Items filtered by date: November 2007

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Highly Recommended

When: Through June 30

Where: Lifeline Theatre,  6912 N. Glenwood

Running time: 90 minutes

Tickets: $45 at

773-761-4477 and www.lifelinetheatre.com

There are no words.

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

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

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

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

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

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

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

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

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

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

VERY HIGHLY RECOMMENDED

“James was deeply aware of the anguish associated with denying others their authenticity; His famous Frankenstein wasn’t a murderous monster. His heart’s desire was friendship cleverly bestowed upon him by a blind man”.    Norm Woodel

Frame of Reference Productions In Association with The Woodel Inspiration Fund has embarked on a daring and poignant new stage adaptation of "Gods & Monsters," based on Christopher Bram's 1995 novel "Father of Frankenstein" and its acclaimed 1998 screen version. This production, under the innovative direction of Paul Oakley Stovall and the creative script by Tom Mullen, brings to life the fictionalized final days of James Whale with a fresh perspective and a profound exploration of identity, empathy, and the human condition.

Scott Westerman as James Whale delivers a masterful performance, capturing the complexity of a man whose health and career are in decline, yet whose spirit remains fiercely alive. Westerman’s portrayal is both haunting and tender, embodying Whale’s struggles with mortality and his reflections on a life marked by both brilliance and tragedy. His nuanced performance allows the audience to feel Whale’s pain, his moments of joy, and his gradual descent into the depths of mental decline.

Rashun Carter as Clayton Boone is a revelation. In a bold move, Boone is reimagined as a Black man, a decision inspired by Whale’s own casting of Black activist Paul Robeson in "Show Boat." Carter, who I recently saw in “Judy's Life's World” brings depth and sensitivity to Boone, portraying him as more than just a muse or object of affection; he is a fully realized character whose presence challenges and ultimately changes Whale. The chemistry between Westerman and Carter is palpable, their interactions charged with warmth and a delicate balance of power and vulnerability.

Doreen Calderon as Maria Ramirez, Whale’s housekeeper, provides a compelling performance that adds another layer of richness to the narrative. Calderon’s Maria is both protective and candid, her Mexican heritage bringing a new dimension to the story. This character’s evolution reflects the broader themes of race and empathy that Mullen seeks to explore. Calderon’s ability to convey strength and warmth in her role makes her a standout in the cast.

Ethan Check as Edmund Key and Michael Stejskal as David Lewis offer strong supporting performances, each bringing their unique dynamics into Whale’s world. Check’s Edmund Key, a figure from Whale’s past, and Stejskal’s David Lewis, Whale’s loyal companion, both serve as crucial elements in understanding the protagonist’s internal and external conflicts.

The decision to center the theme of race in this adaptation is executed with sensitivity and insight. Mullen’s script honors Bram’s original work while introducing contemporary resonances that feel both timely and timeless. The narrative weaves together the personal and the political, showcasing how Whale’s identity and experiences shaped his empathy for the marginalized—a trait that is evident in his cinematic masterpieces.

Paul Oakley Stovall’s direction ensures that the story remains intimate and character-driven, even as it tackles broad societal issues. Stovall’s understanding of the material’s emotional core allows for moments of genuine connection and introspection. His approach, combined with Mullen’s articulate script, brings out the universal themes of loneliness, aging, and the desire for intimacy in the face of repressed desires and past traumas.

Most of the action unfolds within the mind of James Whale, brought to life through the creative vision of set designer Ben Lipinski and the collaborative efforts of lighting and projections designer Mike Tataj. They seamlessly weave time and place together, creating a cohesive tapestry of scenes. The use of scrims with projected scenes pays homage to Whale’s legacy as a filmmaker. This production boasts the highest production values I have seen thus far this year.

In conclusion, "Gods & Monsters" is a triumph, primarily due to the compelling bond between Whale and Boone. This thoughtful, provocative, and deeply moving adaptation honors its source material while offering fresh insights. The powerful performances, meticulous direction, and insightful script coalesce to create a theater experience that resonates on multiple levels, emphasizing our shared humanity and the transformative power of empathy. This production not only tells the story of James Whale but also mirrors society, highlighting the ongoing struggles and triumphs of those who dare to be different, all through the lens of Whale and Boone's evolving friendship.

