Tag: Jason Grote

Review: Maria/Stuart (Sideshow Theatre)

Mary Anne Bowman and Susan Monts-Bologna star in Sideshow Theatre's "Maria/Stuart" by Jason Grote, directed by Marti Lyons. (photo credit: Jonathan L. Green)        
       
Maria/Stuart 

Written by Jason Grote  
Directed by Marti Lyons
at Theater Wit, 1229 W. Belmont (map)
thru May 5  |  tickets: $20-$25   |  more info
       
Check for half-price tickets 
    
        
        Read entire review
     

April 5, 2013 | 1 Comment More

Review: 1001 (Collaboraction)

     
HB Ward, Joel Goss - 1001 Collaboraction
1001
 

Written by Jason Grote 
Directed by Seth Bockley
Flat Iron Building, 1574 N. Milwaukee (map)
thru Aug 28  |  tickets: $15-$25  |  more info

Check for half-price tickets
  

      Read entire review

     
August 1, 2011 | 1 Comment More

2011 Theater on the Lake Festival

 

   
big river imrpov shakes

Boho Theatre’s Big River

Improvised Shakespeare

 

2011 Theater on the Lake Festival Guide

at Theater on the Lake
2401 N. Lake Shore Drive

 

Theatre On The Lake - Chicago

by Jason Rost

It’s that time again: Chicago theater’s way of letting us know summer has officially arrived. It’s the theatrical equivalent in Chicago to the Cubs/Sox series. Here comes the Theater on the Lake festival! Chicago area non-equity productions are handpicked to take the open-air stage in Lincoln Park. It’s an opportunity to see 8 shows in 8 weeks, many of which were highlights of the past season. Of course, with street festivals, concerts, and BBQ who has time to make it to all 8 shows? Here are my picks for what not to miss:

All performances begin at 7:30 pm, Wednesday through Saturday, and at 6:30 pm on Sunday.

The Improvised Shakespeare Company, StarBest Bet
June 15th – June 19th

   
  Prepare to be astounded! Due to popular demand, the long running Improvised Shakespeare Company will spin a tale worthy of the Bard on the shores of Lake Michigan. Still enjoying sold out crowds every Friday night at iO, this troop excels at not only creating an improvised play based on an audience suggestion (last Friday night I took in a side-splitting rendition of “The Merry Wives of Orange County"), but they also use Shakespearean lingo, structure and references. Oh, and it’s definitely the most laughs on the lake this summer.
   

A Doll’s House, Infamous Commonwealth Theatre Company (our review)
June 22nd – June 26th

   
  This Infamous Commonwealth production directed by Chris Maher takes the classic Henrik Ibsen play out of 19th century Norway and sets it in 1962 New York. While the concept plays out visually in its ‘Mad Men’ style aesthetic, it doesn’t tie to the themes of the play and ultimately the casting bogs down this retelling.
   

Dental Society Midwinter Meeting,  At Play Productions and Chicago Dramatists June 29th – July 3rd (our review)

   
  Finally a play for dentists! Chicago Dramatists presented this new play by Laura Jacqmin last summer. The story is a collection of fictional accounts all taking place at an actual event, The Chicago Dental Society Conference. Adultery, blackmail and scandal are at the center of this impressive display of the dental subculture.
   

Letters Home, Griffin Theatre Company
July 6th – July 10th

   
  The Afghanistan and Iraq wars are brought to life through actual letters written by soldiers serving in the Middle East. The Griffin Theatre production is inspired by The New York Times article "The Things They Wrote;" subsequent HBO documentary Last Letters Home; and letters and correspondences from Frank Schaeffer’s books Letters Home From America’s Military Family, Faith of Our Sons and Keeping Faith. The play gives audiences a powerful portrait of the soldier experience in our ongoing wars.
   

After the Fall, Eclipse Theatre Company (our review)StarBest Bet
July 13th – July 17th

   
  Say goodbye to Norma Jean with Arthur Miller’s semi-autobiographical account of his tumultuous relationship with Marilyn Monroe. This is a perfect outing for some mid-summer drama. Marilyn’s drug addiction spirals downward alongside the country entering the era of McCarthyism. But instead of Arthur and Marilyn, let’s call them Quentin and Louise. Director Steve Scott hits all the right notes of pain, sex and confrontation in this charged Eclipse Theatre Company production.
   

1001, Collaboraction (our review)StarBest Bet
July 20th – July 24th

   
  Based on the stories of “The Arabian Nights”, Jason Grote’s mash-up up of politics, humor, relationships and philosophy is an invigorating epic. The brilliant direction by Seth Bockley commands a quick-fired pace from his talented cast. Set amidst the backdrop of anti-Arab sentiments in Manhattan, Scheherazade’s tales are intertwined with the story of an Arab Jewish interracial relationship amidst a visual buffet of references from Osama bin Laden to Michael Jackson.
   

Big River: The Adventures of Huckleberry Finn StarBest Bet
Bohemian Theatre Ensemble, July 27th – July 31st  (our review)

   
  Here you get another chance to catch the Jeff award winner for Best Principal Actor in a Musical, Andrew Mueller. Big River is one of the most successful dramatizations of the classic Mark Twain novel, “The Adventures of Huckleberry Finn".” This Tony award winning musical received a heartfelt revival from BoHo this year under the direction of P. Marston Sullivan. The country music score by Roger Miller will have you stompin’ your feet under the open sky.
   

