Items filtered by date: November 2007

The Y2K era was a wild time to be a girl. Bubblegum pop juxtaposed against futuristic silver-scaled sets, female artists viciously pitted against one another in the media, women and young girls being viewed as simultaneously pure and virginal and corrupt and sexual deviants. All of these themes are perfectly captured in the millennial time capsule of a play The Love Object now playing at Raven Theatre.

On the eve of Ramona's sold-out stadium tour, her best friend and trusted assistant Paula announces she is leaving to pursue her own artistry. Fearing the loss of her closest confidante, Ramona reveals that a sex tape she made is about to be released, tainting her image (and ticket sales) forever. Will Paula stay and clean up Ramona's mess one more time or finally escape the oppressive celebrity machine for good? The Love Object is a contemporary adaptation of Euripides' Hippolytus, examining the hyper-sexualization of women celebrities, the power struggles of interracial friendship, and the tragedies of late-stage capitalism, all through the bubblegum veneer of an early 2000s pop superstar.

Much like its Greek predecessor, The Love Object, the characters within the play all have a bit of blindness that prevents them from understanding the other's perspective; Ramona, played by Emily Holland, failing to understand why Paula would want to leave, Paula, played by Kaylah Marie Crosby,  failing to understand the loneliness of stardom, and Simon, played by William Anthony Sebastian Rose II, failing to understand the complexities of female choices and consequences of his own actions. The undercurrent of purity and sexuality throughout the play is represented not only in the main protagonists but also in the supporting back up dancers, Tish, played by Cat Christmas, Randy, played by Spencer Diaz Tootle, and Kylie, played by Mollyanne Nunn, all of whom have their own squabbles with one another while also viewing Ramona through both lenses of a virgin and a sinner.

Looking back at the bubblegum pop era through the social context of today we have sure come a long way. We as a society were awful to young women, judgemental, critical, and downright vicious. Time allows us to look back on that period with a kinder viewpoint, one that is not so polarized. Being able to view The Love Object through the same lens affords us the ability to equally despise the vain pop star and be sympathetic to her loneliness of lacking in any real or substantive friendships, or to resent the assistant and her actions and also embrace the karmic justice of our f-around and find out world. With a minimalist futuristic set, early 2000s pop culture references, superb acting, and a storyline every millennial woman can relate to, The Love Object is a perfect time capsule for this fall theatre scene and one sure to entertain.

The Love Object, presented by The Story Theatre at Raven Theatre (6157 N Clark St, Chicago), runs through November 3rd. Ramona’s tour is selling out fast so be sure to grab your tickets with backstage access at www.raventheatre.com/season42/. 

Have you ever jumped on a crowded L train and wondered just why there were so many people on it? Where did they all come from? Where were they all going? Who were they going to meet? What were they going to do when they got to their destination? When I ride the L I get sonder, the feeling of realizing that everyone has a life as full and complex as your own. It's the idea that everyone is the central character in their own story, but also a supporting cast member or extra in other people's stories. We never quite know what people are going through and we cannot rely on that glimpsed impression to truly understand. It is this theme that is at the heart of Milo Imagines the World, a new musical now playing at Chicago Children’s Theatre. 

Milo Imagines the World follows a young boy who uses art to process the realities of growing up with an incarcerated parent. Audiences join Milo and his big sister, Adrienne, on an urban subway ride. Adrienne is at odds with her little brother and does her best to tune him out, while Milo passes the time by drawing colorful pictures of the other passengers, imagining the wonderful lives they must lead. Once the train reaches its destination, Milo understands that you can’t know anyone’s story just by looking at them.

Adapted by Terry Guest and directed by Mikael Burke, Milo Imagines the World is a world premiere musical based on the book of the same name by Newbery-winning children’s author Matt de la Peña and illustrator Christian Robinson about a young boy who uses art to process the realities of growing up with an incarcerated parent. “By telling Milo’s story, we have the opportunity to expand what children in Chicago see on stage,” says Guest, who is himself the child of an incarcerated parent. “We are reflecting their stories back at them and making them feel less alone. Milo is so many of us, and it’s an honor to bring him to life on the stage.” “This play is a ride, a musical odyssey of imagination, a journey from house to home,” adds Burke. “Through vibrant songs, expressive dance, and a whole lot of imagination, this magical, musical journey takes audiences through the mind of a child, as he learns to see the world as it really is.” 

Just like riding public transit, the play took you to some expected and unexpected places. The ensemble cast embraces the humorous, creative, and imaginative world that Milo, played by Ian Thigpen, imagines as he is riding the train. You don’t quite know where he and his sister, played by Livia Robin are going, but the tension slowly builds just as it does on a commuter train; that hurry-up-we’re-going-to-miss-our-train-and-throw-off-our-whole-day feeling while simultaneously providing an escape and reprieve from the outside world. Thigpen and the Chicago Children’s Theatre ensemble cast expertly build this tension culminating in the bittersweet reality that so many children in the US experience. The story and the musical find a way to address the impact of incarceration on families while fostering a sense of wonder, joy, hope, and resilience. It is an absolute gem of a piece and is sure to move audiences for decades to come.

