Seven brides for Seven Brothers… Wait

By Olivia Lilley

A young woman all in white tears every rose from it’s stem in her bouquet under an ocean of roses and stems. Tears flood her cheeks as a well dressed man with a martini casually remarks, “Hi. I’m Julian.” Straw Dog’s production of Chuck Mee’s “Big Love” shows you a world where girls can have fifty sisters, old women know every word to Carly Rae Jepson’s “Call Me Maybe”, fifty grooms arrive by helicopter, and strangers think they know what’s best for you and your future and their word is law. Under Matt Hawkins’ direction, Chuck Mee’s play is half Greek tragedy, half David Lynch film. From the moment the pianist decides to continue after his song is over, you know you are in for some surprises. One of the most epic entrances I have ever seen happens in this. I will not ruin it. The ending is one of visceral, haunting proportions. I will not ruin that either.

The Catch of the Fall Broadway Season

Big Fish

If opening night is any indication, the next big hit on Broadway this October is bound to be this bewitching musical version of Daniel Wallace’s novel that tells the story of the strained relationship between a father and his grown-up son. The stress reaches a peak between Edward Bloom and his son Will on the boy’s wedding day and continues until the two finally reconcile  on Edward’s deathbed. This new Broadway bound show is a melodic journey to understanding and acceptance that touches the heart, warms the soul and enlightens the mind.

See this Sea. Deep. Blue and Moving

Danny and the Deep Blue Sea

By Lazlo Collins

“Danny and the Deep Blue Sea” is beautifully acted and a simple quiet treat.

It is indeed quiet, dim, and tense at the bar where our two characters first meet; setting the tone for this dark drama of lives thrown together for a twisted connection.

A popular 1983 play (by Doubt playwright John Patrick Stanley) that has had longevity among acting competitions. This intense two person drama gets a new life line with Kokandy Productions at the Athenaeum Theatre.

Danny (Brandon Galatz) and Roberta (Jodi Kingsley) are two angry people who cannot seem to move on, or around, or go anywhere really. As they begin to talk and jab at each other, one thing is clear; their choices may not always have been great. They come together in a desperate dance of yearning for a connection they both so desperately want and need.

He agrees to come to her room she shares with her family. After some awkward lovemaking, the road to just a one night stand is interrupted by conversations of discovery and common pain. Their revelations sting with the bitterness they have endured, but draw each one close to each other with a common bond.

Tenderly, before they fall asleep, they talk of marriage and the promise of the new day. As the light changes from night to day, Roberta must face the reality of her life with her parents and her child. Danny is not so eager to let it go. They spar like the fighters they are with emotional punches coming fast and furious.

Should these two characters make a decision about any sort of life together, the road ahead is uncertain and will take all their focus.

Mr. Galatz as Danny was predictably intense, but showed a great sense of tenderness and emotion. He brought likeability to this troubled and confused man. As an audience member, I wanted to reach out make sure he would be okay. As Danny, Mr. Galatz moves this character through his emotional paces with ease. He was comfortable to watch and was ultimately engaging. His performance was rare and touching for this play. It’s usually over played like a character from “Wiseguys”.

As Roberta, Ms. Kingsley is remarkable. Her subtle and internal rhythms are lovely. Her sweet, yet cat like switches in tone are fun to watch. She is fearless and also fearful of what will become of her. She shows us the depths of Roberta as the story unfolds. It is beautifully painful to watch her comfortableness as Danny begins to warm up to her. Her performance is varied, sweet and sad; with a glimmer of hope in her eyes.

Wonderfully directed by K. Hannah Friedman and simply setting by Zachary Gipson, this black box beauty is perfectly crafted.  The lighting by Mac Vaughey is a superb contribution to this show’s success.

“Danny and the Deep Blue” runs through 28 April on Thursday through Saturdays at the Athenaeum Theatre on Southport. For tickets go to the Athenaeum Theatre box office or call 773-935-6875. Also at www.anthenaeumtheatre.org

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

"God's Gonna Trouble The Water"

By Olivia Lilley

“Head of Passes” refers to the mouth of the Mississippi river. For two magical hours, we watch helplessly as matriarch Shelah, her house, and her family are washed away by its waters and swallowed up by the gulf till there’s nothing left. Playwright Tarell Alvin McCraney deserves all of the awards he receives, and Tina Landau directs a production, which sings at the top of its lungs; much like the stunning otherworldly vocal stylings of

Kyle Beltran as the lonely, confused Crier. Cheryl Lynn Bruce is a hurricane as Shelah, the mother and grandmother struggling to rule over her family after the passing of her husband. Jacqueline Williams as Mae is her perfect foil and sidekick. James T. Alfred and Glenn Davis are believable, hilarious, and touching as the brothers who couldn’t be more different. Ron Cephas as Creaker and Kyle Beltran as Crier were the goofy, dysfunctional father son duo that always brought an extra jolt of energy to the stage. Tim Hopper as Dr. Anderson walks the line of close friend and greatest threat very well. As the carrier of the truth about Shelah’s illness, he represents its presence in her life as much as he represents the family’s devotion, respect, and desire to take care of her. Alana Arenas gives a knock out performance as the enraged, wounded Cookie. Chris Boykin as the angel was the most convincing ghost I’ve ever seen portrayed onstage, and his construction worker was precisely what he needed to be.

David Gallo’s set design was subtle in all of the right ways. From it’s use of the light bulb to the suggestion of the Gulf to the dressing of Shelah’s room in the second act, for which there are several layers of interpretation, this was the work of a master. One of the most expressive visual effects I have ever seen happens towards the end of Act 1, which I will not give away. Scott Zielinski’s lighting was in harmony with the set and the acting.

Steppenwolf is one of those theatre companies that lives to take risks. Everything about this play is ambitious: the language, the structure, the plot, the themes. It is the early work of a tremendous talent in the making.
Do yourself a favor. Go see it.

Head of Passes
By Tarell Alvin McCraney
Directed by Tina Landau

Running April 4th – June 9th, 2013 in the Downstairs Theatre

Steppenwolf Theatre
1650 Halsted St.
Chicago, Il 60614

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

Portrait of the Con Artist as a Young Man

Catch Me if You Can

In a year that saw such impressive Broadway productions as “Sister Act,”  new revivals of “How to Succeed in Business Without Really Trying” and “Anything Goes,” “The Scottsboro Boys,” and the mega hit, “Book of Mormon,” a charming, splashy musical (based on Steven Spielberg’s 2002 bio-pic of the same name) just couldn’t hold up to the competition. In a less impressive season, this musical might’ve earned more, well-deserved theatrical accolades. That’s not to say, however, that this is an inferior show.

Let the Mirror Balls Drop

Amidst a profusion of sequins, marabou and mylar the ensemble of this cotton candy of a musical guarantees to dazzle and delight audiences of every age, gender and persuasion. It’s just plain fun and, boy, do we ever need this dose of eye-popping, over-the-top beguilement right now. Simon Philips has directed a wildly energetic musical version of the 2011 Tony Award-winning production that was, in turn, based upon a 1994 film cult classic.