Monthly Archives: August 2013
Strawdog Theatre Meets Us ‘Round the Pub, With “Conversations on a Homecoming”
By Lazlo Collins
Somewhat Recommended
“Conversations on a Homecoming” is the latest offering at Strawdog Theatre Company. This 90 minute “conversation” is well acted, but the story stunts the action.
I have seen several Irish Plays performed throughout the years. They are generally speaking, dark; and have a brooding quality about the story and characters. Not to disappoint, Tom Murphy’s characters are dark and brooding. It was hard to wrap my head around this piece as the play moved along. Mr. Murphy’s play seemed too slow and pondering, with a pace that never really took off. I am aware he is a well lauded playwright, however, I never quite engaged with this particular play of his.
The story revolves around “Michael’s” homecoming to Ireland. He has been in America for 10 years, and is now coming to the pub to see his friends. Michael’s homecoming brings up all sorts of emotions for the group he is about to engage. It’s the mid-seventies and the promise that was the early sixties in Ireland has shaped these now middle aged men and their respective circumstances.
The friends at the pub are at first happy, or perhaps intrigued, to see their old friend from Galway. As the conversation and liquor begin to flow, the emotions run high. The pub guests’ volley, poke, and prod at each other until failed longings and misguided decisions are painfully revealed.
The direction by Jonathan Berry was well executed. The staging of the players was staged in the main room of the pub, like fighters in a cage match. He moved the actors around like fighters jabbing forward and back; retreating to the corners of the pub when the conversations became too heated, at strike of some imaginary bell.
The most captivating and most destructive of all the patrons is “Tom” (excellently played by Michael Dailey) Mr. Daily’s portrayal of a jealous man, taken down by his own decisions was perfect. He was menacing and made me angry. That means he did his job. I felt pity and rage all at once. Mr. Daily is a talented actor.
As his long suffering mate, Anita Deely as “Peggy” was well played and real. Ms. Deely did a fantastic job. She kept the pathos and pace in check and on track. I loved her touching moments, and the moments through the play when she realizes she must soberly face her uncomfortable fate, just outside of Galway.
Adam Soule does a good job as the returning “Michael”. His optimism and personality shine through at every obstacle. He regally portrayed a man who wants to be part of his past, but as seen too much of the future. His interest in the quiet “Anne” was sweet and appropriately uncomfortable.
The other colorful pub characters give it their all as the come and go through the conversations throughout the play. Jeff Duhigg as Junior was understated and sweet, with just the right amount of angst. “Liam”, played by Ed Porter was more problematic. Mr. Porter seemed a bit out of sorts with the rest of the cast. His ill at ease character of “Liam” had a frenetic energy that didn’t seem to match the rest of the actor’s paces.
I tip my hat to the young actress that played “Anne”, the pub owner’s young daughter, after a medical emergency that prohibited the original actress from participating in opening night. She forged on with script in hand, and did an outstanding job. Please buy that girl a pint.
The set was meticulously executed and designed by Mike Mroch. I enjoyed the use of the Strawdog space.
This play has everything going for it, except, for me, a truly compelling story. The way poor Michael was received, I would have left before the first pint was finished. The special moments of the story get lost in the translation.
Perhaps it was too warm in the theater, perhaps I needed a pint from a long day; but whatever the reason, I was not transformed with the actors. I felt like an uncomfortable bystander waiting for them to stop drinking and go home. I never felt the payoff.
Maybe I need to see more Irish plays and discover that the yelling and confrontation is just part of the conceit of these types of shows.
Again, the acting, the accents, and the action seemed like a labor of love, without the grounding of a compelling story.
Conversations of a Homecoming can be seen at Strawdog Theatre through 28 September 2013. Tickets can be purchased through the box office at 773-528-9696.
