Category: Openings
College Watch – "Intimate Apparel" at Loyola
I recently received an e-mail from a publicist at Loyola University, asking me to post info on their upcoming show, Intimate Apparel, by Lynn Nottage. As I have yet to cover theater within Chicago area universities, I was a bit undecided whether or not to make the postings. But then it occurred to me that, for many, the love of live theater actually occurs in upper education, so why not? In fact, I’d love to have a person on my blogging team that covers the college theater-scene; probably not reviews as much as just wassup. So if anyone out there (or someone you know) might be intrigued by this, let me know…
So here you go:
Production: Intimate Apparel by Lynn Nottage directed by Jonathan Wilson.
Synopsis: Set in New York City in 1905, the play follows a young African-American
seamstress, Esther Mills, and the trials she faces creating undergarments for a wide array of clientele, ranging from upper class white women to prostitutes.
Performance Dates: September 26–October 5, 2008
Thursday through Saturday performances taking place at 7:30 p.m. and
Sunday performances at 2:00 p.m.
Location: Loyola University’s Kathleen Mullady Theatre is located just a crosswalk away from the Loyola “L” stop on the Red Line.
More info: http://blogs.luc.edu/artsalive
Chicago Theater News – Think fast….
DCA Theater Incubator
Dog and Pony
Chicago’s DCA Theater introduces INCUBATOR; a series designed to support the creation of new work by emerging Chicago theater companies. For the inaugural event in the series, Dog and Pony Theatre Company will showcase their work-in-progress, “Watering Hole.” Click here for more info.
Monday, August 25, 7:30 – 9:30 pm, Studio Theater, Chicago Cultural Center
FREE, Reservations Encouraged 312-742-TIXS
Review – "Much Ado About Nothing" at First Folio
by Venus Zarris
The Bard verses Nature; at First Folio it is a dead heat!
I am not an outdoorsy kind of person. Given the choice between an air-conditioned theater and a summer night outside with mosquitoes buzzing in my ear, I am inclined to choose ‘civilized shelter.’ But the sweet and talented folks at First Folio Shakespeare Festival combine impressive theatrical production with breathtaking natural setting to create a perfect evening of entertaining escape.
I say escape for three reasons. One, you are transported into the world of Shakespeare’s classic comedy by a completely engaging cast. Two, you are swept away by the natural wonders of the lovely Peabody Estate. And three, you are far from the hectic city limits.
But rest assured, if your ‘First Folio Get Away’ is anything like ours you will not only count your evening as one of the summer’s best but as one to be remembered for years to come. Pack a picnic, assemble your favorite cohorts and prepare to relax and enjoy.
Birds, Bats, Breezes, Fireflies and… a turtle?
We packed some delicious delicacies and subtle spirits. Anxious to indulge and imbibe, we planned to arrive a little early, the play starts at 8:15pm but the grounds open at 7pm. As we turned into the entrance I noticed something on the side of the access road. It was a turtle! Unable to climb the curb, he seemed destined for trouble so we parked and I picked him up. Turtles pee when they are scared and this guy was evidently terrified! But a quick trip to the lake behind the estate mansion and he was eagerly swimming back to safety.
(I add the little turtle aside because in my personal experience, turtles have been good luck charms and delightful omens. True to form, he foreshadowed a positively delightful night!)
We set up our picnic and were refreshed by subtle and unexpected spontaneous cool breezes. Birds playfully flew around the stage and as dusk set in the fireflies added delicate and restrained intermittent fireworks to the festivities. Paying close attention overhead, I noticed a pair of bats doing their part to keep the bug population at bay and add to the already enchanting atmosphere.
As the night progressed the moon slowly emerged from behind the treetops. Almost full, its beauty was easily underestimated but that night it was simply partial and premature sublime perfection. Its waxing excellence exceeded the drama of its pending fullness.
If there was one natural element that needed to be ‘toned down’ it was the boisterous crickets. Obviously unaware of Shakespeare’s impressive and historic theatrical reputation, they did their best to sing over the actors. Thankfully, a state of the art sound system thwarted their disrespectful efforts.
