Chicago Theatre Review
This Bee is a Winner
At this years Scripps National Spelling Bee the winning word was Knaidel (a Jewish version of a dumpling). The winner was a 13 year old from New York. Being Jewish myself and having grown up eating Knaidels perhaps I could have won the bee and $30,000. But instead I was quite content seeing Theatre at the Centers 25th Annual Putnam County Spelling Bee. TATC is located in Munster, Indiana (a short drive from downtown Chicago.)
At this particular bee we are introduced to six students who have all become finalists. They all, for their own personal reasons are driven to be the one who finally wins the bee and the coveted trophy. Along the way we get to know some of the their quirkiness which makes them charming and endearing.
Read MoreThe Runaways presents… “doriantightredpantsXX”, an adaptation of “The Picture of Dorian Gray” set in modern day Bohemian Chicago
For the past eight weeks, we have participated in exercises exploring space, character, Wicker Park, and technology. Out of these exercises, our director, Olivia Lilley, has written a script. Using the theater and sound theories of Richard Schechner, Liz LeCompt, John Cage, and Butoh, we have found a multiplicity of unique languages cultivated for our production.
For us, “Dorian Gray” is all about the relationship between the private and the public and what happens when the line between them blurs. Michael Jackson had first-hand experience with this. Justin Bieber is experiencing this right now. When your image, the legend others have created for you starts to become the only side of you, it’s easy to think you’re immortal, you’re invincible. So how do we keep all of our identities separate and distinct? This was a story we just had to tackle in “The Facebook era”.
The Runaways presents’ “doriantightredpantsXX” is running at “The Parlor”, (1434 N. Western Ave, Chicago, IL 60622) a performance storefront at the boarder of Wicker Park and Humboldt Park. Learn more about “The Parlor” @ theparlorwicker.com.
The Runaways presents’
“doriantightredpantsXX”
July 25th – August 11th
Performances are Thurs – Sun @ 8pm
Get your tickets here @ http://www.brownpapertickets.com/event/421177
Check out our promo video:
“Meet Lord Henry”
“Say Yes” to Scott Gryder and His Cabaret
LIFE IS A CABARET! The Music and Words of Kander & Ebb
Recommended
Last Saturday night the full audience in attendance of Roosevelt University’s cabaret series was bid “Wilkommen” and treated to the charismatic exuberance that is Scott Gryder and his one-man cabaret, “LIFE IS A CABARET! The Music and Words of Kander & Ebb” accompanied by Nick Sula on piano and Phil Martin on drums. The show is a 50th anniversary tribute to the songwriters known for Broadway hits like Chicago, Kiss of the Spiderwoman, and many more.
Read More‘AUSTRALIAN BEE GEES’ COMES TO CHICAGO
Broadway Play House Till Aug 4th
Reviewed By Frank Meccia
Chicago Theatre Review
Back in 1979 at the old Chicago Stadium for 2 days there were a group from England/ Australia that were making hit after hit for years. I got to see them finally after having at least 4 of there albums. (For those under 30 it’s now called a CD )They had a 70’s style disco set up and their music was wonderful, even though the sound quality back then was simple and loud. 34 years later a remastered group of talented actors and musicians have recreated that sound and style as a tribute band to the Bee Gees. Over the last several years we have had tribute plays to great actors and bands; The buddy Holly Story, Million Dollar Quartet, Rain, all which made you feel that you were at a great concert. But tonight was different, I really felt I was at a more intimate concert with the Bee Gees. This trio has played all over Europe and have been to Vegas, and other cities across America. And you can tell by the way they use their walk, they have this show down pat.
The members of the Chicago cast include California based Matt Boldoni as Barry Gibbs, and Australian natives Paul Lines as Robin and Jack Leftley as Maurice.
A true retrospective of their 40 year history, with great costume changes and looks. These guys did the job, there mannerisms, voices and style mimicked the great Bee Gees, as evident by the way the audience was up and dancing during the show.
If you missed going to a real Bee Gees concert, then get down to Chicago Broadway Playhouse and see the “Australian Bee Gees” for 2 hours and 20 minutes you will relive some great music from the 70’s 80’s and 90’s.
Kokandy Productions presents The Last Five Years
Kokandy Productions proudly presents the musical “The Last Five Years”, August 2 through 25 at Theater Wit, 1229 W. Belmont Ave. Traditionally, “The Last Five Years” is performed by two actors accompanied by musicians; the Kokandy Productions concept has cast Jim DeSelm and Allison Hendrix to portray Jamie and Catherine respectively as well as accompany their performance on two pianos. John D. Glover directs, DeSelm and Hendrix are co-musical directors and K. Hannah Friedman serves as assistant director. Tickets are $32 and are available at www.theaterwit.org or by calling 773-974-8150. For additional information visit www.kokandyproductions.com
Bristol Faires Well on Brink of Next Quarter-Century
Voted Best Renaissance Faire in the country in 2012, this summer’s 26th annual Bristol Renaissance Faire will open Saturday, July 6, for nine weekends through Labor Day Monday, Sep. 2. While more than 200,000 visitors immersed themselves in the multi-sensory revelry of last summer’s Bristol Renaissance Faire, partaking in an eclectic array of 16th Century arts, games, food, music, comedy and dance that earned top national honors from subscribers of Renaissance Magazine and the Renaissance Festival Podcast, Bristol’s producers were not content to rest on their bum-rolls. This summer’s creative team has again hit it out of the joust yard, with new construction on the 30-acre Faire site, enhanced immersive experiences for patrons, and an A-list of nationally-touring acts and artisans rivaling any season to date.