Public performances continue through November 10, Saturdays and Sundays at 9:30 a.m. and 11:30 a.m., with a large number of weekday morning matinees for school groups. Milo Imagines the World is recommended for ages six and up and a run time is approximately 60 minutes. Visit chicagochildrenstheatre.org, call (312) 374-8835, or email This email address is being protected from spambots. You need JavaScript enabled to view it. for tickets, you don’t want to miss this incredible journey.

History is often said to be written by the victors, and few events illustrate this more clearly than the Salem Witch Trials of 1692. Arthur Miller gave the historic event a new life in his 1953 allegorical play ‘The Crucible’. However, playwright Sarah Ruhl was piqued when she heard a story about Miller’s real inspiration for writing his classic play about neighborly betrayal. ‘Becky Nurse of Salem’ is Ruhl’s modern, humorous twist on the Salem Witch Trials.

Sarah Ruhl is one of the most popular American playwrights today. She has a knack for warmhearted, thought-provoking fantasies that showcase her highly creative storytelling approach. There’s no question ‘Becky Nurse’ has signature Sarah Ruhl elements, but in many ways this play is a departure–it’s angry.

Written during the Trump era, inspired by the eerie echoes of “Lock her up! Lock her up!”, ‘Becky Nurse of Salem’ is a bit of a blender of themes on modern American life. Becky is an unhappy 63-year-old woman giving tours of a dusty Salem Witch Trial museum. She’s a descendent of the real Rebecca Nurse who was executed during the Salem Witch Trials and to keep herself entertained; she tells tour groups “the real story” until her uptight boss lets her go. She’s also caring for her troubled granddaughter after her mother dies of an overdose. Becky is very lonely and takes comfort in opiods.

While this may not sound like the makings of a comedy, Ruhl’s play finds relatability in Becky Nurse. Afterall, who among us isn’t angry? Who isn’t outraged by the fact that over 300 years later, we haven’t fully learned the lessons of the Salem Witch Trials? Becky Nurse, is like all of us, flawed, and often unlovable but with her heart in the right place.

Shattered Globe Theatre brings ‘Becky Nurse of Salem’ to the Midwest after a 2022 Off-Broadway production. Directed by Ruhl’s longtime friend and collaborator, Polly Noonan, this revival feels like love is sewn into every hem. Leading the ensemble cast is Linda Reiter as Becky. Her performance fully embodies what it means to just be tired of the B.S. Her spiritual awakening is all the more earned by the play’s conclusion. And what’s a witch play without a little magic? SGT ensemble member Rebecca Jordan brings lightness to the darkness of the play with her rubbery affects and far out delivery as a real-life witch. Her scenes with Linda Reiter are some of the most fun to watch.

While watching ‘Becky Nurse of Salem’ there really does seem like a lot going on, but it’s after the play that you’ll realize how masterfully Sarah Ruhl intertwines so many hot button issues. This is Ruhl’s most serious work, and it also feels like her most urgent. Just like Arthur Miller, Ruhl bends the history of the Salem Witch Trials to serve her dire warning, and just like ‘The Crucible’ is an exciting exploration of where we’ve come from and where we’re going. Unlike Miller though, Ruhl leaves us with optimism.

Through November 16 at Shattered Globe Theatre. 1229 W Belmont Ave. 773-975-8150

Lore, a noun. knowledge and information related to a particular subject, especially when it is not written down, the stories and traditions of a particular group of people

The world premiere of Chicago Lore(s), written by Sammy Publes and produced by Urban Theater Company (UTC), is a compelling and emotional journey through the life of José "Cha Cha" Jimenez, co-founder of the Young Lords Organization. True to UTC’s mission of preserving the Puerto Rican and Humboldt Park community voice, the production is a powerful tribute to Chicago’s civil rights history and the often-overlooked contributions of Puerto Rican activists. Directed by Miranda Gonzalez, this play not only recounts history but invites the audience to reconnect with it on a personal and communal level.

Ivan Vega delivers a captivating performance as the aging revolutionary Cha Cha, who is visited by voices from his past while reflecting on his transformative journey from a troubled youth in 1960s Chicago to a political force that reshaped the city’s approach to social justice. Vega brings a profound sense of gravitas and vulnerability to the role, while Stanley King’s portrayal of Cha Cha’s best friend, Billy “Che” Brooks, serves as an essential counterbalance—grounding Cha Cha’s reflections with heartfelt camaraderie and insight.