Sweet and Hot: The Songs of Harold Arlen, Theo Ubique (our review)
August 3rd – August 7th

   
  Going out with a Theo Ubique musical revue is a pretty wise choice by the Theater on the Lake organizers. This one is full delight as they take on the songbook of Harold Arlen, most famous for penning sons to “The Wizard of Oz.” Add that to songs such as “I’ve Got the World on a String” and “Stormy Weather” and you’ve got a lovely evening. This revue may not play as intimate in the open-air space as it did in their tinderbox cabaret, but if nothing else David Heimann’s choreography and Fred Anzevino’s directing will project this ditty-packed show somewhere “Over the Rainbow.”
   

Ticket Information: Subscribers may purchase a season pass for $110 and see each performance each week. Subscriptions are available May 1 through June 1st OR Individual tickets may be purchased for each performance for $17.50. The Box Office opens for single ticket sales, June 7 at 2:00 pm. Box Office: (312) 742-7994. Beginning June 7 at 2:00 pm, Box Office hours are Tuesday – Saturday, 2:00 – 8:00 pm, Sunday, 3:30 – 7:30 pm. Closed Monday.

Getting There: Theater on the Lake is located at Fullerton Avenue and Lake Michigan in Lincoln Park.

Getting there Green: Walk or bike along Chicago’s lakefront path directly to our front door. Not only will you BE green, but you’ll also SAVE some green!

By car: Pay parking is available at the Lincoln Park Zoo, located at Fullerton Avenue and Cannon Drive. Metered parking is sometimes available along Cannon Drive.

By bus: CTA bus routes 151 or 156 both serve the area.

       

1001_photo by Saverio Truglia_7827

   

        
       


June 14, 2011 | 0 Comments More

Top 25 Chicago Plays of 2010

Abagail's Party - A Red Orchid Theatre Ian Westerfer as Baal at TUTA Theatre '1001' - Collaboraction Andrew Carter and Terry Hamilton - Frost-Nixon at Timeline Theatre Killer Joe - Profiles Theatre Awake and Sing at Porchlight - Nussbaum, Lazerine, Troy, Gold
Ragtime - Drury Lane Oakbrook Anton Chekhov's 'The Seagull' - Goodman Theatre streetcar named desire - tennessee williams - writers theatre To Master The Art - Timeline Theatre Chicago Brother-Sister Plays at Steppenwolf Theatre - Tarell Alvin McCraney Tracy Letts and Amy Morton in Virginia Woolf - Steppenwolf Theatre
About Face Theatre presents 'Float' hot mikado - andy lupp, todd kryger, stephen schellhardt - Drury Lane Strawdog Theatre - State of the Union Hey Dancin - Factory Theater Liz Hoffman in Last Night of Ballyhoo The Illusion - Kushner - Court Theatre
My Brother's Keeper - Black Ensemble Theatre "Memory" by the Backstage Theatre Company Mimesophobia - Theatre Seven - by Carlos Murillo "Oleanna" by David Mamet - American Theater Company The Water Engine: An American Fable - by David Mamet.  Picture: Charles Lang and George Zerante from Theatre Seven Geoff Packard as Candide in Goodman Theatre's 'Candide', music by Leonard Bernstein, directed by Mary Zimmerman
"Scorched" by Wajdi Mouawad - Silk Road Theatre Project "Side Man" by Lauren Rawitz at Metroplis Performing Arts Centre "The Tallest Man" at Artistic Home Haff, the Man - Falling Girl - Zarko Theatre - photo by Laura Montenegro Tad in the 5th City - MPAACT Chicago Sarah Rose Graber in 'Book of Liz' - Chemically Imbalanced Comedy

 

Top 25 Chicago Productions of 2010

(in alphabetical order)

All told, Chicago Theater Blog covered an astounding 508 shows in 2010—proving without a doubt that this town is truly a non-stop theater machine! Whittling 500 shows down to the year’s top 25 productions was not an easy task, but we think this list illuminates what makes Chicago such a dynamic place to perform and create – a mix of works produced by small storefront companies all the way up to large Equity houses.

So, without further ado, here – listed alphabetically – are the top 25 productions of 2010:

 

   
Collaboraction 1001 - Chicago Theater Blog
1001


Collaboraction (Sept 2010)
Written by Jason Grote
Directed by Seth Bockley
our review 

“The Arabian Nights” are replayed in a near-futuristic setting, taking place in the belly of New York City’s underground tunnels after a nuclear blast. Says reviewer Oliver Sava, “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.”. Chris Jones of the Chicago Tribune called the play “savvy, self-aware and adroit at noting the power of myth in generations of sectarian strife . . .” and Monica Westin of New City noted, “It’s almost impossible to overstate the wit, fluidity and complexity . . .” of the production. (our review)

 

   
Abagail's Party - A Red Orchid Theatre
Abagail’s Party

A Red Orchid Theatre  (Feb 2010)
Written by
Mike Leigh
Directed by Shade Murray
our review

A Red Orchid Theatre brought out some of their best ensemble work for Mike Leigh’s class-conscious play about stifled lives in 1970s English suburbia. Director Shade Murray lovingly crafted middle class malaise out of Leigh’s caustic script, while Kirsten Fitzgerald lit the torch as Beverly–leading the tight and superb cast in a reckless, discontented charge to mutual destruction. As Susan, Natalie West “essentially reprises her role of Crystal from Roseanne but with a British accent . . . she becomes the play’s most relatable character. Watching in horror as suburban drama unfolds before her eyes, she is an audience member on the other side of the curtain: sober, shocked, and completely in awe.” (our review)

 

   
Awake and Sing at Porchlight - Nussbaum, Lazerine, Troy, Gold
Awake and Sing

Northlight Theatre  (Feb 2010)
By Clifford Odets
Directed by Amy Morton
our review