Read MoreAmericans in Paris
Abby and Zack, the 20-something American couple at the center of Amy Herzog’s play, appear to have a good marriage, but something isn’t right. Seeing is not believing and, as the audience will slowly discover, nothing could be further from the truth. Abby’s an actress-turned-Yoga instructor who has always wanted to live in Paris, or so Zach believes. Her husband is a medical graduate working for the French Doctors Without Borders, or so his wife thinks. That’s only part of the deception as this psychological thriller slowly scrapes away the glossiness of love and hope. Information these young expats share with one other may or may not be true. Like peeling an onion, their story is slowly revealed, both to the audience as well as to each other. Information we (and they) accept as truths eventually prove to be lies. And thus what begins as a look at a reasonably happy, well-balanced marriage gradually erodes into a gripping tale of mounting horror.
Packing for the End of the World
Sideshow Theatre Company’s The Burden of Not Having a Tail
If the end of the world hits there is no need to fear, go see The Burden of Not Having A Tail to learn how to prep. In this one woman show, your bunker host tells you everything from what food to pack, how to say goodbye to loved ones, and the dangers of scented soap. The tips are equally as helpful if you’re hiding from emotional trauma as well.
Karie Miller is the sole performer in this production about how she is currently making life work without connections to the exterior world. The set looks like a cross between a child’s reading room and your mother’s pantry, except covered entirely in plastic wrap. Miller has an appropriately neurotic, and crazed glint in her eyes for the part, but does get tiresome. Bleeding through the cracks is the story of a woman who is grieving the loss of her infant daughter. And this history really does seep through the packing tutorial. Miller will be in the middle of explaining why scented soap is bad for you (I won’t spoil the surprise), and will trail off on a tangent about using scented soap on her daughter. She will get very quite and you’ll wonder what is going on, then she’ll look at you and realize you’re still watching her so to break the tension she’ll shout ‘GAMES!’. And then she discussed how to pass the time in a bunker.
Read MoreNot too late to celebrate Moliere at Court Theatre
By Lazlo Collins
Highly Recommended
The successful modernization of the French Classics is indeed the goal with all theatres that include a worldly repertoire. The Court Theatre’s “Tartuffe” brings this satirical comedy by Moliere to life with accessible gladness.
Under the expert direction of Charles Newell, and lovingly translated by Richard Wilbur; this adaptation is superb. It is a smart and funny production that has the audience from the first word.
The story of the imposter Tartuffe takes us to our very own Hyde Park/Kenwood, and the home of Orgon (A.C. Smith). Orgon has a guest that the rest of his family is ready to boot out of the house. He is completely under Tartuffe’s power. The guest is Tartuffe (Philip Earl Johnson). He is a religious charlatan that has taken over the household. Tartuffe instructs and swaggers, keeping all that reside or enter the house within his religious fervor.
Mr. Johnson plays Tartuffe with all the smarmy robed elegance he can muster. He was as beguiling as he was oily.
Orgon’s mother (lovingly and hilariously played by Allen Gilmore) approves of Tartuffe’s house take over. Mr. Gilmore plays the part with just the right amount of sass and wink. She extoll his virtues to the home’s occupants as the story unfolds.
The immediate family unit is Orgon’s wife, Elmire (Patrese D McClain); their son, Damis (Dominque Worsley); and daughter, Mariane (Grace Gealy).
We learn Mariane’s heart belongs to Valere (Travis Turner), but her father has other plans for her to wed Tartuffe.
As the story unfolds, the family must stop the impending nuptials. Since they cannot sway Orgon’s opinion of Tartuffe, they need proof. Tartuffe has shown some unwanted affection towards Elmire. She decides to trap Tartuffe in a classic hilarious over-and-under the table scene. Ms. McCain was superb as the faux vixen.
After Tartuffe is revealed as the player he is, he vows to ruin the family and remove them from his home. Can he be stopped?
This talented and energetic cast makes this piece sing with joy and abounding energy. I appreciated all the actors’ attention to character detail. Mr. Smith as Orgon commands the stage as he slowly comes around to see what the family has been trying to tell him from the start.
Leading the persuasive charge from the get go, is Mariane’s lady’s maid, Dorine. Passionate and outspoken Elizabeth Ledo brings the audience fully on board with her delightfully cocky portrayal. Her character says it like it is, and won’t be still for anyone. He performance is a stand out.
The set design, lighting and sound were perfect for all the proceedings.
I thought the costumes, although modern in style, gave us a nod and a wink to the past. It was a bright and beautiful collection keeping the audience smiling.
I have seen productions of “Tartuffe” before and this particular production is at the top of the list. The translation was bright with a contemporary flair.
Tartuffe at the Court Theatre continues through 14 July as part of the Moliere Festival. For tickets visit www.courttheatre.org
For this and other productions please visit www.theatreinchicago.com
Into The Wild
The Jungle Book
Chicago has become a developmental hotbed for Broadway bound plays and musicals, especially within the last ten years. The latest entry is Mary Zimmerman’s highly-anticipated stage adaptation of Walt Disney’s animated classic. The film had been freely adapted from Rudyard Kipling’s episodic coming-of-age story about Mowgli, the man cub raised by wild jungle animals. Influenced by Kipling’s time spent in British-colonial India, Ms. Zimmerman has integrated much of the look, sound and culture from this Asian time and place into her musical. The result is a stage adaptation that’s visually stunning, often musically pleasing, but lacking in a real connection to the heart.
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