Category: Ahrens & Flaherty
Top 25 Chicago Plays of 2010
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Top 25 Chicago Productions of 2010
(in alphabetical order)
All told, Chicago Theater Blog covered an astounding 508 shows in 2010—proving without a doubt that this town is truly a non-stop theater machine! Whittling 500 shows down to the year’s top 25 productions was not an easy task, but we think this list illuminates what makes Chicago such a dynamic place to perform and create – a mix of works produced by small storefront companies all the way up to large Equity houses.
So, without further ado, here – listed alphabetically – are the top 25 productions of 2010:
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1001 Collaboraction (Sept 2010) Written by Jason Grote Directed by Seth Bockley our review |
“The Arabian Nights” are replayed in a near-futuristic setting, taking place in the belly of New York City’s underground tunnels after a nuclear blast. Says reviewer Oliver Sava, “Grote masterfully intertwines the various story threads, bleeding slapstick comedy, relationship drama, political criticism, and post-modern philosophy together to create a play that defies categorization.”. Chris Jones of the Chicago Tribune called the play “savvy, self-aware and adroit at noting the power of myth in generations of sectarian strife . . .” and Monica Westin of New City noted, “It’s almost impossible to overstate the wit, fluidity and complexity . . .” of the production. (our review)
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Abagail’s Party A Red Orchid Theatre (Feb 2010) Written by Mike Leigh Directed by Shade Murray our review |
A Red Orchid Theatre brought out some of their best ensemble work for Mike Leigh’s class-conscious play about stifled lives in 1970s English suburbia. Director Shade Murray lovingly crafted middle class malaise out of Leigh’s caustic script, while Kirsten Fitzgerald lit the torch as Beverly–leading the tight and superb cast in a reckless, discontented charge to mutual destruction. As Susan, Natalie West “essentially reprises her role of Crystal from Roseanne but with a British accent . . . she becomes the play’s most relatable character. Watching in horror as suburban drama unfolds before her eyes, she is an audience member on the other side of the curtain: sober, shocked, and completely in awe.” (our review)
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Awake and Sing Northlight Theatre (Feb 2010) By Clifford Odets Directed by Amy Morton our review |
On Broadway, the original, 1935 production of Awake and Sing ran for 120 performances and fixed Clifford Odets‘ reputation as a playwright to reckon with. Chicago audiences were not so impressed. "They threw oranges and apples. I was hit by a grapefruit," recalled Group Theatre actress Phoebe Brand. From today’s viewpoint, it’s hard to see why, especially considering Northlight Theatre‘s powerful revival of this blackly humorous hard-times drama. The play stands on the side of the working class, documenting the warring of capitalism vs. socialism, plodding resignation vs. revolutionary fervor, and long-range hope vs. live-for-today fatalism among them. As director, Steppenwolf’s Amy Morton adeptly paced the show, no doubt helped with a top-knotch cast, including seasoned performers Cindy Gold, Peter Kevoian, Mike Nussbaum and Jay Whittaker. (our review)
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Baal TUTA Theatre (May 2010) Written by Bertolt Brecht Directed by Zeljko Djukic our review |
TUTA Theatre will remount its very successful production of Brecht’s The Wedding this February. However, their stronger tour de force was the young Brecht’s very first play, Baal, which explored the rise and fall of the ultimate rebel artist. Assisted by a brilliantly clean and powerful translation by Peter Tegel, director Zeljko Djukic and cast executed a searing interrogation of the subversive artist as pop idol, while at the same time delivering to audiences a wildly intuitive and anarchic performance by Ian Westerfer in the title role. An exactingly cohesive ensemble cast matched Westerfer moment-to-moment, composing the perfect Petri dish for pre-Nazi cynicism, cruelty and decadence. Josh Schmidt’s original music contemporized and rounded out the mood and atmosphere for the piece. (See our review here.) Tom Williams of Chicago Critic called the production “refreshingly inventive as it swiftly blends drama with raw sensuality . . . demonstrates what the power of dedicated artists can produce once they are in creative sync.” Albert Williams of the Reader called Baal “a vivid, dreamlike work of stage poetry.” (our review)
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The Book of Liz Chemically Imbalanced Comedy (Sept 2010) Written by Amy and David Sedaris Directed by Angie McMahon our review |
Chemically Imbalanced Comedy had a huge success with The Book of Liz, so much so that it was extended numerous times, and is still running well into 2011. The show, written by Amy and David Sedaris, concerns a small community of Quaker-like Christians known as “The Squeamish”. The Squeamish are simple folk who do without modern-day amenities and instead spend their time praising God and making cheeseballs. Liz is the under-appreciated genius behind the cheeseballs, which serve as the community’s financial backbone. In this hilarious production, Angie McMahon’s direction is resourceful when using the tight space, managing to swiftly transform the stage from a parish to a restaurant to a doctor’s office without letting the momentum of the play slow for a moment. The Book of Liz stayed true to the Sedaris spirit, and fortunately did not hamper the actors from taking risks and breathing new life into the play’s characters. (our review)
