Items filtered by date: November 2007

I arrived at City Lit Theater’s MURDER IN THE CATHEDRAL expecting a heavy, serious, doubtless thought-provoking but rather intimidating major work of literature. By the end of the performance, I wanted to rush out, buy the book and read it immediately. Any production that accomplishes this in three hours must be called a success!

At its most basic level T.S. Eliot’s play is a meditation on Christian martyrdom in a time of great political stress. The quotation from Alexai Navalny, “I’m on the very blackest part of the blacklist,” on the program’s front-page links this theme directly to the times we live in today.  The script was almost entirely in verse (how else would the Nobel Prize-winning poet write a play?) and at many points the extended alliteration and vivacious rhyme remind one of “Skimbleshanks, the Railway Cat,” or “Macavity’s a Mystery Cat, he’s called the Hidden Paw,” and the other wonderful TS Eliot poems that gave us the lyrics to Cats.  

Production operated from many levels. Patti Roeder designed costumes ranging from modern business suits to carefully constructed evocations of medieval garb. The various social classes and estates were delineated, with the Chorus [Sally Olson, Isabel Schmitz, Katarina Bakas, Kara Chandler] representing the working poor of Canterbury while the rich and politically powerful barons were embodied in the Tempters [Sean Harklerode, Varris Holmes, Robert Howard], who doubled as Knights with Fourth Knight Zach Kunde, who also played Messenger.  The Priests of the Cathedral were played by John Blick, Stephen Fedo, and Joel Thompson. As a whole the entire cast was splendid and Paul Chakrin’s fight choreography gave us a bloodcurdling assassination.

Which brings us to Becket himself, masterfully played by James Sparling and appareled with consummate attention to detail. I have no idea what vestments a Roman Catholic archbishop of the 12th Century wore or how his acolytes invested him. I do know what a present-day Anglo-Catholic priest wears and how she vests herself, and costume director Patti Roeder nailed it precisely.

The stage was in the sanctuary of Edgewater Presbyterian Church, and Director [and outgoing Producer and Artistic Director] Terry McCabe presented the play in the (semi) round. The central aisle leading to the stage area in front of an altar table and pulpit was, of course, singularly appropriate, and Mike McShane’s lighting through the stained glass behind the altar had a great effect.  But the most amazing contribution was that of composer Phillip Seward, who set the verses of the four-member chorus (think Greek chorus, not Chorus Line) to haunting music in his world-premiere score.

 The four singer / actresses articulated Eliot’s lines, now lyrics, with great clarity and their four-part harmony was flawless.  As in a Greek play, these chorus members were not characterized in the script, yet their acting ability, as well as subtle cues from their costumes, allowed me to imagine the sort of women they were “in real life” as they went about their arduous daily rounds in the 12th Century city of Canterbury.

The role of the chorus is to propel the plot, and the music – pianist Jacob Adams punctuated by hammered chimes – intensified that effect.  The first act, while intellectually heavy, sped by, and the composer closed with an allusion to a somber, minor key Advent hymn, “O Come, O Come, Emmanuel” – a falling melody line that carries the lyric, “and ransom captive Israel” – a ransom of martyrs’ blood.  

Dialect coach Carrie Hardin’s work with the cast is clearly evident in the British r-lessness, but for the first minutes I wished she’d paid more attention to de-nasalizing the a’s.  However, I soon stopped noticing this. I was particularly intrigued by the choice to portray Becket’s internal conflict as a dialog alternating his middle-class British accent with a working class, almost Cockney style of speech.  

All the performances were strong, but I was particularly impressed with Sparling somehow managing to make Becket not only compelling but also, for me at least, annoying.  Historically, Becket’s assassination was spurred when King Henry II flew into a temper and shouted, “Will no-one rid me of this meddlesome priest?!”  Four of his loyalists took him literally, traveled to Canterbury and, indeed, murdered Becket there in the Cathedral.  How seriously Henry actually meant the comment is unknowable, but I found myself empathizing with his exasperation. 

This reviewer, as it happens, spent 8th grade in England and this period of English history was on that year’s curriculum.  Knowing a bit about the politics of that time was helpful in my understanding the speeches of the first act.  For anyone lacking a middle school level of familiarity with 12^th Century English history, this Wikipedia article covers what Mr. Dowthwaite told us in class.  

Highly recommended!

Playing through June 16 at City Lit Theater.

All my gratitude to Elizabeth Vann for her invaluable assistance in composing this review.

Despite the fact that I have never read the Newberry Award-Winning children’s book called Last Stop on Market Street, I chose to see the musical adaptation on a sunny Saturday afternoon. And I have to say, I am impressed with this fun-loving musical at the Young People’s Theatre of Chicago. This show is everything you could ask for with beautiful variations of music, singing, dancing and a playful cast.

The show adapted by Cheryl L. West from Matt de la Peña’s best-selling picture book, begins with a young boy named C.J. arriving at his Nana’s house for a short stay while his parents are on a work trip. C.J. is quickly introduced to his Nana’s neighborhood with a joyous welcome song from the neighbors that is contrasted with C.J. 's wishes to go back home. As time goes on, Nana and C.J. reach a point of contention over C.J. wanting to use his electronics and Nana wanting to spend quality time with her grandson. Nana realizes C.J. has been closed off to the world around him and takes him on an adventure through the city on the bus and to a soup kitchen. These experiences challenge C.J. and open him up to the diversity of humans and life around him. Throughout the story C.J, learns valuable life lessons that we all can benefit from.

