Not too late to celebrate Moliere at Court Theatre

By Lazlo Collins

Highly Recommended

The successful modernization of the French Classics is indeed the goal with all theatres that include a worldly repertoire.  The Court Theatre’s “Tartuffe” brings this satirical comedy by Moliere to life with accessible gladness.

Under the expert direction of Charles Newell, and lovingly translated by Richard Wilbur; this adaptation is superb. It is a smart and funny production that has the audience from the first word.

The story of the imposter Tartuffe takes us to our very own Hyde Park/Kenwood, and the home of Orgon (A.C. Smith).  Orgon has a guest that the rest of his family is ready to boot out of the house. He is completely under Tartuffe’s power. The guest is Tartuffe (Philip Earl Johnson). He is a religious charlatan that has taken over the household. Tartuffe instructs and swaggers, keeping all that reside or enter the house within his religious fervor.

Mr. Johnson plays Tartuffe with all the smarmy robed elegance he can muster. He was as beguiling as he was oily.

Orgon’s mother (lovingly and hilariously played by Allen Gilmore) approves of Tartuffe’s house take over. Mr. Gilmore plays the part with just the right amount of sass and wink. She extoll his virtues to the home’s occupants as the story unfolds.

The immediate family unit is Orgon’s wife, Elmire (Patrese D McClain); their son, Damis (Dominque Worsley); and daughter, Mariane (Grace Gealy).

We learn Mariane’s heart belongs to Valere (Travis Turner), but her father has other plans for her to wed Tartuffe.

As the story unfolds, the family must stop the impending nuptials. Since they cannot sway Orgon’s opinion of Tartuffe, they need proof.  Tartuffe has shown some unwanted affection towards Elmire. She decides to trap Tartuffe in a classic hilarious over-and-under the table scene.  Ms. McCain was superb as the faux vixen.

After Tartuffe is revealed as the player he is, he vows to ruin the family and remove them from his home.  Can he be stopped?

This talented and energetic cast makes this piece sing with joy and abounding energy.  I appreciated all the actors’ attention to character detail. Mr. Smith as Orgon commands the stage as he slowly comes around to see what the family has been trying to tell him from the start.

Leading the persuasive charge from the get go, is Mariane’s lady’s maid, Dorine. Passionate and outspoken Elizabeth Ledo brings the audience fully on board with her delightfully cocky portrayal. Her character says it like it is, and won’t be still for anyone. He performance is a stand out.

The set design, lighting and sound were perfect for all the proceedings.

I thought the costumes, although modern in style, gave us a nod and a wink to the past.  It was a bright and beautiful collection keeping the audience smiling.

I have seen productions of “Tartuffe” before and this particular production is at the top of the list. The translation was bright with a contemporary flair.

Tartuffe at the Court Theatre continues through 14 July as part of the Moliere Festival. For tickets visit www.courttheatre.org

For this and other productions please visit www.theatreinchicago.com

Don’t Wait, and go see “Lefty” at the Oracle

By Lazlo Collins

As any theatre person, goes and goes and goes to theatre; you begin to make a series of expectations; what the play will be like? How the musical will sound?   How will THAT particular company engage its audience? Many of the shows meet the expectations you already have in your head. As an audience member you assess each of the theatre’s you attend.

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.

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

Chalk Up Another One for Promethean Theatre Ensemble

By Lazlo Collins

Recommended

The Promethean Theater Ensemble’s “The Caucasian Chalk Circle “is a visual and auditory delight! The baby is never thrown out with the bathwater in this inventive telling of this well-trod Bertolt Brecht classic.

With lovely original music by Matt Kahler moving the tale along; this classic tale of a government’s fall, a servant’s journey, and love reunited is high energy fun. Director Ed Rutherford’s clever staging and new vision keep this story relevant.

The play is as relevant today as when it was written in 1944. Keeping all the socially relevant aspects, but keep the action moving was a great move for director and company. This is the story of an abandoned child of the wealthy rulers who is raised by a servant on the run. Ultimately, through time and troubles, the now toddler is brought to the court to determine who’s

child it REALLY is (or should be). Is it the one who bore the child, or the one who brought up the child? The results will “tug” at your heartstrings.

A strong beginning and pleasant thread through the play was the likeable Cary Davenport as the Lead Singer. He has a lovely voice and gets the ball rolling and keeps things moving.

The talented cast of young energy and commitment was impressive. I loved the multi-player and multi orchestral aspect of the show. I was impressed with the acting and the musicianship that was displayed throughout the show.

Sara Gorsky as “Grusha” was an exceptional stand out. With a just a few moments to breathe throughout the show, Ms. Gorsky moves through her songs and story with ease and admirable commitment.

Also, Teddy Lance as “Azdak” was another high energy stand out. His delivery of the judge and other characters was unique. His tongue twisting prose kept me engaged during his turn on stage. His confidence was palpable.

“Corporal”, Alex Mauney, was great to watch and fear.

All the designers of the show should be very happy with all their efforts. The puppetry, props, and set design worked well. The wall of goods was especially effective. My kudos to the actors on opening night who improvised a hilarious bit of replacing a coffee pot that had fallen off the wall; well done.

Although the show moved swiftly and with high energy, the second act feels a little slow. I hope this cast keeps up the pace throughout the run of this sweet inventive offering from Promethean.

“The Caucasian Chalk Circle” runs through 9 February 2012 at City Lit Theater Space. For tickets go to www.brownpapertickets.com or call 1-800-838-3006.

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