Neverland.

Costume design emerged as one of my favorite aspects of the show. Anticipating a vibrant array of colors, I was not disappointed. Sarafina Bush, the costume designer, delivers costumes that are not only true to each character but are also bursting with life. Tiger Lily’s group sports a unique tribal look, while the Lost Boys’ attire exudes wildness and adventure.

The set and stage design further enhances the experience. The lush green jungle landscape of Neverland and the cozy children’s bedroom stand out as exceptional set pieces. Each set was thoughtfully interactive, seamlessly accommodating every scene. And within the Nederlander Theatre, the ambiance feels like the perfect gateway to Neverland—just a sprinkle of fairy dust and a glimpse through French casement windows, and you’ll be soaring.

Kudos to director Lonny Price and executive producer Trinity Wheeler for breathing new life into Peter Pan. Their fresh adaptation transports the beloved characters into a modern world, embracing the timeless magic of imagination. Whether you’re a first-timer or a seasoned viewer, this show promises fun for all.

After the show, I chatted with a few audience members to gauge their thoughts on Peter Pan. Cindy exclaimed, “The show was fantastic, and they had a thrilling cast.”

Kelly, on the other hand, shared a different perspective: “It was a great show, but this wasn’t the same Peter Pan I remember from my childhood. It feels like I didn’t recall any of this happening.”

And then there was Steven, brimming with excitement: “This show was fabulous! It’s a classic story with a modern twist—an absolute must-see for all ages.”

In summary, I thoroughly enjoyed the show. Peter Pan: The Hit Broadway Musical rekindled my youthful spirit and left me wistful for the days of unbridled imagination. While the entire performance was entertaining, Act Two held a special place in my heart. My inner child reveled in the magic, and I departed with renewed inspiration to seek out more ways to stay forever young.

Catch Broadway in Chicago's Peter Pan is being performed March 26th through April 7^th at James M. Nederlander Theatre. Performances are Tuesday through Thursday at 7:00 p.m. (with a Wednesday matinee at 1:00 p.m. on April 3rd), Fridays at 7:30 p.m., Saturdays at 2:00 p.m. and 7:30 p.m., and Sundays at 1:00 p.m. (with an additional performance on Sunday, March 31st at 6:30 p.m.).

The run time of the show is about two hours with a short 15-minute intermission. Make sure to arrive early as the line outside of the theatre is likely to be buzzing with anticipation.

When a play’s opening moment is mystifying and its closing moment is satisfying, the stuff in between must be doing its job. John Kolvenbach’s Love Song presents us with a young man in a spartan room, silently observing a lamp that seems to have a mind of its own. Love? Song? We have our doubts.

The back wall of the room slides open and reveals a high-rise apartment, sleekly decorated and offering a panoramic view of an unspecified city through a vast window. Enter a couple as sleek as their home, bickering with such intensity – not to mention hilarious verbal agility – that we continue to wonder if love and song will have anything to do with what’s happening onstage.

Indeed, it does. Remy Bumppo’s production, directed by the company’s Artistic Director Marti Lyons, revives a play that premiered at Steppenwolf 18 years ago. Though full of unanswered questions, Love Song proves worthy of another viewing. With equal parts sensitivity and tartness, Lyons and her cast tell the story of Beane (Terry Bell), who suffers from an autism-like condition and spends the play’s 85-minute length defying the expectations of his loved ones.

Actually, it’s just two loved ones: his sister Joan (Sarah Coakley Price), a demanding professional who is lost in a tirade about an incompetent intern; and her husband Harry (Ryan Hallahan), a fellow professional who challenges his wife’s firing of said intern for misdeeds such as crying “at noon!” and temporarily misplacing an important file.  

Witty as their banter may be, they are hard to like. When Beane visits his sister and brother-in-law, Harry subjects him to a questionnaire designed to provide psychological insight that mostly makes fun of his literal responses. Joan doesn’t do much to ease the situation.

Beane returns to his empty apartment, where he encounters an intruder by the name of Molly (Isa Arciniegas). She too launches into a tirade, though hers has a very different feel from Beane’s sister. Molly attacks architects and their curated minimalism, meanwhile deriding Beane for his lack of possessions for her to steal. A cup but no plate, a spoon but no fork. “What kind of criminal did you say you were?” he asks with the same literalness that aggravated Harry in the previous scene.

