Items filtered by date: November 2007

OBAMA-OLOGY is about privilege, as experienced and explored by Warren, a young gay Black man, recently graduated from college who takes a job with the 2008 Obama campaign. He arrives in a near-frenzy of excitement, but his ardor rapidly shrivels in the bleak streets of East Cleveland. Warren, ably played by David Guiden, is bewildered at the other volunteers’ indifference – even hostility – to his college education.

Warren is mystified at his volunteer peers’ indifference to his accomplishments, and only gradually does he become aware of the hierarchy he unconsciously assumes – with himself, naturally, at the top of the food chain. Guidan’s depiction of Warren’s grossly overblown excitement when one of his recruits shows up at volunteer headquarters is brilliantly acted. Still, we fully understand Cece’s hesitancy. Warren’s shock at finding her ‘functionally illiterate’ further alienates her; we’re impressed that she hangs in so long, and almost relieved when she drops out after Warren’s offer to fix her with adult literacy classes.

Scenic Designers Tim Rhoze and Evan Sposato choose bright colors for a seemingly simple set design that is surprisingly versatile. Stage/House Managers Barbara Reeder and Lexx Dyer use it very effectively to punctuate the brief, rapidly moving scenes, assisted by Lighting and Sound Designers Michael Rourke and Daniel Etti-Williams. Simple announcements, (e.g., “campaign headquarters”) keep us grounded in time and space. Casting director Lynn Baber selects a small (and excellent) cast: David Guiden is Warren, with all other characters beautifully played by Chris Jensen, Tuesdai B. Perry and Em Demaio. Baber’s costumes help us tell one character from another, but this differentiation is largely accomplished by the actors’ skill and the excellent direction by Fleetwood-Jourdain’s Artistic Associate Bria Walker. I admit I arrived at the theatre ten minutes late (damn the Red/Purple Line Howard Station balls-up!); still, I very quickly caught up with what character(s) were currently onstage.

OBAMA-OLOGY is billed as a comedy and there were indeed some hilarious moments: the local volunteer trainee whose idea of outreach runs along the lines of ‘Yo! Niggah! Git yer black ass to the polls!’, and the aggressively ‘woke’ couple who address other volunteers as ‘sistah soldier’. Excellent acting makes these scenarios truly droll without descent into slapstick. OBAMA-OLOGY is also advertised as drama; there are definitely some dramatic scenes, particularly those involving Warren’s parents exiling their queer son. My companion is into neologisms and called OBAMA-OLOGY a ‘dramedy’, but I would have liked it better if it had been one or the other.

OBAMA-OLOGY’s primary appeal for me was its portrayal of how easy it is to oversimplify the deeply complex phenomenon of privilege in our society. Wikipedia says of playwright Aurin Squire: Many of Squire's plays revolve around multiracial societies in transition or America's changing cultural make-up. His work reflects the Latino, African, Caribbean, African American, and Jewish cultures he grew up around in South Florida. Given this heritage, I’m disappointed at how superficially Squire (through Warren) approaches the critical issue of racial hierarchy in America.

When Warren is told, he must speak to people on their level, he not only cheapens that to speaking in Ebonics but, more importantly, clearly views it as a descent for him. His reaction to Cece’s literacy – the urge to ‘fix’ her – is so very white! Only near the end, when he and his partner endure a traffic stop, does Warren begin to get the memo about black and white in East Cleveland. That vignette could have been crucial, but it’s demeaned by its vanilla outcome. True, OBAMA-OLOGY was written in 2014, pre-George Floyd, but not pre-Rodney King! The play’s ending is equally classic white fairy tale: Cece has (1) gotten her GED, (2) gotten a job, and (3) gotten pregnant – and this is meant to be a happy ending! There a thousand far more interesting things Squire could have done with Cece.

I don’t much care for comedy; I chose OBAMA-OLOGY because shows I’ve previously seen at the Fleetwood-Jourdain Theatre were exceptional, and I will continue to watch the Fleetwood-Jourdain’s seasons hoping for more. OBAMA-OLOGY was light, pleasant, and fairly funny, but definitely not thought-provoking.

Through June 25th at Fleetwood-Jourdain at the Noyes Cultural Center. For tickets and/or more show information, click here. 

 As part of Chicago Park District’s Night Out in the Parks series, Nejla Yatkin, dancer and choreographer is offering a series of FREE pop-up performances at parks throughout the City. I just saw her at West Ridge Park; there are fourteen more pop-ups between now and July 8 (I’ll get to July 8 in a minute).

Nejla has traveled the globe creating more than simply dance – she generates meaningful experiences for her audiences. She has devoted her long and complex career to exploring questions of freedom and equality, pushing the boundaries of traditional dance forms to explore the beauty and complexity of being human.  

She brings all this passion and insight to ‘Firebird’, but even more evident is her warmth and the rapport she weaves round the audience, enclosing and including all of us in the performance. The Park District venue is perfect for this: a small clearing with various stumps and boulders to sit on, and the bells mingle with the songs of resident birds. I was concerned at first about finding the right place (I’m a city girl; tracking is not one of my skills) but I needn’t have been – a trail of ‘breadcrumbs’ (bright flyers taped to the path) was laid to guide me.

