Items filtered by date: November 2007

After half an hour into Loy Webb's "Judy's Life's Work," I found myself silently reciting the dialogue, though not necessarily every line, as the familiar narrative unfolded predictably before me. The tale revolves around a classic trope: a familial feud over inheritance. While it pays tribute to the themes of Hansberry's "A Raisin In The Sun", Wilson's "The Piano Lesson," and Morisseau’s  “Sunset Baby” it falls short of reaching the profound heights achieved by those works.

The prologue inexplicably begins with a symbolic fight between Xavier and Charli.

The play is set in a boxing gym in Chicago. It is owned by Xavier, a 43-year-old ex-con. He purchased the gym after doing an 8-year stint in prison for a crime never fully explained. His motivation for the gym is to give the youth of the neighborhood a haven from the crime and negative influences he fell under. Xavier’s gym is facing foreclosure. His mother, who he calls Judy, has died a month earlier. He never had a relationship with his mother. She gave birth to him at age 15, then gave him up for adoption so she can finish her education. He harbors the hate and pain of her decision. It has clouded his being his entire life.

Enter Camille. She sells herself as a financial guru to Xavier, but she is a pharmaceutical professional. She tells Xavier she loves him. (she telegraphs us she doesn’t ) She explains how she will make his gym a non-profit entity and have donors lining up to support his dream. She makes him believe together they will change the world one wayward child at a time. She talks Xavier into selling Judy’s papers on cell regeneration and he is more than happy to do whatever she suggests.

Before they ride off into the sunset there is the pesky business of getting Judy’s papers from his sharp as a whip baby sister, Charli. Charli sees through Camille scheme. She tries to open Xavier eyes, but he is blinded both by hate and love.

The prologue shows Xavier symbolically fighting with his sister Charli,  since the prologue sets the stage for the story, which is all about Xavier's internal struggle, Xavier should have been shadow boxing.

Bringing a new theatrical work to the stage is fraught with challenges, demanding a symphony of creative minds, unwavering passion, and experience. The respect I have for Definition Theatre begs me to question some of their creative decisions.

“Judy’s Life’s Work” should have been workshopped. I believe some interesting plotlines were not developed in a rush to produce this work. True, Webb scored a  big hit with “The Light” but as anyone on Broadway will tell you, you’re only as good as your last show. I question the hiring of Michelle Renee Bester as director and Jessica Moore as assistant director. Why choose the associate director and stage manager of The Black Ensemble Theatre as your director and assistant director? Black Ensemble Theatre is a wonderful theatre for musical revues.  Black Ensemble isn’t known for original work, especially plays, so I’m at a loss. Nothing in these beautiful women biographies suggest they have the experience to shepherd new work to the stage.

 Xavier, the character, has gray hair. Rashun Carter, an excellent actor,  powders his hair so it appears gray. Now, it may work in high school where there are restrictions on casting, but in a professional production you would cast an actor with gray hair. An experienced director would know it takes more that gray hair for a man to appear to be 43. Carter, for all his wonderful acting, never appeared to be 43 and there was no one in the room to direct him on how to act 43. His character never got past his anger. It wasn’t his fault; he was doing as he was directed.

Cereyna Jade Bougouneau is a spirited Charli. She knows her brother and she knows where his fault lines are. Bougoneau’s energy gave the script a much-needed boost.

Kenesha Kristine Reed is dastardly as the pharmaceutical mole infiltrating the family. I’m sure I’ll be seeing more of her work.

The cast in general worked well with each other. They are extremely talented though I don’t think they were challenged enough.

The set, the inside of a boxing gym, by Alyssa Moon Thompson, was beautiful. Did it serve the story? I’m not sure, it seemed like a lot of unused space since there was no actual boxing going on. There was some important dialogue too far away from it’s intended person to land the way it should….again, direction.

The promise I see in Definition Theatre is truly inspiring. I am confident they will create remarkable work, although not without its challenges. Webb, a budding playwright, requires the seasoned wisdom of experienced individuals to ensure her plays reach their full potential. This play has potential.

When: Through Feb. 25

Where: Definition @ 55th, 1160 E. 55th St.

Running time: 1 hour, 30 minutes

Tickets: $31 at definitiontheatre.org

Why do we learn about history?

This question has been asked for ages and is often met with the response: So that history does not repeat itself. When it comes to plays about history, that question is often met with some version of the same answer. We witness historical events in a live, theatrical setting so that among other things, we can learn to do better.

Playwright Anna Deavere Smith invites us to consider that question, but adds another layer: How are we meant to learn about our mistakes in history if we do not first get to know the people involved? As with many of her other plays, Notes from the Field is documentary theatre, and comprised of verbatim dialogue pulled from more than 250 accounts from students, faculty, prisoners, activists, politicians, and victims’ families. Smith conducted these interviews during President Barack Obama’s term, and while this may not quite be present day, the subject matter is certainly contemporary. Over the course of the play, we meet 19 individuals – all fighting to overcome and change America’s educational and criminal justice systems – especially with the tendency to focus on incarceration.

