ShawChicago Revisits George Bernard Shaw’s “Androcles and the Lion”

Androcles and the Lion, ShawChicago

Ruth Page Theater, 1016 North Dearborn Street, Chicago

February 4-27, 2012

Tickets $12.50-25

Recommended

For staged readings and Shaw’s works, ShawChicago is the place to go.

Review by Darcy Rose Coussens

This February, ShawChicago is revisiting George Bernard Shaw’s “Androcles and the Lion” for its 100^th anniversary. The show is a humorous take on the unlikely friendship between a lion and the Greek Christian who removes a thorn from his paw. The story takes place during Caesar’s reign in Rome, when both Androcles and the Lion are captured and expected to fight for the entertainment of the Romans. Androcles and his fellow Christians refuse to renounce their religion, but when sent to fight, the Lion remembers Androcles and refrains from hurting him.

This traditional tale is entertaining even in a minimal, staged reading approach. The actors were quite funny, particularly Christian Gray as Androcles, and the lion’s mask was very impressive. Although I prefer readings in which the actors interact with each other instead of facing the audience at all times, this production was engaging and only about an hour and a half in length, something important to consider for a staged reading with minimal action.

I might not pay $25 for a ticket, especially considering the extremely minimal production aspects. However, this not-for-profit is an excellent cause to support, presenting the plays of George Bernard Shaw as well as his contemporaries in a way that allows the imagination to flourish while involving several talented actors. They also present an extremely friendly community, providing for a comfortable setting and pleasant experience overall.

For fans of Shaw’s work, next up will be George Bernard Shaw’s “Mrs. Warren’s Profession,” which will run April 14-May 7, also at the Ruth Page Theater.

“South Pacific” is calling. Enjoy this tropical treat.

By Lazlo Collins
When you love theater as much as I do, and you are of a certain age, you have either been IN a production of “South Pacific” or have SEEN innumerable amateur productions of “South Pacific”. This being the situation in both cases, I was excited to see a professional production in all its glory. From the buzz at the 2008 Tony award winning production from Lincoln Center, I was looking forward to this new revival.
With the overture intact, underscoring what can only be described as, homage to the color slide tinting of “South Pacific” the movie, on the act curtain, I was excited to hear the classic songs of this winning musical.
If you are not familiar with the story of “South Pacific” it is the story of a World War Two romance. She is Nellie Forbush, the naïve girl from Little Rock, and he is Emile de Becque, the suave, plantation owning, Frenchman who left his native town because he, yes, killed a man.
The story goes deeper than war torn lovers thrust together. It weaves the tale of race and discrimination based on the color of skin and the consequences of following one’s heart and not what we are taught.
As “Nellie Forbush”, Jennie Sophia brings her strong acting chops and pleasant personality into the role. She has stepped into the role with enthusiasm and grace. She brings a lovely dependable voice. Her opposite is “Emil de Becque” played by opera guy Marcello Guzzo. He is solid and sings beautifully the shows familiar musical pining’s. The pair has a believable rapport and keep their scenes moving throughout the show.
Cathy Foy-Mahi as “Bloody Mary” puts in a standard performance. Her accent came and went from time to time and I actually wanted her to be even bolder, but she won me over with her creepy version of “Happy Talk”. The irony of attempting to make things cheerful with her dark intent was great.
While I enjoyed all the seabees, ensigns, and sailors in the show, they kept the action lively and fun. “Luther Billis”, (Christian Marriner) was a standout throughout the whole south sea adventure. His energy and enthusiasm was a noticeable addition.
Shane Donovan as “Lt. Joe Cable” was pleasing as the dutiful Marine. His voice was amazing and clear. I found him to be pleasant and very matinee idol like. I think I did want to see more consternation about decision to leave his lover “Liat”. (Hsin-Yu Llao)
A shout out to James Graham who played “Commander Harbison”, I thought his stage presence was outstanding and his strong but sensitive commander was superb.
The rest of the cast romping on the island were fun to watch and voices with all the familiar songs took me back to the first time I had heard the album at my bubba’s house when I was young.
The set was just right for me. It seemed like a post card with every scene. It was simple in its use with this traveling production. The themes seemed fresh and new for today; and not from 1949.
This production of South Pacific both made me nostalgic and satisfied. Not bad for the sometimes maligned Rodgers and Hammerstein. I think we could all use a dose of corny sweetness once in a while.
You can enjoy this treat of a south sea adventure and Bali Ha’i through Feb. 26, 2012 at the Cadillac Palace Theater. www.broadwayinchicago.com

Can’t Help Lovin’ This Show

By Frank Meccia/Gayle Kirshenbaum

Show Boat Is it a musical or an opera?

