Author: Colin Douglas
How the Pandemic Has Affected Us
How Do We Navigate Space? — Strawdog Theatre
Living in Chicagoland during the past year, as the Covid-19 pandemic drastically changed everyone’s lives, people of all ages were forced to think differently about their existence. This was particularly true within the last few months, during a winter that seemed never-ending. This beautiful, often unusually poignant and sometimes humorous mixture of film and live performance is a poetic depiction of almost everything that’s touched our hearts and souls during this stifling quarantine.
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A Shakespearean Send-Up
Out, Darn Spot — Hell in a Handbag
In a departure from Hell in a Handbag’s familiar parodies, this latest viral offering is a send-up of a famous Shakespearean drama. The company is known primarily for scores of hilarious lampoons of satire-worthy films and TV shows, like their recent Golden Girl series. Artistic Director and actor extraordinaire, David Cerda, who usually writes, directs and stars in most of Handbag’s brilliant productions hands the reins over to one of the other company members, Tyler Anthony Smith. Taking a cue from Mr. Cerda, Smith not only writes this spoof of a women’s television talk show, but directs and stars in the play.
“Lady” Marcia Macbeth, the star of this mock TV show, opens this episode with the happy homemaker hostess greeting her audience, clad in a negligee dripping with blood. Supposedly this installment is a recently-discovered, lost, final episode of Marcia’s long-running lifestyle program for women, “I’m Not a Suppressed Homemaker.” She attempts to explain away all the gore by telling us that she just butchered some poultry, in order to make a chicken pie for her beloved husband, Mackers. Soon there’s a knock at the door and a face in the window: it’s her neighbor, famed author of Valley of the Dolls, Jacqueline Susann. It turns out that Tillie, her pet chicken is, coincidentally, missing!
As this episode of “…Homemaker” progresses, the audience begins to witness Lady Marcia slowly dissolving into a psychotic mess. She appears to be falling down a rabbit hole of confusion, while undergoing a series of mental breakdowns. These are evidenced by the Lady’s incoherent ramblings, her butchered quotes from “Macbeth,” and her non sequitur accounts of strange occurrences and happenings from the past. There’s also the fact that Lesley Gore, Marcia’s celebrated musical guest for today’s episode, has been kidnapped and is tied up in her basement. Then the high jinks ensue.
Tyler Anthony Smith’s original work lends itself well to the health and safely requirements imposed upon theatres during this pandemic. It’s a filmed television program, interspersed with original live commercials. It wisely, only occasionally, features more than one actor in a scene. The style of this viral production is much more surreal than Handbag’s other offerings. Because it has the hallucinatory quality of a fantastic dream, it often feels choppy and has difficulty holding the viewer’s attention. Perhaps if David Cerda, or another director not as close to the writing, had guided this production, it would’ve had more clarity. But because Mr. Smith is both playwright, director and the leading actor, there’s little chance for much artistic objectivity or distance.
That said, Tyler Anthony Smith’s portrayal of Marcia Macbeth is commanding, often terrifying and frequently quite funny. David Cerda’s Jacqueline Susann showcases his usual comedic campiness, making us wish his character played a bigger role in this story. There are cameo appearances by several other Hell in a Handbag favorites, such as the inimitable Ed Jones as Fish Stick Phil; the forcefully funny Caitlin Jackson as Lesley Gore; Ryan Oates as the precious pubescent Milk Boy; Sydney Genco as Wanda, hawking her Pre-Boiled Water; and David Lipschutz as a smarmy Charles Manson. Michael Rashid and Robert Williams provide delightful voiceover work as the Gellman Brothers and Marcia’s Cameraman. Kudos also go to Stephanie Shaw, for her videography and editing, assisted by Mr. Smith. And Dakota Hughes and Keith Ryan pull out all the stops with their creative makeup and wig designs.
This is another imaginative effort by one of Chicago’s fine storefront theatres to provide new, adult entertainment that can be enjoyed as we continue to quarantine at home, during this pandemic. Although the curtain time is listed as 8:00 on Thursdays, Fridays and Saturdays, and 3:00 on Sundays, be sure to download the link fifteen minutes early. You won’t want to miss the humorous real commercials from the 1960’s. They’re guaranteed to provide some laughs and put viewers in the mood for this period comedy, that’s a real Shakespearean send-up.
