Tag: Tyla Abercrumbie

Review: Paradise Blue (TimeLine Theatre)

Al'Jaleel McGhee stars as Blue in Paradise Blue, TimeLine Theatre, Joe Mazza          
      
Paradise Blue 

Written by Dominique Morisseau
Music by Orbert Davis
TimeLine Theatre, 615 W. Wellington (map)
thru July 23  |  tix: $38-$51  |  more info
       
Check for half-price tickets   
     

May 30, 2017 | 0 Comments More

Chicago’s Best Theater of 2016

  

Miguel Cervantes stars as Alexander Hamilton in Hamilton by Lin-Manuel Miranda, Broadway ChicagoDana Omar and Gay Glenn star in Cinderella at the Theater Potatotes, Hypocrites TheatreKaren Rodriguez stars in The Way She Spoke, Solo Celebration, Greenhouse Theater 3ETHL_ShowPageFINAL_450x665James Vincent Meredith and Bethany Jillard in Othello, Chicago Shakespeare TheatreBryce Gangel, Jessica Ervin and Charlotte Thomas in Dry Land, RivendellJulissa Contreras, Sarah Cartwright and Ada Grey in The Haven Place, Red Orchid TheatreEvan Linder and Liz Sharpe in Byhalia Mississippi, New Colony Definition TheatreBrian Parry and Aaron Kirby in The Drawer Boy, Redtwist TheatreChristian Castro and D’Wayne Taylor in Jesus Hopped A Train, Eclipse TheatreThomas Cox, Bolden. (Back) Ruiz, Sullivan, Brown. Photo by Michael Brosilow (2)Mary Beth Fisher and Harris Yulin in Long Day's Journey Into Night, Court TheatreEliza Stoughton and Sam Hubbard in A Loss of Roses, Raven TheatreBlair Brown and Alan Wilder in Mary Page Marlowe, Steppenwolf TheatreChristina Saliba with mirror from Learning Curve, Albany Park Theater ProjectThe Joffrey Ballet presents Christopher Wheeldon’s The Nutcracker, Auditorium TheatreJustin Keyes, Chris Sams, Tyrone L. Robinson, Will Skrip and Sean Blake in Smokey Joe's CafeDash Barber and Christopher Borek in Posh by Laura Wade, Steep Theatre LMSarah Goeden, Justine C. Turner and Nicole Bloomsmith in Once in a Lifetime, StrawdogSydney Charles and Julian Parker in Prowess, Jackalope TheatreIt’s the classic tale of the Sharks versus the Jets in West Side Story, one of the greatest musicals ever, playing March 16-April 24, 2016 at the Paramount Theatre, 23 E. Galena Blvd. in downtown Aurora. For tickets and information, go to ParamountAurora.com or call (630) 896-6666. Photo credit: Liz Lauren.Brian Quijada in Where Do We Sit On the Bus, Teatro Vista Chicago 2Amy Stricker, Britain Gebhardt, Max DeTogne, Lizzie Schwarzrock, Kelly Baskin, Caitlin JacksonMonica Raymund stars in Thaddeus and Slocum, Lookingglass TheatreBrenda Barrie, James Doherty. Michael E Martin, Johnny Arena and Rudy Galvan in United Flight 232

     

See our picks below the fold

     
January 3, 2017 | 0 Comments More

Review: East Texas Hot Links (Writers Theatre)

Antoine Pierre Whitfield and A.C. Smith in East Texas Hot Links, Writers           
      
  

East Texas Hot Links

Written by Eugene Lee
Writers Theatre, Glencoe (map)
thru Jan 29  |  tix: $75-$80  |  more info
       
Check for half-price tickets   
     

November 6, 2016 | 0 Comments More

Review: Gem of the Ocean (Court Theatre)

Tyla Abercrumbie and Jerod Haynes star in Court Theatre's "Gem of the Ocean" by August Wilson, directed by Ron OJ Parson. (photo credit: Michael Brosilow)       
      

 

Gem of the Ocean 

Written by August Wilson
Court Theatre, 5535 S. Ellis (map)
thru Oct 11 | tix: $45-$65 | more info 
      
Check for half-price tickets    
    

September 20, 2015 | 0 Comments More

Review: Detroit ’67 (Northlight Theatre)

Tyla Abercrumbie and Kelvin Rolston, Jr. star in Northlight Theatre's "Detroit '67" by Dominique Morisseau, directed by Ron OJ Parson. (photo credit: Michael Brosilow)        
      
Detroit ‘67

Written by Dominique Morisseau
Directed by Ron OJ Parson 
North Shore Center, Skokie (map)
thru Dec 15  |  tickets: $25-$75   |  more info
       
Check for half-price tickets 
    
        
                   Read review
     

November 21, 2013 | 0 Comments More

Review: A Raisin in the Sun (TimeLine Theatre)

