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

Portrait of the Con Artist as a Young Man

Catch Me if You Can

In a year that saw such impressive Broadway productions as “Sister Act,”  new revivals of “How to Succeed in Business Without Really Trying” and “Anything Goes,” “The Scottsboro Boys,” and the mega hit, “Book of Mormon,” a charming, splashy musical (based on Steven Spielberg’s 2002 bio-pic of the same name) just couldn’t hold up to the competition. In a less impressive season, this musical might’ve earned more, well-deserved theatrical accolades. That’s not to say, however, that this is an inferior show.

Let the Mirror Balls Drop

Amidst a profusion of sequins, marabou and mylar the ensemble of this cotton candy of a musical guarantees to dazzle and delight audiences of every age, gender and persuasion. It’s just plain fun and, boy, do we ever need this dose of eye-popping, over-the-top beguilement right now. Simon Philips has directed a wildly energetic musical version of the 2011 Tony Award-winning production that was, in turn, based upon a 1994 film cult classic.

Soaring Beyond the Rooftops

Fiddler on the Roof

Jim Corti rings down the curtain of his second, highly successful season at Aurora’s beautiful Paramount Theatre with a robust, beautifully designed and professionally acted remounting of  yet another classic from Broadway’s Golden Age.  Joseph Stein’s dramatic adaptation of Sholem Aleichem’s stories about Tevye, a Jewish peasant milkman, his family, friends and neighbors, all trying to survive poverty, oppression and change in turn-of-the-century Russia, is one of the most often-produced and best-loved musicals of all time. Filled with beautiful music by Jerry Bock with lyrics by Sheldon Harnick, this show could simply be presented as written with confidence. But that’s not Mr. Corti’s style.

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