Archive for June, 2009
Think fast: Jeremy Piven’s island-shirted Zombies
 Jeremy Piven will preside over an annual benefit this Saturday to raise money for the Piven Theatre Workshop. The Emmy-winning “Entourage” star (who has been embroiled in a messy Broadway spat), will oversee the silent auction, which includes an “Entourage” walk-on role. Time: 6pm, Location; Rockit Bar & Grill. More info here. |
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 Porchlight Music Theatre is featuring a special $10-off promotion for its hit musical Once On This Island at Theatre Building Chicago, through June 28, 2009. Theatergoers who wear their island-themed attire to the Afro-Caribbean inspired production will receive $10 off tickets to all performances. Show info here. |
August: Osage County set to close on Broadway
August: Osage County, written by Steppenwolf ensemble member Tracy Letts, winner of five 2008 Tony Awards, as well as the 2008 Pulitzer Prize, and currently starring Tony and Emmy award winner Phylicia Rashad, will play its final performance on SUNDAY, JUNE 28th, 2009. It will have played 648 performances and 18 previews, surpassing The Heidi Chronicles, Master Class, The Real Thing, and Doubt, among many others, to become one of the longest running plays in Broadway history.
August: Osage County will begin its National Tour, starring Academy award winner Estelle Parsons, at the Denver Center for the Performing Arts on July 24th, 2009, before travelling to more than 18 locations all around the country. For more information and dates, please visit WWW.AUGUSTONBROADWAY.COM.
The show currently boasts the most Award winning cast on Broadway: Tony winners Phylicia Rashad (“The Cosby Show”, Raisin in the Sun, Gem of the Ocean), John Cullum (Urinetown, Shenandoah, On the Twentieth Century), Elizabeth Ashley (Dividing the Estate, The Best Man), and Frank Wood (Side Man), with Original Cast member (and Tony nominee) Amy Morton, and Anne Berkowitz, Guy Boyd, Kimberly Guerrero, Brian Kerwin, Michael Milligan, Sally Murphy, Mariann Mayberry, and Troy West.
The original Broadway company, directed by Anna D. Shapiro, featured Ian Barford, Deanna Dunagan, Kimberly Guerrero, Francis Guinan, Brian Kerwin, Dennis Letts, Madeleine Martin, Mariann Mayberry, Amy Morton, Sally Murphy, Jeff Perry, Rondi Reed and Troy West, with understudies Munson Hicks, Susanne Marley, Jay Patterson, Dee Pelletier, Molly Ranson and Kristina Valada-Viars.
The design team included Todd Rosenthal (sets), Ana Kuzmanic (costumes), Ann Wrightson (lights), Richard Woodbury (sound) and David Singer (original music).
The production received 5 Tony Awards, including Best Play, Best Director of a Play – Anna D. Shapiro, Best Actress in a Play – Deanna Dunagan, Best Featured Actress in a Play – Rondi Reed, and Best Set Design of a Play – Todd Rosenthal.
August: Osage County welcomed many prestigious new cast members throughout its run, including Academy Award winner Estelle Parsons, Tony Award winners John Cullum, Elizabeth Ashley, and Frank Wood. The cast also welcomed Tony nominee Johanna Day, Robert Foxworth, Molly Regan, Michael McGuire, Michael Milligan, Guy Boyd, Scott Jaeck, Anne Berkowitz, Samantha Ross, Jim True-Frost, and Amy Warren, with understudies Aaron Serotsky, Stephen Payne, Avia Bushyhead, Frank Deal, and Emily Walton.
Review – “Graceland” at Profiles Theatre
Graceland
By Ellen Fairey
Now extended through August 16th
Profiles Theatre
Reviewed by Timothy McGuire
Four lonely lives in the northside of Chicago intersect in Ellen Fairey’s creative story Graceland. The buzzing of fighter jets flying high above in the air show and the non-stop mention of the characters displeasure with the new smoking ban reminds us that the story takes place here at home. Sara (Brenda Barrie) and Sam (Eric Burgher) are struggling to understand their father’s recent suicide, and to cope with their own isolated lives. Frequently taking place at Chicago’s Graceland Cemetery, the story touches on the loneliness that that one can feel even while surrounded by people in a large populated city.
Sara is a single middle-class woman with obvious interweaving personal problems, and layers of complicated worries that are untold to the audience. In the opening scene Brenda expresses a sense of anxiety that is within Sara. She speaks and scutters around as if she has so many thoughts running through her head that she is unable to articulate them all. Sara is bothered by her brother’s sense of indifference and she jumps from one topic to another trying to get an emotional reaction from her brother Sam.