Molly’s brand of burglar remains unknown, but it sure excites Beane’s hormones. Off they go on a passionate adventure that leads Beane to talk so much that Harry now describes him as verbose. Beane’s liberation from his sister and brother-in-law’s (and probably society’s) expectations turns him into a different person altogether. And that jolts Joan and Harry from their calcified marriage into rediscovered sensuality.

Without really addressing the issues at hand, Love Song morphs from rapid fire wordplay into a lyrical romance. As staged by Lyons on a set designed by Joe Schermoly, the transitions from Beane’s lonely planet and Joan and Harry’s fraught high rise seem organic.

The cast, too, seems organic. Each of the actors onstage could have fallen into some sort of cliché – Joan as a career-driven ice princess; Harry as a wisecracking sidekick; Molly as a voracious loony; and most notably, Beane as a victim of the other three. But Coakley Price, Hallahan, Arciniegas and Bell all take charge of their characters and allow us to enjoy their transformations.

Love Song, produced by Remy Bumppo Theatre Company, is playing now through April 21 at Theater Wit. Tickets can be purchased through Theatre Wit’s website.

The expansive, opulent home exudes an air of solid middle-class comfort, boasting a formal dining area, an upright piano, and multiple doors leading to various sections of the house. A bay window graces an alcove, while a grand staircase ascends to the sleeping quarters on the second floor. Adorning the walls are portraits commemorating significant moments in the family's history, including images of MLK and Rosa Parks alongside the patriarch. This residence, nestled in the Jackson Park Highlands—an economically segregated enclave on Chicago's South Side—radiates a sense of peace, tranquility, and nobility. Soon, however, it will transform into a bustling hive of activity.

Branden Jacobs-Jenkins, a MacArthur Fellow and Pulitzer Prize finalist is a chameleon in the world of dramatist.  He wrote the controversial Obie Award-winning “An Octoroon”; the satirical  thriller “Gloria”, and the southern plantation drama “Appropriate” which received its world premiere in Chicago. Branden Jacobs-Jenkins is not a Black playwright, he is a playwright who just happens to be Black.  He would have it no other way. He doesn’t allow himself to be classified to any specific genre of storytelling. His influences are as varied as the plays he writes.

"Purpose," directed by the Tony Award-winning actress and director Phylicia Rashad, is nothing short of extraordinary. It transcends the confines of a mere family drama, delving deep into the realms of a virtual character study.

(left to right) Harry Lennix and Ayanna Bria Bakari with ensemble members Glenn Davis and Jon Michael Hill in Steppenwolf Theatre Company’s world premiere of Purpose by Branden Jacobs-Jenkins, directed by Phylicia Rashad.

The Rev. Solomon "Sonny" Jasper is a civil rights icon. He has marched for justice and witnessed important moments in the Civil Rights Movement. He has met with influential figures like Rosa Parks and Nelson Mandela. His income comes primarily from speaking engagements and donations. He has dedicated his life to helping others. He tried to raise his two sons according to his values, church and state. Naz was to be a pastor and  Solomon Jr. was in politics.  Now retired, he has taken up beekeeping, perhaps to find purpose in his life.

His wife Claudine Jasper is the proverbial women behind the man. She takes care of her family and is the strength they rely upon. A lawyer by degree, she uses it in service of her family. She’s shrewd  and disarmingly warm at the same time. She likes to be in control and she’s not one to cross.

Solomon "Junior" Jasper, son of Sonny and Claudia Jasper, embodies both his parents' strengths. A former congressman, he has recently been released from prison after serving time for using campaign funds for his personal use.   Despite his challenges, he stays positive and believes in himself. He blames his troubles on his recently diagnosed mental health issue. He craves attention and shows signs of narcissism, but his charisma makes it easy to overlook.

Morgan Jasper is the wife of Solomon Jr.  When we meet her she is soon to enter prison to serve her time for tax fraud. She was caught up in her husband’s financial improprieties. Since they have  children Morgan and Junior cannot serve their prison time at the same time.  She is more bitter than a slice of lemon in a jar of three-day old Kool-Aid. She feels she is taking the fall for her husband and by default his family. She warns anyone within earshot to be wary of The Jaspers. She denies them the company of their grandchildren, knowing this drives Claudia to distraction.

Nazareth “Naz” Jasper is the youngest son of Solomon and Claudia. He is an introvert in a family of extroverts, in essence, the weird one. He photographs nature scenes for a living and enjoys his solitude. He dropped out of divinity school much to the chagrin of his father who wanted him to follow in his footsteps and become a pastor. He’s possibly on the spectrum (aren’t we all) and asexual. He’s also our narrator, giving us valuable insights into the Family Jasper.

