Stage 773 Clubhouse Ensemble Training/Photo: Michael Courier
By Sean Kelley
In the world of American acting, fame and fortune are to be found on the coasts in Los Angeles and New York. However, many of America’s most successful actors and comedians come to Chicago to make their bones before making a go at the Big Apple or Hollywood. Chicago’s theater scene is full of young performers looking to learn their trade and beef up their resumes. It should come as no surprise then that Chicago is also home to some of America’s foremost training centers for acting and comedy. The School at Steppenwolf regularly turns out actors who may be the next Joan Allen or John Malkovich. Second City and iO Chicago churn out Tina Feys and Stephen Colberts like clockwork. Sure, find fame and glory on the coasts, but if you want to become a great performer, come to Chicago first.
Chicago has spent decades fomenting its place as a theatrical hub, but in recent years things seem to have really taken off. Chicago’s performance training centers are experiencing something of a renaissance right now. Vaunted Chicago institutions are expanding dramatically (as theaters are apt to do). The Annoyance Theatre recently moved into a brand new space overlooking Clark Street. Second City is expanding in Pipers Alley and, of course, Charna Halpern’s iO Chicago has moved into a gorgeous new space on Kingsbury Street. Annoyance, iO and Second City expanded to accommodate the ever-growing multitudes of eager young performers looking to take their stages and classrooms. Each of these theaters has been around the block and earned the reputation that brings actors from the world over to their doors. But it is not just the old warhorses that have benefited from the legions looking to learn. In addition to these established institutions, there are several new kids on the block looking to help guide the next generation of performers. One of them is Stage 773. Read the rest of this entry »
Photo: Shannon Jenkins
As the saying goes, truth is often stranger than fiction. When it comes to the world of religion, the line between the two (truth and fiction) becomes blurrier and blurrier. And for a large number of figures within various religious frameworks, it can even become impossible to separate truth from fiction, to separate history from mythology, and to separate man from his claims to the mind of the divine.
The Reverend Jim Jones is certainly one of those figures and in this darkly funny little musical currently playing at The Annoyance, with book and lyrics by Charlie McCrackin and peppy music by Lisa McQueen, the blurry origin story of Jim Jones is given a surprisingly robust and unflinching examination.
“You can’t tell a story about Jim Jones that doesn’t end in Jonestown,” says our narrator near the end of this frequently absurdist recounting of a meeting between Jones (a wild-eyed and appropriately harried Paul Jurewicz) and the self-named Reverend Major Jealous Divine (a captivating Greg Hollimon). As written by McCrackin, the crux of the story essentially plays out as the origin story for a supervillain, where we already know that our protagonist’s actions will eventually lead to the deaths of nearly 1,000 people. Read the rest of this entry »
Bruce Phillips and Alex Young
This Hitchcock-themed improv show features not one but two drinking games happening simultaneously. The first is the more familiar audience drinking game. In this case you’re asked to drink every time a pun is spoken, a Hitchcock film title is said or someone is murdered, among other impetuses. The second, and less familiar, is a drinking game that happens on the stage, because the cocktails portion of this punny title includes not just the audience but the actors as well. In this case, the actors are working with a wet bar and are drinking throughout the show with one rule: any time a character is given a drink, he or she must finish it before the scene ends. And these actors love to serve each other.
As can be expected, this leads to some increasingly hit-or-miss comedy bits, with a number of risky endeavors paying off with huge laughs and several others petering out. Studies show that the biphasic curve holds true for the enjoyment of alcohol on an individual level—essentially, you will feel better as your blood alcohol content (BAC) approaches .055 and worse from then on—and so too goes this show. Read the rest of this entry »
Photo: Michelle Alba
Children of all ages braved a rainstorm Monday night to hear songs about jelly, see a video game where a taco takes on a squash and visit a world where a person lives in a sewer with a monkey as a butler. Who else could come up with this stuff but kids? Now in its seventeenth season, Barrel of Monkeys hilariously bring the stories of third, fourth and fifth graders from Chicago Public Schools to life in “That’s Weird, Grandma” at the Neo-Futurist Theater.
