Items filtered by date: June 2026

It’s 1982 and Larry Walters approaches his lawn chair. On either side are bags and containers full of various items like Coca Cola and Miller Lite – all meant to add various levels of weight to the contraption. His girlfriend, Carol, gives him a final embrace before he takes his seat. The song “Countdown” begins, and the projections behind Larry start to shift. We see the measurements change as he goes up and up – 1,000 ft. 2,000ft. 3,000ft. 4,000 ft. Larry starts to fly, and all the ensemble surrounding him can do is look up.

42 Balloons is about a lot of things. There is love. Passion. Heartbreak. At the root, this is a story about dreams. How far are we willing to go for our dreams, and at what cost?

Written by Jack Godfrey, 42 Balloons follows Larry Walters (Charlie McCullagh) – a man with a dream to fly in 1982. With the help of his girlfriend, Carol (Evelyn Hoskins), he set out to complete an experiment – what would happen if he attached 42 balloons to a lawn chair and let it soar 16,000 feet above LA? He may have succeeded, but from the moment he lands, he and Carol would find that nothing following quite goes according to plan.

With orchestration and musical supervision by Joe Beighton, the show features a score of 1980s inspired hits that are sure to get stuck in your head for days – as one wants with any musical on the rise. Titles include “Up in the Air,” “Carol’s Soliloquy,” “The Kid and the Chair,” and “Helium.” Director Ellie Coote collaborates with Choreographer Alexandrea Sarmiento to utilize the ensemble throughout – including to help signify time passing. Sarmiento’s work in particular shines, with choreography that highlights the range of skillsets in this group of performers.

You might find that much of the heart of the story is found in the relationship between Larry and Carol – particularly as we see her fight so hard to help his dream come to fruition, even though she does not necessarily agree with it. “Something as Crazy as This” comes towards the end of Act 1. The two have somehow made this happen – they secured the funds and were able to gather all the necessary materials down to the 42 balloons. McCullagh and Hoskins astound with their vocal talents – and that alone is worth the ticket. However, more than that, you might find that the chemistry between the two actors adds a helpful layer of empathy to the story.  Even if you find yourself wondering why the two go to such lengths to help this particular dream come true, it’s easy to see that the love they share is reason enough to keep things moving.

Godfrey’s piece is inspired by a true story – from the dream at the center to the challenges that followed. As you watch the events unfold, you might find yourself siding with some of the critics that pop up along the way. Many found this dream of flight to be crazy and even mocked Larry following the event. The writing does not hold back – and I personally found this journey of the storytelling to be one of the most compelling elements of the experience. Godfrey invites audiences to consider: Why are there are some dreams we accept more than others? What makes a dream “worth it”, and who gets to dictate that? Perhaps in order to earn the heartwarming payoff at the end of this musical, we as audience members have to go on a similar journey as the ensemble surrounding Larry asking themselves the same questions.

Full of heart and astounding talent, 42 Balloons is must-see. I personally am excited to see where this musical goes next.

HIGHLY RECOMMENDED

42 Balloons runs at Chicago Shakespeare Theater through June 29, 2025. See the Chicago Shakespeare Theater website for more information on tickets.

*This review is also featured on https://www.theatreinchicago.com/! 

This performance by Cerqua Rivera Dance Theatre (CRDT) at the Ruth Page Center for the Arts directly addressed and refuted the declarations hurled at us since January 2025, e.g.: “As of today, it will henceforth be the official policy of the United States government that there are only two genders: male and female.’, followed by a flurry of executive orders related to racial equality, climate, immigration and gender policy.… but why am I telling you things we’d all rather forget?

Why? To celebrate Cerqua Rivera Dance Theatre’s eloquent exegesis of these assertions. CRDT’s Spring Concert celebrates freedom, diversity and individuality. The final piece, American Catracho, explored the immigrant’s journey, moving through themes of dislocation, assimilation, renewal and, finally and joyously, hope.  Wilfredo Rivera has been perfecting American Catracho for four years, furthered by Joe Cerqua’s music. Other collaborators in this all-encompassing project included several actors, a painter and a theatre artist, two movement consultants, a psychologist, and an immigration activist for a truly inclusive, ecumenical, diversified, and mutual enterprise. ¡Viva Cerqua Rivera!

I loved Identity City, a four-part project inspired by non-binary/gender queer and trans Chicago dance artists exploring the rapidly evolving definitions of gender identity, questioning traditional roles and navigating conflicting crossroads. Its fourth chapter, Flight, garbed the entire troupe of dancers in a flowing spectrum of blues and lavenders. The billows of chiffon made the dancers indeed take flight, soaring among the clouds that were their fellow dancers.