Aziza Houston, an independent self-sufficient woman, is the friend of Nazareth Jasper. She walks into this situation blind. She is shocked Naz, is the son of the civil rights icon. She is elated to be in the company of the Jaspers until she is truly in the company of the Jaspers.

Director Phylicia Rashad effectively maintains the motivation and focus of her cast throughout the production, fostering a sense of familial unity among the actors, which I find particularly appealing in collaborative efforts. The casting couldn't have been more apt, with each actor perfectly suited to their respective roles.

Jon Michael Hill embodies the charm of Naz, evoking empathy as the outlier within his family. Whenever he steps into the spotlight, anticipation mounts for the forthcoming revelations, delivered with a blend of wit and sincerity. Glenn Davis delivers his best performance yet as Solomon Jr., infusing the character with a delightful humor that effortlessly captivates the audience. Alana Arenas mesmerizes with her portrayal of Morgan, conveying volumes with just a single glance. Her entrance into the dining room is etched into memory, portraying a woman whose words cut like a dagger.  Ayanna Bria Bakari navigates the complexities of Aziza's character with finesse, charting a compelling arc from excitement to dread as she becomes entangled with The Jaspers. Harry Lennox brings a dignified presence to the role of patriarch Solomon Jasper, embodying the essence of strength and authority. Tamara Tunie shines as the family matriarch, Claudine Jasper, striking the perfect balance between assertiveness and subtlety in her delivery, effectively communicating her message without overpowering force.

Todd Rosenthal's set design is teeming with intricate detail, evoking the sensation of a hive with its distinct compartments—a captivating and thought-provoking choice. Amith Chandrashaker's realistic lighting design further accentuated the set, seamlessly integrating even the more fantastical elements such as the special spotlight on Naz, lending them an air of naturalness. Dede Ayite's costume design elevated the character portrayals, skillfully complementing them without ever overshadowing the performances.

While the playwright never explicitly mentions the name, it's difficult to miss the parallels to the Jackson family……..Jesse,  not Michael. Brandon Jacobs-Jenkins is known for tackling controversial themes, prompting the question: would a white playwright be afforded the same latitude in crafting such an interesting narrative?   Discuss!

“Purpose” is a cautionary tale.  Imagine we are all worker bees in a giant hive called life.  Each bee has a specific role within the hive, whether it's building comb, collecting nectar, or caring for the young. These roles contribute to the greater good of the hive's survival and success.  Just like bees, we all have a unique purpose within the larger ecosystem of life.  Our purpose may not always be readily apparent,  but it's there and only we can live our purpose.

“Purpose” is arguably the best play I’ve seen at Steppenwolf Theatre. It’s going to be the best play seen on Broadway.

Highly Recommended

When: Through April 28

Where: Steppenwolf Theatre, 1650 N. Halsted St.

Running time: 3 hours

Tickets: $52-$116 at 312-335-1650 and www.steppenwolf.org

*Extended through May 12th

Chicago Shakespeare Theater announces today a thrilling addition to the season: Tony Award-nominated actor Eddie Izzard brings her celebrated solo theatrical performance of Hamlet to Chicago, direct from a triple-extended New York run at the Orpheum and Greenwich House Theaters and prior to launching a highly anticipated London transfer at Riverside Studios. Izzard portrays 23 characters in William Shakespeare's iconic play in this dynamic new staging adapted by Mark Izzard and directed by Selina Cadell. This strictly limited two-week engagement plays April 19–May 4, 2024 in the Courtyard Theater.

In Hamlet, The King of Denmark is dead, and Prince Hamlet is determined to take revenge—initiating a cascade of events that will destroy both family and state. Izzard portrays men, women, ghosts, scholars, tyrants, courtiers, lovers, fools, and poets.

She says of the monumental undertaking, "I have always gravitated towards playing complex and challenging characters and Hamlet is the ultimate. This is a production for everyone, a timeless drama with an accidental hero. Selina, Mark, and I want audiences to see and hear an accessible, touching, scary, and dramatic Hamlet."

CST Executive Director Kimberly Motes and Artistic Director Edward Hall shared, "After seeing Eddie's extraordinary performance in New York, we are thrilled she's agreed to join us at CST and share her Hamlet with Chicago audiences before London. It's a rare opportunity to see a Hamlet that makes this a play for all of us—truly a play for today."

