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Chicago Theatre Review

Chicago Theatre Review

Alice’s Adventure at City Lit

September 7, 2011 Reviews Comments Off on Alice’s Adventure at City Lit

Alice’s Adventure’s Under Ground
City Lit Theater

By Devlyn Camp
City Lit’s newest production, Christopher Hampton’s Alice’s Adventures Under Ground, is an episodic play that hints at what imagination looks like when played out in an artist’s mind. From the start, the audience gets a look into the pensive, dramatic and inspired mind of Lewis Carroll, using pieces and parts from Alice’s Adventures in Wonderland and Through the Looking Glass and What Alice Found There. Five actors tell the story as 32 characters, including Carroll himself. Each scene is a snippet of the familiar story working its way through Carroll’s thoughts to his page. Through unexpected entrances and goofy physical gags, every prop and piece of furniture is an inspiration to his story, leaving no teacup or table unscathed.

Although it must be quite easy to be silly in the fantastical scenes, the five actors deliver dramatic and believable stories. They then quickly turn around to the next scene and send off one punch line after another as a completely different character. Lee Wichman, playing the March Hare among other characters, steals his scenes with his quirky, crazy facial expressions and songs of soup. His frequent scene partners Edward Kuffert and Morgan McCabe also keep the comedic ball rolling in their ridiculous voices and zany physical comedy.

The play is directed by Terry McCabe, who has been directing around the city for over 30 years. McCabe sets the stage wonderfully for Carroll’s imagination to piece its story together. Only a one-act piece, there’s plenty of time in a theatre-goer’s schedule to catch this intelligent, funny trip down the rabbit hole.

 

Tickets are $25 and are available at www.citylit.org
or by calling (773) 293-3682 

September 2 – October 9
Fridays & Saturdays at 8:00 PM
Sundays at 3:00 PM
and Sep. 29/Oct. 6 at 8:00 PM 


Stellar “Sweeney Todd” at Drury Lane

August 19, 2011 Reviews Comments Off on Stellar “Sweeney Todd” at Drury Lane

Drury Lane pulls out all the stops with Sweeney Todd

 

Sweeney Todd at Drury Lane Theater, Oakbrook Terrace

Directed by Rachel Rockwell

Runs August 11-October 9, 2011

Tickets $35-$46; Box Office (630) 530-0111

Highly Recommended

Review by Darcy Rose Coussens

Whatever your theatergoing plans are for the upcoming months, make sure Drury Lane is your first stop. Their delightfully gruesome Sweeney Todd, expertly directed and choreographed by the accomplished Rachel Rockwell, is the knockout of musicals. Broadway actors Gregg Edelman and Liz McCartney head the solid cast as Sweeney and Mrs. Lovett. Edelman has four Tony nominations to his credit, and once he sings it’s easy to see why. McCartney is wildly funny as Lovett, and her unparalleled energy keeps the show rolling smoothly and swiftly to the murderous end.

With music and lyrics by Stephen Sondheim and a book by Hugh Wheeler, this is the dark tale of a deranged barber set on revenge. After fifteen years in exile from a false accusation, Benjamin Barker, now calling himself Sweeney Todd, returns to seek his beautiful wife and daughter. The clever set design (Kevin Depinet) creatively copes with the many changes of scenery, using a large cube that rotates to change settings. The lights are an integral part of the show, projecting images of London, a shipyard, or even blood (avoiding any messy goo) on the reflective backdrop. Jesse Klug’s commendable lighting design adds quite a few creepy effects, including a disturbing asylum of silhouettes through hanging strips of plastic. Only hands emerge to grasp at the sailor Anthony when he visits to rescue Johanna, Sweeney’s daughter.

