Tag: Kyle Irwin

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: The 25th Annual Putnam County Spelling Bee (Drury Lane Theatre)

Jordan DeLeon and Frances Limoncelli star in Drury Lane Theatre's "The 25th Annual Putnam County Spelling Bee" by William Finn and Rachel Sheinkin, directed by Scott Calcagno. (photo credit: Brett Beiner)        
      
The 25th Annual 
Putnam County Spelling Bee

Music and Lyrics by William Finn
Book by Rachel Sheinkin
Directed and Choreographed by Scott Calcagno
at Drury Lane Theatre, Oakbrook Terrace (map)
thru Aug 17  |  tickets: $40-$50   |  more info
       
Check for half-price tickets 
    
        
                   Read review
     

July 11, 2014 | 0 Comments More

Review: Someone Who’ll Watch Over Me (Oak Park Festival Theatre)

Kevin Theis stars in Oak Park Festival Theatre's "Someone Who'll Watch Over Me" by Frank McGuinness, directed by Belinda Bremner.        
       
Someone Who’ll
           Watch Over Me
 

Written by Frank McGuinness
Directed by Belinda Bremner
Madison Street Studio Theatre, Oak Park (map)
thru Nov 11  |  tickets: $15-$25   |  more info
       
Check for half-price tickets 
    
        
             Read entire review
     

October 18, 2012 | 0 Comments More

REVIEW: Of Mice and Men (Oak Park Festival Theatre)

Familiar story has power under the stars

 Oak Pak Festival Theatre's "Of Mice and Men"

   
Oak Park Festival Theatre presents
  
Of Mice and Men
 
By John Steinbeck
Directed by
Belinda Bremner
Austin Gardens Park, 157 N. Forest Ave., Oak Park (map)
Through July 10  | 
Tickets: $10-$25; chair rental: $2 |  more info

Reviewed by Leah A. Zeldes

One trouble with shows based on works almost everybody had to read in high school is they tend to lack suspense. That said, Oak Park Festival Theatre’s Of Mice and Men by John Steinbeck evokes all of the power of the original tragic novelette. Even though you know what’s coming at every step, Belinda Bremner’s production provides plenty of impact.

The timeless themes of loneliness and the solace of forged connections and shared dreams come to life under the stars in Austin Gardens Park, Oak Park Festival Theatre’s outdoor venue. Steinbeck wrote Of Mice and Men as a "play-novelette," designed theatrically, so it makes a seamless transition to the stage. (A minor quibble: I disagree with Bremner’s decision to combine the three acts into two, but I suppose that with the show at nearly 2½ hours, she didn’t want to add the extra intermission.)

Oak Pak Festival Theatre's "Of Mice and Men" You can bring or rent lawn chairs if you like, or sit in the bleachers, though one lady in front of me really knew how to do outdoor theater right — she came equipped with a blanket to spread on the lawn, a pillow to lounge on, votive candles, mosquito sticks, bug spray and a basket of snacks and drinks. (If you bring nothing else, I highly recommend bug spray.) Some scenes take place on the stage and others on the ground at stage left, so whatever you sit on, situate yourself toward "house" right for the best views.

Just in case you went to school in some other country, Of Mice and Men follows George Milton and Lenny Small, two itinerant, California farm workers during the Great Depression. They have been traveling together for years, though George is smart and ambitious and Lenny is mentally impaired — a small child in a strong man’s body. The two aspire one day to have their own place, where they can live off the fat of the land. Lenny never tires of hearing George recount what will happen when they achieve this goal.

George often vents his frustration with Lenny, who gets the pair into odd scrapes and some serious trouble through his love of touching soft things and his lack of understanding, but he never considers abandoning his companion. Lenny is completely confident in George — though he offers to go off and live in a cave, he trusts George won’t take him up on it. Kevin Theis gives George just the right edginess and protectiveness, while David Skvarla does a stupendous job as Lenny, endlessly befuddled and attractively childlike, as the show builds to its gut-wrenching conclusion.

When the two arrive on a new ranch, they meet Candy, a broken-down old hand whose own companion, a beloved, elderly dog, becomes a matter of contention in the bunkhouse. Candy offers George and Lenny a means of bringing their far-off hopes to reality. Veteran Chicago actor William J. Norris’ compelling performance gives the production real depth.

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Meanwhile, Curley (a vigorous Adam Meredith), the pugnacious son of the ranch boss, picks on Lenny just to make up for his own inadequacies; and another lonely ranch hand, Crooks (a sensitive portrayal by Emanueal Buckley), kept at arm’s length because he’s black, is also inclined to take out his resentment on Lenny but ultimately relents.

Curley’s new wife, a nameless and ill-omened young woman who regrets the recent marriage that has done nothing to cure her loneliness, tries to chat up the men just to have something to do, but they misinterpret her friendly overtures. Ricky Lurie’s period clothes for the men look just fine, but Curley’s wife ought to be dressed more provocatively. Her plain-jane overalls and braids, combined with Skyler Schrempp’s rather earnest portrayal, make it difficult to imagine how the men can see her as a tramp.

