Displaying items by tag: The Lower Depths

Chicago’s storefront and midsize theatres are in a moment of remarkable artistic urgency, and three current productions—Black Cypress Bayou at Definition Theatre, Admissions at Citadel Theatre, and The Lower Depths at Chopin Theatre—show exactly why. Each tackles a different facet of the world we’re living in, yet all three share a common thread: they refuse to let audiences sit passively. They provoke, unsettle, and spark the kind of conversation that lingers long after the house lights rise.

Black Cypress Bayou

Definition Theatre
Black Cypress Bayou isn’t just a Chicago premiere—it’s a humid, slow‑burning descent into the secrets families bury and the truths that refuse to stay submerged. Set against the thick Southern air of rural Louisiana, the play braids together folklore, mystery, and generational trauma with a confidence that feels both ancient and startlingly fresh. Reviewers and theatre goers have praised the production’s cultural specificity, its sly humor, and the emotional ferocity of the Manifold women, whose long‑hidden histories rise up like ghosts demanding to be heard. Definition Theatre’s intimate staging amplifies every revelation, every crack in the family’s façade, pulling audiences into a world where the past is never really past.

Through March 15^th.  TICKETS

Admissions

Citadel Theatre
Joshua Harmon’s Admissions hits with renewed force in 2026, when debates about equity, representation, and institutional responsibility are no longer abstract—they’re lived, daily realities. Citadel’s production has earned a wave of “highly recommended” notices for its sharp direction and its cast’s fearless willingness to sit in discomfort. The play exposes the gap between what we say we believe and what we actually do when our own interests are on the line. It’s funny, biting, and unflinchingly honest, the kind of show that makes an audience laugh in recognition one moment and wince the next. This is theatre that doesn’t let you off easy, and that’s exactly why it’s resonating so strongly right now.

Through March 15^th.  TICKETS

The Lower Depths

Chopin Theatre (Gwydion Theatre Company)
Gwydion Theatre Company’s world‑premiere adaptation of Gorky’s The Lower Depths plunges audiences into a raw, unvarnished portrait of people living on society’s edge. Buzz Center Stage’s Sarz Maxell has called it an “avalanche of anguish,” and the phrase fits—the production is relentless in its honesty, yet deeply humane in its portrayal of those who survive on hope, illusion, and each other. Staged in the atmospheric basement of the Chopin Theatre, the show surrounds you with its ensemble of characters, each clinging to dignity in a world that offers them little. In a moment when conversations about economic precarity and social invisibility are everywhere, this adaptation feels piercingly relevant.

Through March 8^th.  TICKETS

Why See Them Now?

Because each of these plays is wrestling with the world as it is—not as we wish it to be.
Because Chicago theatre is at its best when it’s bold, unflinching, and unafraid of complexity.
And because these three productions, taken together, offer a panoramic view of the pressures shaping American life: race, class, family, ambition, and the stories we tell to survive.

If you’re looking for theatre that challenges, engages, and refuses to let you off the hook, these are the shows to catch before they’re gone.

I like theatre that’s deep, thoughtful, angsty. There’s much to be said for a play providing undemanding escape, but I prefer to challenge my mind, to make me think. And THE LOWER DEPTHS, as adapted by Grayson Kennedy for Gwydion Theatre Company, certainly did that. Don’t see this alone – you’ll want to talk about it afterward. And do not forget to take your Prozac!

The play is the second in Gwydion Theatre's "Season of Class", exploring classism in society. THE LOWER DEPTHS, written in 1902, explores themes of truth vs. illusion, hope vs. despair, through characters like a thief, a prostitute, and an alcoholic actor in a dreary flophouse on the Volga. The central conflict emerges with the arrival of a mysterious tramp who offers hope through stories and advice. However, hope cannot long survive the lodgers’ perpetually bewailing their travails and vicissitudes.