Costume Designer Jordan Ross has attired dancers from the Joffrey, Hubbard Street, Giordano Dance, and other dance companies, as well as performers for theatre, opera, and film. She arrayed dancers of CRDT’s Spring 2025 in hues from unadorned black to subtle colors for a variety of sleek or flowing, encompassing or skimpy designs. Nathan Tomlinson’s technical direction and lighting design enhanced this and all other visuals. Tomlinson has worked in lighting, scenic, and production management for performance events across North America, Asia and Europe. Catherine Painter, the Managing Director, is a nonprofit leader specializing in audience building and financial management.

Who is Cerqua Rivera Dance Theatre? I was not familiar with CRDT (I’m no doyen of dance) and in fact I was drawn to this performance specifically because of that nescience (celebrate diversity of experiences!). CRDT’s Mission Statement declares: our diverse company uses dance and music to convey intense personal narratives. We are proudly multicultural, exploring the intersection of heritage, culture, and identity through art, opening paths for empathy and understanding. Our culture of collaboration and diversity fosters magnetic connections between artists and audiences.

How can I resist a company whose mission statement includes diversity, equity, and inclusion as its key values? We need to watch CRDT during the next years – they may need our help.

Cerqua Rivera’s work – called “blended magic” by See Chicago Dance and “immersive alchemy” by New City Stage – is created and performed by a multicultural company. It is rooted in research, inquiry and collaboration and brought to life by fusing dance with other art forms. Wilfredo Rivera, the theater’s co-founder and artistic director, said the grant money they usually receive from NEA is a small amount of their annual budget, and they are not compelled to change its approach to DEI (yay!). “It’s part of the DNA of the organization to celebrate and unpack the complexities of American identity,” Rivera said. “So we will continue to move on our pathway of immersive, inclusive, explorative work.

This ever-evolving contemporary troupe is dedicated to presenting dance that is carefully curated and designed to facilitate dialogue, push boundaries, and build community. The Dance Ensemble skillfully combines contemporary, jazz, and unique Latin techniques to spin tales of universal human experiences.

A sophisticated Jazz Orchestra performed live, original music from the rear stage; a violin and a flute occasionally rose to stroll among the dancers onstage as they played – that was so effective! Musicians included Musical Director Stu Greenspan, violinist James Sanders, Millie Ahearn on trumpet, Timothy Archbold on Cello, percussionist Paul Cotton, Darius Hampton (woodwinds), Kevin O’Connell on keyboard, José Ormaza (Drums), Felipe Tobar playing Violin, and Composer/vocalist/saxophone Juli Wood. Joe Cerqua (cofounder) performed vocals in his sweetly nasal, softly scratchy voice, occasionally accompanied by Margaret Murphy-Webb.

The diverse collective of dancers included: Brennan Renteria, who joined CRDT in 2017 is now Rehearsal Director. Lilia Ambler Castillo Gomez describes herself as ‘a movement artist’ and has just joined CRDT. Ruben Andres Castillo Gomez, Caitlin Clark, Yui Nakatani and Bruno Salgado are also joining CRDT for the 2024/25 season; Bennett Cullen is moving into his second season with CRDT. David Anthony Scheuerman-Saucedo has performed for five years with CRDT and several other Chicago companies. Caitlin Yatsuhashi is a company member of Moonwater Dance Project as well as Cerqua Rivera. Joining the company for American Catracho from CRDT II were Alyssa Alber and Brianna Samuda-Walker.

Cerqua Rivera’s artists stimulate hope and joy that resonates long after the curtain has closed.

¡Recomendada!   

Though there are no further performances at Ruth Page, Cerqua Rivera Dance Theatre is a local company and performs in local venues – check them out at www. https://www.cerquarivera.org/

*This review is also featured on https://www.theatreinchicago.com/! 

“Ripe material for a comedy,” chuckles Atra Asdou, writer and star of ‘Iraq, but Funny” now playing at Lookingglass Theatre. Asdou’s new madcap play is part comedy, part history, part family drama. Directed by Dalia Ashurina, this hard-to-define play feels like the kind of thing we absolutely need more of.

If laughter is said to be the best medicine, then it’s surely a good thing for casual educational experiences too. In under three hours, Asdou (in character as a Bugs Bunny-ish British colonizer) provides the entire history of European imperialism in the Middle East–from the perspective of the victor, as most histories are told. The colonizer, or “Actor 5”, condenses decades of complex conflict into a darkly humorous sketch comedy. The play is balanced with vignettes from a multi-generational family riding the wave of current events that ultimately lead them to 1990s Chicago.

History is more likely to repeat itself if nobody knows the history in the first place. “Iraq, but Funny” seeks to inform a mostly Western audience about how Middle Eastern land and culture have been divided and conquered for centuries by exploitative forces. Asdou’s morally slippery character relays a shocking and brutal narrative with such wry humor that you nearly forget very little has changed in the way the West engages with the rest of the world. What’s even more seductive yet is how much fun her character is to watch. Asdou’s Second City background is on full display.

