Displaying items by tag: David Cromer

With AI and other technological advancements continuing to change the landscape of how we work and interact with one another, what does the future hold for humanity? What does it mean to be human in a world where robots and AI threaten to replace us?

In his daring new work, A Tour of the Permanent Collection in the Museum of Late Human Antiquities, or simply The Antiquities, Pulitzer Prize finalist playwright Jordan Harrison (Marjorie Prime, Maple and Vine) attempts to give the audience his answer these questions though a disquieting view of the present as seen from the future at a time when AI and robots are replacing the human race.

Harrison’s thought-provoking and groundbreaking work is making its world debut at the Goodman Theatre as a co-production between the Goodman, Playwrights Horizons, and Vineyard Theatre, following a critically acclaimed Off-Broadway run. The Antiquities has been hailed as “the finest new play of the season” by the Wall Street Journal and has earned “Best New Play/Production” nominations by the Lucille Lortel, Drama League, and Outer Critics Circle Awards.

Co-directors Caitlin Sullivan and Chicago’s own David Cromer, who also earned a Drama Desk nod for “Outstanding Direction of a Play,” have assembled an exceptional cast of nine actors who together create nearly 50 characters as the audience time travels through the 19^th Century, the Industrial Revolution, the development of the first robot, the advent of the computer and Internet to a chilling future where robots dominate and the human race is fading, but fighting for existence.

The cast features Marchánt Davis, Layan Elwazani, Andrew Garmen, Helen Joo Lee, Thomas Murphy Molony, Aria Shahghasemi, Kristen Sieh, Ryan Spahn, and Amelia Workman. Through this fast-paced production, each cast member masterfully transitions from character to character, scene to scene. It is a tribute to the actors and directors that these transitions are seamless, allowing the story to flow.

The production opens with the curators of the Museum of Late Human Antiquities contemplating the idea of humans – what were they really like? What did they wear? What is it like to be in a body that needs to be refueled? Why did they die out? As the two AI-powered robots gaze into the audience, they invite us to come along and consider the curios they have collected through the decades and the stories that they tell.

We travel back to the 19^th century where Mary Shelley entertains her husband and companions, including Lord Byron, with a ghost story of a monster created from the dead, the premise of her classic novel Frankenstein. We see the devastating effects of the Industrial Age as the workers “bury” their fingers lost to the machines. Fast-forward, we witness the invention of a robot that can “think” its way around obstacles to the Silicon Valley trio who are attempting to settle on the “voice” for the computerized assistant they dubbed “Robin.” The further into the future we travel, the more we observe AI taking over for human creativity, until the last remnant of the human race is fighting to survive.

And while the impact of machines and technology on our daily lives is never far from the storyline, each segment is told with heart and humor, never letting the audience forget the human connection and relationships that make us who we are. In one of the lighter moments, we watch as a mother, father, and son try to connect to the Internet on the old dial-up modem. Just hearing those sounds was enough to cause the audience to break out in laughter.

The Antiquities is an important statement on both the wonders and the threats of the technologies that we are developing today. It was thought-provoking, witty and humorous, and, yes, at times, disturbing, but it also can be seen as a cautionary tale and an opportunity to reflect on where humanity has been and where it may end up if we allow technology to become the end-all and be-all of our lives.

The Antiquities is playing at the Goodman’s Owen Theatre through June 1. For ticket information, visit here. 

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

Tracy Letts’ “Bug” beckons audiences back to Steppenwolf live and in-person. This gripping psychological drama tells the story of Agnes (Carry Coon), a drug-addicted, alcoholic waitress marooned in an Oklahoma motel room, consoling herself by staying high, and hanging out with her best friend, R.C. (Jennifer Engstrom), a hard-boiled woman and fellow parrtier.

While COVID-19 forced “Bug” to close mid-way in March 2020, director David Cromer regrouped the original, stellar cast to resume the run, and you will not want to miss this opportunity to see it.

Agnes’s troubles include an abusive ex-husband, Jerry (Steve Key) who soon pays an unwanted visit after being released from prison, looking to pick up where he left off. But Jerry finds someone new in his place: Peter (Namir Smallwood), a drifter who trailed into the room with R.C., and just stayed. Jerry begrudgingly takes off.