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Brother/Sister Plays Steppenwolf Theatre (Feb 2010) Written by Tarell Alvin McCraney directed by Tina Landau our review | photo album |
McCraney’s much-anticipated Chicago debut at Steppenwolf did not disappoint. Indeed, concisely paired with Tina Landau’s sparse and enigmatic Viewpoints direction, the triptych of In the Red and Brown Water, The Brothers Size and Marcus; or the Secret of Sweet formed a breathtaking mythic and generational through-line that consistently transcended time and space. To be a young playwright mentioned along with August Wilson, Lorraine Hansberry, and Tony Kushner must be quite a heady experience. But Steppenwolf’s production—teaming with sterling performances by Jaqueline Williams, K. Todd Freeman, Philip James Brannon and Glenn Davis—shows that sometimes you can absolutely believe the hype. Barry Eitel’s review (see here) affirms Chicago’s critical consensus that “McCraney will no doubt become an important dramatic voice for our generation.” (our review)
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Candide Goodman Theatre (Sept 2010) Adapted from Voltaire by Hugh Wheeler Music by Leonard Bernstein, et.al. Directed by Mary Zimmerman our review |
Mary Zimmerman is the mastermind behind The Goodman Theatre’s new musical production of Candide. The Tony-award winner not only directed the epic, whose plot literally spans years and oceans, but she also adapted the script. Normally, I’m not a fan of one person having such a heavy hand in the development of a drama. Having a separate writer and director has major benefits, namely the benefit of distance from the work. And it is this distance that can fix any glaring errors in the script or add directorial nuances to strengthen the production. “Thanks to director Zimmerman’s affinity for levity,” said our own Keith Ecker, “Zimmerman saves Voltaire’s classic philosophical narrative from becoming crushed under the weight of its own ideology. I’m amazed that such a sprawling script and dense story can be so digestible. (our review)
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FLOAT About Face Theatre (Nov 2010) Written by Patricia Kane Directed by Leslie Buxbum Danzig our review |
About Face Theatre overcame the pitfalls of preciousness that come when presenting a Christmas story about five women with Minnesota-nice written all over them. Members of a Midwest women’s society, they gather in a barn to create the annual Christmas float. What could have devolved into Hallmark card caricature actually resulted in honest emotional plumbing of their lives, conflicts and pressures. Director Leslie Buxbaum Danzig kept the pace brisk while the cast molded complex and full-figured characters out of Patricia Kane’s witty script. FLOAT became the new fresh face in a holiday theater season stuffed to the gills with the same old fruitcake. (our review)
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Frost/Nixon Timeline Theatre (Aug 2010) Written by Peter Morgan Directed by Louis Contey our review |
A reclusive, disgraced ex-president squares off against a glib playboy talk show host in a televised battle for public approval. TimeLine’ Theatre’s production of Frost/Nixon inventively captured America right on the cusp–before reality TV but shortly after the boob tube emerged as the gladiatorial arena in which public figures are tried and tested. Terry Hamilton’s portrayal of the fallen Nixon impressed everyone with its grounded, humanistic veracity. Andrew Carter’s Frost signaled a smooth operator, fitting the jet-set mold of the period, yet heralding vacuous times ahead for civic discourse. Scenic designer Keith Pitts collaborated with projectionist Mike Tutaj to manifest the perfect facile realm for Louis Contey’s subtle and tense direction. (our review)
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Haff, the Man/Falling Girl Theatre Zarko (Oct 2010) Written by Michael Montenegro Directed by Montenegro and Ellen O’Keefe our review |
Master puppeteer Michael Montenegro and long-time creative partner Ellen O’Keefe created and directed two deeply evocative stories; one about a man trying to restore himself in order to begin a new life with a new love, another about a young girl dangerously desperate for the promising adventure that could be her life. An extremely dedicated and integrated troupe of puppeteers and performers executed Montenegro’s dreamlike dramatic creations, manifesting a fully realized, vivid revival of the Symbolist Theatre tradition. Sublime musical atmosphere directed by Jude Mathews backed up their efforts. The result was pure, unadulterated poetry for the child within the adult theatergoer. (our review)
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Hey! Dancin’! Factory Theater (March 2010) by Kirk Pynchon and Mike Beyer directed by Sarah Rose Graber our review |
