Tag: Nick Vidal
The battle for the soul of Rock ‘n’ Roll
|Signal Ensemble Theatre presents|
|Written/Directed by Ronan Marra
at Signal Ensemble Theatre, 1802 W. Berenice (map)
through Jan 23 | tickets: $20 | more info
Reviewed by Paige Listerud
Coming late to the Aftermath party, I wanted to see how well the production has held up since switching to Signal Ensemble’s own theater space. Extremely well, it would seem, from the sold-out crowds. Chicagoans are undeniably enjoying playwright and director Ronan Marra’s musical bio and tribute to Brian Jones, the eclectic 60s rock genius and tragic founder of The Rolling Stones.
Clearly, critical kibitzing may mean nothing, now that Signal’s production has rolled along just fine, both reawakening Boomer nostalgia and exposing a younger generation to the Stones with a laudable facsimile of the original band’s performances. In fact, Marra’s requirement for musical proficiency in his cast stands at the throbbing heart of Signal’s production. Much as Aaron Snook charismatically captivates the audience, intrepidly holding attention under a fabulous mop top of blonde hair, he also pulls his weight hinting at Brian’s natural facility with multiple instruments by playing dulcimer, sitar and electric guitar. The music is the thing. The band’s excellence is the show’s mainstay. Once Mark J. Hurni’s dramatic lighting comes up on “Paint it, Black,” you know that this train is stopping for no one.
Except for one small, perceivable flaw—as Mick Jagger, Nick Vidal’s voice achieves a suitably approximate timbre but is almost drowned out by the force of the band. At least at my Sunday matinee viewing, seated in the front row, most song lyrics were indiscernible. Only during “Lady Jane” does Vidal hold his own, volume-wise. That’s too bad, especially since every other aspect of Vidal’s portrayal is electrifying. He has captured Mick’s strut, the liquid energy that made Jagger a consummate showman and indisputable sex idol. When acting, Vidal has Jagger’s snarky insouciance down pat, but behind the mic his voice pales. Joseph Stearns also doesn’t make for a thoroughly realistic Keith Richards—but the pressure isn’t on him as it is Vidal. He’s not the front man.
Dramatically, Marra’s writing also is lacking. His jukebox musical has an excellent sense of structure, with each number placed to move the action and characters forward; the boilerplate dialogue and predictable storytelling, however, may as well have come from MTV’s “Behind the Music.” Marra wants a balanced reflection on Brian Jones’ life and forgotten contributions to the Rolling Stones’ aesthetic. Yet, he simply hasn’t taken risks to plumb the depths of his troubled but fascinating rock idol. Instead, the audience is lead through a pageant of Brian’s struggles—his battles with Mick for artistic leadership of the Stones, his musical giftedness, his affair with model Anita Pallenberg (Simone Roos) and his downward spiral into paranoia and drug dependency.
In Snook, the show has an actor whose performance gives more ballast to Marra’s two-dimensional writing, but even he cannot redeem the material from its well-worn clichés. Once Brian suspects Anita in an affair with Keith, he and Roos together carry out especially visceral performances, but most of the rest of the action is a predictable dance of rock star dissolution that skirts the edges of both Jones’ genius and his darker side. We leave knowing no more about what made Brian Jones tick than before.
Plus, for hardcore rock aficionados, Marra’s work is just as much an act of forgetting as it is a loving tribute to the fallen Rolling Stone. Significant figures in Brian Jones’ life get tossed wholesale from Aftermath’s storyline. Instrumental to Jones’ ouster from the band was the arrival of Andrew Loog Oldham, who eventually took over most of Jones’ managerial duties and pushed for Jagger/Richards’ songwriting in the name of sustained financial success. Without Oldham’s presence or mention in the drama, Mick Jagger comes across as the principal villain behind Brian getting sacked from the group.
What’s more, significant musical creations get lost in Marra’s truncated retelling. At one point Marra has Brian Jones bring up “Their Satanic Majesties Request”, only to toss it off as just a forgettable, sub-par Stones’ album. Actually, the album was the Stones’ brief venture into psychedelic rock, which reached its apex in 1967. This was the direction in which Jones, with all his world music influences, was going. But its production, broken up by court appearances and random showings by band members and their friends, proved to be a monster to complete. Once produced, it looked like a cheap knock off compared to the Beatles’ wildly successful “Sgt. Pepper’s Lonely Hearts Club Band,” which had beaten the Stones to release by six months.