Chicago’s motto, “City in a Garden”, is actualized by the Park District’s 600 facilities. Did you know there were so many parks? Me neither! This guide from Time Out Chicago, ‘The 28 Most Beautiful Chicago Parks’ will help introduce you to the wealth of beauty within our city. In the meantime, choose a park to see Nejla dance!

She started about 15 minutes early, drifting around the enclosure with Patrick behind her softly playing the bells. As more people arrived Nejla began distributing feathers, paying special attention to the kids, who ranged in age from twelve months to twelve years.

Then she danced.

The Firebird appears in Slavic folklore as a magical and prophetic bird from a faraway land which turns out to be both a blessing and a harbinger of doom to its captor. Stravinsky’s ballet The Firebird portrays the creature as half-woman, half-bird.

Nejla’s dance begins on the small stage, with the bird emerging from its egg. The fledgling becomes stronger and more confident, finally leaving the stage to visit every audience member in turn. Some people – particularly those with children – she enfolds in a cocoon of red silk wings (designed by costumer Katrin Schnab). The dance moves out of sight behind a little rise, remaining long enough that some of the smaller kids begin to worry. She reappears with 3-foot extension poles, expanding her wings enormously and closing the dance with great sweeps and billows of red silk.

But that’s not the end of the performance! Nejla invites the audience to join her, and one by one people move out into the clearing. Ultimately a dozen people, all ages and sizes, are swooping joyously about.

The pop-up performances will continue through June, and on Sunday July 8 there will be a Firebird parade (I told you I’d get back to July 8!). Everyone is welcome to participate in the parade and are encouraged to wear their very own Firebird costume. For any whose couturiere skills have gotten rusty, Nejla is offering a costume workshop on June 14 at Indian Boundary Park, AND a workshop June 28^th on Firebird Sound and Movement – in case you need a refresher course in squacks and screeches.

All of this – pop-up performances, workshops, and Parade – is FREE to Firebird-wannabes of all ages and persuasions.

More information, including a schedule of performances, HERE.

What’s the line between faith and reason? That’s the question at the center of playwright John Pielmeier’s contemporary classic ‘Agnes of God’. The reliable ensemble at Redtwist Theatre creates an atmospheric production that leaves an indelible impression.

‘Agnes of God’ tells the story of a young, mentally impaired nun who is charged with infanticide after a strangled baby is found in her room. Inspired by a true story, Pielmeier digs deeper, past the tabloid shlock, and finds meaning in tragedy. Though nothing of divine intervention was determined in the real case, this play asks, what if there had been? Is the age of miracles definitively in the past?

In Pielmeier’s version, Agnes is written as a true innocent who the Mother Superior of the convent believes might really be talking to God. When atheist psychiatrist Dr. Livingstone is assigned by the court to evaluate Agnes’ mental health, her scientific certainties are put to the test.

The three-woman cast in director Clare Brennan’s production feature two Redtwist ensemble members: Jacqueline Grandt, Debra Rodkin, and regular player Soleil Perez in meaty roles. And the immersive black box performance space heightens the sense of intimacy to that of a confessional booth.

Jacqueline Grandt as Dr. Livingstone has several spans of direct conversation with the audience, as if she’s a lawyer giving her opening and closing statements. The uneasiness with which Dr. Livingstone’s conversations go with the Mother Superior (Debra Rodkin) are visually represented by one of the show’s minimal set pieces—a slanted desk. Through the frankincense fog, we see that Mother Superior might not be telling the entire truth. Soleil Perez plays a wild, and untamed Agnes whose stage presence makes you wonder if maybe she is a heretic after all.

Unique stage lighting and taught scenes give this production an edge. Jacqueline Grandt is captivating and her transformation from harsh chain-smoking criminal psychiatrist to vulnerable sceptic brings more nuance to the stage than perhaps what’s in the script. It’s on her performance this play really hinges. Grandt is an actress with confidence that she has the audience firmly in her grasp and this performance really showcases her range. She’s on stage for all two hours of the show’s running time and her intensity only builds from scene to scene.

Many contemporary writers in recent years have grappled with issues involving the Catholic church, John Patrick Shanley’s Broadway hit ‘Doubt’ comes to mind—but in that regard ‘Agnes of God’ was ahead of its time. Written in the late 70s, at a time where ‘The Exorcist’ had just electrified a mostly religious American audience a few years earlier, a film whose scares rely on an audience of believers. ‘Agnes of God’ tells a story of concealed abuse and religious conspiracy, in an era when people were less likely to question the church. Sadly, the more disturbing elements of the play remain as timely and relevant now as ever. However, scandals aside, what this play universally offers to both non-believers and believers alike is the opportunity to ask, can everything be answered by science and fact?

