Tag: E. Faye Butler

Review: The Taming of the Shrew (Chicago Shakespeare, 2017)

Crystal Lucas-Perry stars as Mrs. Victoria Van Dyne in Taming of the Shrew, Chicago Shakespeare Theater            
      

  

The Taming of the Shrew

Written by William Shakespeare 
Chicago Shakespeare, Navy Pier (map)
thru Nov 12  |  tix: $48-$88  |  more info
       
Check for half-price tickets   
     


    
  

Despite stellar cast and intriguing framing device,
‘Shrew’ remains problematic

  

Crystal Lucas-Perry stars as Mrs. Victoria Van Dyne in Taming of the Shrew, Chicago Shakespeare Theater

    
Chicago Shakespeare Theater presents
    
The Taming of the Shrew

Review by Catey Sullivan

Here’s the thing about The Taming of the Shrew. It. Doesn’t. Work. It doesn’t matter how much text you add to reframe Shakespeare’s 400+-year-old story. It doesn’t matter where you transplant the tale of Kate the “shrew” and Petruchio, the man who “tames” her. It doesn’t matter if the play is cast with all women or all men or with complete disregard of the binary. The Taming of the Shrew remains a play of steadfast, undeniable misogyny. It closes with one of the most stunning passages this side of Leviticus.

Alexandra Henrikson (Katherine) and  Crystal Lucas-Perry (Petruchio) star in Taming of Shrew, Chicago Shakes2The play is centuries old, so I’m going to commence with the plot spoilers. In The Taming of the Shrew, the firebrand title character Kate is forced to marry Petruchio, very much against her will. Petruchio humiliates Kate at the wedding and abuses her psychologically and physically afterward. When his relentless gaslighting and screaming fail to properly “tame” Kate, Petruchio starves her into submission.

After several days of extreme mistreatment, Kate has been broken. She has become so subservient that she literally kneels at her husband’s feet so as to properly worship her “lord,” “keeper” and “sovereign.” She shames the women around her for failing to display similar reverence to their masters. After all, Kate preaches, while women are at home “safe and secure,” men must toil in “painful labor” to support the ostensibly indolent lives of their spouses.

There are only two ways this speech works in a contemporary context. One is if Kate has been replaced by a robot, a la “The Stepford Wives.” The other is if Kate delivers it in a long-sleeved garment, and then sheds said garment in the final moments to reveal that she’s just slashed her wrists because she’d rather die than succumb to Petruchio’s dehumanizing, soul-crushing demands. Director Barbara Gaines takes neither tack for the Chicago Shakespeare production. The monologue remains as an ugly, regressive peon to the idea that women exist solely for the purpose of serving men.

I’ll say this for Gaines’ all-female Taming of the Shrew: It has a cast that cannot be faulted. To a one, the actors are superb. They deserve a better play.

Gaines has moved Shrew into a setting that allows for an obvious rebuttal of sorts to Shakespeare’s text. With a framing device by Second City’s Ron West, the tale of Kate and Petruchio becomes a play-within-a-play, as a band of Chicago women stage the show in 1919, on the very day the U.S. Senate voted on women’s suffrage.

Olivia Washington, Tina Gluschenko, E. Faye Butler and Kate Marie Smith star in Taming Shrew

While riots and marches and protests clamor down Michigan Avenue, the ladies of the Columbia Women’s Club rehearse Shrew in an opulently appointed clubhouse reminiscent of the Chicago Cultural Center. As Kate struggles to cope with total domination by a husband and an institution she loathes, the ladies of the Columbia Women’s Club rehearse and fervently debate whether women should be allowed to vote.

West punctuates his framing device with audience-pleasing local references. Quips about the tourists and the Congress Hotel, the ever-losing Cubs, the popular vote having little impact on election outcomes – are all sure-fire laugh-generators.

Two things about using the women’s suffrage moment as a means toward leaching the misogyny out of The Taming of the Shrew:

First, it makes the whole production feel like it’s trying too hard. How to counterbalance the patriarchal odiousness of Shrew? Insert suffragettes. Fill the stage with women who, in between scenes of a woman getting mightily abused, cry out for equal rights and give ardent speeches about sisterhood. Short of casting Gloria Steinem and Shirley Chisholm as Kate and Petruchio (or vice versa), it’s tough to imagine a tidier way to try and counter the women problems inherent in Shrew.

