Displaying items by tag: theatre in chicago

I like to think that I am hip and with it (insert millennial Gif here). I like to think that I am knowledgeable about the latest trends even if I don’t participate in them myself; not so much fashion and viral TikTok challenges, but more the books that everyone wants to read, the song of the summer, the concerts and shows that have digital queues a mile long. I like to think I keep up with it all. But every now and then a show comes along that throws me for a loop and makes me question if I’m Principle Skinner telling myself it’s the kids who are out of touch. Am I out of touch? Because I don’t know how I ever slept on the celebrated and award-winning Broadway show Kimberly Akimbo, now playing at the CIBC theatre in Chicago.

A musical about growing up and growing old (in no particular order), Kimberly Akimbo tells the story of a 16-year-old girl named Kimberly who ages at a rapid rate due to a rare genetic condition, causing her to appear much older than her age. The musical follows Kimberly as she navigates the challenges of adolescence, including dysfunctional family dynamics, a first crush, and a potential felony charge. Kimberly's condition and her family’s struggles add layers of complexity to this coming-of-age story, but ever the optimist, she is determined to find happiness against all odds.

How did I not know about Kimberly Akimbo? Am I out of touch? No summaries or synopses can truly capture how wonderful this musical is. Even describing the play to friends and family fails to capture how funny, charming, and simply heartwarming this play is. From the summaries you can find the story seems like it would be too difficult to follow, like there is too much going on in the story. What the summaries cannot do is tell you how each song captures the awkwardness and awe of adolescence, perfectly hallmarks the heartbreak of a disease, and brings levity to a storyline that could easily segue into something too preachy, too heavy, too depressing. What summaries cannot do is illustrate how easy it is for the audience to drop into New Jersey and follow Kimberly; to learn about her life, root for her, laugh with her, and somehow love her quirky and dysfunctional family as much as she loves them. Despite one of the primary storylines of the play being Kimberly’s disease, it doesn’t dominate or overshadow any character or any message because it’s not the true message of the play. The true message slowly unfolds, told through hilarious and heartfelt songs such as "Make a Wish," "This Time," “Hello, Baby," and "Our Disease" (trust me, the last one is the nerdiest, funniest song in the entire musical). First time viewers of this musical might walk into the theatre skeptical, but you’ll leave this musical feeling as though you shared a kiss with your first crush, like you were hugged by a beloved aunt, and that you talked and laughed for hours with a best friend. Said simply, Kimberly Akimbo is heartwarming.

If there is one show you see this Pride month, let it be Kimberly Akimbo. After getting “with it” and seeing this musical, it’s no wonder to me how it won 5 Tony Awards including Best Musical. It is unique and original, sweet and charming, and absolutely hilarious. The songs are being added to my showtunes rotation, and I am re-reading this review shaking my head because I don’t think I’m conveying just how wonderful this musical is. For once, it’s not the kids who are wrong, it’s me who was out of touch. So don’t be a Skinner like me and go experience the nationwide tour of Kimberly Akimbo while it is here in Chicago, and while you still have time.

Kimberly Akimbo is now playing at the CIBC Theatre in Chicago (18 W Monroe St, Chicago, IL 60603) through June 22^nd. The runtime is 2 hours and 30 minutes. Tickets are available for purchase at www.broadwayinchicago.com.

Raven Theater has a penchant for aptly timed revivals, and their production of Henrik Ibsen's A Doll's House is no exception. Published and set circa 1879 in Norway, the play offers a snapshot of domestic life at the time, reminding us how much progress has been made since then -- and warning us not repeat history.

Nora is a happy wife with a loving husband, three children, and a comfortable home. Everything seems grand, until the cracks start to show in the veneer of their supposed domestic happiness.

Husband Torvald, smiling, makes passive-aggressive comments to his wife about her spending habits, even though she's merely purchased some Christmas gifts for the children. Nora, of course, is not allowed to work to earn her own money either. In other words, money is a catch-22 for Nora, and for Torvald's it's a way to assert dominance. He spends most of his time holed up in his study, occasionally checking in on his wife and making sure she knows her place, calling her gentle pet names like "songbird" and his "doll."

Little does Torvald know or even deign to imagine that Nora has hopes, fears, opinions, and secrets of her own that she works to hide from him. In this house, she knows it is not her place to be her own person; that is the husband's job. She is meant to decorate, care for the children alongside the nanny they already hire to care for the children, tend to her husband, and dance well at parties.

Nora is not even allowed to open the household mailbox, to which only Torvald has a key, yet another way for him to keep her under his thumb. The locked mailbox serves as a tangible symbol of the world, life, and opportunities that Nora can't access due to her position and gender. For all intents and purposes, she's a prisoner in her own domestic life, requiring permission from the warden, her husband, for anything she may need or want.

There's satisfaction in watching Nora realize over the course of the play what kind of man her husband really is, and actress Amira Danan deftly conveyed this transformation from bright and cheery to wise and wary. Whether or not she escapes her prison I'll leave a mystery. But I will leave you with the fun fact that this play caused significant controversy when it went into production in 1879.

According to playwright Ibsen at the time A Doll's House was written, "a woman isn't allowed to be herself in modern society." While that, thankfully, has changed, it should be pointed out that it was not so long ago Ibsen said this -- less than 150 years -- and to see this dynamic of the controlling husband and stifled wife play out onstage serves as a stark reminder of how far we've come, and where not to go again.

A Doll's House is playing through March 22 at Raven Theatre at 6157 N Clark St. Tickets and schedule here.