The magic of Oscar Hammerstein II and Jerome Kern came to life this past Sunday under the direction of Francesca Zambello. With added musical numbers and rearrangements by John DeMain, this 1927 hit transformed Broadway back then and transformed the Lyric Sunday with a new kind of musical theatre.  Opera Diva Frederica von Stade once said in an interview that ” the lines between Opera and musical theatre can be very blurry”. There are many Broadway musicals that are really operettas; Sweeney Todd, A little Night Music, The Most Happy Fella and Les Miserable to name a few. But these are hybrids to true opera. The debate will go on for years, but for Lyric Opera it has been a  fantastic journey.

With opera greats such as Nathan Gunn, Morris Robinson, Alyson Cambridge, Angela Renee Simpson and Ashley Brown their music and voices soar. Add to that some of the greatest voices and actors that have graced the Chicago stages for years, including Ross Lehman, Cindy Gold, Bernie Yvon, Renee Matthews and many others this show could only be superb. We had a chance to speak with Renee about what this experience means to her. After having studied at the Met for years she said “this is a dream of a lifetime come true, to step on the stage of the Lyric Opera with such an incredibly wonderful cast and crew”.  Set design by Peter J. Davison really shows off the charm of Chicago  in the early 1900’s and the beauty of the showboat.   And the period piece costumes by Paul Tazewell are a treat to admire.

If you’re looking for classic opera then see AIDA which is also playing at the Lyric this month. If you want to see a timeless musical with a cast that is truly the cream of the crop  then this is the show to see.  In answer to the question is it an opera or musical? Call it what you want but in the end it is truly a masterpiece.

Showboat runs through March 17.