Second, Gaines has reduced the suffragette movement to a G-rated romp. In real life, the suffragettes were force-fed via horrifying means, locked up in asylums, beaten bloody and imprisoned. Here, the women seem to view the marches and the riots just outside the rehearsal doors as a lark or a grand adventure. The most serious problem anyone has post-march or post-riot is a bout of histrionic hyperventilating, played for laughs. It’s a maddeningly sanitized version of the era.

Alexandra Henrikson (Katherine) and  Crystal Lucas-Perry (Petruchio) star in Taming of Shrew, Chicago Shakes

Gaines’ cast is led by an engaging Heidi Kettenring as Mrs. Dorothy Mercer, who has taken on the directorial duties of the Columbia Women’s Club production of “Shrew.” Mrs. Mercer is adamantly pro-suffrage, and in Kettenring’s portrayal, a woman with a gift for building bridges and de-escalating fraught situations. Her nemesis is Mrs. Mildred Sherman (Rita Rehn, nailing the imperiously entitled tone of someone long used to being the most powerful person in the room) who direly predicts that giving women the vote could “destroy families.”

Within the world of the play-within-the-play, Kate is played by Mrs. Louise Harrison (Alexandra Henrikson). Mrs. Harrison starts rehearsals with great disdain for the pre-subdued Kate and the suffragette movement. Predictably, her views have been reversed by the final curtain. Petruchio is played with swagger and bravado by Mrs. Victoria Van Dyne (Crystal Lucas-Perry, who gives Petruchio the charm of a strutting peacock).

There are numerous supporting characters who stand out: As Mrs. Lucinda James (who plays Biondello), Lillian Castillo radiates light and laughter, bringing bumptious comedy to every scene she’s in. As a stagehand who plays the lascivious old man Gremio, Hollis Resnik is (respectively) hilariously harried and skeevy. As Dr. Fannie Emmanuel, E. Faye Butler plays a dentist with a killer sense of acerbic wit. Dr. Emmanuel’s observations about Alabama, Mississippi and Chicago cops are high points of the production. Cindy Gold also brings a bone-dry, razor-sharp sense of comedy as Mrs. Sarah Willoughby, a woman who yearns for a larger part. i

The design elements in Shrew are stunning. Kevin Depinet’s gorgeous set has the soaring, architectural beauty of a Louis Sullivan or the Burnham and Root building. The sumptuous interior of the Columbia Women’s Club is all vaulted ceilings and stained glass, with a graceful statuary that references the 1893 World’s Fair. Equally excellent are Susan E. Mickey’s elaborately detailed costumes, which pay homage to both the iconic bloomers of the suffragettes and the pantaloons favored by Elizabethan men. In color and cut, the garments also inform the characters who wear them.

This Taming of the Shrew is a fine production of a play that doesn’t deserve the resources lavished on it. For all the prodigious talent on stage, Shrew remains an endorsement of systems and attitudes that make the world unsafe for women. Nothing can change that, not even a room full of crusading suffragettes.

  
Rating: ★★½
  

The Taming of the Shrew continues through November 12th at Chicago Shakespeare Theater, 800 E. Grand (map), with performances Wednesdays 1:30pm & 7:30pm, Saturdays and Sundays 7:30pm, Saturdays 3pm & 8pm, Sundays 2pm.  Tickets are $48-$88, and are available by phone (312-595-5600) or online through their website (check for availability of half-price tickets). More information at ChicagoShakes.com(Running time: 2 hours 45 minutes, includes an intermission)

E. Faye Butler (Baptista) and Crystal Lucas-Perry (Petruchio) star in Taming of the Shrew, Chicago Shakes

Photos by Liz Lauren


  

artists

cast

E. Faye Butler (Dr. Fannie Emmanuel, Baptista, Nathaniel), Lillian Castillo (Mrs. Lucinda James, Biondello), Tina Gluschencko (Mrs. Beatrice Ivey Welles, Hortensio, u/s Mrs. Louise Harrison, Katherine), Cindy Gold (Mrs. Sarah Willoughby, Vincentio, Joseph), Alexandra Henrikson (Mrs. Louise Harrison, Katherine), Ann James (Mrs. Elizabeth Nicewinder, Pedant, Nicholas, u/s Mrs. Judith Smith, Gremio, Peter), Heidi Kettering (Mrs. Dorothy Mercer, Tranio, haberdasher), Crystal Lucas-Perry (Mrs. Victoria Van Dyne, Petruchio), Rita Rehn (Grumio, Mrs. Mildred Sherman, widow), Hollis Resnik (Mrs. Judith Smith, Gremio, Peter), Faith Servant (Mrs. Barbara Starkey, Curtis, tailor, officer, u/s Mrs. Emily Ingersoll, Bianca, Mrs. Lucinda James, Biondello), Katie Marie Smith (Miss Olivia Twist, Lucentio), Olivia Washington (Mrs. Emily Ingersoll, Bianca), Lynn Baber (u/s Mrs. Sarah Willoughby, Vincentio, Joseph, Mrs. Mildred Sherman, Grumio, widow), Sarah Dunnavant (u/s Miss Olivia Twist, Lucentio, Mrs. Dorothy Mercer, Tranio, haberdasher), Greyson Heyl (u/s Mrs. Beatrice Wells, Hortencia, Mrs. Barbara Starkey, Curtis, tailor, officer), Laurie Larson (u/s Dr. Fannie Emmanuel, Baptista, Nathaniel, Mrs. Elizabeth Nicewinder, Pedant, Nicholas), Patricia Lavery (u/s Mrs. Victoria Van Dyne, Petruchio, Mrs. Beatrice Wells, Hortensio).

