News & Reviews Category
Gift Shows its Cutting Edge Side
ABSOLUTE HELL By Frank Meccia
The Gift Theatre located in Jefferson Park has the U.S. Premiere of Rodney Ackland’s Absolute Hell.The Gift Theatre has an audience capacity of about 35. In this small theatre they had a cast of 21 that made use of every inch of space without seeming over crowded. This play was first produced in London in 1952 and was called The Pink Room, or The Escapists and was a total flop. One reason was in England the Lord Chamberlain censored and approved all scripts. And with a story line that contains misfits, alcoholics, gay men, bohemians you can see why it was censored. Ackland re-wrote the script in 1988 at the age of 80. The National Theatre produced the play in 1995.
The story takes place one month after WWII has ended. England is going through a major change, And you are welcomed to the members only club “La Vie En Rose” and here is where the cast of losers, soldiers, dreamers, artists and lovers meet. Lynda Newton plays Christine Foskett the always drunk owner and need to be loved women. She plays the role perfectly. Michael Thornton plays Hugh Marriner the artist, and dreamer who can’t except that he is always cheating on his lover Nigel played by Dylan Stuckey. The show contains all the elements of an opera, comedy and tragedy with lust, betrayal, envy hope and destruction. Sheldon Patinkin as the director did an excellent job bringing that forward, my only complaint it could have been done in 2hours and 15min, not 3 and a half hours.
I do recommend this show, The Gift Theatre has shown that it can take cutting edge shows and work them well for the small theatre. Absolute Hell will run till April 29.
Raven's take on Arthur Miller's 'The Price'
By Devlyn Camp
Most anything done in life is based on the cost of doing it. Arthur Miller’s late ‘60s play The Price makes that very clear, and questions how money drives people – particularly families – together or apart. Raven’s new production is nothing short of a well-done rendering. The set by Amanda Rozmiarek is fully adorned with the chairs and chests and other furniture knick-knacks Victor wishes to sell. The design, to pop culture junkies, will
definitely evoke memories of J.K. Rowling’s Room of Requirement.
The performance of the four actors is moderate, the best of which is done by Leonard Kraft playing Jewish antique dealer Gregory Solomon. He is sharp and witty with his lines, as well as the overall comic relief next to other actors who never seem to know what to do with their hands. Overall, the play is interesting as an intelligent Miller play on the brilliant psychology of financial choices, but average in this specific construction. And after all, when then price here is $30, is it something worth two hours? Well, that’s your choice.
THE PRICE
Raven Theatre Company
Through April 14, 2012
Tickets $30, available at raventheatre.com
Contact critic at devlynmc@yahoo.com
R.S.V.P for this “Catered Affair”!
By Lazlo Collins
Porchlight Music Theatre’s, “A Catered Affair”, now playing at Stage 773, is ultimately pleasing and emotionally charged. When you enter the theater, the set (Brian Sidney Bembridge) is as solid as the residents that this musical is about. The main characters take us “onward” through a day, and then a life of love; with its many pitfalls and rewards.
The Hurley’s are Aggie (Rebecca Finnegan), Tom (Craig Spidle) and Janey (Kelly Davis Wilson). Janey is one, very in love, daughter; announcing her nuptials to one Ralph Halloran (Jim Deslem). This simple declaration is complicated by a few things that see this play through its emotional journey.
Her brother is dead, her father has just agreed to buy his share of his cab, and her mother wants to have a proper wedding for the daughter they ignored. Toss in a live-in gay uncle that does not get invited, and let the action begin.
This ninety minute musical is lovely in its pace and execution. The tenderness of the score (John Bucchino), and sometimes searing book (Harvey Fierstein) is treated well.
The music moves this musical for sure, under the careful direction of Doug Peck.
As the war inside this family unit wages on, Ms. Finnegan, as wife Aggie, is a remarkable prescience in this role. She leaves the audience breathless more than a few times. But her execution singing “Our Only Daughter” was a showstopper. She brings the audience to heartbreak and smiles throughout the show.
Mr. Spidle as her husband Tom is equally chilling and tender in his turn as a man in a seemingly loveless marriage. His rage and tenderness are both exacting and exciting to watch.
The love born couple of Ms. Wilson and Mr. Deslem are youthful and full of hope. Their passions and misgivings are well played throughout the show. Ms. Wilson was so believable to me. She was dead on with her portrayal of a daughter understanding her predicament and challenges.