Hey! Dancin’! isn’t just a hair-brained ‘80s-inspired comedy. It’s also an effective satire on people’s perceptions of celebrity today. K.K. and his girlfriend Tanya see themselves as the center of the universe because they are on TV.—cable access—but TV nonetheless. Halle (Melissa Nedell) and Trisha (Catherine Dughi) give this notion weight since they are star-obsessed with these no-name nudniks. Yet as Halle gets to know the real K.K. (Jacob A. Ware), who admittedly dreams of being famous without actually ever wanting to hone any real talent, the image of these backwoods celebrities begins to crumble. Says our own Keith Ecker: “The acting is brilliant. The comedic timing of most of the players is impeccable. I’ve seen countless improv, sketch and stand-up shows, and this rivals the best of them. Simon as the recovering alcoholic station manager is a scene-stealer with his Muppet-like voice and general awkwardness.” (our review)
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Hot Mikado Drury Lane Oakbrook (Aug 2010) Written by Gilbert and Sullivan Directed by David Bell our review |
Drury Lane Theatre tore it up with this jazz-age revival version of Gilbert and Sullivan’s classic. Lawrence Bommer raved that its music director Michael Mahler had a “period-perfect Midas touch” and that the production “sizzles with (director) David Bell’s Lindy-hopping, be-bopping, high-step dances . . . the all-dancing cast turn the Mikado’s entrance into a tap-dancing tour-de-force . . .” Aurelia Williams brought the power as Katisha, while Stephen Schellhardt worked his comic chops, recalling Groucho Marx, Stephen Colbert, Keaton and Chaplin. All in all, Drury Lane’s production was a unmistakably riotous success heard all around the Chicagoland area. (our review)
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The Illusion Court Theatre (March 2010) Written by Pierre Corneille Adapted by Tony Kushner Directed by Charles Newell our review | photo album |
But for a few dramatic speed bumps between the romantic leads, Court Theatre pulled off a dense, ornately rich and multilayered dream world with Tony Kushner’s story-within-several-stories adaptation of Pierre Corneille’s 400 year-old play. Charles Newell’s direction led the dance between reality and fantasy, while Collette Pollard’s set design established an delightfully uncanny magical realm. Chris Sullivan amazed as the magician, Alcandre, and Timothy Edward Kane roiled the audience with his comic portrayal of Matamore, the cowardly warrior. Barry Eitel declared the production an “uncommon delight” and a “triumph,” a love letter to the theater. (our review)
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Killer Joe Profiles Theatre (Jan 2010) Written by Tracy Letts directed by Rick Snyder our review |
Profiles Theatre pushed the envelope with Tracy Lett’s early play and gave audiences a sly, close, depraved and dangerous ride. Rick Snyder’s direction never stinted on its desolate Texas trailer-trash realism or let up on the work’s unrelenting dark humor and looming tension. Darrel Cox gave a killer performance as Killer Joe Cooper, hired by Chris (Kevin Bigley) to kill his birth mother for insurance money in order to pay off his debt to a drug dealer. Keith Ecker notes Cox’s facility to go “from southern gent to cold-blooded killer . . . all that much more shocking when Joe tosses aside his southern hospitality to reveal the psychopath that lies beneath.” Catey Sullivan observed that Profiles’ production was not for the faint of heart, yet its “blood-drenched, innocence-murdered gallows” humor in Snyder’s hands was “a thrilling piece of theater.” (our review)
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The Last Night of Ballyhoo Project 891 Theatre (Nov 2010) By Alfred Uhry Directed by Jason W. Rost our review |
Project 891 created an intimate and emotionally mature depiction of a Jewish family of the American South right on the cusp of World War II and the Holocaust. Sort of fitting in, but not quite, informed by the culture surrounding them, yet set apart, director Jason W. Rost gently unraveled this family’s issues around identity, belonging and success at the Gunther Mansion (now known as the North Lakeside Cultural Center). Darrelyn Marx dominated as the matriarch Boo and Liz Hoffman generated much sympathy as her awkward daughter Lala. Winning and balanced performances from Sarah Latin-Kasper, Jason Kellerman, Lori Grupp, Larry Garner and Austin Oie rounded out the cast. (our review)
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Memory BackStage Theatre (Nov 2010) Written and Jonathan Lichtenstein Directed by Matthew Reeder our review | photo album |
Director Matthew Reeder and cast evolved rich, enmeshed and powerful emotional journeys, from rehearsal process to fully realized production, from a woman’s struggle to tell the complete story of her traumatic survival of the Holocaust to a Palestinian’s story about his embattled and complex relationship with an Israeli soldier. Says Allegra Gallian of the Backstage Theatre’s production, “The stage chemistry is genuine and emanates throughout the space . . . performances grow to become so emotionally charged that they grab hold of the audience, captivating us so it’s impossible to look away as the ensemble digs down to the deepest point of authentic emotion.” (our review)
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Mimesophobia Theatre Seven (March 2010) Written by Carlos Murillo Directed by Margot Bordelon our review |
Theatre Seven’s production crowned a season full of excellent deconstructive theatrical storytelling. Margot Bordelon’s driven and well-paced direction expertly juggled three storylines regarding the mysterious murder of a woman. Oliver Sava noted the savvy Brechtian distancing wrought by the intelligent cast and the emotional immediacy supplied by Cassy Sander’s performance. “Sanders brings vulnerability . . . her scenes are the most visceral of the production . . . Mimesophobia is a huge success for the young company and one of the more refreshing plays to land this season.” (our review)
