The Dr. Will See You Now, With Stellar Results.

By Lazlo Collins
The loveliness of “Freud’s Last Session”, now playing at the Mercury Theater, is not only revealed through the splendid writing, but also with the amazing performances of the two fine actors in its grasp. In this new launch with Mike Nussbaum as Sigmund Freud and Coburn Goss as C. S. Lewis, these are performances of the highest caliber.
It is the very day that Britain will enter the war on 3 Sept. 1939 and Dr. Freud has agreed to entertain one C. S. Lewis. At this juncture, Freud is ending a brilliant career, while Mr. Lewis is just coming up on his own notoriety.
C. S. Lewis made the conversion to theism and, of course, Dr. Freud was the founder of psychoanalysis, who gave little credence to religion. With their views securely intact, with their ages in opposition too; the gentlemen talk, spar, and search to find meaning in each other’s opinions and theories.
This 90 minute conversation reveals the lives of these two men through a script that is both heavily informational and lightly playful. Their careful interactions and choices for words, finds these two literary powerhouses challenging themselves, as well as each other with their own beliefs and philosophies.
Mr. Nussbaum’s portrayal of Dr. Freud is amazing. He commands the stage with his presence and demeanor. His mannerisms and timing were impeccable. I felt his pain and his force when challenged with his beliefs and illness. (Dr. Freud suffered from an oral cancer ultimately taking his own life on 23 Sept. 1939) With his passion for his beliefs and softer side revealed during this lovely London meeting, Mr. Nussbaum brings Freud to life for theater goers to saver. I did not want this show to end.
Mr. Goss’s performance was no less stellar than that of his on stage partner. His polite, yet probing, meeting was perfect. His performance was understated and charming. A less capable actor would have reduced this role to a secondary one, but Mr. Goss matched the energy and nuance his role deserved. His insistence with Dr. Freud about his conversion was a tender and respectful; his compassion for a man dying was touching among uncertainty the war itself.
The speculation of whether these to literary persons ever met sparked the very writing of the play.
After seeing “Freud’s Last Session” it did not matter if they met or not, it was thrilling to see these two men deliberate about the core beliefs that guided them every day. The debate of whether God exists or not, will continue long past the closing of this short, satisfying theatrical conversation; but it will be the audiences pleasure to experience these debates through the minds of these real life characters.
I hope that among the spot on, comforting set of this show lays a copy of “The Chronicles of Narnia” and “The Ego and Id”. It would be a fitting tribute, but yet again, the writer (Mark St. Germain), Mr. Nussbaum and Mr. Goss have already done that.
Get off the couch and go see this theatrical jewel.
“Freud’s Last Session” runs through 15 July 2012 at the Mercury Theater. Call 773-325-1700 or go to www.mercurytheaterchicago.com

This “Rent” Is Due Your Full Attention.

By Lazlo Collins
I must disclose at the beginning of this review that I was never one of those super “Rent” fans. In 1996 when “Rent” was on Broadway, it was a SENSATION. It was a groundbreaking musical of the ages. Well, I got on board the “Rent” bus a bit late. Finally, when I went to see “Rent”, I enjoyed the music, I loved La Boehme, and it was great; it just wasn’t my favorite. I felt myself wanting to yell, “Stop whining and get a freakin’ job!” Wow, so judgmental, right?
I further must disclose that when I first saw “Rent”, I myself was losing someone I loved from AIDS, and that somehow I just wasn’t ready to embrace the musical’s messages and intricate relationships.
And here we are, at the American Theater Co. and About Face’s current collaboration of “Rent” directed by David Cromer and it moved me for the first time. I was ready to experience the story of love, art, and AIDS in a time of turmoil.
This high energy and gritty production hits the mark, and moves through the 90’s with all the force needed to sustain the story through its paces. While I am not sure that ALL the messages stand up through time; but the intentions of love, understanding, acceptance, and someone taken too soon are all themes that are explored beautifully in this production.
Kudos to Cromer for keeping the feel of a gritty warehouse or city street, placing the audience as if just spectators to the scenes unfolded in the profile style staging. It kept me searching the playing area for actors and action; but allowing for some fantastic staging in songs like, “Santa Fe”, “I’ll Cover You, reprise”, and “Finale A”.
The energy of the songs and the acting was immediate and in your face. I enjoyed each character as they moved through their own stories. The supporting ensemble cast was up to the task as well.
Roommates Mark Cohen (Alan Schmuckler) and Roger Davis (Derrick Trumbly) get the ball rolling with conviction and intensity in their respective roles. Mr. Schmuckler is a delight in his role as documentarian and smited boyfriend. He is sweet and loyal, while his character grows throughout the show. Mr. Trumbly grew on me as his character discovers his own voice after the discovery of HIV. Both voices were excellent.
The shows happenstance couple Tom Collins (Alex Agard) and Angel Dumott Schunard (Esteban Andres Cruz) proves love is alive in the time AIDS. Well sung and acted too, I might add. I enjoyed each man’s energy. I especially enjoyed Mr. Cruz’s more real approach to Angel. It was refreshing to see this character as a real person, and not just a man in drag acting like a girl.
The playful couple of Joanne Jefferson (Lili-Anne Brown) and Maureen Johnson (Aileen May) are as opposite as they may be. Both are talented singers and actresses. I loved Ms. Brown’s warm voice and sweet smile. Ms. May exudes a confidence necessary for her bravado character. Her conviction in Over the Moon” was especially good. Ms. Brown shows her skills on the duet with Mark Cohen in “Tango: Maureen”
As Roger’s love interest, Mimi Marquez (Grace Gealey) comes on strong as brash misunderstood femme fatale. Ms. Gaeley puts in a well-played performance. I really enjoyed her naïve moments, that were street smart but emotionally immature. Her role is unforgiving in its predictability. I thought she played the character with believability; not to mention pleasing vocals.
I was really struck by the great acting in this production. The acting combined with the singing was believable, isn’t that the point anyway? At very particular times, the vocals seemed strained; while the quieter moments of the music seemed more successful for the audience. It seems they will need to tweak there sound amplification system to maximize the vocals. I was on the other side of the house from the band and sometimes they were too loud. This is an easy adjustment that will only improve what is a pleasant soundtrack.
Congratulations to the artistic design crew. Collette Pollard‘s warehouse set, with simple, but well placed graffiti, and Christmas décor is perfect. Lighting designer Heather Gilbert put lights everywhere, but kept the mood mysterious and somber. David Hyman’s costumes were superb. I LOVED the dirty, ripped, but appropriately ragged costumes for the main characters. Angel’s “holiday outfit” was an appropriate homage to the original costume, but with a more real, gritty feel.
I would be remiss without mentioning the band. The pit was alive with many layers of sound and fury; seemingly like far more instruments than actually on the premises. Thanks for making the music great.
And finally, Mr. Cromer brings experience and style to this production. This is a difficult undertaking and is overall a success. He deconstructs the observational pop of the original production, and brings us more ‘in-to” the story as it is happening, as if it happening to us all over again. Taking us back to the ‘90’s, with the loss, the love, and the music the stage will NEVER forget.
“Rent” runs through 17 June 2012 at the American Theater Company, 1909 W Byron in Chicago. For tickets call 773-409-4125 or go to www.atcweb.org

