Tag: Edgar Miguel Sanchez

Review: Romeo and Juliet (Chicago Shakespeare, 2017)

Emma Ladji and Nate Santana star as Juliet and Romeo at Chicago Shakespeare in the Park           
       

Romeo and Juliet

Written by William Shakepeare   
Adapted, Directed by Marti Lyons
at various parks (performance schedule)
thru Aug 27  |  tix: FREE  |  more info
       
Check for half-price tickets   
     

August 7, 2017 | 0 Comments More

Review: Water by the Spoonful (Court Theatre)

Daniel Cantor and Charin Alvarez star in Court Theatre's "Water by the Spoonful" by Quiara Alegría Hudes, directed by Henry Godinez. (photo credit: Michael Brosillow)        
      
Water by the Spoonful

Written by Quiara Alegría Hudes 
Directed by Henry Godinez
at Court Theatre, 5535 S. Ellis (map)
thru April 6  |  tickets: $45-$65   |  more info
       
Check for half-price tickets  
     
        
                   Read review
     

March 22, 2014 | 0 Comments More

Review: The Wheel (Steppenwolf Theatre)

Joan Allen, Emma Gordon and Daniel Pass in Steppenwolf Theatre Company’s American-premiere production of The Wheel by Zinnie Harris, directed by ensemble member Tina Landau. (photo credit: Michael Brosilow)        
      
The Wheel

Written by Zinnie Harris
Directed by Tina Landau
Steppenwolf Theatre, 1650 N. Halsted (map)
thru Nov 10   |  tickets: $20-$82   |  more info
       
Check for half-price tickets 
    
        
                   Read review
     

September 25, 2013 | 0 Comments More

Review: Short Shakespeare! Romeo and Juliet (Chicago Shakespeare Theater)

Laura Rook as Juliet and Christopher Allen as Romeo, Chicago Shakespeare Theater        
      
Short Shakespeare!
        Romeo and Juliet
 

Written by William Shakespeare
Adapted and Directed by Rachel Rockwell  
at Chicago Shakespeare, Navy Pier (map)
thru March 23  |  tickets: $16-$20   |  more info
       
Check for half-price tickets 
    
        
        Read entire review
     

February 24, 2013 | 2 Comments More

Review: The Ghost Is Here (Vitalist Theatre)

Hank Hilbert, Dwight Sora, Eliza Shin and John B. Leen in Vitalist Theatre’s “The Ghost is Here”. Photo by John W. Sisson, Jr.       
      
The Ghost Is Here 

Written by Kōbō Abe 
Translation by Donald Keene 
Directed by Jaclynn Jutting  
DCA Storefront Theater, 66 E. Randolph (map)
thru Feb 19  |  tickets: $15-$25   |  more info
       
Check for half-price tickets  
         
           Read entire review
     

January 15, 2012 | 0 Comments More

Review: Sinbad, The Untold Story (Adventure Stage Chicago)

  
  

Update on a classic adventure fantasy takes off, but not high

  
  

(l to r) Edgar Sanchez, Mildred Langford, Dana Dajani. Photo by Johnny Knight.

  
Adventure Stage presents
   
Sinbad: The Untold Story
   
Written by Charles Way
Directed by Amanda Delheimer
at Vittum Theater , 1012 N. Noble (map)
through April 16  |  tickets: $12-$17  |  more info

Reviewed by Dan Jakes

How relieving, I thought while sitting amongst the kids and pre-teens at Adventure Stage’s Saturday matinee, to hear the words “Baghdad” and “Koran” outside of a contentious context. The children who will see Sinbad: The Untold Tale are part of a generation who’ve never experienced America before its frighteningly mainstream Islamophobic discourse, before every televised use of the phrase “Muslim” was intrinsically linked to controversy and heated debate. Charles Way’s 2006 play, on the other hand, is about as amenable as it gets: a quest story promoting courage and nobility–values that are universal with characters that are relatable.

The intent, as well as the production’s partnership with the Inner-City Muslim Action Network, is commendable; the execution is so-so.

Edgar Miguel Sanchez and Mike Ooi (koken) - photo Johnny KnightWay’s tale takes place in the years after Sinbad the Sailor’s epic journeys in “1001 Arabian Nights,” after the adventurer has wrapped up his seventh voyage at sea and called it quits. Retirement doesn’t end the world’s conquests, though, so when a witch plagues his city with a haze that in short-time will kill all adults (“Gas-s-s-s!,” anyone?), the tired and afflicted sailor transfers the hero role to his eager orphan porter (Edgar Miguel Sanchez, physically-grounded and affable as the young lead, alongside Dana Dajani as his travel partner Ittifaq).

