Aaron Lawson, Carolyn Benjamin, Sean Benjamin/Photo: Daniel Neumann
Disclosure, before the sharks circle: I like to be amused. I’m generally not amused by art about art, whether it concerns its own making or whether it ruminates on or examines other art. Sean and Carolyn Benjamin’s “Pseudo-Chum” is highly amusing, and/but it’s also about itself and about other art. Once upon my own youth I had a writing teacher who instructed that the one thing you should not write about is writing. Thanks to this Neo-Futurists production, I’m violating this in the extreme: writing about writing about writing. Is there a solution to this dilemma? As a meta fact there is. I just ain’t gonna mention a single of the play’s cultural references. Read the rest of this entry »
Movement is personal. Our bodies and the way we inhabit them is integral to our identity, our sense of self. And for Billy Siegenfeld, founder of the Jump Rhythm Jazz Project, personal movement is tied up in most meaningful aspects of how we live in the world. Talk with Siegenfeld for a half hour and you’ll probably start to see the relationships between skeletal alignment and psycho-spiritual wellbeing, between muscular tension and emotional repression, between rigidity and imperialism, between the physical body and the natural world. Siegenfeld created Jump Rhythm—a blend of tap, jazz and eruptive vocalizations, using the entire body as a rhythmic instrument—as a vehicle to explore his philosophy of movement twenty-five years ago and, for the anniversary performance, has created a semi-autobiographical piece about the birth of the technique. Read the rest of this entry »
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Photo: Joe Mazza
The setting starts out so lovely. You walk into Oracle’s cozy little cabin of a space off of Broadway and you’re greeted with what looks like a charming Tuscan villa. It’s the kind of place that the erstwhile star of a Nancy Meyers movie might retreat to “find herself.” Sure everything’s a bit grayish and decaying and there appear to be giant ragged holes in that patio umbrella but, look, there’s a bowl of fruit! What a charming still life. What could go wrong with such a lovely bowl of fruit? Well, when the play you’re about to see is set during the death rattle of the Roman Empire and you’re in the hands of a pair of men—Gore Vidal and Friedrich Durrenmatt—who don’t exactly traffic beach-read escapism and, really, when it’s an Oracle show in general, the answer turns out to be: pretty much everything.
The play is called “Romulus” and it is Vidal’s rather loosey-goosey adaptation of the play “Romulus the Great” by Durrenmatt. The latter was a mid-century Swiss playwright who specialized in withering, absurdist take-downs of capitalism, and the former was one of the great lefty lions of said century’s back half. Needless to say, money and empire and Rome and America and conservative values and patriotism don’t exactly fare well. Director Kasey Foster and a spirited cast offer a rousing production that adds a daffiness of its own to Vidal and Durrenmatt’s polemical lunacy. Read the rest of this entry »
Photo: Gorman Cook Photography
The headlining piece in Giordano’s fall program is a commission from Broadway and television choreographer Ray Leeper. Leeper makes commercial dances for music videos and TV dance competitions—big show-stoppers full of flash and fun, dance that’s about pure entertainment. “I’m totally okay with entertainment,” artistic director Nan Giordano said. “It’s a big part of what our company does. There’s plenty of dark dance out there. I want the audience to walk out feeling great.” And feeling great is the theme of the number, set to three iconic songs on the subject. It opens to Michael Buble’s brassy, slinky rendition of “Feeling Good” and explodes across the stage in full-on Broadway style, complete with Fosse arms and black fedoras. Part two centers around sexy, bluesy partner work set to “Dr. Feelgood” and the big finish is to a rearrangement of Harold Arlen’s “Get Happy,” (made famous by Judy Garland in “Summer Stock”). The updated version of the tune provides space for a big buildup, not identifiably reaching the main theme till about halfway through the song. Leeper uses expansive traveling patterns and crossing lines of dancers to great effect; as he told me, “We break the fourth wall a lot.” The stage seems to triple in size with the exuberant energy of the Giordano dancers. This is the kind of smile-inducing number that lets you know where to clap, that inspired my three-year-old self to jump out of theater seats and dance in aisles. Read the rest of this entry »
Some of the most unsettling characters in horror films aren’t the demonic phantasms or unkillable slashers, but the just-real-enough weirdos who inhabit the margins of the narrative, halfway between daytime reality and surreal terror. For a tense fifteen minutes, Dream Theatre Company will plop you down in their living room to be the object of sneering scorn in “Audience Annihilated Part 2: Gold Star Sticker.”