A Tony Award-nominated and Emmy Award-winning actor, Izzard's boundary-pushing career includes critically acclaimed roles in theater, film, and television. On Broadway, Izzard starred in Roundabout Theatre Company's 2003 revival of A Day in the Death of Joe Egg, garnering the Tony nomination for Leading Actor in a Play—and appeared in David Mamet's Race. Major London stage credits include The Cryptogram, Edward II, 900 Oneonta, Joe Egg, and Lenny. Izzard made her West End debut in 1993 in the solo show Live at the Ambassadors, receiving an Olivier Award nomination for Outstanding Achievement. Izzard's film roles include Stephen Frears' Victoria & Abdul opposite Dame Judi Dench, Julie Taymor's Across the Universe, Peter Bogdanovich's The Cat's Meow, Valkyrie, Ocean's Twelve, Ocean's Thirteen, and the recent Doctor Jekyll in which she plays Dr. Nina Jekyll and Rachel Hyde. She is the recipient of two Emmy Awards for her televised special, Dressed to Kill. She's also been seen as Dr. Abel Gideon in "Hannibal" and in FX's critically acclaimed series, "The Riches," in which Izzard both starred and executive produced.

In 2022, Izzard performed a solo adaptation of Charles Dickens' Great Expectations—also created in collaboration with Mark Izzard and Selina Cadell—which played to rave reviews and sold-out audiences in New York and in London's West End. The creative team reunites for Hamlet, which features set design by Tom Piper, lighting by Tyler Elich, costume styled by Tom Piper and Libby DaCosta, composer Eliza Thompson, movement director Didi Hopkins, and fight director J. Allen Suddeth. It is produced by Westbeth Entertainment, Mick Perrin Worldwide, and John Gore.

More information at www.chicagoshakes.com/hamlet or on social media at @chicagoshakes.

Hamlet will be presented April 19–May 4, 2024, in the Courtyard Theater. Single tickets starting at $69 are on sale now. For more information or to purchase tickets, contact the Box Office at 312.595.5600 or visit www.chicagoshakes.com.

ABOUT CHICAGO SHAKESPEARE THEATER

Regional Tony Award-recipient Chicago Shakespeare Theater produces a bold and innovative year-round season—plays, musicals, world premieres, family productions, and theatrical presentations from around the globe—alongside nationally recognized education programming serving tens of thousands of students, teachers, and lifelong learners each year. Founded in 1986, Chicago Shakespeare's onstage work has expanded to as many as twenty productions and 650 performances annually. CST is dedicated to welcoming the next generation of theatergoers; one in four of its audience members is under the age of eighteen. As a nonprofit organization, Chicago Shakespeare works to embrace diversity, prioritize inclusion, provide equitable opportunities, and offer an accessible experience for all. On CST's three stages at its home on Navy Pier, in classrooms and neighborhoods across the city, and in venues around the world, Chicago Shakespeare Theater is a multifaceted cultural hub—inviting audiences, artists, and community members to share powerful stories that connect and inspire. www.chicagoshakes.com.

If there's one play every American should see in their lifetimes, without a doubt it's Tennessee Williams' perennial classic A Streetcar Named Desire. It's the type of play that transcends theatre and stands alone as one of the best contributions to contemporary literature. Its complexities and social commentary make it worth revisiting. Whether Williams intended his 1947 Pulitzer Prize winner to be laden with symbolism and rich in themes, is a debate for English teachers. What's indisputable is that before 'Streetcar', few plays dared to push a mainstream Broadway audience quite so far.

Paramount Theatre presents a thrilling, and faithful production of A Streetcar Named Desire at the Copley Theatre. Co-directed by Jim Corti and Elizabeth Swanson, this production is absolutely worth a Metra ride to downtown Aurora. Who says all the great theater must be within the Chicago city limits?

You can't have a good 'Streetcar' without a good Blanche and Paramount certainly has that in actress Amanda Drinkall. Her performance as Blanche deviates from the cliched washed up Southern belle many associate with Streetcar and Cat on a Hot Tin Roof. It's not to say she's giving an understated performance either. Rather, Drinkall wisely interprets Blanche as foremost, an alcoholic, as well as someone in already in the throes of a nervous breakdown. Often Blanche is portrayed as being driven to madness, but here it seems she arrives in that condition. Drinkall has an uncanny way of shifting between Blanche's "illusion" and her mania with just a facial expression. Perhaps eeriest of all is that Drinkall is much younger than, say, Vivien Leigh, so her unraveling seems all the more tragic as these days mid-30s is hardly considered “old maid” territory. 