The play is a dynamic fusion of personal storytelling and political history. It’s through Cha Cha’s eyes that the audience is transported to key moments in Chicago’s history, including the Young Lords’ radical evolution from a gang to a political organization that fought for civil rights and social justice. The ensemble cast, which includes Kevin Cruz, David Gordon Johnson, Alexis Janae, Abigail Pinon, Claudia Quesada, and Joshua David Thomas, contributes to the narrative as they take on various roles, seamlessly guiding both Cha Cha and the audience through forgotten chapters of Chicago’s activist history.

The scenic design by Harrison Ornelas beautifully captures the essence of memory and history, with layers that feel both grounded and ethereal. The set, with its delicate balance of realism and abstraction, evokes the "gossamer dreams" of Cha Cha's past—fragile yet vividly present, the design perfectly mirrors the play’s exploration of history, where memories hang like whispers, elusive but ever-present. Sarah Albrecht’s quick-change costumes further support the fluidity of the time shifts and transitions between past and present. The attention to detail in the design elevates the production, creating an environment where the personal and historical can merge effortlessly.

The heart of Chicago Lore(s) lies in its decolonized approach to theater and storytelling, a hallmark of Urban Theater Company. It’s not just a recounting of the past but an active reclamation of history that centers the voices of people of color. Some of the characters in Chicago Lore(s) are real, while others are amalgamations of individuals who played pivotal roles in Cha Cha life serving as a powerful reminder of the vital impact these activists had on Chicago and beyond.

Miranda Gonzalez’s direction is nuanced and thoughtful, giving space for each character’s voice to be heard while maintaining a cohesive, emotionally charged narrative. The play excels at balancing the personal with the political, ensuring that the audience is as connected to the intimate moments between Cha Cha and his grandmother as they are to the larger social movements at play.

Chicago Lore(s) is an essential piece of storytelling that shines a light on Puerto Rican activism in Chicago, giving voice to a community that helped shape the city’s political landscape. The production is not only an educational experience but a celebration of cultural pride and resilience. Urban Theater Company continues to elevate the work of diverse Chicago creatives through this powerful and necessary world premiere.

HIGHLY RECOMMENDED

When: Through Oct. 27

Where: Urban Theatre Company, 2628 W. Division Street

Tickets: $37

Info:urbantheaterchicago.org (312)239-8783

Do you like scary movies? I do. I blame the origin of this love of scary movies to being tricked into watching The Blair Witch project alone in a glass house in The Hills in Southern California in middle school; I loved the adrenaline rush, the ‘would I have survived that’ thought process that ensues. With spooky season officially upon Chicagoland, do you think I would miss the opportunity to see an Immersive Puppet Haunted House? No chance.

House of the Exquisite Corpse IV: SUPERSTITIONS is an annual themed anthology of puppetry art show. Part haunted house, part puppet show, and part platform for artists to create an immersive, experimental, non-hierarchical art form. The immersive puppet show features six haunted rooms which feature a different puppet show that run about 5-6 minutes a piece. You as a viewer observe the performances through peep-holes, adding to the voyeuristic horror-like setting. Each year, teams of multidisciplinary  puppet artists anchor to one particular theme which the artists interpret, prepare, and perform for audiences. This year’s anthology is centered around superstitions, each of the performances, each selecting a different superstition to feature. There’s “Step on a Crack,” by Ken Buckingham and Corey Smith,  “Broken Mirror,” by Justin D’Acci and Pablo Monterrubio, “If you lie, the devil’s darning needle will sew your mouth shut,” by Chio Cabrera, Alonso Galue and Brett Swinney, “Through the Looking Glass,” by Felix Mayes and Cam Armstrong Smith, “A White Bird in the House is an Omen of Death,” by Jacky Kelsey, Fletcher Pierson and Kevin Wesson, “Dreams Foretell the Future,” by Sion Silva and Emilie Wingate.

I know what you might be thinking. Horror show? Not for me. But for those perhaps not a fan of scary movies, fear not. There are no jump scares, no gore, only a series of artistic expressions utilizing multiple different puppet mediums. But puppets? Really? Yes! Did you know there are actually six different types of puppetry? There are far more than just those like Lambchop (creepy) or puppets like those in Avenue Q. There are marionettes, hand puppets, rod puppets, shadow figures, and Bunraku-style puppets, and you’ll see many of these artforms on display at House of Exquisite Corpse. The puppets add to that particular spine tingling, skin crawling curiosity that one gets when watching a scary or suspenseful film and it is executed in fascinating ways.