For more information on this and other shows please visit theatre in Chicago at www.theatreinchicago.com
The Power of Love Validated in Violet
The Color Purple
With a plot that spans forty years and two continents, Marsha Norman’s (“The Secret Garden”) book, with music by Brenda Russell, Allee Willis and Stephen Bray, feels a little bit choppy. So much story and so many characters are packed into this much-honored musical that it’s often difficult keeping track of where we are and how many years have passed between scenes. But, because of a winning, earnest, enthusiastic cast, some exciting choreography and a beautifully played and sung score, this poignant story praising the kinship of girl power and love’s healing quality emerges.
Letting Boy Small out of the Cage
Fine Print Theatre’s Boy Small
Playing at The Red Tape Theatre on Belmont is a show called Boy Small, presented by The Fine Print Theatre, written by MT Cozzola, and directed by Patrick Kenney. It is based around the events of Christian Choate, a thirteen-year-old boy whose body was found after he was neglected and abused by his family to the point of death. The production presents a look at what this family might have been like, focusing on the father, stepmother, sister, and of course, the boy. Even though the relation to Christian Choate’s murder is referred to in the playbill and the details very similar to the facts, Cozzola chooses not to keep the real names of these people but instead gives nearly everyone titles like Dad, Sissy, and Boy. The details aren’t quite the same either, but none of the police reports could tell us exactly what was going through the minds of these people who abused their son. The playbill also includes a quote from Riley Choate, Christian’s father, saying ‘All my actions will haunt me forever. I loved my son.’ The show makes the situation complicated, painting no one as a true villain or victim.
Frat Party Meets Shakespeare in “12 Nights”
12 Nights – The Hypocrites
By Eva Morelli
The Hypocrites’ world premiere production of “12 Nights” invites the audience into a rainbow world of astroturf, beach chairs, and strings of patio lights as an energetic cast of four present a tale adapted from Shakespeare’s “Twelfth Night” and two other lesser known plays.
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Opulence Shimmers in Oakbrook
Next to Normal
Don’t call Chicago the Second City when talking about excellent theatre. From its small storefront venues to its flashy Broadway in Chicago productions, we have it all. And once again Drury Lane Oakbrook has demonstrated why it was the recent recipient of the Illinois Theatre Association’s Excellence in Professional Theatre Award. This Equity house consistently offers the highest quality musicals and comedies, and their current presentation of Tom Kitt and Brian Yorkey’s Pulitzer and Tony Award-winning musical drama ranks as one of their finest productions to date.
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Dolly Parton’s Takin’ Care of Business
9 to 5, the Musical – Marriott Theatre
To paraphrase Jane Austen, “It is a truth universally acknowledged…” that the Marriott Theatre can be counted on for, not only professional quality productions, but for presenting a more intimate version of the Broadway original. Of course, this is partly due to the theatre’s in-the-round stage, seating the audience only inches away from the performers. But Marriott directors capitalize on such close proximity and cast only the most talented actors/singers/dancers, encouraging them to be more than just presentational. A Marriott audience sees the play on the actors‘ faces, thus creating the illusion of the first time every time. Excellent singers, skilled dancers, yes; but a cast who truly inhabit their characters making even the most familiar stories blaze with new life.
Come Hear The Music Play! at Light Opera Works, Cabaret!
By Lazlo Collins
Somewhat Recommended
Light Opera Works current production of Kander and Ebb’s “Cabaret” is a solid audience pleasing event. All the cabaret creatures are present and accounted for in this lovely sung and decorated version.
“Cabaret” is a tricky musical to stage anywhere. It can be deceptively difficult to capture the desperation, and raw terror that accompanies the all too familiar score of this Broadway classic. “Cabaret” sets the scene in pre Nazi Berlin. The tensions are quickly mounting as Berlin’s culture is changed. Hitler sweeps his power over this once playful city. Sexuality is burgeoning and confusing in these last safe days of Berlin’s cabarets. Light Opera Works “Cabaret”, under the skillful direction of Stacey Flaster, plays it safe.
Safe is not bad. The show, as a whole, moves well and there are some outstanding performances; but, the piece moved quickly over the dark political and sexual play that is in imbedded in “Cabaret”. This “Cabaret” is pretty and breezy. It’s makes the most of the dancing and familiar song book; it was an obvious choice to keep the tone light.