Uncle Winston’s character was a unique one for me. The story for his need of acceptance was sad. Not only acceptance for himself, but for others as well. Jerry O’Boyle was sweet and funny in his portrayal of this complicated character. He character grew on me and ultimately won me over; and was grateful for his ultimate victory of self assuredness.
Rounding out the talented cast were the neighbors, friends and in-laws by Larry Baldacci, Brittani Arlandis Green, Anne Sheridan Smith, Caron Buinis and Lauren Villegas.
Again, the music was moving and wistful; the performances powerful and resolute.
With strong direction under Nick Bowling, “A Catered Affair” is a gem of a musical well worth a beautiful reception.
Porchlight Theater’s “A Catered Affair” runs through 1 April 2012 at Stage 773.
APTP’s “Home/Land” is a Gift to Chicago; Extended Dates Announced Soon!
Home/Land, devised and performed by Albany Park Theater Project
The Laura Wiley Theater at Eugene Field Park, 5100 North Ridgeway, Chicago
*Extended run, January 20 through April 28, 2012
Tickets $6-$22
Highly Recommended
Something amazing is happening in Albany Park.
Review by Darcy Rose Coussens
Have you ever been to Albany Park? If you haven’t, you’d better start planning your visit to the northwest side of Chicago. What makes this neighborhood special is its vast ethnic and cultural diversity, its passionate and inspiring youth, and oh, yeah– their innovative and award-winning theater: Albany Park Theater Project (APTP).
APTP is truly something special. Not only has it provided opportunities for its multiethnic youth ensemble in arts creation and performance, but it gives a voice to local residents. As the theater defines itself: “Albany Park Theater Project is an ensemble of youth artists who collectively write, choreograph, compose, and stage original performance works based on people’s real-life stories.”
For example, their current production of Home/Land is a collection of stories about families from El Salvador, Jordan, Mexico and other countries, and their struggles to make a life in America despite all kinds of obstacles immigrants face. In their intimate theater, 23 performers, 6 directors and suitcases galore open your eyes to a young girl in Jordan who sells her dolls for money to come to America; a well-qualified young woman who can’t get a job because of her lack of citizenship; a newlywed couple whose future family is broken by the husband’s deportation. A man on an ironic game show called “Who Wants to Be an American” wins an ankle monitor instead of citizenship, while an audience volunteer gets to keep privileges he takes for granted because he “looks so… American.”
Each tale in the play comes from a courageous community member and has now been shared with countless Chicagoans. Two spirited nuns fight for the right to pray with illegal aliens before their deportations; an undocumented immigrant fears a random traffic stop in Arizona; a gay hispanic teen shares why he protests immigration laws. The sources of these stories are clearly heroes for these teens, but the teen performers become heroes for us in the audience. Home/Land takes you all over the world, but it keeps bringing you back home to reveal the effects that immigration laws have on families right here in Chicago. APTP is a model of theatre at its best, giving abstract issues human faces, names and voices so that you cannot avoid the realities that many people face every day.
There is something incredibly motivating about seeing these young people educate an audience primarily composed of adults on issues of such great importance. APTP proves that youth are not to be underrated; I have the utmost respect for these remarkable ensemble members. They have a deep understanding of not only immigration issues but the meaning of community, family and hope. This is a cast of extremely mature individuals who effortlessly waltz through love, fly through fear and stand together through injustice. You will not find a more genuine group of young people; before the show they converse comfortably with the audience, creating a welcoming environment that later serves their direct offerings of such beautifully told stories. The youth of APTP are unbelievably professional and among Chicago’s most talented storytellers.
The teenage performers of Home/Land are also among its creators. APTP’s shows are devised from true stories, using music, movement, and direct storytelling to share them. Music is key to Home/Land, with actors playing all kinds of instruments in one song that will make your heart swell. One performer’s voice is haunting and beautiful as she sings in Spanish, and a cheerful bilingual song about a tree with roots on both sides of a border bookends the show, beginning and ending it on a hopeful note. The use of movement is more powerful than words as it expresses two people dreaming of marriage, a family’s bonds and its separation, and numerous stunning pictures.
To top it all off, APTP provides free college counseling to each ensemble member, from researching and visiting schools to applying and choosing courses. APTP’s students have a 72% higher high school graduation rate than the average for students in Chicago public schools, and their college graduation rate is 600% higher. I have no doubt that these young artists will continue to actively make a difference in the world through theatre, activism and the perspective they will bring with them into their adult lives. They have already affected countless audiences, and word of their work is spreading like wildfire.
