A Beautiful Tribute with The Pianist of Willesden Lane

By Lazlo Collins

Recommended

Mona Golabek is a treasure for the ages. Her current appearance in “The Pianist of Willesden Lane” is an amazing story of survival and love.

The audience is curiously drawn in to her story. The story of her own mother, Lisa Jura, and her search for family and freedom in Europe during World War II is a remarkable one. Her love of her mother moves over the audience like a comforting blanket during the show.  Ms. Golabek moves from place to place and character to character with ease. It feels as if she needs to tell this story or she will burst. Her passion for her heritage is clear.

A Breath of Spring

Enchanted April

Slip off your Wellingtons, shed your Mackinaw and fold up your bumbershoot.  Matthew Barber’s stage adaptation of Elizabeth Von Arnim’s novel about four ladies who book a much-needed holiday away from soggy Olde London at a secluded Italian castle is a splendid entertainment after what has been Chicago’s wettest, rainiest April in history. It’s the perfect play presented at the perfect time, and what a welcome delight it is.

Artistic director Scott Phelps has staged this delightful respite from the rain with style and flair. Drab Act I, takes place in Hampstead, England during the monsoon season of late winter. Shades of gray and black dominate both set and costumes against a soundscape of eternal precipitation, and peppered with occasional thunder. Phelps has staged his company of actors amid stiff and stodgy formal settings: in drawing rooms, at tea tables, in church pews. His cast becomes extensions of their surroundings, the personification of the stiff upper lip. Only Lotty Wilton, the play’s narrator and the catalyst for this daring adventure, is able to temporarily break loose from those societal ties that bind. But this is, after all, the 1920’s when women’s roles were more restricted. Lotty’s dream of an all-girl holiday, away from the men who define a woman’s every word and movement, seems wild and almost sacrilegious to everyone but an enlightened “Modern.”

Phelps’ second act bursts with color, freedom and the bliss of living. The rain is replaced by sunshine, flowers and a girl-power camaraderie that turns infectious. Rose, the unhappy, uptight acquaintance who Lotty coerces into joining her in this much-needed getaway, sheds her dark cocoon-like clothing and becomes a butterfly in pastels and parasols. Even elderly Mrs. Graves, whose only London companions were her books and past memories, leaves her walking stick and blossoms into the younger lady she once was. Lotty’s third travel mate, Lady Caroline, relishes in a male-free environment…or so she says. With the unexpected arrival of Mellersh and Frederick, Lotty and Rose’s husbands, and Mr. Wilding, the handsome young landlord of the estate, everyone blooms under the enchantment of April.

Jamie Lee Kearns, whose strong resemblance to film actress Amy Adams is remarkable, is the unsinkable Lotty Wilton. Her spirited performance is the engine that drives this play making Lotty’s eternal romantic optimism as contagious as the sunshine. Kelly Farmer’s Rose is a deeper, more cerebral portrayal of a young woman whose married life has become dull, predictable and inescapable. As Ms. Farmer literally lets her hair down in Act II, all her sorrow and misgivings fall away, her expressive face prompting the audience to cheer her journey to happiness. Katherine Biskupic is stunningly beautiful and composed as the free-spirited Lady Caroline. Her life of ennui dissolves when Mr. Wilding (Matthew Gall in one of the brightest performances of the evening) shifts his interest to her and romance unfolds. Veteran actress Marilyn Baldwin creates a no-nonsense Mrs. Graves, the last bastion of proper British society. However, as the men begin to arrive we see her soften and become the darling of the day. And Rita Simon’s Italian housekeeper Costanza, supplies much of the play’s humor as she reacts to Mrs. Graves’ boisterous demands.

Christine Kneisel and Lisa Hale’s innovative, flexible set and period-suggestive costumes add sparkle to this entertaining production that make April, or any other month, as enchanting and refreshing as a Spring spent in the Italian countryside.

Recommended

Presented Thursdays through Sundays, April 26-May 26 at the Citadel Theatre, 825 S. Waukegan Rd., Lake Forest, IL.

For tickets call 847-735-8554 or go to www.Citadeltheatre.org.

For additional information about this and other productions go to www.theatreinchicago.com

Rachel York, “You’re The Top” in This Revival

Anything Goes

Can there be any better way to shake off the blues inflicted by Chicago’s never-ending winter than with a bright, champagne bubbly, laughed-filled Broadway revival that offers star talent, opulent costumes and sets, a classic score and more tap dancing than any show currently playing? This 2011 Tony Award winner for Best Musical Revival was directed and choreographed by the brilliant Kathleen Marshall for New York’s Roundabout Theatre. In addition, the production deservedly won Tonys for choreography and its lead actress, Sutton Foster. This National Tour which is, by the way, an Equity production, stars the boundlessly talented Broadway star Rachel York as Reno Sweeney and an entire cast of talented triple threats who make this production look effortless in their accomplishments.

Seven brides for Seven Brothers… Wait

By Olivia Lilley

A young woman all in white tears every rose from it’s stem in her bouquet under an ocean of roses and stems. Tears flood her cheeks as a well dressed man with a martini casually remarks, “Hi. I’m Julian.” Straw Dog’s production of Chuck Mee’s “Big Love” shows you a world where girls can have fifty sisters, old women know every word to Carly Rae Jepson’s “Call Me Maybe”, fifty grooms arrive by helicopter, and strangers think they know what’s best for you and your future and their word is law. Under Matt Hawkins’ direction, Chuck Mee’s play is half Greek tragedy, half David Lynch film. From the moment the pianist decides to continue after his song is over, you know you are in for some surprises. One of the most epic entrances I have ever seen happens in this. I will not ruin it. The ending is one of visceral, haunting proportions. I will not ruin that either.