The catch? This play does not feature 19 actors, but rather three women – Mildred Marie Langford, Shariba Rivers, and Adhana Reid. Skillfully directed by Mikael Burke, the transitions between characters feel seamless, and every individual whom one of these actors embodies feels distinct and specific. While Smith brings humor into the script, many of the stories reveal heartbreaking memories, and the three actors fill each of these moments with an authentic balance of compassion and anger.

And so, we return to this question: How are we meant to learn about our mistakes in history if we do not first get to know the people involved?

One of the many individuals whom Langford embodied in this performance was Denise Dodson, an inmate who detailed what she learned from prison. Scenic Designer Eleanor Kahn has left the space fairly minimal – allowing the text to do its work as we hear each individual’s story. Langford is alone on a chair, and Lighting Designer Eric Watkins fills the space with just enough light to cast a large shadow behind her. Nothing is hidden as Dodson reflects with the audience on how education could have given her (and many young people like her) a different path. She explains:

“They have to see’em as people. They have to see them as the future. They have to see them as people who are gonna go out and be their next-door neighbors… ‘Cause they’re… at that stage where they absorb everything. And if they not absorbing all the right things, then… yeah. That’s… barbaric.”

Smith creates an opportunity for us as an audience to learn from a first-hand account how this country’s system has failed so many young people. We have created a system that forces them to so many to see themselves in a specific way. Langford’s matter-of-fact approach to the material is at times hard to hear. However, based on the silence surrounding me at this performance, it’s clear that I was not the only one hooked on every word, listening to this personal story unfold.

Dodson shares a warning. A desire for us as a country to offer stronger support for young people so we can change this school-to-prison pipeline. In the process, you may also notice that Smith is succeeding at something else. It’s one thing to write a story about incarceration and the failings of the education system. It’s another to look a human in the eye and hear their story – their personal account of how their life could have been different, a plea that we listen. Smith’s approach brings light to 19 of these accounts that may never have been heard otherwise – of “broken people’ as she puts it in her play. You may just find that this hits a little different. That Smith invites empathy in a different way. Maybe this approach can lead to the change that we as a country so desperately need.

Powerful performances and a hard-hitting script make this play an experience to remember. To put it simply, Notes from the Field is a must-see.

HIGHLY RECOMMENDED

Running through March 24, 2024 at Timeline Theatre – 615 W. Wellington Avenue.

I absolutely adored Golden Girls: The Laughs Continue directed by Eric Swanson, now playing at Broadway Playhouse. Having grown up in Miami, Florida with my working single mom when the show actually began airing, the Golden Girls have always been a nostalgic favorite for me. The only stage creations I've seen of Golden Girls have all been done in drag by some of the best drag actors and actresses in Chicago, so I was pleasantly surprised with this beautifully casted production to see the fantastic accuracy and sense of humor that came alive in this very funny and fast paced take on our four golden heroes. 

“It’s not an old episode, it’s a brand-new show,” said Vince Kelley, who plays Blanche said in an interview with WTTW. “Sophia is out on bail looking to make money. Rose and Blanche have started a new hookup app for seniors to meet. Through the app, Dorothy finds a younger man and experiences a new romance.” Kelley continued, “Did you watch Sex and the City or Girlfriends? They wouldn’t even exist. There wouldn’t even be that four-character type show without the Golden Girls.”

This new play is based on Golden Girls, the mega-popular TV series about four retired women living together that ran from the mid-eighties through the early nineties. The show helped pave the way for women in leading roles and has gained more and more popularity with generation after generation. The wonderful thing about the original TV show created by the brilliant writers Susan Harris and Paul Junger Witt, is the way it brought to light the problems, pitfalls and joys of aging in ways that were insightful, touching and hilarious. This production which is set in 2023 written by Robert Leleux takes the time to illustrate several important issues facing seniors today.

In this story, Sophia has been arrested for selling marijuana brownies and LSD laced cakes to her fellow senior citizens at the nearby senior assisted living facility and gives a wonderful speech about why she should not be sent to jail for "rolling a few joints for those of her friends who have glaucoma" or selling LSD cakes to otherwise terminally bored and serious seniors who want to get over their fear of death.

Rose and Blanche have created a hugely successful app for "horny seniors" called “Creakin’” because the alert sound is hysterically the sound of creaking bones. The girls hope to pay Sophia’s legal fees with the money they make from the app. Blanche declares with a sexy sigh, "You have no idea how many of them there ARE!!" It's a sound idea, actually. My mother spent eighteen years in various senior facilities and dating of any kind let alone sexual contact within each facility was very difficult and limited by their tiny community and inability to meet new people.

