Puppet Improv With and Adult Twist

By Lazlo Collins
When I discussed going to see “Stuffed and Unstrung” a few people commented about going to see the Dirty Muppet Show. Acquaintances discussed how I would be shocked by the language and subject matter. Well, the language and subject matter are the least of this quick romps problems  as told by cute puppets.

Hinderaker inspires audience to “Change the World”

By Kayland Smyth

If a typical 9 year old were to write a list it would be entitled “Things I want to accomplish before I turn 10.” Unless of course you are John Chapman, the main character in Andrew Hinderaker’s play I Am Going to Change the World, directed by Jonathan Berry.  His list included goals of becoming a Billionaire by 35 and purchasing the Sears Tower. My first thought was “that kid has big dreams and I hope he achieves them. But that’s going to change by the time he’s in high school,” and it did; but not in the way I thought.

THE BLONDE, THE BRUNETTE AND THE VENGEFUL REDHEAD

WRITER’S THEATRE

Reviewed by Frank Meccia

It has amazed me for over 5 years how this 50 seat theatre consistently produces such excellent work.

“A Sweet Tale of Pathos and Players” at the Raven Theatre

By Lazlo Collins
The tone of “Bang the Drum Slowly” is jubilant and somber at the same time. It is one of those sports stories that unite us all, whether we enjoy sports or not. Everyone can relate to the underdog, the man that is different to us; and yet, when faced to see our own immortality in his eyes; we must embrace him or deny ourselves our sense of compassion.
This capable and thoroughly satisfying drama, at The Raven Theatre Company, brings the longing of a simpler time to the audience. It also brings the well told story of one man’s extraordinary aid in helping another.
This story of a baseball team’s rise to prominence with all the dues paid through loss, commitment and barriers destroyed.
Leading us through this journey is Michael Stegall as “Author” Wiggen. He greets us with a slice of apple pie grin and good cheer from the very start. He keeps the energy and pace alive with his team’s manipulation and leadership. His performance of ultimate do-gooder may have gotten away from him; but Mr. Stegall keeps us with him throughout his ultimately emotional journey. He sinks into his character nicely in the second act, becoming more genuine as the play continues.
As the doomed baseball catcher, “Bruce Pearson”, Kevin Duvall does an excellent job of outsider very well. His awkwardness is apparent through every scene. Even when he has been fully indoctrinated in the team shenanigans; he is still not completely comfortable with his team mates. I am not sure I was convinced of a debilitating disease at times, but I let myself be taken over by the story and by the interpretations of Mr. Duvall. This is difficult role to embrace. Never wanting to seem too pathetic, and at the same time, wanting the audience to cheer with him.
The rest of the acting team plays well and supports the story with great enthusiasm. What was one of the more difficult scenes was played so well and so believable. The scene was the celebration where all the players get drunk. The toasts, the drinks, the laughs all end in more of the more realistic inebriations I can think of to date. It is just the right amount of tension and beer for a lovely, realistically well done moment for the ensemble.
Some of the players take on multiple roles throughout the show. Jason Love, Jonathan Nichols, Jen Short, Dan Toot, Kristen Williams, and especially, the excellent Joshua J Volkers are successful and keep the characters distinct and believable.
Last, but certainly not least is Tim Walsh as “Dutch Schnell”. Mr. Walsh’s performance was a complete home run. His brash team coach stood out among the crowd. His character was never too shrill or overbearing. His many interrogations into the whereabouts and whys of his southern catcher can only be described as brilliant. He keeps it comedic without being too muggy or overwrought. Mr. Walsh was excellent and kept the energy of the show white hot. Congratulations on such a winning performance.
With a simple but functional set design (Andrei Onegin) and great mood making lighting (Kurt Ottinger), this duo hits it out of the park. I must mention the great use of sound by Peter Storm; essential to the story for a job well done.
With the excellent direction of Michael Menendian “Bang the Drum Slowly” touches us with thoughts of our own mortality and may how we treat those around us.
“Bang the Drum Slowly” runs through 30 June 2012 at The Raven Theatre. For tickets call 773-338-2177 or www.raventheatre.com