Susaan Jamshidi plays the matriarch character, “Actor 1” and in every era, life is constantly shifting under their feet. She impresses on her daughter, “Actor 2” (Gloria Imseih Petrelli) that their lives are for the next generation. The central relationship between mother and daughter illustrates the real-life effects of colonialism and the people’s lives it shapes. Both actresses deliver powerful performances as they bring to life a century of family members. 

Omid Akbari whisks the audience around the world with his minimal, but highly effective set in the historic Water Tower Water Works theater. Costumes by Mara Blumenfeld are also a huge asset for the comedic set-ups, particularly the Uncle Sam get-up Asdou sports at one point. 

Lookingglass Theatre’s production of “Iraq, but Funny” belongs among the likes of Cole Escola’s “Oh, Mary!”. The dense and intellectual script along with Asdou’s sidesplitting comedic performance are a special blend you don’t often see. The kind of play that makes you wonder, “how did they come up with this?” Though, there’s an immediacy to this play that can’t be ignored. While it’s written as satire, it’s the kind of thing that’s so tragic if you don’t laugh, you’ll cry. This is a play about empathy. What Asdou has effectively done is what SNL does every week, amuse and inform. In comedy, we find our humanity. And with ‘Iraq, but Funny”, Asdou succinctly relays an ugly past, with enough levity to challenge preconceived notions about world history.

Through July 20 at Lookingglass Theatre. 163 E Pearson St. 312-337-0665

*This review is also featured on https://www.theatreinchicago.com/! 

Wowza! If you're searching for one of Chicago’s must-see summer events, look no further. The Joffrey Ballet has done it again, this time taking Alice’s Adventures in Wonderland to electrifying new heights at the Lyric Opera House, delivering a kaleidoscopic whirlwind of dance, theatrics, and pure magic. Guided by the visionary genius of two-time Tony Award winner Christopher Wheeldon, this adaptation seamlessly fuses classical ballet with unexpected bursts of tap, mesmerizing stage illusions, and imaginative puppetry. Wheeldon is a visionary choreographer renowned for his ability to fuse classical ballet with theatrical innovation. His direction ensures that Alice’s Adventures in Wonderland is not just a ballet—it’s a mesmerizing demonstration of movement, storytelling, and immersive artistry that sweeps audiences into the bizarre yet enchanting universe of Alice in Wonderland created by Lewis Carroll. Set against the backdrop of Joby Talbot’s spellbinding score, Wonderland unfolds as a psychedelic dreamscape where the Mad Hatter defies rhythm, the Queen of Hearts commands the stage with regal ferocity, and the ever-dashing White Rabbit keeps the adventure racing forward.

From breathtaking choreography to vibrant storytelling, this production breathes new life into Lewis Carroll’s iconic world, transforming it into a sensory explosion of movement, wit, and wonder. Every leap, twirl, and dramatic flourish pulls audiences deeper into a surreal fantasy that is both enchanting and unforgettable.

Alice doesn’t simply fall into Wonderland—she plummets into a realm of delightful madness, where reason bends and imagination rules – and the special effects are simply mind-blowing! In this topsy-turvy world, she’s whisked into a dizzying adventure by the ever-hurried White Rabbit, who barely has time to explain anything before dashing off again. The Mad Hatter’s tea party is pure chaos, with logic thrown out the window and time behaving like an unruly guest. The Cheshire Cat appears and vanishes with an eerie grin, offering cryptic wisdom that only deepens the mystery. And the Queen of Hearts? She’s as unpredictable as she is temperamental, ready to declare, “Off with their heads!” at the slightest provocation.

From growing and shrinking in size to playing croquet with flamingos, Alice must navigate Wonderland’s absurd rules while questioning everything she thought she knew. This stage adaptation transforms Carroll’s whimsical world into a vibrant, theatrical spectacle filled with stunning visuals, witty dialogue, and playful surprises at every turn. It’s a stunning experience where reality dissolves and nonsense takes center stage!

Joffrey’s Alice’s Adventures in Wonderland dazzles at the Lyric Opera of Chicago with a glittering cast that breathes life into Carroll’s timeless fantasy. A rotating lineup of exceptionally talented dancers take on the iconic roles, ensuring each performance offers a fresh and dynamic interpretation of Wonderland’s whimsical inhabitants.

Alice, the fearless and inquisitive heroine, is brought to life by Amanda Assucena, Anais Bueno, Gayeon Jung, and Jeraldine Mendoza. The ever-hurried White Rabbit—portrayed by Stefan Gonçalvez, Dylan Gutierrez, and Zachary Manske—whisks Alice through a transformative series of adventures. Meanwhile, the commanding Queen of Hearts, played by Anais Bueno, Lucia Connolly, Olivia Dureya, and Victoria Jaiani, commands the stage with regal presence and just the right touch of mischief.