Alina Taber as Stella and Casey Hoekstra as Stanley round out the principal casting and both turn in exceptional performances. Particularly Alina Taber - who brings a three dimensionality to Stella that may not be as developed in the script. Instead of the demure younger sister, Taber plays Stella with a bit more passion, and at times combativeness with Blanche.

Amanda Drinkall as Blanche DuBois in A Streetcar Named Desire at Paramount Theatre’s Copely Theatre.

Adding to this production's high quality are the lighting effects by Henry Toohey. The ways Blanche is lit during her gory monologues leave a haunting impression. Costumes created by Alan Richards and Kaia Mortenson are sexy but true to 1940s fashion as is the set design in general. Stella and Blanche are both styled in a way that gives this production authenticity as well as glamor.

Tennessee Williams' actual script is much more provocative than the classic Elia Kazan film with Marlon Brando and Vivien Leigh. What's always somewhat disappointing about the film version is that it cuts short one of Blanche's most heartbreaking monologues. Drinkall sinks her teeth into that monologue in this production. This by-the-books Streetcar is visceral, sexy and shocking just as Williams' intended it to be.

This is a play meant to be discussed. With each time you see it, there are always new ways to examine character motives and ask yourself the central question to any play - did the characters get what they want? There's probably no real right or wrong answer, but you'll just have to see this production for yourself in order to make up your mind.

Through April 21 at Paramount Theatre. 8 E. Galena Blvd. Aurora, IL 630-896-6666

I love all things Shakespeare, particularly modern iterations and adaptations of his works, and I’ve had good experiences with Idle Muse Theatre Company. So naturally when I learned that Idle Muse was mounting a new version of "What the Weird Sisters Saw," I was pretty excited.

Fifteen years ago, when Idle Muse was in its infancy, the company’s Artistic Director Evan M Jackson conceived/created an adaptation of the tragedy "Macbeth" from the perspective of the three witches: "What the Weird Sisters Saw". And now, in 2024, with Tristan Brandon’s assistance and with several of the original actors and crew, Jackson (still Artistic Director at Idle Muse!) has revisited the witches for a complete rework of his haunting fantasy.

Jackson’s Weird Sisters aren’t ‘weird’ in the modern sense of the term, nor are they subject to the Judeo-Christian concept of evil women in league with Satan [we don’t have much truck with lots of Judeo-Christian concepts, particularly those involving women!]. No, Jackson’s Sisters are magical women, druidesses whose connections to the land, to their beloved Scotland and to the forces of Nature allows them to commune with spirits both living and dead; spirits from the present, the past, and the future. Between their provenance with their teacher Hecate and with the powerful forces of open spaces, the Sisters are able to conjure visions of events destined to unfold in the future.

Murron (Caty Gordon), the lead (eldest? strongest? she’s definitely the leader here) is having premonitions; by the pricking of her thumbs, she’s convinced that something wicked this way comes … but what – or who – is it? Her Sisters Dana (Jennifer Mohr) and Alastriona (Jamie Redwood) share her disquiet and together they concoct a potion to explore the mystery. They find riddles surrounding Macbeth, Thane of Glanis and brave Scots general under King Duncan; they prophesy Macbeth (stunningly played by Joel Thompson) will wear Duncan’s crown, but that future kings will be descended from his friend and fellow general Banquo (Troy Schaeflein) … and we all know how Macbeth feels about this notion.

Dissatisfied with mere augury, Murron becomes obsessed with not simply divining the future, but altering the actions she’s foretold. Sisters Dana and Alastriona are less sanguine, but they respect Murron and, despite their reservations, they follow her lead as she repeatedly conjures the shades of Macbeth, Banquo, and others. As Macbeth’s avarice becomes undeniable, Murron seeks to refashion his machinations and thus to redeem him. Joel Thompson rocks the role of the dark Thane, portraying an aspect of innate royalty – the gleam of nobility divined by the Sisters– that is curiously not at odds with the audience’s foreknowledge of his wickedness. Of course, despite Murron’s interventions, that wickedness gradually escalates, and the noble Macbeth forges his own doom.

Brendan Hutt is superb as The Porter, whose sporadic appearances both entertain and enlighten … though, actually, not so much with the latter, as his inebriated proclamations are not only veiled by his jocularity but are often, frankly, evasive. Frustration amplifies Murron’s unease; yet the greater the perplexity, the stronger the fascination – we all know how that works! Thus, she is lured ever deeper into the mind and motives of Macbeth, her increasingly reluctant Sisters trailing in her wake. Both Dana (Jennifer Mohr) and Alastriona (Jamie Redwood) become more distinctive in their caution of Murron’s inquest, allowing each actor to further display her skill – did I already say the cast is overall superb?

