Items filtered by date: November 2007

In the newly re-imagined Pinocchio, the House Theatre has done what it does best: bring out a childhood favorite and give it a fabulous makeover. Directed by Company Member Chris Mathews, Carlo Collodi’s classic tale is taken on a wild ride (adapted for the stage by Joseph Steakley and Ben Lobpries). The House’s Pinocchio is decidedly different from the one we grew up with: he’s bookish, has photographic memory, a penchant for grammar, and a razor-sharp wit that often comes in handy. But he’s made of wood, and he is not like everyone else in that little town, so his gloomy Papa Geppetto (Molly Brennan) becomes fiercely protective of him. Nevertheless, Pinocchio is a clever little wooden boy; he’ll find a way out of the house and into the world full of wonder. Armed with wit, book smarts and hunger for musicals, he sets out to explore the world outside of the house windows. But he soon finds that the real world is filled with mean school children and close-minded townspeople. In fact, this town happens to be an oppressive place, fearfully intolerant of anyone different and anything that they cannot understand. Thus, Pinocchio, much like his unusual Papa, is persecuted and forced out, or at least attempted to.

Animating and voicing Pinocchio-the-puppet is a very talented UK-born guest artist Sean Garratt. Garrett’s Pinocchio is emotional and lively, the two of them soon practically fuse into one and the same. They move seamlessly about the stage, occasionally helped by the cast members, mostly when more complex movements, such as running or dancing, are involved. As nearly always the case with House’s high energy productions, Pinocchio requires carefully executed stage choreography; the flow of movement here is effortless (choreographer Kasey Foster). 

Other amusing characters in the play include mean-spirited schoolchildren Kitty (Carley Cornelius) and Dingo (Omer Abbas Salem), who let their teenage frustrations out on poor unsuspecting Pinocchio; dyslexic and goofy town deputy Doohickey, played by Kevin Stangler, and a very proper schoolteacher Miss Penny (wonderfully played by the Company Member Christine Mayland Perkins). There’s always live music on stage, whether just a simple banjo sound accent, or a full-on musical number, performed by Mike Mazzocca and Tina Munoz Pandya (music by Matthew Muniz). 

Witty writing makes use of the language nuances, so the audience gets numerous lessons in grammar and vocabulary, but most importantly, Pinocchio teaches us all a lesson on kindness, tolerance, and the importance of being true to oneself.

Through May 19th at Chopin Theatre - https://www.thehousetheatre.com/.

If you remember the terrible Disneyland song, “Small World,”with its annoying refrain “ It’s a small world after all,” don’t let that stop you from seeing Small World at The Den Theater.

Based on what many would call Disneyland’s most inspid attraction, this play embraces the audience as ticketholders embarking on a mechanical boat passage tunnel. Facing a blank white curtain, we’re warned to keep arms inside and stay in our seats for a ride that “will last approximately 85 minutes,” the unseen announcer capturing the Disney tone of restrained excitement.

Then following sounds of explosions and destruction , the curtain parts, revealing a disaster inside the Small World tunnel. The three Disney “castmembers,” as they are known, suffer the effects of what may be a terrorist attack or a natural disaster. The tunnel exit has collapsed; they are trapped.

All are injured, one seriously, but their wounds and disorientation to nothing to hinder their non-stop, manic discussion, as they speculate about what happened and what to do next. And the song, “It’s a Small World After All” plays non-stop, just as it did on the ride in the real world, but set, thankfully, at a low enough volume to not be distracting.

We have Becca (Jackies Seijo), a disillusioned Disney worker who was serving her lsat day when disaster; perpetually upbeat Kim (Stephanie Shum) a by-the-book Disney employee who feels she is living the dream within Disneyland; and (Patrick Coakley) a white Christian conspiracy theorist who has secretly turned on the Disney empire. Struggling in limited lighting, the crew is repeatedly thwarted in attempts to exit. Kim, the closest thing we have to a protagonist here, manages to recite chapter and verse from the Disney employee manual, despite her thigh being imp. ailed….that’s the gonzo part, and somehow it works – the energy on stage is so over-the-top the audience catches fire and laughs uproariously.