Shakespeare’s writing is so timeless that it can be delivered with bare bones or lavish production values and engage on either scale. But the added element of nature created a beguiling accent that almost threatened to usurp the already impressive theatrical offering.
Much Ado About A Lot
Before the play’s exposition even gets started we are warmed up by a brilliant fluffing from the antics of Verges, adorably played by Keland Scher. Scher has charm and sweetness galore as he juggles, flirts and clowns with the audience creating the perfect pre-show mood. Oftentimes, this sort of interactive audience participation can prove to be obnoxious, corny or embarrassing but Scher is brimming with playful talent and is as lovable as a cartoon bunny.
Bickering, blundering, deception, redemption and ultimately, after some bumbling and revelation, requited love are the forces at work in Much Ado About Nothing. Between the entanglements and resolution Shakespeare has created Much Ado about an awful lot and the first rate cast delivers the goods with clarity and charm.
Melissa Carlson and Nick Sandys provide the most excitement with their clever verbal jabs and retorts. Carlson’s Beatrice, the confirmed spinster, is venomously shrewd and Sandys’s Benedick, the confirmed bachelor, is lyrically adroit. They elevate the juvenile game of ‘taunt your undeclared love interest’ to a wickedly witty and articulate exchange. Rene Ruelas renders an amusingly eccentric Friar Francis to add to the fun.
Andre Pluess’s sound design and original composition add even more natural texture and subtle elegance to the production. Michael Goldberg’s straightforward direction of the excellent ensemble and gifted design team create an outstanding rendition of the classic comedy.
You decide who prevails, theater or nature. Either way, it is a WIN/WIN proposition for the audience.
Gather up your friends for a little road trip and enjoy exceptional theater in a remarkable atmosphere. First Folio Shakespeare Festival is a brilliant addition to this summer full of marvelous Shakespearean options. It is a tucked away treasure that is well worth the drive.
Rating: ««««
(“Much Ado About Nothing” runs through August 17 at First Folio Shakespeare Festival, 1717 W. 31st Street, Oak Brook. 630-986-8067)
Review – “Los Desaparecidos” (The Vanished)
Babes With Blades has never believed in playing it safe, and this can certainly be seen in the final production of their 10th Anniversary season – the world premiere of Barbara Lhota’s Los Desaparecidos (The Vanished). The germination of the play all started from a rather cool playwright competition: entrants were presented with the painting “Duelo de Mujeres” (The Duel of Women), and instructed to create a play with the painting as inspiration. Out of over 20 entries, the winning playwright, Barbara Lhota, has created a raucous and sexy world where women gladly take up the sword for fun and heroism (though set in 16th-century Spain, the play seems to not be of any time-period). Using many Shakespearean devices, Los Desaparecidos explores the impact of family ties, societal pressures, and unexpected love in the lives of two sisters. Los Desaparecidos is ultimately about how the power of love can triumph over intolerance.
Pros: The performances are exemplary – so full of passion and athleticism, that it leaves one exhausted. The three powerful leading women – Stephanie Repin (Diana), Meghan Martinez (Isabel) and Rachel Stubbs (Eliana) – truly shine in their roles.
Cons: At times the pacing seems to falter, though it quickly rights itself throughout. Ending is a bit implausible.
Summary: Take a cast of passionate actors, throw in a fun script, season it with spicy sword fights and taboo romances, and – if such a thing suits you – you end up with a swashbuckling time at the theatre.