Case in point: Mara Kovacevic’s sterling portrayal of Macbeth’s not-so-sterling wife. Initially Lady Macbeth, recognizing that the witches are at cross purposes with her vaulting ambition, appears to be deliberately misleading the Sisters. No less baffling is the Lady’s descent into madness, and she further mystifies the Sisters with her macabre hand-washing and eerie mutterings. It’s so interesting to watch this play where we know the storyline of its progenitor, yet are totally absorbed with the Sisters’ nescience!

Hecate (Elizabeth MacDougald) is often onstage, covertly overseeing her acolytes, but unlike Murron she doesn’t intervene. Rather, Hecate allows Murron’s – all the Sisters’ – cabal to evolve, likewise its grisly human consequences. Only at the bloody finale does Hecate reveal herself to her subordinates and upbraid their presumption. I’m sorry we didn’t hear more from Hecate, as MacDougald was a compelling Goddess of Magic, one I’d like to have known better. Likewise, Troy Schaeflein (Banquo) also left me hungry for more of his brilliant stage presence. The story provided more opportunity for us to enjoy Watson Swift’s performance as Macduff, and Erik Schnitger as Duncan and Orion Lay-Sleeper’s Malcolm also used their limited stage time well. I’ll say it again: overall, the cast was exemplary, and each gave fine performances.

The cast was displayed by an equally amazing production crew; they were marvelous as a whole, but I must give a shoutout to a few remarkable aspects. Jennifer Mohr’s costumes were striking and accurate. Most productions I’ve seen of "Macbeth" dress the Scotsmen in kilts, but the ‘kilt’ as we know it today did not actually appear until the late 18th century, having evolved from the feileadh mor (‘big wrap’) that was characteristic in the 15th to 16th centuries; and Mohr outfitted her Scots in feileadh. I also noted that the doctor wore a plague mask, as the Black Death was a consistent threat across Europe at the time. Thank you, Jennifer Mohr, for your due diligence! And I loved The Porter’s criss-crossed belts of dangling fetishes and charms. I could have sworn I spied the head of a Barbie doll in there – if so, I forgive the anachronism in deference to Ryan Gosling’s Oscars gig. I must also offer lavish kudos to Laura Wiley and L.J. Luthringer for lighting & projection and music & sound (respectively). The collaboration of these two artists contrived both light and sound into actual cast members, so effectively did they ‘speak their lines’ of atmosphere, ambience, and tonality. Bravo!

The excellence of the fighting was no surprise to me – after all, violence designer (and assistant director) Libby Beyreis is a member of Babes with Blades Theatre Company, Chicago’s very own troupe of Weird Sisters. And I thought it appropriate for Tristan Brandon to oversee the properties; the co-adaptor of the play would have an intuitive ken [still got Gosling on the brain!] for the objects required. Stina Taylor and Breezy Snyder wisely composed a minimalist set, allowing the story to unfurl via the performances rather than through static objects. As a fervent aficionado of Chicago’s Black Box theatres, I appreciate the challenges these spaces pose for set design and was pleased to see Birnam Wood plausibly wrought without hindering the (considerable!) action.

My sole concern is one common to many – most? – Shakespearean productions: the complexity of the language often made it difficult for me to hear the lines. Granted, that difficulty is partially mine – gotta love getting older! – but some may, I hope, be remediable. For example, further rehearsals and performances will give Luthringer time to fine-tune sound levels to ensure the voices are not eclipsed – but please! without effacing any of the incredible music and … well, noises.

Elizabethan England, William Shakespeare, and the play "Macbeth" are all imperatively and inescapably masculine. With "What the Weird Sisters Saw" Jackson has toppled this patriarchy at its base: sorry fellas, that was then, this is now and it’s a women’s show! The gender imparity created thereby is vital and I wouldn’t want it attenuated in any way.

The script was extremely dense and might benefit from judicious editing. At times I felt the actors were almost tripping over their own tongues in their effort to deliver every word at a brisk (not to say breakneck) pace.
Perhaps Jackson, with text & dialect coach Carrie Hardin, could address all these matters by slowing everything down just a wee bit. The occasional judicious 1-2 second pause would give my poor old brain a chance to travel between then and now, between male and female.

