Tag: Aaron Todd Douglas

Review: Megastasis (Eclipse Theatre)

Anthony Conway, Ashley J. Hicks and Gregory Fenner star as Tray, Gina and Dubby in Megastasis            
      

  

Megastasis
   
Written by Kia Corthron
Athenaeum Theatre, 2936 N. Southport (map)
thru Aug 20  |  tix: $30  |  more info    
       
Check for half-price tickets   
     

July 19, 2017 | 0 Comments More

Review: Ruined (Eclipse Theatre)

Andre Teamer and TayLar star in Eclipse Theatre's "Ruined" by Lynn Nottage, directed by Aaron Todd Douglas. (photo credit: Tim Knight)        
      
Ruined

Written by Lynn Nottage  
Directed by Aaron Todd Douglas
Athenaeum Theatre, 2936 N. Southport (map)
thru May 25  |  tickets: $18-$28   |  more info
       
Check for half-price tickets 
    
        
                   Read review
     

April 24, 2014 | 0 Comments More

Review: Measure for Measure (Goodman Theatre)

Alejandra Escalante and Jay Whittaker star in Goodman Theatre's "Measure for Measure" by William Shakespeare, directored by Robert Falls. (photo credit: Liz Lauren)       
      
Measure for Measure 

Written by William Shakespeare 
Directed by Robert Falls
at Goodman Theatre, 170 N. Dearborn (map)
thru April 14  |  tickets: $25-$86   |  more info
       
Check for half-price tickets 
    
        
        Read entire review
     

March 19, 2013 | 5 Comments More

Review: Iphigenia 2.0 (Next Theatre)

Luce Metrius, Ricardo Gutierrez and Rebecca Buller star in Next Theatre' "Iphigenia 2.0" by Charles Mee, directed by David Kersnar. (photo credit: Michael Brosilow)        
       
Iphigenia 2.0 

Written by Charles Mee
Directed by David Kersnar
Noyes Cultural Arts Center, Evanston (map)
thru Oct 14  |  tickets: $30-$40   |  more info
       
Check for half-price tickets 
    
        
        Read entire review
     

September 12, 2012 | 0 Comments More

Review: Tree (Victory Gardens Theater)

  
  

Uncovered secrets create new roots for a Chicago family

     
     

Celeste Williams as Jessalyn in Victory Garden's 'Tree', written by Julie Hébert. Photo by Liz Lauren.

  
Victory Gardens Theater presents
  
Tree
   
Written by Julie Hébert
Directed by Andrea J. Dymond
at Victory Gardens Biograph Theater, 2433 N. Lincoln (map)
through May 1  |  tickets: $20-$50  |  more info

Reviewed by Oliver Sava

What defines a family? Is it common blood? Shared experiences? In Julie Hébert’s Tree, this is the major question South-side Chicagoan Leo (Aaron Todd Douglas) faces when his half-sister Didi Marcantel (Elaine Rivkin) tells him his biological father has died. Didi has come up from Louisiana in hopes of retrieving the letters her father Ray wrote to Leo’s now-senile mother Jessalyn (Celeste Williams) when they were youths, hoping to find an emotional connection to her father’s past that was absent in their present relationship. As Didi tries to latch on to the last bit of family she has left, Leo’s contempt for his white father pushes her away, punishing Didi for her father’s abandonment. Anchored by a stunning central performance from Williams, Tree examines the effect one man had on the people he left behind, and how his death brings them together.

Celeste Williams as Jessalyn and Leslie Ann Sheppard as JJ in Victory Garden's 'Tree', written by Julie Hébert. Photo by Liz Lauren.Hébert’s script combines lush lyricism with realistic, intellectual discourse to create a strong distinction between the emotional experience of Jessalyn remembering her letters with the conflict between Leo and Didi. In an incredibly difficult role, Williams does a complete transformation when she revisits her past, altering her voice and body to suggest a woman considerably younger. Although her exact illness isn’t revealed, Jessalyn shows signs of Alzheimer’s, experiencing the occasional moment of clarity but largely forgetful and confused. There’s a scattered energy to Jessalyn’s older characterization that becomes focused when she remembers Ray, and the audience is transported by Hébert’s rich imagery and romantic prose, making the reality of Jessalyn’s illness all the more heartbreaking. Williams’ performance takes us inside the car where she had her first accident (without a license) and to that all-important lake where Ray snuck into the tree without her looking. We fly and fall with her, and she’s the standout in a production full of stellar performances.

