Displaying items by tag: Chris Sylvie

Open Space Arts has announced casting for its Chicago premiere of A THIRD WAY, a sharply funny, deeply compassionate new play that reimagines what love, marriage, and family can look like in the 21st century. Winner of the Del Shores Foundation Playwriting Award, the play received its acclaimed world premiere in 2024 at Actor's Express in Atlanta, where it was praised for its emotional honesty, contemporary relevance, and nuanced queer storytelling. ARTSATL said, it was "deeply introspective" in addition to having "some truly hilarious moments, with a playful energy throughout." Open Space Arts' founder David G. Zak, who was recently nominated for the Jeff Awards for Direction – Short Run Production for OSA's MR. PARKER, is directing. A THIRD WAY will play in Open Space Arts' intimate 25-seat theatre at 1411 W. Wilson Ave., Chicago. It will play three weekends, from April 3 through 19.

At the center of the play are Nico and Matt, a married couple committed to building a relationship that exists outside traditional binaries. When familiar figures from the past and unexpected new connections enter their world, long-standing assumptions are quietly—and sometimes explosively—challenged. With humor, warmth, and razor-sharp insight, A THIRD WAY explores the fragile balance between desire and responsibility, freedom and commitment. Rather than offering easy answers, the play invites audiences to sit inside uncertainty, asking what it really means to choose love when there are no clear rules.

Zak Wilson and Chris Sylvie have been cast as Matt and Nico. Wilson, who will play Matt, was seen most recently in the area as Karl and Steve for CLYBOURNE PARK with Buffalo Theatre Ensemble. He has also appeared in numerous productions with the prestigious Asolo Rep in Sarasota, Florida. Sylvie, who appeared in Open Space Arts' SUNSETS, will play Nico. Oliver Maalouf (of Steep Theatre's HAPPY DAYS ARE HERE (AGAIN)) is playing Haamid, a one-time hookup of the couple who becomes more seriously involved with Matt. Erica, Nico's best friend who has her own challenges finding a relationship, will be played by Alondra Rios, who recently appeared in LAS BORINQUEÑAS at Visión Latino and SIDE BY SIDE BY SONDHEIM at Oil Lamp Theatre. 

The production team for A THIRD WAY includes Zach Stinett (Sound Design), Jade Andrews (Costume Design), Devin Meseke (Scenic Design), Ethan Brentlinger (Lighting Design), Greta Zandstra (Intimacy Director), and Claire Ragusa (Stage Manager).

With humor, warmth, and razor-sharp insight, A THIRD WAY explores the fragile balance between desire and responsibility, freedom and commitment. Rather than offering easy answers, the play invites audiences to sit inside uncertainty, asking what it really means to choose love when there are no clear rules.

Intimate in scale but expansive in implication, A THIRD WAY speaks to contemporary audiences navigating evolving definitions of partnership, family, and belonging—without telling them what to think.

Open Space Arts' A THIRD WAY will open on Friday, April 3 at 7:30 pm and play through Sunday, April 19, 2026. Performances will be at Open Space Arts, 1411 W. Wilson in Chicago. Tickets are $30 and are on sale now at www.openspacearts.org. 
 
LISTING INFORMATION
 
A THIRD WAY
By Lee Osorio
CHICAGO PREMIERE
Directed by David G. Zak
April 3-19, 2026
Thursdays, Fridays and Saturdays at 7:30 pm, Sundays at 3:00 pm
Open Space Arts, 1411 W. Wilson Ave., Chicago
Tickets $30.00 general admission, $25.00 students and seniors. On sale now at www.openspacearts.org. 
 
Nico and Matt are a married couple committed to building a relationship that exists outside traditional binaries. When familiar figures from the past and unexpected new connections enter their world, long-standing assumptions are quietly—and sometimes explosively—challenged. With humor, warmth, and razor-sharp insight, A THIRD WAY explores the fragile balance between desire and responsibility, freedom and commitment. Rather than offering easy answers, the play invites audiences to sit inside uncertainty, asking what it really means to choose love when there are no clear rules.

Intimate in scale but expansive in implication, A THIRD WAY speaks to contemporary audiences navigating evolving definitions of partnership, family, and belonging—without telling them what to think.

Lee Osorio (playwright) is an award-winning playwright and actor whose work centers queer lives, cultural intersections, and the emotional complexity of modern relationships. Based in Atlanta, Osorio is a longtime collaborator with Actor's Express, where he has developed and premiered multiple works.

He is the recipient of the 2023 Del Shores Foundation Playwriting Award,recognizing A THIRD WAY for its originality, compassion, and contribution to contemporary queer theatre. As an actor, Osorio is a former Alliance Theatre Acting Apprentice and has appeared on stages throughout the Southeast, bringing a performer's instinct for rhythm, dialogue, and character to his writing.
 
Osorio's plays are known for blending humor with emotional honesty and resisting easy moral conclusions in favor of deeply human portraits. A THIRD WAY represents his most ambitious work to date.