The backdrop of the stage is a colorful painting of Nana’s street in the city. The buildings and nature on that street are similar to the illustrations in the Last Stop on Market Street book. The setting has smooth transitions from the vibrant neighborhood street to Nana’s old-fashioned living room, and to the bustling soup kitchen. As the stage transforms throughout the story, the cast keeps you entertained by making their way through the crowd.

The six-member cast is packed with talent. Many of them play multiple characters and have fun on stage acting out each of their roles. I love how magnetic the cast is and feel that each of their characters are relatable to those who live around us in Chicago.

One standout cast member is Aja Singletary who plays the main character, C.J. She brilliantly captures the childlike personality of the young boy. She fully embraces the wild ride of emotions C.J. endures as he has his electronics taken away, meets interesting people on the bus, and asks a million questions about the world around him. Despite being an adult woman, Singletary acts as a convincing child who the children in the crowd seemed to have identified with. She takes on C.J.’s mannerisms, whining, imagination, and laughter with ease on stage. 

The wide-range of music is the best feature of this show. The song genres include hip-hop, soul, gospel and Motown funk. I found myself tapping to the beat and bopping my head along with many children dancing along in the crowd. Each song is super catchy and carries a powerful message worth remembering. Last Stop’s wonderful score is by Paris Ray Dozier and his father Lamont Dozier, writer of Motown hits like “How Sweet It Is” and “You Can’t Hurry Love. The lyrics are cleverly written and even left a few of us laughing with interwoven jokes.

Each cast member does a great job singing and dancing along to the music throughout the show. The choreography is on point and complements the music with engaging moves. The cast definitely shows off their talent and even takes their dance moves to the theatre’s aisles among the crowd. Richuan Stewart, who plays as the Tattooed Man and Vernon, shocked me with an impressive vocal range and beautiful singing voice. He captivates the crowd with a few solos and a contagious smile.

If you have an upcoming free Saturday or Sunday, I highly recommend seeing ‘Last Stop on Market Street.’ This musical is an uplifting story filled with diversity and lifelong lessons both children and adults can benefit from. It’s an awesome way to spend some time with your little ones or even on your own. It will leave you feeling joyful and may even give you a new and loving perspective on those who are around you.

Last Stop on Market Street is at the Young People’s Theatre of Chicago located in the Greenhouse Theater Center on 2257 N. Lincoln Ave in Lincoln Park. The show will run May 11th through June 2nd, 2024. Performances run Saturdays at 11:00 a.m. and 1:30 p.m. and on Sundays at 1:30 p.m. This show is best enjoyed by everyone ages 4+, even including adults like me. The show has a quick 60-minute runtime with no breaks. Tickets are $25 for adults and $19 for those under the age of 12. Visit Young People’s Theatre of Chicago’s website at yptchi.org and buy your tickets today!

I’m amazed that it’s been 18 years or so since I first saw a Hell in a Handbag production. Though it seems like yesterday, my first experience with Handbag was taking in their production of The Poseidon Adventure at the cozy and artistic Chopin Theatre in Wicker Park. It was fantastic and it was funny - fantastically funny. The musical’s parody humor, clever innuendos and dry wit reeled me in immediately. I was instantly blown away by Founding Artistic Director and performer David Cerda and the company’s cast of very talented comedic singers and dancers - and I still am. Hell in a Handbag is a dependable theater company that consistently provides hilarious, high-quality productions of camp entertainment (i.e. Golden Girls: The Lost Episodes, Christmas Dearest, Caged Dames) to the appreciative Chicago community and, like so many others, I find myself always looking forward to their next production. 

Handbag’s current production is yet another gem. Also performed at Chopin Theatre, Poor People! The Parody Musical, was brilliantly written by Tyler Anthony Smith and is wonderfully directed by Stephanie Shaw. Poor People! is a dynamite brand-new production that creator Tyler Anthony Smith describes as being a tribute to the characters in shows like Annie and Les Miserables, “that despite dire circumstances, the characters were still belting their faces off and dancing in the streets. Anybody can be happy and sing but it takes something special to be on your deathbed and still be on key.”

In the gritty, smoke-filled streets of 1979 New York City, the story’s fiery-haired protagonist, Li’l Orphan Arnie (played by Dakota Hughes), is on the run. Escaping the clutches of a lascivious, meth-cooking, authoritarian head of the orphanage, Miss A (Sydney Genco), Arnie’s fate takes an unexpected turn when they encounter a mysterious feline dancer named Whiskers (Matty Bettencourt). Whiskers leads Arnie through a supernatural manhole, hurtling them back in time to 1815 Paris, France.

In this new period of time, Arnie trades one impoverished existence for another. The search for their birth parents takes a backseat as they join forces with a ragtag gang of pickpocketing prostitutes, masterminded by the enigmatic Fagin (David Cerda).

Life takes a darker turn when Mama Moneybags (Brittney Brown), a corrupt Republican hailing from the future, sets her sights on dismantling Fagin’s crew. But fear not! A motley crew of vibrant, down-and-out characters steps up to the challenge. Among them are the consumptive Pantene (portrayed by Caitlin Jackson), the wild and feral Beggar Woman (Elizabeth Lesinski), and Nance, the quintessential hooker with an unexpectedly golden heart (brought to life by Tyler Anthony Smith). 

Besides Annie and Les Miserables, the story also parodies a bevy of characters and songs from other favorite Broadway productions including The Phantom of the Opera (“The Groomer of the Flop’ra”), Oliver, and even a lampooned version of Mary Poppins’ “Feed the Birds (Tuppence A Bag)”.   

(front center) Sydney Genco with (back, l to r) Tyler Anthony Smith,Taylor Dalton, Caitlin Jackson and Patrick O'Keefe in Hell in a Handbag Productions world premiere of POOR PEOPLE! The Parody Musical.