Dorothy just happens to use the app and swipes right on a younger man, Burt, who falls in love with her and offers her a whole new life as a star if she moves to New York with him! Dorothy’s younger love interest’s sincere sexual and intellectual attraction to her is not played off as a joke. It is played as a very exciting and mutually fulfilling meeting of minds and bodies in late life.  

This cast is downright stellar. Vince Kelley as Blanche is mind-blowing. Kelley is an absolute scene stealer with all of Blanche's overt sex appeal and unabashed libertine wildness. Adam Graber is an unbelievably beautiful and adorable Rose recreating with seeming ease and beauty the glorious comic timing of Betty White. Ryan Bernier, as Dorothy, has all of Bea Arthur's dry humor and intelligence and wisdom and even her subtle sexiness down pat while Christopher Kamm as Sophie hits on one-liner after one-liner. The transformation Kamm goes through to take on the role of Sophia in incredible in itself. Also commanding a good number of hearty laughs is Jason Bowen who plays dual roles of both Stanley, Dorothy’s ex-husband, and Burt, her new lover. The entire cast should be awarded for their performances which go beyond camp and into sincere tribute to each of the wonderful actresses who created these evergreen characters, Betty White, Bea Arthur, Estelle Getty and Rue McClanahan.

Yes, it takes great writers to create a show with this kind of universal and lasting appeal, but actresses are so often made to feel that they are replaceable, interchangeable and downright un-castable after the age of 35, and Arthur, White, McClanahan and Getty helped change that.

The degree to which these talented actors have recreated and brought back to life the work of four of the  greatest comediennes of ANY generation moved me so much because it demonstrated that the huge and long lasting success of this show hinged not just on the greatness of its writers, it absolutely was the result of the outstanding work of four actresses, who were always irreplaceable, never interchangeable and eminently castable well into their golden years. 

I highly recommend this production.

Golden Girls: The Laughs Continue is being performed at Broadway Playhouse at Water Place through May 26^th. For tickets and/or more show information, click here.   

*Extended through June 9th!

I remember when my dad, then a much younger man than I am now, had just lost his first parent. Anything—a TV show or a song or a greeting card or something he’d read—that hinted at aging or mortality could be an emotional trigger and start him crying. Most of the triggers were personal, but I remember the time he rented On Golden Pond on VHS. I don’t remember a thing about the movie—it wasn’t about a time-traveling Delorean or a Christmas Eve skyscraper full of terrorists or a theme park full of velociraptors—except that it was about just those two things—aging and mortality—and that long before the movie was even over, my dad was weeping.

All these years later, with me being much older than my dad, who himself passed away a few months back, I guess I’m now the ideal audience, the prime candidate, the mark, for On Golden Pond. I’d forgotten all about that 1980s video store rental incident until I attended the Skokie Theatre’s current production of Ernest Thomson’s play, directed by Wayne Mell and produced by Wendy Kaplan. But as soon as the metaphorical curtain rose, the real-life waterworks began.

The source material, of course, has such heartstrings tugging as its intent, but it requires a talented and sympathetic cast to make it work. And this cast works.

Bernie Rice’s Norman Thayer is everybody’s aging father (or father-in-law)—that combination of commanding your compassion (pity?) or and respect (fear?) at the same time. Towering, but faltering. Loud, but hesitant. Right, but maybe not as right as he used to be. Henry Fonda might’ve been my grandpa—handsome as all get out, but almost too iconic, too on the nose. But Bernie Rice sure could’ve been my dad—real.

Judy Rossignuolo-Rice’s Ethel Thayer, while dwarfed by her husband, filled the stage whenever she was on it, and played a woman who could be, who should be, a grandma. Her Ethel is just right. Just the right amount of sweet when it’s needed. Just the right amount of wise when it’s warranted. And always the right bit of sass and spunk.

The rest of the cast also fits right in on Golden Pond. Karyn Louise Doerfler’s just the right mix for her role—Ethel and Norman’s somewhat-estranged adult daughter, Chelsea—too. She’s a grown woman, so she doesn’t need any love or validation from her folks. But she’s still their daughter, and still vulnerable enough that she wants it (and, who am I kidding, it doesn’t matter how old we are, we still need that, which is the whole point of the show in the first place).

Chelsea’s stepson-to-be, Billy Ray Jr. is played delightfully and exuberantly by AJ Carchi, themselves a teenager, and one who also convincingly plays a teenager—skulking one second, mischievous the next, and in the end, in need of that same love.

Part of the family for decades is Peter Goldsmith’s rural mailman, Charlie—as quirky and lovable and vulnerable as Norman and Ethel and the rest, but he’s also the heart of the whole thing. Not just because if Charlie loves the Thayers, then we ought to love them, too. But Goldsmith brings a heart and an innocence to Charlie that not only seemed real, but that lit up any scenes he wandered into.