Here the story turns. Peter and Agnes rapidly descend into a toxic, co-dependent relationship, spiraling relentlessly downward as Peter shares Agnes's partiality to smoking crack, which they do continuously to an end that will leave you stunned.

The performances by Namir Smallwood as Peter and Carrie Coon as Agnes are breathtakingly good. Smallwood in particular rises to the challenge of convincing us that while he is tethered to reality, it is really somewhat loosely. Coon gives us an Agnes who wavers like a compass needle, pulled to the shifting polarities of the varied players in her life before locking decisevely to Peter.

“Bug” embodies what I consider a signature of Steppenwolf style, if there can be such a thing—allowing for scenes dominated by silent performances, the action on stage amplified by the absence of lines. Such scenes, and the powerful scenic design (Takeshi Kata), builds tension steadily, “keeping us in the dark just enough to continually thirst for its next moment,” as my colleague, Ken Payne noted of the 2020 staging. 

As a post-pandemic show, “Bug” is especially relevant, with drug addiction rising to epidemic levels during these trying times. Letts offers a searingly realistic window into their impact on individuals and relationships. “Bug” captures the paranoia visited upon abusers of stimulants like crack and meth. We even experience the miasma that causes struggling addicts to vehemently resist intervention by their family and friends.aBug runs through December 12, 2021.

Single tickets for Bug ($20 – $110) at steppenwolf.org or 312-335-1650. Discounts include new Artists & Essential Workers discount, expanded 20-for-$20 program, Pay-Your-Age performances, $5 teen tickets through the Teen Arts Pass, and more. Steppenwolf is part of the coalition of over 70 Chicagoland performing arts venues and producers that have agreed upon COVID-19 vaccination and mask requirements for all audiences, artists and staff through the end of 2021. Steppenwolf is offering four reduced capacity performances for “Bug,” seating every other row and one seat on either side of each party: Sunday evening November 21, Wednesday evening November 24 and Wednesday matinees December 1 and 8. www.Steppenwolf.org

When Tracy Letts wrote ‘Bug’ in 1995, it was an age when, yes, though conspiracy theories existed, they haven’t yet run nearly as rampant as the have since the September 11th, 2001 takedown of the mighty World Trade Center buildings in New York. Today we live in a world where conspiracies take form on a daily basis - and certainly the advances of information availability via the Internet over the past couple decades has played a big part in it.  ‘Bug’ reminds us that paranoia is nothing new and that going down rabbit holes can lead to ultimate disaster for some. But who’s to say one’s paranoia isn’t warranted – that there is some truth behind it? Perhaps partial truths lead to more truths or perhaps they become exaggerated. Or perhaps there was never any truth at all.

In Steppenwolf’s ‘Bug’ there are certainly leading moments of volleying back and forth on whether a truth exists or if paranoia-fed delusions have created a personal horror movie. 

Set in Oklahoma, we find a waitress, Agnes White (Carrie Coon) living in a roadside motel. She uses hard drugs and alcohol to get through most days and fears the return of her ex-husband, Jerry Goss, who was recently paroled from prison where he was incarcerated for armed robbery charges. While more and more paranoid with every silent phone call she receives that Jerry is near, she opens her door to a low-key drifter, Peter Evans (Namir Smallwood). He seems gentle enough. The two indulge in small talk and smoking crack and his company becomes a comfort to her. They are both lonely and she takes him in, hardly knowing him at all. Not long after a love affair begins, and then…he sees bugs…and more bugs…and then come the bites. The story quickly becomes a creepy thrill-ride filled with suspicion and government conspiracies, even touching on Bilderberg meetings, population control and the Oklahoma bombing, a tragedy that struck a particular chord with the playwright who was born and raised in the same state. It is a story about fear and trust. It is also, as Lett’s himself describes it, “a love story.”