Through July 9 at Redtwist Theatre. 1044 Bryn Mawr Ave. http://www.redtwisttheatre.org

*Extended through July 16th

Second City’s Don’t Quit Your Daydream is a dream you won’t want to wake up from. I gotta say this show brought me to tears… of laughter. Once the lights dim, you are welcomed with a groovy dance opening and then dive into back-to-back comedy sketches. This show captures all those ridiculous thoughts one could have in a daydream and conveys them in a series of hilarious skits.

Don’t Quit Your Daydream is written and performed by Andy Bolduc, Kiley Fitzgerald, Claire McFadden, Evan Mills, Julia Morales, and Jordan Stafford and directed by Carisa Barreca. This brilliant six-member ensemble plays a variety of characters throughout the show. Some characters include high school students, an angel, a loofa, imaginary friends, a “cool” nun, and an evil villain named Snakewart. All the comedians are amazing performers and are able to radically change their persona from skit to skit. The cast is perfect for this show and has some major wow moments in their execution.

One stand-out performer is Evan Mills who has been working at Second City since 2018. Mills keeps you on your toes as you wait for him to deliver his clever punchlines and funny reactions. He brings a multi-talented performance that includes singing a song about the thoughts that keep him up at night, dancing with his gay crush at prom, and improv as a not-so-famous background actor. During the show, I heard one crowd member say, “Oh my god, he’s hilarious!”

Another comedian that kept the crowd rolling was Andy Bolduc. Bolduc is a natural on the stage and often plays as the privileged white guy or bizarre characters like a brother who is dating his imaginary friend, Flip Flop. He’s convincing in his act and often reminds you of that one weird kid from school. His lines, delivery, and body language fully embrace each role and leave you wanting more.

 Don’t Quit Your Day Dream’s production was flawless. The lights, music, sound effects, and stage setup were seamlessly pieced together. The transitions between sketches happened in the blink of an eye and kept the audience fully engaged throughout the duration of the show. All the seats in the club offered a great viewing experience and a chance to get picked on by the cast.

Each skit in Don’t Quit Your Daydream is unique with a comedic twist. The dream-like storylines take you on a journey to the gates of Black Heaven, an awkward high school prom, a flawed murder mystery scene, and many more. Each sketch has a sense of silly magic, leaving you with childlike wonder. Plus, you get to hear a few corny dad jokes sprinkled throughout the show. But it’s not all jokes. You also get to hear the comedians sing their original songs, watch them show off their moves in a synchronized dance, and test their skills with improv as they engage the crowd. It’s safe to say this Second City show takes sketch comedy to a whole new level.

The Second City comedy club is conveniently located in the Old Town neighborhood inside Piper’s Alley Mall. This area offers many great restaurants that are superb for grabbing a bite to eat before the show. Don’t Quit Your Daydream is held in the mainstage theater with small tables and chairs and a large stage. Second City offers in-theater dining that includes small bites and a wide selection of drinks.

Don’t Quit Your Daydream has a two-hour run time with a quick 15-minute intermission. This summer show runs Tuesdays-Thursdays at 8pm; Fridays and Saturdays at 7pm and 10pm; Sundays at 7pm starting June 7, 2023. Tickets range from $39-$94. Doors open 45 minutes prior to showtime.

I definitely recommend seeing this show, just leave the kids at home since this one is Rated R. Make sure to buy your tickets fast, many shows are selling out! Purchase your tickets online today.

West Side Story is just as exciting, vibrant, and moving today as it was when it was first created in 1957. Filled with timeless songs and choreographed dance numbers that are as original as they are visually stunning, West Side Story continues to delight audiences old and new, and Lyric Opera House’s latest offering of this musical masterpiece checks all the boxes. Conceived by Jerome Robbins with lyrics by Stephen Sondheim, music by Leonard Bernstein and book by Arthur Laurents, West Side Story is considered to be one of the best musicals ever created. One cannot help but be pulled in by the production’s engaging story, astounding vocal performances and original dance scenes that incorporate a fusion of ballet and modern dance.

Inspired by William Shakespeare’s tragic love story, Romeo and Juliet, West Side Story turns the feuding Monague and Capulet families and love-stricken teens, Romeo and Juliet, into a New York setting that has the white kid Jets fighting to keep the Puerto Rican Sharks out of their neighborhood. Romeo is replaced by Tony, the former leader of the Jets and Juliet becomes Maria, the sister of Sharks leader Bernardo. When Tony and Maria fall hopelessly in love at a neighborhood dance social, the two are immediately thrust beyond the racial barrier that has caused hate between the rivaling gangs and breaking free from their past will be nothing less than challenging.

The cast of West Side Story. Photo by Todd Rosenberg.

In Lyric Opera House’s production of West Side Story we are met with stunning sets designed by Peter J. Davison that take us to a New York City neighborhood that gives us the feel of the musical’s late 1950’s era while implementing many touches of today’s world, as evidenced by the Bad Bunny poster hung on the wall of Maria’s room. Costume Designer Jessica Jahn also sprinkled in a mix of yesterday and today combining the white t-shirts, cuffed jeans, Converse All-Stars and flashy dresses that represented the late 1950’s with today’s skinny jeans, striped basketball pants and hairstyles that include shaved line designs and manbuns. I found the blended sets and costumes a bit confusing at first, but it does work. Perhaps the modern-esque makeover is done to remind theatergoers that racism didn’t just take place way back when but is also present in today’s world and that there is still plenty of work to do.