The much anticipated performance by artistic director Rudy Hogenmiller, as the “Emcee”, was in evidence for opening night. Mr. Hogenmiller’s command of the piece was excellent. He set the tone of the show from the get go. His doll like make-up and sinewy frame made him appear other worldly; perfect for our guide weaving us through this complicated story. Mr. Hogenmiller has much experience on the stage and this showed through his superb stage presence and dancing. His energy made the audience engage almost immediately.
Jenny Lamb as “Sally Bowles” was an energetic firestorm. Her frantic need for acceptance, with her lack of her own self-worth, makes her a complex character to portray. Ms. Lamb clearly has the vocal chops to bring Sallys’ songs to a life. Her counter point to Cliff seemed too rushed and manic. I wanted to care more about her, and see more inside her character; however, Ms. Lamb held her own and prevailed.
Having seen more than a few productions of “Cabaret”, I always feel like the Cliff Bradshaw characters are always cast as wooden men, with no particular emotional depth. David Schlumpf’s “Cliff” was a refreshing change. Mr. Schlumpf brings dimension and life to a character searching for the answers as his own world is turned topsy-turvy by The Kit Kat Klub, and all Berlin has to offer. He worked well with Ms. Lamb on stage. His performance never felt insincere or rushed, and his voice was beautiful.
If I had to pick a performer that kept me enthralled, it would be Barbara Clear’s lovely portrayal of Fraulein Schneider. She was the heart of this production. Ms. Clear interpretation and energy was superb. Her songs made me listen to her and the emotions she provided. After she calls off the wedding to Herr Shultz, her interpretation of, “What Would You Do?” is haunting and crushingly beautiful. She brought realness to the proceedings.
As Herr Schultz, Jim Heatherly, is both pleasant to hear and see on stage. Mr. Heatherly’s likeable acting style and engaging storytelling songs where great. He keeps the story moving and is always in the moment on stage.
The chorus and ensemble of players were right on the mark with all the dancing and singing. The gentleman that sang the lead in “Tomorrow Belongs To Me” was outstanding. He has a lovely haunting tenor to be sure.
I loved the Kit Kat Klub band on the stage. You ladies are rocking it, especially, just before the second act begins.
I also loved hearing this score with a beautiful orchestra under the direction of Roger L Bingaman. The music was superbly well done. It was rich and well balanced.
Angela Weber Miller’s scenic design was both practical and interesting. I liked the startling difference between the areas. I also like the way the glass store front was broken. The costuming, by Jesus Perez, was excellent with flair and sparkles where needed.
This “Cabaret” was a great evening out of solid entertainment.
Light Opera Works “Cabaret” continues through 25 August 2013 at the Kahn Auditorium in Evanston.
Tickets for “Cabaret” are available at www.lightoperaworks.com
For information on this and other productions visit www.theatreinchicago.com
Simpler Times: If Only the Fragrance of Wisteria Guided Our Travels
Rivendell Theatre’s Enchanted April
Is the summer heat lingering too long? Are the patterns of everyday tasks numbing and mundane? Let Director Evan Jackson and the Idle Muse Theater Company transport you to a simpler enchanting time at the Rivendell Theatre in “Enchanted April,” an original adaptation written by Matthew Barber of the 1922 novel by Elizabeth von Arnim. An award winning film was directed by renowned filmmaker Mike Newell.
“Enchanted April” begins with a monologue by Lottie who hopes to be transplanted from the everyday humdrum of caring for her husband. The rain that falls in front of her London windows doesn’t stop and the lines of rain are like prison bars trapping her inside their home. The excitement of living on the edge and appreciating everyday experiences of life, like taking time to enjoy the smell of flowers and seeing the beauty around her, is completely voided and replaced by the calls of her husband reminding her to care for him. Upon reading an ad in the “Times” newspaper about a castle in Mezzago, Italy, Lottie instantly thinks of a woman at her church named Rose who looks like a disappointed Madonna. She asks herself and the audience, “When a choice is presented in front of you, do you answer it?”