But this cast, and this production, really do create a family—that nostalgic, heart-tugging, greeting card, Norman Rockwell sorta family that maybe only ever existed in our heads. But it exists right now, on the stage of the Skokie Theatre, during their run of On Golden Pond, from now until February 25.

And I’d be remiss to mention the Skokie Theatre, itself. A Skokian of some two decades now, my own self, I’ve visited the charming silent-film-era place during its incarnations through the years. From watching a daughter take part in the long-gone Gorilla Tango Theater to the old black-and-white movies they show in the air-conditioned cool during each August’s Backlot Bash (named for the theater’s surroundings being the location of Hollywood’s pre-Hollywood backlot), I’ve watched it change. The current incarnation—beautifully and lovingly making this theater a home—is celebrating 10 years of creating art, creating community, and creating family, and their current production of On Golden Pond couldn’t be a more fitting way to do it.

At Skokie Theatre through February 25^th.

I really enjoyed this unique program of ballet created and choreographed by Dwight Rhoden (formerly of Alvin Ailey) and Desmond Richardson and performed by Complexions Contemporary Ballet company that features an interesting combination of the music of Johann Sebastian and Carl Philipp Emanuel Bach along with the prolific rock icon, David Bowie. The choice to use music of classical composers, Bach, Vivaldi and Beethoven for the first half of this program before diving into the wonderful music of David Bowie was interesting and effective. 

At the sold out, one night only Chicago performance of ‘Stardust: From Back to Bowie’ at Auditorium Theatre, the audience seemed anxious to absorb the quality of this highly trained company's talents while waiting for the David Bowie portion of the show to begin.

I have to say that David Bowie's music was a perfect choice for this beautiful and rare company to perform as they chose to cast many wonderful dancers of all races, genders and sizes, which was refreshing to see rather than the more traditional ballet productions that feature dancers of virtually the same structured dimensions. This marvelously diverse company danced with precision, grace and a high-level of artistry and it was just a pleasure to watch them in action.

I’ll admit I was mostly drawn to see this production because of the use of David Bowie's music, so the second half of the show that featured exquisitely executed dancing to the compositions from the man behind Ziggy Stardust really resonated with me. Bowie’s complex, expansive, modern, and often gender-bending music was a seamless match made in Heaven with these exiting dancers and choreography.

It was in the Bowie portion of the performance that, to me, the dancers all seemed to really come alive, including their facial expressiveness, as some were allowed to or chose to lip sync during their interpretive solos, with each dancer taking turns playing the Bowie lead role. The moment Bowie’s music hit the audience’s ears is when the show really burst into life.

Although the classical, Bach-driven first half of the program was well done, the excitement, DRAMA and exquisite storytelling of the Bowie segment begs the question, why aren't more high-quality ballet dance companies using Bowie's music and/or other modern popular musician’s music to dance to? Bowie’s portion of the show was absolutely inspirational. I saw many child dancers in the audience and could tell they were encouraged and inspired by the use of male and female leads to portray Bowie himself. 

I highly recommend this beautiful and astonishing production by a very unique and well-trained company for audiences of all ages. 

It’s hard to believe that Fiddler on the Roof turns 60 this year. It’s even harder to believe that the show, which opened on Broadway in 1964, can still take an audience by surprise. In continuous production around the globe, and with brides continuously walking down the aisle to “Sunrise, Sunset,” Drury Lane Theatre’s new version proves Fiddler’s mettle once again.

Director Elizabeth Margolius and choreographer Rommy Sandhu dispense with some of the standard staging choices, mostly without disturbing the spirit that animates the musical. Evocative tableaux replace folky dances right from the opening number. After Tevye (Mark David Kaplan) ushers us into Anatevka, lights come up on the townspeople in rows that initially suggest a church choir or a Greek chorus.

“Tradition” proceeds in that linear formation, bringing the village to life in a cluster rather than filling the full stage. Then, as Tevye narrates the action, the cast begins to sway and bob, the movement not of Christians or Hellenes but of worshipping Jews. Each group – the papas, the mamas, the sons, the daughters – has its verse, standing upright and illuminated while the others crouch. Roles are specified, expectations declared. Whether expressing the closeness of the community, fear of what lays beyond the shtetl or just the cold Russian climate, these people function as a bickering, intertwined unit.

At least, it starts that way. Jack McGaw’s set puts the flat façade of a house center stage, a piece of scenery that disappears, panel by panel, as the story progresses. With every personal encounter, traditions break down and push everyone towards the empty space of the future. Tevye tells Golde, “it’s a new world.” How comfortable was the old world? Projections, designed by Mike Tutaj, appear on screens throughout the show, and an historic photograph of a shabby shack reminds us that a poor man like Tevye had little in the way of comfort.