I will say that despite Edelman’s powerful voice and commanding presence, his Sweeney wasn’t all that scary. He seethed quietly, which didn’t quite sell him as a tortured, vengeful man who slaughters his customers. Kevin Gudahl’s Judge Turpin could have been more evil, as well, instead coming across as somewhat bumbling and naïve. Their duet “Pretty Women” was one of the best songs, though, and overall this show was such a knockout that it is impossible to dwell on these details. George Keating is a stitch as the cooky rival barber Pirelli, and his young helper Toby is played by the charming Jonah Rawitz. Although I am guessing he will soon outgrow such high voiced parts, Rawitz sings the part well and completely won me over.

Sweeney Todd is a lively, fun musical (albeit morbidly so), but Drury Lane pulls out all the stops. The audience shouted with laughter at Sweeney’s barber chair, which actually drops his victims to the pie shop below where they are considered ingredients. McCartney and Edelman enjoy endless puns in the meat pie shop scene with “A Little Priest,” and the cast perfectly balances the humor and darkness. Multi-Jeff Award winner Rachel Rockwell has a knack for creating seamless productions, and between the exceptional cast, designers, and direction, this production stands as one of her best.


 

 


Family Devotions: Halcyon’s Hwang Falls Short

August 14, 2011 Reviews Comments Off on Family Devotions: Halcyon’s Hwang Falls Short

Halcyon’s attempt at Hwang falls short of potential

 

Family Devotions by David Henry Hwang

Halcyon Theater Company at Greenhouse Theater Center

Runs August 11-September 4, 2011

Not Recommended

Review by Darcy Rose Coussens

 

Wrapping up the summer of David Henry Hwang in Chicago is Family Devotions presented by Halcyon Theatre. First was Yellow Face at Silk Road in June and then Chinglish at the Goodman, now headed to Broadway. Yet despite the hype about the three plays as well as my own appreciation of the Tony award-winner’s work, I found Halcyon’s production something of a letdown. This is one of Hwang’s earlier plays, and although a few plot transitions could do with some ironing out, Family Devotions has plenty of wit and important concepts that get lost in the shuffle in this performance.

 

This dark comedy depicts three generations of a Chinese-American family gathered for a reunion: two elderly sisters, their children, and two teenage grandchildren. The guest of honor is Di-Gou, the great-uncle visiting from communist China. His loyalty to his country and lack of religion causes conflict between him and his sisters, who are devout, even fanatical Christians. Diverse in cultural assimilation, the family members discuss their expectations for one another and their views of what being an American really means. However, focus seems to sidetrack into the smaller moments and I felt that overall this production missed the mark, leaving the story floundering below its potential.

 

The actors sometimes seemed to be striving for the audience’s attention, even from the moment I walked in– one actress mysteriously “messed around with the space” until two minutes before the show began, which made for awkward, hushed pre-show conversation in the small studio space. Most of the cast comes across as hokey and theatrical, but Di-Gou (Arvin Jalandoon) redeems them somewhat in the depth of his reserved and thoughtful character. Among the largely two-dimensional and ultimately frightening characters, the audience can relate to this bewildered visitor, who truly represents tradition and loyalty. The two elder sisters (Kaori Aoshima and Mia Park) are severe but also funny, although I lost a couple jokes in their accents.

 

This experience was an off-putting one overall. The set is basic yet poorly designed, mixing indoors and outdoors with a pillar front and center that blocks sight lines. I wasn’t sure what to make of the abrupt ending, which includes torture, speaking in tongues (to my interpretation), and the sudden death of two characters (at least I think they are supposed to be dead). Director Jenn Adams fails to consistently connect the overlying themes, so that the plot shifts disjointedly from lighthearted banter to intense religious zeal. I was puzzled upon entering and I left even more confused. The tickets are affordable for Chicago theater, but unfortunately the quality is not.

 

The Greenhouse Theater Center is located at 2257 N. Lincoln Ave, Chicago.

Run time is 85 minutes.

Tickets are $18-25 and can be purchased at (773) 404-7336.

Visit HalcyonTheater.org for more information.