”Facing mortality, there young conscripts at Disneyland, "the happiest place on earth," mine the dark side for humor. "Now I know how Simba felt," opines Kim, to great laughter. In managing the cadaver of a friend that floats by, Donny says he is deceased, but Kim demurs: "Noone dies in Disney," tapping the Magic Kingdom's reputation for carefully managing any hint of bad news. 

All of this is adds up to a “gonzo workplace comedy,” as artistic director Fin Coe puts it, and loaded with “our signature weird humor and wild action."That is an apt description of what you will witness in Small World, but the breakneck pace of the non-stop gabbing frequently reveals an overloaded script occasionally more suited for reading than speaking. In the course of the conversation, the characters reveal themselves as an unlikely team in a quest for survival.

Small World is funny as an idea and on stage – we give it a Recommended rating. Directed by Andrew Hopgood, Small World runs through May 4 at The Den Theater on Milwaukee Ave. in Chicago.

This was my first time seeing any production of ‘Jersey Boys’ and I was so taken by the music and drama of the show I went to see it again closing night - and I'm so glad I did! 

I learned so much about Frankie Valli and The Four Seasons. Here’s an interesting tidbit - they originally called themselves The Four Lovers! I haven't heard their music on the radio in a long time and hearing their songs performed so well made me realize how many of their hits shaped my view of romantic love as a child. 

“Can’t Take My Eyes Off of You” as done by this tremendous cast was a soaring delight, and one of the reasons I saw the production twice with those spectacularly romantic lyrics of pure devotion. 

“You're just too good to be true

 I can't take my eyes off you

You'd be like heaven to touch

I wanna hold you so much

At long last love has arrived

And I thank God I'm alive

You're just too good to be true

Can't take my eyes off you”

 
“Big Girls Don’t Cry,” “Oh What a Night,” “Walk Like A Man,” “Sherry” and ”Working My Way Back To You" were so much fun to hear again, especially when learning some of the back stories on how they were written and for whom. 

I was sad but not surprised to hear that like most musical groups at that time and now, The Four Seasons were forced to tour so much and were taken advantage of financially in various ways. Pressures like such caused the band of friends to break up prematurely due to the seemingly endless strains of exhaustion, loneliness along with the emotional burdens they took on, from touring in particular, as compared to staying home with their families and recording in the studio.  

The opening night performance was still fantastic! I heard some vocal shakiness here and there and saw some nervous dance energy that made the cast appear stiff in parts when trying to hit their marks with such exactness. So, I attended the next performance and the entire cast blew me away and revealed two "Rising Stars" out of the very talented 15-member ensemble. I later found out that the cast having just flown in from NY were a little tired on opening night but by the time I saw the show again, the show had gelled so well it was almost like seeing a whole new show. Audiences seeing the show from here on out have a special treat coming to their towns! 

All four leads were wonderful with Jonny Wexler as Frankie Valli, Eric Chambliss as Bob Gaudio, Corey Greenan as Tommy DeVito and Jonathan Cable as Nick Massi. The four were in lock step, perfectly executing the demanding choreography needed to recreate the band’s exciting live presence.  

The ensemble members, Ashley Bruce, Tony L. Clements, Rick Desloge, Wade Dooley, Todd DuBail, Caitlin Leary, Kevin Patrick Martin, Jeremy Startin, Chloes Tiso, Kit Treece and Jessica Wockenfuss were all dynamite as well and with production cuts each had to lay several roles and sometimes even play instruments.

The female roles in this show are mostly "thankless" cameos which don't allow for a gal to show off, but every cast member more than pulled their weight. 

Jonny Wexler made the most astounding leap from opening night jitters and by Saturday his falsetto was flawless. The gravitas missing from his dramatic scenes was in play and when I closed my eyes during "Can't Take my Eyes Off of You" I literally felt transported back in time! I felt like I was hearing the glorious impossible tones of Frankie Valli performing in his prime. 

Jonathan Cable, who is from Indiana, actually had the most NY swagger of the entire cast from night one. Cable has an extensive musical theatre background and his smooth yet masculine dance moves, growling low singing tones and wry sense of humor made him a sexy stand out that will make ladies AND gents who see this production chuckle when they remember his interpretation of bass tenor Nick Massi. 