Brett Thiele as Riff and Yurel Echezarreta as Bernardo in West Side Story at Lyric Opera House. Photo by Todd Rosenberg.

This production has a special cast. Audience members are treated to sensational vocal performances by Ryan McCartan as Tony, Kanisha Feliciano as Maria. Both McCartan and Feliciana have show-stopping moments during their vocal performances and their chemistry feels natural. Lyric hits the jackpot with both and McCartan and Feliciano’s performances. While McCartan’s beautiful rendering of “Maria” is vocally superb and heartfelt, Feliciano’s captivating performance of “Somewhere” also delivers in grand fashion. Both have tremendous range and seem to effortlessly take their voices wherever they need to go.

Maria!
I've just met a girl named Maria,
And suddenly that name
Will never be the same to me
Maria!
I've just kissed a girl named Maria,
And suddenly I found
How wonderful a sound can be
Maria!
Say it loud and there's music playing,
Say it soft and it's almost like praying

Amanda Castro thoroughly embodies the strength of Anita, Bernardo’s girlfriend, and wows us with both her voice and her skilled dancing ability, particularly when leading the Shark Girls in a colorful rendition of “America”. Brett Reile as Jets leader Riff and Yurel Echezarreta as Bernardo also play key roles in making this production as great as it is. Reile’s Riff is edgy and street tough perfectly personifying the “When you’re a Jet you’re a Jet all the way” modus operandi, while Echezarreta gives us a Bernardo who can go toe-to-toe with anyone. Of course, the ensemble is pivotal to the show’s success and this ensemble is just incredible and awes the crowd in one huge dance number after another.

Conducted by James Lowe and directed by Francesca Zambello, Lyric gives us a fresh take on the classic smash hit that audiences have been enjoying for the 60-plus years. West Side Story is a production for everyone. Its message of coming together still resonates today, and its fulgurous dance numbers and song performances will never become dated.

This brilliant production of West Side Story is being performed at the Lyric Opera House (20 N. Wacker Drive, Chicago) through June 25^th. The running time is 2 hours and 30 minutes, which includes one intermission. For tickets and/or more show information, click here.

Highly recommended.

Fun fact. I went into Music Theater Works’ production of Pippin knowing the songs, knowing the show, and knowing I’d have a good time. But afterwards, I learned from my daughter, herself a current member of Scotch’n’Soda Theatre, Carnegie Mellon University’s student theater troupe, that the beloved musical didn’t just appear out of thin air, manufactured by the Broadway gods and bestowed upon us earthly theatergoers.

But Pippin didn’t just appear magically like all the good shows seem to have done. It was originally written by Stephen Schwartz as a student show for Scotch’n’Soda Theatre before its first Broadway run, directed by the great Bob Fosse. Knowing that now, the show’s youthful exuberance and dated innocence makes sense. Of course it was written by a kid, albeit a very talented kid.

Knowing that, the show means that much more—the story of a talented kid figuring out life and yearning for something, written by a kid like that. And knowing that, it’s fitting that my favorite part of this fine production of Pippin, directed by Kyle A. Dougan at the North Shore Center for the Performing Arts, was its young and talented and eager and enthusiastic ensemble. Seriously, the ensemble works (and sings and dances and acts) their tails off.

Choreographed by Mollyanne Nunn and Kaitlyn Pasquinelli, both ensemble members as well, there is always something fascinating going on across the stage; I never knew quite where to look because there was always someone stunning me with a dance move or making me laugh with a random bit of incidental tomfoolery. The scenic design by Shane Cinal and the costumes by Jazmin Aurora Medina only furthered the youthful feel, for me especially, as the themes and color palette and props all screamed 80s and 90s. And said costumes and props were put to good use by the cast, with Ciara Hickey and Jordan Ordonez two standouts, the latter joining Lacey Jack and Sonia Goldberg’s Leading Player for the dance scene in “Glory.”

Goldberg starred last year in Theo Ubique’s Once Upon a Mattress, and again takes center stage in the role of Leading Player, originated by Ben Vereen, leading the production throughout. Goldberg also leads youthful and yearning Pippin through the show’s story, for this production played by Connor Ripperger. Both Ripperger and Goldberg have phenomenal vocal skills, and show them off throughout. Their talents are matched by the rest of the main cast, including a hilarious (and hilariously costumed) Thomas M. Shea as Pippin’s royal father, King Charlemagne, Andrew Freeland as Lewis, Desiree Gonzalez as Catherine, and Di’Aire Wilson as Theo. The two women competing in the king’s life are wonderful; Kathleen Puls Andrade’s Berthe kills “No Time at All” (helped out, of course, by the audience on the choruses) and Savannah Sinclair flashes her dancing skills as Fastrada.