While there are no jump scares that will leave your heart pounding, the shows do feature some visual and auditory elements such as frightening imagery, strobe lights, loud noises, and haze effects. But fear not, those so inclined may soothe any creepy crawly feels with a drink at Front Bar at Steppenwolf Theatre only steps away. You will be on your feet for the majority of the show. The floor is concrete, so you may want to wear comfortable shoes. Audience members with limited mobility will be accommodated, all you need to do is email This email address is being protected from spambots. You need JavaScript enabled to view it. to discuss any accessibility needs. The show is recommended for audiences aged 14 and over.

House of the Exquisite Corpse IV: SUPERSTITIONS runs through spooky season ending its run on November 2nd is conveniently located at the south end of the Steppenwolf complex, 1624 N Halsted, in Chicago's Lincoln Park neighborhood tickets are available at www.tickettailor.com. Don't miss your chance to see SUPERSTITIONS at House of the Exquisite Corpse, you won't regret it, just be sure to throw a pinch of salt over your shoulder, just in case.

, 

Every time I’ve had the pleasure and the privilege of attending a show at Black Ensemble Theatre, once the experience has sunken in and I’ve had time to think about what I witnessed, I realize something. I realize that Jackie Taylor—actress, singer, writer, historian, founder of the Theater, and writer and director of this production, Blue Eyed Soul Sung by Brown Eyed People—is also a sneaky teacher, which is the best kind of teacher.

Because every show I’ve seen at Black Ensemble Theater, after I’ve gotten over the wonderful performances of equally wonderful music, after I’ve stopped tapping my toe and singing along but have not stopped smiling, I realize that Jackie Taylor has taught me something. She’s made history—and learning—not just immersive and impressive and relatable and digestible. She’s made it joyful.

But that’s just part of Ms. Taylor’s secret formula. Her audiences can’t help but be invested when presented with art that is historically significant, but that is also emotionally significant—I bet one or two or ten of these songs brings back a memory, a feeling, or a moment for each and every member of the audience. And this audience can’t help but be awed when artist after artist presents this historical and emotional art so skillfully and so joyfully.

I keep using that word. Joyfully. Joyful. Joy. Joy is the feeling I get the moment I walk into the Black Ensemble Theatre’s foyer. It’s a community. A joyful community is what I feel I’m part of as I’m shown my seat (an aisle mate of mine mentioned how there’s not a bad seat in the house; as true here as anyplace I’ve been).

And joy is the feeling I got as Blue Eyed Soul Sung by Brown Eyed People began. The band is killer. Even though I’m a musician myself, if I wasn’t watching the four of them play, I wouldn’t guess it’s just a four piece. Conducted by musical director Robert Reddrick who’s also front and center at the drumkit, Adam Sherrod on piano paints with a wide palette of sounds—smooth electric piano, sacred organ, sensual keys. Oscar Brown Jr. on guitar adds more—effortless soul, reverberating rockabilly, Spanish classical, psychedelic fuzz. And Walter Bass—on bass—brings the hook to so many of the songs they perform, the hook that has hooked millions of listeners for generations now, and for generations to come.

Yes, the songs. I won’t give too much away, but you’ll hear songs sung by Dolly. And Whitney. And Mariah. And Christina. And Tommy. And Tom.

The songs are sung by Black Ensemble Theatre’s talented ensemble. Vincet Jordan—who transformed into Chuck Berry in a previous production on Berry’s life and work—shows his range, from falsetto to harmonies to duet partner to charismatic frontman. LaRon Jones has a stunning voice, and he gets song after song that seem written to show it off. Taryn Welch’s voice also left me stunned—I’m still trying to figure out how she pulled off one extended run. Trequon Tate and Dennis Dent provided humor and charm and spot-on backing vocals, alongside Raeven Carrol.

It's Carrol who provided one of the understated highlights of the show. “If I should stay, I would only…” She begins a classic song, a song everyone knows. She sings it tenderly and warmly and beautifully, as it was meant to be sung. Then she’s joined by, and overtaken by Britt Edwards—who has so many wonderful moments throughout the show—and this song is one where Edwards SINGS, because that’s what someone has to do if they sing this song.

So, Edwards SINGS. As good of a performance of this song as you’ll hear. But then there’s Carrol’s voice, back again. Tender and warm and as beautiful as Edwards’ voice. Each voice perfectly their own.

And these two singers, and the entire cast and crew, show you that this song—and any great song—is one that can be sung by different voices, in different ways, and it will always be a great song that can be sung and shared and bring joy.

Come listen and sing along, smile and learn, and be part of a joyful community at Black Ensemble Theatre’s production of Blue Eyed Soul Sung by Brown Eyed People, now until November 10.

While I’ve read the books and seen the movies, I’ve always stood on the outside of the world of Harry Potter. And honestly, I’ve always been a little bit envious of that world—and those who have embraced it and understand it and love it. There were plenty of those folks in attendance at the James Nederlander Theatre on Thursday night for the opening of the Broadway in Chicago production of Harry Potter and the Cursed Child, but there were also plenty of folks like me—outsiders to the world of wizarding and whatnot.