Director Evan Jackson brings to life this strong production because it speaks “directly to the heart, bypassing our intellect and reminding us, through our connection to other human beings that are so much like ourselves, that even in our deepest sorrow we all share the promise of a beautiful tomorrow.” The Rivendell Theater on the North Side where this performance is showing is an interesting space. With some 10 rows, the theater seats about 150 people. The front row is a few feet from the actors making it an intimate space and even the loud whispers and footsteps, and raindrops are fully audible. In such a small space, overacting isn’t needed, and the feeling is that you are in the passenger seat right alongside the characters.
The first half and the second half are very different. The first half crisscrosses between dialogues between the lead two women and their husbands, and then the lead two women with two supporting women who conspire to travel together. The second half has the four women laughing and eating on a veranda full of wisteria, roses, and lounging chairs. The intertwined adventure just begins to unfold there.
Staying in the theater during the intermission is recommended just to see the set transformed from English sitting rooms to an Italian castle garden. With no curtain separating the space between the audience and the stage set, and the small space and amount of time that stage manager Sara Robinson and assistant stage manager Cecily Romaynne Shives are given, their hustle and bustle setting up the second act set was engrossing, and the transformation was delightful.. Lighting by Laura Weily and Matthew Nischan was very effective during the train scene when Rose and Lottie are hours late in their journey to Italy. The sounds of the train wheels are audible and the scenery of the countryside flickers over the women’s faces indicating the gloomy first half has come to a close.
”Enchanted April,” which has received numerous awards, will appeal to many folks, from those familiar with train rides where laptops weren’t popped open, navigation by GPS wasn’t heard of, sharing intimate details of one’s adventures online would be unimaginable, and mention of a telephone was novel, to those of us caught up with how we might transform and redefine ourselves when the mundane experiences of our lives appear to trap us. The question then arises: ”What do you do when you lose yourself.” Sometimes the vehicle of life-changes involves travel, and this play will take you away.
The play runs approximately 100 minutes with a 10-minute intermission, is presented by special arrangement with Dramatists Play Service, Inc., New York; and is produced in part through the support of The Saint Art Grants Program. The local Midwest cast includes: Elizabeth MacDougald (Loyola University Chicago graduate) as Lottie Wilton; Mara Kovacevic (Columbia College Chicago faculty) as Rose Arnott; Joel Thompson (Anderson University graduate) as Mellersh Wilton; Brian Bengston (Idle Muse seven -year veteran) as Frederick Arnott; Catherine Hermes (artistic associate, Idle Muse) as Lady Caroline; Nathan Thompson (Knox College graduate) as Antony Wilding;, Maggie Speer (Azusa Productions Artistic Director) as Mrs. Graves; and, Jean Waller (former LA resident, in Chicago since 2008) as Constanza.
Treat yourself, or take a friend or two. You’ll have a lot to talk about together. That’s what friendship is about. That’s what “Enchanted April” is about.
Somewhat Recommended
Reviewed by Kazuko Golden
Rivendell Theatre’s Enchanted April
Presented August 8th – September 8th, by Rivendell Theatre, 5779 N. Ridge Ave, Chicago, IL.
Thursday, Friday & Saturday at 8PM, Sunday Matinee at 3PM
Tickets are available online via the Idle Muse Box Office or via phone at (773) 340-9438.
Additional information about this and other area productions may be found at www.theatreinchicago.com.
Dance, Art, Science, and Some Catchy Music
Oracle Theatre’s Pink Milk
In the first couple minutes of Pink Milk, a play about the life of Alan Turing performed by Oracle Productions in association with White Elephant, the actors say that this isn’t going to be a history lesson. The play is more of an interpretation of what Alan Turing’s life might have felt like. It verges on an experimental play, heavy with dance, original electronic music, and actors portraying abstract representations of ideas. And it is enthralling. Everything about this performance fit together like a clockwork machine. Even though sometimes the liberties the production took with Turing’s life were a little sappy, it did not bother me in the slightest by the end.
