News & Reviews Category
Steppenwolf Keeps the Door Open for Good People
While listening to the recent Democratic National Convention, a quote from Michelle Obama stood out to me: “When you've worked hard, and done well, and walked through that door of opportunity, you do not slam it shut behind you.” As I listened, I wondered, if one was to make it out through that door, out of the refuse of a thousand broken projects steps and tainted little Cul-de-sacs, out of a sea of debt and endless arrays of hopelessness, what would become of the community and those that have in part been forgotten? The answer to this question, penned by Pulitzer prize winning playwright David Lindsay Abaire, is currently running at Steppenwolf Theatre
Within David Abaire's superbly written drama, Good People, we get to see first hand the slick maneuvers and rhetoric executed by the poor in South Boston's Dorchester Neck community. Referred to by its inhabitants as Southie, it is reminiscent of more than a few of the low income housing projects scattered throughout Chicago's more neglected districts. At the top of the show we find the heroine of the poorly educated and credit -debt ladened working class, Margaret (played sympathetically by Marrian Mayberry), already at the losing end of a high-stakes version of The Game of Life. Within the first scene of the show, she loses her 9 dollar an hour job at the at the hands of a sniffling boss about 20 years her junior. She is forced into a world where enemies may become saviors and old friends are less than empathic to her cause.
In this vibrant production directed by K. Todd Freeman, Margret's struggle slushes out over the audience by way of Marrian Mayberry's tenaciousness and her solid portrayal of Margret as the every man or woman gone awry. The scars of anguish welled up from years of stress, poverty and the burden of caring for a handicapped daughter exercise themselves during her interactions with her cohort Jean(titillating played by Lusia Strus). Jean's empathy extends from the heart but not the pockets. Margrets' land lord Dottie (played whimsically by Molly Regan) also adds pressure with her humorous yet frighteningly business minded practicality.
With our nation in an economic down turn, with jobs lost and an air of desperation circulating in some communities, those that are poor, and those without voices deserve some saint or martyr. With a bit of fine tuning on the part of the ensemble, Margret could quite possibly step up to the task.
Marian never allows herself to flex Margret's full deck of cards. Margret's status as a victim is trumped far too often. To survive so long, in suc
h horrible conditions, Margaret must be a tactician and a carefully calculating opportunist. This slight advantage was ignored in the production and because of this, Margret often seemed pressed under the weight of her lowly economic status and never becomes the superpower she is designated to be within Abaire's beautifully written script. This is seen more concretely when Margret finds herself in the company of Mike, (Keith Kupferer) an ex street brawler turned high-end doctor who has become far too wealthy, exclusionary, and lace-curtain to be bothered with his old Southie stomping buddies and his wife (played byAlana Arenas), who tries her best to widdle away at the fury of Southie – that Mike attempts bury underneath his class.
This slight issue aside, the play is wonderful and without question one of the best shows in Chicago in recent years. As a fan of Abaire's ever since I first encountered his pulitzer prize winning play Rabbit Hole, I can say without question that the man has and will only get better. Good People raises questions concerning class, the dissemination of our countries wealth, the drawbacks of missed opportunities and our human proclivity to forget the things in our lives that bring us the most pain.
If ever there were a time when you yourself were poor, caught in the clangor of economic oppression, dodging sleuthing land lords and stumbling into one minimum wage job after another, Good People is one of the few plays in the city doing you justice. If you haven't gotten the chance to experience these turmoils first hand, then Steppenwolf's production of Good People will do a little more than bring you up to speed. It will unravel for you the complex inner workings of the isolated, tired, often ignored poor, and the desperate singles mothers that you may often drift by on your daily commutes on the L-Train to work. If you do see them, at least, be sure to keep the door open behind you.
GOOD PEOPLE begins previews September 13 (Opening Night is September 23; Press Performances are September 22 at 3pm and September 25 at 7:30pm) and runs through November 11, 2012 in Steppenwolf’s Downstairs Theatre (1650 N Halsted St). Tickets ($20 – $86) are on sale now (prices are subject to change).
Shawn L. Price
Highly Recommended
‘Equivocation’ is a Beautiful Use of Timing and Wordplay
By Cat Wilson
The witty, sharp-tongued, and fast-paced Equivocation, by Bill Cain, comes to Victory Gardens. While a troupe of actors, led by the great writer Master Shagspeare (played by Marc Grapey) is presented with the challenge of producing a play commissioned by the King’s right hand man, Cecil (cleverly characterized by Mark Montgomery), they are faced with the hard decision of telling the truth and potentially facing execution, or masking history. The play is supposed to promote the government’s perception of Guy Fawkes’ Gunpowder Plot, a failed attempt to blow up Parliament and assassinate King James I in 1605, however as Shagspeaare interviews the men involved, he discovers the government’s attempt to cover up the real proceedings. Equivocation, meaning the use of language especially with the intent to deceive, or avoiding committing oneself in what one says, becomes the troupe’s saving grace.