Highly Recommended

When: Through June 2

Where: Theatre Wit 1229 Belmont Avenue

Running time: 1 hour, 30 minutes

Tickets: $12.75 - $47.75 (student & senior tickets)

www.godsandmonstersonstage.com 

It’s often quoted in reviews that we are unworthy of such beauty or splendor the arts and humanities afford us. The turn of phrase elicits images of Wayne and Garth of Wayne’s World bowing at the feet of Alice Cooper, or a dashing Bridgerton man dropping to a knee at the feet of a lithe debutante to profess his unworthiness of her affections. But in a world that increasingly takes more and more from us, we mere mortals, I challenge that we are worthy. We are worthy of beauty, of art, of the humanities. We are worthy to see the amalgamation of when talented artists bring a work of fiction to a stage, to hear clever prose intermingled with catchy musical numbers, and be visually wowed and transported out of our reality, if only for a few short hours. We are worthy of magic. And magic is precisely what Cadillac Palace Theatre is granting us in Death Becomes Her, the musical, now playing through June 2nd.

(l to r): Megan Hilty (Madeline Ashton), Jennifer Simard (Helen Sharp)

Death Becomes Her, hailed as musical comedy revitalized, is a new musical adaptation based on the 1992 Universal Pictures movie of the same name. When a novelist loses her man to a movie star and former friend, she winds up in a psychiatric hospital. Years later, she returns home to confront the now-married couple, looking radiant. Her ex-husband's new wife wants to know her secret and discovers that she has been taking a mysterious, magical potion which grants eternal life to the person who drinks it. The actress follows suit but discovers that immortality has a price in this supernatural, dark comedy. Producer and writer Marco Pennette transformed the play for the theater, which is directed and choreographed by Tony-nominated Christopher Gattelli. Tony Award nominees Jennifer Simard and Megan Hilty take the lead roles as Helen Sharp and Madeline Ashton, the former friends competing for the same man’s affection and finding a solution that is simply to die for. Renowned stage actor Christopher Sieber and millennial’s goddess Michelle Williams of Destiny’s Child round out the cast as Dr. Ernest Menville and Viola Van Horn (que thunder and lightning). It’s a dark comedy essential to add to any playbill collection.

Christopher Sieber (Ernest Menville)

Few Broadway shows, let alone any play, have had such an illustrious reception in Chicago. The gays, the theys, girlies young and old, allies and kings all donned their best summer theatre attire to attend last night’s performance, all dutifully in their seats the moment the play started with a literal CRASH of magenta-hued thunder. Lightning struck and we were all worthy to be transported to the magical world of New York City to follow the story of best frenemies Madeline Ashton and Helen Sharp. For the entire run time of 2 hours and 30 minutes (with a 15-minute intermission), Chicagoans were treated to an artistic cornucopia for the senses. The live orchestra playing catchy tunes, lavish scene and stage designs, alluring and dramatic costume designs, the illusion and fight sequencing, the lighting, the makeup, the sound, the dancing and musical arrangements, the orchestration, every single solitary artistic element left the audience spellbound and awestruck. Brought to life with the incredible talents of the four main cast members, supported by an inclusive, talented, and drop-dead gorgeous ensemble cast, Death Becomes Her is sure to be a powerhouse on the Broadway circuit for decades to come.

The cast of Death Becomes Her

In addition to the production quality and value delivered, what makes this adaptation so flawless is the story itself. The elegant-gothic motifs in Death Becomes Her are timeless and hold up in 2024 just as well as it did in 1992; beautiful women feeling the pressure of unrealistic societal beauty standards and attempting to defy the natural order of aging, friends as fierce rivals and competitors, love triangles, and the desire to remain as we are, to stop time. While Death Becomes Her might not be able to defy gravity, it does stop time for a blissfully fun three hours. And that is pretty damn magical.

Balanced with witty banter, clever one-liners, raunchy humor, and exceptionally timed comedic delivery, Death Becomes Her is exactly the realistic escapism we need in our chaotic world and one we are all supremely worthy to behold. The musical comedy is now playing at The Cadillac Palace Theatre (151 W Randolph St, Chicago) through June 2nd. Get your tickets today before they magically disappear.