The Catch of the Fall Broadway Season

Big Fish

If opening night is any indication, the next big hit on Broadway this October is bound to be this bewitching musical version of Daniel Wallace’s novel that tells the story of the strained relationship between a father and his grown-up son. The stress reaches a peak between Edward Bloom and his son Will on the boy’s wedding day and continues until the two finally reconcile  on Edward’s deathbed. This new Broadway bound show is a melodic journey to understanding and acceptance that touches the heart, warms the soul and enlightens the mind.

See this Sea. Deep. Blue and Moving

Danny and the Deep Blue Sea

By Lazlo Collins

“Danny and the Deep Blue Sea” is beautifully acted and a simple quiet treat.

It is indeed quiet, dim, and tense at the bar where our two characters first meet; setting the tone for this dark drama of lives thrown together for a twisted connection.

A popular 1983 play (by Doubt playwright John Patrick Stanley) that has had longevity among acting competitions. This intense two person drama gets a new life line with Kokandy Productions at the Athenaeum Theatre.

Danny (Brandon Galatz) and Roberta (Jodi Kingsley) are two angry people who cannot seem to move on, or around, or go anywhere really. As they begin to talk and jab at each other, one thing is clear; their choices may not always have been great. They come together in a desperate dance of yearning for a connection they both so desperately want and need.

He agrees to come to her room she shares with her family. After some awkward lovemaking, the road to just a one night stand is interrupted by conversations of discovery and common pain. Their revelations sting with the bitterness they have endured, but draw each one close to each other with a common bond.

Tenderly, before they fall asleep, they talk of marriage and the promise of the new day. As the light changes from night to day, Roberta must face the reality of her life with her parents and her child. Danny is not so eager to let it go. They spar like the fighters they are with emotional punches coming fast and furious.

Should these two characters make a decision about any sort of life together, the road ahead is uncertain and will take all their focus.

Mr. Galatz as Danny was predictably intense, but showed a great sense of tenderness and emotion. He brought likeability to this troubled and confused man. As an audience member, I wanted to reach out make sure he would be okay. As Danny, Mr. Galatz moves this character through his emotional paces with ease. He was comfortable to watch and was ultimately engaging. His performance was rare and touching for this play. It’s usually over played like a character from “Wiseguys”.

As Roberta, Ms. Kingsley is remarkable. Her subtle and internal rhythms are lovely. Her sweet, yet cat like switches in tone are fun to watch. She is fearless and also fearful of what will become of her. She shows us the depths of Roberta as the story unfolds. It is beautifully painful to watch her comfortableness as Danny begins to warm up to her. Her performance is varied, sweet and sad; with a glimmer of hope in her eyes.

Wonderfully directed by K. Hannah Friedman and simply setting by Zachary Gipson, this black box beauty is perfectly crafted.  The lighting by Mac Vaughey is a superb contribution to this show’s success.

“Danny and the Deep Blue” runs through 28 April on Thursday through Saturdays at the Athenaeum Theatre on Southport. For tickets go to the Athenaeum Theatre box office or call 773-935-6875. Also at www.anthenaeumtheatre.org

For more information on this and other shows please visit theatre in Chicago. The  website is www.theatreinchicago.com

"God's Gonna Trouble The Water"

By Olivia Lilley

“Head of Passes” refers to the mouth of the Mississippi river. For two magical hours, we watch helplessly as matriarch Shelah, her house, and her family are washed away by its waters and swallowed up by the gulf till there’s nothing left. Playwright Tarell Alvin McCraney deserves all of the awards he receives, and Tina Landau directs a production, which sings at the top of its lungs; much like the stunning otherworldly vocal stylings of

Kyle Beltran as the lonely, confused Crier. Cheryl Lynn Bruce is a hurricane as Shelah, the mother and grandmother struggling to rule over her family after the passing of her husband. Jacqueline Williams as Mae is her perfect foil and sidekick. James T. Alfred and Glenn Davis are believable, hilarious, and touching as the brothers who couldn’t be more different. Ron Cephas as Creaker and Kyle Beltran as Crier were the goofy, dysfunctional father son duo that always brought an extra jolt of energy to the stage. Tim Hopper as Dr. Anderson walks the line of close friend and greatest threat very well. As the carrier of the truth about Shelah’s illness, he represents its presence in her life as much as he represents the family’s devotion, respect, and desire to take care of her. Alana Arenas gives a knock out performance as the enraged, wounded Cookie. Chris Boykin as the angel was the most convincing ghost I’ve ever seen portrayed onstage, and his construction worker was precisely what he needed to be.

David Gallo’s set design was subtle in all of the right ways. From it’s use of the light bulb to the suggestion of the Gulf to the dressing of Shelah’s room in the second act, for which there are several layers of interpretation, this was the work of a master. One of the most expressive visual effects I have ever seen happens towards the end of Act 1, which I will not give away. Scott Zielinski’s lighting was in harmony with the set and the acting.

Steppenwolf is one of those theatre companies that lives to take risks. Everything about this play is ambitious: the language, the structure, the plot, the themes. It is the early work of a tremendous talent in the making.
Do yourself a favor. Go see it.

Head of Passes
By Tarell Alvin McCraney
Directed by Tina Landau

Running April 4th – June 9th, 2013 in the Downstairs Theatre

Steppenwolf Theatre
1650 Halsted St.
Chicago, Il 60614

For more information on this and other shows please visit theatre in Chicago. The  website is www.theatreinchicago.com