From thereon, there aren’t many divergences from the tried-and-true action-for-kids plot. The porter is handed a box containing three items to use in times of peril, a girl sets out to prove herself by tagging along, saving him and becoming a love interest along the way, clever quips abound, etc. etc. It’s all very familiar and sustainable. But assuming the young audiences are not familiar with the original Sinbad stories, they’ll likely trip over a few recurring points. They may ask themselves, “who is that old man that keeps talking about adventures that sound more interesting? Who is Ittifaq’s mom, and why should I care?”

The action works from time to time. David Chrzanowski’s fight choreography infuses some video-game-type elements that, at the performance I attended, garnered lots of positive verbal reaction from the kids and least one audible “that’s cooool!” from a little girl behind me. Others fall comically short, like an attempt at a flying carpet that left two actors’ feet visible under their stuffed faux-legs. Not yet versed in polite restraint, many of the children outwardly giggled during a moment clearly aiming for a different response.

Sinbad: The Untold Tale could easily shave off 15 minutes, and its desired audience is a little ambiguous. As a journey tale, it meets the bar–but it isn’t magic.

  
  
Rating: ★★½
   
  

Sinbad the Untold Story. Photo by Johnny Knight

Sinbad: The Untold Story continues through April 16th, with 10:30am performances March 22, 24 and 31; April 5, 7, 8, 12, 14 and 15.  Family matinee 2pm performances continue April 2, 9 and 16, with a special evening performance April 8th at 7pm. Tickets are not available online.  Instead, call 773.342.4141.

  
  
March 26, 2011 | 1 Comment More

REVIEW: 1001 (Collaboraction)

A breathtaking testament to the power of storytelling

 

 Pictured (left to right): Joel Gross (as Shahriyar) and Mouzam Makkar (as Scheherazade) in "1001". Photo by Saverio Truglia

  
Collaboraction presents
  
1001
  
Written by Jason Grote
Directed by
Seth Bockley
at
Chopin Theatre, 1543 W. Division (map)
through October 9  |  tickets: $15-$25  |  more info

Reviewed by Oliver Sava

Jason Grote’s 1001 uses the story of “The Arabian Nights” as the foundation for a centuries-spanning epic that examines the nature of stories and the ways in which they shape and define the world. After a nuclear blast starts the play, the One-Eyed Arab (H.B. Ward) begins to tell the familiar story of the murderous sultan Shahriyar (Joel Gross) and his crafty bride Scheherazade (Mouzam Makkar), who tells stories that never end to elude her death the next morning.

The Wedding Feast from Collaboraction's "1001" - Photo by Saverio Truglia From there, Grote presents amidst stories about Prince Yahya al-Husayni’s (Edgar Miguel Sanchez) lust for his twin sister and Sinbad’s (Ward) afternoon with Jorge Luis Borges (Antonio Brunetti), the narrative of two 21st-century Columbia students takes shape: Dahna (Makkar), an Arab, and Allen (Gross), a Jew. Grote masterfully intertwines the various story threads, bleeding slapstick comedy, relationship drama, political criticism, and post-modern philosophy together to create a play that defies categorization. Under Seth Bockley’s clear and concise direction, the cast navigates the complex script with a momentum that never stops, playing multiple characters and switching between genres without ever skipping a beat.

As Shahriyar, Gross shows an amazing comedic talent, particularly in his handle of malapropisms (“ceviche” for “cesspool” is my favorite), which can cause more groans than laughs in the wrong hands. As a sultan that face palms his wives to shush them, Gross shows no sense of tact or restraint, which increases his comedic worth without diminishing his threat. In his first scene as Allen, Gross delivers a fantastic monologue of incredible difficulty, as the mentally fractured character recalls the events that have led to his residence in the underground tunnels of Manhattan.

Makkar has the least comedic parts of the show, but she helps ground the play by creating characters that feel more realistic than her funnier co-stars. As the primary storyteller, she has fantastic diction, and her voice commands attention when she speaks. The only other female of the cast, Carly Ciarrochi gets the brunt of the humor, and she handles it fantastically. Ciarrochi has a talent for goofy voices, but it is her comedic timing that makes her scenes so memorable, like her Act 1 hysterics as one of Shahriyar’s virgin brides about to be killed.

Pictured (left to right) Antonio Brunetti and Edgar Miguel Sanchez in "1001". Photo by Saverio Truglia. Pictured (back to front) Edgar Miguel Sanchez and Mouzam Makkar in "1001". Photo by Saverio Truglia H.B. Ward in "1001". Photo by Saverio Truglia.
Pictured (left to right): Carly Ciarrochi, Edgar Miguel Sanchez and Joel Gross in "1001". Photo by Saverio Truglia Pictured (left to right): Mouzam Makkar (as Dahna) and Joel Gross (as Alan) in "1001". Photo by Saverio Truglia.