“Their Satanic Majesties Request” was Jones’ last hoorah in terms of his musical influence on the band. According to Richie Unterberger of Allmusic, the album “. . . incorporated African rhythms, Mellotrons, and full orchestration. Never before or since did the Stones take so many chances in the studio. In 1968, the Stones would go back to the basics, and never wander down these paths again . . .” A 1998 bootleg box set of the outtakes of the Satanic sessions reveals Jones in fruitful collaboration with Keith Richards and session pianist Nicky Hopkins, creating the album’s eerie soundscapes. But psychedelic rock was soon to fade as quickly as it had blossomed and Brian was going with it.
Obviously not everything about the Jones’ life can be mentioned, but certainly these milestones deserve more than a glossing. In the end, however, Aftermath remains an enjoyable evening of nostalgic entertainment.
Gothic gone ghostly
|Lifeline Theatre presents|
|Adapted by Christina Calvit
From the novel by Emily Brontë
Directed by Elise Kauzlaric
Lifeline Theatre, 6912 N. Glenwood (map)
Through October 31 | tickets: $20–35 | more info
Reviewed by Leah A. Zeldes
Yet in Lifeline Theatre’s disappointing version of Wuthering Heights, Lindsay Leopold as Cathy Earnshaw, spends way too much time creeping about the stage in a white gown, grasping hands out claw-like, while the rest of the company stands around dismally making "woo-woo" sounds in the background. Where’s the Halloween candy?
Adaptor Christina Calvit dumps the eminently dispensable Mr. Lockwood, who frames the original story, and leaves all of the narration in the hands of Nelly Dean (the capable Cameron Feagin), who does most of it in the novel, anyway. But Lockwood’s nightmare about Cathy at the start of the book makes it clear that the dead Cathy’s influence is psychological, not supernatural, paving the way for the dying Heathcliff’s visions of her. Here we have a very solid Cathy pounding at the window to get in, over and over again.
Calvit also excises the pious Joseph, removing the whole theme of religious intolerance and hypocrisy that’s in the novel. Even at that, the production runs nearly 2½ hours.
We’re left with the everlasting triangle of the brooding and increasingly dangerous Heathcliff (darkly handsome Gregory Isaac), the highly strung, self-centered Cathy and the prissy Edgar Linton (nicely played by Robert Kauzlaric), and the second-generation repetition of Cathy’s daughter (a straightforward performance by Lucy Carapetyan), Healthcliff’s sickly and selfish son (Nick Vidal) and the degraded Hareton Earnshaw (Christopher Chmelik), here turned into a kind of cringing Gollum.
The deteriorating Hindley Earnshaw (John Henry Roberts), Cathy’s mean and profligate brother, and Healthcliff’s unfortunate wife (Sarah Goeden) get short shrift. The comparison between Earnshaw’s decline at the death of his beloved wife and Heathcliff’s reaction to Cathy’s marriage and subsequent demise is all but buried.
For all their scenes together, we never really see the sensual attraction that so haunts Heathcliff that he spends his life plotting revenge over his lost love, or Cathy to say that Heathcliff is her self. (Which, of course, makes it OK for her to marry another guy.)
Calvit juxtaposes the two generations fairly well, but she introduces each character in such a way that audiences are never left in any suspense about what’s going to happen and who’s going wind up with whom. So she tells us that Cathy marries Linton, not Heathcliff, and that her daughter ends up with Hareton well before the scenes that show us. Perhaps Calvit assumed that no one would go to see this play who wasn’t familiar with the novel. She might be right.
Certainly, no one who isn’t already a fan of the Brontë will become one as a result of this very screechy play, in which the characters are constantly yelling at one another. (To be fair, some of that is straight out of Emily Brontë melodrama — but it’s not comfortable to hear.)
Stylized. dancelike sequences add nothing to our understanding of the story and only take up time and slow the action. So much of the script and Elise Kauzlaric direction get in the way, that it’s hard to tell whether the cast does a good job or not.
Alan Donahue’s platform set captures little of the vastness of the Yorkshire moors and the up and down slide of the window and door become tiresome quickly.
If you’re an avid fan of the novel, you might want to see this. If not, skip it.