There are no props – no dairy cart beside Tevye during “If I Were a Rich Man” or a book for his daughter Chava to exchange with her non-Jewish suitor Fyedka. Though odd at first, it works especially well during “Sabbath Prayer” when the family gathers to light the shabbas candles. Instead of candlesticks, the screens that frame the action fill with images of flames. In group scenes such as this, the use of projections is stirring. During more intimate moments, when the faces of the characters are projected onto the screens, they seem less of an enrichment and more of a distraction.

Several cast members bring new attention to smaller roles, such as Joel Gelman as Lazar Wolf, the widowed butcher who sets his sights on Tevye’s first born Tzeitel. Yes, Lazar Wolf is too old and unrefined for the girl. But Gelman exudes such heartfelt joy at the prospect of marrying her, he inspires sympathy when the deal falls through. In the hands of Janet Ulrich Brooks, Yente the Matchmaker lands the laugh lines that have turned “yente” into a synonym for meddlesome gossip. But Brooks also conveys the loneliness of a woman who has no one to call her own.

What do the inhabitants of Anatevka have to call their own by the end? Not much. Their bickering, intertwined unit scatters in all directions as the Russian authorities confiscate their property. We know these people after 60 years of imagining that fiddler trying to keep his balance on a shaky roof. At Drury Lane Theatre, we meet them once again as tableaux of memory that reach through time and space.  

Fiddler on the Roof is playing now through March 24^th at Drury Lane Theatre in Oakbrook. Tickets are available at www.drurylanetheatre.com

SUNSETS: TWO ACTS ON A BEACH is a long-lost diamond by unsung genius Cal Yeomans. Yeomans, despite his myriad talents (playwright, poet, actor, artist, educator, lecturer, photographer, real estate investor, land developer, and philanthropist) was an unfortunate example of the prophet in his own land: only posthumously are his masterful contributions recognized as vital to the post-Stonewall / pre-AIDS gay theatre genre. Maybe he was a visionary; before his work as well as his life were extinguished in 2001 by AIDS he is quoted as saying: "Perhaps in years to come some young queen will find [my writings] in an old trunk bought at an auction, will read [them] and say, 'My God! Was that the way it was? Times sure have changed.' Let us pray for that anyway".

Happily, for us, Director David Zak is not an unsung genius; over three decades of work in Chicago theatre he’s amassed a mantel-full of Jeff Awards, including a special Jeff for “Fostering Diversity in Chicago Theatre”. If you’ve read my reviews, you’ll know that counts for a lot with me!  He served as Artistic Director at Bailiwick Repertory for yonks and, with co-Director Elayne LeTraunik, has taken Open Space Arts under his creative wing. OSA’s mission is to ‘foster inclusivity, promote understanding, and empower marginalized communities’ through various artistic mediums [media? – whatever].

Open Space Arts Theatre is an exemplar of the tiny storefront theatres I adore: on Wilson just east of Clark in, yes, a storefront, OSAT can seat maybe 40, if some people sit on the stairs. Director Zak was at the door to greet patrons, Lighting Designer Justin Walker offered his arm to make sure I didn’t come to grief on the stairs; and there I was, where I love best to watch theatre: immersed in the cast’s pheromone cloud.

Rick Paul gave us a perfect set, keeping it minimalist with creative multi-tasking – the table did service as a couch, a beach, a bed – and even a table!  And I loved Zach Stinnet’s playlists, recalling Donna Summers’ era dance tunes.

Costume Designer Zahrah Agha did a superb job with drag queen persona Henrietta’s gowns & etcetera, but I’m afraid I have a bone to pick with both Agha and Intimacy Designer Greta Zandstra: the press release promised nudity, but they kept their damned dance belts on – drat! and similar ejaculations!

The play is exactly what its title betokens:  two acts, on a beach, at sunset. Act One has a cast of one – John Cardone as Henry. His monologue was superb, with reminiscences ranging from droll to somber, sultry to sassy, superficial to analytical. Henry spoke several times of Him, trying to make light of but unable to conceal his anguish as he describes His defection for a younger, cuter model.

Henry was once Henrietta, a high-end drag act; now he’s “living with my mom … and that’s alright, really!” but we can’t help fearing the lady doth protest just a smidgen too much. Any road, it’s here at the beach that Henry has discovered his calling, a very special ministry. I won’t describe his precise methods, but he plies them here on the beach … or, more precisely, in the beach men’s room. As he follows the latest supplicant through the door marked MEN he delivers his final line, the title of the Act One: “The Line Forms to the Rear”.

There’s no intermission – both acts together are just over an hour – and we move right on to John (Chris Sylvie). Like Henry, John comes pretty regularly to this beach, usually at about sunset. We assume that John, like Henry, has undergone something of a reversal of fortune; from The Big City (“No, not Miami!” he tells Dan) to this small Florida town … but here he has the beach, and it’s here he meets Dan (Aaron Cappello).