behind the scenes

Barbara Gaines (director, conception), Ron West (additional text), Kevin Depinet (set design), Susan E. Mickey (costume design), Thomas C. Hase (lighting design), David Van Tieghem (sound design, original music), Richard Jarvie (wig, make-up design), Kevin Gudahl (verse coach), Roberta Duchamp (music director), Matt Hawkins (fight choreography), Deborah Acker, Dennis J. Conners (stage managers), Cassie Calderon (assistant stage manager), Rinska Carrasco (asst. director), Bob Mason, Nancy Piccione (casting), Liz Lauren (photos)

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October 13, 2017 | 0 Comments More

Review: Chicago the Musical (Drury Lane Theatre)

E. Faye Butler stars as Matron Mama Morton in Chicago, Drury Lane Theatre           
        

Chicago
   
John Kander (music), Fred Ebb (lyrics, book)
   and Bob Fosse (book)
Drury Lane Theatre, Oakbrook Terrace (map)
thru June 18  |  tix: $40-$60  |  more info
       
Check for half-price tickets   
     

May 20, 2017 | 0 Comments More

Review: Unspeakable (Broadway in Chicago)

James Murray Jackson, Jr. stars in Broadway in Chicago's "Unspeakable" by Rod Gailes OBC and James Murray Jackson, Jr. (photo credit: Justin Barber Photography)         
      
Unspeakable 

Written by Rod Gailes OBC
   and James Murray Jackson, Jr.
Broadway Playhouse, 175 E. Chestnut (map)
thru Nov 8  |  tix: $35-$79   |  more info
       
Check for half-price tickets   
    

October 24, 2015 | 0 Comments More

Review: Pullman Porter Blues (Goodman Theatre)

Francis Guinan and Cleavant Derricks star in Goodman Theatre's "Pullman Porter Blues" by Cheryl L. West, directed by Chuck Smith. (photo credit: Liz Lauren)        
      
Pullman Porter Blues

Written by Cheryl L. West
Directed by Chuck Smith
Goodman Theatre, 170 N. Dearborn (map)
thru Oct 20 Oct 27  |  tickets: $25-$75   |  more info
       
Check for half-price tickets 
     
        
                   Read review
     

September 28, 2013 | 0 Comments More

Review: Crowns (Goodman Theatre)

Jasondra Johnson (Velma) demonstrates “hattitude” in Regina Taylor’s 10th anniversary production of Crowns at Goodman Theatre. (photo credit: Liz Lauren)        
       
Crowns 

Written and Directed by Regina Taylor 
Adapted from book by Michael Cunningham
       and Craig Marberry
at Goodman Theatre, 170 N. Dearborn (map)
thru Aug 12  |  tickets: $31-78   |  more info
       
Check for half-price tickets  
         
        Read entire review
     

July 10, 2012 | 1 Comment More

Review: Black Pearl Sings (Northlight Theatre)

E. Faye Butler as Pearl in Northlight Theatre's "Black Pearl Sings" by Frank Higgins, directed by Steve Scott. (photo credit: Starbelly Studios)       
      
Black Pearl Sings 

Written by Frank Higgins
Directed by Steve Scott  
at Northlight Theatre, 9501 Skokie Blvd. (map)
thru Feb 19  |  tickets: $25-$60   |  more info
       
Check for half-price tickets 
    
        
        Read entire review
     

January 25, 2012 | 0 Comments More

Review: Working (Broadway in Chicago)

  
  

Now extended through June 5th!

        

Talented Chicago cast gets the job done!