If you do not know, Alan Turing is the father of the modern computer. He strove to create machines that could think for themselves, though he never created a true artificial intelligence. His machines helped decipher enemy codes during World War II and he was charged and convicted for homosexuality in the mid-1950s. Pink Milk focuses on filling the gaps of what is known of Turing’s life. Central to the play is the possible love affair Turing had in his teenage years with another boy named Christopher Morcom. The play does a wonderful job of teasing out this relationship, and making it a continual part of what effects Turing throughout the rest of his lifetime.
Alan Turing is played by Aaron Stephenson, and Stephenson’s shift from the enthusiastic childhood Alan to the Alan at the end of his life when the world has almost literally beaten him down is a moving experience. All of the cast play their multiple parts very well, shifting from parent to lover to persecutor seamlessly. Cole Doman plays Christopher Morcom is great, and even after his character has left Alan’s life, he doesn’t play any other roles. Doman often sits hauntingly to the side as Alan faces many obstacles in his life. Doman also narrates the piece as Morcom, as if the character felt responsible for sharing the Alan he briefly knew. Fairly straight scenes flow in and out of choreographed dance moments and shift quickly into descriptive monologues or seemingly unconnected strings of words. The ensemble works as a whole, each supporting the other even when they are only silent observers.
The sound and the lighting designs for this production were wonderful pieces of art in themselves, but also helped to make the whole piece better. The lighting, designed by Jessica Carson, always managed to heighten the emotion of a moment. The sound was an original score created by Visager, a music producer/composer/performer working out of Brooklyn, New York that specializes in electronic music that samples field recordings, acoustic instruments, old videos, and more. The music from the production can be found at visager.bandcamp.com. In addition, the scenic and props were designed by Emma Pardini and the costumes were designed by Cassie Bowers. Both elements were simple and elegant in their execution.
The play is the work of playwright Alex Paul Young, a founding member of White Elephant Theatre. The play has been staged a number of times prior to this run, being part of a couple of exhibitions on the part of White Elephant and also being part of the New York City and Chicago Fringe Festivals. Oracle Productions has taken the play on as part of its B-Side series, continuing their mission of public access theatre. That means that this exquisite performance can be enjoyed for free by all. A slight word of caution if you have a physical disability, this small theatre sports bleacher type seating for their audience, so if you would like to appreciate it without climbing up steps with no railing, you should ask the theatre to reserve floor seats for you if possible.
Pink Milk, excellently directed and choreographed by Brandon Powers, may not be Shakespeare or Neil Simon type storytelling, but it is a fun, yet heartbreaking look at the life of a man who didn’t understand why the world had to make things so difficult. Whether or not they accurately depicted the life of Alan Turing didn’t really matter. The production expresses some beautiful sentiments about being misunderstood, science and art, and the joys of finding someone or something that can help you make sense of the world.
Highly Recommended
Reviewed by Clare Kosinski
Oracle Productions in association with White Elephant presents Pink Milk
Playing August 10 – September 7 at Oracle Theatre, 3809 N. Broadway, Chicago, IL.
Admission is free but reservations can be made by visiting publicaccesstheatre.org.
Additional information about this and other area productions may be found at www.theatreinchicago.com.
Bedfellows With Van Gogh
Strange Bedfellows Theatre’s Inventing Van Gogh
When you enter the space at City Lit for Inventing Van Gogh, you are greeted by paintings. Some seem to be replicas of Van Gogh’s work, others entirely original, and one was depicting the Blackhawks winning the Stanley Cup. But it all has that signature Van Gogh style of chucky strokes of colorful paint applied almost rashly but upon stepping back, beautifully arranged to create a piece of art that almost moves. The painters live painting in the lobby are doing so in the style of Van Gogh, but it is difficult for them to capture that certain vibrant element that Van Gogh’s great works have. In the play it is called ‘The Glow’. If you have never seen a painting of Van Gogh’s, then it is easy to take that term as a bit haughty. In fact, if you are not the type of person who has ever studied art history or had an interest in why the impressionist are called that, then you can probably bow out now and see another play. However, for those of you who love a discussion on what art is and how it should reflect nature or the truth of a man’s life, then I expect you will appreciate this play.
