Tag: Bill McGough

Review: My Fair Lady (Lyric Opera of Chicago)

Donald Maxwell and Lisa O'Hare in My Fair Lady -Andrew Cioffi           
      
  

My Fair Lady

By Alan Jay Lerner (lyrics)
   and Frederick Loewe (music)
Civic Opera House, 20 N. Wacker (map)
thru May 21  |  tix: $22-$199  |  more info
       
Check for half-price tickets   
     

May 2, 2017 | 0 Comments More

Review: Paulus (Silk Road Rising)

Anthony DiNicola stars as Trophimus in Silk Road Rising's "Paulus" by Motti Lerner, directed by Jimmy McDermott. (photo credit: Michael Brosilow)        
      
Paulus

Written by Motti Lerner
Translated by Hillel Halkin 
Directed by Jimmy McDermott
at Pierce Hall, 77 W. Washington (map)
thru Dec 15  |  tickets: $35   |  more info
       
Check for half-price tickets 
    
        
                   Read review
     

November 22, 2013 | 0 Comments More

Review: The Invisible Man (Court Theatre)

Teagle F. Bougere as the Invisible Man in the Oren Jacoby adaption of the Ralph Ellison novel, directed by Christopher McElroen and presented by Court Theatre (photo credit: Michael Brosilow).       
      
The Invisible Man 

Adapted by Oren Jacoby 
Based on novel by Ralph Ellison  
Directed by Christopher McElroen
at Court Theatre, 5535 S. Ellis (map)
thru Feb 19  |  tickets: $35-$65   |  more info
       
Check for half-price tickets 
    
        
           Read entire review
     

January 31, 2012 | 1 Comment More

Review: The Front Page (TimeLine Theatre)

  
  

Updated: Now extended through July 17th!!

TimeLine’s signature dramaturgy venerates classic media satire

  
  

Editor Walter Burns (Terry Hamilton, right) and reporter Hildy Johnson (PJ Powers, left) work the phones as the biggest story of the year breaks around them in TimeLine Theatre’s revival of the Chicago classic THE FRONT PAGE by Ben Hecht and Charles MacArthur, directed by Nick Bowling. Photo by Lara Goetsch

  
TimeLine Theatre presents
  
The Front Page
      
Written by Ben Hecht and Charles MacArthur
Directed by Nick Bowling
at TimeLine Theatre, 615 W. Wellington (map
thru July 17 (extended!)  tickets: $18-$38  |  more info

Reviewed by Dan Jakes

Former Chicago newspaper men Ben Hecht and Charles MacArthur took aim at city politics, print journalism, corrupt justice practices, and even themselves in their scathing 1928 comedy about a Windy City press room. So what was their ax to grind?
Far as I could tell, they didn’t have one. Even as they unmercifully and repeatedly jab at their subjects, most of which are barely sheathed caricatures of then-contemporary real-life figures, you can read some smiles between Hecht and MacArthur’s searing lines. The Front Page lampoons Jazz Age Chicago the way Trey Parker and Matt Stone eviscerate 21st century pop culture week after week on South Park—with a dash of anarchy and a palpable love for their targets. It’s one of the reasons why this TimeLine revival of a historic work is actually funny.

Peggy Grant (Bridgette Pechman Clarno, left) isn’t so sure that Hildy Johnson (PJ Powers, right) is ready to leave his life as a reporter to get married in TimeLine Theatre’s revival of the Chicago classic THE FRONT PAGE by Ben Hecht and Charles MacArthur, directed by Nick Bowling. Photo by Lara GoetschAnother is director Nick Bowling and artistic director PJ Powers’ willingness to play up the show’s silliness without playing down the characters’ grotesque flaws; these journalists are brash, lazy, immature, dishonest, misogynistic, racist buffoons. Maybe it was my imagination, but at a few points, I swear some were audibly farting on stage. When the most sympathetic man in the office is an escaped murderer, you know you’re working with a real handful…

Hildy Johnson (PJ Powers) makes a break from the boy’s club and heads to New York with his fiancé (Bridgette Pechman Clarno), or at least tries to before a death row inmate escapes from his office’s neighboring jail. The ensuing chaos exposes incompetence and corruption at every level of the city, from the opportunistic editors, to the deal making politicians, to the incapable police officers, to the dishonest reporters. Hilariously, too absorbed in troubles of their own making, the actual threat of the killer on the loose ranks near the bottom of the characters’ group consciousness.

Even near the brink, Powers and Terry Hamilton (Walter Burns) are grounded and convincing, while Bill McGough and Rob Riley get to have a little more fun as Chester Gould-type cartoons.        

Bowling’s production is brisk, clean, driven at just the right speed, and refined with an eye for details, both big—his cast is just right; it’s enough of a challenge to appropriately fill roles in a standard-sized show, and The Front Page is huge; and small—a 100 percent grease-saturated translucent hamburger bag evokes a reminder of why we’re the City of Broad Shoulders.