Aladdin: Classic Disney story is flashy family fun

August 2, 2011 Reviews Comments Off on Aladdin: Classic Disney story is flashy family fun

Aladdin

t-size: medium;”> at The Marriott Theater in Lincolnshire

Runs July 14-August 14

Box Office (847) 634-0200; $15

Recommended

Classic Disney story is flashy family fun

Review by Darcy Rose Coussens

The best examples of theater for young audiences are those that captivate all audiences. Marriott succeeds in delivering a fun performance for the whole family, including favorite songs and plenty of laughs. This “for young audiences” version of Aladdin provided a wonderful theatrical experience for a range of youngsters.

The portrayal of such beloved characters can be tricky (I’ve had a thing for Aladdin forever, and I revered Jasmine as a young girl) and the actors did a fine job with this Disney musical. Although our Jasmine (Christine Bunuan) and occasionally Aladdin (Jameson Cooper) fell into the cartoon-like fake voices so often used with kids, the cast was great overall. The Genie (Bernie Yvon) especially stood out, bringing a giant gust of energy to an antsy audience upon his arrival, and constantly laughing and joking with the characters and the kids. Iago the parrot and his puppeteer (Debbie Laumand-Blanc) also interacted with the audience, keeping them engaged for the duration of the show.

The young audience members certainly enjoyed the performance, with questions and even a statement after the show: “I love you Jasmine.” Parents enjoyed the performance as well. I even overheard one parent’s remark about the high level of quality “for a children’s show.” It’s great to see theaters respect kids. I’d like to see Marriott tackle something a little less mainstream, since Disney is already so accessible. According to the Q&A session most of the audience had been there before, and hopefully many will return.

 


Remy Bumppo welcomes Timothy Douglas

July 14, 2011 News Comments Off on Remy Bumppo welcomes Timothy Douglas

In with the new: Remy Bumppo’s new artistic director, new season

 

7/12/11

By Kaylee Holt

 

July 1st marked the first day on the job for Remy Bumppo’s new artistic director, Timothy Douglas.  Douglas is replacing James Bohnen, the company founder, who announced that he was stepping down in 2009. Douglas has worked as a stage director, actor, and educator at a variety of prestigious theaters, and recently wrapped up a season of directing projects all across the country, including work with Steppenwolf Theatre Company and Studio Theatre Company in D.C. The decision to hire Douglas was unanimous among the theater’s artistic associates, board, and administrative staff. Douglas says that he cares about representing ethnically diverse playwrights, as well as diverse casting. This is evidenced by the theme of his inaugural season: “The American Evolution: from Civil War to Civil Rights to Civil Disobedience.” Douglas will be directing all three plays this season: Eugene O’Neill’s Morning Becomes Electra, Marivaux’s Changes of Heart, and Lee Blessing’s Chesapeake.

 

Morning Becomes Electra is a tragedy based on The Oresteia, in which a young woman takes a lover and murders her husband, leaving her daughter committed to revenge. Douglas says the revision, set at the end of the Civil War, cuts down on the chorus aspect of the original and fills the story with more action. It opens September 26th.

 

Changes of Heart, set to open November 28th, is a complex comedy about love between the classes. The play was written in pre-revolutionary France, when class divisions were viewed as much more significant than they are today. As such, Douglas was afraid that the audience might not have the same visceral reaction to what’s happening as audiences in Marivaux’s time. In an attempt to remedy this, Douglas is setting the play in Chicago during the 1960’s and playing up the tensions between the North and South sides in the midst of the Civil Rights Movement. Still, though, he insists the story isn’t about race: “I just want to do justice to Marivaux’s play.”

 

Finally is Chesapeake, a one-man comedy about a performance artist who’s had his funding cut; he attempts a dog-napping in a plot to reveal the injustices of funding in the town. “It’s a play about redemption,” says Douglas. He also says some people may be able to relate to the political side of the story, the troubles of getting funding. Chesapeake opens April 2nd.

 

Tickets for Remy Bumppo’s productions can be purchased at www.remybumppo.org or by calling the Greenhouse Theater Center’s box office at (773) 404-7336.

