Items filtered by date: November 2007

Those were my first words when I left the performance of COCK to David Zak, producer and resident wizard of Open Space Arts, and he dared me to say it in my review so—here you go, DZ!

But COCK truly is. F***king amazing, I mean. Really.

I’ll introduce the venue first: Open Space Arts (OSA) is ‘dedicated to combating homophobia and antisemitism through the transformative power of creativity and cultural expression’. Nothing to argue with there! OSA Theatre is the quintessential Chicago ‘black box theatre’, and one of the smallest I’ve attended: only about 20 seats, with a stage about the size of my living room (which is pretty bloody small!) … plus, right smack in the center of the stage is this big ol’ vertical drainpipe. I always love seeing how companies work with and around the oddities and idiosyncrasies of their space, and Director Wren Wesner did a singularly splendid job with COCK.

The script: written (or premiered, anyway) in 2008 by British playwright Mike Bartlett, this is the Chicago debut. There are four characters: John (Eliot Hall), his long-time lover M (Kevin Woodrow), M’s father F (Michael Lomenick), and a woman John connects with, W (Sonya Robinson) [Obviously Man, Woman, and Father].  

And the story: John comes home to M after two weeks silent absence. The first act is John and M’s discussion of his absence and the past, present, and future of their relationship, where we establish that John has spent those two weeks with W, a woman he met passing on the street (albeit not a streetwalker) and very rapidly grew very attached to. John and M’s tête-à-tête culminates with John promising M he’ll break it off with W.

But the minute he’s away from M John starts vacillating … who is he anyway? What is he? Is he gay? he’s only ever had sex with men, but this woman is so attractive, and her ‘gap’ (we hear many appellations for this female characteristic, most of them from M and most of them unattractive) … did you get lost there? Sorry. I’m talking about John’s impression of W’s gap (she says that while John gets a hard on, she gets a gap-on) which, much to his surprise—and to ours, particularly having heard M’s singularly negative view — (not to mention our pre-conceived assumption of gay mens’ associations thereof) is a singularly positive impression.  [thank Someone for periods—the punctuation kind, not the gap kind—else that sentence might still be driveling on].

I’m not doing a very coherent job of this, am I? but that’s OK, cos this somewhat chaotic narrative is not inconsistent with the flavor of COCK – not that COCK is incoherent, and it’s certainly not drivel! but it did follow a circuitous course, with Bartlett leaving to us the responsibility of making sense of it all. Because that is just what John finds himself unable to do. Like a fundamentalist Christian, he’s desperately seeking a synopsis, a definitive sobriquet, a Revelation that will define What’s What—and thereby What’s Right and What’s Wrong. What a terrific query for election year 2024! How did Mike Bartlett know we’d need this right now? Luckily David Zak and co-producer Elayne LeTraunik did know, and they brought it to life at OSA to assist us in figuring out WTF is What with American democracy!

But I digress (no surprise there). Back to COCK.

The title is provocative; shouldn’t it be COCK & GAP? But no, the title refers to John’s confusion as to where said cock feels most at home. Some Brit producers called it COCKFIGHT—not inappropriate.

John certainly seems to be gay:  he’s had none but male sex partners all his life, his relationship with M is long-term and committed, he’s never felt any attraction to womankind … until W. So just what is John? Bi? [Though for him it’s more like Gay+1.] Naturally John has thought about What He’s Missing: having kids, belonging to the mainstream community, living a “normal” life … and so on and so forth, you know the drill.

Solution: Invite W to a dinner party where, over roast beef and red wine John will… will what? By the time it actually happens he’s promised both M and W that he will give the others their marching orders. Then the situation is further snarled by M announcing he’s invited his dad for moral support. F brings a surfeit of additional issues as well as additional attitudes to the issues already under review.

So, the story boils down to John making a Decision … does he stick with the gay relationship he knows, the man he loves, and a place that’s at least familiar, or will he choose a ‘normal’, mainstream life with this woman he can’t stop craving? Choose, John! Make a decision!