Joan’s Laughter Is Intensely Surprising

By Lazlo Collins
“Joan’s Laughter” now playing through 17 June 2012 at Side Project Theatre in Rogers Park is the kind of show that is all at once intense, with an engaging finish, that will leave you saying, “I should have seen THAT coming!”
It is the last night before Joan of Arc is to be burned at the stake. She was only 19 years old. History tells us she saw visions and was martyred as a lunatic and false prophet. 25 Years later they decided, okay, maybe she did see the visions and have France’s best interest in mind. She became a saint.
Joan of Arc has remained a significant figure in western culture through various films and theatrical productions. Side Project has brought her back again, this time to explore the night before her execution.
The brutality of the age, not to mention what she had to endure from the men that considered her a threat to them and their country, makes this 75 minute play a rough journey.
There was a lot of yelling and fighting going on most of the show. The desperation of her position seemed anticlimactic because we already know what the ultimate outcome will be. No one can, or wants to help her understand her last hours on earth. The clergy are only interested in making sure she confessed that her visions are all lies and she is hysterical. Joan herself takes the audience on a ride of conviction, and we see the fight in her about wanting to be saved.
This play brings up many ideas about what is real to her and what is not. SPOILER ALERT: I liked being lulled into the story, unaware of The Sixth Sense style revelation that comes later. It really took me by surprise.
Meredith Rae Lyon’s deep emotional dedication to this part definitely rang true. She was Joan and her commitment to the role gives her credibility. Although I thought much of the interactions were all at the same overwrought level. I enjoyed the quiet moments of introspection that received more pathos from this viewer. Ms. Lyon’s gave a valiant attempt with a script that seemed not too flushed out.
I also enjoyed Ron Wells as “Ladvenu”, who tries in his own way to get her to confess so her soul will be saved. He was believable and with just the right amount of intensity.
Jeannie Affelder as the “Nun” gave a solid performance as Joan’s helper and ultimately her reliance as a visionary and saint.
“The Guards” seem a bit too intense, playing it for the anger then for the understanding of their position and relationship with Joan.
The perfect set and costumes for this piece were a nice compliment to the space and direction.
For those theater goers who enjoy a historical, intense, snippet from history, this has your name all over it. But with Joan’s name on this production, it is all her. Prayerful, repentant, and challenged she moves through the play with blinding rage at all those in her ken. But it will be up to you to go figure, which figure, is truly with Joan till the very end.

The Dr. Will See You Now, With Stellar Results.

By Lazlo Collins
The loveliness of “Freud’s Last Session”, now playing at the Mercury Theater, is not only revealed through the splendid writing, but also with the amazing performances of the two fine actors in its grasp. In this new launch with Mike Nussbaum as Sigmund Freud and Coburn Goss as C. S. Lewis, these are performances of the highest caliber.
It is the very day that Britain will enter the war on 3 Sept. 1939 and Dr. Freud has agreed to entertain one C. S. Lewis. At this juncture, Freud is ending a brilliant career, while Mr. Lewis is just coming up on his own notoriety.
C. S. Lewis made the conversion to theism and, of course, Dr. Freud was the founder of psychoanalysis, who gave little credence to religion. With their views securely intact, with their ages in opposition too; the gentlemen talk, spar, and search to find meaning in each other’s opinions and theories.
This 90 minute conversation reveals the lives of these two men through a script that is both heavily informational and lightly playful. Their careful interactions and choices for words, finds these two literary powerhouses challenging themselves, as well as each other with their own beliefs and philosophies.
Mr. Nussbaum’s portrayal of Dr. Freud is amazing. He commands the stage with his presence and demeanor. His mannerisms and timing were impeccable. I felt his pain and his force when challenged with his beliefs and illness. (Dr. Freud suffered from an oral cancer ultimately taking his own life on 23 Sept. 1939) With his passion for his beliefs and softer side revealed during this lovely London meeting, Mr. Nussbaum brings Freud to life for theater goers to saver. I did not want this show to end.
Mr. Goss’s performance was no less stellar than that of his on stage partner. His polite, yet probing, meeting was perfect. His performance was understated and charming. A less capable actor would have reduced this role to a secondary one, but Mr. Goss matched the energy and nuance his role deserved. His insistence with Dr. Freud about his conversion was a tender and respectful; his compassion for a man dying was touching among uncertainty the war itself.
The speculation of whether these to literary persons ever met sparked the very writing of the play.
After seeing “Freud’s Last Session” it did not matter if they met or not, it was thrilling to see these two men deliberate about the core beliefs that guided them every day. The debate of whether God exists or not, will continue long past the closing of this short, satisfying theatrical conversation; but it will be the audiences pleasure to experience these debates through the minds of these real life characters.
I hope that among the spot on, comforting set of this show lays a copy of “The Chronicles of Narnia” and “The Ego and Id”. It would be a fitting tribute, but yet again, the writer (Mark St. Germain), Mr. Nussbaum and Mr. Goss have already done that.
Get off the couch and go see this theatrical jewel.
“Freud’s Last Session” runs through 15 July 2012 at the Mercury Theater. Call 773-325-1700 or go to www.mercurytheaterchicago.com

This “Rent” Is Due Your Full Attention.