Edson Barbosa and Jonathan Dole embody the eccentric energy of The Mad Hatter, whose tea parties defy logic in the most spectacular fashion. Adding to the intrigue, Jose Pablo Castro Cuevas, Stefan Gonçalvez, Hyuma Kiyosawa, and Alberto Velazquez alternate as Jack, the charming Knave of Hearts entangled in the Queen’s unpredictable world.

On the evening I attended, Gayeon Jung mesmerized as Alice, bringing the character to life with fluid dance routines, distinctive charm, and effortless grace. Zachary Manske captivated the audience as The White Rabbit, embodying the role with quick, rabbit-like mannerisms, seamless movement, and a delightful urgency. Jose Pablo Castro Cuevas exuded elegance as Jack, The Knave of Hearts, while Johnathan Dole impressed with impeccable tap skills as The Mad Hatter. Yet, it was Anais Bueno’s portrayal of The Queen of Hearts in the third act, The Palace Gardens, that may have truly stolen the spotlight—her dance and expressive artistry were nothing short of breathtaking. With a great sense of sharp physical comedic timing, not often seen in ballet, she infused the Queen with a lively, commanding presence that had the audience cheering in admiration.

The set design for Joffrey Ballet’s Alice’s Adventures in Wonderland at the Lyric Opera House is a mesmerizing fusion of theatrical magic and whimsical artistry. With costume and scenic design by Tony Award-winning Bob Crowley, the production features vibrant stagecraft, surreal puppetry, and astonishing visual effects that transport audiences straight into Wonderland’s dreamlike world. From the ticking clocks that echo Joby Talbot’s hypnotic score to the larger-than-life characters brought to life through ingenious design, every scene is a feast for the senses.

Adding to the production’s already astonishing vision, conductor Scott Speck masterfully guides the Lyric Opera Orchestra through a rich, dynamic rendition of Joby Talbot’s score, elevating Wonderland into a truly enchanting theatrical experience.

Prepare to be swept into a world of breathtaking ballet, whimsical storytelling, and pure theatrical magic!

Alice’s Adventures in Wonderland at the Joffrey Ballet is a dazzling spectacle that captivates audiences of all ages, blending mesmerizing choreography with vibrant stagecraft. Whether you're a longtime ballet lover or simply looking for an unforgettable experience, this production promises thrills, enchantment, and a touch of Wonderland’s delightful madness.

Alice’s Adventures in Wonderland is being performed at Lyric Opera of Chicago through June 22^nd. Run time is 2 hours and 45 minutes, which includes two intermissions.

A brief but important note—as a disabled reviewer, I want to sincerely commend the Lyric Opera of Chicago and/or Joffrey for ensuring accessibility by assigning an usher to manage the first-floor restrooms, reserving them for handicapped and senior patrons who cannot navigate the stairs. Given the length of this delightful production and its two brief intermissions, this thoughtful accommodation makes a meaningful difference. 

Don't miss your chance to journey down the rabbit hole—secure your showtimes and tickets at the Joffrey Ballet’s official website here!

Recommeded for audiences of all ages.

*This review is also featured on https://www.theatreinchicago.com/! 

“Six Men Dressed Like Stalin,” now at A Red Orchid Theatre in Chicago and directed by dado, draws upon the true story of Felix Dadaev, drafted in 1942 to stand in for Josef Stalin, Premier of the Soviet Union.

The character Soso (Esteban Andres Cruz) is based on Dadaev. Like him, Soso is a juggler, ballet dancer and magician; bore a striking resemblance to Stalin; and was mistakenly declared killed in action in WWII. What became the KGB snapped up Dadaev, but this was to be no ordinary stand-in for the Soviet leader. Dadaev was carefully educated, so that he could credibly play Stalin in high-level discussions with other government leaders, and prepped to mimic Stalin’s tone and movements.

Playwright Dianne Nora uses this history as a jumping off point, imagining how the Stanislavsky Method, which demands the actor become the character emotionally and psychologically (and originated in Russia), might have been applied to polishing Soso’s performance. She takes another real-life figure, Alexie Dikiy (John Judd), one of the Soviet Union’s foremost actors, as the basis for her character Koba, who in the play trains Soso in Stanislavsky techniques.

Now we’re at the heart of the action: the Method mentor Koba reshaping the inner Soso to become Stalin. Having been declared dead at the war front, Soso presents fertile ground for recreation as the Soviet leader. For two grueling years, Soso reported daily at 6 a.m., and Koba instructed him. Soso hadn’t really acted before, he was a stage performer. Eventually, he has trial runs - walking across the street as Stalin - and returns elated, developing confidence in his role.