In addition to Grapey and Montgomery, the cast includes Minita Gandhi as Judith (Shagspeare’s daughter), Matt Kahler as Armin, Arturo Soria as Sharpe, and Bruce A. Young as Richard. The whole cast brings an amazing energy to the stage as they dart in and out of their characters, dawning a new side character with such conviction. In true troupe style, costume pieces are thrown on and off to transport an actor into a new chara
cter, but they have also captured a personality quirk such as a limp or a flamboyant Scottish accent to separate each persona.
The design elements follow a similarly fast-paced leap between worlds. The audience is thrown from Shagspeare’s rehearsals to performances to Cecil’s offices. With the show’s constant nods to the art of theatre making, the designers embrace theatricality and present a beautifully unified environment. William Boles’ scenic design allows the space to move and flow with the whirling of the action, and provides dramatic entrances aided by Heather Gilbert’s stunning lighting design. The lights provided the instant shift between performance and rehearsal, aided by the intense sound design by Kevin O’Donnell. Janice Pytel created a fun array of costumes that the actors could throw about as they whipped between characters.
With so much political rhetoric today, Equivocation is a great reminder that the theatre can, and often does, capture history and outlast political agendas. Director Sean Graney leads a talented cast and crew in this brilliant production sure to make you laugh, empathize, and celebrate the sometimes morally difficult process of theater making.
Equivocation, by Bill Cain
Directed by Sean Graney
Victory Gardens Biograph Theatre
2433 N. Lincoln Ave
773-871-3000
www.victorygardens.org
Book of Matthew Crash Course
By: Kayland Smyth
In Christianity there are two types of people: those who believe in a God and intensively study the Bible, and those who believe in a God but do not really study the bible. If you fall into the category of believing in a God but do not study the Bible then GODSPELL is a great refresher or crash course on learning the book of Matthew.
GODSPELL is a modern day take on the Gospel According to Matthew. Its score is by Academy and Grammy Award winner and six- time Tony Award nominee Stephen Schwartz and book by John Michael Tebelak. GODSPELL uses improvisation and contemporary themes to illustrate a message of kindness, community and hope that still resonates today. The cast, whom all embodied different biblical characters, includes: TJ Anderson, Jeanne T. Arrigo, Megan Ensley, Veronica Garza, Michelle Limon, Andrew Lund, Jake Mahier, Pavi Proczko, Stephanie Rohr and Nick Shoda.
I found this production to be very unique in a couple of ways
starting with the cast. The members of the cast not only acted and sang they also played the music for each song. Rarely do you see actors playing the musical’s score in a musical production. Normally, the actors just sing and act but I enjoyed hearing live music instead of a pre-recorded instrumental. I also liked the size and location of the stage. The stage was small and in the middle of the audience. It felt as though the audience was a part of the production. It also felt more intimate, giving the actors more to play around with while improvising.
GODSPELL, put on by the Brown Paper Box Company, runs from September 20, 2012 to October 7, 2012 at Collaboraction Studio 300 in the Flat Iron Arts Building, 1579 North Milwaukee Ave. Performances run Thursday through Saturday at 7:30pm and Sunday at 3:00p.Tickets are $20 on Thursday, $25 on Friday, Saturday, and Sunday. Industry cost is $15 at the door with headshot and resume. For tickets visit boxpapertickets.com.
When Was the Last Time You Met a Lizard at the Beach?
Nick Sandys introduces himself as the new Artistic Director of Remy Bumppo with a strong, comical and eye-catching play. Edward Albee’s Seascape looks at the interpersonal relationships of two couples entering transitional periods in their lives. A human couple bickers over what to do now that their children are grown, and whether that means life is over or just beginning. So logically, Albee introduces them to a giant lizard couple, also debating their future; they are exploring the possibility of evolving to become land creatures. This makes for a witty parallel between the couples and the difference between men and women, despite their species.
Read MoreBeloved Christmas Schooner Sails into Mercury Theatre
THE CHRISTMAS SCHOONER returns to the Mercury Theater (3745 N. Southport, Chicago), from November 23 through December 30, 2012. The press opening will be on Wednesday, November 28 at 7:30 p.m. The whole family will enjoy this heart-warming story of the first Christmas tree ship and the family who risked their lives to fill Chicago with the Christmas spirit. This critically acclaimed production features a powerful, moving story, an exquisite score of original music and traditional holiday favorites, and a company of 25 actors and musician
s. This year’s production commemorates the 100-year anniversary of the historic voyage of the Christmas Tree Ship.
Performances are from November 23 to December 30, 2012. The schedule is: Wednesdays at 2pm and 7:30pm, Thursdays and Fridays at 7:30pm, Saturdays at 2pm and 7:30pm and Sundays at 1pm. Tickets range from $29 to $59. Groups of 10 or more receive discounts of up to 50%. For tickets and information contact the Mercury Theater at 773-325-1700 or www.mercurytheaterchicago.com.