  
  
Rating: ★★★
  
  

Hildy Johnson (PJ Powers, right) and Mollie Malloy (Mechelle Moe, left) are determined to hide escaped killer Earl Williams (Rob Fagin, center) before he can be discovered by the police in TimeLine Theatre’s revival of the Chicago classic THE FRONT PAGE by Ben Hecht and Charles MacArthur, directed by Nick Bowling.  Photo by Lara Goetsch

Editor Walter Burns (Terry Hamilton, right) doesn’t want Hildy Johnson (PJ Powers, left) to quit his job as a reporter for the Herald-Examiner in TimeLine Theatre’s revival of the Chicago classic THE FRONT PAGE by Ben Hecht and Charles MacArthur, directed by Nick Bowling. Photo by Lara Goetsch. Reporter Hildy Johnson (PJ Powers) calls the news desk at his paper the Herald-Examiner to report a scoop on the biggest story of the year in TimeLine Theatre’s revival of the Chicago classic THE FRONT PAGE by Ben Hecht and Charles MacArthur, directed by Nick Bowling. Photo by Lara Goetsch
   

The Front Page continues through June 12th at TimeLine Theatre, 615 W. Wellington, with performances Wednesdays and Thursdays at 7:30pm, Fridays at 8pm, Saturdays at 4pm and 8:30pm, and Sundays at 7pm.  Tickets are $28-$38 ($18 for students), and can be purchased by phone (773-281-8436 x6) or online. More info at timelinetheatre.com.

All photos by Lara Goetsch.

        
April 22, 2011 | 2 Comments More

REVIEW: The Farnsworth Invention (TimeLine Theatre)

Timeline production rises above Sorkin’s flawed script

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TimeLine Theatre presents
 
The Farnsworth Invention
 
written by Aaron Sorkin
directed by
Nick Bowling
at
TimeLine Theatre, 615 W. Wellington (map)
thru June 13th  |  tickets: $25-$35 |  more info

reviewed by Oliver Sava

What better way to end the most successful season in Timeline’s thirteen year history than with the Chicago premiere of Aaron Sorkin’s tribute to exploration, The Farnsworth Invention? Their last Chicago premiere, The History Boys, had a six month sold-out run unlike anything the theater had ever seen, sweeping the Jeff FarnsworthInvention_172 Awards and kick-starting a season that would see Timeline exploring new possibilities in the wake of commercial success. Their regular performance space occupied by the oft-extended History Boys, Timeline ventured into a new venue, mounting an acclaimed revival of All My Sons (our review ★★★★) at Greenhouse Theater Center, and the theater’s first venture into South Africa, Master Harold…and the Boys (our review ★★★½), would lead to a business partnership with Remy Bumppo and Court Theatre for Fugard Chicago 2010.

At the end of a landmark year, The Farnsworth Invention is not only a celebration of Timeline’s consistency as a company, but a promise to explore the possibilities of modern theater. Nick Bowling directs a polished production that moves like clockwork, with an ensemble that understands the emotional currents underneath the witty repartee and academic jargon of Sorkin’s writing, giving the production a heart beyond what is written in the problematic script.

Sorkin criticizes current broadcasting practices as he chronicles the lives of radio pioneer David Sarnoff (PJ Powers) and television inventor Philo T. Farnsworth (Rob Fagin), which sounds like a good idea for an essay, but doesn’t quite lend itself to character development and fully realized relationships. The personal tragedies that undo Farnsworth don’t receive much focus, failing to resonate when overshadowed by the massive amounts of scientific and historical knowledge needed to advance the plot. Granted, a staged essay written by Aaron Sorkin is still better than the majority of theater fare, but many of the particularly soapboxy passages feel like rehashed material from the writer’s previous works, especially a closing monologue that is basically this “West Wing” scene:

 

In spite of the script’s misgivings, Timeline turns out an excellent production. John Culbert’s alley set design makes transitions easy and provides an elevated plane that is used effectively to display balances in social status and power. Giving Sarnoff’s side of the stage stairs and Farnsworth’s side a ladder is also a clever way of revealing character: Sarnoff can walk, Farnsworth must always climb. Lindsey Pate’s costumes have a modest beauty, historically accurate yet still exciting, and a parade of schoolgirls in pastel dresses is a particular highlight.

Powers plays Sarnoff with a cool demeanor that intimidates in the boardroom, but melts away to reveal a fiery core when his ideals are questioned. Sarnoff is the major outlet for Sorkin’s criticism, and his hopes for the entertainment industry are a stark contrast to the current media landscape, particularly in the fields of advertisement restriction and tasteful content. The major dramatic tension of the play is in Sarnoff’s mission to discover television first, and Power succeeds in capturing the intensity of a man that has few limits when obtaining what he desires, both financially and ethically. Fagin has a Midwestern charm that serves as a great foil to Sarnoff’s pretension, and both actors do fantastic work with the tricky dialogue. Philo’s relationship with wife Pem (Bridgette Pechman) is where a large portion of the production’s heart arises, and Pechman plays her with a concerned anxiety that allows for comic moments while still bringing a sense of foreboding.

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Timeline explores new possibilities and builds consistently excellent productions while protecting the past that gives them their name. Recycled as it may be, the final monologue has even more power when spoken by Artistic Director PJ Powers: “We were meant to be explorers. Explorers, builders, and protectors.” After a year of unprecedented success, where will Timeline go next?

 
 
Rating: ★★★½
 
 

Extra Credit:

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Production publicity photos by Ryan Robinson.

April 21, 2010 | 0 Comments More