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My Brother’s Keeper Black Ensemble Theater (March 2010) Written by Rubin D. Echoles Directed by Jackie Taylor our review | photo album |
Though light on storytelling, Black Ensemble Theatre’s recreation of the dancing career of the uber-talented Nicholas Brothers was as close to seeing the originals as audiences are bound to get. Jackie Taylor directed an exuberant production overflowing with swinging musical finesse and huge dancing talent. Rashawn Thompson and Rubin Echoles played Fayard and Harold Nicholas to Thomas “Tom Tom 84” Washington’s musical arrangements and Echoles’ choreography. Donald Barnes and Dawn Bless warmly rounded out the tale as the boys’ vaudeville-bound parents; Michael Bartlett and Rhonda Preston added showbiz flare and power as Bill “Bojangles” Robinson and Big Maybelle. All in all, the cast excelled in reviving the joy of pure, solid entertainment. (our review)
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Oleanna / Speed-the-Plow American Theater Company (Sept 2010) Written by David Mamet Directed by Rick Snyder our review |
American Theater Company scored big with two searing, back-to-back productions of David Mamet. Director Rick Snyder had a field day building a war between a student and professor over a slight, but fatal, misstep versus a showdown between big commercial movie business and art. Darrell W. Cox expertly worked his range between playing a slick, cut-throat producer in one and a smug, self-compromised liberal arts professor in the other. The difference between the two Mamet works may have been Nicole Lowrance’s sympathetic portrayal of Carol in Oleanna, which rang more truthful and well timed than her turn as Karen in Speed the Plow. All the same, Lance Baker oozed fierce sleazebag perfection in his role as Charlie Fox, bringing Plow to a devastating end. (our reviews here and here)
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A Parallelogram Steppenwolf Theatre (July 2010) Written by Bruce Norris Directed by Anna D. Shapiro our review |
Written by Bruce Norris—a Steppenwolf regular whose other works include We All Went Down to Amsterdam and The Pain and the Itch, among others—the play tells the tale of Bee (Kate Arrington), a woman who was the other woman to Jay (Tom Irwin) before he left his wife for her. They live in an unremarkable home with a pool and a backyard, which is cared for by JJ (Tim Bickel), the friendly Guatemalan landscaper. With this production it’s clear that Director Anna Shapiro knew this material well. She came at the heady story with a comedic eye, which relieved the pretension that could so easily have sunk the play. Said our own Keith Ecker: “If you only see one play this year, see (this play).…the set design by Todd Rosenthal is amazing. …Parallelogram has one of the most eye-popping set transitions I have ever seen.” (our review)
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Ragtime Drury Lane Theatre (April 2010) Book by Terrance McNally Music/Lyrics by Flaherty and Ahrens Directed by Rachel Rockwell our review | photo album |
Other productions have lost focus and been crushed under the multiple layers and storylines of this musical adaptation of E. L. Doctorow’s novel. Yet, Drury Lane, under Rachel Rockwell’s knowing direction, succeeded in taking its panoramic 19th century sweep and transforming it into a work that truly earns the word “epic.” Brilliantly cast with Quentin Earl Darrington, Valisia LeKae, Cory Goodrich and Mark David Kaplan, Ragtime’s spare and fluid set design was offset by Santo Loquasto’s lush costuming for the strongest visual impact. John Beer of TimeOut Chicago recognized “this Ragtime yields a snapshot of a nation recognizably our own: dynamic, idealistic and terminally haunted by bigotry and fear.” (our review)
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Scorched Silk Road Theatre Project (Oct 2010) Written by Wajdi Mouawad Translated by Linda Gaboriau Directed by Dale Heinen our review |
Silk Road Theatre Project breathed life into a contemporary yet timeless tale of war, poverty, age-old gender inequities, lost family threads, and finding a restored sense of self out of the ashes. Dale Heinen’s direction brought all the suspense of a mystery thriller without sacrificing the emotional weight that gave the play the quality of a Classical Greek Tragedy or a war story out of Bible. Three actresses, Rinska M. Carrasco, Carolyn Hoerdemann and Diana Simonzadeh, convincingly played Nawal, the Middle Eastern mother who mysteriously stops speaking 5 years before her death and posthumously sends her twin children on a quest to find their father and brother. Adam Poss was riveting as Nihad—the pop music and celebrity obsessed jihadi sniper who becomes inextricably linked with their lives. The sterling production of this new work announced Wajdi Mouawad as a playwright to watch. (our review)
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The Seagull Goodman Theatre (Oct 2010) Written by Anton Chekhov directed by Robert Falls our review | photo album |