But again, this production is most enjoyable as a whole—because of all the talent onstage, because of all the enthusiasm shown by every single member of the cast, and because of all the hard work that has obviously been put into the show by everyone involved with Music Theater Works. I’d be remiss if I didn’t mention the orchestra, conducted by Justin Akira Kono. Kono leads the strings, horns, and trumpets through the show’s beloved soundtrack, and gives it a real Broadway feel. Because yes, this might be a show about youthful angst, written by a college kid for a college theater, but it’s also a beloved Broadway classic, jam-packed with beloved standards. And from now through June 25, you can see the cast and crew of Music Theater Works give it their all in Pippin at the North Shore Center for the Performing Arts in Skokie.

After a four-year hiatus, Cirque du Soleil, the ever-inventive circus troupe, has returned to Chicagoland with its latest show, “Corteo.” Founded in Montreal in 2005, Cirque transforms ordinary circus stuff— trapeze performances, acrobatics and gymnastics—through costuming, music, and a continuing storyline into pure stage magic.

This has garnered Cirque a devoted fan base that fills the tents and now arenas in which it performs to ever growing numbers, and “Corteo”—running through June 4 at the NOW Arena in Hoffman Estates—proves the company has not lost one bit of inspiration.

Like previous shows, “Corteo” weaves together a series of interrelated vignettes that form a unified whole. The costuming and motif of “Corteo” are taken from the Italian traditions of Commedia Dell’Arte rooted in medieval times but fresh and funny as heck. The voiced dialog, which is really minimal, switches fluidly from Italian to English. It’s the body language that is most important, and the hallmark of Cirque du Soleil’s excellence.

“Corteo” portrays the clown Mauro, who envisions his sickbed, and we see concerned parties visiting. But while serious, it is not a somber setting one laced with the circus acts in which he lives his life. It has a carnival atmosphere and is attended by angels hovering on trapeze rings.

Emerging from his bed, Mauro relives scenes from his life: playing in the bedroom with a brother (mattresses are trampolines), romantic interludes (a high wire act by a youthful couple), and the many astounding circus acts that surrounded him in his life. One example is a precision performance by six men rolling around the turntable stage in perfect unison within large metal rings. Another set finds precision gymnastics, performers dressed in colorfully contrasting waistcoats, breeches and spats, and with the lighting and music it is elevated from mere acrobatics to a thing of beauty. The stage set also captures the essence of Cirque’s magical appeal, with a curtains and sheer drops converting the cavernous NOW Arena into an intimate double-fronted proscenium design.

And it’s also a circus, and scenes of comic relief serve as palate cleansers, keeping the show from becoming ponderous. One of these, a golfing scene with a living golf ball dodging the duffers, is laugh until you cry funny, reminiscent of the best of Blue Man Group bits, but even better. It is also wholesome and child friendly, operating on a level of the magical that allows us adults to re-engage the wonderful world of the imagination.

More important than the story is the spectacle. “Corteo's original music, with delightful and even moving singers against live percussionist, violinist, even concert whistling and a water glass concerto, are blended artfully with studio recordings to conjure the magical atmosphere.

Cirque du Soleil’s genius really is indescribable, and this faltering attempt at doing so is intended merely to urge you to see it before the fleeting opportunity passes by. It is not something that can be streamed, it must be experienced. Remaining performances are Saturday, June 2 at 3:30 pm and 7:30 pm, and Sunday June 4 at 1 pm at the NOW Arena (the former Poplar Creek) in Hoffman Estates, IL.

After an unexpected delay due to Covid-19, a most anticipated musical has finally opened at the Court Theatre. “The Gospel At Colonus” is the second installment of Sophocles’ Theban Trilogy. The first, “Oedipus Rex” was produced by Court Theatre during the 2019/2020 season to rave reviews. The Third, “Antigone” has a February 2024 production date. We dry our eyes and thank God this gospel is finally proclaimed. It is truly a religious experience.

Like the Black church today, the theater played a crucial role in fostering a sense of community among Athenians in 429 BC. Stories in the Old and New Testaments bear striking similarities to Greek myths. David and Achilles have very similar qualities and storylines. It’s possible that James and John of the New Testament is based on Castor and Pollux, the sons of Zeus, God of Thunder. In Mark 3:17, Jesus named James and John “Sons of Thunder” Coincidence, maybe. It is evident why Lee Breuer along with music composer Bob Telson would adapt “Oedipus At Colonus” into a Pentecostal revival meeting, Gospel and Greek myths go hand in hand, they both tell great stories

The set for “Colonus” is a work of acoustical ingenuity by Scenic Designer John Culbert and Sound Designer Sarah Ramos. The band lead by Mahmoud Khan is raised above the main action. There are no walls for sound to bounce off. You have a bare bones frame of a cathedral, or is it the groves of the Gods? You be the judge. There is a clearing center stage with multi levels, on the top level is an unshaped stone. The music from the 5 piece band is excellent and comes through loud and clear to the mic éd up cast. The costumes by Raquel Adorno gave Athenian village down to the sandals.