‘Jersey Boys’ is the well told journey of how four Jersey street kids rose from neighborhood trouble makers to one of the great musical acts of their time. It’s also the story of how a teenage kid named Bob Gaudio, who penned the cheeky hit “Short Shorts,” teamed up with Valli and company, matured as a song writer and wrote some of the most memorable songs of the era.  

The pace of the show is leisurely at first then develops nicely as the backstory of each band member comes together with their own unique talents. There is a nice intermission in this two-hour-plus show which makes it a perfect date night for Broadway theater lovers - well worth the price of admission. 

I highly recommend this production of ‘Jersey Boys’ to "Lovers" everywhere for the astoundingly talented cast, dramatic staging and really heart-satisfying renditions of classic love songs that will have you floating out of the theatre on a cloud exclaiming, "Oh, What a Night!" 

'Jersey Boys’ is here on a short run through April 7th at Auditorium Theatre.

As America watches a college admissions scandal unfold in the headlines, Theatre Wit opens a revival of Joshua Harmon's early 2018 play, "Admissions". First produced at the Lincoln Center last winter, Harmon's play was definitely on to something broiling in suburban American life. This remount was announced long before the current events rendering this new work very relevant. Directed by Jeremy Wechsler, this production is another installment in Theatre Wit's original programing. 

Sherri (Meighan Gerachis) is a middle-aged prep school admissions counselor. It's her job and personal mission to increase diversity at the upper middle class school. She prides herself on increasing the quota to 20% non-white students. When her own son is rejected from Yale and his mixed-race best friend is accepted, things get tense for this family. 

"Admissions" is a one-act play that dissects the various identity politics even those on the same side can find themselves playing into. Sherri's son Charlie (Kyle Curry) has a lengthy, if not sort of racist, rant that truly poses some interesting questions about the origins of what we consider race today. And as any mother with a concern for her child's future, Sherri starts to examine her own hypocrisy for being angry about her son's rejection. The irony of Sherri's motivations underscore that college admissions are nearly as important to parents as their students. 
One of Harmon's intentional quirks in the script is that the entirely white cast is having this intense discussion about race. Characters of color are eluded to but never featured on stage. It's a good allegory for some of these complicated debates "woke" white people have among themselves. It makes you wonder about the sincerity of our so-called wokeness. 

Performances make this production stand out. The play opens on a hilarious scene between Sherri and her co-worker Roberta played by Judi Schindler. The naivete with which Schindler approaches the dialogue completely captures the way older Americans think about race, a sort of what's-the-big-deal-? attitude. Gerachis turns in a very relatable performance. She seems to know this character well and is rarely concerned with audience likeability versus getting to the truth in this well-meaning but complicated character. 

"Admissions" is a topical look at what's at stake for today's youth. On one hand we have a cultural cynicism about higher education but on the other we understand its value in our economy. As we look at the current scandal, we ask ourselves why the already advantaged need more advantage for their future. Giving extra privilege to the privileged effectively reduces the amount of seats at the table of prosperity. Harmon also understands the pressure today's teens face from an early age to succeed at any cost. This is more than a play about college but rather a play about what we take for granted. 

Through May 12 at Theatre Wit. 1229 W Belmont Ave. 773-975-8150

After one sees Sarah Ruhl’s comedy, Melancholy Play: A Contemporary Farce, one will doubtless ask: Why has melancholy gone out of vogue, just when we need it so?

Melancholy is an emotional condition, like the vapors and neurasthenia, that has simply fallen out of fashion. When one is both inconsolably sad and depressed, but not quite either – that’s melancholia.

In this exceptionally delightful production, Ruhl’s conceptual comedic tone is lovingly presented. Each quirky character is thoughtfully drawn by a cast that most certainly, like me, love Ruhl’s wry view of the human condition.

A Number is an elegant, fully enthralling thought piece by one of Britain’s greatest playwrights, Caryl Churchill. Just over an hour long, it is relentlessly intriguing, keeping you on the edge of your seat as you follow the unfolding story - first in bits and pieces, then building to a torrent of revelation, and finally slamming shut, like a book cover at the end of an intense mystery.