If you call 800-838-3006 or go on their website, www.aptpchicago.org to order tickets right now, you will likely find that all shows are sold out. Fortunately, APTP will extend the run of Home/Land through April 28, with ticket sales opening March 5.
The creators and staff at APTP have provided an enormous gift for these young adults, who in turn offer the gift of this performance to Chicago. I encourage you to bear witness to this beautiful creation and experience some of the most important theatre being done in Chicago.
Devlyn Camp Chicago Theatre Reviewer adds production assistant to his credits
STREET TEMPO THEATRE ANNOUNCES
THE SECOND PRODUCTION OF THEIR INAUGURAL SEASON: LITTLE SHOP OF HORRORS AT STAGE 773 APRIL 9 – MAY 13
Street Tempo Theatre Presents a New Twist on the Classic Production
CHICAGO –Street Tempo Theatre announces Little Shop of Horrors as the second production for the newly launched musical theatre company. Street Tempo Theatre is committed to creating raw, intimate, thought-provoking musical theatre in Chicago and opened their first season with the 1970’s cult classic Let My People Come. The Company’s production of Little Shop of Horrors is Co-Directed by Street Tempo Theatre Artistic Director Brian Posen and Music Director Kory Danielson. Previews for Little Shop of Horrors are Monday, April 9 and Tuesday, April 10 at 8 p.m. Preview tickets are $15. Opening/Press night is Wednesday, April 11 at 8 p.m. The production runs through Sunday, May 13 with regular performances Thursdays – Saturdays at 8 p.m. and Sundays at 3 p.m. Tickets are $38 and may be purchased at www.stage773.com, by phone at 773.327.5252 or in person at the Stage 773 box office. Senior, student and group discounts are available. For more information on Street Tempo Theatre visit www.streettempotheatre.com.
Street Tempo Theatre’s Little Shop of Horrors will take the audience on a journey through the streets of Skid Row to a struggling flower shop where a blood-thirsty plant from another world is anxiously awaiting her next victim. Seductive, tragic, and full of twisted humor, this darkly re-imagined production of Little Shop of Horrors is an onstage homage to b-movie cult films of the 1960’s.
“Street Tempo Theatre’s production of Little Shop of Horrors will prove to be a refreshing take on a musical theatre classic. The company’s mission is to showcase work that has never, or rarely, been seen in Chicago and put a fresh spin on old classics – and this production will do just that!,” said Artistic Director Brian Posen and founder of Street Tempo Theatre.
The complete cast and production team for Little Shop of Horrors includes:
Little Shop of Horrors is the second production of Street Tempo Theatre. Previews for are Monday, April 9 and Tuesday, April 10 at 8 p.m. Preview tickets are $15. Opening/Press night is Wednesday, April 11 at 8 p.m. The production runs through Sunday, May 13 with regular performances Thursdays – Saturdays at 8 p.m and Sundays at 3 p.m. Tickets are $38 and may be purchased at www.stage773.com, by phone at 773.327.5252 or in person at the Stage 773 box office. Senior, student and group discounts are available. For more information on Street Tempo Theatre visit www.streettempotheatre.com.
Loretta Lynn to perform at Drury Lane Oakbrook
OAKBROOK TERRACE, Ill.— Grammy Lifetime Achievement Award-winning country star Loretta Lynn will perform three concerts from June 22 through 24 at Drury Lane Theatre, 100 Drury Lane. For over 50 years, Lynn has remained one of the most artistically and commercially successful country singer-songwriters in the world.
Lynn’s critically acclaimed music has confronted many of the major social issues of her time and has drawn from her compelling journey from the poverty of the Kentucky hills to Nashville superstardom. Lynn has had ten #1 albums and sixteen #1 singles on the country charts and
is the winner of four Grammy Awards, seven American Music Awards, eightBroadcast Music Incorporated awards, twelve Academy of Country Music, eight Country Music Association and twenty-six fan-voted Music City News awards. She was also the first woman in country music to receive a certified gold album, for 1967’s Don’t Come Home A’ Drinkin’ (With Lovin’ on Your Mind) and was the first woman honored as “Entertainer of the Year” by the Country Music Association in 1972. She was named “Artist of the Decade” for the 1970s by the Academy of Country Music, and was the first female country artist to receive a star on the Hollywood Walk of Fame in 1977. In 1976, Coal Miner’s Daughter, her autobiography (written with journalist George Vescey) became a New York Times Bestseller; in 1980 the book was made into an Academy Award-winning film starring Sissy Spacek and Tommy Lee Jones.