Race relations are a large part of Tree, but they never overshadow the larger theme of family. It reminds me of another great play from this season, Route 66’s Twist Of Water (which reopened this week at the Mercury Theatre), sharing a Chicago setting along with a similar ability to tackle racial and gender issues in that is smart but still emotionally powerful. They’re both concerned with finding a definition of family that goes beyond the traditional ideas, and perhaps most significantly, they’re both very funny. More than anything, these plays are saved from melodrama by the humor the playwrights put in the script. Watching fish-out-of-water Didi try to adapt to Leo’s South side hospitality is consistently amusing, and Rivkin’s sweet, amiable portrayal of the good-natured Didi makes Leo’s lashing out against her especially unfair.

     
Celeste Williams, Aaron Todd Douglas and Elaine Rivkin in Victory Garden's 'Tree', written by Julie Hébert. Photo by Liz Lauren. Celeste Williams and Aaron Todd Douglas in Victory Garden's 'Tree', written by Julie Hébert. Photo by Liz Lauren.
Celeste Williams as Jessalyn and Leslie Ann Sheppard as JJ in Victory Garden's 'Tree', written by Julie Hébert. Photo by Liz Lauren. Elaine Rivkin in a scene from Victory Garden's 'Tree', written by Julie Hébert. Photo by Liz Lauren.

Douglas captures the pain that lies underneath Leo’s anger, but his character flaw is that he is constantly jumping to conclusions without all the facts. Didi is trying to connect with her half-brother, the only blood kin she has left, and Leo accuses her of needing to assuage her white liberal guilt. He passes judgments on her lifestyle without any real knowledge about it, but can’t take it when Didi dishes it right back at him. The two performers have wonderful chemistry together, and they aggravate each other so easily it’s easy to see a sibling resemblance. Leo, Didi, and Jessalyn are all looking for a Ray Mercantel that doesn’t exist anymore, and their frustrations push them to react aggressively, both in positive and negative ways. Didi pushes a relationship on Leo, Leo forces Didi away, and Jessalyn – well, you never know what Jessalyn is going to do next.

Elaine Rivkin and Aaron Todd Douglas in Victory Garden's 'Tree', written by Julie Hébert. Photo by Liz Lauren.While the older characters are reeling from Ray’s death, Leo’s daughter JJ (Leslie Ann Sheppard) serves as a witness to the growing instability among them and a voice of reason in the emotional whirlwind of Leo’s home. The consistently wonderful Sheppard gives JJ a cheerful disposition that is immediately welcoming, but she also gives JJ some grit. She doesn’t share her father’s prejudice toward Didi, but when Didi starts snooping around for Ray’s letters, JJ goes into a rage that reveals how protective she is of her fragile father and grandmother.

Andrea J. Dymond directs a deeply moving, incredibly funny production (seriously, Jessalyn gets some amazing one liners) with an integrity in acting and design that elevates Hébert’s script. Jacqueline and Rick Penrod’s set design evokes the title of the play with fanned wooden planks above the actors and a stack of boxes creating a tree trunk through Leo’s home, making Didi’s inspection of the containers a literal dig through her family roots. Charlie Cooper’s lighting evokes the different settings of Jessalyn’s monologues, and beautifully reflects her changing moods, switching from cool blues and warm oranges for her past to stark red for her most extreme moments of confusion and terror. All the elements combine for one powerful examination of the meaning of family, and in the end, family is who will be there for you when times are hardest. Family isn’t blood or experience, it’s compassion.

  
  
Rating: ★★★½
  
  

Celeste Williams, Aaron Todd Douglas and Elaine Rivkin in Victory Garden's 'Tree', written by Julie Hébert. Photo by Liz Lauren.

