Princess envy from Redmoon Theatre’s “The Princess Club”

With the looks of their blog postings, it seems that the creative gang over at Red Moon Theatre have cast down-and-dirty divas for their newest production, The Princess Club.  As one princess tells us:

…..we’re in The Club and you’re not, Sucka….

Impeccable taste, sexy humps, and good shoes to name a few. Wig decorating season is about to commence and I can’t wait. Gotta go…See you on the runway.

Hmmm…I don’t know if anyone can compete with that!

September 13, 2007 | 0 Comments More

Redmoon Theatre does “Looptopia”

Speaking of Redmoon Theatre, here’s a fun little clip I found on YouTube of their puppet gymnastics at “Looptopia”. 

September 12, 2007 | 0 Comments More

“The Crucible” at Steppenwolf – planned with the city??

I just remembered that “The Crucible” will be included in Steppenwolf’s upcoming season.  As mentioned previously, this same play is Chicago’s new book club selection, which got me wondering as to whether this was a coincidence or planned.  I am leaning on the possibility that Steppenwolf worked this out with the city.  If so, my hats off to Steppenwolf for some brilliant *free* marketing!!!

September 2, 2007 | 0 Comments More

Miller’s “The Crucible” to be Chicago’s next book club selection

Chicago has chosen it’s next selection for the “One Book, One Chicago” program: Arthur Miller’s “The Crucible”.  This Tony Award-winning play about the 17th Century Salem witch hunts and trials was Arthur Miller’s response to his censorship during the McCarthy trials in the 1950’s.  In a statement, Daley rightly equates this same sype of witch hunt to the atmosphere in today’s administration. 

“After 9/11, a lot of people have looked at the Muslim community, the Arab community in a completely different way and that’s really unfortunate. Also, many people are looking at the immigrant community in a completely different way, which is really unfortunate. We can learn from our lessons in history-and maybe we haven’t,” Daley told a news conference Thursday at the Harold Washington Library.

Daley goes on to sweep the internet into this milleu, including blogs: 

Apparently referring to modern-day political witch hunts, Daley said, “In the electronic age, anyone can say anything. It’s remarkable. You listen to radio and TV and read [Internet blogs] and they’ll say anything without any justification. It’s amazing. It’s a completely different electronic age today. Home videos, everything. People say and do things. It’s amazing what can take place. That’s why we have to be very careful and review what’s happening in America.”

Hopefully he’s not including this blog in with that group!

For the complete story from the Chicago Sun-Times, click here.

September 2, 2007 | 1 Comment More

Fun video – building the set for “Osage County”

Here’s a fun clip, showing a very sped up version of building the set for Steppenwolf’s hit show “Osage County”.  Oh, if only set-building only took this long!

August 28, 2007 | 0 Comments More

Steppenwolf’s “Osage County” moving to Broadway

Looks like this ground-breaking show will be making its way to Broadway, with almost the entire cast in tow. 

August 23, 2007 | 0 Comments More

Review: Remy Bumppo’s “Mrs. Warren’s Profession”

 

Annabel Armour and Susan Shunk, currently starring in Mrs. Warren's Profession, by George Bernard Shaw, presented by Chicago's Remy Bumppo Theatre

Prostitution and incest – topics that have fueled many a modern play, were extremely taboo subjects in 19th-century Victorian England. So it’s wholly understandable that George Bernard Shaw’s comedic drama, Mrs. Warren’s Profession, which deals with these themes (real or implied), would cause such an uproar in 1893 London. The work was completely banned for seven years. Indeed, when the play finally leapt to American shores, opening in New York in 1905, it was shut down on opening night, with two of the lead actors arrested and thrown in jail. And modern day stage actors think they have it bad!

Along with these obvious moral no-no’s, Mrs. Warren’s Profession also presented the threatening notion that women actually might have a choice in seeking a satisfying profession rather than rely on men to supply their security. Going beyond this, Shaw’s work also exposed the high emotional cost that could occur with this possible female independence.

Remy Bumppo Theatre has successfully discovered the perfect rhythm of Shaw’s flowing and introspective voice – Mrs. Warren’s Profession is darkly delightful. The two leading women are superb, accenting the directing prowess of David Darlow. Annabel Armour radiantly shines through her performance of the scandalous Mrs. Kitty Warren. Armour has created a character that, rather than reviled (or at least pitied), draws compassion. We understand her plight and are proud of what she has done with her life. Susan Shunk, playing Mrs. Warren’s Cambridge-graduated daughter, Vivie, is masterful in finding her character’s complexities – she is strong-willed in combating the social demands of a woman of the time, but reaches further into her character by communicating Vivie’s insecurities: shunning other people in her life, using her supposed resolute independence in order to avoid any situation that would make her seem vulnerable and unsure of herself to others.

Backing up these two talented leads are the charismatic Matt Schwader as perennial tease Frank Gardner (who might be Vivie’s half-brother, hence the implied incest), the fatherly Donald Brearley as Praed, Joe Van Slyke as the confused Reverend Gardner, and Kevin Gudahl as Mrs. Kitty’s shrewd (and boorish) business partner, Sir George Crofts

Mrs. Warren’s Profession is slow in the beginning, the first scene gives us the feeling that we are witnessing a study in character development rather than engrossing us in the play’s rich language. Also, George Bernard Shaw has offered up a few implausible circumstances: Why wouldn’t a grown daughter know whether her mother was married or not? Why wouldn’t same daughter be curious as to where the tuition money supplied by her mother was originating? What was her mother doing when traveling all over Europe (and why wouldn’t the well-educated daughter want to go along with her mother to such cultural cities of Berlin, Brussels and Budapest)? Perhaps these are questions that would not seem so odd at the time the play was written – that children did not question their parents or analyze their situations. Who knows?