Director Robert Falls wowed audiences with a simple, almost ascetic, presentation of Anton Chekhov’s sprawling tale of a dysfunctional theater family. Mary Shen Barnidge of Windy City Times noted that the production demanded much from both performers and audience but “The experience is well worth the effort . . . with intimacy generated by this Spartan approach illuminating the smallest secrets hidden beneath the surface of the most self-effacing personalities.” Our own Catey Sullivan raved, “Falls and his rock star cast have captured the emotional truth in Chekhov’s text with a power and glory that makes the piece fly by . . . When even the ‘bit’ roles are this rich, you know you have an ensemble of extraordinary power.” (our review)
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Side Man Metropolis Performing Arts Centre (March 2010) Written by Warren Leight Directed by Lauren Rawitz our review | photo album |
Warren Leight’s Tony Award-winning play was no maudlin sulkfest on the downward spiraling fortunes of jazz musicians tending to a diminishing art. If anything, director Lauren Rawitz followed the play’s emphasis on strong individual characterization and an unsentimental view of the unstable nature of artistic life. The tough, moxie and cohesive cast captured Leight’s humorous and gritty take on the lives of jazzmen and the women who love them. Michael B. Woods gave an especially stellar performance as Jonesy and Ryan Hallahan’s wry Clifford grounded the show as its narrator. Dustin Efrid’s neon set design gave the production the just the right touch of bluesy feel. (our review)
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State of the Union Strawdog Theatre (October 2010) Written by Russel Crouse and Howard Lindsay Directed by Geoff Button our review |
For a political play to matter much, it must prove its relevance beyond its genesis. These dramas must rise above the particulars of their time-sensitive plots and reveal to us a greater truth, something about the human condition or the faults of our society.State of the Union, the 1946 Pulitzer Prize-winning comedy, is an example of this brilliant kind of evergreen political theatre, especially as its tale of political gaming and pandering is as true today as it ever was then. Infused with the talent of the Strawdog Theatre Company, this work managed to not only serve as editorial but as a charmingly funny piece of theatre. Geoff Button’s direction was commendable, especially given the sheer number of entrances and exits he had to manage throughout the play. (our review)
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A Streetcar Named Desire Writers’ Theatre (May 2010) Written by Tennessee Williams Directed by David Cromer our review |
David Cromer’s direction injected vitality and vivid perspective into Writers’ production of this sultry Williams classic. Barry Eitel remarked, “Instead of hashing out a bland carbon copy, Cromer finds all kinds of unique tricks in Tennessee’s text but . . . he maintains a sacred reverence for Williams and his blistering story . . . his Streetcar is a searing as July in the French Quarter.” Matt Hawkins, Natasha Lowe and Stacy Stoltz carved new and original ground as Stanley, Blanche and Stella and Collette Pollard’s scenic design put the audience right in their squalid New Orleans apartment. Kerry Reid of the Chicago Reader wrote that Writers’ production “tears away at the Spanish moss of sentimentality that sometimes shrouds this play and lays bare our tragic flaws, both as individuals and as a people . . .” (our review)
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Tad in the 5th City MPAACT (May 2010) Directed and Adapted by Carla Stillwell From the poetry of Orron Kenyatta our review |
MPAACT gave Chicago a visceral shot in the arm with its world premiere adaptation about the aftermath of the 1968 riots that burned the West side of Chicago. Our K. D. Hopkins praises the outstanding cast that poetically depicts the community that survived in the ashes. “The magnificent Andre Teamer plays Uncle Brotha with the desperation and hope of a man watching his neighborhood swirl down the sewer . . . David Goodloe is new to America . . . His portrayal of James is like an exposed nerve . . . Destin L. Teamer . . . son of Andre Teamer . . . is an adorable and handsome young man in the 5th grade and yet he turns in a performance of a seasoned veteran . . . his portrayal is savvy and heartbreaking . . . MPAACT has produced yet another honest and powerhouse addition to the Chicago theater scene.” (our review)
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The Tallest Man The Artistic Home (June 2010) Written by Jim Lynch Directed by John Mossman our review |
The Artistic Home evoked intense cultural accuracy and emotional veracity with their rendering of Jim Lynch’s turn-of-the-century Irish township, where people scramble for survival under British rule, the memory of the Potato Famine a lurking shadow of the recent past. A consummate ensemble effort by the cast brought out the best in Jim Lynch’s script. K. D. Hopkins writes, “The language is coarse and the action naturalistic. There is blood, sweat, spit and lust in every scene both implied or seen. John Mossman directs this production seamlessly . . .” (our review)
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To Master the Art Timeline Theatre (Nov 2010) Written by William Brown and Doug Frew Directed by William Brown our review |
Timeline’s first commissioned play was a “masterful, multilayered experience that excites all the senses,” said Leah Zeldes. The production gently folded in Cold War obsessions about Communism with Julia Child’s discovery of French cuisine and her efforts to compose and publish her groundbreaking cookbook. (our review) Karen James Woditsch, Craig Spidle, Terry Hamilton, Jeannie Affelder and Ann Wakefield led the superbly balanced ensemble cast. William Brown’s staging was “impeccable” around scenic designer Keith Pitts’ charming Parisian kitchen. (our review)