Written to be staged in smaller theaters for a more intimate audience, Steppenwolf takes on the challenge of creating a larger production and, thanks to brilliant direction from David Cromer, who Letts calls the “greatest living director,” the theatre company pulls it off without a hitch. The play is up close and personal enough to really resonate while giving us a grand set that still puts every audience member inside the seedy motel room. Letts, a Pulitzer Prize for Drama winner, also shares his excitement of a larger venue. “’Bug’ has primarily been done in really small spaces, normally in theaters of 100 seats or fewer, so to see it in our theater with the caliber of our actors and David Cromer directing…I can’t wait,” says Letts.      

Ensemble member Carrie Coon, who previously tore it up in Steppenwolf’s ‘Who’s Afraid of Virginia Wolf?’ and was nominated for a Tony for the same role on Broadway, shows us once again why she is considered a top-caliber stage actor. Her portrayal of Agnes is nothing short of breathtaking. Coon courageously navigates this bold role with harsh demands and leaves us with a performance that is haunting and memorable but most of all real. Fellow ensemble member Namir Smallwood is also superb is his take of Peter Evans and watching him is as compelling as is gets in this thriller. So convincing is Smallwood, I could have sworn I was getting bug bites just watching him. Together, the two are a force. In addition to the dynamism of the play’s two leads, the show gets strong support from Jennifer Engstrom as R.C., Steve Key as Jerry Goss and Randall Arney as Dr. Sweet.

Though a psychological thriller, the play is not without well-placed humor. It’s got a little of everything. ‘Bug’ is just a damn good show from its suspenseful opening scene to its climactic ending. The tension throughout builds at a steady pace, keeping us in the dark just enough to continually thirst for its next moment.

Highly recommended.

‘Bug’ is being performed at Steppenwolf Theatre through March 15th. For tickets and/or more information, visit www.steppenwolf.org. 
    
 

You know if a musical wins the Pulitzer, it’s going to be a sad one. Creative team Tom Kitt and Brian Yorkey took home the 2010 Pulitzer for ‘Next to Normal’, an award rarely given to musical theatre. David Cromer returns to Writers Theatre to direct this highly anticipated revival. Cromer has strong roots with the Glencoe-based company and this faithful, yet distinct production contains all the hallmarks of his signature style. Cromer also directed the Tony awarded production of ‘The Band’s Visit’ which just closed on Broadway last month.

‘Next to Normal’ is a rock opera about a suburban mother and housewife dealing with bipolar disorder. Not exactly the sexiest topic for a musical, but lyricist Brian Yorkey cuts through the schmaltz with deeply effective words about the state of mental health in America.

This show relies heavily on the small cast, but probably even heavier on the actress in the lead role. Keely Vasquez is devastating as Diana Goodman. Her performance is realistic and shocking as she rapidly slips from seemingly normal mother into the depths of psychosis, while mostly in song. A tough order to fill without losing your audience. Her daughter Natalie is played by Kyrie Courter who appears to be displaying Cromer’s directorial style the strongest in this ensemble. She has a great voice that she maintains even during the most challenging moments of acting.

Writers’ remount of ‘Next to Normal’ is hardly an area premier, as the national tour starring Alice Ripley made a stop in Chicago, and a few other companies have tackled this one since. Though Writers’ production feels like a definitive regional engagement. Cromer has a knack for these hard-hitting musicals. Some may remember his gritty, raw production of ‘RENT’ at the now defunct American Theatre Company. His vision for this show is unique and tends to go for the emotional gut rather than crystal clear showtune belting. While this may irk some musical theatre purists, the visceral sounds of the cast seem more authentic than the original cast recording.

This show is more like a play in song, than a traditional musical. Its depth lies in that it’s a story about specific characters dealing with an issue that many people can see themselves in. Even if you can’t relate to the character dealing with bipolar, the plight of the characters effected is heartbreaking. ‘Next to Normal’ is a slow builder. It isn’t really until the second act that it all catches up to you and by the finale, it’s hard to find anyone not emoting. This production is well worth hopping on the Metra for. If you missed the tour or the Broadway engagement, fear not, Cromer delivers an equally satisfying product.

Through June 16 at Writers Theatre. 325 Tudor Court, Glencoe IL 847-242-6000