Overall, Mrs. Warren’s Profession is an exquisite study of the struggles women once faced (and still face) when yearning to obtain a decent standard of living through an enjoyable career rather than succumb to the morally acceptable road of seeking a husband for security. Through Mrs. Warren’s Profession, Remy Bumppo has presented a highly-satisfying resonant coda to their theatrical season.  

Rating: «««

March 11, 2007 | 0 Comments More

Review – Next Theatre’s "The Adding Machine"

AddingMachine---06-web-733116 The Adding Machine: A Chamber Musical is an intriguing, hard-to-pigeonhole piece of musical theatre. With music by Josh Schmidt and a libretto by Schmidt and Jason Loewith, The Adding Machine is a through-sung work with glimpses of Sondheim’s Passion, Guettel’s A Light in the Piazza and LaChuisa’s Wild Party. Nonetheless, it is set apart from these examples through its use of comprehensible melodies on top of layered dissonances; changing time signatures juxtaposed with sharply-syncopated choral chants. In its world-premier, Evanston’s Next Theatre Company has taken a noteworthy risk by commissioning and presenting this piece. Based on a rarely-produced 1923 play of the same name by expressionist playwright Elmer Rice, the show mostly works. But there are some caveats, all in the second half of the show, that keep The Adding Machine from realizing its full potential.

Though there is no intermission, the play is comprised of two distinct acts, delineated by the death of the main character, Mr. Zero (artfully played by the talented Joel Hatch). In the first section of The Adding Machine, the world is engulfed in numbers. The main character, Mr. Zero, works as an accountant. Mrs. Zero (wonderfully sung by Cyrilla Baer) is continually unhappy, contemplating the clichéd conclusion that Mr. Zero really is a zero, and she never should have married him.

AddingMachine---01-727264 Undoubtedly the work’s most mesmerizing section takes place in the second scene of the well-delineated first act. Mr. Zero is at work, sitting at the first of three tables, methodically and laboriously writing down numbers fed to him by his assistant Miss Devore (Amy Warren). As the chorus, sitting at tables behind him, hauntingly chants number after number (infusing clever asides, their brains wandering away from numbers and instead to thoughts of beer and girls), Zero relays that today is his 25th anniversary at the company, and he’s sure he will get a promotion. The boss, the stoic Mr. Charles (Michael Vieau) shows up. But instead of promoting him, Zero is canned, being told that with the advent of the adding machine, his job can now be done by high school girls at a sliver of his salary. (Echoing the present day’s outsourcing of jobs to other countries, where they are paid a fraction of our salaries). That evening, at a dinner party thrown by Mrs. Zero, with Mr. and Mrs. One (Rosalind Hurwitz and Steve Welsh) and the Two’s (Toni Inzeo and Kevin Mayes) in attendance, her husband is arrested for murdering his boss. What follows is a clever scene in prison on death row, where Zero meets the disturbing Shrdlu (Ian Westerfer), who has killed his mother by cutting her throat instead of the lamb that his mother has made for her son’s dinner. (i.e., mom turns into the sacrificial lamb?)

The second section, occurring after Zero has been put to death, falls flat, the storyline veering away from any kind of worthy conflicts and – as my father told me when trying in vain to teach me how to swing a baseball bat – no follow-through. We are supposedly in heaven, Shrudlu, the mom-killer, is there. Zero, too, is present. And Zero’s assistant, Mrs. Devore, just happens to also be there. Zero and Devore soon realize that they are in love. All this unexplained oddness abets an unfortunately dissatisfying ending.

The singing is mostly excellent. The characters have lovely, adaptable voices, and the music director, Jeremy Ramey, has done a great job blending the cast’s instruments, successfully honing the difficult syncopations of the choir. But a few of the main characters, specifically Zero and Shrdlu, do not have the chops to sing this discordant and often operatic score. In the beginning this is okay, as their wavering voices match their character’s woes. But this vocal crudeness becomes a problem near the end when these same characters are no longer suffering.

The design team has done a notable job, with the highest honor given to Keith Parham, the lighting designer. His design is dead-on, thoroughly matching and enhancing the dynamics of the story – dark and ominous in the first half and utopian in the second. In one remarkable scene, as Zero is entering heaven, the lights are cast in such a way that projects Zero as having wings. As the lighting changes, though, it is revealed that these “wings” are in fact just a coat thrown over his shoulder. This is some of the best lighting work seen in recent years.

Overall, if you’re an avid fan of new musical works, works that push the boundaries of stereotypical musical theatre, The Adding Machine is worth seeing – even when taking into consideration the aforementioned problems. Indeed, the accounting scene alone is worth the price of the ticket. The score and orchestrations are exemplary, matching much of what you’d hear on Broadway. If only the show was just about the first act, it would be highly recommended. Unfortunately this is not the case.

Rating: «««

February 4, 2007 | 1 Comment More