For tickets call 312-332-2244 or Lyricopera.org

“Hunger” plants the seed of thought at Lifeline

By Lazlo Collin
“Hunger”, which opened recently at Lifeline Theatre, is one part interesting, historically based thriller and one part Soviet soap opera. So put on your gray overcoat and hunker down with a dedicated cast with a powerful drama.
When the Nazi siege of Leningrad in 1941 starts to happen, we come upon a group of scientists huddle together in a laboratory. We soon learn these scientists, although with different specialties, all are gathered to serve Stalin’s regime. And what do they all have in common? The service is to the seed. We have begun our journey with botanists of all disciplines safe (for now) in their office, or rather, the seed stronghold.
“Ilya”, broodily played by John Henry Roberts, in the lead; takes us through the story of 900 days of terror, famine, loss, and redemption. He is ultimately charged to protect the seeds along with his colleagues. They examine, philosophize, and ponder the meaning of why the seeds are so important. And what the real science of seed growth and propagation can bring.
Ilya’s wife, and fellow botanist, is “Alena” played by Kendra Thulin. Ms. Thulin’s portrayal of dutiful wife and true believer of good is subtle and quiet. She makes little noise against her circumstances until it is too late. Her opposite in the work place is the lovely Jenifer Tyler portraying”Lidia”. Ms. Tyler’s sad portrayal in the decline of what was once beautiful and sacred is at times heartbreaking.
The vocal and unsettled co-worker who gets worked up quite easily is “Sergei” played by Dan Granata. Mr. Granta’s worrisome portrayal of a man torn between duty and want is excellent.
Rounding out the lab partners is “Vitalli” played by Peter Greenberg. Mr. Greenberg plays Vitalli with a fragile resignation brilliantly. Later he excellently portrays Lysenko. The opposite in every way, Lysenko becomes the director of the scientific team and uses intimidation and inside knowledge to toy with the remaining team members. Mr. Greenberg sinks his acting chops deep and never let’s go. I loved seeing his transformation from the first act to the second. Well done Mr. Greenberg.
The female counterpart to Mr. Greenberg’s duo roles is Katie McLean Hainsworth as the mousey, quietly rebellious, “Efrosinia” in the first act and the slithery, sneaky scientist,” Klavdiya”. Ms. McLean Hainsworth does an excellent job with both characters. She creates two distinctly different women, both characters ultimately fooling themselves in the end.
Christopher M Walsh’s brings the group together as “The Director” that keeps hoping that everything will turn out okay until he is whisked away in an effort to bring about chaos and change among the scientists. Mr. Walsh also makes a second act resurrection as a different character with satisfying results.
Chris Hainsworth’s adaptation of Elise Blackwell’s novel of the same name is well crafted. Its detail to the days of the struggle represented by all the scientists is well done. Its seriousness circumvented with some humor to lighten the mood where needed. The play moved well, but I think could be served by a few scene snips.
With the writing and characters firmly in place, we should introduce the last of the characters in the show, the set. Jessica Kuehnau’s multi layered a multi-use space, was amazing. The nooks and crannies of the set explored by the cast, made the adventure of watching “Hunger” all the more entertaining. The set really had a life of its own; revealing itself, layer by layer, as the story progressed. Along with Lighting (Kevin D Gawley), and Sound (Andrew Hansen) the setting could not have been more satisfying.
The soundtrack sometimes seemed a bit Tele Novella, although I could see the movie reel style design bringing us back to a time of uncertainty and intrigue. This play will plant a seed of contemplation with its audiences.
“Hunger” runs through March 25 at Lifeline Theatre. For tickets dial 773-761-4477 or visit www.lifelinetheatre.com

Who Cares Whodunnit When You’re Dating Walter Dante?

Who Cares Whodunnit when you’re Dating Walter Dante?

By Angeli Primlani

If you yelled at the TV when you heard that Drew Peterson was engaged to a 23-year-old girl despite being suspected of murdering two of his four previous wives, oh boy is this is the play for you!  The Raven Theater’s world premiere of Jon Steinhagen’s Dating Walter Dante turns this tabloid situation into a delectable murder mystery, which teases a deeply human drama out of the cheap and familiar headlines.

Walter Dante is not exactly Drew Peterson. His first wife drowned in a swimming pool, not a bathtub, and Dante was married only twice, not four times. Unlike Peterson it is just possible he is innocent. That does not matter. This is not a play about the Drew Peterson case. It isn’t even really about Walter Dante. Instead the play asks why on earth any sane woman would date such a person, much less sign on to be Dead Wife Number Three?

Is Laura Bakersfield naive or brave to love this man? Are her friends justifiably concerned, or absurdly paranoid? Did Walter Dante really kill his two ex-wives, or is he an innocent man in a tragic horrific situation? And what is up with his dead wife’s ghost?  Is this, as the characters conflictingly claim, a drama, comedy, tragedy, dramedy, murder mystery, ghost story or love story? That’s for the audience to decide. The answers do not come easily.

Each member of the fine cast walks a delicate line that leaves the audience guessing. But Kristin Collins’ crushingly hopeful Laura is the heartbeat of the piece. At turns ridiculous, sensual, and flaky, she still has small town Midwestern steel carrying her willful optimism. You may find yourself wanting Walter to live up to her belief in him. Or you may want to scream that he can’t.

Dating Walter Dante is at the Raven Theater, Fridays-Sundays through March 24^th. If you love true crime, murder mysteries, love stories, or just a head cracking good tale, make sure you don’t have to rush home. You may want to stand out in the cold discussing the play with total strangers afterwards.