So, let's get to the talented cast members…

Dakota Hughes plays Li’l Orphan Arnie with a childlike charm and sass. Not just gifted with comedic talent, Hughes has a tremendous vocal range and gets to show it off throughout the play. Caitlyn Jackson, who plays Pantene and Sydney Genco as Miss A have been longtime favorites of mine in the Hell and a Handbag Productions troupe throughout the years and were both very funny and also had great song and dance numbers, which I have come to expect and enjoy! Along with Genco and Jackson, Brittany Brown also gets to impress the audience with her sensational singing voice. Another favorite Handbag veteran of mine is Elizabeth Lesinski and she absolutely crushes in her role as the Beggar Woman, drawing laughs with just about each delivered line. She also shows us that she can manage a herd or ravenous squirrels while holding a tune. 

Warm, commanding, and consistently hilarious, David Cerda shines in his role as Fagin. Cerda’s presence exudes both comedy and a nurturing energy that envelops the entire cast. Audiences eagerly anticipate his every entrance. Meanwhile, Tyler Anthony Smith remains a beloved fixture from previous Handbag productions - and absolutely steals the show! Smith brilliantly adapted many numbers from well-known Broadway shows into rousing, funny, bawdy and touching ensemble performances that keep the entire audience laughing and cheering right up until the end of this wonderful full-length production.

To complete the ensemble, Matty Bettencourt sizzles as Fosse Kitty, and special recognition is also due for the outstanding performances of Taylor Dalton as Epipen, Shane Roberie as The Groomer, Patrick O’Keefe as Twinky, and Tommy Thurston as Pretty Rich Boy. There is so much to love about this gifted ensemble. Truly, every cast member delivers an exceptional and delightful experience for the audience. 

Poor People! is a fun show filled with one hilarious moment after the next that does not mind pushing the envelope as far as it can. Yet, no matter how ribald or risque the show may be, a Hell in a Handbag production always includes a heartwarming message to the audience of support and acceptance to all people, regardless of their gender, race or age - and this show is no exception. Tyler Anthony Smith delivers the timeless message of wisdom in the uproariously funny and endearingly adapted finale, “We’re All Gonna Die Soon!” Embrace the present moment! We’re all here now, but who knows what tomorrow holds. So, let’s have fun and enjoy life! 

Poor People! The Parody Musical with musical direction by Andrew Milliken and choreography by Christopher Kelley is being performed at The Chopin Studio Theatre (1543 W. Division St.) through June 16th. For tickets and/or more show information visit https://www.handbagproductions.org/.   

Highly recommended.

*Extended through June 23rd!

“Together we created this nothingness,” says Audrey Francis in Steppenwolf’s production of Larissa Fasthorse’s ‘The Thanksgiving Play’. Hot off its Broadway run, this madcap comedy cuts right to the bone. Under Jess Mcleod’s direction, the intimate cast leaps right off the stage.

‘The Thanksgiving Play’ is about three elementary school teachers and one sassy actress who come together to devise a children’s play that illustrates the first Thanksgiving. In a fast-paced one-act, emotions and hypocrisies run amok.

Logan (Audrey Francis) plays the director, a role the actress and Steppenwolf Artistic Director Audrey Francis is used to playing. What a treat it is to see Francis on stage in her element. Francis is a masterful actor, and this play is but another entry in a long list of perfect performances.

Logan is dating her New Age-y coworker Jaxton (Nate Santana) who is also enlisted to help with the Thanksgiving play alongside Caden (Tim Hopper). Thinking they’re being progressive, they hire who they assume is a Native American actress, Alicia (Paloma Nozicka). Without a script, the four theatre artists must work together to tell a story that pays deference to Native American culture. Though well-intentioned, the all-white creative team exposes everything wrong with today’s supposed “woke” ideals.

At its core, ‘The Thanksgiving Play’ is a scathing satire of the “white savior” complex. Though Logan’s heart is in the right place, it’s perhaps her over-education on race-related issues that finds her with her foot in her mouth throughout the play. Larissa Fasthorse’s play suggests that some allies are more concerned with the outward appearance of racism than they are with true authenticity.

As we’ve been told, the very first Thanksgiving was a breaking of bread between settlers and natives to commemorate their collaboration during the harvest season. We can likely agree this probably was more fiction than fact, but for the sake of a children’s play, maybe the gruesome truth isn’t appropriate. Fasthorse’s play asks the audience is there a better way to tell this story with both respect and truth?

Things quickly fall apart between the creatives as they all battle to enact their own will. Sound familiar? ‘The Thanksgiving Play’ is as much an allegory as it is a comedy. Paloma Nozicka’s character Alicia, who is there to be the token Native American character presents an interesting observation: smart people are often not content. The white characters in the play make their lives more complicated with rules and propriety which leads to their unhappiness. Whereas Alicia lives simply and seems really happy. With these parallels established, Fasthorse could be seen as making an argument that European settlers brought neuroses with them to the New World. 

It’s a remarkable thing to hear a crowd of intellectuals be able to laugh at themselves. A lot of the dialogue will leave you with your jaw open because it’s chock full of ideas you know better than to articulate, such as “why isn’t there a white history month?”

‘The Thanksgiving Play’ is not a show for the humorless. It’s a blistering send-up of how bleeding-heart white people can find themselves twisted in knots trying to appease political correctness, and at what cost.