Life of Brian – a rolling visionary
|Signal Ensemble Theatre presents|
|Written and directed by Ronan Marra
at Raven Theatre, West Stage, 6157 N. Clark (map)
through June 6th | tickets: $20 | more info
reviewed by K.D. Hopkins
I can’t hear the name Rolling Stones without the sound of “Jumping Jack Flash” appearing in my head. I can clearly see the Stones on Ed Sullivan – menacing and kind of nasty in a sexy bad boy way. The tabloid stories and biographies ‘as told to’ are plentiful with the legendary musicians looking into the camera or artfully demurring. The Signal Ensemble Theatre’s production of Aftermath peers into the unsung genius of Brian Jones.
Writer/director Ronan Marra discovered Brian Jones’ story as a teenager and developed this play as a balanced and loving homage. Nick Vidal as Mick Jagger infuses a frisky and explosive energy into the performance. He slightly resembles Jagger and has a decent voice. Vidal veers into the operatic when singing “Lady Jane,” which threw me off a bit. Marra’s Jagger is an ego driven and preening icon. The reenactments of group interviews come off as both funny and painful to see how Jagger downplayed Jones’ contributions to music. He made himself and Keith Richards the centerpieces instead of acknowledging collaboration as a group.
Aaron Snook plays the role of Brian Jones. Snook speaks directly to the audience post mortem. He plays the drug-addled and mentally ill Jones with a childlike quality. Snook imparts a sympathetic edge that tempered the violence and tantrums for which Jones is remembered. Marra’s direction has Jones literally fading away, the lights making his blonde hair and pale skin even more so.
Comic relief comes in the form of Joseph Stearns and Bries Vannon as Keith Richards and Charlie Watts respectively. Richards’ drug use still leaves people wondering how he is alive. Stearns does a great imitation of Richards and plays the stoner beautifully. In a television interview, Jagger is seen doing most of the talking with the host but the focus is on Richards’ interaction with the host’s sidekick played by Phillip Winston. The best line of the night went to Stearns as well. (I’m thinking of getting “whiskey stealing interrogation banshee” put on a tee shirt). Vannon’s depiction of reticent drummer Charlie Watts is excellent in spite of no real physical resemblance. Vannon infuses the role with a dry and sweet manner. The running joke is that Watts always threatened to quit the band but never did.
Ensemble member Simone Roos ably plays the role of rock chick Anita Pallenberg. It has only been a recent occurrence that the women passed around by the bands have been telling their sides of the stories. To Marra’s credit, he writes Pallenberg as more than a groupie. The scenes between Roos and Snook are violent and painful as Jones’ paranoia and insecurity increase from the drugs and fear of abandonment.
Andrew Yearick, in the role of George Harrison, is a nice surprise. He recently appeared in The House of Yes at The Artistic Home Studio (our review ★★★). Yearick portrays a mellow and spiritual Harrison around the time of his exploration into Indian music. He and Snook share a duet on “Norwegian Wood,” self accompanied by guitar and sitar. Harrison is introducing the sitar to Jones as something that is tuned into the player and then they rush through the song, a pacing that is much too fast.
It is to be noted that this talented group of actors actually play the instruments and do a stellar job of it. You’ll no doubt find yourself grooving to the irresistible beats and riffs. On the night that I went, It was pretty evident that most of us were Stones fans.
The theatre is decorated with reenactments of classic Rolling Stones 45 and album covers. The stage is flanked by vertical rows of vinyl records in both sizes and set up for a concert. This is an appropriate choice since it really comes down to the music after an exploration of the legend. Aftermath is a poignant remembrance of Brian Jones and of a time when the world seemed much bigger.
Aftermath runs through June 6th, 2010. Thursday, Friday, and Saturdays at 8:30pm, Sundays at 3:30pm. (May 24th performance is at 7:30 pm) Tickets are available at www.signalensemble.com or call 773-347-1350. Be prepared to rock!
‘The Ring Cycle’ Is a Family Affair
The Building Stage presents:
The Ring Cycle
Review by Paige Listerud
The Building Stage has obviously made no small plans. Since their own press admits an aversion to playing it safe, even in the midst of economic crisis, one might easily presume that they’d proceed with greater flare, more flash, or more complicated effects in the execution of their latest production, The Ring Cycle. Instead, Artistic Director Blake Montgomery and Associate Artistic Director Joanie Schultz have given us an adaptation of Richard Wagner’s classic Der Ring des Nibelungen that seems almost puritanical in its lean storytelling. If anything, this monumental production adheres to strict interpretation of Montgomery’s vision for a physical theater—relying full force on the use of mask, clown, movement and mime. Whatever effects exist, they are only the most elemental kind. It’s a theater that celebrates the actor and the actor’s body. In this case, that celebration pushes the endurance of The Ring Cycle’s cast and crew to their limits with a six-hour long marathon of a show.