TimeLine Theatre has entranced me for years with its historically- and politically-significant plays, riveting and educational – just my cup of tea! So, I felt honor-bound to pay homage to the final event TimeLine will produce in their current (way-too-small) Lincoln Park venue, where they’ve been for a quarter century. BLACK SUNDAY, by Dolores Diaz, sounded intriguing: a 1930’s rural family starving on land that’s been devastated by locusts, drought, and the Depression, leading up to the cataclysmic storm on April 14, 1935 that earned the Plains its moniker “Dust Bowl” (and inspired a Woody Guthrie song).

The story sounds terrific, but unfortunately it didn’t play out on the stage. All five characters were essentially caricatures of archetypal characters, without any individual uniqueness or liaison with one another. The performances were superb but fragmented by rapid runs of brief scenes that blacked out as soon as they got close to showing us who the characters were.

Pa (David Parkes), characterizing ‘strong silent type’, surpassed that cliche and went straight to surly and loutish. There was not one point in the production where I got any idea of how he felt about his wife or teenage daughter. He didn’t want to leave his Land, and that was the sum of his persona.

Certainly, the disasters across the Plains drove people insane and many of those were women. Ma (Mechelle Moe) was a traditionally Freudian hysteric: driven barmy by hardship and despair, she’s become psychotic, having visions that show her … what? I never quite saw. Ma hangs on Pa, imploring him to SEE the message in her visions and leave this hard-luck farm. I saw no trace of affection between Ma and Pa, but no true hostility either – the brief scenes of domestic violence were well played but uninformative. Aside from that one brief flare there was no real sense of how they felt about one another.

The character of daughter Sunny (Angela Morris) was classic rebellious adolescent, amplified by hardship and fear. Her rebellion and desire to fly the coop were authentic, but playwright Díaz returned to Victorian psychoanalysis by making her hypersexual, rubbing her baps on both the Mexican vagrant farmhand Jesús (Christopher Alvarenga) and the timorous preacher Jim (Vic Kuligowski). Jim’s extreme uptightness was noteworthy but never explored, though there could well have been interesting reasons for his qualms – deeply closeted? Wife and kids back in Abilene? Actually, hankering for Ma? Or Jesús? Jesús’s character is billed as having some sort of dark secret, but that ends up being fairly ho-hum and we learn little more about him.

So, these fragmentary folks wandered from one scene to another, moving on to the next before we could grasp why they’d just done … whatever.

The projections by Anthony Churchill and Parker Molacek were absolutely superb, partnering with Sound Designer Forrest Gregor to create a totally immersive experience, particularly the storms… and the locusts gave us an idea of What’s Next for Chicago! Props designer Saskia Bakker maintained TimeLine’s tradition of authentic and exciting touches, and Scenic Designers Joe Schermoly and Catalina Niño gave us a wonderful set, rich in nooks, crannies and levels, though I disagreed with some of the ways Director Helen Young utilized them. And I was a bit squicked by all the animal corpses: first chickens (with several additional references to eggs); then coyotes … one species after another piled onstage.   

This could have been a fine show; the actors were excellent, the production first-rate.  The problems lay with the play itself. Dolores Díaz was overambitious, trying to deliver The Show with Everything. She’d have done better to choose two or three themes to drill down on. She delivered the disaster and tragedy bits, but we could have got those from reading The Grapes of Wrath. And Steinbeck recognized the convoluted interpersonal dynamics as key. In BLACK SUNDAY the characters got lost in Díaz trying to include politics, racism, poverty, agricultural mismanagement, a bit of labor history, psychosis, sexual psychoneuroses, domestic violence … that makes for a pretty full agenda! even without expounding on climate change, not trusting the audience to make that connection ourselves.

Director Helen Young could have mitigated these problems with some judicious scene-cutting and slowing the action from machine-gunfire to a speed that would allow us time for thought and reflection before the next sensational scene superimposed itself. It was also faulty direction that kept the characters from connecting and interacting emotionally.

TimeLine Theatre is relocating to a vintage building in Uptown where they can expand their mission. Current estimates place its opening in 2026. In the meantime, TimeLine Theatre will continue to offer productions at various kindred theatres about the North side.

BLACK SUNDAY plays through June 29th

TimeLine Theatre     611 W Wellington

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