Dan is Everyman and is doing pretty well for himself – nice construction job, nice wife, two nice kids – but apparently there’s something missing, cos it sure doesn’t take long for John and Dan to progress from badinage to BJ … after which Dan abruptly leaves and John’s sitting alone again on the beach months later; he’s almost given up on Dan when suddenly there he is again!

Their accidental meetings cum trysts become increasingly intimate but continue to end with Dan’s precipitous withdrawal (no, through the door … yeah). As their encounters become more and more visceral our concern grows: what will happen to John if Dan totally freaks out …?  But [spoiler!] Act Two also has a happy ending, with Dan and John serenaded by chanteuse Henrietta (John Cardone again, in full kit) singing The Man I Love.

It’s very difficult to describe this brief but compelling production without spoilers – I’m starting them already! – so you’re just going to have to trust me: see SUNSET: TWO ACTS ON A BEACH. Really. See it. You will so not be sorry.

*Extended through Sunday, March 3rd

On any given day, when I walk out my front door, I’d see a quiet suburban street. Most families stay within their, rarely venturing out unless the temperature is a cool-but-warm 70 degrees, content with their healthy skepticism of their neighbors, keeping to surface level ‘how-do-you dos’ or ‘how-is-the-family?’ There’s not a sense of engagement let alone community.  The concept of community is an abstract one but something that people crave, something they need in their lives. But what makes a community?The places?The familiarity or the routine? The melding of business and residential living? Or is it the people? These are the questions that come up when viewing the exceptional Broadway National Tour of Lin Manuel-Miranda’s In The Heights, now playing at Marriot Theatre.

In The Heights takes place on a hot and sweaty day in the summer of 2008 in Washington Heights, New York City. On a corner bodega, Usnavi de la Vega, welcomes us to his neighborhood and introduces us to his community. We meet Abuela Claudia, the neighborhood’s resident matriarch and grandmother who raised Usnavi, and Sonny, Usnavi’s cousin, Daniela and Carla, local salon owners, Kevin and Camila Rosario, who manage a cab service, and Vanessa, Usnavi’s crush who wants out of the barrio, the Rosario’s daughter Nina who is returning home from Stanford with a secret, and runs into Benny, his father’s employee at the cab service. As the community moves about their day, we see the struggles and challenges each person faces in and out of the barrio; feeling unwelcome, discriminated against, cut down, undervalued. Amidst their own personal crises, the neighborhood itself is under attack from gentrification, businesses being bought out for cheap by big realestate investors, eager to remove teh culture and heart of the neighborhood. As the heat rises, passions and tempers flare, and the barrio goes dark, a once in a lifetime occurence changes the trajectory of the neightbod, uniting them in ways that allow them to move forward together towards a bright future. 

The Marriot Theatre continues to produce incredible shows each season and finds exceptional local talent that rivals any NYC Broadway cast. There was not a single member of the ensemble cast of In The Heights that was not talented beyond measure, their energy and vibrancy pulling you in and bringing you along for the entirety of the 2 hr and 20 min run time. Start with the captivating Joseph Morales as our narrator, Usnavi with Paola V. Hernández spicy and vulnerable Vanessa, add in the singing talents of Yasir Muhammad and Addie Morales as the young lovers, Benny and Nina, mix in the humor of  Jordan Arredondo as Benny with the heart of Crissy Guerrero’s  Abuela Claudia, and finally throw in smooth-as-honey vocals from Lillian Castillo, Andres J DeLeon and the sexy and rhythmic dance moves of Wesley J Barnes and Kiana Rodriguez and you have an ensemble case ready to step onto Broadway and sweep the Tony’s. The cast was energtic, fun, passionate, and heartfelt, and truly made the audience long to be part of such a community.  In The Heights features a live orchestra secretly nestled within the 360 degree theatre. The immersive stage allows the audience to feel like they are a member of the cast, every angle and corner utilized to portray the NYC neighborhood. The lighting, the music, the staging, everything was en pointe for this production of In The Heights. Chicago theatre lovers will be remiss to not see such a whirlwind portrayal of what is sure to be a play with lasting staying power. 

The portrayal of community within the play is one of shared struggles and successes. When Nina returns home from Stanford, feeling like she has lost her way, her community reminds her of her talent and prowess. Nina herself is reminded of not only where she comes from, but where her parents came from to build a foundation to give her a better life. She’s able to refocus and ground herself, and find her way again. After Usnavi’s bodega is looted, Sonny enlists the help of Graffiti Pete, played by Phillip Wood, to symbolize home and community on the bodega’s gate, signifying to Usnavi where his heart has been all along, right there in the barrio with his chosen family. Director James Vásquez says it best, “with the help of Lin Manuel Miranda’s brilliant and specific score, which has changed the idea of what musical theatre can be, we zoom in to get a closer look at one particular community. They fight to remember who they are where they come from, but also look to the future and dream of who they can become.” If a neighborhood is a body, the bodega would be the head, but the people would be the heart, and that is the true essence of In The Heights. Community is about what you make it to be, and who makes up that heart.