Through June 2 at Steppenwolf Theatre Co. 1650 N Halsted. 312-335-1650

Fleetwood-Jourdain Theatre's 2024 season of four productions will open with the original musical 1619: THE JOURNEY OF A PEOPLE by Chicago writer and performer Ted Williams III. The musical commemorates the arrival of the first 20 Africans on the shores of Point Comfort, Virginia on August 20, 1619. In it, three modern characters lead audience members on a journey through multiple performance pieces, leaving viewers both inspired and challenged about the progress of America's African sons and daughters. This production uses various musical forms including hip-hop, jazz, and blues, to commemorate the struggle for survival and equality and to celebrate the stories and journeys of America's African sons and daughters. FJT is partnering with Evanston Public Library and Northwestern University for this production. 1619: THE JOURNEY OF A PEOPLE will play Saturdays and Sundays from June 15-30, 2024, with the press opening on Sunday, June 16 at 3 pm.
 
Performances will be Saturdays at 7:00 pm and Sundays at 3:00 pm, at the Fleetwood-Jourdain Theatre in the Noyes Cultural Arts Center, 927 Noyes St., Evanston. Tickets are $30.00 and are on sale now at www.fjtheatre.com. Additionally, 2024 Premium Gold Member Cards, good for all three 2024 summer and fall play productions and A MOODY EXPERIENCE: MUSIC BEYOND THE MARGINS, are now on sale for a very limited time for only $90 - a nearly 30 percent discount off of the regular season ticket prices.
 
LISTING INFORMATION
 
1619: THE JOURNEY OF A PEOPLE
A Musical by Ted Williams III
Directed by Tim Rhoze and Ted Williams III
This is a co-production with Evanston Public Library and Northwestern University
June 15-30, 2024
Saturdays at 7 pm, Sundays at 3 pm
Press opening Sunday, June 16 at 3 pm
Fleetwood-Jourdain Theatre in the Noyes Cultural Arts Center
927 Noyes St., Evanston
Tickets $32.00, on sale now at www.fjtheatre.com
Phone 847-866-5914
 
From the beginning of American slavery to Reconstruction, the Great Migration, the Civil Rights Era, and modern movements for justice, 1619 packs generations of history into an amazing musical theater experience that traces the African American journey toward freedom and equality.

Growing up our radio dial was tuned to one channel, K-Earth 101. In Southern California that station was the oldies, the classics, belting out hits from the 1950s and 60s; Sam Cooke, Buddy Hall, Mel Carter, Peggy Lee, The Ronettes, and so many more artists’ melodies and lyrics that are permanently tattooed on my brain. That music knowledge didn’t particularly help during middle school dances where 13 years olds grinded to The Bad Touch by The Bloodhound Gang but it did provide a solid foundation for an eclectic music playlist I continue to grow and curate today. Thanks to modern music apps we can now not only know the song but who sang it, and more astonishingly who wrote the music and lyrics. It is fascinating to find your favorite artists often wrote and composed songs for other artists, or your favorite songs are written by the same composer or produced by the same producer. It’s another level to musical appreciation that gets to the very heart and soul of the music. Music afficiandos loving to discover the artists behind the music will simply love Beautiful: The Carole King Musical, now playing at The Paramount Theatre. 

Beautiful: The Carole King Musical tells the story of Carole King, played by Tiffany Topol, and her musical journey and career. Starting out in Brookly we meet a 16-year-old aspiring songwriter in Carolee and journey through her early career composing music at 1650 Broadway for music publisher Donnie Kirshner, played by Ian Paul Custer. When she meets her future husband and lyricist Gerry Goffin, played by C.J. Blaine Eldred, we follow their early marriage and burgeoning careers as they team up to write some of the most iconic and lasting melodies and lyrics from huge 1960s artists like The Drifters and The Shirelles. Carole King’s career was filled with playful rivalries, endearing classics and emotional heartbreak but through it all she managed to see the beauty around her and become an era defining musician and artist and go on to become one of the most successful singer, songwriter and musicians in popular music history. 

First premiering in 2013, this modern musical is unlike any that you have ever seen. Synopsis and summaries about the play and captured in reviews are, in my humble opinion, purposely vague. The beauty of this musical is that it doesn’t have any original numbers nor does it sing-tell the story. Instead the writer Douglas McGrath uses King’s life story along with the music she wrote to show us her life, not tell us. He cleverly teases the music out, not immediately revealing the song, but having King or Goffin's characters slowly unveil the song to us. More satisfying than an unboxing video, the moment the first lyrics are sung or the melody tinkled on the piano keys, there is a collective and satisfying flutter of your heart, a spark in your brain at the recollection of the familiar song. It is made only more incredible as mini concerts within the play are performed by an incredible ensemble cast; The Righteous Brothers, performed by Luke Nowakowski, Matt Thinnes, The Shirelles performed by Marta Bady, Lydia Burke, Ariana Burks, Shelbi Voss, The Drifters, performed by Averis I. Anderson, Corey Barrow, Jared David Michael Grant, Calvin Scott Roberts, the incredibly talented ensemble cast embody the musical legends and perform just as they would have in the 1960s, fully immersing you into the heart and soul of King’s craft and talent. There is also a deep appreciation and respect for Carole King and how much influence she truly had on an entire generation of music, not counting her residual influence throughout her career with other artists. The satisfying, gratifying, and inspiring aspects of King’s life and influence is slowly unveiled to you as the audience and at times you’ll hardly be able to stay seated you’ll want to sing and dance along with the cast. The story telling is superb. It’s a love letter not only to King’s contribution to music but her rivals as well, Cythnia Weil and Barry Mann, played by Rebecca Hurd and Christopher Kale Jones respectively, and the music they all wrote that defined an era. You’ve never seen anything quite like Beautiful: The Carole King Musical. 