The rest of the cast does admirable work playing a plethora of different characters, giving each one a distinct physicality and voice so that no clarity is lost. Ward’s Sinbad stands out for his complete lack of awe at the spectacular sights he encounters on his journey, with Ward underplaying each of the sailor’s memory for maximum comedic effect.

The brilliance of the script comes from the ways in which Grote uses the fantastic – and oftentimes comic – stories that Scheherazade tells to enrich Dahna and Allen’s relationship. Towards the end of the play, Scheherazade asks the audience, “What are any of us but a collection of stories?” In that moment the story within a story within a story structure of the play makes perfect sense, revealing the limitless potential in every person to imagine and create at any moment. Collaboraction’s 1001 is an inspiration, and with only a few more weeks before the end of the run I suggest you hurry to get your tickets.

  
  
Rating: ★★★★
   
  

1001_photo by Saverio Truglia_7573

September 19, 2010 | 0 Comments More

REVIEW: Red Noses (Strawdog Theatre)

Laughing in the face nose of the Black Plague

 

Strawdog Theatre Red Noses Remount 2

   
Strawdog Theatre presents
  
RED NOSES
   
Written by Peter Barnes
Directed by Matt Hawkins
at Strawdog Theatre, 3829 N. Broadway (map)
through August 15th |  tickets: $15-$20  |  more info

reviewed by Katy Walsh

Strawdog Theatre Red Noses Remount 1 ‘It’s easy to find someone to share your life with. What about someone to share your death?’  Serious contemplations about the fragility of life get a laugh with the addition of a clown prosthetic.  Strawdog Theatre presents the remount of its successful 2009 production RED NOSES.  14th Century Europe is being plagued with death.  The dying is reaching epidemic proportions.  The survivors are targets for flagellant crazed religious types and victim-hunting scavengers.  From this hopeless void, a joyful priest recruits individuals to fight death with humor.  He forms a traveling troupe of performers to ‘ripple and spread’ amusement across the grieving countryside.   Strawdog’s RED NOSES explores the humorous side of the Black Plague by adding a clown-car-filled cast, jamming it to eighties music and letting death urinate on the wall.

The show starts playfully with a game of toss.  Death arrives with a neon yellow ball. The game becomes deadly.  Victims spew out neon yellow barf.  Game over!  The dying has begun.   Death doesn’t keep anyone down for long.  Zombies rise, dance and sing “Only the Good Die Young.” 

Under the direction of Matt Hawkins, the twenty-three cast members are lively, moving from scene to scene and role to role.  They juggle balls, play instruments, and remove spittle as a tight working ensemble.   It’s all about finding the comedic moment and putting a red nose on it.  Shannon Hoag (Marguerite) is hilarious as the disappointed almost-raped nun.  She belts out a wonderful rendition of “I don’t want to lose your love tonight.”  Sarah Goeden (Bells) and Chelsea Paice (Tricycle Clown Messenger) without a word effectively amuse and communicate with ringing and expressive faces.  Michael E. Smith (Pope) delivers a humorous line and attitude with ‘I don’t have to be wise just decisive.’  It’s the small touches that change dire to funny.  Two amputees do a stub version of a high five.  A blind man calls out a color.  
Death gets his cloak caught in his suitcase.  Cause of death?  Talented cast injects shots of fatal humor.  

Strawdog Theatre Red Noses Remount 3 

‘If there is life after death, why do we have to die?’ Playwright Peter Barnes penned a tale about laughing in the face of death.  To exploit the absurd, he set it in a plague killing era and added clown noses.  The script could go “Patch Adams” cute as one man’s quest to bring joy to the infirmed.  Strawdog wisely chooses a “Monty Python” approach with comedy influenced by pushing the funny aspect of sensitive content.  Barnes’ play has a propensity to go long and tedious with some productions exceeding a three hour running time.  Even with Mike Przygoda (Music Director) orchestrating the 80’s flashback with a high-energy, live soundtrack, the second act gets a little tiresome with death-defying religious undercurrents. Still, “You gotta have faith!” Strawdog’s RED NOSES is plagued with comedy for whatever ails you! 

 

   
   
Rating: ★★★
  
  

Strawdog Theatre Red Noses Remount 4

Running Time:  Two hours and twenty minutes includes a fifteen minute intermission

  
   
July 24, 2010 | 0 Comments More