On Broadway, the original, 1935 production of Awake and Sing ran for 120 performances and fixed Clifford Odets‘ reputation as a playwright to reckon with. Chicago audiences were not so impressed. "They threw oranges and apples. I was hit by a grapefruit," recalled Group Theatre actress Phoebe Brand.  From today’s viewpoint, it’s hard to see why, especially considering Northlight Theatre‘s powerful revival of this blackly humorous hard-times drama. The play stands on the side of the working class, documenting the warring of capitalism vs. socialism, plodding resignation vs. revolutionary fervor, and long-range hope vs. live-for-today fatalism among them.  As director, Steppenwolf’s Amy Morton adeptly paced the show, no doubt helped with a top-knotch cast, including seasoned performers Cindy Gold, Peter Kevoian, Mike Nussbaum and Jay Whittaker.    (our review)

 

   
Ian Westerfer as Baal at TUTA Theatre
Baal


TUTA Theatre (May 2010)
Written by
Bertolt Brecht
Directed by Zeljko Djukic
our review

TUTA Theatre will remount its very successful production of Brecht’s The Wedding this February. However, their stronger tour de force was the young Brecht’s very first play, Baal, which explored the rise and fall of the ultimate rebel artist. Assisted by a brilliantly clean and powerful translation by Peter Tegel, director Zeljko Djukic and cast executed a searing interrogation of the subversive artist as pop idol, while at the same time delivering to audiences a wildly intuitive and anarchic performance by Ian Westerfer in the title role. An exactingly cohesive ensemble cast matched Westerfer moment-to-moment, composing the perfect Petri dish for pre-Nazi cynicism, cruelty and decadence. Josh Schmidt’s original music contemporized and rounded out the mood and atmosphere for the piece. (See our review here.) Tom Williams of Chicago Critic called the production “refreshingly inventive as it swiftly blends drama with raw sensuality . . . demonstrates what the power of dedicated artists can produce once they are in creative sync.” Albert Williams of the Reader called Baal “a vivid, dreamlike work of stage poetry.”  (our review)

   
Sarah Rose Graber in Book of Liz - Chemically Imbalanced Comedy Chicago

 

The Book of Liz

Chemically Imbalanced Comedy (Sept 2010)
Written by
Amy and David Sedaris
Directed by Angie McMahon
our review

Chemically Imbalanced Comedy had a huge success with The Book of Liz, so much so that it was extended numerous times, and is still running well into 2011. The show, written by Amy and David Sedaris, concerns a small community of Quaker-like Christians known as “The Squeamish”. The Squeamish are simple folk who do without modern-day amenities and instead spend their time praising God and making cheeseballs. Liz is the under-appreciated genius behind the cheeseballs, which serve as the community’s financial backbone. In this hilarious production, Angie McMahon’s direction is resourceful when using the tight space, managing to swiftly transform the stage from a parish to a restaurant to a doctor’s office without letting the momentum of the play slow for a moment. The Book of Liz stayed true to the Sedaris spirit, and fortunately did not hamper the actors from taking risks and breathing new life into the play’s characters. (our review)

   
Brother-Sister Plays at Steppenwolf Theatre - Tarell Alvin McCraney
Brother/Sister Plays
 

Steppenwolf Theatre (Feb 2010)
Written by Tarell Alvin McCraney
directed by Tina Landau
our review  |  photo album

McCraney’s much-anticipated Chicago debut at Steppenwolf did not disappoint. Indeed, concisely paired with Tina Landau’s sparse and enigmatic Viewpoints direction, the triptych of In the Red and Brown Water, The Brothers Size and Marcus; or the Secret of Sweet formed a breathtaking mythic and generational through-line that consistently transcended time and space. To be a young playwright mentioned along with August Wilson, Lorraine Hansberry, and Tony Kushner must be quite a heady experience. But Steppenwolf’s production—teaming with sterling performances by Jaqueline Williams, K. Todd Freeman, Philip James Brannon and Glenn Davis—shows that sometimes you can absolutely believe the hype. Barry Eitel’s review (see here) affirms Chicago’s critical consensus that “McCraney will no doubt become an important dramatic voice for our generation.”  (our review)

   
Candide - Goodman Theatre - Hollis Resnick and Lauren Molina
Candide

Goodman Theatre (Sept 2010)
Adapted from
Voltaire by Hugh Wheeler 
Music by Leonard Bernstein, et.al.
Directed by
Mary Zimmerman
our review 

Mary Zimmerman is the mastermind behind The Goodman Theatre’s new musical production of Candide. The Tony-award winner not only directed the epic, whose plot literally spans years and oceans, but she also adapted the script. Normally, I’m not a fan of one person having such a heavy hand in the development of a drama. Having a  separate writer and director has major benefits, namely the benefit of distance from the work. And it is this distance that can fix any glaring errors in the script or add directorial nuances to strengthen the production. “Thanks to director Zimmerman’s affinity for levity,” said our own Keith Ecker, “Zimmerman saves Voltaire’s classic philosophical narrative from becoming crushed under the weight of its own ideology. I’m amazed that such a sprawling script and dense story can be so digestible. (our review)

 

   
float-about-face-theatre
FLOAT 

About Face Theatre (Nov 2010)
Written by Patricia Kane
Directed by
Leslie Buxbum Danzig 
our review 

About Face Theatre overcame the pitfalls of preciousness that come when presenting a Christmas story about five women with Minnesota-nice written all over them. Members of a Midwest women’s society, they gather in a barn to create the annual Christmas float. What could have devolved into Hallmark card caricature actually resulted in honest emotional plumbing of their lives, conflicts and pressures. Director Leslie Buxbaum Danzig kept the pace brisk while the cast molded complex and full-figured characters out of Patricia Kane’s witty script. FLOAT became the new fresh face in a holiday theater season stuffed to the gills with the same old fruitcake. (our review)

 