Going into this show I did not research Carole King's life story nor her songbook collection. I wanted to go in blind, knowing of the singer-songwriter but not being able to name many of her songs from memory. I had many people tell me what the musical was about and provide a brief summary of what it was about. All of their words failed to truly capture the magic and beauty of this show. I’m afraid my review will also fail to articulate and capture the true essence of the story. This Musical is like a song I must share with you but like a good song you cannot appreciate it until you hear it for yourself, experience it for yourself. If you see one show this summer, take a drive and enjoy the charming city of Aurora. Paramount Theatre is a gorgeous hidden gem nestled within the walkable and charming downtown community. It’s a perfect date night opportunity complete with theatre and live concerts mixed in. Theatre lovers will love the storytelling of the musical and music lovers will rejoice at the familiar melodies, only needing to resist singing along with the timeless classics. One fine day you’re gonna want to check off this musical from your list, don’t miss your chance to do so in 2024.

 Beautiful: The Carole King Musical is now playing at The Paramount Theatre in Aurora, Illinois and runs through June 16^th. Tickets are available at www.paramountaurora.com.

Crowds will flock to see “Judgment Day,” having its world premiere at Chicago Shakespeare Theater on Navy Pier. While many will be drawn by its star, Emmy and Tony-winning actor Jason Alexander of “Seinfeld” fame (George Costanza), and he is definitely a draw—but just one of many—in this remarkably funny, highly polished play by Rob Ulin.

With perfect comedic delivery, Alexander plays Sammy Campo, a craven lawyer who has gained riches continuously by winning cases at any cost, ethics be damned. From the moment Alexander begins his audacious performance, fueled by the razor wit of Ulin’s smart script, the audience was laughing and we knew, this is a comedy.

Yet “Judgment Day” treats serious subjects, a truly thoughtful discernment of weighty values and living a purposeful life. We hear throughout the play an important conversation going on, the laughter taking down barriers to really listening. This is a morality play, and a good one, in the mold of Moliere blending serious matters with fun. Sammy goes through a spiritual journey, not so different than Dicken's Ebenezer Scrooge. But "Judgment Day" has the added power of swimming in contemporary mores and values.

Jason Alexander stars as a corrupt lawyer attempting to make amends with the help of a conflicted priest, played by Daniel Breaker, in the world premiere comedy Judgment Day at Chicago Shakespeare Theater. 

Sammy may soon be disbarred—for seedy practices such as suborning perjury from witnesses. As his secretary Della (Olivia D. Dawson is marvelous) delivers a world-weary litany of the sketchy legal methods for which Sammy may lose his law license, her droll deadpan is interrupted repeatedly by Sammy’s frantic interjections, after each of which she resumes undeterred, eliciting big laughs.

Della lets us know Sammy once convinced a client to saw off his own leg to win a claim. “It almost worked,” says Sammy, revealing his breathtaking depravity and lack of moral compass with such complete unselfconsciousness the only response we can have is to laugh. It’s clear that Della has seen it all, and knows Sammy’s MO only too well.

Working from Golden Globe winner Ulin’s extremely witty script, Tony-nominated director Moritz von Stuelpnagel coaxes split second timing from Della and Sammy, establishing the standard of interplay among actors that we will enjoy all evening. Without spoiling the fun, let’s just say Sonny passes out and falls to the floor.
“You dead?” Stella queries. And we laugh.

Not quite dead, it turns out, and following the ensuing near death experiences, the recovered Sammy decides to straighten up his life. But he hasn’t changed one iota. Always calculating, he goes to confession and meets Father Michael (Daniel Breaker is superb), putting it to him baldly: “What’s the least amount of good I can do to avoid going to hell?”

Father Michael, a conflicted priest in a crisis of faith, is the perfect pairing with Sammy, and much of the rest of the play is the two jousting abouty moral values, and whether good works for selfish reasons merits a heavenly reward. The heavy intellectual lifting falls to Father Michael, as he guides Sammy in his moral quest. (Breaker played Aron Burr in "Hamilton" and originated the role of "Donkey" in Skrek the Musical.) A lengthy scene puts the two together in a car during a stakeout. Bantering about issues personal and moral, Father Michael's inner struggle is revealed. The scene would have been at home on "Seinfeld," except unlike the series famed for being "about nothing," this one is about something. 

As we get to know Father Michael—and for that matter the rest of the cast including the wife Sammy walked out on (Tracy Bofill) and his young son (Ellis Myers); Angel (Candy Buckley) Sammy’s deceased teacher (now in wings and a habit); a struggling widow Edna (Meg Thalken); Father Michael’s superior (Michael Kostroff as Monsignor); even the Principal (also played by Dawson)—each of these characters are so intriguing I wanted to see more of them, perhaps in another setting (spin-off shows?).

Notably, most of the cast and creative team make their Chicago Shakespeare Theater debuts in this show, many cast from New York. Chicago is a good setting for testing out this play, which like the city is very Catholic (no less than three scenes are in confessionals) but this is neither off-putting nor irreverent. In fact, it's a study in the transformation of the Catholic Church since the 1960s, beautifully expressed. And tt's another home run for CST's new artistic director, Edward Hall. 

Presented in The Yard, Chicago Shakespeare’s newest, state-of-the art space, the stage itself allows large audiences to have an intimate theater experience. Scene changes (Beowolf Boritt does scenic design) whisk in and out as fast as camera cuts in the movies.The adaptable Yard, which can when needed replicate the courtyard stage of Shakespeare’s Globe, here simulates a proscenium space, with upstage and downstage, stage left and right all part of the action. This gives an immediacy and presence to the performance for the audience that surpasses anything I have seen in New York, London, or elsewhere in Chicago. You are drawn into the show, and the experience is captivating.

Suffice it to say, “Judgment Day” comes highly recommended: an excellent play, performed and directed beautifully, and a story that will stay with you. “Judgment Day” runs through May 26, 2024 at Chicago Shakespeare Theater.