Inventing Van Gogh is the story of a young artist named Patrick who has been commissioned to forge a rumored lost portrait of Van Gogh’s, not long after the death of Patrick’s beloved art teacher who was obsessed with finding said portrait. But it’s not entirely about that. It’s about the path of Van Gogh’s life and philosophy on art in some of those final prolific years of his life. But it’s not entirely about that either. This play is much like one of Van Gogh’s paintings, an impression of a life without portraying it exactly how it was. It instead uses pieces to create a whole, not all of them true to history. As Patrick tries in vain to begin forging a masterpiece, he sees visions of his dead teacher, Dr. Miller, as well as Van Gogh himself. These ‘visions’ come in and out of scenes without much warning, and often walk straight through Patrick’s scenes with other characters.
The production, directed by Aaron Henrickson, has all of the passion of an eager young artist without much of the refined technique of a master. There are some interesting choices that just don’t work in the space or the structure of the play. For example, when the subject of ‘The Glow’ comes up, the incandescent lights above the audience glow. This is an interesting idea but in such a small space and with quick talking characters, it was a little distracting and noticing it took me away from the action. Another misguided choice was to have the actors’ don accents when representing figures from Van Gogh’s life. As a means of maintaining an authenticity and identifying when an actor was playing a different character, not a bad idea. However, the accents were inconsistent and sometimes even muddled the dialogue. Now, the performance I saw was a preview, so while some of these elements may get worked out, some choices just didn’t seem to work for the space, or stretched the talent of the performers too far.
All of the performers brought an exciting energy to their roles. Riley Mcilveen, who played Van Gogh, has a frenzied intellect when postulating on art that one would expect of the famed painter. Adam Schulmerich played both an arrogant art authenticator in the present day storyline and the artist Paul Gauguin as a boisterous Frenchman lusty for life. While Schulmerich’s French accent wasn’t as good as his British, both performances were enjoyable to watch. By far the strongest actor was Christine Vrem-Ydstie, who plays Hallie, the daughter of Dr. Miller, and one of the women Van Gogh painted. Every time she walked onto the stage I was immediately draw into her scenes. The dialogue for Hallie was so sharp and precise, and Vrem-Ydstie delivered it exquisitely. Patrick Cameron who played the lead role of Patrick perhaps gave the weakest performance but his character was also quite strange, being one of the most passive and silent in the play.
Much of this play seems taken directly from the hundreds of letters Van Gogh wrote to his brother and other artists. The language is very elevated and sometimes it is odd that phrases written down in letters from over a hundred years ago are shouted out as dialogue. Much of the play felt more like an art history class, but some of the language outside of the historical text was really striking. The phrase that stuck with me long after I left the theatre was when Van Gogh the hallucination discovers Patrick knowledge about his many letters, he says, ‘What gives you the right to read my letters?’. He continues on to say that seeing a painting or reading letters doesn’t mean anyone knows him. It is a fascinating comment on how we judge not just history, but artists. All art is an attempt to understand the world and is an expression of the artist trying to share those thoughts with others.
Strange Bedfellows Theatre takes on a very ambitious play and does it’s best with it. It is not a perfectly written play and it is not a perfectly executed production. But perhaps the imperfections of an artist are how we are to understand their message.
Somewhat Recommended
Reviewed by Clare Kosinski
Strange Bedfellows Theatre’s Inventing Van Gogh
Presented August 3 – August 25 by City Lit Theatre, 1020 W. Bryn Mawr Ave., Chicago, IL.
Tickets are available by visiting www.strangebedfellowstheatre.com.
Additional information about this and other area productions may be found at www.theatreinchicago.com.
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