 
Andrew Carter and Terry Hamilton - Frost-Nixon at Timeline Theatre
Frost/Nixon
 

Timeline Theatre (Aug 2010)
Written by Peter Morgan
Directed by Louis Contey
our review

A reclusive, disgraced ex-president squares off against a glib playboy talk show host in a televised battle for public approval. TimeLine’ Theatre’s production of Frost/Nixon inventively captured America right on the cusp–before reality TV but shortly after the boob tube emerged as the gladiatorial arena in which public figures are tried and tested. Terry Hamilton’s portrayal of the fallen Nixon impressed everyone with its grounded, humanistic veracity. Andrew Carter’s Frost signaled a smooth operator, fitting the jet-set mold of the period, yet heralding vacuous times ahead for civic discourse. Scenic designer Keith Pitts collaborated with projectionist Mike Tutaj to manifest the perfect facile realm for Louis Contey’s subtle and tense direction. (our review)

 

   
Haff, The Man - Falling Girl - Theatre Zarko - Michael Montenegro.
Haff, the Man/Falling Girl 

Theatre Zarko (Oct 2010)
Written by
Michael Montenegro
Directed by
Montenegro and Ellen O’Keefe
our review 

Master puppeteer Michael Montenegro and long-time creative partner Ellen O’Keefe created and directed two deeply evocative stories; one about a man trying to restore himself in order to begin a new life with a new love, another about a young girl dangerously desperate for the promising adventure that could be her life. An extremely dedicated and integrated troupe of puppeteers and performers executed Montenegro’s dreamlike dramatic creations, manifesting a fully realized, vivid revival of the Symbolist Theatre tradition. Sublime musical atmosphere directed by Jude Mathews backed up their efforts. The result was pure, unadulterated poetry for the child within the adult theatergoer. (our review)

 

   
Hey Dancin - Factory Theater
Hey! Dancin’! 

Factory Theater (March 2010)
by
Kirk Pynchon and Mike Beyer
directed by
Sarah Rose Graber
our review 

Hey! Dancin’! isn’t just a hair-brained ‘80s-inspired comedy. It’s also an effective satire on people’s perceptions of celebrity today. K.K. and his girlfriend Tanya see themselves as the center of the universe because they are on TV.—cable access—but TV nonetheless. Halle (Melissa Nedell) and Trisha (Catherine Dughi) give this notion weight since they are star-obsessed with these no-name nudniks. Yet as Halle gets to know the real K.K. (Jacob A. Ware), who admittedly dreams of being famous without actually ever wanting to hone any real talent, the image of these backwoods celebrities begins to crumble.  Says our own Keith Ecker: “The acting is brilliant. The comedic timing of most of the players is impeccable. I’ve seen countless improv, sketch and stand-up shows, and this rivals the best of them. Simon as the recovering alcoholic station manager is a scene-stealer with his Muppet-like voice and general awkwardness.”  (our review)

 

   
hot mikado - andy lupp, todd kryger, stephen schellhardt - Drury Lane
Hot Mikado 

Drury Lane Oakbrook (Aug 2010)
Written by Gilbert and Sullivan
Directed by David Bell
our review 

Drury Lane Theatre tore it up with this jazz-age revival version of Gilbert and Sullivan’s classic. Lawrence Bommer raved that its music director Michael Mahler had a “period-perfect Midas touch” and that the production “sizzles with (director) David Bell’s Lindy-hopping, be-bopping, high-step dances . . . the all-dancing cast turn the Mikado’s entrance into a tap-dancing tour-de-force . . .”  Aurelia Williams brought the power as Katisha, while Stephen Schellhardt worked his comic chops, recalling Groucho Marx, Stephen Colbert, Keaton and Chaplin. All in all, Drury Lane’s production was a unmistakably riotous success heard all around the Chicagoland area.  (our review)

 

   
The Illusion - Kushner - Court Theatre
The Illusion 

Court Theatre  (March 2010)
Written by
Pierre Corneille
Adapted by Tony Kushner 
Directed by
Charles Newell 
our review  |  photo album

But for a few dramatic speed bumps between the romantic leads, Court Theatre pulled off a dense, ornately rich and multilayered dream world with Tony Kushner’s story-within-several-stories adaptation of Pierre Corneille’s 400 year-old play. Charles Newell’s direction led the dance between reality and fantasy, while Collette Pollard’s set design established an delightfully uncanny magical realm. Chris Sullivan amazed as the magician, Alcandre, and Timothy Edward Kane roiled the audience with his comic portrayal of Matamore, the cowardly warrior. Barry Eitel declared the production an “uncommon delight” and a “triumph,” a love letter to the theater. (our review)

     
Killer Joe - Profiles Theatre
Killer Joe 

Profiles Theatre (Jan 2010)
Written by
Tracy Letts
directed by Rick Snyder
our review

Profiles Theatre pushed the envelope with Tracy Lett’s early play and gave audiences a sly, close, depraved and dangerous ride. Rick Snyder’s direction never stinted on its desolate Texas trailer-trash realism or let up on the work’s unrelenting dark humor and looming tension. Darrel Cox gave a killer performance as Killer Joe Cooper, hired by Chris (Kevin Bigley) to kill his birth mother for insurance money in order to pay off his debt to a drug dealer. Keith Ecker notes Cox’s facility to go “from southern gent to cold-blooded killer . . . all that much more shocking when Joe tosses aside his southern hospitality to reveal the psychopath that lies beneath.” Catey Sullivan observed that Profiles’ production was not for the faint of heart, yet its “blood-drenched, innocence-murdered gallows” humor in Snyder’s hands was “a thrilling piece of theater.” (our review)

   
Liz Hoffman in Last Night of Ballyhoo
The Last Night of Ballyhoo 

Project 891 Theatre (Nov 2010)
By Alfred Uhry
Directed by
Jason W. Rost
our review 