Loretta Lynn was inducted into the Country Music Hall of Fame, Country Gospel Music Hall of Fame, and the Songwriters Hall of Fame. In 2001, her most well-known song, Coal Miner’s Daughter, was selected as one of NPR‘s “100 Most Significant Songs of the 20th Century” and in 2003 she received Kennedy Center Honors. In 2010, Lynn received the Grammy Lifetime Achievement Award for her prolific 50 years in country music. Produced by Jack White of The White Stripes, Lynn’s critically acclaimed most recent release, Van Lear Rose, features stunning arrangements and intimate songwriting and has earned Lynn a new generation of fans.
The performance schedule is as follows: Friday, June 22 at 8 p.m., Saturday, June 23 at 8 p.m. and Sunday, June 24 at 2 p.m. A 6 p.m. Dinner is available for an additional $19 on Friday, June 22 and Saturday, June 23. On Sunday, June 24 Lunch is available at noon for an additional $19. Concert tickets are $65. Group discounts are available. For reservations, call theDrury Lane Theatre box office at 630.530.0111, or TicketMaster at 800.745.3000. For more information visit www.drurylaneoakbrook.com.
ShawChicago Revisits George Bernard Shaw’s “Androcles and the Lion”
Androcles and the Lion, ShawChicago
Ruth Page Theater, 1016 North Dearborn Street, Chicago
February 4-27, 2012
Tickets $12.50-25
Recommended
For staged readings and Shaw’s works, ShawChicago is the place to go.
Review by Darcy Rose Coussens
This February, ShawChicago is revisiting George Bernard Shaw’s “Androcles and the Lion” for its 100th anniversary. The show is a humorous take on the unlikely friendship between a lion and the Greek Christian who removes a thorn from his paw. The story takes place during Caesar’s reign in Rome, when both Androcles and the Lion are captured and expected to fight for the entertainment of the Romans. Androcles and his fellow Christians refuse to renounce their religion, but when sent to fight, the Lion remembers Androcles and refrains from hurting him.
This traditional tale is entertaining even in a minimal, staged reading approach. The actors were quite funny, particularly Christian Gray as Androcles, and the lion’s mask was very impressive. Although I prefer readings in which the actors interact with each other instead of facing the audience at all times, this production was engaging and only about an hour and a half in length, something important to consider for a staged reading with minimal action.
I might not pay $25 for a ticket, especially considering the extremely minimal production aspects. However, this not-for-profit is an excellent cause to support, presenting the plays of George Bernard Shaw as well as his contemporaries in a way that allows the imagination to flourish while involving several talented actors. They also present an extremely friendly community, providing for a comfortable setting and pleasant experience overall.
For fans of Shaw’s work, next up will be George Bernard Shaw’s “Mrs. Warren’s Profession,” which will run April 14-May 7, also at the Ruth Page Theater.
‘Superior Donuts’ Uptown at Mary-Arrchie
By Devlyn Camp
Mary-Arrchie Theatre Company’s latest production is not the most riveting work in the city to see right now, but I will say this: Superior Donuts is the best play I have ever seen at Mary-Arrchie. Their production of the Tracy Letts play is above their average standard because of the on-stage talent. Richard Cotovsky and Preston Tate, Jr. make a great duo in the leading donut shop workers, Arthur and Franco, as they present Letts’s comments on current racial issues and ways of life with an edge of decent comedy.
The Donuts set design is interesting, but not the most exciting compared to other productions (ie. Steppenwolf debut of the play, among others), but Arrchie makes due with their small space. At the top of the show when the shop is being looked over by police after an overnight break-in, the place is delicately destroyed in an unrealistic manner. Sugar packets are almost strategically placed across the counter; knick-knacks are knocked over just perfectly. It’s unlikely that vandals would commit such a silly crime.
While it has its flaws (seconds-off lighting cues among the worst, and most distracting) Mary-Arrchie puts a decent work together that honors the quick and brilliant words of Letts. Perhaps this is a new step in an exciting direction for them. Or perhaps just a happy, exciting accident.
SUPERIOR DONUTS
Mary-Arrchie Theatre Co.
Through March 25, 2012
Tickets $18-22, available at maryarrchie.com
Richard Cotovsky, Preston Tate, Jr.; photo courtesy Mary-Arrchie Theatre Co.
Contact critic at devlynmc@yahoo.com
“South Pacific” is calling. Enjoy this tropical treat.