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The Water Engine: An American Fable Theatre Seven (Nov 2010) Written by David Mamet Directed by Brian Golden our review | photo album |
Theatre Seven took on a feat of virtuosity when they mounted this play-within-a-radio-play, with 10 actors taking on 40 roles, in a exploration of a Depression Era inventor’s quest to implement his creation, an engine that runs on pure water. The cast impressed with its uncommon professionalism, working together “like a well-oiled machine,” and Director Brian Golden “effectively blends radio-style performance with more animated action in imaginative ways.” Leah A. Zeldes called the production “beautifully nuanced” and while Mamet’s plot “is stridently black and white, it’s also edge-of-the-seat suspenseful . . .” (our review)
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Who’s Afraid of Virginia Woolf Steppenwolf Theatre (Dec 2010) Written by Edward Albee Directed by Pam McKinnon our review |
Steppenwolf rounded out their year with a tightly drawn, tensely wound portrait of America’s favorite warring couple, George and Martha. Pam McKinnon’s direction insisted on greater naturalism, with Tracy Letts’ consummate performance as George taking on subtler shades of calculation and sadism, while Amy Morton’s Martha was distinctly more understated and vulnerable. (See our review here.) Madison Dirks’ Nick charmed as a budding player who gets played and Carrie Coon’s Honey almost stole the show with her emblematic mixture of goofiness and pathos. Kris Vire of TimeOut Chicago recognizes that MacKinnon’s direction “hugs curves in a way one suspects wouldn’t be possible without the firm rapport between Morton and Letts.” A marriage made in hell for the characters–but a marriage made in heaven for Chicago audiences. (our review)
All summaries written by Paige Listerud.
REVIEW: Once on this Island (Marriott Theatre)
Refreshing as a cool summer breeze.
| Marriott Theatre presents |
| Once on this Island |
| Book/Lyrics by Lynn Ahrens Music by Stephen Flaherty Direction/Choreography by David H. Bell Musical Direction by Ryan T. Nelson at Marriott Theatre, Lincolnshire (map) through August 29th | tickets: $35-$55 | more info |
reviewed by Oliver Sava
Ahrens and Flaherty’s Once on this Island is best when the entire ensemble is on stage. During these group numbers, Flaherty’s score is heavily influenced by the calypso and tribal music of the Caribbean, giving the show a distinct sound perfectly suited for the mystical subject matter. Ti Moune (Chasten Harmon) and Daniel (Brandon Koller) are two lovers from different worlds: the former an orphaned peasant, the latter a mixed-race aristocrat. After being seriously injured in a car accident, Daniel is found by a bewildered 
Ti Moune, who prays to the Gods to give her the power to nurse him back to health and win his heart.
Director-choreographer David H. Bell and his cast work wonders in the Marriott space, using props and movement to create the illusion of rain, birds, trees, and other island phenomena without the need for set dressing. This gives the ensemble ample room to move, a necessity for Bell’s intensely physical choreography, and makes the efforts of the actors to create a fully realized setting even more impressive. The problem with Once on this Island, though, is that these group sequences are much more interesting than the action involving the principals, slowing down the momentum of the production during those scenes.
Harmon captures Ti Moune’s youthful effervescence and naiveté well, but her vocals feel restricted, as if she is holding back her vibrato to keep better control over the notes. It makes the moments when her vibrato creeps in feel out of place, but also gives the feeling that each belt could be taken all that much further. Koller’s songs are fairly typical Broadway fare, but he doesn’t really have much to do until the second half of the show. There’s artificiality to his charm that gives Daniel a very ‘90s boy-band quality, and he takes on a bizarre dialect that sounds nothing like anyone else’s in the show and goes back and forth between French and an odd assortment of eastern European accents. The chemistry between the two finally clicks during the (surprise) group number “The Human Heart,” but it never reaches the emotional heights needed for the show’s climax.
Luckily, the rest of the cast picks up the slack.
Melody Betts’s incredible vocal instrument is used to its fullest as Asaka, God of Earth, her powerhouse belt combined with a motherly affection that gives each note beautiful emotional weight. Erzulie (Melinda Wakefield Alberty), God of Love, achieves the same effect with a gentler touch, maintaining strength but bringing a smoother groove, especially during the pitch perfect “Human Heart.” I’m a big fan of the HBO series Treme, and Nancy Missimi’s god costumes reminded me of the Indian chief garb donned by some of the show’s characters (albeit on a smaller scale), as seen here:
The massive voice of Michael James Leslie, playing Ti Moune’s adopted father Tonton Julian, is almost too big for the Marriott space, but there’s a goofy bewilderment about his characterization that makes it fit, as if Tonton doesn’t realize how loud he really is. Along with Nya as Little Ti Moune, Leslie turns up the adorable factor for this production, creating the kind of good hearted character that you only see on stage.