Since 1997, Barrel of Monkeys has lived out their slogan, “Kids write it. We do it. World Saved!” by working with kids in fifty-seven Chicago Public Schools to create and perform more than 300 student-written stories annually. “That’s Weird, Grandma” is a revue that features some of the funniest, weirdest and most creative writing youngsters are able to craft and share.
Barrel of Monkeys’ artistic director, Molly Brennan, cleverly directs an outstanding ensemble cast that features company members Kassi Bleifuss, Lizzie Bracken, Linsey Falls, Maggie Fullilove-Nugent, Emjoy Gavino, Nick Hart, Tai Palmgren, Tim Soszko, Curtis Williams, Donnell Williams and Rachel Wilson. The set is minimal, but quite a few colorful costumes and props help keep kids’ attention focused on the stage. Read the rest of this entry »
Punam Patel, Carisa Barreca, Brooke Breit, Tim Ryder, Asher Perlman and
Eddie Mujica/Photo: Todd Rosenberg
“That’s cool as hell!” declares an enthralled pre-recorded voice, breaking away from his own faux deep thoughts about the universe, as the six-person cast of “Apes of Wrath”—the latest revue to hit the Second City e.t.c. stage—holds multicolored balls of light in front of themselves on a darkened stage. This is a near-perfect introduction to the introspective-yet-easily-distractible theme that runs through this production and, if we’re being honest, through most of our internet-connected brains: on one hand we want to be thoughtful and reflective, but on the other… ALL THE THINGS! ALL THE TIME!
Sure there have always been distractions, but it seems that in the last decade, the distractions have just been getting exponentially more impressive, more easily accessible and more instantly forgettable by the day. Notably, the first sketch of the night features a group of writers at BuzzFeed (now that “newspapers are no longer a thing”) teaching a new trainee the ropes of creating engaging content. BuzzFeed’s an easy target for confronting our microsecond attention-spans, but the cast (who are also the writers of the show) nail it without being blatant. And that’s what makes the majority of this two-act show work so well: even when addressing familiar topics, they find a new way in. Read the rest of this entry »
Liz McArthur and Jill Valentine
Comedy has come a long way. In the old days, many male comedians believed with all of their hearts that women just weren’t funny. The comedy world was once filled with barriers for female comedians. Times have changed and while many of those barriers still exist, many women have taken their rightful place in every echelon of the comedic world. To celebrate this welcome change, the Chicago Women’s Funny Festival (CWFF) was created.
Festival founders Jill Valentine and Liz McArthur—both veterans of the Chicago comedy community who worked on the Chicago Sketch Comedy Festival, another of Chicago’s big comedy extravaganzas—saw an opportunity to create a festival that focused on women. By applying their experience and expertise, they created the CWFF in 2012.
Now for the third year in a row, the CWFF takes to the stage to celebrate women in comedy. Unlike many other comedy festivals that focus on a specific genre of comedy such as sketch or improv, the Chicago Women’s Funny Festival features every type of comedy, from stand-up to burlesque to musical comedy; if it’s funny, it has a place at CWFF. Read the rest of this entry »
(l to r) Kaitlin Larson, Ellen McMahon, Elianna Stone, Jenelle Cheyne, Grace Palmer, Amy Rose Ramelli, Karly Bergmann/Photo: Cassie Ahiers
Everyone’s got to eat, right? But not everyone has a healthy relationship with food. In fact, it’s estimated that over twenty million Americans are affected by an eating disorder. Women tend to be particularly impacted. While illnesses associated with eating disorders are no laughing matter, the women of “Table Manners” at The Public House Theatre certainly strive, and often achieve, a chuckle when they share their stories and struggles of “female mastication.”
After a champagne toast to their “food baby,” the ensemble of Karly Bergmann, Jenelle Cheyne, Kaitlin Larson, Ellen McMahon, Grace Palmer, Amy Rose Ramelli and Elianna Stone perform a series of skits, monologues and comedic songs to illustrate just how complex their connection to various cuisines really is. Read the rest of this entry »
Fawzia Mirza and Damian Conrad/Photo: Michael Brosilow
This gal’s got some real balls. Is that too blue for you? Sorry, I just couldn’t resist such a nice opening. Oh, she’s got one of those too.