Rating: «««
| Production: | Los Desaparecidos (The Vanished) |
| Playwright: | Barbara Lhota |
| Director: | David Woolley |
| Featuring: | Stephanie Repin (Diana), Meghan M. Martinez (Isabel), Rachel Stubbs (Eliana), Sean Patrick Leonard (Eduardo), Lisa Herceg (Marisol), Paul E. Martinez (Frederico), Mercedes Rohlfs (Lucilla), Morgan Manasa (Zania), Dustin Spence (Father Roberto, The Man), Libby Beyreis (Servanct), Ryan Christopher Zarecki (Servant), Gregory M. Larson (Antonio) |
| Design Team: | Tina Bernacchi (Asst. Director/Dramaturg), Leigh Barrett (Lighting), Alex Braatz (Sound), Anders Jacobson (Scenery), Michelle Julazdeh (Costumes), Libby Beyreis (Fight Captain), Sean Patrick Leonard (Makeup Effects) |
| Technical Team: | Kjerstine McHugh (Stage Manager), Amy E. Harmon (Producer), Gillian N. Humiston (Assistant Producer), Alison Dornheggen (Marketing) |
| Coming next: | Land of the Free by Mark Burns, directed by Beth Cummings – Fall 2008 |
| More info: | www.BabesWithBlades.org |
Diana (Stephanie Repin) and Antonio (Gregory M. Larson) fall in love
Diana (Stephanie Repin) faces Eliana (Rachel Stubbs) in single combat in Babes With Blades’ “Los Desaparecidos (The Vanished)”
Diana (Stephanie Repin) and her sister Isabel (Meghan M. Martinez) work through a disagreement!!
Frederico (Paul E. Martinez) and Isabel (Meghan M. Martinez) try to have a child
Isabel (Meghan M. Martinez) and Diana (Stephanie Repin) work through a disagreement
Isabel (Meghan M. Martinez), Eliana (Rachel Stubbs), and Diana (Stephanie Repin) meet in Babes With Blades' "Los Desaparecidos (The Vanished)"
Servants Marisol (Lisa Herceg) and Eliana (Rachel Stubbs) gossip amongst themselves
Review: “Dead Man’s Cell Phone” at Steppenwolf
Jean is a rather dull, introverted woman. She spends her free-time reading at coffeehouses whilst the world hums and haws around her. One day, however, while engrossed in a book, a man next to her refuses to answer his cellphone. After repeatedly admonishing the man to answer his phone, Jean ventures over to his table, and discovers the stunning reason why the phone was not answered – the man is dead. As this morbid realization overtakes her, the cellphone again begins to ring; Jean answers it. So starts the beginning of Jean’s madcap, surreal and at times frustrating journey as created and presented by playwright Sarah Ruhl and Steppenwolf Theatre’s associate director Jessica Thebus – a journey that steamrolls Jean from a dinner with the family of the dead guy (Gordon), a tryst with Gordon’s brother Dwight, separate outings with Gordon’s wife and mistress, a zany afterlife detour, and culminating with a tumultuous South African rendezvous with underworld dealers of body-organ smuggling. Whew!
There is a lot to love in Dead Man’s Cell Phone. Above all, it’s a fun and unpredictable. There are times where Thebus has masterfully created truly refreshing and whimsical stage pictures – the most memorable for me being a scene involving Jean and Dwight: as the two lust-birds go at it in Dwight’s stationary store, glowing paper houses appear in the background, and sheets of stationary flutter and weave down from the ceiling. Why is this happening? I don’t fully know, but it sure is amusing. Ruhl’s skillful writing shines most in her coupled dialogues, especially the hilarious interchange with Jean and Gordon’s widow Hermia over cocktails. Though all of Dean Man’s technical aspects mirror Steppenwolf’s usual mastery, the lighting outdoes itself. Lighting designer James Ingalls’ use of illumination to showcase the story is especially evident in his glowing houses (see above) and umbrellas and body parts (see pictures below).
I have a few misgivings with this production. Most pertinently, the role of Jean (Polly Noonan) seems to be miscast and a bit misdirected. Jeans presents herself as a single, twenty-something woman, naively zoned-out, part airhead and part manipulator. But according to the script she’s actually well into her 30′s, which is not how Jean looks or appears. Adding to this, we’re denied an ending that matches the quirkiness and magic of the rest of the play, which is unfortunate.
Summary: Dead Man’s Cell Phone, despite a few misdials, is an offbeat, boisterous production that lends itself well to Steppenwolf’s usual topnotch output. Recommended.
