Reviews Category
Celebrating with Beer and Insults
By Lazlo Collins
In this day and age of television reality madness, The Factory Theater’s “White Trash Wedding and a Funeral” could be an episode for Bravo, right after “Hillbilly Handfishing”. Because this type of extreme dysfunctional family farce is played out on the small screen daily, this time around it may be less funny then originally written in 1995.
The stereotypes, the drunkenness, the language while always a bit shocking at first, wears thin in this fast passed, no holds barred, parody of life anywhere else than where YOU live.
The magic happens at the local VFW hall, where the wedding will take place. As the belching and farting begin, the insults are fast and furious with no one spared by cupid’s drunken arrow, or your neighbor’s barbed tongue.
This 70 minute, no intermission, ensemble piece starts out at the gate and never lets up. Whether uncomfortable grin or rolling eye chuckle, I did smile the whole time. It is not as inspirational, as it a pageant of dysfunction unfolding right in front of you. But I think that is exactly the point of this in your face farce.
The overall high energy and cast chemistry make the most of the dated script. Some notable comedy stand outs were Timothy Amos as “Walt”, Robyn Coffin as “Aunt Shirley”, Jordan Hoisington as “Lonnie”, Shannon O’Neill as “Connie” and the perennial drag favorite Ed Jones as “Bernice”.
Director Scott OKen keeps the cast hopping through crisis after crisis, and while this may not be everyone’s cup of tea, or should I say, can of beer; there are some genuine laughs. Anytime anyone got hit or punched, the sound effect behind the bar made me laugh. And not being a fan of the chicken dance myself, I enjoyed the idea of someone actually dying from doing the dance too much.
I appreciate the announcement before the show, warning any unsuspecting patron that this will not be a high cultural experience; but rather, a no holds bar reality show romp. Have a beer or two while you are there, it will surely help you get in the mood for a wedding and funeral all in one night.
“White Trash Wedding and a Funeral” runs through 2 June 2012 at the Prop Theater. Thefactorytheater.com or 866-811-4111 for tickets.
It’s the Journey, Not the Destination at Collaboration
By Lazlo Collins
Collaboraction’s “Sixty Miles to Silver Lake” takes the audience on an 80 minute drive with son Denny (Ethan Dubin,) and father Ky (Sean Bolger). What is unique about this particular drive is this memory play’s approach to the material and dialogue. The ambient sounds of the road and the visual images surrounding the set help keep this simple story in focus. The divorced father picking up his son from soccer and bringing him home is duplicated hundreds of times all over the globe. As the ride goes on, we get a sense of the strained relationship of the two gentlemen.
Both roles were excellently played by Mr. Bolger, as the father; and Mr. Dubin as the son. Their banter, while seated in the car, was realistic; complete with all the fighting and
ncomfortable moments when forced to be in the car with your parent. Under the well done direction of Sarah Moeller, their immediate energy was excellent and you could sense they were comfortable with each other as actors, while they took the script through its twists and turns. I felt that they were really listening to each other and not just “acting”. I enjoyed both characterizations; despite the fact the father would not be one of my favorite people in real life. And kudos to you Mr. Bolger for making me like you in the end.
It’s the normal chatter between parent and child; but wait, as the engine roars so do the arguments and opinions. Is the mother to blame? Is the father not listening? Is the son both curious and disgusted by his parents?
Exploring these questions within the theme of the play can be difficult. The story seemed to move forward, then move back; from bright to dark and so on. At times, this exemplified the conflict and unrest; but at other times the choppiness of the dialogue muddled the simple story. I realize that the play’s construction was a calculated construct to keep guessing, but also keeping us informed. Somehow it took away from the emotional impact of the play. While Dan LeFranc’s script seemed real, the characters breathed life into this simple story.
The designers did a stunning job at creating the car and its surroundings. The video and sound designs were superb and should be considered characters themselves as they continually surrounded the actors. I could not imagine this play without these elements.