The sequel to 2011’s “Audience Annihilated Part One: Women Only Train,” “Gold Star Sticker” places the audience in the role of Princess, the kind of terrified bed-wetter child who always draws the parental short stick in these kinds of stories. The aforementioned weirdos are her caretakers—junkie mother (Nicole Roberts), ukulele-toting Juggalo boyfriend (Jeremy Menekseoglu), and an unexplained drug-pushing amputee (Amanda Lynn Meyer) with a very unsettling emphysema lung-rattle and an incredibly sweet satin Cubs jacket. Read the rest of this entry »
Jamie Cahill and Christopher Acevedo/Photo: Suzanne Plunkett
“When you’re real, you don’t mind being hurt.” This central theme permeates an affable and vibrant staging of Margery Williams’ timeless book “The Velveteen Rabbit,” which opens KidSeries’ twenty-eighth season at Rogers Park’s Lifeline Theatre.
The classic tale of toys’ secret lives (some seventy-odd years before Buzz Lightyear) is adapted for the stage by ensemble member Elise Kauzlaric and brought to bright life by Jamie Cahill as the floppy and progressively more existent Rabbit, her peaches and cream face an ideal projection of naïve emergence.
Christopher Acevedo, as the rabbit’s young keeper and caretaker, is a sweetly blank canvas for the young audience’s fantasies. When the boy’s unconditional love for the rabbit gives way to the Scarlet Fever that will condemn her to the woodpile, Acevedo’s performance is never inappropriately worrisome, although the thematic content— and need for subtle understatement—is better suited for an audience closer to five rather than younger. Read the rest of this entry »
There is something significant about the prolific writer George Orwell using stories as his vehicle for political action. Orwell, who fought in the Spanish Civil War and suffered a gunshot wound to the throat, knew the limitations war had in bringing about genuine change. Simply exchanging political systems and leaders was equally insufficient. For as writer and feminist Audre Lorde states, “the master’s tools will never dismantle the master’s house.”
To bring about impactful change that would revolutionize the world, Orwell needed a different weapon than the master’s tools. So with pen in hand as his chosen artillery, he took to the battlefield of the blank page and an allegory entitled “Animal Farm” emerged the victor.
Written to pierce the consciousness of men to provoke social action, Steppenwolf for Young Adults’ (SYA) production of the classic novel achieves what Orwell intended. In this soul-stirring adaptation, it won’t be long before you, yourself, will want to join in the revolution happening on stage. Read the rest of this entry »
Jauris Casanova, Céline Carrère, Stéphane Krähenbühl, Sandra Faure, Olivier Le Borgne and Charles Roger Bour/Photo: Agathe Pouoponey.
It was a happy coincidence that I happened to catch Theatre de la Ville’s “Ionesco Suite” within a day of seeing Strawdog Theatre’s production of “Fail/Safe.” Both shows traffic in mid-century post-nuclear absurdism, one through skewering the bourgeois with comedic fragmentation and formalist experimentation and one through showing a bunch of B-movie archetypes almost blow up the world. They are about as different as two shows can be while still being about the same basic thing: what it’s like to live in a world that could be blown to smithereens at any second. And whereas “Fail/Safe” portrays the absurdity of this condition (and does a white-knuckle job of it), “Ionesco Suite” goes a step further by embodying it, like the play itself is having a nervous breakdown.
The show, an original creation by Theatre de la Ville’s artistic director Emmanuel Demarcy-Mota, is part collage, part human-centipeding of a number of Eugene Ionesco’s works. Ionesco was a leading light in the “Theatre of the Absurd” movement of the fifties and sixties along with Samuel Beckett, Jean Genet, Friedrich Durrenmatt and many others. Their shows eschewed traditional realism (which is great for Chicago, as we’re up to our eyeballs in the stuff) in favor of heightened stylization, all the better to highlight the absurdities on display and heighten their alienating affect. The show includes scenes from Ionesco’s plays “The Bald Soprano,” “The Lesson” and “Jack, or The Submission” among others. It is not an attempt to cut and paste these excerpts into a single cohesive whole, and it doesn’t play like a greatest-hits album either. Really it’s more like reading a fine book of short stories, something along the lines of George Saunders’ “The Tenth of December.” Each segment presents a different view on the same condition, like a series of shadows all cast from a single light. Read the rest of this entry »
Joey Bland and Robyn Mineko Williams
Two tremendously gifted groups of craftspeople working in different mediums have joined their toolboxes and been set loose in one of the biggest workshop playgrounds in the city. A massive amount of talent is in the mix, both in quality and quantity: the entire Hubbard Street Dance Chicago and Hubbard Street 2 companies—twenty-seven dancers combined—plus the four writers, six actors and musical director of The Second City. Simultaneous rehearsals spread across four rooms at Lou Conte Dance Studio, with musicians, actors, directors, choreographers and dancers bouncing from room to room, piecing together their individually developed scenes—about twenty-five scenes in all, according to Hubbard Street artistic director Glenn Edgerton—some driven by text, with dance woven in, some driven by dance in a theatrical context; and the final start-to-finish product is something of a mystery to all, save Second City director Billy Bungeroth, just one week before the production. Read the rest of this entry »