Praise for Gift Theatre
DIRTY : THE GIFT THEATRE
REVIEWED BY : Frank Meccia
How do you take a liberal yuppie investment banker married to a pregnant Eco-friendly social liberal who is now unemployed due to self consciousness make money., in a capitalist world ? For the answer you have to see Andrew Hinderaker's new play “Dirty” at the Gift Theatre. Hinderaker last teamed up with Michael Patrick Thornton in the 2010 premier of Suicide,Incorporated.
Thornton plays an investment banker who no longer can put up with his job, but is struck with a business idea that can net him millions incorporated with his wife, yet everyone thinks his idea is more vile then the job he just left. “Dirty”is a great play that mixes humor and porn into 2hours and 10 mins of great enjoyment.
Led by a great cast, Paul D'Addario (Terry) plays the shrew investment banker with the no-moral side. Hillary Clemens plays Katie his eco-friendly social liberal with a cause wife. And for her Gift Theatre debut Mouzam Makkar as the cover girl Mikayla.
I really enjoyed the Scenic Design created by Courtney O'Neill. This Jeff Award winner shows her talent in this small theater. .Jonathan Berry (Director) who's prior work at Gift include Suicide Incorporated, shows how a good drama with a great cast can work so well in a small theater.
“Dirty” gets a high recommendation
“Dirty” plays till November 18th. Tickets can be purchased at www.thegifttheatre.com .or call the box office 773-283-7071
Seeking Entrance
By: Kayland Smyth
The ensemble, Stage Left, is kicking off its 31st season with the world premiere of Impenetrable, written by Mia McCullough and directed by Greg Werstler, a Stage Left ensemble member. Impenetrable tells the story of a spa owner who erects a billboard to advertise his services and increase business. The billboard shows a gorgeous model with arrows superimposed pointing out her “imperfections” and suggesting cosmetic “solutions” his spa can provide. It sparks outrage in the women of the community and after protesting and boycotting of the salon the billboard is taken down.
Read MoreDAVIDs TEA to open stores in Chicago
As the crisp autumn temperatures fill the air, a new “hot spot” will give Chicagoans a delicious new way to warm up. Chicago will soon be home to a contemporary tea shop, with more than 150 varieties, including several never-before-seen flavors. Canadian loose leaf tea retailer DAVIDsTEA offers teas sold loose by the ounce and to-go by the cup (hot or iced), in a friendly environment, by well-informed, passio
nate staff. The company, which last year opened two successful locations in New York City and this month is opening locations in San Francisco, continues its growth with plans to open stores in Chicago this fall. DAVIDsTEA will open stores in Chicago beginning with the inaugural at 1645 North Damen (in Bucktown), followed by openings at 3530 North Southport (in Southport), and 922 West Armitage (in Lincoln Park).
News From Emerald Theatre
Cinderella tickets !
At The Broadway Playhouse at Water Tower Place
1 – Subscribe today and get your Cinderella tickets at the special subscriber price – $27 for tickets front and center with NONE of those pesky fees!
2 – . Tickets range fro
m $23-37 (including fees).
Emerald City Theatre continues its 17th season with the opening of Mo Willems' Knuffle Bunny: A Cautionary Musical adapted from the celebrated picture book by the author himself. Knuffle Bunny was adapted by The Kennedy Center and will make its Chicago premiere at Emerald City. It will play at the Apollo Theatre, located at 2540 N. Lincoln Ave., from October 6-January 6, 2013
After 16 years creating theater experiences to inspire early learners through play, Emerald City is building a strong foundation for continued success and innovative new programing. An extensive remodel plan will transform Emerald City's current Lakeview storefront space at 2933 N. Southport Ave into the Little Theatre – a 1,500 square foot theatre with intimate performance space and comfortable lobby.
is playing NOW through Dec 29 at the Apollo Theater
News from CSO
Updated concert information for October 2012 Chicago Symphony Orchestra, Symphony Center Presents and Civic Orchestra of Chicago programs is now available.
911811952be2de&p=a8a1bef6de319127f160a49ea36ba339&t=1″ target=”_blank”>View/download October 2012 concert listings and descriptions »
Complete concert information for December 2012 Chicago Symphony Orchestra, Symphony Center Presents and Civic Orchestra of Chicago programs is now available.
View/download December 2012 concert listings and descriptions »
CHICAGO — Twelve year-old singing prodigy Jackie Evancho performs at Symphony Center on Thursday, January 24 at 7:30 p.m., performing some of the greatest songs ever featured in films. Tickets for this concert go on sale on Monday, September 10, 2012.
TICKETS for all 2012/13 Chicago Symphony Orchestra, Symphony Center Presents and Civic Orchestra of Chicago concerts can be purchased by calling CSO ticketing services at 312-294‑3000 or 800‑223‑7114, online at cso.org, or by visiting the Symphony Center box office at 220 S. Michigan Ave., Chicago, IL 60604. Discounted student tickets for select concerts can be purchased, subject to availability, online in advance or at the box office on the day of the concert. For group rates, please call 312-294-3040. Artists, programs and prices are subject to change.