David G. Zak (Director) has won seven Jeff Awards in Chicago, including four for Directing (ANIMAL FARM, DR. SEX, PARADE, POPE JOAN), two for writing (THE HIROSHIMA PROJECT, THE COUNT OF MONTE CRISTO) and a special Jeff for "Fostering Diversity in Chicago Theater." He was recently nominated for his direction MR. PARKER, produced by Open Space Arts in earlyb2025. In his 27-year stint as Artistic Director of Bailiwick Repertory, he directed the world premiere production of THE CHRISTMAS SCHOONER, the US premieres of Sir Peter Hall's ANIMAL FARM and JERRY SPRINGER – THE OPERA, and many original works including the political dramas THE HIROSHIMA PROJECT and SIN: A CARDINAL DEPOSED. He has directed in London (THE IRISH CURSE), Seoul (DOLLHOUSE, FANTASTICK, THE GHOST'S COOKBOOK), Dublin (OH, HOLY ALLEN GINSBERG, AT THE FLASH), Boston (SIN: A CARDINAL DEPOSED), Los Angeles (DR. SEX, AT THE FLASH) and New York (MARLOWE and POSEIDON: AN UPSIDE-DOWN MUSICAL). His productions of the American Premieres of JERRY SPRINGER – THE OPERA, Sir Peter Hall's ANIMAL FARM, PARADE, POPE JOAN, and Dennis DeYoung's HUNCHBACK OF NOTRE DAME all won the Jeff Award for best musical. His most recent Chicago productions have included: MY LIFE AS A COWBOY, THE BOY FROM OZ, Terrence McNally's SOME MEN, AFTERGLOW, PRISCILLA: QUEEN OF THE DESERT, THE BOOK OF MERMAN, HIS GREATNESS, and UNDER THE RAINBOW FLAG. He was inducted into Chicago's Gay and Lesbian Hall of Fame in 2013.

OPEN SPACE ARTS, a 501(c)3 non-profit organization, is dedicated to combating homophobia and transphobia through the transformative power of creativity and cultural expression. Our mission is to foster inclusivity, promote understanding, and empower marginalized communities by utilizing various artistic mediums to challenge discriminatory beliefs and attitudes. OSA recently received six Joseph Jefferson Award nomination (short run categories) for its work in 2025, including Production, Direction, Principal Performer, and Featured Performer, for MR. PARKER. Last year,  OSA won some of the top honors in the f Jeff Awards for work produced in 2024, including Production of a Play – Short Run (COCK), Direction of a Play – Short Run (Michael D. Graham - LIGHT SWITCH), Performer in a Principal Role – Short Run  (Philip Andrew Monnett – LIGHT SWITCH), and Performer in a Supporting Role – Short Run (Sonya Robinson – COCK) . Additionally, Open Space Arts has produced SUNSETS: TWO ACTS ON A BEACH, ROSENBERG, MASSAGE THERAPY, MERCY KILLING, MR. PARKER, "it's been ten years since everyone died. a play about final girls," SCANDALOUS BOY, GANGSTA BABY, DORIAN and THE KRAMER PROJECT in live performances. OSA also produces the Queer Expressions Film Fest, a hybrid fest of streaming and in-person events, which runs from November 1 to July 1 annually. Open Space Arts is led by David Zak. 

SUNSETS: TWO ACTS ON A BEACH is a long-lost diamond by unsung genius Cal Yeomans. Yeomans, despite his myriad talents (playwright, poet, actor, artist, educator, lecturer, photographer, real estate investor, land developer, and philanthropist) was an unfortunate example of the prophet in his own land: only posthumously are his masterful contributions recognized as vital to the post-Stonewall / pre-AIDS gay theatre genre. Maybe he was a visionary; before his work as well as his life were extinguished in 2001 by AIDS he is quoted as saying: "Perhaps in years to come some young queen will find [my writings] in an old trunk bought at an auction, will read [them] and say, 'My God! Was that the way it was? Times sure have changed.' Let us pray for that anyway".

Happily, for us, Director David Zak is not an unsung genius; over three decades of work in Chicago theatre he’s amassed a mantel-full of Jeff Awards, including a special Jeff for “Fostering Diversity in Chicago Theatre”. If you’ve read my reviews, you’ll know that counts for a lot with me!  He served as Artistic Director at Bailiwick Repertory for yonks and, with co-Director Elayne LeTraunik, has taken Open Space Arts under his creative wing. OSA’s mission is to ‘foster inclusivity, promote understanding, and empower marginalized communities’ through various artistic mediums [media? – whatever].

Open Space Arts Theatre is an exemplar of the tiny storefront theatres I adore: on Wilson just east of Clark in, yes, a storefront, OSAT can seat maybe 40, if some people sit on the stairs. Director Zak was at the door to greet patrons, Lighting Designer Justin Walker offered his arm to make sure I didn’t come to grief on the stairs; and there I was, where I love best to watch theatre: immersed in the cast’s pheromone cloud.

Rick Paul gave us a perfect set, keeping it minimalist with creative multi-tasking – the table did service as a couch, a beach, a bed – and even a table!  And I loved Zach Stinnet’s playlists, recalling Donna Summers’ era dance tunes.