Such a complex production needed all the work of stage manager Becky Warner and her assistant Lindsey Chidester, technical director Line Bower, production manager Shellie DiSalvo, dramaturg Cori Lang, and all the dozens of other people required to bring a vision before the footlights. It takes a village!

Highly recommended, "What the Weird Sisters Saw" will play at The Edge Off-Broadway Theatre through April 14, 2024.

Who will the best speller be? Who will be able to withstand the pressures of competition? Who wants it the most? I’m sure these are among the questions you must be asking yourselves once the play begins. Well, without giving the ending of the story away, I’ll just say that it’s the audience that has the most F-U-N, FUN. 

I thoroughly enjoyed watching this bright, funny and talented cast in Music Theater Works’ brand new production of the Tony Award-Winning musical, The 25th Annual Putnam County Spelling Bee, now being performed in the North Theatre at North Shore Center for the Performing Arts in Skokie. The hit musical, conceived by the mind of Rebecca Feldman is superbly executed thanks to its fine direction and choreography by Christopher Pazdernik, Keeley Vasquez who assists in both said areas, and with music direction by Michal McBride. 

The Putnam County Spelling Bee is exactly what you would imagine happens every year when a collection of the nerdiest, most sensitive and intelligent students from the local county schools come together to face their fears on the big stage to take home the first place trophy for best speller. And, to add a little more fun to this particular spelling bee, it also requires a good amount of improvisational participation from audience members who might just be called down to compete with the students. Even if you’ve seen this play before, there will always be new “cast members“ chosen from the crowd that create unpredictable comedy performed on the spot each night making every experience unique.

The musical, while on one hand provides so many humorous moments, also brings to light the very real pressures of student competition. We see the occasional tears and panic attacks while students compete against each other for a small prize (literally a 12” high trophy and $200 that goes toward future education). We see that winning or not can have big consequences at home and/or in their own psyche. But we also see how competition can bring people together and how it can help us learn about ourselves.

Neala Barron who plays the zealous, rule-following spelling bee supervisor (and one-time winner), Rona Lisa Perretti, pairs up with Zach Kunde who takes on the role of Vice Principal Douglas Panch to conduct the competition. Kunde and Barron have great chemistry together and draw lots of laughs from the audience as they provide the words for the students to spell, along with their definitions, use in a sentence and countries of origin. Michael Davis Arnold plays Mitch Mahoney, the assigned “comfort counselor” who is ready with both a hug and a juice box for the next eliminated student. Arnold and Barron both have tremendous singing voices that stun the audience with their solos in this mostly ensemble piece.  

Will Koski, who plays William Barfee’ has stand-out comic and physical timing comedy as his character finds it necessary to spell out each word with his “magic foot” on the floor. Jamie Dillon Grossman is terrific in her role as the adorable, super intelligent, activist, future Congress-bound Logainne Schwartzandgrubeniere, who is under a tremendous amount of pressure to win because her dads “hate losers”. 

Mai Hartwich is a perfect fit as Marcy Park, the student who is capable of speaking “six languages” but is under a great deal of inner pressure to be perfect in everything she does, which includes winning every spelling bee she enters. Hartwich has a great aha moment during the song “Marcy’s Epiphany,” where Marcy realizes that by deliberately spelling a word wrong and losing the spelling bee on purpose, she’s, in many ways, actually taking back her own power so she relax, have fun and return to pursuing what she really wants to wants to do with her life. 

This is a production where truly the entire cast delivers. Joe Lewis is well cast as cape-wearing Leaf Coneybear while Brandon Acosta tackles his role as Chip Tolentino and shines in his performance of “Chip’s Lament,” a whimsical number about how he was distracted by his “unfortunate erection”. Rachel Guth is a pleasure to watch as she plays the sweet and anxious Olive Ostrosky, an only child whose father does not show up for the spelling bee. With her parents on the go so often, Olive has spent most of her lonely childhood at home alone reading the ancient family dictionary because there was no one around to talk to. During the competition she repeatedly looks to row eight to see if her father has arrived to take the seat she reserves for him. Guth has a strong singing voice and especially displays her vocal talent, along with Barron and Arnold, when they team up for the number “The I Love You Song.”      

Director, Christopher Pazdernik does a great job with the pacing and movement of this bright and breezy production. Pazdernik mentions in the program the life lessons that this play should remind us of - to work hard and be proud of ourselves, but that winning isn’t everything! Also, be kind to others and don’t take life so seriously! The 25th Annual Putnam County Spelling Bee points out that as children and adults we put way too much pressure on ourselves to be perfect - to WIN first place and to impress ourselves and others in our family, and by doing so miss out on the joy of the moments completely.