There are vibrant moments. At the opening the actors break the fourth wall, describing the setting and their characters before settling into the performance. Placards with time and date are hung before us, providing a timeline. And in a striking bit of avant garde showmanship, we witness state secrets being divulged to Soso as he and Koba gesticulate wildly under strobe lights and blaring operatic themes.

The intensity of the relationship between the two - Koba, an actor's actor, trying to force feed stage excellence into Soso, a street performer - is a constant: Kobo frustrated, Soso struggling. Gradually we understand that Soso has, indeed, become Stalin. But for me, there is not much in the emotional engagement that might be expected. Mostly, I came away bewildered.

A timeline in the lobby of A Red Orchid tells the remarkable backstories of Felix Dadaev and Alexie Dikiy, and gives context for “Six Men Dressed Like Stalin.” Sometimes fact is stranger than fiction, and perhaps even more interesting.

“Six Men Dressed Like Stalin” runs through June 22, 2025 at Chicago’s A Red Orchid Theatre, 1531 N. Wells. 

*Extended through June 28th!

You’ll want to join this “Neighborhood Watch," a fast-paced comedy having its world premiere in Jackalope Theatre’s performance space in the Broadway Armory. Harsh Gagoomal plays Mo Rizvi with deft emotional range, a bearded, swarthy Middle Easterner who has moved into a house in white suburbia, in the weeks just after Donald Trump's return to the presidency.

Unfortunately for Mo—short for Mohammed—his bothersome next door neighbors are the widowed GenX-er Paul (Frank Nall), who wears his excessively liberal credentials on his sleeve (literally, a Bernie Sanders sweatshirt) with a Harris-Walz sign in the yard; and on the other side, Shawn (Victor Holstein) a 30-something ever-Trumper.

The broad comedic interplay between these opposites could lead one to believe ”Neighborhood Watch” is a lighthearted farce. Even the bouncy scene segue music keeps the situation-comedic vibe going.

But playwright Rehana Lew Mirza, who was commissioned to write "Neighborhood Watch" by the National New Play Network has more in store for us, using the laughter to slyly lure the audience into deeper matters, gradually, though not too deep. It's funny, first and foremost. Kudos to Karina Patel, Jackalope's darmaturg, for snagging this lovely script.

Shawn is suspicious as he eyes Mo unpacking household goods—a pressure cooker, electronics, a tank of propane and a mysterious black backpack, laughably obvious memes of terrorism, all in plain view. But ever-nosy Shawn feels compelled to draw Paul’s attention to the “danger” lurking from the new neighbor.

After he blithely disregards Shawn and introduces himself to Mo, we cringe at Paul’s virtue-signalling as he holds Mo hostage to a ham-handed, somewhat oblique “supportive” conversation. Paul is so caught in his conundrum of trying not to offend that he becomes even more offensive. Mo finally figures out this neighbor has cast him in the role of suffering minority, a moment of tokenism that’s laughable too, because it’s so exaggerated. As Harsh Gagoomal conveys Mo’s internal dialog so effectively, we can see him bemused on the inside as he figures out Paul’s designs on establishing a relationship—Paul the white savior, Mo the suffering minority. That’s how unconscious racism exhibits itself in the liberal camp.

Mirza imparts a comic air on all this, reminding me of TV’s “All in the Family,” if Archie Bunker were a liberal, with his Meathead son-in-law the bumbling Shawn next door. The assertive Gloria character would be Becca, Paul’s 22-year-old daughter Becca (Jamie Herb). After Paul advises her to dress more modestly, in deference to what he imagines are Mo’s Islamic religious leanings, Becca goes to meet Mo for herself, and we find both as their truest selves: mutual date material. Sparks fly.

Reporting back later to her dad, Becca gives us a laugh-filled take on how GenZ handle their GenX parents’ social missteps, excoriating him for “man-splaining, then coaching her father with that query I hear frequently enough from my adult son: “What have we learned?”

We also see Paul and Shawn partnering on common ground, as they spy on Becca to see what she’s up to with Mo. Shawn has his own romantic design on Becca, while Paul is just a run-of-the-mill helicopter parent of his generation.

Mirza brings us something deeper as the plot thickens around the core of the drama: the unexpected arrival of Mo’s “cousin” Javed at the end of Act I. Fresh out of federal jail, and now a devoted Muslim, Javid’s domineering relationship to Mo fills Act II. Avoiding spoilers, we learn there is much more between Mo and Javed than we might have guessed. We also get a small recount of the emotional dynamics involved in Javed’s journey to and from extremism, as he alights on a deeply held spiritual connection to Islam.