Set designers Meghan Raham and Lee Keenan are almost unforgiving in the productions spare, industrial structure. Only a few gracefully draped aerial silks relieve its exacting right angles and hard surfaces of brick, aluminum, and steel. Spare, elegant lighting (Justin Wardell) and a good, old, effectively timed fog machine suggest otherworldliness. Truly, the world of The Ring Cycle is not a kind or gentle one: its characters prefer warrior strength to anything that smacks of softness. Much here reminds us why Wagner was a Nazi favorite. Against this backdrop, the unabashed femininity of the Rhinemaidens (Sarah Scanlon, Lindsey Dorcus, and Lucy Carapetyan) provides much needed respite.
For all the promotion of The Ring Cycle as “a play that rocks,” the band is surprisingly unobtrusive. Composer and Music Director Kevin O’Donnell only underscores the action on stage; he never overwhelms it. His arrangements, quoting many of Wagner’s leitmotifs, are respectful and modest. The band itself remains semi-hidden in its own pit toward the back of the stage’s first level, reinforcing the theatricality of the overall production and the subterranean presence of the music. It’s a discreet, vital pulse–for a rock band.
In fact, it’s this lack of rock opera flash and pretentiousness that most marks The Building Stage’s production. Scene after scene is simply good, solid storytelling—the kind that takes place around campfires. Even the mid-show dinner break, when cast and audience dine, picnic-style, onstage together, produces a kind of family feeling. Given its rudimentary storytelling and the clowning that exhibits vaudevillian showmanship, one could almost recommend this as entertainment for the whole family. Then again, those passionate, unapologetic incest scenes just might carry that family feeling a little too far. I’ve use the word “puritanical” – but fear not. That’s only in reference to style. All the rampant, Oedipal mania of Wagner’s original has been preserved.
There are some critics who think of Wagner’s Ring Cycle as Alberich’s tragedy. If so, it’s a tragedy born of frustrated attempts at getting nookie. The Rhine maidens, costumed in coy, sexy homage to Esther Williams, take a moment away from guarding their magical gold to taunt the ugly, hapless dwarf. Forswearing love, but not pleasure, Alberich (William Bullion) steals their gold and fashions a ring of power with which he plans to enslave all–starting with his brother Mime (Bill O’Connor) and the rest of the Nibelung. Here, the set design is its most effective, evoking a nightmare vision of an oppressive industrial underworld. Alberich enslaves his workforce not only with the Ring, but also a magical helmet fashioned by Mime that allows him to take any form—even invisibility–by which he can surveil and terrorize his overworked slaves.
Montgomery and Schultz can thank whatever gods they worship for Bullion and O’Connor’s agile and superbly timed clowning. Whether playing dwarves or giants, not only do they provide much needed levity, they make the darker moments more monstrous. In these two talents, The Building Stage has truly struck gold.
Meanwhile, trouble is brewing among the beautiful people. Once again, costuming (Meghan Raham and Marianna Csaszar) lodges tongue firmly in cheek by dressing the gods as 1970s jet setters. An excellent impulse—if only they had the budget to bring on the vintage Halston and Versace. In any case, Wotan (Chris Pomeroy) has enough on his hands just trying to pay–or not pay–the Giants who have built his legendary fortress. Using his wife Fricka’s (Mandy Walsh) sister, the goddess Freia (Daiva Bhandari), as barter is bound to win him an eternity in the doghouse—especially since Freia grows the golden apples that keep the gods forever young.
Loge, the demigod of fire (Darci Nalepa), arrives just in time to throw both Ring and Rhinegold into the mix. Wotan depends on Loge’s wit to get him out of this jam, but Nalepa slays most when Loge’s wit turns on the gods in sly, scathing commentary.
The Earth goddess, Erda (Scanlon, Dorcus, and Carapetyan), emerges from her chthonic lair long enough to warn about the Ring’s dreadful power—a striking bit of puppetry, but still not enough to make everyone heed her advice. As Wotan surrenders the Ring, magic helmet, and gold he has stolen from Alberich, the Giants turn against each other in deadly combat, fulfilling the Ring’s curse. Accompanied by the mournful song of the Rhinemaidens, made more eerie by their blue-lighted presence contained downstage, the gods’ crossing of the rainbow bridge to Valhalla seems more like a retreat from the devastation they’ve colluded in, rather than a triumphal procession.