But this show was made to be enjoyed and appreciated by all—the hardcore fans and those of us who just enjoy a good story, good theater, and a really great production.

What began as two productions, in the days before the pandemic, was “shortened” into one play (yes, this is a play, not a musical) after live theater returned. It’s lengthy—three hours, with a twenty-minute intermission between its two acts—but it does what the books and movies did, immersing and losing its audience into its world so time seems to stand still.

The world we find ourselves in is 19 years past end of the final Harry Potter book. Written by Jack Thorne—based on a story by Thorne, director John Tiffany, and J.K. Rowling—this is an original story, featuring the books’ and films’ beloved characters—and new characters, too, as well as stage versions of the Hogwarts world.

John Tiffany, whose 2016 London production of the play began its run, directs this production, as well, and it is magic. Like, actual magic. There are sparks and flames and levitation and disappearances—all of the magic that your mind could conjure while reading a novel or your eyes could be tricked into believing by Hollywood’s CGI. But seeing these illusions happen in person, onstage, in real life is the true draw of this show. I’ve seen a lot of theater, but some of the stuff I saw from the James M. Nederlander’s dress circle seats blew my mind. Tiffany—along with Set Designer Christine Jones and Jamie Harrison, credited with “Illusion & Magic”—is a wizard who left us muggles in attendance asking “How’d they do that?”

The cast that Tiffany directs also helps build this magical world. Local talent Matt Mueller, last enjoyed by this reviewer when he starred as Gerry Goffin in the Marriott’s Beautiful, here co-stars as Ron Weasley. Chicago legend, Larry Yando plays multiple roles, all of them important, but his elderly Amos Diggory was a favorite of mine. Julia Nightingale delights as Delphi Diggory, and Mackenzie Lesser-Roy steals her scene as frolicking phantom Moaning Myrtle. Of course, John Skelley as Harry Potter and Ebony Blake as Hermione Granger also nicely bring the series’ big names into the action.

Again, it’s the sets and the action that really left me bewitched. I sit here writing this review still puzzling over how I saw some of the things I actually saw. And that is the draw of this show, which runs until February 1, 2025, at the James Nederlander Theatre downtown—you come for this world that’s been imagined into existence and into being beloved by millions, and not only do you get to meet these characters who populate and make this world so special, you get to be as amazed as they are by the magic and tragedy and human (or wizard) drama that makes it a world.

Brought to life on the big stage, Harry Potter and the Cursed Child is a triumphant return to Wizarding World!

Harry Potter and the Cursed Child is being performed at the James M. Nederlander Theatre through February 1^st. For tickets and/or more show information, click HERE.

“It takes a smart fellow to say he doesn’t know the answer”

Attorney Henry Drummond- 'Inherit the Wind'

The Goodman Theatre's production of "Inherit the Wind," written by the same duo who brought us "Auntie Mame" (Jerome Lawrence and Robert E. Lee), expertly directed by Henry Godinez, offers a powerful and thought-provoking exploration of the clash between religion and science.

National figures Clarence Darrow, a civil liberties attorney and founder of the ACLU, and William Jennings Bryan, a fundamentalist Christian and populist three-time Democratic Presidential candidate, argued the famous Scopes “Monkey” Trial in 1925. 

This fictionalized account, a  legal battle over the teaching of evolution in American public schools, remains as relevant today as when the trial happened  in 1925. It reflects the ongoing "culture wars" playing out today, particularly around education. The play's trial centers on the right to teach evolution, a debate that has echoed into modern fights over what can and should be taught in American schools.

In 2024, school boards and state legislatures are hotbeds of conflict, with debates over the teaching of history, race, gender, and even basic scientific principles. Across the country, there are movements to ban books, restrict what educators can discuss, and roll back curriculums deemed "woke" or politically incorrect. The themes of "Inherit the Wind" – the right to free thought, academic freedom, and the importance of challenging societal norms – feel eerily timely as education becomes a battleground in this year's election.

Alexander Gemignani delivers a tour-de-force performance as Matthew Harrison Brady, the charismatic and deeply religious prosecutor. Gemignani captures Brady's unwavering faith and his conviction that the Bible is the ultimate source of truth. His portrayal is not simply a blowhard preacher clinging to outdated values, but a man genuinely trying to protect his worldview in a rapidly changing society. His performance is both commanding and sympathetic, allowing audiences to understand the man's genuine belief in his cause.