  
  

Michael Mahler, E. Faye Butler, Gabriel Ruiz, Emjoy Gavino, Gene Weygandt, Barbara Robertson in Broadway in Chicago's 'Working'

  
Broadway in Chicago presents
  
Working
   
From the book by Studs Terkel
Adapted by
Stephen Schwartz and Nina Faso
Directed by
Gordon Greenburg
at
Broadway Playhouse, 175 E. Chestnut (map)
through June 5  |   tickets: $67-$77   |   more info

Reviewed by Katy Walsh 

‘Everybody should have something to point to!’ At the end of a career, job, or just day, there is satisfaction in pointing to something well-constructed… building, memo, burger… to say ‘I did that!‘ Steel beam to corner office to cubicle, one building houses millions of work tales. Broadway in Chicago presents Working a musical. In 1974, Pulitzer Prize- winning author Studs Terkel published a collection of interviews in his Michael Mahler - Chicago 'Working'book entitled “Working: People Talk About What They Do All Day and How They Feel About What They Do.” In 1977, Stephen Schwartz and Nina Faso adapted the book into a musical about the working class. In the current production, both skilled director Gordon Greenburg, and additional songs, have been added to the resume. ‘Working 2.0 brings timeless employees’ woes into a new age. Working is the ordinary dreams of ordinary people sung by an extraordinary Chicago cast!

The show is cued with a behind-the-curtain glimpse at staged theatre. An unseen person calls out directions in a countdown to the start. A bi-level backdrop showcases four dressing rooms where actors-playing-actors-playing-workers are busy prepping. The intriguing set by Beowulf Boritt has a strong industrial framework influence. The beams work double-time to establish a construction feel as an ironworker kicks-off the interview series. Later, the metal structure is the screen for visual projections by Aaron Rhyne. Designer Rhyne adds magnificent depth to the stories with authentic location and people imagery. Studs Terkel haunts the stage from beginning to end. In the opening scene, his voice is heard as several reel to reel recorders play his historic interviews tapes. At the finale, projections of the working people series ends with his facial profile. In between the Studs, a hard-working ensemble of six dress and undress…sometimes right on stage… to tell 26 different stories in 100 minutes.

The marathon of memories is well-paced, with each character’s story transitioning into another’s. Sometimes, it’s natural… construction guy to executive to assistant. Sometimes, it’s just a little forced… retired to fireman or factory worker to mason or trucker to call center tech. Regardless, the stitching together adds to a rhythmic flow for the always-dynamic and ever-changing cast. There are lots of moments to point to with this talented 6 doing 26 parts, but here are some favorites: E. Faye Butler transforms effortlessly from humble housewife to vivacious hooker to amusing cleaning lady. Totally diva-licious, Butler belts out songs like an entire gospel choir squeezed into one uniform. Gabriel Ruiz - Chicago 'Working'Emjoy Gavino goes from sassy flight attendant to poignant millworker with an unforgettable solo. Despite a crackling microphone, Barbara Robertson is delightful and slightly disturbing as an old-school teacher. Then, as an amicable and career content waitress, Robertson serves up an impressive singing number complete with a side of splits. Gabriel Ruiz delivers burgers with playful energy, then later sings sweetly as a caregiver doing a job nobody wants. Michael Mahler plays it ruggedly funny as seasoned trucker then naively hilarious as a newbie student. Gene Weygandt bookends the show as the cocky ironworker bragging about heights and confessing his shortcomings in a powerfully nostalgic ‘Fathers and Sons.’

WORKING: a musical employs a talented Chicago cast! No matter what your current job status, this hard-working cast will entertainingly sing to you a familiar tune. It’s realistic, relatable, regularity life put to music. I’m pointing at Working as an enjoyable after-work happy hour.

  
  
Rating: ★★★★
  
  
Barbara Robertson - Chicago 'Working' Gene Weygandt - Chicago 'Working' E. Faye Bulter - Chicago 'Working'
Gabriel Ruiz - Chicago 'Working' Emjoy Gavino - Chicago 'Working' Michael Mahler - Chicago 'Working'

Working continues through June 5th, with performances Tuesdays, Wednesdays, Thursday, Sundays at 7:30pm, Fridays, Saturdays at 8pm, and Wednesdays, Saturdays, Sundays at 2pm.  The Broadway Playhouse is located on 175 E. Chestnut in downtown Chicago (behind Watertower Place). Ticket prices are $67 to $77, and can be purchased online HERE. Running Time: 100 minutes with no intermission.

