Larry Yando and Patrick Andrews/Photo: Liz Lauren
Goodman Theatre has perfected the holiday show in its annual production of “A Christmas Carol,” with superb, consciously colorblind casting, terrific scenic design by Todd Rosenthal—including a rendition of Ebenezer Scrooge’s home that seems to contort in expressionistic ways at times, as well as backdrops and streetscapes that create a holiday-card version of London—and, above all, a commitment to Charles Dickens’s text, which seems to have otherwise suffered from cultural amnesia as a result of its cartoonification by the mass-merchandising machine. By blending the bite of the words with the pleasant taste of period-authentic music and dances, the production manages to deliver everything you’d want from a Christmas show, that is, a meaningful message softened by a strong current of joy and hope. And though one could certainly argue this is not a show for young kids as it’s full of dark, adult themes, that argument would be a lost cause. And so Goodman makes the show accessible to the little ones with strokes of broad physical humor and ghosts that excite and certainly scare their share of the wee ones. Read the rest of this entry »
Jason Ouimette, Bridget Visser, James Freetly, Danny Galvin, Susie Allen, Peter Williams, Connor Doyle/Photo: Shannon Jenkins
Revealing the twisted and sometimes supernatural underpinnings to events both historical and contemporary, “Improvised Twilight Zone” takes the format of the legendary series and translates it for the small stage (literally, it’s staged in the Small Theatre in The Annoyance Theatre’s new home on Belmont). Director Kyle Dolan’s troupe of improvisers (including a guitarist providing eerie scene music and “Twilight Zone” themes galore) takes three suggestions and give their inexplicable backstory in classic episodic fashion.
The night I saw the show (along with a sold-out crowd) the suggestions were “immigration,” “JFK” (“Just JFK generally…?” responded the host bemusedly) and “Kim Kardashian.” Each of these suggestions were subsequently spun into a bizarre story of intrigue and mystery, with “immigration” leading to the revelation that, in 1961, children’s author Beverly Cleary discovered a tunnel to another dimension where she stole the stories for her most popular works. Similarly, Marilyn Monroe and Jackie O were revealed to have been collaborating Russian spies and a VHS tape of the “sweetest soccer game in all the world” went viral and poisoned the minds of those who viewed it. Read the rest of this entry »
Jackson Doran, JQ Postell Pringle/Photo: Michael Brosilow
Recently a friend asked me what my favorite show of 2014 was. I didn’t have a good answer for him. This has a lot to do with the fact that I see more shows than the average theatergoer (complimentary tickets make it pretty easy) and so my mental rolodex is pretty stuffed. But a part of it is that the sheer number of pretty good to pretty bad to pretty mediocre shows can make it hard to differentiate. I can’t recall the diamonds because my brain is so full of rough. These are shows that, regardless of quality, feel like shows that are being done because, well, because a show “needed” to be done. Everyone performs the duties required of their job description—including the audience members—and the whole thing feels like work. Not “work” as in it seemed especially difficult, but “work” as in it’s something you do not because you want to but because it has to be done.
“A Q Brothers’ Christmas Carol” is not one of these shows. It is, in fact, the polar opposite. It is seventy-five-minutes of pure, unadulterated joy. If I could turn in a review that was just 500 smiley face emoticons, I would. That is both what the show is, and how it made me feel. Read the rest of this entry »
Photo courtesy Cheryl Mann
Adler and Sullivan’s dazzling landmark Auditorium Theatre turns 125 this year, and part of the celebratory programming is a welcome “Made in Chicago” music and dance series. Melissa Thodos’ company will perform on the Auditorium Theatre’s boards for the first time—an apropos choice seeing as Thodos is Chicago-made herself: Evanston-born, training, performing and founding her own company in the city by the lake. Thodos Dance reprises their acclaimed hour-long theatrical piece of Chicago history, “The White City: Chicago’s Columbian Exposition of 1893,” based on Erik Larson’s famous book. Read the rest of this entry »
Bridget Ballek, Ryan Ben, Rosie Moan, Lee Russell, Mantas Dumcius, Jo Scott, Kellen Terret, Jeffrey Murdoch/Review: Shannon Jenkins
Christmas is fast approaching. For those unfamiliar with the season, in the world of “It’s Christmas Goddamnit!” it’s that merry time of year when even the kookiest of families gather together under a shared roof to enjoy a collective meal while emotionally tormenting each other, reveling in both their familial similarities and their personality differences. Director Charley Carroll, along with a solid group of writer/actors, has created a cast of characters with eccentricities and mannerisms that highlight each comedian’s specific comedic strengths. To be clear up front, it is very seldom that any of these characters feel like real people; emotional realism takes a clear backseat to setups and punchlines, both physical and verbal.