By Lazlo Collins
When you love theater as much as I do, and you are of a certain age, you have either been IN a production of “South Pacific” or have SEEN innumerable amateur productions of “South Pacific”. This being the situation in both cases, I was excited to see a professional production in all its glory. From the buzz at the 2008 Tony award winning production from Lincoln Center, I was looking forward to this new revival.
With the overture intact, underscoring what can only be described as, homage to the color slide tinting of “South Pacific” the movie, on the act curtain, I was excited to hear the classic songs of this winning musical.
If you are not familiar with the story of “South Pacific” it is the story of a World War Two romance. She is Nellie Forbush, the naïve girl from Little Rock, and he is Emile de Becque, the suave, plantation owning, Frenchman who left his native town because he, yes, killed a man.
The story goes deeper than war torn lovers thrust together. It weaves the tale of race and discrimination based on the color of skin and the consequences of following one’s heart and not what we are taught.
As “Nellie Forbush”, Jennie Sophia brings her strong acting chops and pleasant personality into the role. She has stepped into the role with enthusiasm and grace. She brings a lovely dependable voice. Her opposite is “Emil de Becque” played by opera guy Marcello Guzzo. He is solid and sings beautifully the shows familiar musical pining’s. The pair has a believable rapport and keep their scenes moving throughout the show.
Cathy Foy-Mahi as “Bloody Mary” puts in a standard performance. Her accent came and went from time to time and I actually wanted her to be even bolder, but she won me over with her creepy version of “Happy Talk”. The irony of attempting to make things cheerful with her dark intent was great.
While I enjoyed all the seabees, ensigns, and sailors in the show, they kept the action lively and fun. “Luther Billis”, (Christian Marriner) was a standout throughout the whole south sea adventure. His energy and enthusiasm was a noticeable addition.
Shane Donovan as “Lt. Joe Cable” was pleasing as the dutiful Marine. His voice was amazing and clear. I found him to be pleasant and very matinee idol like. I think I did want to see more consternation about decision to leave his lover “Liat”. (Hsin-Yu Llao)
A shout out to James Graham who played “Commander Harbison”, I thought his stage presence was outstanding and his strong but sensitive commander was superb.
The rest of the cast romping on the island were fun to watch and voices with all the familiar songs took me back to the first time I had heard the album at my bubba’s house when I was young.
The set was just right for me. It seemed like a post card with every scene. It was simple in its use with this traveling production. The themes seemed fresh and new for today; and not from 1949.
This production of South Pacific both made me nostalgic and satisfied. Not bad for the sometimes maligned Rodgers and Hammerstein. I think we could all use a dose of corny sweetness once in a while.
You can enjoy this treat of a south sea adventure and Bali Ha’i through Feb. 26, 2012 at the Cadillac Palace Theater. www.broadwayinchicago.com
Can’t Help Lovin’ This Show
By Frank Meccia/Gayle Kirshenbaum
Show Boat Is it a musical or an opera?
The magic of Oscar Hammerstein II and Jerome Kern came to life this past Sunday under the direction of Francesca Zambello. With added musical numbers and rearrangements by John DeMain, this 1927 hit transformed Broadway back then and transformed the Lyric Sunday with a new kind of musical theatre. Opera Diva Frederica von Stade once said in an interview that ” the lines between Opera and musical theatre can be very blurry”. There are many Broadway musicals that are really operettas; Sweeney Todd, A little Night Music, The Most Happy Fella and Les Miserable to name a few. But these are hybrids to true opera. The debate will go on for years, but for Lyric Opera it has been a fantastic journey.
With opera greats such as Nathan Gunn, Morris Robinson, Alyson Cambridge, Angela Renee Simpson and Ashley Brown their music and voices soar. Add to that some of the greatest voices and actors that have graced the Chicago stages for years, including Ross Lehman, Cindy Gold, Bernie Yvon, Renee Matthews and many others this show could only be superb. We had a chance to speak with Renee about what this experience means to her. After having studied at the Met for years she said “this is a dream of a lifetime come true, to step on the stage of the Lyric Opera with such an incredibly wonderful cast and crew”. Set design by Peter J. Davison really shows off the charm of Chicago in the early 1900’s and the beauty of the showboat. And the period piece costumes by Paul Tazewell are a treat to admire.
If you’re looking for classic opera then see AIDA which is also playing at the Lyric this month. If you want to see a timeless musical with a cast that is truly the cream of the crop then this is the show to see. In answer to the question is it an opera or musical? Call it what you want but in the end it is truly a masterpiece.
Showboat runs through March 17.
For tickets call 312-332-2244 or Lyricopera.org
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