Rating: «««
| Production: | Dean Man’s Cell Phone |
| Playwright: | Sarah Ruhl |
| Director: | Jessica Thebus |
| Featuring: | Molly Regan (Mrs Gottlieb), Sarah Charipar (Other Woman, Stranger), Geraldine Dulex (Ensemble), Marc Grapey (Gordon), Coburn Goss (Dwight), Mary Beth Fisher (Hermia), Polly Noonan (Jean), Ben Whiting (Ensemble) and Marilyn Dodds Frank (Mrs Gottlieb after June 1). |
| Design Team: | Scott Bradley (Scenery), Linda Roethke (Costumes), James F. Ingalls (Lighting), Andre Pluess (Sound and Original Music), Ann Boyd (Choreography) Joe Dempsey (Fight Choreography), |
| Technical Team: | Christine D. Freeburg (Stage Manager), Michelle Medvin (Asst. Stage Manager) |
| More Info: | www.steppenwolf.org |
Polly Noonan (left) and Marc Grapey (right) in Dead Man’s Cell Phone by Sarah Ruhl, directed by Jessica Thebus at Steppenwolf Theatre March 27 – July 27, 2008.
Coburn Goss (left) and Polly Noonan (right) in Dead Man’s Cell Phone
Jean (Polly Noonan) answers the dreaded cellphone
Dinner at the Gotlieb’s with (left to right) Coburn Goss, Mary Beth Fisher, Polly Noonan and ensemble member Molly Regan.
Marc Grapey as the Dead Man.
Polly Noonan (Jean) with glowing umbrellas.
Mrs. Gotlieb (ensemble member Molly Regan) speaks at funeral.
Happy Hour with Jean (Noonan) and Hermia (Mary Beth Fisher).
The Other Woman (Sarah Charipar) and Jean (Noonan) with glowing kidney.
Jean (Noonan and Dwight (Coburn Goss) build a paper house.
“Picked Up” at the Neo-Futurists
What: The Neo-Futurists’ Picked Up, opening Saturday, April 12th at the Neo-Futurarium, 5153. Ashland.
Teaser: Dean Evans, Jay Torrence and Ryan Walters lead a team of skilled comedy writers in creating a series of six never-before-seen television pilots performed live onstage. A new pilot premieres each week, with audience reactions determining the winner.
Michael Govier as Bed Pan, Brendan Donaldson as Tea Bag, Briggs Hatton as Woody, and Leah Urzendowski as Sheila
Michael Govier as Bed Pan
Ryan Walters, Laura McKenzie, Dean Evans and Jay Torrence
Review – “Dolly West’s Kitchen” at TimeLine Theatre
Production: Dolly West’s Kitchen
Producers: TimeLine Theatre (map)
Review: It’s often said that the heart of every home is the kitchen. In Dolly West’s kitchen however, this is an understatement – the kitchen comes to an emotional full boil during the extent of this adventursome and often-hillarious work. The play, taking place in war-time Ireland, revolves around the three West-family women: matriarch Rima, free-spirited Dolly and tightly-wound Esther. Though all three women appear strong, much of their choices and present-day predicaments stem from theif womanizing father, who has long ago left the family (leaving Dolly to escape to Italy where she ends up running a restaurant, only returning to Ireland when Mussolini comes to full power; Esther marrying a weak but reliable Ned Horgan, who Esther does not love, but chooses because she knows he will never leave her). Soon Dolly West’s kitchen comes to life with the appearance of three mail visitors – Dolly’s bisexual ex-boyfriend Alec Redding, and two American soldiers – the quiet Jamie O’Brien, and his blatantly gay cousin Joshua Rollins.
Playwright Frank McGuinness creates wide swathes of lyrical dialogue, interspersed with some sexually-charged outbursts, as Dolly West’s Kitchen lays out for us the complex issues occuring in war-time Ireland, juxtaposed with issues of sexual identity and the results of a dysfunctional family history.
Strengths: This show is a perfect example of the powerful ensemble acting that Chicago is known for. The womens’ performances are flawless, especially the women on the extremes: the aged, cantankerous matriarch Rima West (played by the mesmerizing Kathleen Ruhl), and the spunky, lower-class teenage maid Anna Owens (portrayed by the energetic Sara Hoyer). Accompanying these two are the actresses playing the West sisters, Kat McDonnell and Danica Ivancevic, (these two who have shared their impressive talents with Chicago in recent productions – Kat McDonnell in The Sparrow; Danica Ivancevic in Faith Healer). The set is brilliant – a cozy kitchen which thrusts out diagonally into the audience, a subtle garden on one side of the kitchen and an overturned boat near the shore on the other side of the kitchen. Director Kimberly Senior should be commended for harnessing all of this talent into one eloquent voice.