When Once on this Island embraces its cultural heritage, whether it is in the calypso rhythms of the score or the tribal dance choreography, it is unforgettable. Ahrens’s book embraces the mystical beliefs of the native people, and the direction has an ethereal quality that reinforces the fable aspects of the narrative. Bell and his ensemble of actors transport the audience to an exotic world, and the music is richer when it taps into the vast cultural history of island music. The transformative powers of the creative team are magical in themselves, and a trip out to Lincolnshire is worth the illusion of a cool Caribbean breeze carrying the scent of mangos and the taste of saltwater.
| Rating: ★★★ |
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REVIEW: Ragtime (Drury Lane Oakbrook)
Drury Lane scores big with epic musical “Ragtime”
| Drury Lane Oakbrook presents |
| Ragtime |
| Based on the novel by E.L. Doctorow by Terrance McNally (book), Stephen Flaherty (music), Lynn Ahrens (lyrics) directed/choreographed by Rachel Rockwell at Drury Lane Theatre, Oakbrook (map) through May 23 (more info) |
By Katy Walsh
‘What can happen in a year?’ Father’s question is an expectation that life is simple and predictable.
The reality is birth, death, emancipation, persecution, obsession, syncopation. In 1906, the regularity in life takes unexpected turns as Drury Lane Oakbrook presents Ragtime The Musical. The show focuses on the lives of three groups: WASPs, blacks, and immigrants. In the New York suburbs, a wealthy family breaks the monotony with wild excursions and celebrity stalking. In Harlem, a successful black piano player decides to search for his lost love. Just off the boat, an Jewish immigrant artist and his daughter arrive with nothing but optimistic anticipation. Three distinctly different rhythms unexpectedly intersect to create a new tune. Ragtime celebrates a year in American history by paralleling the adaption of ragtime music with socio-economic changes of the time period. The results are a stunning history lesson intertwined with melodies of hope and change.
Under the skillful direction and choreography of Rachel Rockwell, the tempo never misses a beat. Rockwell strikes all the right notes with this multi-talented cast. Quentin Earl Darrington (Coalhouse) is the powerhouse of emotional range in song and act. His tune changes throughout the show – regret, love, vengeance. Darrington connects the audience with his story based on heart wrenching hope. His “The Wheels of a Dream” duet with Valisia LeKae (Sarah) is flawless. LeKae is a perfect match-up and their onstage chemistry is the epic-love-story-kind. Cory Goodrich (Mother) is marvelous in an understated and nonchalant way. Goodrich’s character changes her family’s life dramatically with simple choices. Her transformation is most baffling to Father played by Larry Adams. In a pivotal song, Adams is perplexed as he sings, ‘I thought I knew what love was but these lovers play different music.’
With inspirational paternal love, Mark David Kaplan (Tateh) chases a train for a teary-eyed audience impact. Alongside the principals, smaller and famous roles engage curiosity. Emma Goldman (Catherine Lord) influences as a social reformer. Evelyn Nesbit (Summer Naomi Smart) is the Brittany Spears of the time period…whee! Harry Houdini (Stef Tovar) mystifies as a successful immigrant. Booker T. Washington (James Earl Jones II) commands integration and respect.
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Surprisingly, this blockbuster musical starts with a stark stage. The introduction of characters is a popped up portrait of perfection. Literally, group entrances are elevated from below stage. As the three groups multiply across the stage, the unique flair of costume distinction, designed by Santo Loquasto, is a spectacular visual. Costumes, projections, lighting, moments of tasty eye candy decorate this show. From silhouettes marching to swimmers bathing, the imagery dances to the ragtime.
‘And there was distant music, simple and somehow sublime. Giving the nation a new syncopation. The people called it Ragtime!’
Paralleling life’s happenstance, my performance had some twists not necessarily planned. There seemed to be an issue with lighting up the solo singers in the first few scenes. A momentary blip broke the backdrop illusion with a ‘Microsoft word computer screen’ projection. Initially, the audio seemed hollow. I was uncertain if it was a microphone or acoustic issue. It either cleared up or my engrossment made it a moot point. All in all, this production was amazing. It left me reinforced that a gesture of kindness changes life’s courses and bewildered about men’s obsessions with cars.
| Rating: ★★★★ |
Review: Boho Theatre’s “The Glorious Ones”
Bohemian Theatre Ensemble presents:
The Glorious Ones
by Stephen Flaherty and Lynn Ahrens
directed by Stephen M. Genovese
thru November 21st (buy tickets)
Reviewed by Aggie Hewitt
The Heartland Studio, home base for the Bohemian Theatre Ensemble (Boho), is one of the smallest black boxes I have ever been to in Chicago. As you walk in off the street, you find yourself inside a box office not much bigger than a phone booth. Finding your seat in the theater is more like squeezing your way into a crowded elevator than getting ready to experience high art. And on Friday night, as the lights went down in that small, communal space, and the actors took to the stage to begin performing the regional premiere of Stephen Flaherty and Lynn Ahrens’s 
The Glorious Ones it was the least lonely place in the world. What could be better, on a cold Chicago night, than to see a group of young, vibrant performers fill a small space with their white hot energy? This is a far from perfect production, but the dedication and energy of this vibrant cast is a treat.