Directors Charles Newell and Mark J.P. Hood with Associate Director Taron Patton has curated the best voices in gospel music available in the Chicagoland area. Every single member of the cast is a strong singer. Music Director Hood has updated the feel of the music. Where Bob Telson was inspired by gospel singers of his time, Hood found inspiration in today’s gospel artist like Donald Lawrence, Ricky Dillard and Kirk Franklin. The musical arrangements were fresh and exciting. I heard the most complicated, beautiful vocalizing I have ever heard on stage. I thought my guest was going to stand up and do a holy dance.. she came close. Thanks to the movement design by Cristin Carole, the chorus was alive on stage instead of standing on risers like a choir.

It was especially uplifting to see women in this male dominant production as more than placeholders. Aeriel Williams as Antigone had a strong personality and it showed. Ariana Burks was beautiful in the role of Ismene. Shari Addison’s (who’s daughter is also in this production) sang for the heavens to open. Mark Spates Smith as the preacher/ King Theseus kept the audience involved and shouting “Amen”. Juwon Tyrel Perry and Eric A. Lewis harmonies had the crowd yelling. Timothy Edward Kane as Creon was an interesting and bold move. The male voice carrying the greatest load was Oedipus, and in the hands of Kelvin Roston Jr. we are blessed. Roston bellows one minute and the next he is sotto voce. The vocal gymnastics all these singers exhibit is truly amazing.

“The Gospel at Colonus” is filled with Christian values, as well as Christian music. Oedipus seeking refuge in his old age receives sympathy and grace for his plight. He is forgiven and absolved of his sins. Before his death, he is born anew. He is transformed from a blight on the city of Thebes to a blessing for Athens. Oedipus was taken without lamentations, suffering or pain. Let the weeping cease, he was blessed. It is our Christian hope we can all be so blessed. Bless yourself and see this show.

HIGHLY RECOMMENDED

When: Through June 18

Where: Court Theatre 5535 S. Ellis Avenue

Running time: 90 minutes

Tickets: $40. - $82.

Contact: www.courttheatre.org

Do not see THE CRUCIBLE to unwind after a hard week. Do not take a blind date to THE CRUCIBLE. If you couldn’t get tickets to Second City, do not attend THE CRUCIBLE as a backup. But in any other circumstances whatsoever, DO see THE CRUCIBLE at Invictus Theatre.

Even if you didn’t read it in school you’ve probably heard the story: Arthur Miller wrote THE CRUCIBLE in 1953 about the Salem Witch Trials of 1692-93 in protest against McCarthyism. It still holds relevance today: the struggle to maintain critical thought processes in response to inflammatory public hyperbole … oh, yeah. Been there, done that.

Even simply reading the play is disquieting; brought to life on the stage THE CRUCIBLE is gut-wrenching, especially when well-played. And at Invictus it is well-played indeed. To echo the Buzz Center Stage review of a recent production: ‘I have to keep reminding myself this is a storefront theatre.”

I adore Chicago’s tiny storefront theatres; seeing the play while sharing the cast’s pheromone cloud greatly enhances the experience for me. Invictus is among the tiniest, with only 50-odd seats. I was in the front row and nearly had an actor catapulted into my lap at least twice. Mounting THE CRUCIBLE on such a miniscule stage is courageous, to say the least, and for anyone else it would be foolhardy. For Invictus it’s just the latest instance of achieving the inconceivable and doing it brilliantly.

Credit must begin with Charles Askenaizer, Artistic Director of Invictus and Director of THE CRUCIBLE. It would be easy for the frenzied activity to degenerate into a general brouhaha, but Askenaizer keeps the action crisp and focused, allowing the primary actors to perform without dissolving into the fracas.

Of course, he had the finest materials to work with: the cast was outstanding, every one, from the leads to understudy Steve Connell stepping in as Francis Nurse.  Managing a cast of nineteen certainly demands assistance, ably provided by Assistant Director Donica Lynn, Production Manager Todd Henry Faulstich and Stage Manager Gabby Rooney. And Amber Wutke certainly had plenty to do as Fight/Intimacy Designer & Movement Choreographer!

L-R: Michaela Voit (Abigal Williams), Frank Nall (Giles Corey), Joseph Beal (Reverend Parris), Lea Grace Biwer (Betty Parris), Charlie Diaz (Reverend Hale), Mike Cherry (Thomas Putnam), Laura Coleman (Ann Putnam), Barbara Roeder Harris (Rebecca Nurse). Photo credit: Through Line Studios.

Costume Designer/Wardrobe Manager Jessie Gowens did a superb job, adding intriguing (and no doubt authentic) details onto the severe Puritan garb. I was fascinated by the wide quilted sleeves and the double rank of buttons on Deputy Governor Danforth’s coat. 