In “Neighborhood Watch,” Mirza scores light-hearted laughs at the expense of white liberal culture and the racism of a different sort that can thrive among. Stereotypes abound. And it’s funny. Comedy is all in the timing and director (and casting director) Kaiser Ahmed nails it. Nothing drags.

Also notable are the sets (Tianxuan Chen) and in particular the lighting (Maaz Ahmed), who instead of merely darkening areas that are inactive, casts them in a bluish light, a small thing perhaps but I thought it innovative.

“Neighborhood Watch” has been extended through July 12 at Broadway Armory Park, 5917 N Broadway in Chicago

Recent Chicago-area winters have been relatively easy ones. Lest we forget howling blizzards or subzero temperatures, Will Arbery’s Evanston Salt Costs Climbing serves as a reminder. Director Micah Figueroa stages First Floor Theater’s production of this idiosyncratic play in a way that creates a deep freeze – visually, aurally and metaphorically.

By chance, the Bookspan space in The Den Theatre complex was so cold over Memorial Day weekend that most people watched the performance with their coats on. But that synced well with a story of two salt truck drivers, a public works director and her daughter in Evanston, Illinois, during the tough winters of 2014, 2015 and 2016.

Spencer Donovan’s set creates an eerie authenticity with just a few elements. Behind the lumbering salt truck – indicated by nothing more than two rolling office chairs hitched to a table – is a slowly moving projection of the streets that the truck travels along. Sound designer Matt Reich fills the show with noise that goes beyond a winter storm and suggests a sinister underworld.

A fine quartet of actors take on Arbery’s dialogue with the up close and personal style that defines the best of Chicago’s small stages. Drinking coffee in the warehouse before hitting the slick roads, Basil (Dano Duran), a lonely Greek immigrant, shares his fiction and his dreams with Peter (Jelani West), an African American with a wife and six-year-old daughter and far too many suicidal thoughts.  Basil and Peter exchange the moody banter of unhappy men until their boss Maiworm (Ashley Neal) enters with a local newspaper in hand.

Maiworm gleefully reads aloud an article headlined “Evanston Salt Costs Climbing” which includes her quotes on the public works department’s escalating tab for de-icing city streets. That her comments are as dry as they are depressing do not detract from her pleasure in getting name recognition. Maiworm’s two staffers, noting the absence of their own names, just want to get through their day.

A fan of Jane Jacobs and her seminal 1961 work, The Death and Life of Great American Cities, Maiworm does her mundane job with a sense of mission and eye to the future. She speaks of installing permeable road surfaces that would reduce the need for environmentally-damaging salt, but also would eliminate jobs. Fortunately for Basil and Peter, permeable streets are way beyond Evanston’s budget.

Back home, Maiworm secretly shares her bed with Basil and manages her adult stepdaughter Jane Jr. (Jacinda Ratcliffe) who works in a nursing home. Jane Jr. is paralyzed by anxiety and struggles to accomplish even simple tasks. Maiworm’s husband died when Jane Jr. was 16, a loss intensely felt by both of them.

Death impacts each character, one way or another. Something dark and unknowable, not to mention loud, has all four in its grip. Blending absurdism with hyper-realism and humor, Arbery’s script is often confusing. But it also has enough humanity to keep everyone, characters and audience alike, from total despair.

Evanston Salt Costs Climbing, a First Floor Theater production at The Den Theatre, is playing now through June 14th. For tickets, go to https://www.firstfloortheater.com/evanston-salt-costs-climbing

*This review is also featured on https://www.theatreinchicago.com/! 

I’m a geek, I admit it; I love seeing theatre that’s … well … real.  Like SCANDALOUS BOY – you’ve heard of Roman Emperor Hadrian, yeah? He reigned from 117 to 138 CE (that was even before Diana’s wedding!) and occasioned a slew of building projects,  epitomized by Hadrian’s Wall in Britannia. His reign was relatively peaceful and stable; this, with his continuous endeavors to make the Roman Empire more culturally rich, earned him a place on Machiavelli’s list of ‘Five Good Emperors’. [Not so great – five of 198?]

And you know that homosexual relationships were not unusual in ancient Rome, right? A Roman man (women, not so much) was free to choose sexual partners of either gender so long as he remained the active partner (the top).  In about 123AD Hadrian met Antinous, a young man (probably about 14 y/o) renowned for his beauty. Said beauty, by all the evidence that’s survived two millennia, was indeed … what? Matchless? Transcendent?  Paramount?  Check it out – of the thousands of likenesses, largely wrought in marble, 117 have survived – I’ve chosen some nice example(s) for you, and many more can be found by googling Antinous’ name. The National Museums of Liverpool states Antinous and Hadrian are the most famous homosexual couple in Roman history.  I can’t vouch for that, not having made the acquaintance of every homosexual couple in Roman history (workin’ on it!), but we’ll take their word for it, yeah?