Greta Oglesby and Toni Martin in Raisin in the Sun, TimeLine Theatre        
      
A Raisin in the Sun

Written by Lorraine Hansberry
Directed by Ron OJ Parson
at TimeLine Theatre, 615 W. Wellington (map)
thru Nov 17  |  tickets: $35-$48   |  more info
       
Check for half-price tickets 
    
        
        Read entire review
     

August 30, 2013 | 0 Comments More

REVIEW: In Darfur (Timeline Theatre)

     
     

Timeline illuminates compassion, courage amidst human atrocities

     
     

Hawa (Mildred Marie Langford, left) is reluctant to share the story of what has happened to her with New York Times reporter Maryka (Kelli Simpkins, right) in TimeLine Theatre’s Chicago premiere of IN DARFUR by Winter Miller, directed by Nick Bowling.

  
Timeline Theatre presents
   
In Darfur
  
Written by Winter Miller
Directed by
Nick Bowling
at
TimeLine Theatre, 615 W. Wellington (map)
thru March 20  |  tickets: $28-$38  |  more info

By Catey Sullivan

The peril of collecting firewood in Darfur – an everyday necessity almost as basic as food and water – sums up the horror of a blood-soaked country. Mothers have to choose which of her children to send to collect kindling, notes the humanitarian aid worker in Winter Miller’s drama In Darfur. That choice is one no parent should ever be forced to make.

“If they send their son, he gets killed,” the aid worker explains, “f they send their daughter, she gets raped. So they send their daughters.”

Maryka (Kelli Simpkins, right) tries to persuade Hawa (Mildred Marie Langford, left) to share the story of what has happened to her in TimeLine Theatre’s Chicago premiere of IN DARFUR by Winter Miller, directed by Nick Bowling. Photo by Lara Goetsch.Such heartbreaking decisions are tragically common within the borders of Sudan’s Darfur region, a swath of land about the size of France in northeastern Africa. Statistics are fuzzy, but it’s generally recognized that since 2003, at least 400,000 Darfuris have been killed and over 2 million displaced at the hands of the government-sponsored Janjaweed militia. The number of rapes resulting from the crisis are essentially impossible to count, in part because rape is used as a systemic tool of war and because the shame of the crime is so great (survivors can be later charged with adultery and flogged) that it is likely grossly underreported.

With Timeline Theatre‘s production of In Darfur, director Nick Bowling succeeds in putting human faces to the staggering atrocities. His cast is strong, almost strong enough to overcome the considerable limitations to Mille’s script. Leading the small, tightly woven ensemble: Mildred Marie Langford as Hawa, an English teacher who survives both the murder of her entire family and multiple gang rapes. A deceptively soft-spoken powerhouse, Langford gets a well-deserved showcase with In Darfur. She manages a bravura turn.

The piece is also a near-perfectly realized merger of video footage and traditionally performed drama. Mike Tutaj’s projections succeed in virtually putting the audience smack in the center of the action. The opening scene – a harrowing ride over a rough and roadless terrain amid a hailstorm of bullets – is perhaps the most effective use of video we’ve seen on a stage. Tutaj’s work makes the heat, the dust, the danger and the casualties of war (in one scene, Hawa buries her husband and child in shallow, sandy graves) palpable.

In all, the artistry of both the cast and Tutaj’s projections go a long way toward minimizing the shortcomings inherent to Miller’s drama.

Miller wrote the play after working as a researcher for the New York Times in Darfur. There’s no question but what she saw the atrocities of war first hand while in the region. On her website, Miller recalls walking through villages burned to the ground and turned into ghost towns, speaking with child rape victims less than 48 hours after their assaults, and watching a 20-year-old die after being gunned down over a matter of $200.

     
Mildred Marie Langford as Hawa - In Darfur at Timeline Kelli Simpkins as Maryka - In Darfur, Timeline Theatre

In Darfur centers on three lives that become intertwined during the violence – Maryka, a New York Times reporter (Kelli Simpkins), Carlos, a doctor (Gregory Isaac) and Hawa, a Sudanese English teacher (Langford). The script falters in that Maryka and Carlos are only character types as opposed to fully-formed characters. They seem to exist to present a point of view more than an authentic segment of the narrative. Moreover, some of the dialogue between the reporter and her editor (Tyla Abercrumbie) has the ring of a spoof of The Front Page. And although the dialogue implies conflicts between Maryka and her editor that go beyond whether Darfur is a front page story, they are never even partially delved.

Also problematic: Miller’s structure of having the actors speak in the language of the region, simultaneously translated into English – a kind of living form of subtitles – by other actors standing just off stage. It’s fascinating to hear the words as they would be uttered in Darfur, but the ongoing interpretations add a layer of distance to a narrative that demands intimacy.

Yet for all its drawbacks, In Darfur is compelling. Simpkins brings dark humor, an aggressive edge and a reservoir of compassion to the reporter’s role. As Carlos, Gregory Isaac captures the mix of burned out fatalism and stubborn idealism that come of doing good under hellish circumstances. And Langford brings both a gentleness and a steely, survivor’s resolve to a role that is both physically and emotionally demanding.