On the exterior Sam is an emotionally cool, even-keeled young adult who does not over-react to the highs and lows in life. He hides his pain with hits from his bowl and tries to act as the rational one in their time of crisis. Sam is also dealing with the loneliness caused by his father before he died, when his father started sleeping with his ex girlfriend Anna (Somer Benson.) Partially to drown their sorrows with a beer and in part to find out more information on their father, the two leave and head to a local northside dive bar that their Dad frequented often.
Sara’s drunken night at the bar does nothing but worsen her complicated situation. She ends up going back for a night cap with a smooth talking divorced patron from the bar with the motive of finding out more information on her father, but her desire for companionship leads to more. Waking up from a one-night stand with Joe (Darell W. Cox) and wearing nothing but his Chicago Bulls warm-up shirt, she is surprised to run into a familiar boy she met at the cemetery.
Joe’s son Miles (Jackson Challinor) is an only child from a broken home. His loneliness is expressed in his openness with strangers and desire for deeper conversation. Even with Sara’s obvious discomfort, Miles is not shy in talking about his father’s sex life with her or his father’s previous ladies. He his open with his own flirtations and mature in his comfort with older woman, and this leads to trouble.
As the four lives collide, we see the pain of loneliness and the regretful paths that it can cause people to choose. We also see the significance of random encounters, and the importance of the brief connections we make with each other.
Ellen Fairey’s comedic drama entangles a variety of complications within the four characters (and a surprising fifth near the end) to depict the loneliness the can occur even while surrounded by others in a crowded city. Her story moves with constant new developments that keep the personal turmoil within the characters building. Her choice of Chicago’s northside as the setting for her play, makes it that much more enjoyable for Profiles Theatre’s hometown audience.
Matthew Miller direction of Graceland keeps the action simple, and allows the dialogue and story to move the plot along. Mikhail Fiksel must have really enjoyed his role in the play creating the fantastic sound effects of fighter jets screaming overhead. William Anderson’s choice in the smaller details, like the Chicago Cubs Pennants hanging in Joe’s apartment and the floor made to look like grass with slender sidewalks, create a simple yet realistic setting that allows the audience to imagine the scene that is surrounding the characters throughout the different acts.
I wonder about the motive of the consistent rants against the smoking-ban. The cast was allowed to smoke in the last play (Great Falls by Lee Blessing) that I attended at Profiles Theatre, and that was after the smoking-ban took effect, what changed? Were the negative comments regarding the smoking ban a statement by Profiles Theatre due to being forbidden to smoke within their own theatre, or was it part of the script to help identify with the attitude of many middle-class young adults? Something leads me to think this was a personal statement by Profiles Theatre. One that disagrees with the effects the smoking ban has on the realism of performing certain acts.
Overall all of the actresses and actors did a wonderful job of creating distinct individuals. Brenda Barrie gives Sara depth beyond her verbal dialogue. In the beginning of the performance the conversations between each actress/actor felt real and unscripted, although as the play ran on some of the lines came off overly practiced and without sincere emotion behind their words. With the exception of Erick Burgher, who from start to finish stood out with his focus and complete transformation in to his character (Sam.)
Due to popular demand Graceland has now been extended through August 16th, and starting July 11th there will be an additional Saturday Matinee at 5:00pm. This is a great opportunity to see a Chicago-based play that will make you laugh and keep you talking about the events that take place in the play long after you leave the theatre.
Rating: «««
Where: Profiles Theatre
When: through: August 16th
(Thurs, Fri, Sat at 8 pm/Sun 7 pm, Saturday Matinees at 5 pm on July 11, 18, 25, August 1, 8, 15)
Tickets: Buy online at www.profilestheatre.org or call (773) 549-1815
For complete actor bios, click on “Read more”
Random Thoughts: road-rage, rabbit obsessions, see-through frogs, crowd-surfing dangers
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 A new study proclaims that crowd-surfing can be a dangerous, especially if you have protruding body-piercings. (who knew?) |
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Wednesday word-play: parking karma and dick inches
Quotes of Note
I have failed many times, and that’s why I am a success.
— Michael Jordan
Art has never been made while thinking of art.
— Niko Stumpo, The Wooster Collective, December 2006
From the Urban Dictionary
Arbitrary (and usually incorrect) units of measurement used mostly by males. Derives from men overestimating their penis size. Dick inches are much shorter than actual inches. Hence a guy can claim to have a 9 inch penis when it is actually closer to 5-6 inches. The term "dick inches" is usually used when over-estimating non-penis measurements.
fellow one: "Finally! There’s a parking spot!"
fellow two: "No way, man…You can’t park within 30 feet of a stop sign."
fellow one: "There’s plenty of room."
fellow two: "Yeah, only if you’re measuring in dick inches."