Set in the not too distant future, A Number opens with father and son midway through an intense conversation. We can see the son, Bernard, is distraught.

We piece together that Bernard has learned that his birth was the product of a scientific intervention. But this is not the root of his upset. Rather, he has discovered that the research scientist, now deceased, employed experimental methods and went further than he should have.

With a powerful performances by William Brown as the father, Salter, and the skillful Nate Burger in the role of Bernard, this mystery puts the audience through an intellectual puzzle along the lines of Proof or Doubt.

In this case, Bernard learns that he is not alone - that there were other test tube babies cloned in that lab. More painfully, perhaps, we gather that Bernard has a whiff of suspicion his father was complicit with everything, and continues to dissemble.

“They said none of us was the original,” Bernard tells Salter. “If you are not my father, it’s fine. If you did an in vitro or whatever, just tell me.” How many were there?

“A number,” his father replies vaguely, and again we sense he knows more than he is admitting. He moves to distract Bernard from this upset by calculating the dollar value of a lawsuit against the laboratory for this violation of their trust.

In fact, Salter knows much more, but we must not spoil the plot. We can say Churchill artfully traverses the science, emotional and dramatic terrain in a unique way - exploring our tendency to all too easily surrender governance of our souls to the technological wonders surrounding us. It is also a tragedy, and Brown’s Shakespearean chops serve him well as he laments, “I did some bad things, and I deserve to be punished,” but adding a post-modern twist, “And I did some better things, and I deserve recognition for that.” Bernard rails back, “That’s how everyone feels!” And we wallow with them in our uniquely contemporary angst.

This work, written in 2002, is a precursor to the dark intensity we experience in watching Black Mirror on television. The action heightens and takes violent twists that are shocking even if unseen. The scenic design by Courtney O’Neill, with black picture windows looking out on the void, conveys an eerie spectre of foreboding.

Churchill is known for Cloud Nine, Top Girls, and Serious Money, all three of them Obie winning works - but I am sorry to say I did not know more of her. Now I will be unable to forget her. 

Plaudits to the creative team at Writers Theatre, including dramaturg Bobby Kennedy in this masterful production tightly directed by Robin Witt. We can highly recommend it. A Number runs through June 9, 2019 at Writers Theatre in Glencoe.

Is monogamy dead? S. Asher Gelman's "Afterglow" makes an interesting case for and against it. David Zak directs the Chicago premiere at Pride Films and Plays. "Afterglow" ran off-Broadway for over a year in 2017 to rave reviews. 

Josh (Rich Holton) and Alex (Jacob Barnes) are a married gay couple living in New York City. They enjoy an open marriage until one night they bring home new guy, Darius (Jesse James Montoya). Josh's feelings toward their lover increase as the due date for their surrogate-born child approaches.  While the plot sounds very specific to the LGBTQ community, the themes explored by Gelman feel universal. 

In short scenes (most of which performed naked), we watch the central couple grapple with what it really means to share your partner with another person. Some of the plot points and dialogue are cringe-worthy in their awkwardness. A solidly midwestern audience may clutch their pearls and ask, "can you imagine?" Gelman makes very astute points about the future of commitment as we grow increasingly reliant on dating apps. 

There's a certain sloppiness however to Zak's production. Performances run a bit passionate in this otherwise quiet script. An intimate theater space amplifies the already too loud actors on stage. Some insightful nuggets of wisdom in Gelman's script are overshadowed by strange acting choices. The set includes some impressive feats for a storefront theater (like a working shower), but it also seemed to be falling apart around the cast by evening's end. Technical difficulties aside the cast worked around the challenges gracefully. 

"Afterglow" is a gay play for this time, much like "The Boys in the Band" spoke to a late-70s gay audience. There's nary a single person gay or straight that won't find themselves nodding along with Gelman's observations. There's a lot in this 80-minute drama and the sexual tension runs searingly throughout. David Zak's production is somewhat devoid of the off-Broadway production's sleekness and it tends to undercut the script. Those who enjoy queer theater will be pleasantly surprised by the depth of this new play. 