A final note: It’s always worth arriving at a TimeLine production early; the company invariably elevates dramaturgy to a level of storytelling on par with the production itself. Dramaturg Maren Robinson’s work for In Darfur is no exception. The lobby is also hosting “Darfur, Darfur,” an astonishing collection of photos from the region. The images are indelibly vivid, provide a rich context for the story on stage and should not be missed.

  
  
Rating: ★★★
  
   

Carlos (Gregory Isaac, left) is a doctor with an aid organization in Darfur who tries to help Hawa (Mildred Marie Langford, right) in TimeLine Theatre’s Chicago premiere of IN DARFUR by Winter Miller, directed by Nick Bowling. Photo by Lara Goetsch

     
     
January 23, 2011 | 0 Comments More

Review: Court Theatre’s “The Piano Lesson”

Blossoming with music, Court’s ‘Piano Lesson’ mixes family tensions and struggles with a dash of the paranormal.

Chicago's Court Theatre produces August Wilson's masterpiece "The Piano Lesson" 

The Piano Lesson 
Reviewed by Barry Eitel

Watching Court Theatre’s production of “The Piano Lesson,” by August Wilson, I couldn’t help comparing it to “The Cherry Orchard.”, by Anton Chekov. Although the play is distinctively American, elements in the Pulitzer Prize-winner are very similar to Anton Chekhov’s masterpiece. Set in 1936, characters descended from slaves attempt to move up in the world as the sons of plantation owners join the ranks of the rural poor; Wilson’s Boy Willie is sort of a black Lopakhin. Directed by Wilson veteran Ron OJ Parson, the Court’s “Piano Lesson” is a very effective snapshot of the American experience, with a tantalizing ghost story weaved in.

_msb1226__large Along with “Wait Until Dark,” this is the second production in the Court’s season that has features of a thriller flick. The fourth entry in Wilson’s “Pittsburgh Cycle” but the fifth to be written, “The Piano Lesson” records family tension and the African-American struggle in the 20th Century with a dash of the paranormal.

Like most of the cycle, the central conflict pits progressing in the modern world against reverence for the past. This conflict is symbolized by a beautiful piano that has a haunting presence around it. The piano is inherited to siblings Boy Willie (the lively Ronald L. Conner) and Berneice (Tyla Abercrumbie), with the former wishing to sell it to buy land and the latter fighting to keep the ancestral instrument. It is slowly revealed that piano has cost a lot of blood over its lifetime, and a few of the deceased may have followed the piano to Berneice’s home in Pittsburgh.

The cast shines with many experienced August Wilson actors, many of whom have been in productions of “Piano Lesson” across the country. Although no one actually teaches a piano lesson, the production blossoms with music. Mournful jazz numbers are played by musician Wining Boy (Alfred H. Wilson), and Boy Willie lays down a short dancehall tune. One of the best scenes of the play is when nearly all of the male characters join together in a powerful, rhythmic work song. Just like the piano, the music is a child of the characters’ heritage, offering them (and the audience) an escape, a celebration, and a shared experience. The songs are brilliantly scripted and nailed by this talented cast, tapping deep into the underlying themes.

The cast shines with many experienced August Wilson actors, many of whom have been in productions of “Piano Lesson” across the country. Conner is an energetic and stubborn Boy Willie, bristling with youthful drive. He’s grounded by his friend Lymon, played by a charismatic Brian Weddington. The older generation in the play, Alfred H. Wilson’s funny Wining Boy and A.C. Smith as the peacekeeping Doaker, add a deeper level of humanity to the play and present a welcome break from Boy Willie’s and Berneice’s constant bickering.

PianoLesson-hairThe fighting between the siblings is where the production falters. The battle quickly stalemates and the repeated arguments loose focus. Abercrumbie’s cold portrayal of Berneice doesn’t help, either. It seems like the production wants the play to be Berneice’s story, but Conner’s Boy Willie is much more interesting and sympathetic. Another stumbling block for the play is the character of Grace (Alexis J. Rogers), Boy Willie’s and Lymon’s 10-second love interest that doesn’t seem to have much of a point for the story.

Parson’s interpretation of the script, though, is layered and gives credence to both sides of the conflict. The realistic heart of the play, the music, and the campfire ghost story aspects are all well-realized. Keith Pitts’ set is intricate and allows for plenty of play for the actors. The physical presence of the paranormal is fascinatingly done, and the titular piano is elaborately detailed. The ghosts are far from a hokey gimmick. The invisible characters that encroach on the family’s struggle illuminate Wilson’s themes of family, tradition, and connection to the past.

Rating: «««

Other reviews of The Piano Lesson:  TimeOut Chicago, SteadStyle Chicago

 

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Cast List and Creative Team – after the fold…

May 27, 2009 | 0 Comments More