By Lazlo Collins
I must disclose at the beginning of this review that I was never one of those super “Rent” fans. In 1996 when “Rent” was on Broadway, it was a SENSATION. It was a groundbreaking musical of the ages. Well, I got on board the “Rent” bus a bit late. Finally, when I went to see “Rent”, I enjoyed the music, I loved La Boehme, and it was great; it just wasn’t my favorite. I felt myself wanting to yell, “Stop whining and get a freakin’ job!” Wow, so judgmental, right?
I further must disclose that when I first saw “Rent”, I myself was losing someone I loved from AIDS, and that somehow I just wasn’t ready to embrace the musical’s messages and intricate relationships.
And here we are, at the American Theater Co. and About Face’s current collaboration of “Rent” directed by David Cromer and it moved me for the first time. I was ready to experience the story of love, art, and AIDS in a time of turmoil.
This high energy and gritty production hits the mark, and moves through the 90’s with all the force needed to sustain the story through its paces. While I am not sure that ALL the messages stand up through time; but the intentions of love, understanding, acceptance, and someone taken too soon are all themes that are explored beautifully in this production.
Kudos to Cromer for keeping the feel of a gritty warehouse or city street, placing the audience as if just spectators to the scenes unfolded in the profile style staging. It kept me searching the playing area for actors and action; but allowing for some fantastic staging in songs like, “Santa Fe”, “I’ll Cover You, reprise”, and “Finale A”.
The energy of the songs and the acting was immediate and in your face. I enjoyed each character as they moved through their own stories. The supporting ensemble cast was up to the task as well.
Roommates Mark Cohen (Alan Schmuckler) and Roger Davis (Derrick Trumbly) get the ball rolling with conviction and intensity in their respective roles. Mr. Schmuckler is a delight in his role as documentarian and smited boyfriend. He is sweet and loyal, while his character grows throughout the show. Mr. Trumbly grew on me as his character discovers his own voice after the discovery of HIV. Both voices were excellent.
The shows happenstance couple Tom Collins (Alex Agard) and Angel Dumott Schunard (Esteban Andres Cruz) proves love is alive in the time AIDS. Well sung and acted too, I might add. I enjoyed each man’s energy. I especially enjoyed Mr. Cruz’s more real approach to Angel. It was refreshing to see this character as a real person, and not just a man in drag acting like a girl.
The playful couple of Joanne Jefferson (Lili-Anne Brown) and Maureen Johnson (Aileen May) are as opposite as they may be. Both are talented singers and actresses. I loved Ms. Brown’s warm voice and sweet smile. Ms. May exudes a confidence necessary for her bravado character. Her conviction in Over the Moon” was especially good. Ms. Brown shows her skills on the duet with Mark Cohen in “Tango: Maureen”
As Roger’s love interest, Mimi Marquez (Grace Gealey) comes on strong as brash misunderstood femme fatale. Ms. Gaeley puts in a well-played performance. I really enjoyed her naïve moments, that were street smart but emotionally immature. Her role is unforgiving in its predictability. I thought she played the character with believability; not to mention pleasing vocals.
I was really struck by the great acting in this production. The acting combined with the singing was believable, isn’t that the point anyway? At very particular times, the vocals seemed strained; while the quieter moments of the music seemed more successful for the audience. It seems they will need to tweak there sound amplification system to maximize the vocals. I was on the other side of the house from the band and sometimes they were too loud. This is an easy adjustment that will only improve what is a pleasant soundtrack.
Congratulations to the artistic design crew. Collette Pollard‘s warehouse set, with simple, but well placed graffiti, and Christmas décor is perfect. Lighting designer Heather Gilbert put lights everywhere, but kept the mood mysterious and somber. David Hyman’s costumes were superb. I LOVED the dirty, ripped, but appropriately ragged costumes for the main characters. Angel’s “holiday outfit” was an appropriate homage to the original costume, but with a more real, gritty feel.
I would be remiss without mentioning the band. The pit was alive with many layers of sound and fury; seemingly like far more instruments than actually on the premises. Thanks for making the music great.
And finally, Mr. Cromer brings experience and style to this production. This is a difficult undertaking and is overall a success. He deconstructs the observational pop of the original production, and brings us more ‘in-to” the story as it is happening, as if it happening to us all over again. Taking us back to the ‘90’s, with the loss, the love, and the music the stage will NEVER forget.
“Rent” runs through 17 June 2012 at the American Theater Company, 1909 W Byron in Chicago. For tickets call 773-409-4125 or go to www.atcweb.org

Photo Credit: Michael Brosilow