Through May 5 at Pride Films and Plays - Pride Arts Center, The Buena. 4147 N Broadway. 773-857-02222

*Extended through June 2nd

Nothing beats celebrating New Year’s Eve like being a on ship that capsizes just after the countdown. The 1972 film that features Gene Hackman, Shelly Winters, Red Buttons, and Ernest Borgnine is just that. When a cruise ship capsizes, surviving passengers are forced to travel upwards from floor to floor with the goal of reaching the ship’s bottom where they believe rescuers will be waiting or an escape through the propeller room might be had. The film, a classic disaster flick with several over the top performances, begs to become a victim of parody – and Hell in a Handbag is just the team to make this happen.

Originally staged by Hell in a Handbag in 2002, ‘Poseidon! An Upsidedown Musical’ was a tremendous hit and went on to run for a five-month sold out engagement. Accepted into The New York International Fringe Festival, no other show beat its attendance. When the show was remounted in 2009 at Chopin Theatre, it ran to great success once again and saw yet another extended run. The 2009 production of ‘Poseidon!’ was my very first Handbag experience and I’ve never looked back, enjoying nearly all the ensemble’s shows since. I was immediately hooked on Handbag’s knack for producing pinpoint camp and became a fan of the likes of David Cerda, Ed Jones, Elizabeth Lesinski and company from day one. 

So, great news Chicago! ‘Poseidon!’ is back, this time at the Edge Theatre in Edgewater. The show might be without Cerda and Jones in starring roles but puts forth an incredible funny cast with David Lipshutz leading the motley crew of survivors as Reverend Scott (played by Hackman in the film). Lipshutz is a comedic force, his deadpan delivery and exaggerated dramatic lines spot on. 

The cast is simply littered with talented actors who know how to draw laughs and ‘Poseidon!’ gives each ample opportunity to shine. Lesinski returns to Handbag and is hilarious as Linda, the impatient, self-centered wife of Rogo, a retired detective who often butts heads with the reverend and is played by Handbag newcomer Shane Roberie. Stevie Love takes on the role of Nonnie, the ditzy singer of the ship’s house band and is hysterically funny with just about every line delivered. The cast is tremendous and includes both Handbag veterans and new arrivals – Tommy Bullington takes on Belle (played by Shelly Winters in the film) and knocks it out of the park. Nicky Mendelsohn is sidesplittingly funny as ship employee, Acres (played by Roddy McDowell in the film) while cast members Katherine Bellantone, Michael S. Miller, Frankie Leo Bennet (C’mon sis! It’s a cinch!”), Scott Sawa and others strengthen an already strong cast.   

        
As an audience we are part of a group that watches The Poseidon Adventure regularly. The watching party is hosted by Caitlin Jackson who, along with her guests, comment on moments of the “film” and praises its heroes. Prior to the curtain being raised, Jackson and friends stroll around the theatre, drinks in hand, as they prepare to take their front row seats to watch the epic classic of a lifetime. 

The musical is filled with songs that are as catchy as they are funny like “Just Panties” and “(In the Water) I’m A Very Skinny Lady”. A live band is hidden away in the set that creatively flips upside down once the rogue wave strikes the helpless ship. 
Is it helpful to see the 1972 disaster film before the musical? For sure. Can you enjoy this musical if you’ve never even heard of the film? For sure.

Superbly directed by Derek Van Barham with book and lyrics by David Cerda of whom the latter also is credited for the music along with Scott Lamberty, “Poseidon! An Upside Musical’ is a super blast into comedic heaven. 
Catch the ship-capsizing wave of hilarity! Wholeheartedly recommended as one of the funniest productions you can possibly see.

‘Poseidon!’ is being performed at The Edge Theatre through April 28th. For tickets and/or more show information visit www.handbagproductions.org.

Some theatre is so unique that it defies genre, or even creates its own. 'For Colored Girls/Who Have Considered Suicide When the Rainbow is Enuf' by Notzake Shange is considered a choreopoem, a first and only of its kind to appear on Broadway. This pivotal work debuted on Broadway in 1975 and remains as potent today as it was then. Court Theatre's revival, going on now, is directed by original cast member Seret Scott. 