But wait! This decision is about an issue that they—we!—fervently believe is not a decision but an inborn trait! Decades of blood sweat and tears by LGBTQ activists, mental health professionals, religious leaders, and politicians has finally brought us to the widespread understanding that homosexuality (like heterosexuality) is not a choice, it’s a predilection that everyone is born with and that nobody can just change. So, in asking John to Decide, what happens to that issue? Do we bring back the conversion therapies, restore homosexuality to the DSM, return Anita Bryant to her pulpit, fire all the gay teachers and court-martial the gay soldiers? All just so John can decide where to put his cock?

The acting is extraordinary, beginning with Eliot Hall, who brings authenticity to and elicits sympathy for John’s emotional turmoil. Hall makes us see that John is not just a wishy-washy waffler; he’s genuinely torn, flummoxed by a question he never imagined he’d be obliged to answer … after all, no one should!  He projects intense chemistry with both M and W, spotlighting the degree of his conundrum.

Hall’s admirable performance is more than matched by Kevin Woodrow. M’s bewilderment is fully as unsettling as John’s, with the additional distress of total helplessness. There’s nothing M can do to resolve the situation, or even to influence it; he can only wait until John acts. And bake cheesecake. Woodrow illuminates this ferment, while never letting us (or John!) forget that John is the love of his life.  Woodrow also has terrific comedic sense. The entire script is full of wonderful metaphors, which Woodrow delivers flawlessly, bringing down the house with: “There’s so much emotional crap that orbits you, like you’re collecting space junk.” 

Sonya Robinson is a worthy foil – her performance illustrates the unenviable position W is in: unintentionally, reluctantly, involuntarily, she has fallen in love with this stranger, only to find she must fight for him in a battle she is personally disinclined for. W offers John both passion and compassion. My initial, natural proclivity was to root for M (anyone surprised by this hasn’t been reading my reviews), but Robinson made me understand her better and, if not favor her cause, at least appreciate what John saw in her. And, just BTW, she is NOT mannish!

F is in the action for only a fraction of the 90-minute run, but Michael Lomenick makes the most of that time. Lomenick reads through the script to his unwavering love for his son, both his sons. F brings us an historical aspect; he remembers the times of persecution and prison and as a father is relieved that his sons need not face this oppression.

My companion is new to Chicago theatre, especially the storefront sites; afterwards he told me he had assumed that such a small theatre would mount a “small” production. I laughed and told him, “This is Chicago, cher. There’s fully as much talent in the storefronts as at Goodman or Nederlander”, and he couldn’t but agree, particularly regarding the acting. I expect high-quality acting in the black boxes, but Lomenick, Robinson, Woodrow, and Hall [sounds like the name of a law firm innit?] sailed over even that high-placed bar.

Justin Walker managed the lighting, collaborating with Sound director Angela Joy Baldasare to signal scene changes with light and sound. Director Wren Wesner, with Teri Talo as Assistant, did a totally brilliant job with blocking; the physical space afforded them no other manner of defining scenes, and their magic let us clearly see the apartment: from the foyer, through the living room and back to the outdoor deck, as well as illustrating fluctuating moods and relationships. Talo was also Assistant to Stage Manager Desiree Stypinski; together they maintained the scaffolding for a magnificent production.

I must give a shoutout to Intimacy Coordinator Greta Zandstra: the sex was hot as hell, without a stitch of clothing shed or a single physical touch. Bravo! Masterfully done!

COCK is totally hilarious, and none of the humor is too British for us colonials. But the story is ultimately a tragedy, for John is facing the impossible; deciding whose heart he will break—including his own. No spoilers! but it’s a devilishly difficult situation, innit? and a theme with emotional, societal, political, and personal ramifications. I’ll be thinking about COCK for a long time.