 

 

 


Cirque Shanghai EXTREME at Navy Pier's Skyline Stage

July 13, 2011 Reviews Comments Off on Cirque Shanghai EXTREME at Navy Pier's Skyline Stage

Cirque Shanghai EXTREME at Navy Pier's Skyline Stage

Runs June 19-September 5

Recommended

Cirque Shanghai takes each act one step further…or three

By Darcy Rose Coussens

Between its fantastic stunts, ornate costumes, and majestic music, Cirque Shanghai EXTREME has brought a real spectacle to Navy Pier. Everything in the show glitters and shimmers, and despite all of the risky endeavors, these performers never stop smiling. The show begins with Chinese dragons parading down the aisles and performers bounding onstage and into the air; it is merely a preview of what is to come, though!

I was impressed that the same performers rotate acts– they each have many specialties instead of just one. Even the tiniest little girl appears in several different acts, from contortion, to ladder balancing, to lyra (aerial rings suspended in the air). Many of the acts are beautiful, such as the silks. The performers fly gracefully and seemingly effortlessly, and the costumes are magnificent. Overall, the costumes in every act are incredibly detailed, right down to the glittery eyeshadow.

Some acts are funny, as well. During hat juggling, the performers wordlessly teach audience vol

unteers how to stretch, and then how to execute the most basic version of hat juggling, all while clapping enthusiastically to the beat. I think the audience had even more fun watching this than the volunteers did onstage. Even when the performers dropped a hat or two, they covered the mistake with such speed that I hardly noticed.

The show keeps a pretty fast pace between the different acts, all of which were very impressive. I have never been so enthralled watching roller-skating. Originally, I had thought one man balancing on a ladder was commendable, yet another climbed on top of him, and then the little girl topped them off! Something of this sort happens in every act: I would think they were finished, when they would top themselves yet again (and sometimes again…and again). Finally, the motorcycles. Cirque Shanghai sure likes their motorcycles. Performers ride them on the high wires above the audience, but that's really just a warm up to the finale, which I'll leave a surprise for you to marvel at properly.

All in all, this was more fun to watch than the Olympics or another sporting event. The stunts were excellent, but they were also presented gracefully and with fantastic flair. Cirque Shanghai EXTREME has landed a near-perfect balance between sport and art.

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The Women at Circle

July 13, 2011 Reviews Comments Off on The Women at Circle

The Women is fun and clever

 

The Women by Clare Booth Luce

Directed by Jim Schneider

Circle Theatre, 1010 W. Madison, Oak Park 60302

Runs June 29 – August 14, 2011

Tickets $22 – $26, available at www.circle-theatre.org, (708) 660-9540

Review by Kaylee Holt

The Women, written in the 30’s by Clare Booth Luce, is like an early version of Desperate Housewives; it follows a group of rich socialites and the ups and downs of their love lives. One woman, Mary Haines, is content with what she thinks is a perfect marriage until she discovers that her husband is cheating on her with a shop girl. Madness ensues. Much like Desperate Housewives, The Women may not make any grand, earth-shattering statements about the world; however, it is witty and enjoyable.

 

The cast of characters is fun, and, quite fittingly, entirely women: though the play centers around women’s relationships with men, not a single male character ever actually appears on stage. Though the play may run a little longer than necessary, the rapport between characters is consistently rapid and clever, keeping the story from dragging. There are also a few fight scenes thrown in, which are entertaining, if a bit over-choreographed. The saga plays out against a beautiful set, complete with genuine art deco props.

 

It’s noted in the director’s note that the play has been accused of being misogynistic, and, it’s true, it won’t be winning any awards for feminism. However, the story seems so aware of this fact that I didn’t find it offensive. The Women is just a fun, light way to spend an evening, full of beauty and wit.