I was initially anxious about how such a large cast (13!) could operate in the confined space of Chopin Theatre. I personally love Chicago’s singular streetfront theatres, boasting perhaps 50 seats and 200-300 square feet of stage space. See, I like to be immersed in the players’ pheromone cloud, perhaps even bespattered with various bodily fluids.

Y’know, reading back over that, it doesn’t sound very inviting, but trust me on this. And trust Chicago as well – Gwydion is oner of the myriad smaller companies that showcase the multitude of superlative actors in this town. In decades of attending these storefront venues I’ve seen plays I didn’t like, I’ve been critical of some production decisions, but very seldom are the actors themselves disappointing. We are very fortunate here in Chicago. I only wish I could believe these professionals are earning paychecks commensurate with their skill.

Where was I? Oh yes, big cast; and I find myself unable to single out the players of individual characters. I always try in these reviews to praise each actor on their individual performance but between their sheer numbers and the peculiarities of Russian names I can but name the cast and beg the actors’ forgiveness:

Alex Levy (Vaska Pepel); Katherine Schwartz (Vasilisa Karpovna); Matt Mitchell (Mikahil Kostilyoff); Brynn Aaronson (Natasha Karpovna); Tommy Thams (Andrei Mitritch Kleshtch); Hannah Freund (Anna Kleshtch); Christopher Meister (Abram Medviedeff);Bryan Breau (The Baron); Evan Bradford (The Actor); John Nicholson (Satine); Howard Raik (Luka); Maddie Hillock (Kvashnya); Abraham Deitz-Green (Alyoshka); Maya Moreau (Swing); Grayson Kennedy  (Swing).

If I’m totally honest (and I owe this stellar troupe that much), even as it was playing, I couldn’t keep track of which character was who. To my relief, this did not interfere with my appreciation of the play and the performances, as it is actually in keeping with the theme of the play. THE LOWER DEPTHS tends to undermine the individuality of the characters: they are emulsified into a slurry of Poor People, faceless and nameless. In this THE LOWER DEPTHS mirrors the attitudes of our Administration: they’re po’ folks, not actual people with real needs and feelings.

Adapted by Maxim Gorky, he was more interested in the characters than in creating a formal plot. There’s no linear sense to the situations portrayed – a woman is dying; the landlord is heartless; everyone’s having an affair with someone – but these are only separate instances in their overall wretchedness. Tellingly, none of them acknowledge any kinship in their tribulations; no one ever says, ‘yeah, I know what that’s like’ or ‘something like that happened to me once’. Thus, while society depersonalizes them, each isolates themself within the siloes of their personal experiences.

Luka, an elderly tramp, arrives with a philosophy of consolation and a better life. Reactions to this message - this theme of harsh truth versus the comforting lie - pervades the play and divides the inhabitants into opposing camps of the hopeful and the realists. Most of them choose to deceive themselves rather than acknowledge the bleak reality of their condition, leading inevitably to violence and death.

Oi! I’m supposed to be encouraging you to see this play, but you’d need to be, like me, a real angst enthusiast to be attracted by my description! But if you do like exploring the depths of desolation; the frequency of forlornness; the drama of dreariness … then THE LOWER DEPTHS is the play for you!

The production team included its artistic directors Tommy Thams and Grayson Kennedy and was drawn largely from Gwidion company members. Scenic Designer Hayley Wellenfeldt and Morgan Kinglsey created a monochromatic and versatile set with Lighting Designer Sam Bessler effectively defining scenes and characters. Costume Designers Cindy Moon and Grace Weir differentiated the subtle differences between, say, the actor and the Baron. Sound Designer Rick Reid sourced authentic Russian period music while Stage Manager Katie Espinoza pulled it all together and put it out there fluidly.

The Lower Depths is the first time in Russian literature that society’s outcasts took center stage in a drama. In claiming importance and humanity for a class that Gorky described as “ex-people” and “creatures who were once men,” he moved Russian drama into the political and social arena that would lead to revolution. May that purpose prevail in our own trying times!

THE LOWER DEPTHS plays at Chopin Theatre through February 28 - https://chopintheatre.com/.

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