Project 891 created an intimate and emotionally mature depiction of a Jewish family of the American South right on the cusp of World War II and the Holocaust. Sort of fitting in, but not quite, informed by the culture surrounding them, yet set apart, director Jason W. Rost gently unraveled this family’s issues around identity, belonging and success at the Gunther Mansion (now known as the North Lakeside Cultural Center). Darrelyn Marx dominated as the matriarch Boo and Liz Hoffman generated much sympathy as her awkward daughter Lala. Winning and balanced performances from Sarah Latin-Kasper, Jason Kellerman, Lori Grupp, Larry Garner and Austin Oie rounded out the cast. (our review)

 

   
memory-backstage-theatre-photo-by-heath-hays
Memory 

BackStage Theatre  (Nov 2010)
Written and
Jonathan Lichtenstein
Directed by Matthew Reeder
our review  |  photo album

Director Matthew Reeder and cast evolved rich, enmeshed and powerful emotional journeys, from rehearsal process to fully realized production, from a woman’s struggle to tell the complete story of her traumatic survival of the Holocaust to a Palestinian’s story about his embattled and complex relationship with an Israeli soldier. Says Allegra Gallian of the Backstage Theatre’s production, “The stage chemistry is genuine and emanates throughout the space . . . performances grow to become so emotionally charged that they grab hold of the audience, captivating us so it’s impossible to look away as the ensemble digs down to the deepest point of authentic emotion.” (our review)

 

   
Mimesophobia - Theatre Seven - Carlos Murillo
Mimesophobia 

Theatre Seven (March 2010)
Written by
Carlos Murillo
Directed by
Margot Bordelon 
our review 

Theatre Seven’s production crowned a season full of excellent deconstructive theatrical storytelling. Margot Bordelon’s driven and well-paced direction expertly juggled three storylines regarding the mysterious murder of a woman. Oliver Sava noted the savvy Brechtian distancing wrought by the intelligent cast and the emotional immediacy supplied by Cassy Sander’s performance. “Sanders brings vulnerability . . . her scenes are the most visceral of the production . . . Mimesophobia is a huge success for the young company and one of the more refreshing plays to land this season.” (our review)

 

   
My Brothers Keeper - Black Ensemble Theatre
My Brother’s Keeper 

Black Ensemble Theater  (March 2010)
Written by
Rubin D. Echoles 
Directed by
Jackie Taylor  
our review  |  photo album

Though light on storytelling, Black Ensemble Theatre’s recreation of the dancing career of the uber-talented Nicholas Brothers was as close to seeing the originals as audiences are bound to get. Jackie Taylor directed an exuberant production overflowing with swinging musical finesse and huge dancing talent. Rashawn Thompson and Rubin Echoles played Fayard and Harold Nicholas to Thomas “Tom Tom 84” Washington’s musical arrangements and Echoles’ choreography. Donald Barnes and Dawn Bless warmly rounded out the tale as the boys’ vaudeville-bound parents; Michael Bartlett and Rhonda Preston added showbiz flare and power as Bill “Bojangles” Robinson and Big Maybelle. All in all, the cast excelled in reviving the joy of pure, solid entertainment. (our review)

 

   
Speed-the-Plow by David Mamet - American Theater Company
Oleanna / Speed-the-Plow

American Theater Company (Sept 2010)
Written by David Mamet  
Directed by
Rick Snyder  
our review

American Theater Company scored big with two searing, back-to-back productions of David Mamet. Director Rick Snyder had a field day building a war between a student and professor over a slight, but fatal, misstep versus a showdown between big commercial movie business and art. Darrell W. Cox expertly worked his range between playing a slick, cut-throat producer in one and a smug, self-compromised liberal arts professor in the other. The difference between the two Mamet works may have been Nicole Lowrance’s sympathetic portrayal of Carol in Oleanna, which rang more truthful and well timed than her turn as Karen in Speed the Plow. All the same, Lance Baker oozed fierce sleazebag perfection in his role as Charlie Fox, bringing Plow to a devastating end. (our reviews here and here)

 

   
A Parallelogram by Bruce Norris - at Steppenwolf Theatre
A Parallelogram 

Steppenwolf Theatre (July 2010)
Written by
Bruce Norris
Directed by
Anna D. Shapiro
our review 

Written by Bruce Norris—a Steppenwolf regular whose other works include We All Went Down to Amsterdam and The Pain and the Itch, among others—the play tells the tale of Bee (Kate Arrington), a woman who was the other woman to Jay (Tom Irwin) before he left his wife for her. They live in an unremarkable home with a pool and a backyard, which is cared for by JJ (Tim Bickel), the friendly Guatemalan landscaper. With this production it’s clear that Director Anna Shapiro knew this material well. She came at the heady story with a comedic eye, which relieved the pretension that could so easily have sunk the play. Said our own Keith Ecker: “If you only see one play this year, see (this play).…the set design by Todd Rosenthal is amazing. …Parallelogram has one of the most eye-popping set transitions I have ever seen.”  (our review)

 

     
Ragtime - Drury Lane Oakbrook
Ragtime
 

Drury Lane Theatre (April 2010)
Book by Terrance McNally
Music/Lyrics by
Flaherty and Ahrens 
Directed by Rachel Rockwell
our review  |  photo album

Other productions have lost focus and been crushed under the multiple layers and storylines of this musical adaptation of E. L. Doctorow’s novel. Yet, Drury Lane, under Rachel Rockwell’s knowing direction, succeeded in taking its panoramic 19th century sweep and transforming it into a work that truly earns the word “epic.”  Brilliantly cast with Quentin Earl Darrington, Valisia LeKae, Cory Goodrich and Mark David Kaplan, Ragtime’s spare and fluid set design was offset by Santo Loquasto’s lush costuming for the strongest visual impact. John Beer of TimeOut Chicago recognized “this Ragtime yields a snapshot of a nation recognizably our own: dynamic, idealistic and terminally haunted by bigotry and fear.”  (our review)