“Sixty Miles to Silver Lake” was a mostly satisfying drive; but, at times, I wanted to get out and stretch my legs. Perhaps it was the inherent comfortableness between father, son, and circumstance that made the ride a bit long for me. But maybe that is what the author set out to highlight and observe.
Without giving anything away, I will say that when the characters got out of the car at the end, it was distracting and completely took me out of the drive. The final scene would have served me much better as a memory on film that I might remember and smile; instead it seemed hokey.
But like all scenic tours, it is up to us what we view out our window, and what we remember from the ride. I recommend you go the distance on your “Sixty Miles to Silver Lake” and see where your memory takes you.
“Sixty Miles to Silver Lake” runs through 27 May 2012 at Collaboration. At the Flat Iron Arts Building, 1579 N Milwaukee Ave. 312-226-9633 or collaboraction.org
COURT THEATRE SOARS WITH ANGELS IN AMERICA
COURT THEATRE PRESENT: ANGELS IN AMERICA:
Under the direction of Charles Newell, Court Theatre presented the Tony Award play Angels in America Millennium Approaches and Perestroika. By combining both plays in one day we are talking seven and a half hours in the theatre ,with a 2 hour break for dinner. My recommendation, do this in two days to really understand the play and not be overwhelmed by all that is going on. Angels is a gay fantasy based on national themes during the 1980’s, and the story of seven people and how their lives became interwoven with the crisis of the AIDS epidemic.
Court Theatre has put together an outstanding cast. Rob Lindley plays Prior Walter the main character of both stories who struggles with the loss of love and the world after being diagnosed with AIDS. Eddie Bennett plays Louis Ironson a hard headed idealist who dumps Prior when he is diagnosed with the disease and then seduces Joe Pitt (played by Geoff Packard) a newly married , closeted Mormon lawyer who works in the law office of Roy Cohn (brilliantly played by Larry Yando). Cohen is a famous lawyer who got his start back in the 1950’s during the McCarthy trials and helped prosecute Ethel Rosenberg , who’s ghost haunts him during his dying days The one true comic effect of the play comes from Belize (Michael Pogue) the male nurse and best friend of Prior Walter. Belize adds humor to a play that can be depressing to say the least. At times it makes you want to reach for the prozac due to some hard writing about the AIDS epidemic. Hollis Resnik plays Hannah Pitt the mother of Joe Pitt who comes from Utah to take care of his pill popping wife Harper Pitt played by Heidi Kettenring . The angel in the play is Mary Beth Fisher who has the look of a true angel and floats above the stage very convincing.
When I first saw Angels 15 years ago the staging was simple, But John Culbert has created a set that is flawless and keeps your attention for the entire duration of the show.
This play has a new ending that Tony Kushner wrote several years ago when he brought the play back to Broadway. The problem is he needed to cut one of the four possible endings out. By adding an extra 20 minutes it becomes a bit too long and you may lose your audience during that time. My only wish is that Mr Kushner would have tried to add some true facts to the play after 20 years. Instead of putting the blame on the President of the United States for not doing enough to solve the epidemic, maybe mention that the U.S. Government spent $155 million in the early days 1982 to 1984 and $5.7 billion during 1984 to 1989 on this epidemic. But then it would take some of the drama out of the play if you didn’t have a fall guy.
But even with those small faults this is a must see play. Relevant today with the same problems were still having today with AIDS as it was 25 years ago. But I still recommend breaking it up over two days.
Angels plays till June 3rd 2012.
Frank Meccia: Co-Host of Chicago Theatre Review
“Hair” is the thing at the Paramount!
By Lazlo Collins
Here is the thing about “Hair”, like the hair styles that travel through the ages, some may look good back in the 70’s; however, some just don’t translate to the present. The musical “Hair” currently running at the Paramount Theater in Aurora, IL, is having some of those same “hair” style issues.
Let me preface this review by saying, for the most part, I really did enjoy “Hair”. The company had so much energy, the set was right on, the songs were executed well, and the costumes were perfect; having said that, the show for me just did not translate to its audience.