Weaknesses: Even a strong cast and ingenious set can’t totally rescue the weaknesses of the script. For example, we are immediately asked to accept that a World War II era Irish family administers full acceptance of the several gay characters in the play – including Dolly’s brother, Dolly’s ex-lover (actually presented as being bisexual) and an American soldier who consequently becomes the brother’s lover. Oddly, then, when looking at the historical display in the lobby during intermission, we are told that homosexuality was abhorred in Ireland at the time. Furthermore, the play’s final scenes occur once the war is over, and we witness the psychologically debilitating effect the war has had on all of the men (including the two Americans who, one would think, would have gone home after the war rather than back to Dolly’s kitchen). Considering how complex such issues of distress caused by seeing the ugliness of war, the playwright chooses to end the play with several Hallmark-moments as each soldier miraculously gains their samity, and life is beautiful once more.
Aside: Altough this specific play didn’t work for me, I have always enjoyed TimeLine’s exemplary productions. Their plays reliably present a historic viewpoint, including the creation of study guides and lobby displays. In a whacky way, I like to think of TimeLine as a theatrical version of “School House Rock” – where as a child I was greatly entertained by these Saturday-morning cartoons, while coercively learning how a bill gets passed in Congress, the anatomy of a conjunction, and when to use an exclamation point !!
Summary: Though Dolly West’s Kitchen is impeccably performed, looks great and has a plethora of hilarious lines, the play sabotages itself through a confusing depiction of 1940′s gay acceptance as well as a Hallmark-esque view of complex catastophes which are conveniently mended in the end.
Rating: ««½
| Playwright: | Frank McGuinness |
| Director: | Kimberly Senior |
| Sets: | Brian Sidney Bembridge |
| Lights: | Charles Cooper |
| Costumes: | Christine Conley |
| Sound Design: | Tamara Roberts |
| Props: | Galen Pejeau |
| Stage Manage: | Ana Espinosa |
| Dialect Coach: | Eva Breneman |
| Featuring: | Cliff Chamberlain (Alec) |
| Aaron Golden (Jamie) | |
| Sara Hoyer (Anna) | |
| Danica Ivancevic (Esther) | |
| Kat McDonnell (Dolly) | |
| Niall McGinty (Justin) | |
| Mark Richard (Ned) | |
| Joshua Rollins (Marco) | |
| Kathleen Ruhl (Rima) | |
| Location: | TimeLine Theatre, 615 W. Wellington (map) |
| Dates: | Through March 22, 2008 |
| Show Times: | Wednesday-Thursday 7:30pm, Friday 8pm, Saturday 4 and 8pm, Sunday 2pm. |
Review – “Cadillac” at Chicago Dramatists
Production: Cadillac
Producers: Chicago Dramatists
Review: In the world-premier of Bill Jepsen’s Cadillac, we are presented with a quandary: How does one keep true to his principles and values while employed in a profession where deception and manipulation are an industry standard – in this case, a used car lot? Attach to this a changing of the guard if you will – where car sales are beginning to be initiated on the internet rather than through the usual schmoozing with the walk-in customers. The play takes place almost entirely in the office of the business manager, Howard Austin (adeptly played by Craig Spidle). It is the end of the month, when final sales are totaled, and commissions are tallied. Only one more car, and the cocky upstart Gary (Ian Forester), will have tied the all-time sales record of rosy-eyed old-timer Art (Rob Riley), and receive a huge bonus. And if the lone female salesman, Robin (Kathy Logelin), does not meet her quota (only one more car), she will lose her job. In the middle of all this is a long-time customer, newly-retired Fred (Gene Cordon), who shows up to finally follow through with his life-long dream – owning a Cadillac (unfortunately his credit record does not want to cooperate with this wish).