Photo Credit: Michael Brosilow

tick, tick…BOOM! takes off after a slow start

By Kyle Babcock

In Rent, Jonathan Larson asked, “How do you measure a year in a life?”  The answer for him at that time of his life was love – the love you have for others and the love they share for you – sage, albeit hard-to-implement, advice for all.  However, earlier in his life, in his autobiographical, tick, tick…BOOM!, he delves into measuring 30 years in a life as a juxtaposition between the American stereotype of success: a family, a good job, Gucci belts, a BMW, and a “DE-luxe apartment in the sky-eye-eye” and a personal life filled with your dreams and passions that may not parlay into the American stereotype.

Fortunately, Larson chose to shun the stereotype, and despite external pressures, live for his dreams that resulted in a Pulitzer and two Tony awards as recognition for Rent. Conversely, the first thirty minutes of Porchlight Music Theatre’s production of tick, tick…BOOM! prove why he received the accolades for Rent and not this work.  This is not a reflection of the cast and crew of Porchlight, who do an admirable job, but a reflection of the mediocre material that lacks the ingenuity and grittiness of Rent.

The story revolves around Jon (Adrian Aguilar), a struggling composer in 1990 (I mentioned it was autobiographical, right?) who is just days away from his 30^th birthday – the end of youth according to him.  Jon hears a perpetual ticking, which he acknowledges to be anxiety and the expectations of adulthood.  Next, Jon’s two barometers for measuring his life are his girlfriend, Susan (Jenny Guse), and his best friend, Michael (Bear Bellinger).  Both of whom have moved to New York to follow their dreams as a dancer and actor, respectively.  Michael surrendered his acting career for one in Marketing, while Susan is on the cusp of trading in her dancer dream for a new dream of a full-time teaching job in Upstate New York and building a family.

The first thirty minutes are filled with clichés and the insipid “Green Green Dress” (but not a real green dress, that’s cruel*), where Susan seduces Jon, and then asks him to move Upstate with her in the forgettable “Johnny Can’t Decide.”  If not for the energetic performances of the three actors and the intriguing video set, this first thirty minutes would have been unbearable.  Then, to put it in today’s lexicon, wait for it (tick)…wait for it (tick)…the production took off (BOOM!).

At this point, I don’t know if the material improved or if the performances began to outshine the material.  The final sixty minutes were thoroughly enjoyable with Jon and Susan perfectly executing the politest phone disagreement in “Therapy”, Karessa’s (also played by Guse) show-stopping performance in “Come to Your Senses”, and Jon’s cathartic realization to be happy he must continue his composer dream in “Why”.   The latest was set during a rainstorm in Central Park, and I would be remiss to not recognize Mother Nature for the eerie assist during this production as hail rained down on the metal roof of the theater.  I would also be remiss in not recognizing Aguilar for a brief, but charming, moment of acknowledging Mother Nature’s participation with an upward look and a slight smile.