Though my community isn’t nearly as engaging or centric as the one portrayed in In The Heights, I walked away from Marriot Theatre feeling light, hopeful, and a part of a larger community than just what makes up my cul-du-sac. The Chicago Theatre community is supportive, vibrant, and diverse. They lift each other up and come together to experience real, authentic voices. The community is welcoming and fun and one that draws me back in every time. Not every community is made up of a corner store or city block, or even a quiet tree-lined street in greater Chicagoland. There are thousands of communities to discover in Chicagoland and beyond. Whatever makes up your community, I hope it is filled with love, hope, happiness, and has a soundtrack that Lin Manuel Miranda himself would be envious of. 

In The Heights runs through March 17th at The Marriot Theatre at 10 Marriott Dr, Lincolnshire. Tickets are available at www.marriottheatre.com.

I thoroughly enjoyed this modern and timely play on both the issues of Hollywood stars whose lives are constantly scrutinized by complete strangers and how easily it is for any person now to be fed false information online in ways that can affect their lives either positively or negatively regardless of the intentions of the sender. Highway Patrol is being performed at Goodman Theatre’s Albert Stage and is funny, haunting, and engaging through and through. 

Dana Delaney, who plays herself, is best known for her roles in the TV series China Beach and the hit film Tombstone, and she looks and sounds fantastic. I have always liked her plucky, no-nonsense energy as an actress, and in this true-life story of her work life and internet/social media interactions the audience gets a very accurate glimpse of how lonely a life in the arts can be and also how badly many actors are treated by the industry at the expense of their physical and mental health.

I don't want to give away any spoilers because half the fun of this show is the whodunnit twists and turns her life took back in 2012 that continued for several years, sometimes dominating her private life at all hours... 24/7. The story begins when the actress decides to interact directly with one fan on social media, Cam. Thomas Murphy Molony is a very talented young actor who makes you feel deeply for Cam, a young Twitter fan who is suffering from a chronic and terminal illness, a recipient of two heart transplants who is innocently and adoringly in love with Delaney. While Cam enjoys his conversations with Delaney, his grandmother often provides updates regarding the boy’s health and upcoming procedures to keep her in the loop. Dot-Marie Jones, who takes on the role of Cam’s caretaker, Nan, is a very gifted character actress best known for her work on Glee and Desperate Housewives. Jones really displays her versatile acting range playing such a multifaceted character and does so beautifully with depth and complexity. 

Peter Gallagher’s highly recognizable voice is also strategically used in this production as he plays the true-life friend and confidant of Delaney’s that he has been throughout most of her career. The recognizability of his voice in this show gives real weight to the fact that a human voice is like a fingerprint and gives much more honest information and clarity as to whom we are communicating over the voices we imagine in our minds when reading our own DM's or emails.

Director Mike Donahue does a great job staging the show into two compelling acts and theatre goers should arrive early to see Dana Delaney in character on stage prior to the start of the play. Having Delaney onstage beforehand is a very interesting choice and sets the tone of the play, acknowledging that most people, fans or not, are fascinated by seeing stars in person that they have "known" for decades.

I enjoyed Dane Laffrey’s set design and Yee Eun Nam’s projection designs so much! The colorful and quick changing sets along with large high-definition projections not only help the audience follow along with the digital clues based on the digital archives of actor Dana Delaney (with text curation from playwright Jen Silverman), but they also combine to form beautiful and realistic backdrops depicting the glamorous luxury, palm trees, sunshine, and sometimes loneliness of Delaney’s Los Angeles home and also her work life on set. 

The most fascinating thing I took away from this very enjoyable piece of theatre was not about the necessity of verifying and protecting oneself from the many digital communications we all send and receive every day. What struck me rather was the idea presented to the audience that sometimes we as isolated humans living in this new frontier of instantaneous digital communication, including celebrities who appear to "have it all", can possibly grow to miss fictional love messages and reassurances of digital communication even after discovering their true source. 

Dana Delaney is absolutely outstanding in this production, as is the entire cast. I highly recommend this funny, touching, yet haunting, modern play. 

Highway Patrol is being performed at Goodman Theatre though February 18^th. For tickets and/or more information visit www.goodmantheatre.org.

Terence Blanchard's "Champion" delivers a powerful blow to the stage, not through physical force but with its emotional resonance. Based on the life of  boxer, Emile Griffith, the opera is told through the memories of an older Griffith, (played by Reginald Smith, Jr.)  Suffering from dementia and a lifetime of pain and regret the older Griffith  prepares for a meeting with Benny Paret Jr. the son of his one-time opponent, Benny “The Kid” Paret. (both Parets are played by Leroy Davis)

We travel to St. Thomas, where, abandoned by his mother, little Emile, (played by Naya Rosalie James, exhibits signs of sensitivity which his fanatically religious cousin view as demonic. Cousin Blanche verbally and physically abuses him. Having him stand in the island sun holding a cinder block above his head only served to make him physically and emotionally strong.

