Displaying items by tag: Manuel Ortiz

Those familiar with the Factory Theater space might feel themselves do a double take upon entering the theater for Two Out of Three Falls. Scenic Designer Manuel Ortiz completely transforms the space. The three-quarter thrust stage that has been there for years is gone – replaced by a wrestling ring that consumes an entire side of the theater. The ring is detailed, complete with lockers and wall decoration that completely transform that side of the space into a wrestling gym. To say that Ortiz outdoes himself in this endeavor is an understatement, because you might just find that the design is highly effective in drawing you into the thrilling vibe of the event.

Written by Bill Daniel, Two Out of Three Falls follows Johanna Goodish (Brittany Ellis), a wrestler struggling to step out of the shadow of wrestling legend King Kong Bruiser, also known as her father. Haunted by his literal ghost (Eric Frederickson), Goodish commits to the one act that she feels can set her free – challenging her father’s killer, Eduardo Quinones “El Moreton” (Sam Ramirez), to a wrestling match on live TV. If all goes according to plan, Quinones won’t live to see another day.

Directed by Ashley Yates, much of the production feels like a live wrestling match. As Goodish and her various opponents throughout the play take the ring, audience members at this Opening Night performance screamed and hollered. The design invites audiences to choose their opponent of choice, and you might just find that the intimate feel of the theater makes you feel like you are a part of the action. The work of Fight Designer Kate Lass and Wrestling Consultant Axel Rico shines in these scenes and certainly makes for an entertaining and lively evening.

The high-energy wrestling scenes act as a helpful contrast to some of the more intimate moments of the play – particularly within the relationship of Goodish and her manager, Meg Bishop (SaniaFaith). For so much of the story, Ellis brings a strong, confident character to Goodish. She is unafraid to fight back against her opponents, and she ensures that she is the last one standing at all costs. However, with Meg Bishop, we see a different side of Goodish. Ellis brings a quieter, more grounded character to these scenes. There is a vulnerability between Bishop and Goodish that you might just find helps us believe in this duo win. SaniaFaith and Ellis play off each other beautifully, bringing a genuine humor to the relationship that pushes it over the top.

The hype of the wrestling matches alone makes Two Out of Three Falls worth a watch. The stellar scenic design and strong ensemble make it a night of intrigue and fun.

Two Out of Three Falls runs through July 18 at the Factory Theater – 1623 W. Howard Street. For tickets and information, see the Factory Theater website.

RECOMMENDED

This review is proudly shared with our friends at www.TheatreInChicago.com. 

Invictus Theatre Company’s latest production of The Tragedy of Macbeth, adapted and directed by Sarafina Vecchio, delivers a potent, intense experience that brings Shakespeare’s tale of ambition vividly to life. This production leans into the raw and brutal aspects of the play, creating an atmosphere thick with dread and foreboding. With excellent performances and a thoughtfully designed set, Invictus’s Macbeth stands out in the Chicago storefront theatre scene as a bold approach to one of Shakespeare’s most famous works.

At the heart of the production is Mikha él Amin in the title role. Amin brings a formidable presence to Macbeth, portraying a general-turned-tyrant with both vigor and subtlety. His portrayal balances Macbeth’s inherent ferocity with moments of doubt, remorse, and even fear as he descends into madness. Amin’s performance is well-matched by Carolyn Kruse as Lady Macbeth, who brings a fierce, complex energy to the character. Kruse’s Lady Macbeth is haunting, ambitious, and unyielding, yet she skillfully peels back layers to reveal her character’s vulnerability and psychological unraveling. Amin and Kruse ignite the stage with their magnetic performances, creating scenes of palpable intensity that hold the audience spellbound.

Adding to the haunting atmosphere are the three witches, portrayed by Christy Arington, Tessa Dougherty, and Julia Rowley. Their performances are eerie and grounded, capturing the supernatural essence of their characters while also bringing an almost elemental quality to the stage. Their dynamic movements and interwoven voices create a sense of otherworldly presence that lingers throughout the play, underscoring the tragic path Macbeth chooses.

The supporting cast is equally impressive, with Michael B. Woods as Macduff and Diego Longoria as Malcolm delivering strong performances. Woods’s portrayal of Macduff is both intense and deeply felt, particularly in his reaction to the tragic news about his family. His confrontation with Macbeth is powerful, filled with a mix of righteous anger and despair that grounds the play’s emotional climax. Longoria brings a sense of resolve to Malcolm, effectively conveying his transformation from a hesitant prince to a determined avenger. Joshua Razavi as Lennox, Aimee Kleiman as Rosse, and Charlie Diaz as Banquo also add depth to the story, each bringing unique qualities to their roles.

Manuel Ortiz’s scenic design and Cindy Moon’s costume design work in harmony to create a visually arresting production. Ortiz’s set—a sparse, Scottish clearing with stone carvings—evokes the stark beauty and rugged landscape of the Highlands. The carved stones suggest an ancient, mythic past that mirrors the play’s themes of fate and inevitability. Meanwhile, Moon’s costumes are richly layered, providing insight into each character’s status and role. Her war outfits are particularly notable, with armor and fabric choices that reflect the grueling, blood-soaked conflicts in the story. The costumes not only enhance the period feel but also convey a sense of realism, showing the wear and tear of lives shaped by relentless battle.

Under Vecchio’s direction, the production maintains a taut, relentless pace. The play feels almost claustrophobic in its intensity, with each scene building steadily toward the tragic climax. Vecchio’s staging highlights both the psychological turmoil of the central characters and the brutal violence that punctuates their journey. The fight choreography by Violent Delights is visceral and realistic, adding to the bloody, unforgiving tone of the production. In many ways, Vecchio’s direction echoes the grandeur and darkness typically associated with larger, more established theaters, making it clear that Invictus Theatre is a force in the storefront theatre community.

Overall, Invictus Theatre Co.'s Macbeth is a triumph. With exceptional performances, evocative design, and tight, effective direction, the production successfully brings Shakespeare’s tragedy to life in a way that is fresh yet faithful to the original text. It’s an immersive and unforgettable experience that cements Invictus Theatre’s place among the top-tier Chicago theatre companies.

Highly Recommended
When: Through Dec. 15
Where:  Invictus Theatre @ Windy City Playhouse, 3014 W Irving Park Rd, Chicago
Tickets: $25 - $38
Info: invictustheatreco.com