Patriarch Bill (Jimmy Pennington) is welcoming his three children home for the holidays, along with his wealthy but ornery brother Eli (a frank and cocksure Lee Russell). He’s also invited his new bride Bev (Rosie Moan) and her mentally unstable and socially awkward son Cory (a stoic Ryan Ben). It’s only been two years since Bill’s first wife—the mother of his children—passed away and he’s hesitant to tell his kids that he’s remarried. As it turns out, his hesitancy may be well-founded as his adult children—a perpetually single tae-bo instructor (Bridget Ballek), a perpetually unemployed manchild (Jeffrey Murdoch) and a perpetually condescending psychiatrist (Jo Scott, a standout, constantly seeming to barely conceal a ready-to-break-chaaracter grin)—are perhaps not quite ready to welcome a new stepmother. Read the rest of this entry »
Danni Smith, Christina Hall/Photo: Adam Veness
Patsy Cline was a true country gal. Born and raised in Virginia, she began entertaining at a young age. Some accounts say she started performing for friends and family by the age of three. Her sultry voice, spiced with hints of Southern twang, are unmistakable staples of some of her biggest hits, such as “Walkin’ After Midnight.” It is her genuine southern charm and her bona fide essence that “Always… Patsy Cline,” directed by Fred Anzevino, at Theo Ubique Cabaret Theatre aims to capture.
The show features more than twenty of Cline’s recordings, including “I Fall to Pieces,” the 1961 single that landed her on the top of Billboard’s Country chart. Cline’s biographical story is told through the eyes of Louise Seger (Danni Smith), a fan who befriended Cline at a show in Houston. Seger and Cline (played by Christina Hall) remained friends until Cline’s tragic death in 1963.
The best moments of the show happen when Smith and Hall interact. They seem to get along like old friends and play precisely to the type of relationship Cline and Seger apparently shared. Individually, Hall’s voice is strong, but doesn’t quite capture Cline’s down-home country contralto. However, she does certainly look like Cline and does the songs justice by embracing their emotionally charged lyrics. Smith on the other hand, who mostly narrates between numbers, definitely embraces the Southern atmosphere brought to life on set designer Adam Veness’ wooden, Opry-esque stage. Read the rest of this entry »
Linda Reiter/Photo: Michael Courier
I love Jesus. Could even say I’ve got a complex. Can’t really blame my Catholic school, they didn’t teach a damn thing about the scriptures. And admittedly a harsh history of my attractions may reveal a Mary Magdalene fixation. But I’ve never been much for the other, mother Mary. As undeniably as the various takes on Jesus are up to interpretation, Mary seems a pure white screen upon which believers project. The Mary that materializes in this one-woman show is intellectually defiant, emotionally devastated and remarkably well spoken for a peasant woman. She’s a full character with a historical chip on her shoulder. She’s a mother, not an icon, even if she is doomed to become the latter.