Costume Designer Zahrah Agha did a superb job with drag queen persona Henrietta’s gowns & etcetera, but I’m afraid I have a bone to pick with both Agha and Intimacy Designer Greta Zandstra: the press release promised nudity, but they kept their damned dance belts on – drat! and similar ejaculations!

The play is exactly what its title betokens:  two acts, on a beach, at sunset. Act One has a cast of one – John Cardone as Henry. His monologue was superb, with reminiscences ranging from droll to somber, sultry to sassy, superficial to analytical. Henry spoke several times of Him, trying to make light of but unable to conceal his anguish as he describes His defection for a younger, cuter model.

Henry was once Henrietta, a high-end drag act; now he’s “living with my mom … and that’s alright, really!” but we can’t help fearing the lady doth protest just a smidgen too much. Any road, it’s here at the beach that Henry has discovered his calling, a very special ministry. I won’t describe his precise methods, but he plies them here on the beach … or, more precisely, in the beach men’s room. As he follows the latest supplicant through the door marked MEN he delivers his final line, the title of the Act One: “The Line Forms to the Rear”.

There’s no intermission – both acts together are just over an hour – and we move right on to John (Chris Sylvie). Like Henry, John comes pretty regularly to this beach, usually at about sunset. We assume that John, like Henry, has undergone something of a reversal of fortune; from The Big City (“No, not Miami!” he tells Dan) to this small Florida town … but here he has the beach, and it’s here he meets Dan (Aaron Cappello).

Dan is Everyman and is doing pretty well for himself – nice construction job, nice wife, two nice kids – but apparently there’s something missing, cos it sure doesn’t take long for John and Dan to progress from badinage to BJ … after which Dan abruptly leaves and John’s sitting alone again on the beach months later; he’s almost given up on Dan when suddenly there he is again!

Their accidental meetings cum trysts become increasingly intimate but continue to end with Dan’s precipitous withdrawal (no, through the door … yeah). As their encounters become more and more visceral our concern grows: what will happen to John if Dan totally freaks out …?  But [spoiler!] Act Two also has a happy ending, with Dan and John serenaded by chanteuse Henrietta (John Cardone again, in full kit) singing The Man I Love.

It’s very difficult to describe this brief but compelling production without spoilers – I’m starting them already! – so you’re just going to have to trust me: see SUNSET: TWO ACTS ON A BEACH. Really. See it. You will so not be sorry.

*Extended through Sunday, March 3rd

You know what they say: The only cure for homosexuality is to issue him a Screen Actor’s Guild card.

Tommy on Top takes this old saw a step further: Tommy Miller (Ryan Cason), closeted Hollywood hunk, has been nominated for an Oscar. Super-swish boyfriend George (Patrick Gosney) and vodka-swigging sister Molly (Theresa Liebhart) join Tommy to discuss the eternal question – in or out? – with an Academy Award and a career hanging in the balance. Gay Trump-loving [huh?] agent Eddie (Chris Sylvie) is adamantly in favor of the closet – a good thing, as he spends a great deal of the show stuffed into one. Why? Well, it seems evil columnist Kiki (Blythe Inanna) wants to out Tommy with some compromising photos, and celebrity talent manager Judy Jensen (Beth Johnson) wants to be Tommy’s new agent … over Eddie’s dead body! Almost.

That’s pretty much the story in a nutshell (which is arguably where it belongs).

Written by British playwright Chris Woodley, Tommy on Top was a hit in London, and is now premiering in the US at the PrideArts Center Theatre.  The British provenance is very apparent and, unfortunately, a problem with the production.

I’ve never been a fan of British humor: it simply makes too much of too little. A quip that originally is droll (e.,g. ‘every sperm is sacred’) is belabored until it’s just boring. The humor in Tommy is simply not funny. I do not find any humor in drunkenness, a theme that repeats throughout the show. I’m not amused by violence, and the gunplay is completely tasteless (though the juxtaposition with the Highland Park massacre could not have been predicted). I don’t laugh at defenestration (isn’t that a great word?!), and the anti-Irish theme may be funny across the Pond, but in Chicago it’s baffling. And a Trump-loving gay Hollywood agent? Maybe in London, not so much here.

The cast do an extraordinary job. Patrick Gosney sparkles as George; and Ryan Cason is as adorably hunky as a Hollywood leading man should be. Director Jay Espano does a great job knitting all the actors’ excellent work together, and kudos to Garrett McCann and Jack McElroy for intimacy and fight choreography. A special shoutout to Chris Sylvie, who stepped in at the last minute as Eddie. And Tommy’s final monologue is lovely, revealing the show’s heart at last. Too bad we had to sit through 90 minutes to get to it. Comedy is a fine instrument for social commentary. The problem is that this script isn’t very funny.

BUT WAIT: as I said, I’m not a fan of British humor, and farce is not my favorite genre. If, however, you happen to like preposterous premises, cumbersome one-liners, outrageous over-acting and senseless physical brawling, Tommy on Top is for you. If you still giggle at the 3 Stooges, this show will make you LOL.