SCANDALOUS BOY was narrated by one of those 117 surviving sculptures: the curtain rises (metaphorically; there’s no curtain at Open Space Arts) on a gorgeous man/boy standing posed artistically and clothed in naught but a dance belt. We’re still taking in this marvelous spectacle when OMG! It comes to life! And begins to tell us his story.

Antinous was a country boy, indulgently raised by an adoring mother, who was grooming him for sale to rich and stable older men. At the age of about 14 he was noticed by none other than the emperor Hadrian, traversing this corner of Greece on one of his habitual pilgrimages through his empire. In SCANDALOUS BOY, Antinous doesn’t recognize Hadrian until one of the retinue assures him that “um… yeah … he really IS the emperor.”  

Antonius’ first sexual encounter with Hadrian was, in a word, disenchanting: the emperor’s style of seduction made “wham-bam-thankyou-ma’am” seem romantic. Afterwards, sore and resentful, Antonius meets Lucius. Lucius tells Antinous that Hadrian’s sexual approach has always been like that, and he turned to new young men as soon as the current boy got ‘too old’. Antinous’ appeal will last no more three years, Lucius assures the ‘new boy’, at which time Hadrian will cast him aside … we clearly hear the ‘too’ at the end of that sentence.

Antinous, however, has no intention of being cast aside, nor of being anally assaulted for whatever period his appeal to the emperor lasts. He begins an intensive campaign to teach his lover the techniques of making love, beginning with kissing. Hadrian actively opposes each innovation, but Antinous perseveres, having a double motive: first, to teach his strait-laced lover how to do it right; and second, to prove Lucius wrong.

We fully appreciate the success of this program only after Antinous’ death, in Hadrian’s immoderate, prolonged, and (worst of all) public displays of grief. Statues of Antinous – thousands! – appeared throughout Hadrian’s Empire. Antinous was deified (he made him a god!), and a new city named Antinopolis was founded near the site of his death.  The emperor died surrounded by dozens of statues of his beloved. Not so grand as the Taj Mahal perhaps, but pretty spectacular, nonetheless.

SCANDALOUS BOY was performed by special authorization of Australian playwright David Atfield. Atfield’s writing often explores historical and emotional themes; he is especially recognized for crafting intimate, character-driven dramas, blending the personal with the political in complex ways. We can be proud that he chose Chicago, and Open Space Arts, for the international premiere of this award-winning play.

Casting was inspired. Jose Alexander Martinez was perfect as Antinous: certainly, purty enough for the part, and obviously comfortable with his nakedness (a flesh-colored dance belt with strategic sequins). But the role demanded far more than a sculpted body and a pretty face, and Martinez delivered.

Marble busts of AntoniuBritish Museum 2011s & Hadrian 

Martinez is a newbie to the Chicago theatre scene, so his excellence was a welcome novelty. But Jordan Gleaves has been in Chicago long enough that his superb performance as Hadrian was no surprise, but no less valued. Antonio Cruz was equally brilliant as Lucius – one was able to see the beautiful youth he had been behind the lonely, covetous man he’d become. Jinyue Yuna Hu brought empathic depth to the role of Sabine, Hadrian’s much-neglected wife. Marcellus’s role was brief, but Emiliano Flores demonstrated its importance.

As always at Open Space Arts I have to begin by praising Set Design. OSA is teensy (25 seats!), which is one of the [many] things I love about it, but between its size and the big honkin’ pipe running floor to ceiling in the center of the stage space, it never ceases to amaze me that anyone can actually design a set! in there. But Dylan Tye Davis does so, ably aided by Lex Newman’s lighting design.

I’m mad at Costume Designer Brett Morgan – was it really necessary to put a dance belt on Antinous?  Though I understand that, in our neighborhood, discarding it could well have incited riots. Sound Designer Santiago Quintana gave the piece a terrific collection of music for Antinous to dance to; and as for Intimacy Coordinator Christa Retka: nice. Very nice. Between them, Director Benjamin Mills and Stage Manager Marz Allswede pulled it all together into a cohesive and marvelous whole.

We’ve established that I’m a full-fledged geek; I love theatre that tells true stories, and the story of Hadrian and Antinous is verified, documented, corroborated and substantiated. Antinous complains that ‘two thousand years of standing around with no clothes on is a long time waiting to tell one’s story’ and I certainly can’t argue with that! – I can only be grateful for his forbearance.

And, just BTW: This production contains depictions of sexual content, nonconsensual acts, and physical violence. Viewer discretion is advised. Translation: Oh yeah, get online right now to buy tickets for this weekend! but please, don’t take the kids.

SCANDALOUS BOY will play weekends at Open Space Arts through June 8.