Perhaps “Hair” would have had a better chance at grabbing its audience if the house were smaller. It seemed that even with the high energy cast and sound system, the cast was working double time to get us to participate. Maybe it was just a Friday night thing? I wanted to feel more from the story and songs. In truth, it felt too loose and hippy dippy and not enough real story moments. (With the exception of the final scene of the show)
The two gentleman leads of Claude (Skyler Adams) and Berger (Adrian Aquilar) gave us moments of raw and anger to sustain our disbelief. Mr. Adams knocks it out with his acting and several of his songs. Mr. Aquilar, was impressive, and has an excellent voice; but I would have liked more dynamics to the often one-noted dimension of his character. I wanted to like him so much more.
Some Tribe standouts were Woof (Adam Michaels), Jeanie (Dana Tretta), Crissy (Maggie Portman), Dionne, (Donica Lynn), and Abraham Lincoln (Alexis J. Rogers). These tribe members stood out not only for their solo work, but brought me closer to the story with each scene.
Some notable tribe numbers throughout the show were “Hair”, “Where Do I Go”, “Walking in Space”, Three-Five-Zero-Zero”, and “Flesh Failures”. The entire collection of Claude’s military “trip” was enjoyable and great to watch. I felt the cast had put down their guard and just let themselves be in the moment.
With Doug Peck at the helm, the music execution was clear and soaring. Again, the set concept (Kevin Depinet) was superb, who wouldn’t want to make an entrance through a beaded curtain three floors up? The costumes (Melissa Torchia) were familiar and fresh. Lights (Jesse Klug/Greg Hofmann) and projections (Mike Tutaj) added greatly to the interest of the show.
I have seen many of Rachel Rockwell’s directorial endeavors in the past and have always loved what she has done. This production of “Hair” was no exception; however, this show did not make it across the footlights for me.
Perhaps it is just a matter of time travel or taste, but for now I will recommend “Hair” to those that want to romp with the tribe one last time. All others beware; the movement may have passed us by.
The 1960’s Love-Rock Musical “Hair” is at the Paramount Theatre in Aurora, IL through 1 April 2012. 630-896-6666 or www.ParamountAurora.com
Neo-Futurists cleverly reanimate two tales in ‘Pinocchio/Frankenstein’
By Devlyn Camp
The Neo-Futurists are always onto something funny and clever. Greg Allen, founder of the Futurists, writes and directs his newest work for their stage The Strange and Terrible True Tale of Pinocchio (The Wooden Boy) as told by Frankenstein’s Monster (The Wretched Creature). And oddly enough, that’s not his longest title produced. Juxtaposing the two tales, Allen examines the lives of two creatures made by man, searching for affection. By using the original Pinocchio tales, the story is un-Disneyfied and much more gruesome. Written through a realistic vision with a few funny, contemporary pop culture references tossed in, the Creature follows and mocks the hoping-to-be boy and criticizes his unwise choices. However foolish those choices may be, they’re freaking hilarious.
While Robert Fenton leads the journey with boyish charm and puns, the comedy is mainly driven by the supporting cast. The troupe shuffles through dozens of costumes, wigs and weird makeshift props. Dan Kerr-Hobert is outrageous as the randomly reappearing Geppetto and beyond uncomfortably creepy wagon driver, among other characters. His talent is matched only by the constantly changing Thomas Kelly, who turns roles on a dime. Each of their characters are funnier than the last.
Throughout the ridiculous retelling, various forms of puppetry assist the story. Basic hand, shadow and life-size puppets (containing actors) add to the bizarre nature of the play. Among many other absurd but effective methods of entertainment, the Neos provide silly string, fire, toy ponies, coffins for strangled puppets, and disassembled kittens. The Neo-Futurists are silly, ridiculous, aggressive, funny and so very smart. Pinocchio/Frankenstein is sketch comedy at feature length with a moral to the fable. While the ending isn’t quite right, it’s very overshadowed by the damn good two hours preceding it.