Edward Sobel’s directing talents are on full display here, especially in the work’s best scene, a sort of “phone fugue” – all of the dealership’s employees are on their respective phones, talking at once. This scene is so remarkable in that playwright Bill Jepsen has melded 4 different simultaneous conversations in such a way that many pertinent aspects of the different characters are revealed. Jepsen has a talent in creating believable and approachable characters – even though we may find the young Gary quite caustic, we still understand him. Production-wise Cadillac looks great. Kevin Depinet’s set is well-adapted for the small space, using windows in the back of the office to allow us to see into other parts of the dealership. Keith Parham’s lighting is rightfully unobtrusive.
Summary: Cadillac is a very solid piece of theatre – one of the most satisfying new works I’ve seen in quite a while. The ending of the play shares a similarity with HBO’s Sopranos finale in that – though many questions are left unanswered – we’re still content. I’m guessing that we’ll be seeing Cadillac appearing on many a regional theatre’s future seasons. Recommended.
Rating: «««½
| Playwright: | Bill Jepsen |
| Director: | Edward Sobel |
| Sets: | Kevin Depinet |
| Lights: | Keith Parham |
| Costumes: | Debbie Baer |
| Sound Design: | Miles Polaski |
| Props: | Daniel Pellant |
| Stage Manage: | Tom Hagglund |
| Featuring: | Gene Cordon (Fred) |
| Craig Spidle (Howard) | |
| Kathy Logelin (Robin) | |
| Rob Riley (Art) | |
| Ian Forester (Gary) | |
| Steve Ratcliff (James) | |
| Laurie Larson (Ellen) | |
| Location: | Chicago Dramatists, 1105 W. Chicago Ave. (map ) |
| Dates: | Through February 24th |
| Show Times: | Thursday-Saturday, 8pm. Sunday matinee, 3pm |
Opening: Shattered Globe’s “Requiem for a Heavyweight”.
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One of my favorite Chicago theatre companies, Shattered Globe, continues their exciting 2007-2008 season with the tumultuous “Requiem for a Heavyweight” by Rod Serling; directed by Louis Contey. Opening night is Sunday, January 13th. (hat-tip to Karin McKie for providing the production info) |
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| WHAT: | Shattered Globe Theatre will present “Requiem for a Heavyweight,” by Rod Serling and directed by Louis Contey. In this 1956 drama, washed-up prizefighter Harlan “Mountain” McClintock faces the sudden end of his career. Having spent 14 years in the ring, Mountain faces the prospect of a life that does not include boxing and discovers that the skills that almost made him a champion don’t count for much in the wider world. Mountain is torn between the possibility of new love and a promising future offered by social worker Grace, and loyalty to his self-serving manager Maish, who wants to exploit the fighter on the lucrative professional wrestling circuit. Widely regarded as one of the greatest sports dramas of all time, “Requiem for a Heavyweight” is a gut-wrenching account of the merciless prizefight game and the human wreckage it leaves in its wake. |
| WHERE: | Victory Gardens Greenhouse Theater, 2257 N. Lincoln Ave. (map) |
| WHEN: | Opens Sunday, January 13th (3pm) through March 8th (Saturday). Complete schedule here. |
| TIX: | Call box-office at 773-871-3000, or order online. Reduced tickets at HotTix (when available). |
| CAST: | Scott Aiello (Leo), Bill Bannon (Maish), David Bendena (Greeny), Don Blair (Doctor and Charlie), Craig Degel (Morrell, Thug), Mike Falevitz (young boxer and photographer), Brian McCartney (Army), Paula Stevens (Grace), Sean Sullivan (“Mountain” McClintock), and Jamie Vann (Perelli). |
| STAFF: | Kevin Hagan (Production Manager and Scenic Design), Brian McCaskill (Co-Producer), Eileen Niccolai (Co-Producer), Danielle Boyke (Stage Manager), Lou Contey (Director), Mike Durst (Lighting Design), Cybele Moon (Costume Design) and Mike Tutaj (Sound Design). |
| FUNDERS: | Alphawood Foundation, the Elizabeth F. Cheney Foundation, the Robert J. and Loretta W. Cooney Foundation, the Richard H. Driehaus Foundation, a CityArts I grant from the Chicago Department of Cultural Affairs, the Gaylord and Dorothy Donnelley Foundation, the Leo S. Guthman Fund, the Illinois Arts Council, the Mid-North Association and Much Shelist. |
