Steve Key, Mary Ann Thebus, Joe Dempsey/Photo: Liz Lauren

RECOMMENDED

This world-premiere play by Victory Gardens ensemble playwright Joel Drake Johnson has a lot going for it, including managing to get some cutting-edge dark humor out of the increasingly popular phenomenon of middle-aged grown-ups returning to their parental nests, seeking to recapture the carefree and cocoon-like childhood existence that they think they remember when things become too tough in the real world.

The ninety-minute intermission-less play moves quite quickly, far too swiftly for the narrative arc that is set up in that characters end up pouring their hearts out before we really have had a chance to get to know them well enough to care enough. And while the sibling rivalry dialogue rings true, the mother (charmingly played by Mary Ann Thebus) in this case is far too wise, introspective and insightful, and the all-knowing daughter (Allison Torem) who comes to visit her dad fleeing from her sick mom (whom we never see) shatters credibility with astonishing guru-esque social skills and analytical abilities beyond that of Dr. Phil and Yoda put together. Read the rest of this entry »

Here’s the press release from Goodman:

GOODMAN THEATRE ANNOUNCES A RED HOT 2011/2012 SEASON

***TWO DIRECT–FROM–BROADWAY HITS, A TENNESSEE WILLIAMS CLASSIC REIMAGINED BY AN INTERNATIONALLY–ACCLAIMED SPANISH DIRECTOR,  AN INCANDESCENT MUSICAL REVIVAL AND NEW WORKS SEAR THE STAGE***  Read the rest of this entry »

Ami Dayan

Every religion has blood on its hands, backed by zealous governments. Look at Henry the Eighth’s treatment of Catholics or France’s dealings with Protestants. “Conviction” looks at the Spanish monarchy’s persecution of Jews during the Spanish Inquisition, backed by the Catholic Church.

Father Andres Gonzales (Ami Dayan) attempts to stop townspeople from killing local Jews. Instead, he meets Isabel, a beautiful Jewish woman who reminds him of his past: he’s a converso, a converted Jew who trained as a Catholic priest. She entreats him to return to his Jewish roots; on pain of death, he complies.

It’s an interesting premise, but Oren Neeman’s strident script lacks the charm necessary to enable us to root for the protagonist; the dialogue’s stilted and there’s a great deal of hackneyed exposition. Sole performer Dayan does what he can with the occasionally purple prose. He’s likeable, but not enough to pull us through the story. (Lisa Buscani)

Maya Productions at Theater Wit, 1229 West Belmont, (773)975-8150. Through February 20.

RECOMMENDED

Neil LaBute’s “reasons to be pretty” continues his well-trod argument over surface versus content as seen in plays like “The Shape of Things” and “Fat Pig.” Points to LaBute for keeping the oft-examined debate from sinking to the formulaic. The heart of the piece is in the right place.

Greg (Darrell Cox) makes a derogatory comment about girlfriend Steph’s (Darci Nalepa) attractiveness. Kent’s (Christian Stolte) wife Carly (Somer Benson) passes on the comment and all hell breaks loose as both couples plunge into nasty sexual politics, exploring loyalty and betrayal.

Cox scores as Greg, a hapless guy who struggles for redemption; you want to slap him and hug him afterward. Nalepa’s fury is both painful and darkly funny; Stolte and Benson lay believable ground as a couple poised for a bad fall. Rick Snyder’s solid direction keeps the ensemble on a well-paced track. It’s a bittersweet look at mundane cruelty. (Lisa Buscani)

At Profiles Theatre, 4147 North Broadway, (773)549-1815. Through April 10.

Francis Guinan and Patrick Andrews/Photo:Michael Brosilow

RECOMMENDED

Brett Neveu’s second commission from the Writers’ Theatre follows in a long line of “one last big score” con stories, in which a scam artist decides to risk everything on one final, usually epic, con before leaving the game for good. What sets Neveu’s apart is an intimately drawn father-son relationship that anchors the double-dealings.

Sam and Eddie Sisson are a father-and-son pair of grifters who pull small hustles all over an unnamed Midwestern city. On the verge of his eighteenth birthday, Eddie feels he’s ready to strike out on his own, but his father feels otherwise. They agree to do one final con, but its consequences could be greater than a fat payday.

The play’s cons, which were perfected with the help of magician Dennis Watkins, are fun to watch unfold, but the real value of this production, the true mark of good theater, is the human element. Francis Guinan and Patrick Andrews are compelling as the Elder and Younger Sisson. In supporting roles, Joe Miñoso creates memorable, multiple marks for the hustlers to dupe, and Karen Janes Woditsch turns in a heartbreaking performance as Eddie’s drug-addicted mother. (Neal Ryan Shaw)

Writers’ Theatre, 325 Tudor Court, Glencoe, (847)242-6000. Through March 20.

RECOMMENDED

Cliché tells us that “It is better to have loved and lost than to never have loved at all.” Within the confines of an austere and slightly claustrophobic apartment, Breda (Kate Buddeke) and Clara (Laurie Larson) are two aging Irish sisters who would beg to differ. In the strangely hypnotic language of playwright Enda Walsh the sisters paint a bleak picture of the outside world to the slightly younger Ada (Kirsten Fitzgerald) by repeatedly recounting a troubled nightclub experience from years earlier that has colored their entire view of the world. Patsy (Guy Van Swearingen), a lonely fishmonger, stops by occasionally to deliver fish and soliloquize. Walsh’s words are not easily interpreted and almost appear nonsensical until the story begins to take shape. Director Robin Witt has a powerful cast that manages to draw out the subtle comedy amidst the dark discussions. It’s certainly not light entertainment, but the unexpected emotional wallop is worth the wait. (Zach Freeman)

At A Red Orchid Theatre, 1531 North Wells, (312)943-8722. Through March 6.

Here’s the press release from the Lyric Opera:

William Mason’s final season as general director
Lyric Opera of Chicago’s 57th season begins Saturday, October 1, 2011, at 6:30 p.m.
THE TALES OF HOFFMANN starring Matthew Polenzani, James Morris, Anna Christy, Erin Wall, & Alyson Cambridge

Also next season: Lucia di Lammermoor*, Boris Godunov, Ariadne auf Naxos, The Magic Flute, Aida, Show Boat*, and Rinaldo*
72 performances of 8 operas in the 25-week season
*THREE NEW PRODUCTIONS to be seen at Lyric in 2011-12 including two Lyric Opera premieres Read the rest of this entry »

Photo: Austin Forbord

By Sharon Hoyer

Compassionate and with gentle humor, Joe Goode’s dance theater is distinguished by a humanity both wonderful and rare. This weekend his San Francisco-based performance group brings two works to Chicago: “Wonderboy,” about the fears and desires of an exceptionally empathetic puppet, and “29 Effeminate Gestures,” a solo work incorporating verbal riffs and power tools. He spoke with me via phone about the performance.

What inspired you to incorporate puppetry into your choreography?

I’ve never been attracted to puppetry; I’ve been a bit of a puppophobe. I met Basil Twist and he enticed me to choreograph a moment in a show of his. The puppets were so transformative, they had so much character and Basil and I decided we wanted to do something together. We thought it would be fun to make a puppet the central character in a dance drama. We came up with Wonderboy, whose superpower is that he’s very sensitive and fragile and able to feel things in a very profound way, and while that makes it difficult for him to live in the world, it gives him great insight and sympathy. This is a not very hidden metaphor for the queer child—a boy who has great sensitivity, but it isn’t valued if he’s not sportsmanlike or athletic. Finding a way to bring that into one’s life as an asset is kind of the story of the artist. Read the rest of this entry »