One of Scenic Designer Kevin Rolfs’ brilliant adaptations to the limited space backstage was to keep most of the cast on the stage throughout, only retiring to opposite rows of hard straight-backed chairs when leaving a scene. From there they could serve as a modified Greek chorus: singing, hollering and finger-pointing to remind us that this lunacy infects the entire town. 

Props Designer Sam Paulson, Sound Designer Petter Wahlback, Lighting Designer Chad Lussier and Box Office Manager Steve Nordmark round out a truly extraordinary team creating a truly phenomenal production. Bravo!

As noted, the cast was massive and though each individual played their part irreproachably I can only comment specifically on a few, whom I’ll introduce by telling the story.

We begin in the woods with a circle of young women being led in a primitive, frenzied dance by Caribbean slavewoman Tituba  (LaTorious R Givens). Tituba furtively slips a mysterious drink to Betty Parris (Lea Grace Biwer), who begins to rave and convulse until collapsing into a coma. The screams of the frightened girls attract her father The Reverend Parris (Joseph Beal), a preacher who is far more ambitious than spiritual; he is both panicked and outraged by the spectacle. The girls, fearing the Pastor, turn on Tituba, saying she cast a spell on the girl.

The pusillanimous rector is horrified to learn the story has spread like wildfire through the entire town, with a widespread conviction that Lucifer is afoot. Parris, unnerved by these slights to his (illusory) good name, summons witchcraft expert Reverend John Hale (Charlie Diaz), who insists to the end that nonesuch is operating in Salem.

Mark Pracht is amazing as John Proctor, the local farmer who manages to maintain his integrity. Proctor is a decent, though flawed, man who sincerely loves both his wife and his God but evades hypocrisy by seldom attending Parris’ church. Pracht reveals Proctor as intelligent and insightful enough to differentiate God from religion and to penetrate the disguise of ordainment, seeing the clergy – Parris in particular – for what they truly are. His loyal friend and fellow skeptic Giles Corey is brought vividly to life by Frank Nall.

Devon Carson plays Proctor’s wife Elizabeth so skillfully that we understand and sympathize with the subtle currents of her mind and her heart. She loves her husband dearly, but can’t resist using that love to torment him – as wives of that time, lacking other dominion, were wont to do. Carson gives us a full view of Elizabeth’s development and maturation over time. Excellent acting and superb direction let us literally see the moment when Tituba recognizes ‘I have power here, I can take control’, and deflects the accusations onto Abigail Williams (Michaela Voit). Likewise, we can clearly see Mary choosing the opposite course and deciding to take the blame on herself rather than give Mary up to the inquisitors.

 As we would say today, the recriminations, allegations, insinuations and accusations go viral and the whisper network renders them ever more specious and malicious. I ultimately lost track of who was accusing whom of what, and I suspect the characters did as well. The arrest of honest Goody [‘Goodwife’] Nurse, played by Barbara Roeder Harris, makes clear the situation has descended from outrageous to grotesque.

Into this bedlam struts Deputy Governor Danforth. Danforth is a self-righteous bastard, in love with his own limitless sovereignty and equating it to that of God himself. What Deputy Governor Danforth says, is. I purely loved James Turano in this role! which he plays with both vivacity and subtlety. Clearly Governor Danforth relishes the opportunity to flaunt his distinction: a prestigious trial with copious defendants to browbeat and countless openings for thundering, Scripture-laden speechification – what’s not to love? And Turano himself is clearly having a ball with the role. I had a word with him after the show where he confirmed, “it’s always fun being the villain.” 

So … this is pretty much it for my review, but if you’ll hang in with me I’d like to take a moment to wax philosophic on THE CRUCIBLE and what makes it a classic. Start with the title: a crucible is a vessel in a refining fire where precious substances are tested, purified, and strengthened. And indeed the trial demonstrated how our legal system has been strengthened by erecting safeguards: spouses need not testify against each other; the defendant is protected from self-incrimination [‘the Fifth’]; each litigant is represented by an advocate; hearsay is not admissible as evidence. Our system still clings, however, to the final decision on clemency resting with the governor rather than the judge. Deputy Governor Danforth shows us just how precarious this may be.

Miller wrote THE CRUCIBLE in 1953, in the midst of the McCarthy hearings and just eight years after the fall of the Nazi party, so peoples’ responses to an evil situation was a natural theme. Most discussions of THE CRUCIBLE assume the evil situation is the trials themselves, forgetting that Massachusetts was also in the midst of the terrifying French and Indian Wars. The Rev. George Burroughs writes of the Candlemas Massacres, ‘God is still manifesting his displeasure against this Land’; a sentiment with clear impact on the Salem Witch Trials. One wonders why Miller, himself traumatized by war and a harrowing political atmosphere, did not more fully examine the settlers’ traumas.

Debate continues over just what happened to the young girls in Salem, historically as well as in fiction. ‘Faking it’ is just too simplistic. Some have suggested ergot poisoning –  hallucinogenic mold in the bread – but then why only those particular girls?