Extra Credit:

March 3, 2011 | 2 Comments More

Jeff Awards announced for 2008-2009 season

PRODUCTION — PLAY – LARGE
Ruined Goodman Theatre and Manhattan Theatre Club
The SeafarerSteppenwolf Theatre 

PRODUCTION — PLAY – MIDSIZE
The History Boys TimeLine Theatre 

PRODUCTION — MUSICAL – LARGE
Caroline, or Change Court Theatre

PRODUCTION — MUSICAL – MIDSIZE
Tomorrow Morning – Hilary A. Williams, LLC

PRODUCTION — REVUE
Studs Terkel’s Not Working The Second City e.t.c.

ENSEMBLE
The History BoysTimeLine Theatre 

NEW WORK — PLAY
Lynn NottageRuined Goodman Theatre and Manhattan Theatre Club

NEW ADAPTATION — PLAY
Seth BockleyJonCollaboraction

NEW WORK OR ADAPTATION – MUSICAL
Josh Schmidt, Jan Tranen & Austin PendletonA Minister’s Wife Writers’ Theatre 

DIRECTOR – PLAY
Nick BowlingThe History BoysTimeLine Theatre

DIRECTOR – MUSICAL
Charles NewellCaroline, or Change Court Theatre

DIRECTOR — REVUE
Matt HovdeStuds Terkel’s Not WorkingThe Second City e.t.c.

ACTOR IN A PRINCIPAL ROLE — PLAY
Larry Neumann, Jr. – A Moon for the MisbegottenFirst Folio Theatre
William L. PetersenBlackbirdVictory Gardens Theatre 

ACTOR IN A PRINCIPAL ROLE — MUSICAL
Joseph Anthony ForondaMiss Saigon Drury Lane Oakbrook

ACTRESS IN A PRINCIPAL ROLE – PLAY
Saidah Arrika EkulonaRuinedGoodman Theatre and Manhattan Theatre Club

ACTRESS IN A PRINCIPAL ROLE — MUSICAL
E. Faye ButlerCaroline, or Change Court Theatre

SOLO PERFORMANCE
Max McLeanMark’s GospelFellowship for the Performing Arts

ACTOR IN A SUPPORTING ROLE — PLAY
Alex WeismanThe History Boys TimeLine Theatre

ACTOR IN A SUPPORTING ROLE — MUSICAL
Max Quinlan – The Light in the PiazzaMarriott Theatre

ACTRESS IN A SUPPORTING ROLE — PLAY
Spencer KaydenDon’t Dress for Dinner – The British Stage Company

ACTRESS IN A SUPPORTING ROLE – MUSICAL
Liz Baltes – A Minister’s WifeWriters’ Theatre
Summer SmartThe Light in the Piazza Marriott Theatre

ACTOR IN A REVUE
Mark David KaplanForbidden Broadway: Dances with the StarsJohn Freedson, Harriet Yellin and Margaret Cotter

ACTRESS IN A REVUE
Amanda Blake DavisStuds Terkel’s Not WorkingThe Second City e.t.c.

SCENIC DESIGN – LARGE
Lucy OsborneTwelfth NightChicago Shakespeare Theater

SCENIC DESIGN – MIDSIZE
Brian Sidney BembridgeThe History Boys TimeLine Theatre

COSTUME DESIGN – LARGE
Mara BlumenfeldThe Arabian NightsLookingglass Theatre

COSTUME DESIGN — MIDSIZE
Rachel LaritzThe Voysey Inheritance Remy Bumppo Theatre

SOUND DESIGN – MIDSIZE
Lindsay JonesThe K of D: An Urban LegendRoute 66 Theatre

LIGHTING DESIGN — LARGE
Christopher AkerlindRock ‘n’ Roll Goodman Theatre

LIGHTING DESIGN — MIDSIZE
Jesse Klug – Hedwig and the Angry InchAmerican Theater Company

CHOREOGRAPHY
David H. BellThe Boys from Syracuse Drury Lane Oakbrook

ORIGINAL INCIDENTAL MUSIC
Dominic KanzaRuinedGoodman Theatre and Manhattan Theatre Club

MUSIC DIRECTION
Doug PeckCaroline, or Change Court Theatre

OUTSTANDING ACHIEVEMENT IN SPECIAL EFFECTS
Steve Tolin – Special Effects – The Lieutenant of Inishmore Northlight Theatre

OUTSTANDING ACHIEVEMENT IN VIDEO DESIGN
Mike Tutaj – Film & Video Design – Tomorrow Morning – Hillary A. Williams

November 9, 2009 | 0 Comments More