Lest you think I’m being too irreverent, be advised that the protagonist of “Brahman/i: A One-Hijra Stand-Up Comedy Show” is frequently in your face about the uncommonly dual genitalia s/he possesses. Portrayed by actress Fawzia Mirza in a commanding and at times fierce near-solo turn in About Face Theatre/Silk Road Rising’s downtown production, the titular character delights—like any good comedian—in confronting the audience. If you’re squeamish about anatomy or gender designations, be forewarned. And if you’re British, be prepared to bear the brunt of an increasingly fiery assault on your imperial history that surpasses even the abuse heaped upon Brahman/i’s sidekick, a hapless but sympathetic (and sympathizing) bass player who commits no less a sin than daring to sit, uncommitted, partly in the dark and partly in the spotlight reserved for the star.
It’s Brahman/i who really straddles the line between dark and light, and so many other borders as well—at times making a case for understanding and tolerance, and at other times venting with a self-assured righteousness befitting one named after supreme, infinite reality. Also like the Hindu concept of Brahman, our hero in this play escapes gender classification. S/he flirts with such designation—and with some of the audience as well—but don’t expect any easy answers. Read the rest of this entry »
John Hartman, Chelsea Devantez, Emily Walker, Tawny Newsome, Steve Waltien/Photo: Todd Rosenberg
Though you can almost always count on Second City revues to deliver plenty of laughs, thematic consistency isn’t quite as reliable. “Depraved New World”—the 102nd revue to grace the main stage—manages both without short-changing either. And that consistent theme isn’t depravity—though there’s enough of that sprinkled throughout to justify the title. It’s a bit deeper than that. Under the direction of Mick Napier, the cast members of “Depraved New World” (who are also the writers) explore the internal struggle we all go through regarding our own insecurities, shortcomings and frustrations.
This concept is introduced in a song that finds various characters being confronted by their inner voices berating them for telling a stupid joke or asking a stupid question or just not making good enough brownies: in short, for being human. “Does everyone feel this way?” wonders one character after receiving an upbraiding by a nagging inner voice. And the unspoken answer is, “Of course.” Not feeling up to snuff is a universal theme that is instantly relatable to all. It also provides plenty of fodder for laughs. Read the rest of this entry »
Plan 9 Burlesque
By Raymond Rehayem
Back in the cathode ray days of my pre-HD childhood, when my father bemoaned my obscure taste in comic books (“What are the X-Men? Why can’t you like something popular like Spider-Man, so I can buy you something?!?”) it wasn’t just uncool to have geeky tastes, it was downright inconvenient. Miss an issue of mutant boarding school mayhem and you had better pedal your ten-speed to your only local comic shop (if you were in so fortunate a locale) and pray on the way that there will be a bagged back issue to fill the gaps in your knowledge of Homo Superior developments.
It’s a vastly altered reality in which the Chicago Nerd Comedy Festival (aka Nerdfest) gears up for its second annual undertaking this month at Stage 773. I credit the MP3 for making handheld gadgetry irresistible and CGI for making big screen superheroes passable. Regardless, nowadays there’s nothing mysterious about an old Green Lantern t-shirt. It’s quite the opposite.
“Nerd is kinda norm now,” opines Nerdfest co-creator Katie Johnston-Smith. A self-identified nerd who temporarily abandoned the fold due to middle school mockery, she confesses to a concern that returning to nerd-dom around the time it rose in stature may make her “a poseur.” But Johnston-Smith’s enthusiasm for geek culture proves the authenticity of her allegiance. Following last year’s inaugural success, the festival’s committee came up with a free monthly night of fan fiction readings to sustain and build interest leading up to this year’s Nerdfest. Johnston-Smith and co-founder Fin Coe curate and host “Hey, I’m A Big Fan: A Night Of Fan Fiction Readings” every third Wednesday at Stage 773, for which participants specifically write new material. Much, though not all, of the fan fiction is erotic in nature. Despite seemingly intense prospects like “a very graphic sexual version” of the sitcom “Full House,” Johnston-Smith describes the ongoing monthly series as “low stakes and chill.” A selection of the best “Hey, I’m A Big Fan” readings—as chosen by the festival committee and the fanbase—opens the festival on Wednesday. Read the rest of this entry »