Spamalot is Ham-a-Lot. A Successful Fete’

By Lazlo Collins

Recommended

In this black box version of a big box office musical, this comedy is put to the test in NightBlue’s “Spamalot”.

The scaled down version of “Spamalot” has a big heart, and some great theatrical innovations. The execution of cast members taking on two or three roles is great. The musical numbers fill the small stage at 773 with frenetic dancing. The actors seem to be having a great time throughout the show. It crosses over to the audience in so many ways. Using every inch of the space provided, this show has an intimacy of a comedy club.

The Curvature of a Circle

9 Circles – Sideshow

Private Daniel Reeves (played by Andrew Goetten) is a troubled youth who joined the ranks of the United States Army to seek a change in his life. Cain’s 9 Circles, journeys us through the life of Private Reeves, post honorable discharge from the war in Iraq, as he awaits his judgment due to hideous war crimes.

The best way to visualize 9 Circles, and I apologize a head of time for the reference, is to think of a parabola. Yes, I do mean a parabola, as in calculus. A parabola is a two-dimensional curve, which is typically U-shaped. In conjunction to the parabola, Goetten and the Lieutenant, played by the physically intimidating Jude Roche, start the show off on a high note with the discharge of Pvt. Reeves. Roche and Goetten have such ease with the dialogue and precision with their characters, the both of them give the show a strong start.

Double Trouble: More than a two person musical.

Double Trouble – Porchlight Theatre

Reviewed by Dan Haymes

Double Trouble is a musical farce about two brothers, Jimmy and Bobby Martin, who just moved to Hollywood to start writing songs for MMG Studios; a spoof of MGM studios. After the brothers are given only a few hours to write a hit song, the complication of a mutual love interest adds to the equation. Putting their new song writing career on the edge of destruction.

Double Trouble is the definition of an ensemble show, but without an ensemble. The show is headlined by two true triple threat brothers, Adrian and Alex Aguilar, who display incredible vocal variety, impeccable comedic timing, dancing with enough grace Gene Kelly is weeping, and so much charm that it’s practically seeping out of their pores.

Rough and Gritty Relationships start off Profiles Theatre’s season with “In God’s Hat”

In God’s Hat – Profiles Theatre

By Cat Wilson

Profiles Theatre opens their 2013-2014 season strong with an explosive and emotional tale of family loyalty and hatred. “In God’s Hat”, written by Rhett Rossi, portrays the delicate balance of love among brothers with a dark past.

After not seeing each other for ten years, Roy, played by the very talented Darrell W. Cox, picks up his older brother Mitch, played by an equally talented Larry Neumann, Jr. They spend a tense night together in a little motel down the road where they begin to open up old wounds, and Roy struggles with what his brother did. But when a fellow recently-released inmate shows up, Roy is forced to decide between his anger towards his brother and his family loyalty.

Strawdog Theatre Meets Us ‘Round the Pub, With “Conversations on a Homecoming”

By Lazlo Collins

Somewhat Recommended

“Conversations on a Homecoming” is the latest offering at Strawdog Theatre Company. This 90 minute “conversation” is well acted, but the story stunts the action.

I have seen several Irish Plays performed throughout the years.  They are generally speaking, dark; and have a brooding quality about the story and characters. Not to disappoint, Tom Murphy’s characters are dark and brooding.  It was hard to wrap my head around this piece as the play moved along. Mr. Murphy’s play seemed too slow and pondering, with a pace that never really took off. I am aware he is a well lauded playwright, however, I never quite engaged with this particular play of his.

The story revolves around “Michael’s” homecoming to Ireland. He has been in America for 10 years, and is now coming to the pub to see his friends. Michael’s homecoming brings up all sorts of emotions for the group he is about to engage.  It’s the mid-seventies and the promise that was the early sixties in Ireland has shaped these now middle aged men and their respective circumstances.

The friends at the pub are at first happy, or perhaps intrigued, to see their old friend from Galway. As the conversation and liquor begin to flow, the emotions run high. The pub guests’ volley, poke, and prod at each other until failed longings and misguided decisions are painfully revealed.