     
April 14, 2011 | 0 Comments More

Review: Radio Golf (Raven Theatre)

        
     

Wilson’s thought-provoking drama has a whole new relevancy in 2011

     
     

Warren Levon, Demetria Thomas, Michael Pogue in Raven Theatre's 'Radio Golf'. Photo by Dean LaPrairie.

  
Raven Theatre presents
  
Radio Golf
  
Written by August Wilson 
Directed by
Aaron Todd Douglas
at
Raven Theatre, 6157 N. Clark Street (map)
through April 9 |  tickets: $30  |  more info 

Reviewed by Dan Jakes

It’s only been six years since Radio Golf, the tenth and final work in Pulitzer Prize winning playwright August Wilson’s “Pittsburg Cycle, premiered at Yale Rep.

A lot has happened in six years.

In that time, certain middle-upper-class white signifiers prominently featured in this 1990’s-based drama have taken a dip from grace. Starbucks, Barnes and Noble, lucrative condo investments and, well, Tiger Woods…let’s just say they aren’t what they used to be. “Unemployment” has knocked out “affluenza” as the country’s go-to economic buzz-word, Chicago just watched a mayoral campaign season with similar Harold Washington-era fears about equal race representation and, oh yeah, America elected its first non-white president.

Michael Pogue, Demetria Thomas in a scene from Raven Theatre's 'Radio Golf' by August Wilson. Photo by Dean LaPrairie.Yesterday, this show about a wealthy young black man running for mayor of Pittsburg was contemporary. Today it’s a period-piece, a quality that only adds to its resounding ideas.

The timing of director Aaron Todd Douglas’ production feels perfect. With just enough distance and room for perspective, we get to see the protagonists’ superficial goals and misplaced trusts with an unwavering knowledge of the consequences—something Wilson, who died in 2005, never got the chance to witness for himself. I wonder if he knew he was creating a prescient work of theatre.

As candidate Wilks, Michael Pogue conveys idealism and an eagerness to please his community, listening to its grievances and welcoming citizens into his private office, a space traditionally reserved for the shady deals that are kept far away from picture-windowed PR campaign centers. Time goes on and compromises need to be made, such as the necessity to petition a neighborhood for blight status and the unethical demolishing of a delinquent taxpayer’s house. A little more arc in Pogue’s demeanor would be compelling. But like the rest of this cast, Pogue finds the rhythm in Wilson’s dialogue most of the time (the poetic allegories are clear and strong), steam-rolling it a bit here and there.

David Adams is the most consistent and entertaining of the bunch. Patient and methodical as the stubborn but righteous owner of the dilapidated property at 1839 Wylie Ave.—a brick house that stands in Wilks’ way between continued suburban poverty and a massive, gentrifying real estate complex—Adams carries the weary but proud burden of a man who values what’s right. Blue collar local Sterling Johnson (Antoine Pierre Whitfield) does likewise. Both actors nail Radio Golf’s comedy with complementing styles: Adams understated and Whitfield abrasive.

It makes me wonder about 2012. 15 years after this story takes place, how much of “the game” will be the same, and who gets to play?

  
  
Rating: ★★★
  
  

Warren Levon, Michael Pogue, and David Adams in Raven Theatre's 'Radio Golf' by August Wilson. Photo by Dean LaPrairie.

Radio Golf continues through April 9th, with performances Thurs. through Sat. 8pm, and Sundays at 3pm. Tickets are $30, and are available by calling 773-338-2177, or online at RavenTheatre.com.