HIGHLY RECOMMENDED!  

*Extended through June 28th

*This review is also featured on https://www.theatreinchicago.com/! 

HONEYPOT originated as a creative nonfiction book by E. Patrick Johnson, Dean of the School of Communication at Northwestern University. Johnson has a passion for oral history; for HONEYPOT he interviewed a number of Black Southern women, documented in his book of the same title. Johnson always imagined the work being staged as an ensemble piece; he also “wanted to see what someone else would do with the material”. That someone else proved to be D. Soyini Madison, Professor Emerita at Northwestern, which thrilled Johnson as “it was she who introduced me to oral histories and adapting them for the stage.” Talk about full-circle magic! Madison emphasized the role of co-director Tim Rhoze: “it seemed to be a wonderful fit of intersectionality between traditional theater … with oral history,” said Rhoze.

The stage at Fleetwood-Jourdain Theatre is open, with no curtain, so before the action begins we could contemplate and enjoy the set, designed by Tim Rhoze and Kotryna L. Hilko. The murals by Sholo Beverly were spectacular, and as the play developed, we realized some of the images were in fluorescent paint, so they changed with changes in the lighting (Josiah Croegaert, Lighting Designer). The production blends original music (Sound Designer Ethan Korvne), choreography (Marsae Lynn Mitchell), and poetry to reveal the women’s stories, and Stage Manager Rich Oliver, with assistant Eldridge Shannon III, kept it flowing seamlessly.

The main character is Jelani Julyus as “Dr. EPJ”, a stand-in for author Johnson. EPJ, a gay Black man, finds his vivid dreams becoming reality when he’s kidnapped by “Miss Bee” (Tuesdai B. Perry), Queen Bee of the Hive. Under Miss Bee’s direction, EPJ observes and chronicles the stories of the various women inhabiting a metaphysical place variously called the Hive and the Hymen. The honeycomb and bee imagery of the set kept us moored in the communal nature of honeybee communities.

The ensemble included Angelena Browne, Kaitlyn Fields, Nehanda Julot, Santina Juma, Jasmine "Jaz" Robertson, and Sadie Stickler; each performed multiple roles to bring the women’s voices to life.  The actors were a wide range of sizes, skin shades, and general appearance; the sole common characteristic was, as the title states, they were all queer, and Intimacy Coordinator Chels Morgan gave them free reign to commune and consort onstage.

They did talk about being queer – at times with splendiferous jubilation and delectable delight! – but virtually no reflection their being from the South. Perhaps the author did not consider this issue very important, but if so, why include it in the title? There was also no discussion of the issue of being Black – aside from the visual statement that they all were. I was interested in how things were for black lesbians in the South, but I never really learned.

Musical interludes served as transition points, from blues to African-inspired chants, often with drums to accompany the splendid vocal harmonies. The costumes, designed by co-set designer Kotryna L. Hilko, were fairly simple so as not to distract us from the stories, the synchronized voices, and the dancing (choreographer Marsae Lynn Mitchell).

The stories were presented as replies to EPJ’s questions, and Miss Bee prompted each woman in turn to provide her response. The questions covered a wide range of topics, from motherhood to drug addiction to political activism.  Just before intermission there was a long and explicit section on early sexual abuse. Every one of the women provided an unexpurgated account … each different, all wrenchingly the same.

I was puzzled by the presence of a man in this piece that was supposed to be about women and, quite frankly, I couldn’t understand why all these dykes were baring their souls to a man!  Specifically, I became troubled by his interrogatory question: “Did you tell?” I’ve done many examinations on abuse survivors, and I recognize that their reaction to whatever happened when they ‘told’ is critically important. My problem was not with EPJ asking, but with the manner of his inquiry. Every time he used the same three words: ‘Did you tell?’, which sounded more intrusive with each repetition. By the end of that segment I could no longer write it off to inexperience or indelicacy; I experienced the questions as prurient and voyeuristic. The second act provided no segue from the painful revelations we’d just heard but simply began careering through the lives of the different women, their lovers, and their political activities.

I’m fairly sure HONEYPOT did not deliberately set EPJ as the main character, but that was my indelible impression. For me, this decentered the stories of the women in a play that was supposed to teach us about black southern women who love women. Instead, I learned quite a bit about EPJ, from his marriage to his mother's favorite song, but not much about BLACK SOUTHERN WOMEN WHO LOVE WOMEN.

I was really excited to see this show and truly wanted to love it. Sadly, I didn’t.

HONEYPOT: BLACK SOUTHERN WOMEN WHO LOVE WOMEN at Fleetwood-Jourdain Theatre in Evanston is playing through June 1^st.

*By Sarz Maxwell with much assistance from Arcenia Harmon

*This review is also featured on https://www.theatreinchicago.com/!