I wasn’t a spelling bee kid, but I was a thespian competitor in high school and, as one spelling bee student after another had to be eliminated, I couldn’t help but relive my own memories of intense anxiety arising before, after, and during our national thespian competitions - which had no cash prize at all. That being the case, I really related to Michael Davis Arnold’s “Prayer of the Comfort Counselor,” which he knocks out of the park vocally.

I highly recommend this Music Theater Works production of The 25th Annual Putnam County Spelling Bee staged in the lovely and intimate North Stage in the North Shore Center for the Performing Arts for audiences of all ages. 

“The Penelopiad” is a zesty romp and very entertaining. With a script by a writer I adore, Margaret Atwood of “The Handmaid's Tale” fame, and based on her novella by the same name, it tells the story of Odysseus’ wife Penelope (played stunningly by Jennifer Morrison)—and how she occupied herself during the long odyssey recounted in Homer’s Greek epic poem, “The Odyssey.” I had recently finished reading a new translation so that story was fresh on my mind.

Of course, this being Atwood, it is a reset of the tale, told from the woman’s point of view. And it is very scholarly, perhaps a bit cerebral in the first half, relating in more detail than Homer’s work the origins of Penelope, and how she ended up married to Odysseus, the King of Ithaca. We also see what life was like in the palace from Penelope’s perspective, and that of her dozen maids.

Odyseus went off to fight in the Trojan War. He was gone such a long time, 20 years, that princes of his realm presumed him dead, and vied to marry his supposed widow Penelope, and claim the throne. As the years wore on, they didn’t behave nicely—living on the palace’s largess and hitting on the maids relentlessly. It was an unapologetic patriarchy, to be sure.

In Homer’s version, Penelope is celebrated for being steadfast and true. And Atwood gives us this too, but without the male gaze. Penelope constantly thwarts and outwits the obnoxious suitors, and her corps of maids switches genders and roles to show what that was like. With an all female cast, and set with frequent music and dance, “The Penelopiad” relates many of the high points of the original poem. The first act, then, is a recitation of the Odyssey revisited.

Without question, “The Penelopiad” under the direction of new artistic director Susan V. Booth gives the best ever and very understated caricature of male behavior by women actors: the boasting stance, the lack of self-awareness, the entitlement, and the varieties of ways this is displayed by classically awful male personality types. It’s a bracing and edifying experience for a man to see.

This corps of maids also plays identifiable characters (though not credited in the program): the growing Telemachus, evolving from whiny teenager critiquing his mother Penelope’s behavior, to self-empowered accomplice when his father does finally return; the oldest maid, who carps at Penelope and the sisterhood she forms with the young maids. She soon recognizes the disguised Odysseus by his scars when he returns, and selects at his request the maids who will be punished for fraternizing with the suitors.

We also see a maid as Odysseus himself, a pompous braggart at times, who certainly did not make rushing home to Penelope his priority. These transformations in gender are aided by artful breastplate costumes (costume designer Kara Harmon).

Atwood describes “The Penelopiad” as most akin to a cabaret along the lines of Kurt Weill. The music and scintillating choral singing is composed by Samuel Davis and directed by Jeremy Ramey.
While in the first half we get mostly a poetic oration in a series of scenes—Penelope being cast heartlessly into the ocean by her father, surviving and gaining stature as a demigoddess; Penelope’s first encounter with the immature Odysseus—the second half gives rise to real drama. As the years wear on, Penelope develops one final ruse to avoid the suitors: she will weave a shroud for her father-in-law, and when it is done, will select one of the group to marry. Famously she unweaves the shroud each night, and eventually the suitors catch her. 

Luckily, Odysseus is back, and the Odyssey plot grinds quickly to its well-known conclusion. Odysseus slays the suitors, and then horrifically hangs the maids as well. Penelope examines herself in Atwood’s retelling of the epic, and how she has survived only because she sacrificed the maids to the suitor’s unwanted advances. She was powerless to keep Odysseus from hanging the maids, though to her credit, Odysseus kept his intent from her. It’s a truthful and sad conclusion, set in a wholly entertaining frame of music and dance. Kudos to the dramaturg Neena Arndt for her role in bringing us this lesser known work.

”The Penelopiad” runs at Chicago’s Goodman Theatre through March 31