The performances are outstanding with Aguilar showing promise for larger stages, if he chooses.  Guse is elegant as Susan and enchanting as Karessa, while Bellinger deftly morphs into his many characters and provides a few laughs as Jon’s agent, Rosa.

The set design is simple but effective.  Ann Davis creates a world that easily converted into various settings:  a New York flat, a Madison Avenue ad agency, or Belvedere Castle in Central Park.  The video montage was interesting; however, for the audience on the sides, some images were blocked by the sets, including the final scene, which left me wondering what I may have missed.

I recommend tick, tick…BOOM! primarily for the performances; it may be one of the few times you may see Adrian Aguilar in Chicago.  It is playing at Stage 773, 1225 W Belmont until June 10.

* The not a real green dress is cruel reference is to a Barenaked Ladies’ “If I had a $1,000,000, which was popular in the early ‘90s – coincidence?

The Road Less Traveled is Exemplary in “The March”!

By Lazlo Collins
As the lights dim, and the moment you hear the footsteps of the soldiers in the distance, the hairs on the back of my neck stand up in anticipation and delight. A poor lone figure is at a grave…
“The March”, now playing at The Steppenwolf Theater, hits the mark of both sweeping historical drama and entertaining theater work. The man and the march in question are none other than General William Tecumseh Sherman and his relentless move through the south in the time of our country’s bitter civil war. As the play moves us with General Sherman’s troops, we enter the action after the taking of Atlanta. The scenes take us through his campaign and ultimately to North Carolina. The mud filled days and nights for the soldiers, and those that surround them, is laid out with empathy among the brutal realities of war.
Frank Galati’s adaptation, from E.L.Doctorow’s novel of the same name, is grand in its ambition and tone. Any adaptation of Doctorow is never a simple matter. The sweeping historical novels with fictional embellishments are what Mr. Doctorow is known for in his books.
Fans and Doctorow aficionados may remember his 1975 novel “Ragtime”. This novel was adapted into a hit musical in 1996, and then revived on Broadway in 2009. It covers historical figures, class struggles, and a sweeping American panorama.
It is with the loving attention to historical figures and dark feelings of American nostalgia that “The March” moves across the stage like the fog that surrounds it. Much of the success of “The March” is in its ability to be both a great story and a sad tale of lives torn apart during time of war. We see all in Sherman’s path affected by his military march. Rich, poor, white, black, civilian and army are all casualties of the man many would never know, but feel his soldier’s heavy oppression.
As “General Sherman”, Harry Groener, makes a fine commander. He commands the stage with his contemplative musings; all the while embracing his sense of purpose and goals. His explanation of a lost soldier, “losing a solider is a loss of a number, depleting his ranks by one”, was a moment into the man who we are led to believe is ruthless leader. We see how he struggles with those that he takes orders from, and those he governs. The audience sees his journey as a difficult one. He must finish the march he started.
If there were clowns during the dark days of this civil war journey, then the characters of Will B Kirkland (Stephen Louis Grush) and Arly Wilcox (Ian Barford) would fit the bill. The rouges of this journey are funny and sometimes sad. They take us out of the business of war, but also remind us of its casualties too. Mr. Barford is a particular standout in his role. He engages the audience winningly throughout his journey and divine interventions.
Other enchanting characters were Carrie Coon’s “Emily Thompson”, Marian Mayberry’s “Mattie Johnson”, and Philip R. Smith’s “Dr. Sartorius”. The actors in these intertwined roles exemplify the delicate balances of duty versus circumstance. Each character pressing on through their march; unable to completely grasp where it will ultimately take them when it is over.
I loved the sweet segment of Coalhouse Walker (James Vincent Meredith) and Wilma (Alana Arenas). There joined journeys gave us hope in the face of all despair and confusion. These actors connected me with the only characters that escaped the misery and the loneliness of the war. I wished them well as they walked out of sight. Their brief moments on stage were surprising; and haunting.
As the play begins with her, and so it will end, so stands Pearl (Shannon Matesky). Ms. Matesky’s spirited and sweet young woman is transformed before our eyes. From poor slave waif, to young confident woman bound for the North, her performance was rich with spirit and life. Pearl’s innocence was both uplifting and sweet as she moved from moment to moment. She embraced each moment of her circumstance as a great adventure, even as she took care of the woman who used to be her oppressor.
I thought the Set Design (James Schuette) and the Lighting Design (James F Ingalls) were superb. The gray mud washed interiors and the haunting dim foggy rivers were so real and set the tone so well.
And certainly, Mr. Frank Galati’s adaptation and direction were right on the mark. Not having read “The March”, as I am assuming most theater goers will not have read either, I believe this adaptation brings to life the essentials of the story we need to understand for this performance. Keeping the direction simple with strong movements on and off stage, we got to really listen to the characters in the quiet moments of civil war.
“The March” has a spirit likes it title: Strong, deliberate, confident. It may be long for some; but come prepared to take a well-traveled journey into the mind of a General and into the hearts of those that stand in his way.
“The March” continues at Steppenwolf Theater through 10 June 2012.

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