Recommended
Reviewed by Colin Douglas
Filmed and streamed via Vimeo February 12-March 21 by Hell in a Handbag Productions.
Tickets are available at handbagproductions.org.
Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.
When Life Becomes Virtual
Here Lies Henry – Interrobang Theatre
A young man named Henry enters an empty stage and, after some awkward false starts, begins to unspool a variety of mixed information for his audience. The title doesn’t refer to Henry’s physical position; it’s a reference to the lies that he’s about to share with his audience. Dressed in suspenders, bow tie and a summer-weight sport coat, skilled actor Scott Sawa sets out to deliver his character’s circular treatise on life, love and letting go.
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Bringing Tinkerbell and Theatre to Life
Peter Pan – A Musical Adventure – Chicago Shakespeare Theatre
A little bit of faith, a modicum of trust and a generous sprinkling of pixie dust make this delightful holiday production soar up to the heavens. Spectacular and magical, this truly imaginative production for young audiences is a beautifully-wrapped theatrical gift. Chicago Shakespeare’s excellent production, filmed two summers ago before a live audience, is now the perfect Christmas confection. Directed and choreographed with spirit and creativity by the incomparable Amber Mak, she infuses her own special charm into this enchanting musical adventure. Elliot Davis based his original adaptation upon a book by Willis Hall. The musical features a pop score by George Stiles and Anthony Drewe that’s sure to charm every audience member, young and young at heart. Under the impressive musical direction of Kory Danielson, this wonderful work of whimsy definitely takes wing.
Read MoreDickens Tale for New Years Eve
The Chimes – Remy Bumppo Theatre Company
Toby “Trotty” Veck, a poor British public messenger in Victorian London, works hard to put bread on his table and a roof over his head. Depressed by newspaper accounts of all the crime and immorality among London’s lower classes, Trotty seeks solace by working diligently, as the year 1844 draws to a close. In spite of running into his daughter Meg, who’s brought him a hot dinner to enjoy during his break, and her fiancee, Richard, Trotty’s brought down even further by the remarks made by some upper class gentlemen. Pompous Alderman Cute and his two companions comment about the low lives of the poor. In doing so, they make Trotty, Meg and Richard feel hopeless, as if they hadn’t even the right to exist.
Upon hearing the bells tolling later that night, a suicidal Trotty is drawn to climb the church tower. There the old man encounters the spirits of the bells and their goblin attendants. They scold him for losing faith in humanity. To teach Trotty a lesson, they offer him a look at how beak his loved ones’ lives would become, if not for his continual love and encouragement. Much like Scrooge, Trotty wakes up in his own home, as the chimes ring in the New Year. As in “A Christmas Carol,” Trotty Veck comes to understand the value of savoring living in the present and offering help to those less fortunate than him, whenever possible. This is the means for assuring a brighter future for his family, friends and everyone around him.What Charles Dickens did for Christmas with his popular novella, “A Christmas Carol,” this second, in a series of of five holiday morality stories, does for New Years Eve. Both books contain strong social messages and, with the way 2020 has gone, Artistic Director Nick Sandys felt this was a perfect offering for today’s audiences. Mr. Sandys not only adapted Dickens’ work, he plays all the roles, delivering his well-rehearsed performance while sitting in the suggestion of a Victorian parlor. Bedecked in period garb, Nick’s one-man presentation is absolutely flawless. He IS Charles Dickens, the popular writer and showman, giving a public reading of his newly-published story. During the course of this 100-minute production, Mr. Sandys plays both narrator and a variety of other roles, making each character three-dimensional, with just a slight change in dialect, vocal quality and posture.