The uncanny ability to find an open parking space in a desirable location of a busy parking lot.
A person who always under estimates the time necessary to do something or get somewhere. (aside: I definitely do this, especially regarding riding the el)
"Hey, Cindy. you know my parents are expecting us in 20 minutes."
"No problem. I just have to wash the dishes, take a shower, do my hair, walk the dog and then I’m all good to go. See you in 15."
"You are such a chronoptimist! I’ll see you in 45."
This week’s Chicago show openings and ticket specials
AND THEN THERE WERE NONE – Independent Stars Theatre
CUSTER’S LAST STAND FESTIVAL OF THE ARTS – Piccolo Theatre
INTO THE WIND - Gorilla Tango Theatre
JON – Collaboraction Theatre
PAUL’S GLASSES – Gorilla Tango Theatre
POSEIDON! An Upside Down Musical - Hell in a Handbag Productions
SKETCHTOPIA – Victory Gardens Biograph Theater
SODOMITES!!! A MUSICAL OF BIBLICAL PROPORTIONS - Annoyance Theatre
STEEL MAGS LETS YOU DOWN EASY – Chicago Center for the Performing Arts
For special ticket offers, click on “Read more”
Theater Thursday – “Jersey Boys” at Pheasant Run
Thursday, June 18
Altar Boyz
Noble Fool Theatricals at Pheasant Run Resort
4051 E. Main Street, St. Charles (map)
Come to the award-winning Jambalaya before the show to enjoy Cajun-style appetizers and cocktails by the resort’s New Orleans-inspired restaurant. Then stay for the "Hilarious" and "Praiseworthy" musical Altar Boyz, followed by a post-show Q&A with members of the cast and director. Pre-show party, show, and post-show discussion take place within the resort; free parking. With angelic voices and divine dance moves, five small-town boys believe they’re destined by God to speak the Holy Spirit through hip-hop. This charming Christian boy-band (with one nice Jewish boy) will alter minds and raise spirits as they look for their big break in New York while saving souls along the way. Destined to rock the masses of all denominations!
Event begins at 7 p.m. Show begins at 8 p.m.
TICKETS ONLY $15
For reservations call 630.584.6342 and mention "Theater Thursdays."
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Theater Thursday is sponsored by this Chicago-area restaurant guide, as well as Chicago area bar guide, a great site for Chicago foodies and theater enthusiasts alike.
Meanwhile, at the arts fundraising headquarters…
The cats would love to take your donation for the National Endowment for the Arts. (or to your favorite arts group). Give now or the kitties will be vewwy, vewwy sad….. 
Cirque du Soleil billionaire founder sues over sex and drugs allegations
Guy Laliberte accused of hosting wild orgies; entertained guests with his flexible performers
Once a penniless street-performer, Guy Laliberté has since created some of the most breath-taking (and lucrative) franchises in the world, including 6 separate shows alone in Las Vegas. But now he’s involved in a legal spat regarding alleged colorful acrobatic “moves” that take place in his bedroom.
Laliberté has announced plans to sue the publishers of an unauthorized biography which depicts him as a bed-hopping scoundrel with an inexhaustible appetite for sex, drugs, and a rock and roll lifestyle. (aside: sounds like fun to me! LOL)
These allegations come from the influential Montreal news magazine Macleans, who published a revelatory extract from the muck-raking new book, entitled The Fabulous Story of the Creator of the Cirque du Soleil, which details some of the famously decadent parties that Mr Laliberté financed with the proceeds of his business empire, which currently controls 18 shows in dozens of countries, and supports almost 4,000 employees, including hundreds of the world’s most talented dancers and acrobats.
During the parties, global business leaders, politicians, and Hollywood stars were entertained by Cirque du Soleil performers, and provided with millions of dollars of fine food and wine. Author Ian Halperin, who quotes dozens of former guests, details heroic displays of debauchery. 
"Everything you wanted was available at Guy’s parties," said Myra Jones, a Milan-based fashion model who attended several of the events. "Drugs, the best music spun by famous DJs flown in from Europe and the USA, and the wildest sex you could ever imagine."
The book claims that Laliberté’s assistants invited busloads of prostitutes from his native Montreal to the parties, which were attended by the likes of Robert DeNiro and Sir Paul McCartney. Mere B-list guests were required to sign a confidentiality agreement before attending.
Mr Laliberté has taken exception to the claims. This week, he wrote to Transit Publishing, which released the book, denying several key allegations made in the book and demanding that it is immediately withdrawn from stores. Macleans has also been issued with a legal letter.
However Mr Halperin yesterday returned fire, with interest. "We intend to fight this vigorously and take this as a gross infringement on freedom of the press," he told the New York Post. "Everything in my book is true and can easily be proven. If he continues to harass me, I will launch a slander suit."