Another, more plausible theory is a psychogenic disorder called mass conversion, in which anxiety, whatever its cause, is so extreme that they unconsciously convert their mental anguish to physical symptoms. The Salem populace was living under the strain of both a hideous and bloody war and, more to the point, the omnipresent threat of witchcraft; with equally dire risks of accusation and of being a target: “She killed my babies!” wails a townswoman. In mass conversion disorder, long-term stress converts messages from the brain to the muscles, expressing anxiety as twitching, shaking, garbled speech, and trance states.

This link to trauma is not demonstrated in Miller’s play. In the 1950s psychiatry was not well understood, particularly by the general public; the diagnosis of conversion disorder had not yet been described. Miller himself was also probably experiencing his own anxiety symptoms from the chronic stressors of WWI, the economic collapse following it, and the persecutory atmosphere generated by McCarthyism. He may have sought to relieve his anxiety symptoms by creating THE CRUCIBLE – as artists are wont to do.

Thanks for hanging in with me in my digression, but let me not forget the paramount message: THE CRUCIBLE IS VERY HIGHLY RECOMMENDED! Should you miss this production (playing through June 11 at Reginald Vaughn Theatre 1106 W Thorndale Ave in Chicago), first kick yourself, then remember that Invictus is a safe bet for quality theatre, whatever is playing.

From the Director’s Note:

I couldn’t help thinking of Pastor Martin Niemoller’s quote from his reflections on the Holocaust:

First they came for the socialists, but I did not speak out – because I was not a socialist

Then they came for the trade unionists, and I did not speak out – because I was not a trade unionist.

Then they came for the Jews, and I did not speak out – because I was not a Jew.

Then they came for me – and there was no one left to speak for me.

One by one, the town is ‘purified of witches’ until cows wander aimlessly along the roads and untended crops rot in the fields. Soon there is no one left to speak out about the injustices or take the time to rationally think about the accusations made. Soon all that is left are empty chairs and silence.

King Solomon once wrote there is nothing new under the sun, I will also add, there are no new stories to be told. The only difference is how the stories are told. Chicago playwright Joshua Allen with the second installment of his Grand Boulevard Trilogy is proving himself to be quite the storyteller, making what’s old new again.

The story starts calmy enough with a knock on the door in the early morning of October. Answering the door is Mrs. Elkins (the always excellent Shariba Rivers), a 51-year-old widower raising her 16-year-old granddaughter. She has a stoic countenance about her. This is a woman who has endured pain and lost. We learn she was 16 when she had her only child with her then boyfriend, whom she married. She endured a loveless marriage until his death at the age of 39. Mrs. Elkin’s daughter dropped off her daughter in 1946 for Mrs. Elkin to take care of while she went to Woolworth’s. She hasn’t been seen since. Mrs. Elkins works at a dental office as a receptionist. She owns the apartment building, renting out the upper floors to tenants while she and her granddaughter live in the basement apartment. Life has taught Mrs. Elkins to take care of herself. She is a hard smoking, no nonsense pragmatic woman.

On the other side of the door is Crutch (a youthful Brandon Sapp), Gloria’s little boyfriend. Crutch is as charming and affable as any young teenager of the times. He is smart and quick witted and comes from a “good” family. He is hopelessly devoted to Gloria, so much so, he sets in motion the storm of this play.

Gloria (the talented Jaeda LaVonne) is dealing with typical teenage angst. She is much more mature than her boyfriend Crutch. She knows how to use her feminine wiles. She has an active imagination and a quick tongue. The fact she resides in the same place as her strong-willed grandmother is enough to create a year-round storm.

Upstairs neighbor Lucille (a comic turn by Felisha D. McNeal) is the village needed to raise a child. She is the opposite of Mrs. Elkins. Although she is at least 10 years older than her landlady, she is spirited and jovial. She enjoys life to the fullest. Her years as a schoolteacher gives her an advantage with Gloria and Crutch. Lucille is the perfect advocate for the teens.

The last character is the Korean War vet Louis (the skillful Nathaniel Andrew) renting the second-floor apartment. Soft spoken and suffering from PTSD, Louis is easy to love, but he won’t be manipulated.

Under the astute direction of Malkia Stampley the play has a freshness and immediacy. The tension is thick throughout the story. The connections between the characters are real. We are never allowed to rest in our feelings before another plotline presents itself, even though we know where it leads.

The set by Sotirios Livaditisis is realistic and functional. The beautiful lighting design by Jared Gooding evokes time as well as mood changes. No one looks better in 60’s fashion than Shariba Rivers. Thanks to Alexia Rutherford’s costume designs we knew exactly the era and social standing of all these characters. The costumes popped. The original music by Christopher Kriz is beautiful, perfectly setting the tone. Allen has written a beautiful slow burn of a play. While there are few surprises, the acting and complete production design lifts the story off the page creating an enjoyable theatrical event. Luckily, the more things change, the more they stay the same. RECOMMENDED

When: Through June 25

Where: Raven Theatre 6157N. Clark St. Running time: 1 hour 45 minutes with one intermission

Tickets: $40 (students, active military, and veterans $15)

Contact: raventheatre.com