Ron Butts, Stanton Davis, Ben Carr and Walter Briggs ably fill out the cast.

Unseen live musicians provide a little incidental music, but they seem under-utilized. A recording of Woody Guthrie classics played before the show and at intermission seemed fitting at first, but became tiresome by its third iteration. More live music could make this very good production into a great one.

       
      
Rating:★★★½
   
   

Note: Free parking available in the 19th Century Club lot on North Forest Avenue.

Extra Credit:

June 16, 2010 | 1 Comment More

Review: Oak Park Theatre Festival’s “Fifth of July”

The sequel to Wilson's acclaimed Talley's Folly, which was produced by Festival Theatre in 2007. Set in rural Missouri in 1977, it revolves around the Talley family and their friends, and focuses on the disillusionment with America in the wake of an unpopular war. At once poignent and marvelously funny, Fifth of July is a compassionate portrait of a generation trying to decide whether to abandon their past or find the courage to cope with it and to begin anew. In 1978 Fifth of July was nominated for the New York Drama Critics' Circle Award for best new play and the Tony Award for Best Play. For 35 years, the Oak Park Theatre Festival has used its outdoor location to give their productions an authentic vibe and to allow their audiences to enjoy the summer weather while enjoying theatre. This works particularly well for staging Shakespearean works, which, after all, were originally produced in an open-air setting. In more recent years they have staged more modern plays in their slice of Austin Gardens’ park, carefully selecting plays that already have an outdoor setting, like William Inge’s “Picnic.” Set in the front rooms and yard of an old Missouri home, Lanford Wilson’s Fifth of July is a perfect fit for the festival’s aesthetic. Considering the production runs through June and July, it also helps that the play takes place on Independence Day and the morning following. The play is perfectly suited for a staging in a park, but the story and themes are muddled in their current production by some indecisive approaches to the play.

Fifth of July is part of a trilogy documenting the American experience of the Talley family living in Lebanon, Missouri, including the 1980 Pulitzer Prize winner, Talley’s Follies. The play takes place in 1977 and showcases the disillusionment of that era. The protagonist, Kenneth Talley, Jr. (Stef Tovar), is a gay Vietnam veteran who lost his legs in the war. His sister, June Talley (Lydia Berger), was a former hippie and now is struggling as a single mom. Both of them find little to celebrate on Independence Day. They have a big gathering of family and friends, including their Aunt Sally (Kate Kisner) and married friends John and Gwen (Brandon Dahlquist and Rebekah Ward-Hays). The holiday festivities quickly sour when friends and family start bickering about jobs, custody, and the price of the Talley household.

5th of July - poster Pamela Maurer and Alexis Vejar’s set, basically a house with select cuts made in a few of the walls, makes great use of the surroundings. The setting allows for some great stage pictures; conversations could be happening in one area of the house while other characters can be chilling out on the porch or lawn, lighting up the entire space instead of just one corner.

While director Michael Weber succeeds at balancing the stage, he fails at telling a truly cohesive story. It was difficult for me to follow any particular narrative. Important plot points weren’t really served up in any way, voiding the production of an accessible story. Instead of juggling the multiple subplots while supporting Ken’s main story (a decision of whether or not to return to teaching at his old high school), all of the stories were muddled together and none of them came out fully formed. Most of the performances were decent, although some were too over-the-top. A problem that a couple of actors had, which also contributed to the garbled narrative, was synthesizing high emotional distress almost without warning. Instead of building the tension, characters would be chatting to one another and then one would be shouting or crying all of a sudden, which doesn’t work with Lanford’s script. A technical issue that might have added to this was that the set was littered with floor mics, which I suppose helped the actors’ voices compete with passing planes and cicadas, but they also amplified every step and door slam to a distracting level. It might be a necessary evil in order for the dialogue to be heard, but it also took a toll on the overall storytelling.

Still, the Oak Park Theatre Festival is a good time, and is especially suited to summer in Chicago. One thing I learned from the locals, though, is that you should bring plenty of wine, food, and bug spray. Enjoying theatre al fresco, even if it’s not of the highest caliber, is still its own fun experience.

Rating: ««½

 
Cast and Crew
Lydia Berger (June)
Danny Bernardo (Jed)
Brandon Dahlquist* (John)
Charles Gardner (Wes)
Glynis Gilio (Shirley)
Rebekah Ward-Hays (Gwen)
Kate Kisner (Sally)
Stef Tovar* (Ken)
Kieran Welsh-Phillips (u/s Gwen & June)
Director: Michael Weber*
Stage Manager: Robert W Behr*
Costume: Ricky Lurie
Lights: Jeremy Getz
Sound: Kyle Irwin
Set: El Fish
House Manager: Jeff Weisman
Box Office: Mary Liming
* denotes member of Actors’ Equity Association
July 8, 2009 | 0 Comments More