*Extended through June 2nd

In "Panther in the Sky," playwright Lani T. Montreal masterfully weaves a tapestry of grief, resilience, and redemption through the intertwined narratives of four culturally diverse mothers who have tragically lost their teenage sons to the relentless grip of gun violence on the streets of Chicago. With exquisite sensitivity and profound insight, Montreal crafts each character with depth and authenticity, allowing their voices to resonate with universal truths while honoring the specificity of their individual experiences.

What sets "Panther In The Sky" apart is Montreal's unwavering commitment to portraying the rich diversity of human experience. Through the characters of Mami (Aida Palma Carpio), Momma (Jamia Amira Taylor), Nanay (Nina Mae Vidal Howard), and Mother (Venice Averyheart), she explores the intersections of race, ethnicity, and socio-economic status, shining a spotlight on the unique challenges and triumphs faced by mothers from different cultural backgrounds. From Mami's fiery Latina spirit to Nanay's quiet strength rooted in her Asian heritage, Montreal celebrates the beauty of cultural diversity while highlighting the common thread of maternal love that binds these women together.

Director Mignon McPherson Stewart's masterful direction brings Montreal's characters to life with nuance and depth, drawing out the humanity in each of them with grace and sensitivity. Through subtle gestures, expressive movements, and evocative staging, Stewart invites the audience into the inner world of these grieving mothers and their spectral sons, allowing us to bear witness to their pain, their resilience, and their unwavering commitment to justice.

To convey the youthfulness of the sons, Stewart incorporates physicality and movement into the actors' performances, encouraging them to embody the exuberance and vitality of adolescence through expressive gestures, playful interactions, and dynamic stage presence. From Eddie's (Gustavo Duran) infectious laughter and James's (Kyle Johnson) irrepressible curiosity to David's (James Macapagal) endearing awkwardness and Michael's (Rashaad A. Bond) magnetic charisma, each actor infuses their portrayal with a sense of youthful energy that lights up the stage.

Stewart imbues these characters with a palpable sense of youthfulness, wonder, and promise, juxtaposing their ethereal presence with the stark reality of their untimely deaths. Through her insightful direction, Stewart captures the essence of adolescence—the boundless energy, the infectious enthusiasm, and the unbridled optimism that characterize this stage of life—while also infusing the characters with a sense of otherworldly wisdom and compassion beyond their years.

Stewart's genius lies in her ability to find the universal in the particular—to transcend the boundaries of race, culture, and identity to reveal the shared humanity that unites us all. Through her visionary direction, she guides her ensemble cast to deliver performances of breathtaking honesty and emotional resonance, leaving audiences spellbound and deeply moved.

The uncredited minimal set design, atmospheric soundscape by Rahsaan Nance, musical direction by Chip Payos, and evocative lighting design by Joshua Paul Weckesser seamlessly meld the two worlds of life and death, creating a hauntingly beautiful tapestry that transcends the boundaries of time and space. The minimal set, devoid of clutter and distraction, serves as a blank canvas upon which the emotional journey of the characters unfolds, reflecting the universality of the human experience. Rahsaan Nance's atmospheric soundscape, with its ethereal melodies and haunting echoes, envelops the audience in a world of emotion and atmosphere, blurring the lines between the earthly realm and the afterlife. Chip Payos's musical direction adds depth and resonance to the production, songs mourning lost potential were especially heart wrenching. Joshua Paul Weckesser's evocative lighting design, with its subtle shifts in color and intensity, underscores the interplay between light and shadow, life and death, guiding the audience on a journey through the depths of grief and the heights of hope. Together, these elements converge to create a transcendent theatrical experience.

"Panther in the Sky" marks the world premiere collaboration between Chicago Danztheatre Ensemble and Circa Pintig, following their successful partnership on "Daryo’s All-American Diner." While it may be tempting to label this as Chicago Danztheatre Ensemble's most ambitious work yet, such a statement would overlook the consistent trend of each production surpassing the last in both subject matter and execution. With a steadfast dedication to inspiring positive change through performance and social justice theatre, CDE, as articulated by its Executive Director Ellyzabeth Adler, remains committed to amplifying the voices of the marginalized and shedding light on important issues.

At its core, "Panther in the Sky" is a testament to the power of empathy, compassion, and solidarity in the face of unspeakable tragedy. It is a play that challenges us to confront the harsh realities of gun violence while inspiring us to act and make a difference in the world. In the hands of Montreal and Stewart, it becomes not just a piece of theater, but a profound and transformative experience—one that leaves an indelible mark on the hearts and minds of all who are fortunate enough to witness it.

Highly Recommended

When: May 3 to 18 Friday/Saturday @8pm

Where: The Auditorium at Ebenezer Lutheran Church

               1650 W. Foster Avenue

Running time: 1 hour, 15 minutes

Tickets: $10 - $30 (middle and High School students free)

https://www.circapintig.org/events/

https://www.danztheatre.org/panther-in-the-sky.html

Blue in the Right Way audaciously chose for their inaugural production a 400-year-old play, WOMEN BEWARE WOMEN, written in 1621 by Thomas Middleton and adapted by the company’s co-founders Kevin Smith (Kevin/Kevin’s, also director) and Daiva Bhandari (she/her, also lead actor and choreographer). WOMEN BEWARE WOMEN was abstractly staged, accompanied by a pair of gender-bending commentators, with Spanish/English translation subtitles, original music, exotic projections … and as many other quirky devices as their extraordinary minds could devise.