And today I’m HIGHLY RECOMMENDING it!

COCK plays through May 11th at Open Space Arts

If you’re a magic enthusiast, Joshua Jay’s captivating new show, Look Closer, is currently enchanting audiences at the Rhapsody Theater. But even if you’re not a seasoned magic fan, this show promises to leave you spellbound. Joshua Jay, the Society of Magicians’ 2020 Magician of the Year, has recently concluded a successful New York City run that commenced at the illustrious Carnegie Hall.

Look Closer with Joshua Jay weaves together engaging storytelling, comedy, and, of course, astonishing magic. From parlor tricks to sleight of hand, each illusion surpasses the last in sheer amazement. In this latest production, Jay defies convention by turning the concept of misdirection on its head. Unlike most magic shows where the magician skillfully diverts attention, Look Closer invites the audience to scrutinize every detail. As you focus intently, the very shapes of the tricks seem to metamorphose. It’s a mesmerizing experience that challenges the norm.

The Rhapsody Theater, renowned for hosting popular magic performances since 2020, provides the perfect backdrop for this magical journey. And that’s not all—after his regular shows on Thursdays, Fridays, and Saturday matinees, Joshua Jay treats VIP ticket holders to an intimate close-up magic show for up to 16 people. If you’re not a VIP, don’t worry—you can enhance your experience by adding on this exclusive event for just $20, complete with a complimentary drink ticket.

“This show goes against everything magicians have touted for centuries,” says Jay. “Instead of misdirecting your attention, I encourage you to look closer. I want you to see my favorite thing about magic, the beautiful details, that are only noticed when viewed through the layers of deception, the mysteries embedded within the mysteries. Each piece has been carefully crafted so that the more you think about it, the more the shape of the trick changes.” Prepare to be amazed!

Filled with mind-boggling tricks and illusions, Jay, who has been featured on The Tonight Show with Jimmy Fallon and The Late Show with James Corden, also uses his humor to perfection, whether scripted or off the cuff, especially during audience participation. Jay keeps busy outside of performing live. He has also authored several books on magic and has created illusions for big hit shows such as Boardwalk Empire and Game of Thrones. But, as he explained in his show, many of these accomplishments may never have happened. Jay’s career in magic was almost cut short when an accident shattered his left wrist just as he was preparing to attempt to beat the Guinness World Record for Most Selected Cards Found from a Shuffled Deck in One Minute. The injury was so bad he was told he might have limited use of that hand – and as a magician one can only imagine the devastation of receiving such news. But he didn’t succumb to defeat. Instead, Jay worked passionately through physical therapy and regained his dexterity back withing three years. However, the feeling in his pinky and ring finger had not returned, which, he further expounded, makes sleight of hand magic extremely difficult to master. But, he persevered and the feeling eventually did come back and fortunately for Jay, and fans of magic, he returned to top form and not only continued his path in becoming one of the best magicians in the scene, but he eventually did become the Guinness World Record holder for Most Selected Cards Found from a Shuffled Deck in One Minute.      

Look Closer is a must see that will undoubtedly baffle and entertain crowds of all ages.  Jay’s new show not only gets a positive reaction from theatergoers – and yours truly, but the show also gets praise from fellow magician, Ricardo Rosenkranz, MD, a resident performer at Rhapsody. Rosencranz says about Jay, “Josh’s original run of Look Closer, which Rhapsody Theater produced last year, was a unique and fresh take on what a magic show can be. We are thrilled to have Josh back for an updated version of this show that subverts audience expectations while leaving them in utter disbelief. With our intimate performance space, and state of the art technology, the Rhapsody Theater is the perfect venue for audiences to Look Closer at Josh’s mind-bending tricks.”

Plan to be wowed as Jay takes you on a journey beyond the ordinary.