Whatever the eventual outcome, the row comes at an inconvenient time for Mr Laliberté, who is supposed to be focused on training for a forthcoming space flight, for which he has paid a Russian company $35-million
Sunday Night Sondheim – “Liaisons” from “A Little Night Music”
In honor of Light Opera Works‘ highly-recommended Stephen Sondheim show, A Little Night Music (read our review here), I thought it would be poignant/fun to feature the rarely-performed song “Liaisons”, sung here by Regina Resnik.
Review: 8th Annual ‘Cut to the Chase’ One-Act Play Fest
The Artistic Homes’ 8th Annual One-Act Play Fest, Cut to the Chase – go for the late-night fun and stay for the great acting.
Cut To The Chase
The 8th Annual One-Act Playfest
Palace of Riches, directed by John Mossman.
The Waiting, directed by Matthew Welton.
Last Days of Dinosaurs, directed by Luis Crespo.
Sponsored by The Artistic Home
Reviewed by Paige Listerud
Late-night theater like this inspires a lot of drinking and frolicking among the audience, who are typically friends of the cast and playwrights, out for a bit of fun. Still, who would suspect that some of the best acting of the season could take place in a little known venue such as this? And yet it does. The dramatic skill and maturity of the actors makes The 8th Annual Cut to the Chase compelling theater to watch, even when sometimes the material is a little lacking.
The Artistic Home sponsors this one-act play fest each year, and, at least for this year, it seems each play must fulfill these requirements: they must start with the line, “Like most alcoholics, he drove a van . . . .”; they must make use of a gasoline can, a parking meter, and chicken on a silver platter; they must conform to a certain theatrical genre. Palace of Riches by Jim Lynch, though set on Chicago’s west side, seems to be based on Damon Runyon’s work; The Waiting by Christine Hodak seems to be pretty much a one-act mock-up of Beckett’s Waiting for Godot; and Last Days of Dinosaurs by Matt Welton is a surrealist train wreck.
Lynch’s play, Palace of Riches,strikes the happiest balance between written material and actors’ talents. The down-and-out trio of Zeke (Eric Simon), Eddie (Tim Musachio), and Sara (Kathryn Danforth) could have degenerated into simplistic stereotypes, but all three actors exemplify the actor’s craft, displaying maturity, depth, timing, making human connections between all three characters that lie at the heart of the heart of this play. Humor that might have been too hokey in someone else’s hands comes off as witty, charming, and humane from these pros. Tim Musachio makes his Eddie almost valiant with the hope of someday being something more than “a mook” for his own daughter; Kathryn Danforth portrays a messy drunk with sympathy and humanity; and Eric Simon embodies the cunning resourcefulness, mischief, and even poetry that characterizes Zeke.
The Waiting practically rewrites half of Beckett’s Waiting for Godot, but to what end? Beckett had a thing about not wanting women to take on roles in his plays and Christine Hodak creates a Pozzo-style character in Audrey (Samantha Church), worshipfully served by her own Lucky Joe (Buck Zachary)–complete with leash, suggesting some BDSM humor. Hodak also gives a satirical nod to women’s spirituality feminism with a little goddess-y ritual that Audrey performs before she departs from Oscar (Michael Denini) and Felix (J. P. Pierson). But what is the point to be made—that women can be as domineering and dictatorial as men? Forgive me for sounding a little jaundiced, but I lived through the Reagan/Thatcher years—that’s nothing new to me. The only pay-off in the end is the deeper development of Felix, who takes on a greater aspect of consciousness, even if he remains somewhat under Oscar’s control. But whatever its shortcomings, The Waiting benefits from the unflagging zeal, commitment, and nuance of the actors.
Sad to say, actor talent and commitment cannot save Last Days of Dinosaurs. Matt Welton has taken stereotypes—Alice (Liz Ladach-Bark) as the June Cleaver housewife, the flatfooted Cop (Matt Ciavarella), Carol (Marissa Cowsill) as the raving fundamentalist evangelical daughter, and Stephen (Kirk Mason) as the ravening Alpha-male son—and geared them all up for their own cataclysmic melt-down. While each character is introduced to good humorous effect, without deeper development, why should the audience care about them? Once one gets the joke and can see the train wreck coming within the first five minutes, what is there to hold one’s attention? What is more, each of these characters need greater development in how or why they identify as they do and what they want from each other, beyond the overplayed one-note of dominating the scene. It’s only the sexual titillation between Alice and the Cop that begins to branch out from the original premise. All the rest is shouting.
Still, The Artistic Home provides a vital space for new work. Go for the late-night fun and stay for great acting.
Rating: ««