You may be asking yourself what a choreopoem is. As defined by Shange's work, it's a beautiful combination of spoken word poetry, song and dance. While narrative structure is fluid, there is a central storyline flushed out over the 90 minute run. 'For Colored Girls' tells eight black women's stories of urban life in sometimes joyful, sometimes tragic, but mostly empowering vignettes. The characters are identified only by the color of their dress, but are made distinct by their individual voices and stories. 

This piece isn't produced very often as it requires a solid and specific casting. Seret Scott has assembled a stellar cast for her production. Melody Angel as Lyric creates the rhythmic backbone as she shreds an electric guitar. Though all the women in this ensemble are hair-raisingly spectacular, Anji White's performance is truly transcendent. There's a moment near the middle of the show when White takes center stage as Lady in Red. From there on, you cannot take your eyes off her. The final monologue leaves an audience entirely surrendered to both her sensuality and gut-wrenching story. 

'For Colored Girls' is a timeless exploration of black female themes in American life, but perhaps there is no better time than right now to celebrate being other. If you've always wanted to see this piece performed to the best possible standards, don't skip this powerful production.

 
Through April 14 at Court Theatre. 5535 S Ellis. 773-753-4472

Bright Star, the Steve Martin-Edie Brickell show that earned musical acclaim in its New York Broadway run, is destined for a love affair with Chicago for Boho Theatre's producion.

The show opened Saturday like a meteorite, sparks flying as the company marched on stage in powerful harmony for its opening, "If You Knew My Story." Then we hear those clarion chords as Missy Wise strides into view, and into our hearts – in a penetrating soprano sailing above the chorus, tuned to a rapid country vibrato that channels Reba McIntyre, Alison Krause and Tammy Wynette, only more dulcet and beautiful. It makes you cry it is so good. And they are only one minute into the number. Phew!

Maybe in Manhattan Bright Star wasn’t approached just right, because they only liked it - or more likely New York is the wrong market. Bright Star is a serious drama, a timeless morality play and a country music operetta all at once – based loosely on the true story of a lost baby (the Iron Mountain Baby), the emotional toll for those involved, and in this telling, delivering a satisfying ending that brings redemption and healing.

The story covers decades, following teenagers Jimmy Ray (Josiah Robinson) and Alice (Missy Wise) who had a baby out of wedlock and were forced by their families to split, and give up the child. But the flame never died, and the two searched for the child and each other for nearly 20 years. 

While at times the book is flaccid and goes a little astray it does not matter - the story is inherently engrossing, and the songs so beautiful and dramatically expressive they carry the show. Treading carefully to avoid a spoiler, we can say Bright Star is exceptionally well cast, with a knockout performance by Jeff Piermont as Billy, a GI home from WWII and beginning a writing career.

Steve Martin’s hand can be seen in witty scenes, and some colorful, scene-stealing characters – including Daryl (Dwayne Everett) and Lucy Grant (Rachel Whyte), co-workers at the publishing house where much of the action happens.  

Martin and his musical partner Edie Brickell insert the band as a character, fitting for a country-inflected musical. Though the band mostly next to and behind the stage, Hillary Bayley on fiddle and other players appear with the cast at various points. 

We watch the teens become adults. Jimmy Ray is heir to a family fortune and business; Alice gets a degree and becomes a celebrated editor at a prestigious Asheville publishing house – one known for shepherding emerging Southern writers (Eudora Welty, William Faulkner, Zora Neal Hurston, Flannery O’Connor,  etc.). On stage, Wise and Robinson have real chemistry together, making their story even more compelling.

Director and choreographer Ericka Mac knows her way around Chicagoland musical theater (among many credits are Parade and Company at Writer’s Theatre), but this Greenhouse Production is perhaps the most intimate space – and she has made the most of it. Scenic design is by Lauren Nichols and lighting is by G. Max Maxin. Costumes, important to the settings and action, and sometimes changed onstage mid-action, are by Robert Kuhn.

Bright Star is highly recommended. It runs through May 5 at the Greenhouse Theater Center, 2257 N. Lincoln, Chicago.