The result had me asking other audience members, “Am I the only one who has no idea what’s going on here?” Unfortunately, the ones I asked simply looked at me pityingly, one saying, “It’ll all clear up with the second act.” Sadly, this did not transpire. In the first act actors wore sumptuous Jacobean garb, but in the second act costumer Alaina Moore (she/her) chose contemporary dress, and I had trouble even figuring out who was who, leave alone clarifying all that had gone before.

Smith added some notable supplements to Thomas Middleton’s original script. Most remarkable was the double act of Kidany Camilo (they/she/he, Solange) and Bree Perry (she/they, Clara) appearing throughout the show dressed as ‘maids from the Clue game’, with commentary and heart-rending narrative about Solange’s trans/femme childhood.

Also outstanding were Daiva Bhandari (she/her) as Livia, who ultimately gets embroiled in her own schemes and John Zhou Duncan (any with respect) as Ward, who romped exuberantly with Sordido (Shail Modi he/him). Ward is described as ‘immature’ – was this a euphemism for ‘camp as a row of pink tents’?

Kudos to intimacy consultant Leo Mock (they/them/he/him) and intimacy director Courtney Abbott (she/they); as well as and most particularly to violence designers R&D Choreography (Rick Gilbert (he/him) and Victor Bayona (he/him); the fights were marvelous, and the cataclysmic ending was spectacular.

The entire cast was extraordinary: Lynne Baker (she/her, Mother); Ryan Wright Cassidy (he/him, Hippolito); Johnny Moran (he/him, Fabritio); Huy Nguyen (he/him, Duke); Keenan Odenkirk (he/him, Guardiano); Christin Prince (she/her, Bianca); Mia Van De Mark (she/her, Isabella); and Brandon Wiman (he/him, Leantio). Cardinal was played by understudy Alex Amaya (he/him), who did a fine job with a suitably bizarre performance.

Sound engineer Chris Wood (he/they) gave us a lot of sound! though it sometimes overrode the actors’ voices. Likewise, Eme Ospina-López’s (they/them) videos and projections were powerful; sometimes overly so. The scenic design by Andersonville Scenic Studios was made particularly striking by a mirror on the ceiling so the action below was repeated above – striking, yes, but an additional confusing feature in a thoroughly bewildering show. The show ran more than 30 minutes longer than billed, and during the final scenes I kept wondering when it was going to end… and how would I tell when it did?

Also on the artistic and production team were Katie Mazzini (she/her, assistant director); Sonia Perelló (she/her, Spanish translator);  Tianxuan Chen (any with respect, scenic and lighting designer); Juan Contreras-Kirby (he/him, wig, hair and makeup designer); Sam Flipp (she/her, stage manager); Anna H. Gelman (she/her, production manager);  Lililo (Emma Ladji) (she/her, composer); Viviana Mendez (she/her, lip-sync choreographer); Catherine Miller (they/them, casting director);  Keith Parham (he/him, associate lighting designer);  Hayley E Wallenfeldt (any with respect, properties supervisor); Baylee Speer (any with respect, master electrician); Caitlyn Birmingham (she/her, assistant stage manager), and Claire Michalak (she/her, box office manager).  

WOMEN BEWARE WOMEN presented several problems for me, but these did not override its contributions: a stellar cast giving amazing performances and a wonderful production team. The flaw was that all this excellence exceeded itself – altogether too much of a good thing. Blue in the Right Way is unquestionably a theatre company to watch. Kevin Smith revealed himself as courageous and adventuresome; if Kevin can muster a soupçon of temperance Kevin can offer an invaluable addition to Chicago’s theatre scene.

WOMEN BEWARE WOMEN

at The Edge Theater

Running Wednesdays through Sundays through May 12

I think my favorite thing – well, one of my favorite things – about Wyatt Kent’s take on HAMLET is imagining just how much fun everyone must have been having with it! everyone except Hamlet, of course, but the entire play is about Prince Hamlet (Ashley Fox) having a Very. Bad. Day.

HAMLET is one of Shakespeare’s tragedies, no argument about that, and certainly the corpses littering the stage in the final act [I don’t have to worry about spoilers here, right?] cannot be anything but tragic. But Director Kent broadened the scope, extended our range of understanding HAMLET, by making us laugh.

Yes, I know Shakespeare injects touches of humor into every play – even Macbeth has a few chuckles – but I’m talking about a far more inclusive and deliberate thing here. Last summer I saw Midsommer Flight’s production of Cymbeline, billed as tragedy but staged as comedy. Director Beth Wolf created a totally brilliant comedy while staying true to the Bard’s script word for word. Kent worked the same magic on HAMLET, a categorically tragic work, with sensational results.

In retrospect I realize there was some humor evident as early as Act 1 Scene 1, where Horatio (Reginald Hemphill) sees the Ghost, but I had arrived at the theatre expecting to see HAMLET, a tragedy, so it took a minute to wrap my mind around what was happening up there. And that’s OK! – it worked really well for me to pick up on it only gradually ….

Act 1, Scene 3: Ophelia (Julia Rowley) was saying farewell to her brother Laertes (Ian Maryfield) and, OK, she did go a tad OTT what with leaping into his arms and knocking him to the floor, but I was still considering the desultory laughter misplaced, not to mention rude. Then Polonius (Zach Bloomfield) begins to deliver his loving, solicitous, concerned, pompous, long-winded, verbose, garrulous, interminable paternal speech to his son and at that point it was a no-brainer – the production was categorically comedic. In any production Polonius will be a garrulous guy, that’s who Polonius is, and Bloomfield skillfully played this bombastic buffoon with maximum drollery, making us chuckle all through ‘neither a borrower nor a lender be.…’ Laertes rolling his eyes at Dad’s balderdash was another unmistakable clue as to where Kent was taking us.