 

   
Scorched by Wajdi Mouawad - Silk Road Theatre Project Scorched 

Silk Road Theatre Project  (Oct 2010)
Written by
Wajdi Mouawad  
Translated by Linda Gaboriau
Directed by Dale Heinen   
our review 

Silk Road Theatre Project breathed life into a contemporary yet timeless tale of war, poverty, age-old gender inequities, lost family threads, and finding a restored sense of self out of the ashes. Dale Heinen’s direction brought all the suspense of a mystery thriller without sacrificing the emotional weight that gave the play the quality of a Classical Greek Tragedy or a war story out of Bible. Three actresses, Rinska M. Carrasco, Carolyn Hoerdemann and Diana Simonzadeh, convincingly played Nawal, the Middle Eastern mother who mysteriously stops speaking 5 years before her death and posthumously sends her twin children on a quest to find their father and brother. Adam Poss was riveting as Nihad—the pop music and celebrity obsessed jihadi sniper who becomes inextricably linked with their lives. The sterling production of this new work announced Wajdi Mouawad as a playwright to watch. (our review)

 

      
anton-chekhov-the-seagull-01-goodman-theatre-photo-by-liz-lauren
The Seagull

Goodman Theatre  (Oct 2010)
Written by Anton Chekhov
directed by Robert Falls
our review  photo album

Director Robert Falls wowed audiences with a simple, almost ascetic, presentation of Anton Chekhov’s sprawling tale of a dysfunctional theater family. Mary Shen Barnidge of Windy City Times noted that the production demanded much from both performers and audience but “The experience is well worth the effort . . . with intimacy generated by this Spartan approach illuminating the smallest secrets hidden beneath the surface of the most self-effacing personalities.” Our own Catey Sullivan raved, “Falls and his rock star cast have captured the emotional truth in Chekhov’s text with a power and glory that makes the piece fly by . . . When even the ‘bit’ roles are this rich, you know you have an ensemble of extraordinary power.” (our review)

 

   
Side Man at Metroplis Arts
Side Man 

Metropolis Performing Arts Centre (March 2010)
Written by
Warren Leight
Directed by Lauren Rawitz  
our review  |  photo album

Warren Leight’s Tony Award-winning play was no maudlin sulkfest on the downward spiraling fortunes of jazz musicians tending to a diminishing art. If anything, director Lauren Rawitz followed the play’s emphasis on strong individual characterization and an unsentimental view of the unstable nature of artistic life. The tough, moxie and cohesive cast captured Leight’s humorous and gritty take on the lives of jazzmen and the women who love them. Michael B. Woods gave an especially stellar performance as Jonesy and Ryan Hallahan’s wry Clifford grounded the show as its narrator. Dustin Efrid’s neon set design gave the production the just the right touch of bluesy feel. (our review)

 

   
Strawdog Theatre - State of the Union
State of the Union 

Strawdog Theatre (October 2010)
Written by
Russel Crouse and Howard Lindsay
Directed by
Geoff Button
our review 

For a political play to matter much, it must prove its relevance beyond its genesis. These dramas must rise above the particulars of their time-sensitive plots and reveal to us a greater truth, something about the human condition or the faults of our society.State of the Union, the 1946 Pulitzer Prize-winning comedy, is an example of this brilliant kind of evergreen political theatre, especially as its tale of political gaming and pandering is as true today as it ever was then. Infused with the talent of the Strawdog Theatre Company, this work managed to not only serve as editorial but as a charmingly funny piece of theatre.  Geoff Button’s direction was commendable, especially given the sheer number of entrances and exits he had to manage throughout the play. (our review)

     
streetcar named desire - tennessee williams - writers theatre
A Streetcar Named Desire
 

Writers’ Theatre (May 2010)
Written by
Tennessee Williams
Directed by David Cromer
our review 

David Cromer’s direction injected vitality and vivid perspective into Writers’ production of this sultry Williams classic. Barry Eitel remarked, “Instead of hashing out a bland carbon copy, Cromer finds all kinds of unique tricks in Tennessee’s text but . . . he maintains a sacred reverence for Williams and his blistering story . . . his Streetcar is a searing as July in the French Quarter.”  Matt Hawkins, Natasha Lowe and Stacy Stoltz carved new and original ground as Stanley, Blanche and Stella and Collette Pollard’s scenic design put the audience right in their squalid New Orleans apartment. Kerry Reid of the Chicago Reader wrote that Writers’ production “tears away at the Spanish moss of sentimentality that sometimes shrouds this play and lays bare our tragic flaws, both as individuals and as a people . . .”  (our review)

 

   
Tad in the 5th City - MPAACT Chicago
Tad in the 5th City 

MPAACT  (May 2010) 
Directed and Adapted by
Carla Stillwell  
From the poetry of
Orron Kenyatta
our review 

MPAACT gave Chicago a visceral shot in the arm with its world premiere adaptation about the aftermath of the 1968 riots that burned the West side of Chicago. Our K. D. Hopkins praises the outstanding cast that poetically depicts the community that survived in the ashes. “The magnificent Andre Teamer plays Uncle Brotha with the desperation and hope of a man watching his neighborhood swirl down the sewer . . . David Goodloe is new to America . . . His portrayal of James is like an exposed nerve . . . Destin L. Teamer . . . son of Andre Teamer . . . is an adorable and handsome young man in the 5th grade and yet he turns in a performance of a seasoned veteran . . . his portrayal is savvy and heartbreaking . . . MPAACT has produced yet another honest and powerhouse addition to the Chicago theater scene.” (our review)

