Displaying items by tag: art institute

Composition, tension, balance, light, and harmony come together seamlessly in Kokandy Productions’ revival of Sondheim’s opus, ‘Sunday in the Park with George’. Director Derek Van Barham transforms the basement of the Chopin Theatre into a three dimensional reproduction of Georges Seurat’s ‘A Sunday Afternoon on the Island of La Grande Jatte’ for this beloved musical’s return to Chicago.

Sondheim was never known to write ordinary musicals. His smash hit ‘Company’ is considered the first “concept” musical. Wherein, the story has no real plot, instead themes are explored through song. ‘Sunday in the Park with George’ with whom he worked with James Lapin is similar in that it’s hard to describe exactly what it’s about, per se. In succinct terms, it’s a fictionalized account of how Georges Seurat painted his pointillism masterpiece while trying to balance interpersonal relationships. Specifically, his flailing relationship with the painting’s focal point, Dot. It’s as if Sondheim was exploring his own obsessiveness and how it hindered him in many ways.

‘Sunday in the Park with George’, which won the 1985 Pulitzer for drama, has a special connection to Chicago as the famed painting hangs in the Art Institute. The last time a local storefront theatre revived it was 2010. However, longtime Chicago theatre lovers are unlikely to forget Gary Griffin’s production at the Chicago Shakespeare Theater in 2004, later remounted in 2012. Though it’s a favored musical by many, it’s not one often produced because you really need all the right ingredients to do this one justice.

Kokandy has gathered those ingredients for this imaginatively staged new version. Derek Van Barham, who also serves as artistic director has been noodling on this show for the near decade he’s been working with Kokandy and the result is simply gorgeous.

A large and talented ensemble is led by Kevin Webb as Georges and Missy Wise Vanderzee as Dot. The two are not only incredible vocalists but each are wonderful in bringing their characters off the canvas and into real life. Webb’s take on Georges is vulnerable, less stoic, less cold,  less fixed. Vanderzee is also much warmer and less shrill than the original cast recordings. Going from 1800s Dot to 1980s elderly Marie can prove to be tricky for some actors but Vanderzee does a great job of bridging the gap with humor and pathos.

Perhaps no other adjective is more apt to describe this production than bittersweet. Nearly devoid of melodrama and yet cuts right to the emotional bone. Under Nick Sula’s music direction Sondheim’s orchestrations are performed with such attention to detail that audiences hang around well past the curtain call. Some of the best choral arrangements ever composed for the stage finds their stride as the company and music moves fluidly through G “Max” Maxin IV’s brilliant staging.

Van Barham has made something special here. Moving the staging from the traditional proscenium to an in-the-round black box provides so much more room to play around with the spectacle of live theatre. Rather than aiming for utmost fidelity to the ‘Sundays’ that have come before it, Kokandy opts to create their own signature production that will be remembered as one of Chicago’s best.

Through November 1 at Kokandy Productions at Chopin Theatre. 1543 W Division St. 773-278-1500

https://www.kokandyproductions.com/

Five years ago, anonymous graffiti artists caused quite the hubub at the Modern Wing of the Chicago Art Institute when they "bombed" a major wall of the wing. Their message was clear: THIS is modern art. While a clever, powerful statement, and seemingly jabbing at the art that resides within the walls of the modern art wing, it presents a paradox: Isn't graffiti, by definition, a rebellious art? Would graffiti still be as powerful and compelling if it were inside the museum rather than outside?

This Is Modern Art, written by Kevin Coval, attempts to answer these and hundreds of other questions regarding high art versus common art versus street art and so on. The play, while neither a knuckle-whitening drama nor a belly-clenching comedy, merely seeks to educate the viewer on this commonplace, yet mysterious, art form. You'll learn the differences between "tags," "stickers," "throw-ups," and "pieces," short for "masterpieces." You'll learn the names of dozens of Chicago graffiti artists, or "writers" as they're called. You'll see what goes into "bombing" -- spray painting an urban canvas as much as possible without getting caught -- a city location, the preparation that needs to be done, the items to have, the backup plan, the lookout, the logistics... it practically gives you a how-to guide.

We pass by graffiti every day in this city. Some of us may see it as an eye sore that should be scrubbed away, as vandalism, as criminal activity. Conversely, some of us may see it as art that makes the city more vibrant and beautiful, as spontaneous creativity, as colorful accents on a gray urban backdrop.

But what does this art say? What does it do? It wants to be respected and appreciated, surely. It wants recognition from those who decide what belongs in a museum and snub it as low art. But does graffiti even want to be in a museum? In and of itself, graffiti is rebellion. It's anti-establishment. It's instant social/political commentary. And it's fleeting, temporary. If the Art Institute commissioned a graffiti writer to fill a wall inside the museum, could this still be considered graffiti? Or would it lose the essential qualities that make it graffiti art?

Maybe the point isn't to be in a museum; maybe graffiti seeks to dismantle these labels and present the notion that art should be free and accessible to everyone. Maybe, and most likely, it just wants to get us talking, and if we are, then it has done its job.

This Is Modern Art (based on true events) is playing at Steppenwolf's Downstairs Theatre through March 14th. Tickets may be purchased at the box office or by calling 312-335-1650.