Confident in his abilities as a singer, baseball player and hat maker, Young  Emile Griffith (played by Justin Austin) arrives in New York City.  He reconnects with his elusive mother (Whitney Morrison) and is introduced to Howie Albert (played by Paul Groves ) the owner of a hat manufacturing company. Albert notices Griffith’s muscular frame and guides him to the boxing ring becoming his manager.

Emile Griffith’s life is a stark reminder of the era he lived in. In the hyper-masculine realm of boxing during the 1960s, homosexuality was an unspoken taboo, a secret that could destroy careers and lives. Griffith's inner conflict is palpable - he is a champion in the ring, yet forced to live a double life, constantly repressing his identity from a world that would not tolerate it.

The opera's most poignant moment comes in the aria “What Makes a Man a Man?” Griffith grapples with society’s toxic definition of masculinity. Blanchard's haunting jazz-infused score underscores the question, making the audience acutely aware of the psychological toll that repression and denial were taking on a man trying to conform to an impossible standard.

The pivotal moment of the opera is the fateful fight with Benny “Kid” Paret. Paret's homophobic taunts, cruel words wielded as weapons, pierce Griffith's carefully constructed facade. While audiences may have suspected Griffith's private life, like the unspoken reality of JFK's affairs, public discussion remained taboo. Benny “The Kid” Paret crossed an unforgiveable line in the mind of the very proud Griffith.  In a burst of blind rage, Griffith's pent-up pain and frustration violently boil over, and he delivers the tragic blows that end Paret's life ten days later.

The libretto missed an opportunity for deeper exploration. Instead of delving into Emile Griffith's inner world at his career peak and aftermath, it presented extraneous scenes. A fabricated marriage, a warning aria from his mother, and a sexually charged encounter in a gay bar, though interesting individually, felt tangential to the core narrative. These detours could have been replaced with moments that illuminate Griffith's psyche, motivations, and struggles, offering the audience a clearer understanding of the complex man behind the champion. Additionally, the inclusion of Griffith’s adopted son and caretaker, Luis Rodrigo Griffith's (played by Martin Luther Clark)  story and the development of their relationship could have offered a powerful layer of complexity and provided a window into the challenges and triumphs of navigating identity and love in a complex world.

Through Griffith's journey, "Champion" shines a spotlight on the lingering prejudices within the world of sports. Even today there are athletes who feel they must hide their sexuality for fear of rejection, discrimination, or even violence. Their struggles are real. Their stories deserve to be heard.

Blanchard’s score is a masterful blend of jazz and classical styles. It mirrors the turbulent emotional world of Griffith, sometimes mournful, sometimes furious, always stirring. The opera leaves a lasting impression, resonating long after the curtain falls.

In collaboration with “Champion” is an exhibition of Patric McCoy’s seminal collection of Black male photography, curated by Viktor L. Ewing-Givens of Southern Android productions. “Concrete, rose” is an exploration of Black men wanting to be seen. “Champion," becomes a mirror in which the striking portraits of "concrete, rose" are reflected. Both the opera and the photographic collection delve into the often-concealed lives of Black men, their struggles, their sexuality, and the delicate dance they perform at the intersection of personal truth and societal expectations.

"Concrete, rose" exhibit (left) and photographer Patric McCoy

The characters in “Concrete, Rose” and Emile Griffith could easily be contemporaries, existing in worlds that have evolved but are still shaped by the same biases and expectations. Sports, much like other arenas of public life for Black men, are often hyper-masculine spaces, leaving little room for the fluidity of gender and sexuality.

“Champion” is a testament to the psychological toll exacted on those forced to compartmentalize their true selves. And, like “concrete, rose,” the opera stands as a reminder of the ongoing struggle Black men, particularly Black LGBTQ+ men, face in a world that often rejects those who dare to exist outside of narrow societal definitions.

More than a story about a boxer, "Champion" is a story about the battle for acceptance — for oneself and, more broadly, from a world still grappling with the nuances of sexual identity. In its collaboration with "Concrete, Rose," the opera expands a necessary conversation, bringing to light voices that are often unheard, revealing truths that have long been veiled.

When: 2 p.m. Jan. 31, with four additional performances through Feb. 11

Where: Lyric Opera House, 20 N. Wacker

Tickets: $49-$339

Info: (312) 827-5600; lyricopera.org/champion

Did you hear about the rose that grew from a crack in the concrete? Proving nature's laws wrong, it learned to walk without having feet. Funny, it seems to by keeping it’s dreams; it learned to breathe fresh air. Long live the rose that grew from concrete when no one else even cared.

― TUPAC SHAKUr

www.lyricopera.org/shows/upcoming/2023-24/champion/concrete-rose/