 

   
The Tallest Man at Artistic Home
The Tallest Man 

The Artistic Home  (June 2010)
Written by
Jim Lynch 
Directed by
John Mossman  
our review

The Artistic Home evoked intense cultural accuracy and emotional veracity with their rendering of Jim Lynch’s turn-of-the-century Irish township, where people scramble for survival under British rule, the memory of the Potato Famine a lurking shadow of the recent past. A consummate ensemble effort by the cast brought out the best in Jim Lynch’s script. K. D. Hopkins writes, “The language is coarse and the action naturalistic. There is blood, sweat, spit and lust in every scene both implied or seen. John Mossman directs this production seamlessly . . .” (our review)

   
To Master The Art - Timeline Theatre Chicago
To Master the Art 

Timeline Theatre (Nov 2010)
Written by William Brown and Doug Frew
Directed by William Brown
our review

Timeline’s first commissioned play was a “masterful, multilayered experience that excites all the senses,” said Leah Zeldes. The production gently folded in Cold War obsessions about Communism with Julia Child’s discovery of French cuisine and her efforts to compose and publish her groundbreaking cookbook. (our review) Karen James Woditsch, Craig Spidle, Terry Hamilton, Jeannie Affelder and Ann Wakefield led the superbly balanced ensemble cast. William Brown’s staging was “impeccable” around scenic designer Keith Pitts’ charming Parisian kitchen.  (our review)

   
Cassy Sanders, Brian Stojak and Dan McArdle in Water Engine - Theatre Seven
The Water Engine: An American Fable 

Theatre Seven  (Nov 2010)
Written by
David Mamet 
Directed by
Brian Golden  
our review  photo album

Theatre Seven took on a feat of virtuosity when they mounted this play-within-a-radio-play, with 10 actors taking on 40 roles, in a exploration of a Depression Era inventor’s quest to implement his creation, an engine that runs on pure water. The cast impressed with its uncommon professionalism, working together “like a well-oiled machine,” and Director Brian Golden “effectively blends radio-style performance with more animated action in imaginative ways.” Leah A. Zeldes called the production “beautifully nuanced” and while Mamet’s plot “is stridently black and white, it’s also edge-of-the-seat suspenseful . . .” (our review)

   
Tracy Letts and Amy Morton in Virginia Woolf - Steppenwolf Theatre
Who’s Afraid of Virginia Woolf
 

Steppenwolf Theatre (Dec 2010)
Written by Edward Albee
Directed by Pam McKinnon
our review

Steppenwolf rounded out their year with a tightly drawn, tensely wound portrait of America’s favorite warring couple, George and Martha. Pam McKinnon’s direction insisted on greater naturalism, with Tracy Letts’ consummate performance as George taking on subtler shades of calculation and sadism, while Amy Morton’s Martha was distinctly more understated and vulnerable. (See our review here.) Madison Dirks’ Nick charmed as a budding player who gets played and Carrie Coon’s Honey almost stole the show with her emblematic mixture of goofiness and pathos. Kris Vire of TimeOut Chicago recognizes that MacKinnon’s direction “hugs curves in a way one suspects wouldn’t be possible without the firm rapport between Morton and Letts.” A marriage made in hell for the characters–but a marriage made in heaven for Chicago audiences.  (our review)

All summaries written by Paige Listerud.

     
     
February 2, 2011 | 0 Comments 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

Collaboraction announces 2010-2011 Season

Collaboraction announces their 15th-Anniversary Season

* including their 11th annual SKETCHBOOK Festival *

 

guinea pig solo 2006 From the critically-acclaimed 2005 production of Guinea Pig Solo


Anthony Moseley, Collaboraction’s executive and artistic director, has announced the line-up for the company’s 15th season to be staged in its entirety at the Chopin Theatre, 1543 W. Division Avenue:

 

September 13 – October 10, 2010

1001


World premiere by Jason Grote
Directed by Seth Bockley
The Chopin Theatre, 1543 W. Division Street

Seth Bockley takes the directing reins of the season’s first production, Jason Grote’s ambitious 1001, a wild time-bending re-imagining of The Arabian Nights. Interweaving Scheherazade’s tales with contemporary Manhattan, 1001 examines East and West in the post-9/11 world.

This Chicago premiere takes the audience on a surrealist politically charged, Monty Python-esque journey through the precarious world of the 21st Century.

 

March 21 – April 17, 2011

Guinea Pig Solo

By Brett C. Leonard
Directed by Anthony Moseley
The Chopin Theatre, 1543 W. Division

The season continues with Collaboraction’s revival of its 2005 critically acclaimed production of Guinea Pig Solo by Brett C. Leonard.  The play is loosely based on Buchner’s “Woyzeck” and follows the difficult return to society of Iraq War veteran Jose Solo. The remount will feature Dale Rivera and Sandra Delgado reprising their original roles as Jose and Marie.  (pics below are from the 2005 production)

Anthony Moseley directs the revival as part of the “The Woyzeck Project”, a collaborative exploration around Buchner’s seminal work anchored by full length productions by Collaboraction, About Face Theatre and The Hypocrites, as well as featuring short plays, visual art and film.

Guinea pig solo 2005-2  From the critically-acclaimed 2005 production of Guinea Pig Solo

 

Jun18 – July 3, 2011

11th Annual Sketchbook Festival

 

Collaboraction rounds out the season with the 11th-annual SKETCHBOOK Festival of short plays, visual art, video and music, also at the Chopin Theatre. Since 2000, this unique festival has provided an incredible platform for emerging and established playwrights, actors, directors, videographers, musicians, artists and more.