 

 
 
March 2, 2011 | 0 Comments More

REVIEW: The Nativity (Congo Square)

  
  

Beautiful to Behold

  
  

Congo Square - The Black Nativity - Celebrating the Birth

   
Congo Square Theatre presents
  
   
The Nativity
  
Written by McKinley Johnson
Inspired by
Langston Hughes
Directed by
Aaron Todd Douglas
at Goodman’s Owen Theatre, 170 N. Dearborn (map)
through Dec 31  |  tickets: $30-$40  |  more info

Reviewed by K.D. Hopkins

I have been going to the theater in Chicago for over 40 years and Black-themed productions have a special place in my heart since I first witnessed Purlie Victorious! at what was the Monroe Theater in 1969. The power of seeing and hearing the old traditions, colloquialisms, and gospel or blues tinged singing remains with me. This year, I wasn’t feeling the so-called Christmas Spirit in full. The commercials started before I could plow through my Halloween stash of candy and make the turkey sandwiches from Thanksgiving. Thank goodness I got my hallelujah infusion from Congo Square’s production of The Nativity.

Kathleen Purcell Turner and Pierre Clark as Mary and JosephThis musical and dance extravaganza is written by McKinley Johnson and inspired by one of my favorite writers: Langston Hughes. The plot is the traditional Nativity story of the Visitation from the Angel Gabriel to the Virgin Mary and the adventures that ensued in the birthing of the man known as Jesus.

The Black Nativity, which inspired this work, is one of the sacred plays written by Langston Hughes in the late 40’s and early 50’s as the Harlem Renaissance gave way to a stronger Civil Rights Movement in America. The Black theater had always been a strong presence due to segregation and discrimination. Hughes was always unabashed in his support and pride for Black traditions in music, poetry, and other art forms. Director Aaron Todd Douglas, Musical Director Jaret Williams and Choreographer Kevin Iega Jeff have built a beautiful monument on the foundations laid by Hughes and McKinley.

The combination of dance and spoken word make for a powerful and emotional tribute. Dancers Kathleen Purcell Turner and Pierre Clark portray the characters of Mary and Joseph. They never speak but project power, emotion and pain with dance. Ms. Turner is a wonder to watch as she portrays the birth pains, terror and exhaustion of travel on the run. If I had not been sitting so close I would wonder if she was held up or manipulated by invisible cords. Her beautiful and expressive face shows innocence, giddy youthful love, fear, and finally a maternal glow. She and Mr. Clark play perfectly off of each other as a couple in love.

Pierre Clark is an amazing high school senior who has perfected the role of Joseph. He emotes the youthful lust and royal bearing befitting a descendant of King Solomon. His acting is wonderful and the protection and joy of fatherhood is beautifully played through his dance moves. The choreography is reminiscent of Capoeira dancing – a blend of dance and martial arts that was forbidden during the slave trade in Colonial Brazil. It is a stunning and innovative take on choreography in a sacred work.

The cast of singing actors in The Nativity is from the ranks of Chicago’s finest actors. John Steven Crowley commands the stage as the Angel Gabriel and the narrator of the story. Alexis Rogers and Jeniel Smith shine as Athaliah and Johashobah. They are best friends at the washing creek and wives the fearsome King Herod. They have some funny and contemporary lines that ring true in modern society as well as ancient times.

Pierre Clark and Kathleen Purcell Turner as Joseph and MaryBlack Ensemble Theater regular, Kelvin Roston Jr., joins Ms. Rogers and Ms. Smith. Mr. Roston brings his handsome and convivial charm to the roles of Tax Collector, Inn Keeper, and Centurion. It is always a pleasure to see him perform.

Dwelvan David is a standout as King Herod. Mr. David’s striking features and imposing projection give him a perfect balance of fierce warrior, cunning politician, and comic foil.

The singing in this play is exceptional and pure gospel. The selections by Jaret Williams are soul-rousing and seemingly tailored to the singing talents of the cast. The moment the piano played I felt that I was ‘back in the day’. A special mention of Melody Betts and Dawn Bless is warranted for their roles of Mother of Mary and Elizabeth. They each have wonderful solos and shine in the roles of mother, confidant, and protectors of the Virgin Mary. Two other highlights are the song and dance combination of ‘Her Way’s Cloudy’ and the appearance of the Three Kings. The costumes are perfection in the choice of fabric and tailoring. (I was really close to the stage). The song ‘You Ought To Try The Lord’ is rocking, as is the ‘get happy in church’ dance by Jon Pierce.

