Reviews Category
Camino Real Causes a Stir at Goodman
CAMINO REAL BY Frank Meccia
Director Elia Kazan wrote in his memoirs that he had misinterpreted the play Camino Real by infusing it with excessive naturalism. Produced on Broadway in 1953 it only lasted two months. This was a shock to many considering the author was Tennessee Williams, who gave us such great works as Cat on a Hot Tin Roof, Sweet bird of Youth and The Glass Menagerie. This unknown play of Williams was brought back by the Barcelona-based director Calixto Bieitoa director known for his radical controversial interpretations of the classics, from opera to Shakespeare. Mr Bieito stayed true to his art form at the Goodman last nite.
When Williams wrote this, WWII was over, the new look for the future was called Modernism and art was moving to a new look called Abstract Expressionist. Writers and artists such as Ernest Hemingway, Mark Rothko, and Jackson Pollock were taking their works from personal conflict within themselves, and Williams must have had a lot of conflict.
Camino Real is a mythical town where humanity no longer exists, where street cleaners remove dead corpses from the street instead of trash. And the town is filled with nothing but drunks, prostitute’s gypsy, tramps and thieves. It seems more like a town that I would find in a Twilight Zone episode.
Rebecca Ringst has created a wonderful set. Her simple design with lack of scenery lets the imagination work harder. The lighting excellence of James Ingalls really creates the movement for the whole play.
The Goodman really brought in a fantastic cast from Chicago Barbara Roberson who was Jeff Nominated for The Goat, or who is Sylvia, Jacqueline Williams who was in Trinity River last year at the Goodman and has the singing voice of a great blues artist. David Darlow as Casanova perfectly portrays an aging artist, who lost his soul a long time ago. Antwayn Hooper makes his Goodman debut as the central character Kilroy, a has been boxer trying to get out of this town. My only fault is with Michael Mereiros who plays a vomiting drunk in the beginning and end , at some point you need to say no to the director.
It’s hard not to feel uncomfortable during the show, but if the Goodman was looking for shock value and controversy then Artistic Director Robert Falls found it in this play.
Camino Real will play till April 8th .
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.
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
“Hunger” plants the seed of thought at Lifeline
By Lazlo Collin
“Hunger”, which opened recently at Lifeline Theatre, is one part interesting, historically based thriller and one part Soviet soap opera. So put on your gray overcoat and hunker down with a dedicated cast with a powerful drama.
When the Nazi siege of Leningrad in 1941 starts to happen, we come upon a group of scientists huddle together in a laboratory. We soon learn these scientists, although with different specialties, all are gathered to serve Stalin’s regime. And what do they all have in common? The service is to the seed. We have begun our journey with botanists of all disciplines safe (for now) in their office, or rather, the seed stronghold.
“Ilya”, broodily played by John Henry Roberts, in the lead; takes us through the story of 900 days of terror, famine, loss, and redemption. He is ultimately charged to protect the seeds along with his colleagues. They examine, philosophize, and ponder the meaning of why the seeds are so important. And what the real science of seed growth and propagation can bring.
Ilya’s wife, and fellow botanist, is “Alena” played by Kendra Thulin. Ms. Thulin’s portrayal of dutiful wife and true believer of good is subtle and quiet. She makes little noise against her circumstances until it is too late. Her opposite in the work place is the lovely Jenifer Tyler portraying”Lidia”. Ms. Tyler’s sad portrayal in the decline of what was once beautiful and sacred is at times heartbreaking.
The vocal and unsettled co-worker who gets worked up quite easily is “Sergei” played by Dan Granata. Mr. Granta’s worrisome portrayal of a man torn between duty and want is excellent.
Rounding out the lab partners is “Vitalli” played by Peter Greenberg. Mr. Greenberg plays Vitalli with a fragile resignation brilliantly. Later he excellently portrays Lysenko. The opposite in every way, Lysenko becomes the director of the scientific team and uses intimidation and inside knowledge to toy with the remaining team members. Mr. Greenberg sinks his acting chops deep and never let’s go. I loved seeing his transformation from the first act to the second. Well done Mr. Greenberg.
The female counterpart to Mr. Greenberg’s duo roles is Katie McLean Hainsworth as the mousey, quietly rebellious, “Efrosinia” in the first act and the slithery, sneaky scientist,” Klavdiya”. Ms. McLean Hainsworth does an excellent job with both characters. She creates two distinctly different women, both characters ultimately fooling themselves in the end.
Christopher M Walsh’s brings the group together as “The Director” that keeps hoping that everything will turn out okay until he is whisked away in an effort to bring about chaos and change among the scientists. Mr. Walsh also makes a second act resurrection as a different character with satisfying results.
Chris Hainsworth’s adaptation of Elise Blackwell’s novel of the same name is well crafted. Its detail to the days of the struggle represented by all the scientists is well done. Its seriousness circumvented with some humor to lighten the mood where needed. The play moved well, but I think could be served by a few scene snips.
With the writing and characters firmly in place, we should introduce the last of the characters in the show, the set. Jessica Kuehnau’s multi layered a multi-use space, was amazing. The nooks and crannies of the set explored by the cast, made the adventure of watching “Hunger” all the more entertaining. The set really had a life of its own; revealing itself, layer by layer, as the story progressed. Along with Lighting (Kevin D Gawley), and Sound (Andrew Hansen) the setting could not have been more satisfying.
The soundtrack sometimes seemed a bit Tele Novella, although I could see the movie reel style design bringing us back to a time of uncertainty and intrigue. This play will plant a seed of contemplation with its audiences.
“Hunger” runs through March 25 at Lifeline Theatre. For tickets dial 773-761-4477 or visit www.lifelinetheatre.com
RECOMMENDED SITES