Harry Lennix, as the defense attorney Henry Drummond, is equally impressive. Lennix portrays Drummond as a complex figure, a man who values both reason and compassion. His performance is marked by intelligence, wit, and a deep respect for the law. Lennix's Drummond becomes more than a  cynical intellectual—he is a defender of the individual’s right to think, to question, and to change. In Lennix’s hands  Drummond is a compelling character who challenges audiences to consider the importance of critical thinking and the dangers of censorship, a joy to watch.

The supporting cast is exceptional. Mi Kang delivers a memorable performance as E.K. Hornbeck, a cynical and opportunistic reporter who views the trial as nothing more than a spectacle. Christopher Llewyn Ramirez is heartbreaking as Bertram Cates, the young schoolteacher at the center of a national controversy. Robert Schleifer is poignant as Meeker, a deaf actor who was truly engaging, and Presley Rose Jones is charming and insightful as Melinda, a young woman who falls in love with Cates. The contemporary casting choices make this production particularly moving.

Collette Pollard's set design is a marvel. The set, a myopic bird’s eye view of a small town, a place where everyone knows everyone else and where secrets are hard to keep. Pollard's use of perspective creates a sense of claustrophobia, suggesting that the characters are trapped in a world that is both familiar and stifling. The floor of the courtroom suggesting  uniformity and order

In many ways, Inherit the Wind is a powerful allegory for the struggles America faces in 2024. As the nation heads into a pivotal presidential election, the play’s themes of free thought, the conflict between science and belief, and the influence of populism and religion on politics provide a rich framework for understanding the stakes of this moment in history. The questions it raises—about who controls knowledge, who gets to speak, and how we balance faith with reason—are the very questions that are being asked on debate stages and in polling booths across the country today.

HIGHLY RECOMMENDED

When: Through Oct. 20

Where: Goodman Theatre 170 N. Dearborn

Tickets: $30 - $45

Infor:.goodmantheatre.org/show/inherit-the-wind/

I walked into Steppenwolf Theatre not really knowing what to expect when going to see their new play Noises Off. Turns out, admittedly, I have never heard of the comedic art of British Farce or the original 1982 play by English playwright Michael Frayn called Noises Off. My only goal when selecting this play was to laugh and enjoy my time. I can successfully say that I did laugh a lot, and I enjoyed my time, but it took some time to get there.

The comedy show, directed by Anna D. Shapiro is a play-within-a play with a cast acting as actors, backstage crew and the director of the show preparing for an upcoming play called ‘Nothing On’. The show begins with the opening scene of actress Dotty Otley playing Mrs. Clackett, a housekeeper who is answering the phone while the homeowners are away. This takes place during a late night dress rehearsal just hours away from their opening performance. As the rehearsal carries on, many issues arise amongst the actors and the director. Missed cues, wrong lines, broken doors and lost props drives the cast into a mess. Meanwhile, drama unfolds amongst the cast with secret relationships, personal problems, and the mounting pressure of getting the show right.

The beginning of the show feels a bit confusing, having little context as to what is going on. All of the characters enter on and off the stage, while carrying two identities between their actor character and their play character. This constant movement and character changes make it a bit challenging to follow. By the end of the first act, I got the gist of what was happening and who each of the characters were.

Act I of the show is about the horrendous dress rehearsal that sets the stage and gives you an inside look at the drama and affairs amongst the cast. Act II takes you backstage, where chaos erupts during their opening night performance. And Act III brings you back to the front stage with one of the final shows for the cast. Out of the three acts, Act III is by far the best. All of the preparation, failures, and drama reaches a climax with a dizzying final performance with everything that could go wrong in a play. I found myself laughing along with the majority of the crowd during Act III.

The Steppenwolf Theatre stage hosts the set of the ‘Nothing On’ play the actors are preparing for. The set is the inside of an old British home with a staircase and many, many doors waiting to be slammed. The stage smoothly rotates between acts as you move to the front and back stages. The stage design works well for the show and gives enough dimension to keep things interesting.

I am thoroughly impressed by the cast in this show. Each actor seamlessly switches in and out of their play characters without error. Most of them carry the British accents well, while others could finesse it a bit more. By the third act, the actors were flying off and on stage, changing props, exchanging lines and swapping characters rapidly. I felt my head spinning and was shocked by each actor’s ability to carry on at that pace.

Rick Holmes who plays the Director of the play named Lloyd brilliantly captures the God complex a stereotypical play director holds. He’s condescending, pessimistic and truly vain. Holmes is convincing in his role as the director, and he exudes the distasteful personality of a narcissistic director who gets inappropriately involved with his cast. Meanwhile the cast in the ‘Nothing On’ play is a mixed bag of over-confident, lackadaisical, overly emotional, and dramatic personalities. Each character has a unique personality, which is entertaining to watch as the drama unfolds.