SKETCHBOOK is Collaboraction at its best: breaking down the walls that divide theater, music, visual art, video, and the internet. Selected from hundreds of submissions, SKETCHBOOK once again brings together the collective talents of more than 200 pioneering directors, designers, actors, musicians, and artists from Chicago and around the country for a jaw-dropping evening of creativity, experimentation, and celebration.

 

Flex Pass Tickets Now Available

Collaboraction’s season Flex Pass, which grants tickets to every performance of the 2010-2011 season, is now available. If subscribers miss a production, the tickets can be applied to any of the performances in the rest of the season. A four-pack of tickets is available for $75 and a 10-pack for $150. Reservations must be made in advance and tickets are subject to availability. To purchase a Flex Pass, call 312.226.9633 or go to collaboraction.org

 

Sketchbook 9a Sketchbook 9c Sketchbook 9d Sketchbook 9e

Pictures from Sketchbook 9

 

August 12, 2010 | 0 Comments More

REVIEW: Sketchbook X (Collaboraction)

Collaboraction celebrates the creative spirit with Sketchbook X

 Pictured (left to right): Beth Stelling, Maari Suorsa, Mary Hollis Inboden and Meg Johns in The New Colony Ensemble’s world premiere “Five Lesbians Eating a Quiche,” one of the 19 original short works in SKETCHBOOK  X, a mixed media festival of theatre, music and video presented by Collaboraction, now in its 10th year. The show runs through June 27, 2010 at The Chopin Theatre. http://www.collaboraction.org

   
Collaboraction presents
   
Sketchbook X:   People’s Choice
   
at Chopin Theatre, 1543 W. Division (map)
through June 27th  |  tickets: $20-$35   |  more info

reviewed by Keith Ecker 

What is a play exactly? Is it a dramatic staging of a story? Is it people moving around in a physical space in front of an audience? And furthermore, what separates a play from a sketch or a scene or even a performance art installation?

Pictured (left to right): Jeffrey Gitelle, Ian McLaren and Emily Shain in “Eighty Four” written by Cory Tamler, directed by Dan Stermer. “Eighty Four” is one of the 19 original short works in SKETCHBOOK  X, a mixed media festival of theatre, music and video presented by Collaboraction, now in its 10th year. The show runs through June 27 at The Chopin Theatre These are the questions I was left pondering after seeing Collaboraction’s tenth annual Sketchbook festival, a showcase of original mixed media performances. This  year’s theme was “exponential.” Yes, it is fairly nebulous, and this is perhaps one reason why the output lacks a certain concreteness and cohesion. Characters and plot become secondary to evoking visceral emotions. Sketchbook X in many ways is more circus than drama.

This isn’t to say that the finished product is all spectacle and no substance. There are some standout pieces.

The one that clearly stands out the most is Five Lesbians Eating a Quiche. Unlike other pieces that become crushed under their own weight, Five Lesbians is a witty, stylized comedy. Devised by Evan Linder, the play features five women (Sarah Gitenstein, Mary Hollis Inboden, Beth Stelling, Maari Suorsa and Megan Johns) who head a local social club centered around a shared love of quiche. The women click and cluck like 1950s southern church ladies and harass the audience. When communist Russia bombs the outside world, all quiche is destroyed. The women go into a tizzy, which leads to their outings.

Five Lesbians works because it is the most refined piece of the festival. The script feels fully fleshed out, the actors are well aware of their characters and the comedic timing is impeccable. There is a lot of commitment, and there is little ambiguity. It has an aesthetic all its own that is so engaging I’d pay to see a full-length production.

Pictured (left to right): Beth Stelling, Maari Suorsa, Mary Hollis Inboden and Meg Johns in The New Colony Ensemble’s world premiere “Five Lesbians Eating a Quiche,” one of the 19 original short works in SKETCHBOOK  X, a mixed media festival of theatre, music and video presented by Collaboraction, now in its 10th year. The show runs through June 27, 2010 at The Chopin Theatre

Other standouts include Sacrebleu (devised and performed by Dean Evans, Molly Plunk and Anthony Courser), a pantomimed, slapstick comedy about two eccentric French fur trappers. The short monologue The Blueberry (written by Sean Graney and featuring Celeste Januszewski) is a thoughtful meditation on existence that explains string theory with blueberry imagery.

Other pieces, however, just don’t pan out. What I’m Looking For (written by Brett C. Leonard and featuring Joel Gross and Heather Bodie) is little more than a heavy-handed music video for a Rufus Wainwright song. Meanwhile, The Untimely Death of  Adolf Hitler (written by Andy Grigg and featuring Eddie Karch, Anthony Moseley, Erin Myers, Greg Hardigan and Dan Krall) lacks enough wit to drive the piece beyond its premise. But you can’t expect all the pieces to be gems. Besides, if you don’t like something, just wait 7 to 10 minutes for another play.

Sketchbook-Four-Women As usual, Collaboraction has succeeded in making the festival feel like a big event. The interior of the Chopin Theatre is awash in glowing light and fog. Two large screens flank the sides of the stage and streamers stretch from the floor to the ceiling. It all makes for a breath-taking first impression.

If you want to see all 19 pieces in a row, you’ll have to see the show on a Saturday. Be warned, though. It’s a 4.5-hour long journey, though you are encouraged to come and go as you please.

Overall, Sketchbook X is a mixed bag of intriguing works. The majority of the pieces lack refinement, but there are a few plays that are polished treasures. The theme gets lost among the many productions, but I don’t think that’s the point. Rather, Sketchbook is more of a party that aims to celebrate the creative spirit, and in that sense, it succeeds.

   
   
Rating:  ★★★
   
   

June 23, 2010 | 0 Comments More