This magnificent, polished production is, understandably, more talk than action. But, it allows the viewer to use his own imagination as he joins Nick Sandys in creating images and painting pictures with Dickens’ words. The play is nicely stage managed by Mara Sagal and Ian Frank works a special magic as Video Editor. While the production takes place entirely in a single location, the lovely English sitting room is perfectly appropriate. Sound effects, evocative background music and unique lighting all help indicate mood and locale. All-in-all, this excellent one-man performance is another perfect production by one of Chicago’s finest theatres.
Highly Recommended
Reviewed by Colin Douglas
Presented December 7-January 3 by Remy Bumppo Theatre Company, available for on-demand streaming.
Tickets are available by calling 773-244-8119 or by going to www.RemyBumppo.org/Shows/Chimes.
Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.
A Remarkable Scrooge for Today
A One-Man Christmas Carol – Writers Theatre
In what must be described as a tour-de-force performance, Michael Halberstam creates an exquisite, solo presentation of Charles Dickens’ “A Christmas Carol.” With a lifetime of well-honed talent, an authentic British accent and absolutely perfect diction, Mr. Halberstam’s powerful voice effectively paints portraits and panoramas of Victorian splendor. And he accomplishes all of this exclusively with Dickens’ own words. Adapted by the actor himself, this abridged, 70-minute production is breathtaking. It’s filled with drama, poignance and a few unexpected moments of humor. The production is part of the Theatre’s holiday double bill, “Two Scrooges: A Christmas Carol Two Ways,” offering Manual Cinema’s multimedia “Christmas Carol,” along with this extraordinary, one-man performance.
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A Virtual Folktale Retold
Hershel & the Hanukkah Goblins – Strawdog Theatre
For the past two seasons, Strawdog Theatre has presented a special family holiday offering that’s aimed primarily, but not exclusively, at the Jewish community. Experienced live, the 60-minute Hanukkah-themed children’s play was always entertaining, educational and because it was based upon a book, it even promoted reading. The show was delightful. It was filled with kid-friendly riddles, songs, simple dances, games and all sorts of interactive fun for both the children and their parents. They even provided printed puzzles and coloring sheets for the kids to work on before the play, or to take along home with them as a souvenir of their experience.
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Another Blast From Christmas Past
The Rip Nelson Holiday Quarantine Special – Hell in a Handbag
For those of us who’ve looked forward to the Fat Man in the Red Suit since the 1950’s, the Christmas season has always meant a myriad of televised holiday variety shows. Each TV special always starred some has-been comedian or washed-up movie star, ably supported by an array of popular, talented entertainers of the day. Playwright and iconic actor David Cerda has revived his fictional funnyman from a few years back. Rip Nelson, beautifully portrayed again by the luminous Ed Jones, returns for his third holiday TV special. This one, because of the pandemic, feels absolutely authentic because it’s being streamed to our television, tablet or computer screen. And the way Cerda has incorporated Covid-19 as part of the plot is clever and spot-on. The result is a professional and highly entertaining adult Christmas musical that’s another blast from the past.
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It’s the Final Countdown
Burning Bluebeard – The Ruffians and Porchlight Theatre
Sending in the clowns to tell this horrific, nearly forgotten incident from Chicago’s history, the Ruffians’ production is definitely not your typical Christmas entertainment. It’s a dark, expressionistic retelling of the events surrounding the fire that destroyed the Loop’s “absolutely fireproof” Iroquois Theatre. In fact, the only holiday element of the story is the December date during which the tragedy took place. But it’s a production that’s sometimes humorous and often quite beautiful in its poetic, dramatic presentation.
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A Scrooge for Today’s New Normal
Manuel Cinema’s Christmas Carol
Here we are, still in the depths of a worldwide pandemic that’s put a damper on our usual Christmas festivities and prohibited our typical social gatherings. The spread of the disease has demanded that, to protect ourselves and others, we continually wash our hands, keep six feet apart and wear surgical masks, when we’re out and about. The result is that the majority of us are remaining quarantined in our own homes. This is the new normal for this holiday season. But Manual Cinema, the creative theatrical/multimedia company that brought us their unique interpretation of “Frankenstein” at the Court Theatre, just a year ago, has devised a clever, imaginative, contemporary new version of the world’s favorite holiday story.
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