One standout cast member is Andrew Leeds who plays Garry Lejeune and his character Roger Tramplemain. Leeds is a quirky actor who is confident in his role and questions the director on a few of his decisions. I found Leeds to be the most exaggerated character with ridiculous behavior and a very convincing fall down the long staircase. He is quick in his character’s actions and is hilarious in his lines. He seems experienced in all things farce comedy and effortlessly switches in and out of his Garry and Roger roles.

Izumi Inaba’s costume design for the show embraces the 70s era style for the ‘Nothing On’ play with bright vibrant patterns. Each costume accurately portrays the characters each of the actors were playing. Some of the costume pieces eventually become props in the show and work as comedy pieces.

This production runs approximately 2 hours and 40 minutes with two short intermissions. The show itself feels a bit long between the first two acts but quickly picks up speed by Act III. I recommend getting to the theatre early and grabbing a drink and a small snack at the front bar.

As mentioned before, this show is based on a British farce comedy and the touring production of a bedroom farce. Farce is a style of comedy that heavily relies on physical and sometimes violent humor and ridiculous highly exaggerated situations. This show is well suited for adults who are into slapstick comedy and find “Monty Python and the Holy Grail” funny. Not to mention this show is loud in parts. There is a lot of door slamming and the play is ironically named Noises Off. I found this show to be pretty funny as I picked up on farce humor. This show is truly chaotic, stressful, a tad confusing and just downright absurd in the best way.

Noises Off, a Co-Production with Geffen Playhouse, is now playing at the Steppenwolf Theatre Company located at 1650 N Halsted Street in Chicago. This show will run from September 12th to November 3rd. Showtimes include 7:30 p.m. Tuesdays-Saturdays and 3:00 p.m. Saturdays and Sundays. Single tickets for the show range from $20-$148 and are now on sale at steppenwolf.org and at the Box Office at (312)-335-1650.

The Tempest is Shakespeare’s final play, and one could argue that he saved the best for last, skillfully presented by Idle Muse Theatre Company. At intermission I overheard two young women expressing surprise at ‘how they can do so much in so little space!’  Clearly, they were habitues of traditional venues like the Goodman and Nederlander theatres, and I simply had to interrupt them to sing the praises of Chicago’s numerous and thoroughly excellent storefront theatres. As I’ve often said, theatre takes on a special glow when you’re watching from within the players’ pheromone clouds.

As with most of the Bard’s works, The Tempest uses many characters to enact a labyrinthine plot. Prospero (Elizabeth MacDougald ^she/her) is the former Duke of Milan, deposed and exiled with his infant daughter Miranda (Caty Gordon ^she/her) to this remote and (seemingly) uninhabited island, where he has raised his child while evolving himself into a powerful sorcerer. As the play begins Prospero is using his magic to create a raging storm to wreck the ship carrying the despots who usurped his dukedom: his conniving brother Antonio (Orion Lay-Sleeper^he/him), King Alonzo (Jack Sharkey ^he/him), with his son Ferdinand (Boomer Lusink ^he/him), and Uncle Tom Cobbleigh and all ….

When Prospero arrives on the island, he finds that, contrary to expectation, it is inhabited, by Caliban (Jennifer Mohr ^she/her), whom Prospero rescues from the spell previously laid on him. Unfortunately, Caliban retaliates this largesse with brutish behavior. Prospero, fearing Caliban’s conduct might injure the growing child Miranda, enslaves him.

Prospero meets yet another islander, Ariel, a cosmically powerful air spirit whom he frees from captivity. Ariel shows more gratitude than Caliban, protecting both Prospero and the child, now seventeen years old (but still, of course, an infant in her father’s eyes).  Ariel is also handy for whipping up tempests at sea and befuddling shipwrecked aristocrats. Director Brandon cleverly casts Ariel six times: Mara Kovacevic ^she/her, Gary Henderson^he/him, Connar Brown^she/her, Emely Cuestas^she/her, Jacque Bischoff ^she/her, and Emily Pfriem ^she/her. These six capering sprites are all equally adroit in the use of magic and music, and all beholden to Prospero for their … well, not actually freedom, as they’re still indentured to Prospero, but at least they’re no longer trammeled in a tree.

[Are you getting the idea that Prospero is a bit of a control freak (to use a common Shakespearian term)?]

Ariel(s) leads Ferdinand (the King’s son, remember?) to meet Miranda, and the two adolescents fall instantaneously, fervently and immitigably in love (as you do). Elsewhere on the island King Alonso, with his friend Gonzalo (Xavier Lagunas ^he/him), his brother Sebastian (Eric Duhon ^he/him), and Prospero’s insidious brother Duke Antonio are having vile and nefarious adventures whilst the heartbroken King searches for his son. Ariel(s) saved these folks from the sinking ship, but also made sure to bespeckle them far and wide across the island. Court jester Trinculo (Joel Thompson ^he/him) and his friend the King’s butler Stephano (Michael Dalberg ^he/him) fall in with Caliban, whom they woo with the barrel of wine Stephano serendipitously rode to shore from the wreck.