Pine Box Returns

July 2, 2011 Reviews Comments Off on Pine Box Returns

Pine Box returns from hiatus with original police suspense story

A Girl With Sun in Her Eyes by Joshua Rollins

Directed by Matt Miller

Pine Box Theater at the Second Stage, 3408 N. Sheffield, Chicago 60657

Runs June 30 – August 7, 2011

Tickets $35, available at www.pineboxtheater.org

Review by Kaylee Holt

 

After a three-year hiatus, Pine Box Theater is back with the world premiere of Joshua Rollins’s A Girl With Sun in Her Eyes. The story follows one night in the investigation of a missing police officer, and slowly reveals the missing girl’s relationship to both the officers investigating the disappearance and the suspects brought in for interrogation. While the play gets off to a rocky start, eventually it finds its stride and demonstrates some quality storytelling.

 

The dialogue is slightly awkward in the beginning; however, often just as a line feels awkward, it’s followed up by a joke that cuts the discomfort. Plus, Vincent Teninty carries the play along and keeps the audience interested as William, the average guy you continue to pull for even when you know you shouldn’t. As the play goes on, the other actors come into their own; Steve Pickering does a solid job as Landy, the rough but secretly emotional officer, as does Sean Parris as Darnel, the nonchalant suspect with an attitude. Both manage to be funny and convincing.

 

The structure of the play was effective and suspenseful; it alternated between interrogation scenes and scenes of what actually happened leading up to the crime. Rollins constantly introduces new information, but does so slowly enough to build suspense and keep the audience guessing. Though there are a few too many long, confessional monologues, Rollins’s talent shines through in the scenes with rowdy, overlapping dialogue.

 

Second Stage is an intimate theater, and the space is utilized well; there’s seating on both sides of the stage area, so that the audience surrounds the action. A Girl With Sun in Her Eyes gradually sucks its audience in, and is an interesting look at the domino effect each of our decisions can have. I’m curious to see what Pine Box Theater has to offer in the time to come.

 


Flamenco Passion

June 29, 2011 Reviews Comments Off on Flamenco Passion

Flamenco Passion, Ensemble Español’s Gala Concert

At the Skokie Center for the Performing Arts

Concluded American Spanish Dance and Music Festival

June 16-26

Ensemble Español Gala Concert “Flamenco Passion” was exhilarating finale to the American Spanish Dance and Music Festival

By Darcy Rose Coussens

 

If you missed the 35th Anniversary Gala Concert by Ensemble Español Spanish Dance Theater, founded and artistic directed by Dame Libby Komaiko, don’t make that mistake again next year. This vibrant collection of flamenco dances showcased the talented Ensemble Español Spanish Dance Theater Company Dancers, several impassioned musicians, and three brilliant guest artists from Spain. The program included letters from Mayor Emmanuel, Governor Quinn, and a few others in support of Ensemble Español. A letter from President Obama was also read aloud during the performance. Despite these recommendations, I had no idea how intense the performance would be.

 

The production incorporated projections of Picasso paintings and live musicians, three of whom are also from Spain. The dancers seemed part of the music through their rhythms, and so the live musicians were a terrific asset to these incredible dancers. This was a series of performances with flipping fans, swishing skirts, clicking castanets and very fast feet. Several dances were slow and expressive, such as that of Carmela Greco, which met tremendous applause and cheers. The show included a variety of dances that were mournful, seductive, sassy and fun. The intricate choreography was beautiful.

 

Whether you are a flamenco fanatic or a novice, this company will blow you away. With dramatic lighting and ornate costumes, the entire ensemble was extremely polished. Other guest artists from Spain included Paloma Gómez and Christian Lozano, and their performance together got the show off to a very exciting start. Later, Lozano stole the show with a spectacular solo (the ladies seated behind me immediately made plans to get him flowers). The many shouts of “ole” from the audience throughout the show were well-deserved. Make sure you catch Ensemble Español if ever possible– you won’t regret it!