Director/set designer Stephen M. Genovese has created a fine and audacious set; a blank old-world-looking wood stage dressed with simple red curtains and the occasional charmingly low tech surprise. It’s a set that screams, “Fill me! Bring the best you’ve got!” – and Mr. Genovese and his cast make a wholehearted attempt…and sometimes succeed.
The play is set in 16th century Venice, during the creation of Comedia del’ Arte. “The Glorious Ones” are a Comedia troupe, led by the pompous and egocentric Flaminio Scala (based on a real-life Comedia performer) played by Eric Damon Smith. The scenes of actual Comedia are great fun. One sketch is repeated three times, as a mapping device for what we know is going on behind the scenes. The best though, is “Armanda’s Tarantella,” slyly performed by the fearless Dana Tretta. Most of the large group scenes have merit. “Flaminio Scala’s Historical Journey to France” is a showstopper, and highlights the energy and force behind these performances that make this show worthwhile.
The thing the show is missing, and it is sorely missed, is honesty. The one-dimensional character of Flaminio Scala is prouder than proud and intensely serious. He speaks of his work with dignity and pride, and yet, seems to have no relationship with it. The man as a comedian is never explored, or even dignified with attention. In a pivotal scene, Flaminio embraces a struggling street performer (Courtney Crouse), after watching him perform, and takes him under his wing. Flaminio didactically spells out his lesson plan to build the young raw talent into his protégé. Here, Flaminio gets the opportunity to talk about his work; instead of reveling in it’s humor like a comedian, he discuses it with the wistful dreaminess of a school girl recanting her favorite lines from Twilight. Mr., Smith has the most stage time, and so bears the burden of being an example, but I assure you the lack of truth on stage was a cast-wide epidemic. From the audience, it seems that Mr. Genovese focused too intently on the larger than life aspects of the show and forgot that a show needs honesty to be relatable.
About two-thirds of the way through, Danni Smith as Coloumbina breaks the monotony of disconnected energy and hits one out of the park with “My Body Wasn’t Why,” an empowering and tear-jerking ballad about art, aging and womanhood.
Lynn Ahrens’s interesting book races through the first half of the show, asking the audience to simply accept the characters without working for it. In the second half of the show, when the action finally slows down, it is difficult to muster empathy for anyone.
The wonderful thing about it, though, is the subject matter. We are invited to experience the creation of Coloumbina, the sassy maid; Pantalone, the miserly old man; Dottore, the quack doctor, and Harlequin, the sly prankster, which is a real treat for a theater lover. Stephen Flaherty’s music is full-bodied and emotional, and paired with Lynn Ahrens’s lyrics makes for a great soundtrack. It is in this partnership that these two create strong work, but Lynn Ahrens’s book independently leaves much to be desired in terms of character development.
The thing you have to do to enjoy this show is to understand that it is not a musical comedy. It is a musical about comedy. But the entire cast invites you warmly into their view of history, and you get to see a neat, shiny version of the creation of an art form. If you are a comedy lover (who isn’t?) go see this show. It’s a musical about the creation of something really important, and it is worthy of your attention. For a theater lover, this production is a historical journey worth taking, even if there are a few unintended pratfalls along the way.
Rating: ★★★
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. |
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”
Chicago theater openings and specials this week
show openings
5th of July - Oak Park Festival Theatre
The Alcyone Festival 2009 - Halcyon Theatre
Belmont Burlesque Revue – Gorilla Tango Theatre
Follies - Actors Theatre Company
Improv Children of the Corn 2 – Cornservatory
Jesus Hopped the “A” Train - Village Players Performing Arts Center
Little Brother – Griffin Theatre
Nederlands Dans Theater I - Auditorium Theatre of Roosevelt University
A Song for Coretta – Eclipse Theatre
Strauss at Midnight - Theater Oobleck
For special ticket offers, click on “Read more”
Theater Thursday: “Sexual Perversity in Chicago”
Thursday, June 4
Sexual Perversity in Chicago and Bobby Gould in Hell
Organic Theater Company at the Greenhouse Theater Center
2257 N. Lincoln Ave., Chicago (map)
Organic Theater Company returns to its roots with the 35th Anniversary production of Sexual Perversity in Chicago by David Mamet, which had its world premiere at the Organic in 1974, presented on a double-bill with Bobby Gould in Hell, Mamet’s darkly funny companion piece to Speed-the-Plow. Before the show, join the company at The Spread Bar and Grill (2476 N. Lincoln Ave.) for a reception with appetizers and drinks.
Event begins at 6:30 p.m. Show begins at 8 p.m.
TICKETS ONLY $20
For reservations call 773.404.7336 or visit www.organictheater.org and use code “ELECTRA”
Next week’s Theater Thursday: Oedipus at The Hypocrites.
“Thursday Thursday” brought to you by the web’s best food, restaurant and wine guide.
For this week’s special ticket offers, click “Read more”