There! Got all that? I’ve by no means covered all Shakespeare’s storylines, threads, scenarios and subplots, but you can get those from Cliff’s Notes; I’m here to talk about all the other artists.

As is to be expected from Idle Muse, all were excellent. I admit I’ve come to rather take for granted that the talent on a [small!] Chicago stage will be extraordinary; in particular I trust Idle Muse not to disappoint me. From MacDougald’s Prospero to the six Ariels; from Boomer Lusink’s lordly Ferdinand to Orion Lay-Sleeper’s rascally Antonio, every character was enacted deliciously. Though the story began with darkness, rolling thunder and vast waves, humor began peeking through early, and by Act II we were all laughing.

Those who’ve been reading my reviews know that I don’t pretend to be fair and even-handed; I always have favorites!  In The Tempest my first and foremost fave was Ariel #2, Gary Henderson. His Ariel couldn’t help standing out on account of being the only cis-male Faerie (sic), but I really just liked his style – dancing about the stage with bells, on hands and knees barking at miscreants, snooping into secret plots … whatever Henderson’s Ariel was up to, he was a delight! I also loved Joel Thompson’s Trinculo; paired with Michael Dahlberg’s Stephano they were a swilling and snarfing version of Rosencrantz and Guildenstern, with terrific comedic timing.

Director Tristan Brandon ^he/him not only directed but adapted this production of The Tempest as well. In his splendid From the Director note he reminds us that The Tempest is about relationships and family, begotten and chosen.  The Tempest illustrates that, as humans can’t help being human, with human virtues and failings, the most critical aspect of relationships is forgiveness: we must be incessantly forgiving each other – and ourselves – for being human. Brandon’s Assistant Libby Beyreis ^she/her was also Violence Designer, appropriately, acknowledging the dichotomous but related aspects of violence and forgiveness. Balancing these was Maureen Yasko ^she/her as Intimacy Designer.

The set was perfect, spare yet evocative, under the combined attentions of Scenic Painter Breezy Snyder ^she/they with Scenic Designers Laura J. Wiley ^she/her and Tristan Brandon; these two, with Artistic Director Evan Jackson ^he/him, also designed the props, and Laura Wiley ^she/her brought the puppets to life.

[BTW, I hope you’re noticing names being repeated. When a relatively small company is mounting grandiloquent and multidimensional productions (like anything by Shakespeare!), considerable multitasking is required. Thus one sees much overlap, as well as inclusion of cast members, in Production.]

I was enchanted by Jennifer Mohr’s ^she/her costumes and Jacque Bischoff’s ^she/her makeup. The Ariels were captivating with twinkle-lights under tulle skirts and transcendental makeup. Prospero’s magical coat was stunning, and I loved that many of the costumes had corset-style lacing in back; creates such a sense of glamorous antiquity (ancient glamor? whatever)! Trinculo sported mismatched socks, with dissimilar shoes as well. The core values of Idle Muse Theatre Company are True, Timely, and Transporting; between them Mohr and Bischoff made each character totally True.

The same can be said for Laura J Wiley’s ^she/her Lighting Design which, with Kati Lechner ^she/her directing L.J. Luthringer’s ^he/him sound and music compositions, created a multisensory domain accordant with all the disparate scenes, from a raging storm to a quiet family home and to the Ariel(s)-bewitched wildwood, certainly fulfilling the core value of Transporting. Much of this I attribute also to Stage Manager Becky Warner ^she/her and her Associate Lindsey Chidester ^she/her. Pulling all these diverse variants together into a smooth, tangible, inclusive Truth can only happen when excellent direction of a superlative cast is so masterfully Managed as to unite all elements.

Idle Muse’s third core value is Timely, and what could be timelier in the American election year of 2024 than a production that transports us to the Truth? It’s tempting to draw comparisons between fictional and political characters, but it’s unnecessary. The Tempest’s fundamental, essential message is about forming and maintaining relationships: between parents and children, teachers and students, leaders and followers. Forming and maintaining relationships is basic, but never simple, and always requires mutual and correspondent forgiveness.

I recently encountered a new word that I like very much: Ubuntu, or ‘I am because we are’. This term originates from the Zulu and Xhosa languages, and it loosely translates to ‘humanity towards others’. In honor of Bilbo’s and Frodo’s birthdays (as well as my own!), I offer it here in Elvish (Ariel-ish?) Tengwar script:

The Tempest is 2½ hours long, including one intermission.

The Tempest plays at The Edge Off-Broadway through October 20; last nights’ performance was sold out so I VERY Highly Recommend you get your tickets early!