Shout – Marriott Theatre

June 29, 2011 Reviews Comments Off on Shout – Marriott Theatre

Shout! At the Marriott Theater in Lincolnshire

Directed and choreographed by Rachel Rockwell

Runs June 24-August 14

 

Marriott re-conceives Shout! with top

-notch vocals and dynamite dancing

 

By Darcy Rose Coussens

 

The Marriott Theater in Lincolnshire has long maintained a reputation of excellence, and Shout! does not disappoint. The groovy, sparkly set is gorgeous but simple, of course allowing visibility from all four sides. The characters are unnamed, but the five singers develop their own personalities throughout the show, somewhat reminiscent of Donna and the Dynamos in Mamma Mia. It’s like taking the best song and dance numbers from musicals and putting them all together without worrying about a story. This re-conceived version is definitely a hit. Audience members loved the renditions of familiar tunes, and the show was a blast of pure fun.

 

The beginning feels a little aimless, since the audience does not know what to expect and the singers perform one song after another without a plot. However, soon it really gets going with some especially outstanding vocal performances by Carey Anderson and Jessie Mueller. The five singers jam to arrangements of favorite hits like “Downtown” and “These Boots Were Made for Walking”.

 

What stands out most is the exceptional dancing. Although the different singers and dancers seem a bit disjointed at first (the singers only sing, the dancers only dance), it quickly becomes clear that this separation allows the dancers to do much more than is possible in a typical musical. The dances are extremely impressive and include many styles. Several are short vignettes that interpret the lyrics of the singers’ songs. I found myself wishing for more dancing because it adds so much to what would otherwise basically have been a concert. The men are excellent partners, and stand-out numbers like the “James Bond theme,” “Son of a Preacher Man,” and “Puppet On a String” include plenty of risky lifts made to look effortless.

 

Shout! is funny, upbeat, and extremely entertaining. The many costumes are glitzy and stylized to the songs. All of the performers have lots of stamina for 90 minutes of song and dance without intermission, and the choreography is especially commendable. With plenty of hair-flipping and sass, this is a high-energy show that will have you dying to get out of your seat by the rendition of “Shout” at the end!

 

 

 

 

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Shout! At the Marriott Theater in Lincolnshire
Directed and choreographed by Rachel Rockwell
Runs June 24-August 14

Marriott re-conceives Shout! with top-notch vocals and dynamite dancing

By Darcy Rose Coussens

The Marriott Theater in Lincolnshire has long maintained a reputation of excellence, and Shout! does not disappoint. The groovy, sparkly set is gorgeous but simple, of course allowing visibility from all four sides. The characters are unnamed, but the five singers develop their own personalities throughout the show, somewhat reminiscent of Donna and the Dynamos in Mamma Mia. It’s like taking the best song and dance numbers from musicals and putting them all together without worrying about a story. This re-conceived version is definitely a hit. Audience members loved the renditions of familiar tunes, and the show was a blast of pure fun.

The beginning feels a little aimless, since the audience does not know what to expect and the singers perform one song after another without a plot. However, soon it really gets going with some especially outstanding vocal performances by Carey Anderson and Jessie Mueller. The five singers jam to arrangements of favorite hits like “Downtown” and “These Boots Were Made for Walking”.

What stands out most is the exceptional dancing. Although the different singers and dancers seem a bit disjointed at first (the singers only sing, the dancers only dance), it quickly becomes clear that this separation allows the dancers to do much more than is possible in a typical musical. The dances are extremely impressive and include many styles. Several are short vignettes that interpret the lyrics of the singers’ songs. I found myself wishing for more dancing because it adds so much to what would otherwise basically have been a concert. The men are excellent partners, and stand-out numbers like the “James Bond theme,” “Son of a Preacher Man,” and “Puppet On a String” include plenty of risky lifts made to look effortless.

Shout! is funny, upbeat, and extremely entertaining. The many costumes are glitzy and stylized to the songs. All of the performers have lots of stamina for 90 minutes of song and dance without intermission, and the choreography is especially commendable. With plenty of hair-flipping and sass, this is a high-energy show that will have you dying to get out of your seat by the rendition of “Shout” at the end!

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