I recommend The Black Nativity as a holiday tradition for everyone no matter your race or religious tradition. It’s perfect for the whole family and as an introduction to musical theater for younger children. Kudos to all of the parents in the audience as this was one of the best intergenerational audiences I have had the pleasure to be in. Happiest of Holidays to Everyone!

  
  
Rating: ★★★½
  
  

Ensemble

The Congo Square Theatre production of The Nativity runs through December 31st at the Goodman Theatre,170 N. Dearborn in vibrant downtown Chicago. Please call 312-443-3800 for ticket information.

      
      
December 23, 2010 | 0 Comments More

Raven Theatre announces 2010-2011 Season

raven theatre logo

Raven Theatre announces

 

A Season With The Masters

Williams, Wilson, Chekhov

Producing Artistic Director Michael Menendian and Co-Artistic Director JoAnn Montemurro announce Raven Theatre’s 2010/2011 Season, which includes Cat on a Hot Tin Roof by Tennessee Williams, Radio Golf by August Wilson and The Cherry Orchard by Anton Chekhov. Each story illuminates intimate, personal conflicts amidst massive cultural shifts, whether it is within the family unit, the local African American community or the entire nation.  (more info at the Raven Theatre website)

October 17 – December 19, 2010

   
   
  Cat on a Hot Tin Roof
   
  Written by Tennessee Williams 
Directed by
Michael Menendian
   
  Big Daddy’s birthday brings out the true colors of the wealthy Pollitt family. At the heart of the story is Maggie, the beautiful daughter-in-law, who struggles with a lack of emotional honesty from her husband, Brick, and with the judgment of Brick’s brother and his wife. Lies, deception, false loyalty, and greed play characters as big as Big Daddy himself in one of Williams’ most loved dramas. Cat on a Hot Tin Roof won the Pulitzer Prize for Drama in 1955 and was made into a major motion picture in 1958.

 

  February 27 – April 9, 2011

   
   
  Radio Golf
   
  Written by August Wilson
Directed by Aaron Todd Douglas
   
  Radio Golf, written in 2005, was August Wilson’s last play before his untimely death (August 2005). It is also the final chapter in The Pittsburgh Cycle. In this stirring drama an Ivy League educated entrepreneur, Harmond Wilks, and his banking executive friend plan to convert a blighted neighborhood into an expansive shopping mall. Their ultimate goal is to use Wilks’ success as a developer to leverage him into becoming Pittsburgh’s first African American mayor. It’s a dirty political business that includes back room deals and zoning loop holes. When they discover that a building cited for demolition has a history that affects their heritage, these two modern men are forced to get in touch with their past. Radio Golf won the 2007 New York Drama Critics Circle Award for Best Play.

 

June 5 – July 23, 2011

   
   
  The Cherry Orchard
   
  Written by Anton Chekhov
Directed by Michael Menendian
   
  Chekhov’s last play tapped the history of his own family’s home and the fall of the aristocracy. In The Cherry Orchard, the Ranevsky family is facing financial ruin, largely due to the spendthrift ways of the family matriarch and her devotion to a parasitic lover. The family attempts to come up with a solution so that the estate won’t be sold, but none of the plans lead to action.
   

 

Character Dynamics

The dynamics that define the characters in these plays are similar to those that drive our own lives today. Williams’ masterpiece, Cat on a Hot Tin Roof, centers on the legacy of Big Daddy’s enormous wealth, which was amassed by exploiting cheap labor to create one of the largest plantations in the South. Radio Golf, August Wilson’s final work in his ten-play cycle about the Black culture in Pittsburgh, delves into the ambitions of the rising middle class in pursuit of their American Dream. In the genteel comedy The Cherry Orchard, foreclosure of an estate threatens a family’s way of life that has remained unchanged for decades.

 salesmanchippies Photo from last seasons critically acclaimed Death of a Salesman (our review)

12 Angry Men - Raven Theatre Photo from last season’s critically-acclaimed Twelve Angry Men. (our review)

    
     
August 15, 2010 | 0 Comments More