I’m a skeptic of religion and of theater, which may cast my credentials as an admirer of the Christ and a commentator on the stage in a suspicious light. So, crucify me. This show clearly casts doubt upon the supernatural aspects of the Christian faith, but it doesn’t quite make me believe in the need for its staging either. This play is based on a book—not the “good” book—but a novella by Colm Tóibín. I left with doubts in the mission of adapting this book into a performance. Despite the unflinchingly gutsy performance by Linda Reiter and the tasteful and expressive set and projection design by Christopher Ash, I suspect everything Tóibín has to offer could be gleaned from reading this on the page. Read the rest of this entry »
The tale of an old miser who has no interest in the holiday spirit until his past, present and future come haunting him one Christmas Eve is fairly well known. Though the story is told often, there is something that remains fascinating about the Charles Dickens classic, “A Christmas Carol.”
This Drury Lane production, directed by Scott Calcagno, is especially geared towards engaging young people. Many darker moments of the tale, like Scrooge’s visit from Marley’s ghost, have more of an element of surprise than terror, which hopefully limits the number of nightmares a parent might have to wake up to and deal with. Children in the audience the morning I attended were highly engaged with the performances, often laughing in comedic moments and frequently enchanted by the “theater magic” in front of them. However, there were several moments when the fog was a bit too heavy for those sitting in the first few rows, which easily disturbed the young patrons and pulled the rest of the audience out of the show. Read the rest of this entry »
Tracy Walsh, Mark L. Montgomery and Adrienne Walker/Photo: Michael Brosilow
Watching a Greek drama is odd, because your moral compass gets completely rewritten. There’s a moment in Nicholas Rudall’s new translation of Euripides’ “Iphigenia in Aulis” when Clytemnestra says to her husband Agamemnon something along the lines of “Remember when you met me and murdered my (first) husband and killed my two sons in front of me?” Clytemnestra then goes on to point out how she eventually got over that and forgave him and became his loving wife and bore a gaggle of beautiful children, one of which (the titular Iphigenia) Agamemnon is going to sacrifice to the gods so that he and the rest of the Grecians can go fight a war. It struck me as I was listening to these words that I am watching a play in which a man murdered his wife’s first husband and her children and then married her and yet… that fact is incidental to the action currently at hand. It’s barely relevant. A footnote.
I repeat, he murdered her husband and both of her sons in front of her and the entire reason she brings it up is to point out how she totes got over it.
If I saw a modern-day play wherein someone dropped that little tidbit in the middle of an argument, it would stop the play dead in its tracks. There is no possible way that the play could be about anything other than that. It would be “the big secret” that gets revealed halfway through Act 2. Or maybe the play would be a marriage that pulls double duty as a prolonged case of Stockholm Syndrome. Either way, Agamemnon’s act would not be treated as incidental. It would be very, very integral. Read the rest of this entry »
Shuler Hensley and Presley Ryan/Photo: BlueMoon Studios
As a first time Broadway-esque experience, this year’s iteration of “Dr. Seuss’ How The Grinch Stole Christmas! The Musical” performs its duties with enough pleasing flair and upright enthusiasm to charm its young audience into a return trip to the box office. For the nostalgic chaperones in tow, however, the show might disappoint.
The primary thrills are here: a perfectly frumpy, frothy Grinch with his fur extending six inches beyond his fingertips, the bump and wriggle of the candy-colored Whos and a set with silly psychedelia bending before the eyes. Timothy Mason’s book and lyrics and Mel Marvin’s music are suitably woven with Seuss’ intention, if not his joviality, but this is of minor concern. The kids came for the Grinch, after all.
And what a Grinch they get: Tony Award-winner Shuler Hensley (“Oklahoma!”) is delightfully devious, with a sufficient growl to spook the youngest audience members and enough broad pluck to rope in parents. Aleksa Kurbalija, as a highly animated young Max the Dog, is a standout, full of physical wit and charm. Ken Land ties it together admirably as Old Max, in his tattered fur suit, reminiscing about the Christmas that changed Whoville. Read the rest of this entry »