The direction by Jonathan Berry was well executed. The staging of the players was staged in the main room of the pub, like fighters in a cage match. He moved the actors around like fighters jabbing forward and back; retreating to the corners of the pub when the conversations became too heated, at strike of some imaginary bell.

The most captivating and most destructive of all the patrons is “Tom” (excellently played by Michael Dailey) Mr. Daily’s portrayal of a jealous man, taken down by his own decisions was perfect.  He was menacing and made me angry. That means he did his job.  I felt pity and rage all at once. Mr. Daily is a talented actor.

As his long suffering mate, Anita Deely as “Peggy” was well played and real. Ms. Deely did a fantastic job. She kept the pathos and pace in check and on track. I loved her touching moments, and the moments through the play when she realizes she must soberly face her uncomfortable fate, just outside of Galway.

Adam Soule does a good job as the returning “Michael”. His optimism and personality shine through at every obstacle. He regally portrayed a man who wants to be part of his past, but as seen too much of the future. His interest in the quiet “Anne” was sweet and appropriately uncomfortable.

The other colorful pub characters give it their all as the come and go through the conversations throughout the play. Jeff Duhigg as Junior was understated and sweet, with just the right amount of angst. “Liam”, played by Ed Porter was more problematic. Mr. Porter seemed a bit out of sorts with the rest of the cast. His ill at ease character of “Liam” had a frenetic energy that didn’t seem to match the rest of the actor’s paces.

I tip my hat to the young actress that played “Anne”, the pub owner’s young daughter, after a medical emergency that prohibited the original actress from participating in opening night. She forged on with script in hand, and did an outstanding job. Please buy that girl a pint.

The set was meticulously executed and designed by Mike Mroch. I enjoyed the use of the Strawdog space.

This play has everything going for it, except, for me, a truly compelling story. The way poor Michael was received, I would have left before the first pint was finished. The special moments of the story get lost in the translation.

Perhaps it was too warm in the theater, perhaps I needed a pint from a long day; but whatever the reason, I was not transformed with the actors. I felt like an uncomfortable bystander waiting for them to stop drinking and go home. I never felt the payoff.

Maybe I need to see more Irish plays and discover that the yelling and confrontation is just part of the conceit of these types of shows.

Again, the acting, the accents, and the action seemed like a labor of love, without the grounding of a compelling story.

Conversations of a Homecoming can be seen at Strawdog Theatre through 28 September 2013. Tickets can be purchased through the box office at 773-528-9696.

For more information on this and other shows please visit theatre in Chicago at www.theatreinchicago.com

The Power of Love Validated in Violet

The Color Purple

With a plot that spans forty years and two continents, Marsha Norman’s (“The Secret Garden”) book, with music by Brenda Russell, Allee Willis and Stephen Bray, feels a little bit choppy. So much story and so many characters are packed into this much-honored musical that it’s often difficult keeping track of where we are and how many years have passed between scenes. But, because of a winning, earnest, enthusiastic cast, some exciting choreography and a beautifully played and sung score, this poignant story praising the kinship of girl power and love’s healing quality emerges.

Letting Boy Small out of the Cage

Fine Print Theatre’s Boy Small

Playing at The Red Tape Theatre on Belmont is a show called Boy Small, presented by The Fine Print Theatre, written by MT Cozzola, and directed by Patrick Kenney. It is based around the events of Christian Choate, a thirteen-year-old boy whose body was found after he was neglected and abused by his family to the point of death. The production presents a look at what this family might have been like, focusing on the father, stepmother, sister, and of course, the boy. Even though the relation to Christian Choate’s murder is referred to in the playbill and the details very similar to the facts, Cozzola chooses not to keep the real names of these people but instead gives nearly everyone titles like Dad, Sissy, and Boy. The details aren’t quite the same either, but none of the police reports could tell us exactly what was going through the minds of these people who abused their son. The playbill also includes a quote from Riley Choate, Christian’s father, saying ‘All my actions will haunt me forever. I loved my son.’ The show makes the situation complicated, painting no one as a true villain or victim.