American Idiot Delivers Loud and Lovely

By Lazlo Collins
As I settled back into my chair at the Oriental Theater in Chicago, I began to recall Green Day’s American Idiot album (or should I say CD) that I heard before. The break out songs, the angry guitar riffs, and the raging lyrics by Billie Jo Armstrong were being strongly considered before the curtain rose.
When the act curtain was finally open, I searched the set for signs of a great Broadway musical. The music began and the volume was LOUD. Perhaps the “rage against society” or “where am I going” rock musical would be too much for me? Perhaps I was too old to appreciate the messages of lost youth, of lost passions, of friends separated too soon? I was getting nervous.
The hour-forty, no intermission, groundbreaking Broadway musical had begun. With the band onstage and ready to go, the story of three friends bored and ready to beat it out of town for something more, was off to a frantic start, with the title song of “American Idiot”.
The main trio of men is revealed immediately throughout the first song. Johnny (Van Hughes), Tunny (Scott J. Campbell, and Will (Jake Epstein) are three close friends. The three are bored, unmotivated, and questioning the world around them. And with their musical “Holiday” cue they are off.
At the gate, Will stays behind to take care of his child and girlfriend. Mr. Epstein plays Will with all the downtrodden apathy he can muster. He takes on his child filled consequences with careful consideration. He is left behind by his pals, but the drama of an unhappy girlfriend will keep his story moving throughout the show.
As Tunny and Johnny continue on to the “Boulevard of Broken Dreams”, Tunny joins the Army and Johnny stumbles behind. These two men are standouts in this production. Mr. Campbell is not only stunningly strong throughout his portrayal of the reluctant Army guy, but his lovely tenderness that translates from his profound loss is clear and so moving. He is a presence with his frame and his fabulous voice. I could not wait for him to sing again.
Mr. Hughes’s Johnny is also strong, clear, and a little dopey. I am not sure if this was a convention of this particular show, but was a choice that worked for his character. His descent from love into heroin madness is a heartbreaking. Mr. Hughes is very likeable on stage, not to mention his enormous talent as a performer and singer. His clear tones with contrasting sweet ballads versus rock and roll anthems are well executed, and emotionally driven. His casual, wily, smile suits this actor well.
Wait a minute, my nervousness and apprehension about the show is gone. I am totally into the story, song, and characters. It is still LOUD, but also soft, also sweet, and also sad and thought provoking. It is official. I am a fan.
As the story moves along for each of the men, we meet their muses. The pregnant, Heather, played by Leslie McDonel; the mysterious drug lover, Whatsername, played by Gabrielle McClinton; and the Army fantasy companion, The Extraordinary Girl, played by Nicci Claspbell. These woman were all excellent in there respective roles. Ms. McDonel and Ms. Claspbell were matched perfectly for their characters. Through the anger and frustration came lovely voices that translated throughout the audience. Ms. McClinton’s intensity sometimes overshadowed her performance and at times it was difficult to understand her lyrics. That said, it is a difficult role to perform with its constant intensity.
Rounding out

the rage is “St. Jimmy” played delectably sinister and invasive by Joshua Koback.(His “exit” was brilliantly staged.) His voice was amazing as well. Bravo!
It would be completely wrong not to mention the dynamite ensemble that continued to swirl and move around the main characters. The choreography (Steven Hoggett) was always interesting and always seems to be pushing, and fighting against an invisible force surrounding the actors. Each time an ensemble member was featured in a solo performance there was never a disappointment in style and performance.
The scenic design (Christine Jones), sound design (Brian Ronan), lighting design (Brian Ronan), and lighting design (Kevin Adams) were all amazingly integrated in this production. Many times I smiled at the wonder of these elements all working together at such an accelerated pace.
I tip my hat to Michael Mayer for another successful youth driven discovery piece for us; (Although the set seemed reminiscent of “Spring Awakening” in some ways; sans the monitors.) and to Green Day for its driving melodies and clear line of musical power; moving from album to musical theater showpiece.
As the final strains of the guitars after the curtain call brought a tear to my eye, it was clear; I HAD been captivated by all the misplaced dreams and rage. “American Idiot” had won me over. You are never too old for rock and roll and rage. Go get carried away.
“American Idiot” continues at the Oriental Theater, through Broadway in Chicago, through 19 Feb. 2012. Call 800-775-2000 or online at www.broadwayinchicago.com