Time has passed. Wotan has stuck his dick into just about everything—including Erda, by whom he’s sired the Valkyries, and a mortal woman by whom he’s fathered the twins Siegmund (Nick Vidal) and Sieglinde (Bhandari). The twins have been separated at birth only to unwittingly meet again, when Sieglinde is trapped in a loveless marriage and Siegmund is on the run from a tribal quarrel over–guess what?–a girl about to be trapped in a loveless marriage.
It must be said that, while the entire cast grounds the heightened language of the original libretto with flesh and blood vitality, Vidal’s execution of it is especially strong. Particularly since professing fiery love as Siegmund in the second act, and Siegfried in the third, can get a little, well, repetitive. But Vidal never allows a moment’s loss of interest. In fact, it’s a real sensual pleasure to hear spoken words of love take on operatic power, whether between Siegmund and Sieglinde or Siegfried and Brunhilde (Nalepa). As for “incest is best,” no artist defends that ardent, narcissistic bond like Wagner. It also helps to have a patriarchal asshole of a husband, like Hunding, for a foil–played with relish by Pat King.
Leave it to the nagging wife to spoil everyone’s fun. Playing Fricka, goddess of marriage, may be a thankless job, but at least Walsh’s cramped harridan throws the estrangement between her and Wotan into high relief, bringing greater psychological veracity to Wotan’s quiet moment of confidence in his Valkyrie daughter, Brunhilde. This is, in fact, Pomeroy’s finest moment. In earlier scenes, his aloof style can make his king of the gods come across like a glorified spear-carrier. But in the course of revealing his secret scheme to use Siegmund and Sieglinde to retrieve the Ring, Pomeroy effectively captures Wotan’s vulnerability and anxiety over losing those he longs to protect by fulfilling his role as upholder of the law.
Pomeroy and Nalepa so thoroughly cement the bond between father and daughter that Brunhilde’s choice to disobey Wotan’s orders manifests the very definition of tragedy. He tells her to let Hunding kill Siegmund, according to Fricka’s wishes, but she disobeys, knowing her father’s true feelings and witnessing the love Siegmund has for Sieglinde. Things get a little rough around the edges, though. The shattering of the sword Necessity in Siegmund’s hands remains one of the clumsier effects of the production. Brunhilde and Sieglinde’s pleas for protection from the Valkyries also get a bit shrill. But for all that, the act closes profoundly on Wotan’s farewell to Brunhilde, as he puts her to sleep with a kiss and rings her body with a wall of fire that only a hero can penetrate. Plus, the ensemble puppetry of the ride of the Valkyries is pretty cool, too.
Two main things brighten the stage during the third episode: O’Connor’s hilarious interpretation of the dwarf Mime and the goofy, delightful, spring-fresh presence of the Woodbirds (Scanlon, Dorcus, and Carapetyan).
Mime is not a nice guy. He raises young Siegfried, surviving son of Siegmund and Sieglinde, only in order to have him defeat Fafner, the surviving Giant who, with Mime’s magic helmet, has turned himself into a dragon and now guards both Rhinegold and Ring in a cave nearby. Once Fafner is slain, Mime has only to murder Siegfried and the Ring will be his. Dastardly designs indeed! And O’Connor wrings every drop of joyous comic book evil out of the premise.
Of course, Siegfried (Vidal) is Mime’s perfect straight man. Even after he’s magically acquired the ability to read his thoughts and knows all of Mime’s evil plans, he still doesn’t fully get their implications. Similar humorous exchanges occur between Siegfried and the Woodbirds–only with all the charms that the flying girls can bring, which are considerable.
An early visit from Wotan, now in Wanderer mode, reveals that only one who has never known fear can reforge the sword Necessity and defeat Fafner. Siegfried has never known fear because of a) his sheltered upbringing by Mime and b) he’s not the brightest crayon in the box. Still, he’s our hero. He reforges the sword, kills the dragon, and gets the Ring, the magic helmet and, ultimately, the girl—Brunhilde.
Granddad, however, is not doing so well. A brief visit with Erda confirms to Wotan that the end of the gods is nigh. This time, that fabulously bizarre, triple-goddess puppetry that brilliantly informed the first episode falls flat. There simply isn’t a strong, clear-cut emotional exchange between Wotan and Erda during this crucial scene. And, for all the “eternal woman” build-up before Erda’s entrance, she really just looks like a giant Blair Witch with headlights. On top of that, the Oedipal showdown between Wotan and Siegfried, hurrying to Brunhilde, is far too telegraphed and choreographed to maintain interest. It’s a perfunctorily performed scene that only manages to fill dead space.