Pinocchio/Frankenstein
The Neo-Futurists
Through April 14, 2012
Tickets $10-20, available at neofuturists.org
Photo courtesy Joe Mazza; clockwise from left: Tien Doman, Chris Rickett, Thomas Kelly, Dan Kerr-Hobert, Robert Fenton, Guy Massey
Contact critic at devlynmc@yahoo.com
“The Light in the Piazza” Casts a Beautiful Glow.
By Lazlo Collins
It is the lovely story of girl meets boy with an operatic, Italian twist. “The Light in the Piazza” delivers the story and more, at Theo Ubique (say thee-ah oo-bah-kway) Cabaret Theater. This version of the recent theater classic, are sung in all its lyric richness by a talented cast.
I saw “The Light in the Piazza” in its pre-Broadway run at the Goodman Theater. I enjoyed the show then, and loved it even more at The Theo Ubique.
Known for their pared down versions of original large scale musicals, Theo Ubique Cabaret Theatre makes this “Piazza” story come to life with all the vibrancy of an Italian street celebration. Although this more operatic show may not be for everyone, its music is immediate and satisfying.
Leading off the show we come upon the mother Margaret Johnson (Kelli Harrington) with her daughter Clara (Rachel Kippel). They are abroad in Florence, Italy taking the cities sights and sounds by storm. In a moment of sweet theater cheesiness, the handsome young Italian Fabrizio Naccarelli (Justin Adair) catches Clara’s hat in the breeze. They lock eyes and are in love.
The story of courtship and young love continues, and in the process we meet the Naccarelli’s. Mother and father (Denise Tamburrino and Michael Kingston), brother (Pavi Proczko) and his wife (Elizabeth Lanza) move this musical along with robust Italian songs and a hardy dose of comedy.
But as we find out, something about Clara is not all together right. After a childhood accident, Clara remains a child trapped in a woman’s body. She is innocent and misguided, which ultimately brings her mother to her own reflections of guilt, and the misguided love she endures herself.
This journey leads all the characters to the exciting climax of love’s perpetual contemplation, whether in Italy or where ever your journey may take you.
As mother Margaret Johnson, Ms. Harrington captures the reluctant “woman in charge” with sweetness and perfect timing. Her contemplations to the audience are tragic and funny. Ms. Kippel, as daughter Clara, takes us through a remarkable journey of love and confusion. She made me root for her until the very end.
The family Italia is also talented and well represented. As Signora, Ms. Tamburrino, is authentic and pleasant to watch; along with her son Guiseppi, who gave the story it’s more comedic moments. As Guiseppi’s wife, Ms. Lanza is stunning and brings the necessary bravado to her role of woman scorned.
Rounding out the family photo, Mr. Kingston, as the father, was so poignant and tender; a pillar of strength and cornerstone of the family. Mr. Adair who plays the love struck Fabrizio is earnest and sweet in his passionate pursuit of the American girl.
All the cast members in “Piazza” were remarkable singers with beautiful voices. Each performer had their moment to cast their spell on the audience. With difficult music and sometimes little traditional piano accompaniment, each song was executed with passionate resonance. Some of my favorite musical selections were “The Joy You Feel”, “Dividing Day”, and “Let’s Walk”. My least favorite was the weird pop duet “Say it Somehow”, the execution was good, but with a song that didn’t seem to fit with the rest of the shows music plan.
The rest of the great cast is the stoic Clay Sanderson; and William Aaron and Christin Boulette.
With clear and thoughtful direction by Fred Anzevino and Brenda Didier, “The Light in the Piazza” is a treat to watch and listen to. The set (Adam Veness) is amazing, especially considering the space. And I must say that the lighting for this show was SUPERB. It was thoughtful and transformed the play spaces to other times of day, and other spaces within the piazza. At times it was like watching an old movie.
Huzzahs to Jeremy Ramey for great coaching and musical direction that sounded simply beautiful!
“The Light in the Piazza” shines at Theo Ubique Cabaret Theatre through 29 April 2012.
Tickets 800-595-4849
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.
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