Look Closer with Joshua Jay will grace The Rhapsody Theater stage from April 4 to April 28. Showtimes are as follows:

• Thursdays: 7:30 PM
• Fridays: 7:30 PM
• Saturdays: 2:00 PM, 7:30 PM, and 9:30 PM

The entire experience lasts approximately 75 minutes, with no intermission. Don't miss this captivating performance!

Highly recommended.

Sometimes you wanna go where everybody knows your name. Sometimes you want to be surrounded by people to experience the intimacy of being in public. Lately the types of places where someone could venture to for either experience are dwindling in numbers. It's the loss of third places, a place that is neither your home nor your workplace, but a location to go and experience community. Covid has changed many things but one endearing and lasting desire is for a third place to go for a friendly chat, a drink, or simply to be with people and listen to an incredible soundtrack with original and unique renditions of your favorite songs. There is no better show in Chicago that captures the beauty of the humanities and the need to preserve third spaces more than The Choir of Man, now playing at the Apollo Theatre.

Welcome to The Jungle, we've got fun and heart! The Choir of Man is an uplifting celebration of community and friendship where everyone is welcome. Set in the best pub in the world, a cast of nine (extra)ordinary guys combine hair raising harmonies, foot stomping singalongs, world class tap dance, and poetic meditations on the power of community. Featuring pop, classic rock, folk melodies, and pub anthems from artists such as Adele, Paul Simon, Katy Perry, Red Hot Chili Peppers, Luther Vandross and more, The Choir of Man is 90 minutes of feel good entertainment that has something for everyone and is unlike anything else in Chicago.

If Pitch Perfect, Coyote Ugly, and School of Rock had a baby, it still wouldn’t be as fun,genuine, or entertaining as The Choir of Man; it’s a party, it’s a concert, it’s an immersive experience, it’s your neighborhood bar filled with exceptionally talented sings, musicians, and performers. From the moment you walk into the Apollo Theatre you feel welcomed as an old friend, invited to sit and stay for a yarn, to sing, to dance, to party. Like any good evening at the bar, there isn’t a particular storyline or climactic plot. Instead, the ensemble cast share their stories with you and reflect on community and commradery in a post-Covid world where third places are becoming more and more scarce. The performances have an improvisational element to it that plays off and responds to the vibes of the audience, including pulling willing participants onto stage to be serenaded to. The song arrangements include beautiful renditions of favorite songs that challenge the way you view and hear the songs; like “50 Ways To Leave Your Lover,” performed by Shane McDaid accompanied by George Knappe whose tap dancing sequence adds a poetic rhythm and heartbeat to the number; “Some Nights” performed by Benji Lord and the ensemble cast that would rival The Bellas Cups song; or a sad, bittersweet arrangement of Chandelier that gave me goosebumps. Though unlike a good night out at the pub, the cast encourage photos and short videos, asking only that the audience share the good ones. The level of familiarity and inclusiveness The Choir of Man sets is a love letter to community, to friends, to family, and to those third spaces that allow us to come together to sing, dance, tell stories, or simply just be together. 

The Choir of Man was made for a city like Chicago, capturing the bittersweetness of a bygone era. With beautiful and original song arrangements, a welcoming and immersive atmosphere, and a captivating and engaging ensemble cast, this show will sure to be top your 2024 favorites list. Like the fleetingness of a Chicago Spring, The Choir of Man is only here in town for a short engagement. So grab a pint, sit for a spell, and at closing time remember you don't have to go home but you can't stay there. 

The Choir of Man is now playing through May 26th, 2024 at the Apollo Theater at 2550 N Lincoln Ave, grab a pint and your tickets before closing time.

*Extended to July 14th!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

*extended through July 28th

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Highly Recommended

When: Through April 28

Where: Steppenwolf Theatre, 1650 N. Halsted St.

Running time: 3 hours

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

*Extended through May 12th

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

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

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

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

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

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

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

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

ABOUT CHICAGO SHAKESPEARE THEATER

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

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

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

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

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

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

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

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

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

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