But, once lovers are united, Vidal and Nalepa make the language soar. Brunhilde may anticipate the loss of personal power in her relationship with Siegfried, but her acquiescence makes the scene a flaming incest fest.
Twilight of the Gods
I hardly know which I like more—Gunther (King) and Gutrune (Bhandari) as the feckless and amoral aristocratic brother/sister pair or the black velvet evil of Hagen (Bullion), Alberich’s half-human offspring. Bullion really knows how to let the darkness in, especially during a difficult scene in which Alberich communicates with Hagen during a dream state. That kind of thing would be a sloppy mess in lesser hands, but Bullion’s energy and precision pulls it off with all its uncanny psychological undertones.
But then King and Bhandari toss off their lines and make their characters’ choices with all the careless ease of the over privileged. Too blithe to consider the ramifications of their actions and too spineless to devise or execute their own schemes, they facilely wreak enough damage being led around by the nose by Hagen. Again, this Wagnerian prelude to Nazi theories about class-consciousness and certain people with “bad blood” rises to the surface.
Siegfried, ever the guileless hero, wanders into this pit just after he has bestowed the Ring as a token of love on Brunhilde. One quick sip of a love potion makes him forget all about it. Plighting himself to Gutrune and swearing blood brotherhood to Gunther, he vows to win Brunhilde for Gunther’s wife. Using the magic helmet to disguise himself as Gunther, he penetrates the fiery barrier once again, steals back the Ring, and Gunther drags Brunhilde back with him to the castle.
All through three episodes, Nalepa has carefully plotted Brunhilde’s progress with visibly subtle and nuanced changes in consciousness. Going from immortal shield maiden to mortal woman, independent, inexperienced virgin to sensually dominated lover, Brunhilde now reaches the depths of barren patriarchal disempowerment that make her as embittered and vindictive as Fricka. Lo, how the mighty Valkyrie has fallen. It may be painful to watch but at least every piece is in place. She retaliates Siegfried’s mindless betrayal by revealing to Hagen and Gunther his Achilles’ heel—or, rather, back. It’s one step from there to Siegfried’s demise.
How nice that Siegfried gets one more chance with the eternal feminine through his encounter with the Rhinemaidens at the river. It’s the last big moment for Scanlon, Dorcus, and Carapetyan to shine, where the excellence of their dramatic and acrobatic unity reveals how essential they have been all along. Their deceptively light and playful warning to Siegfried plumbs all kinds of depths about chances not taken and fortune breezily passing one by. How nice it is that, after the death of the hero, the drowning of Hagen, the end of the gods and the retrieval of their Rhinegold, even without sword or shield, the girls finally get what they want.
NOTE: Building Stage encourages the audience to bring a picnic or purchase a boxed dinner at least 24 hours in advance from our catering partner Bari Italian Deli. Bring your blanket and join in an onstage wintertime picnic. Snacks and beverages will also be available at the theater during the run of the show
It’s always great news for the Chicago theater community as a whole when one hears that – due to popular demand – a production has been extended. You might ask – isn’t this just good news for the specific theater company doing the extension? I know it’s more than that – I call it the “putting-your-toe-in-the-water-syndrome”. In other words, when new theater-goers attend a play (i.e., put their toe in the water), they usually say to themselves “I enjoyed this, and would like to do it again”. Over the last few years (maybe 4-5 years) I’ve seen an uptick of play extensions – there must be a lot of toe-testers out there who are concluding that the water is fine, and whole-heartedly jump in the water (hopefully for multiple laps). Point in fact:
Steppenwolf Theater has announced, even before the opening on November 6th, that Dublin Carol will now be extended past Christmas, through December 28th. Dublin Carol, by Conor McPherson, will be directed by Amy Morton, and will feature Stephen Louis Grush, William Petersen and Nicole Wiesner.
Lifeline Theatre is extending their exciting new adaptation of Oscar Wilde’sThe Portrait of Dorian Gray a full 2 weeks, moving closing from November 8th to November 16th. CTB gave Dorian Gray a much-deserved 4-stars (review here), so we can see why the show’s popularity has called for extra performances to be added. Dorian Gray is adapted by Lifeline ensemble member Robert Kauzlaric, directed by Kevin Theis. The production features Nick Vidal as Dorian Gray.