I repeat - not one syllable was altered in the script of HAMLET, PRINCE OF DENMARK; it was the artistry of Kent’s vision and the genius of the actors that transmogrified HAMLET, PRINCE OF DENMARK from dramatic tragedy to black comedy. Brilliant!

More giggles in store in Act 2, when Harrison Lampert (Rosencrantz) bumbled, fumbled, and stumbled his way onstage, befriended and ballyhooed by Mary Townsend Cahoon as Guildenstern. Every scene with these two was L.O.L. funny! And again, it was the actors’ postures, expressions and intonation – in a word, their acting – that morphed Shakespeare’s lines into one-liners.

Polonius again exercises his loquacious and circumlocutory logorrhea to alert King Claudius (Robert Koon) and Queen Gertrude (Kelly Levander) that Prince Hamlet has gone mad. Furthermore, Polonius posits the pathogenesis of Hamlet’s madness is none other than that enigmatic enchantment that oft-times doth drive strong men nuts … love.

Right then, that covers the major players. Others included Josh Razavi (Gravedigger et al), Tatiana Pavela (Player etc.) and Tulsi McDaniels (Osric and others) and all did colossal justice to their multiple roles in many scenes.

I can’t leave the cast without some shout-outs to my favorites – you all know I unapologetically play favorites in my reviews! First is Ashley Fox as Hamlet; he is the sole character who doesn’t participate in the farcical variation, and I imagine it was a challenge for Fox to retain that bleak and gloomy aspect amidst the hilarity of her fellows. She truly did a stellar job! 

I already mentioned Lampert and Cahoon’s (Rosencrantz and Guildenstern’s) wonderful waggery – by their third or fourth appearance we were laughing in anticipation as soon as they took the stage! Likewise, Zack Bloomfield’s Polonius – even his mustache was weirdly chucklesome.

Alarum: I had a bag of Skittles and (probably channeling Rosencrantz) dropped it! Losing the Skittles was oh-so-what, but they rolled like BB’s into the aisles where actors were dashing about. Just my luck if an actor slipped on my sweets and the evening relapsed back into tragedy! From my seat I couldn’t reach to sweep ‘em away, but Ian Maryfield, lovely Laertes, stepped off the stage [and, more difficult, out of character!], to scrape the treacherous little treats out of harm’s way. Gratitude galore to the gallant Laertes! And, just BTW, his performance was every bit as striking as his chivalry. Ian, if you’re reading this: 

I’ll begin my production plaudits with Casting Director Becca Holloway for assembling this phenomenal team. I’ve seen lots of gender-bending casting, particularly in this PC (post-Covid) era, but it seemed that Holloway was simply gender- as well as color-blind, selecting the actor best suited for each role without regard to anything but their talent. I don’t know if that really was her strategy, but it certainly was the outcome.  

And naturally the finest cast won’t deliver the finest production without the finest Direction, which Wyatt Kent delivered, assisted by Sean William Kelly (Assistant Director) and Technical Director Andy Cahoon – who also collaborated on Props with Mary Townsend Cahoon – who also sparkled as Guildenstern. This production was all about multi-tasking, yeah? For Fight and Intimacy Design, I just last week saw Babes With Blades do The S Paradox, so my bar was set really high, but Jamie MacPherson and Fight Captain Ian Maryfield cleared that bar with room to spare!

Pictured left to right - Kelly Levander as Gertrude, Ian Maryfield as Laertes, Ashley Fox as Hamlet

Dr Lexi Signor’s Music was flawlessly selected, and Text Coach Meredith Ernst conveyed excellent translations of iambic pentameter. Sebby Woldt (Sound), Derryl (Lighting) and Rose Johnson (Scenic Design) generated an impeccable environment to sustain both the indigenous tragedy of HAMLET as well as Kent’s comic interpretation – no mean feat, that! In addition, have I mentioned that HAMLET was performed in the round?!  I felt smug at having got a seat in the perfect spot – until several people seated elsewhere said the same thing. How did dey do dat?

No, I haven’t forgotten Costume Designer Madeline Felauer, I was just saving the best for last. Felauer chose to bedizen the characters with a surrealistic thread. Hamlet wore a shapeless moth-eaten sweater, while Queen Gertrude was in a dress Jackie Kennedy might have worn, a mink stole, and 3” pumps. For Ophelia, picture an exceptionally odd floor-length orange fishnet … um, thing … over a miniskirt. Other characters ran the gamut from ugly plaid business suit to crisp, scarlet-trimmed military-style jacket, and blue jeans abounded. Overall, the effect coordinated perfectly with the mind-f*ck tragedy cum farce aspect of the production.

And of course, nothing gets to the box office without the guidance and oversight of a good Stage Manager. I once asked a friend with lots of theatre experience, “Just what does a Stage Manager do, anyway?” to which they replied, “Everything.” So … Tessa Huber did Everything, with a lil’ help from Assistant Junipero “Juni” Cruz.

I hope you have gleaned from this that I really reeeeeeally liked Red Theater’s HAMLET. This gig as a reviewer has certainly broadened my artistic horizons, particularly of The Bard. Everyone knows Shakespeare was a magnificent playwright, but I suggest that one can’t truly appreciate his works until you’ve seen them produced on Chicago’s iconic storefront stages with cast from Chicago’s wicked assemblage of outstanding actors.

I leave you with two take-home messages: (1) keep your skittles in your pocket; and (2) SEE HAMLET!!!

Playing at The Edge Off Broadway Theater Mondays and Wednesdays through Saturdays at 7:30, and Sundays at 3

Running through Sunday May 19.

VERY HIGHLY RECOMMENDED!  

And with more than a dozen performances coming up you have no excuse not to go!