Theater, Dance, Comedy and Performance in Chicago

Review: That’s Weird Grandma/Barrel of Monkeys

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Photo: Michelle Alba

Photo: Michelle Alba

RECOMMENDED

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 »

Review: Apes of Wrath/Second City e.t.c.

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(l-r) Punam Patel, Carisa Barreca, Brooke Breit, Tim Ryder, Asher Perlman and Eddie Mujica/Photo: Todd Rosenberg

Punam Patel, Carisa Barreca, Brooke Breit, Tim Ryder, Asher Perlman and
Eddie Mujica/Photo: Todd Rosenberg

RECOMMENDED

“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 »

Review: Depraved New World/Second City

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RECOMMENDED

John Hartman, Chelsea Devantez, Emily Walker, Tawny Newsome, Steve Waltien/Photo: Todd Rosenberg

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 »

Review: Cupid Has a Heart On: A Musical Guide to Relationships/The Cupid Players at Stage 773

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RECOMMENDED

High-Res CUPID Photo“You don’t have to be smart to laugh at farts,” Louis C.K. sagely explained in one of his many oft-quoted interviews, “But you have to be stupid not to.” The ensemble of “Cupid Has a Heart On”—which has been consistently running for more than a decade (making it the longest-running sketch comedy show in Chicago history)—would certainly agree. But while most of the humor in here is decidedly lowbrow (one memorable punchline is literally “poop poop poop poop”), it’s also consistently laugh-out-loud funny. If you measure the success of a comedy show by setting up some kind of hits-to-misses ratio, rest assured that “Cupid’s” arrows solidly hit their marks much more often than not. Read the rest of this entry »

Review: Bye Bye Liver: The Chicago Drinking Play/The Public House Theatre

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Photo: Patrick Lothian

Photo: Patrick Lothian

RECOMMENDED

Before this hour of booze-soaked sketch comedy even starts, the audience spends plenty of time drinking in the lobby. And again in their seats after the house opens. And don’t worry, there are plenty of waitstaff dashing around throughout the show ready to serve you more shots, cocktails and buckets of beer. Unsurprisingly, there’s a telling scent of alcohol in the air as the show starts, with an emcee (Josh Dunkin, charming and smarmy in equal measure) who broadly states, “I’m assuming everybody here enjoys drinking… otherwise you’re in the wrong show!”

What follows is a cocktail of comedy scenework and interactive drinking games (name that tune, anyone?). The bits are laugh-out-loud funny (particularly a lengthy one between Sherra Lasley and Mike Barton that showcases the effects of various alcohols on a three-year-anniversary date) and the audience participation is engaging and just rowdy enough to remind you that most of the audience is buzzed, if not downright drunk (there’s a reason everyone in the cast is miked). Keyboardist Tilliski Ramey provides a skillfully comedic soundtrack throughout. Read the rest of this entry »

Review: TJ & Dave/iO Theater

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TJandDaveRECOMMENDED

It’s late on a blustery winter night in Wrigleyville and aside from a few mounds of icy snow the streets are mostly empty. But inside the iO Theater there’s a line that bunches around the ticket window, the entry and the stairs to the second floor, as those who booked in advance pick up their tickets and others anxiously wait to find out if any seats will open up at the last minute.

“I’m just here on the off chance that a ticket might open up,” the guy directly in front of me tells me eagerly. On a sub-freezing weeknight when most sensible people are staying home and warm, this 11pm show is sold out, with a waiting list. And this is fairly standard for TJ & Dave, a duo of improvisers that perform in this slot every Wednesday night at iO and have been working together for more than a decade.

As with most improvisational shows, the setup is minimal—the lights go down, a song plays, the actors take the stage (a few chairs make up the entirety of the set). Wearing what might be described as “business casual,” TJ Jagodowski and David Pasquesi take their time before getting started. Jagodowski puts his hands over his eyes and slowly looks over the crowd with a knowing smile, while Pasquesi crisscrosses the stage in long strides, sometimes seeming to be rearranging the chairs, sometimes just roaming. They then introduce each other, say the infamous words, “trust us this is all made up,” and without a suggestion the show begins. Read the rest of this entry »

Review: Porch Play/Theatre Momentum

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RECOMMENDED

Andy Polacek, Jillian Markowitz and Sal Piccolo

Andy Polacek, Jillian Markowitz and Sal Piccolo

A visit to Theatre Momentum’s website describes their current production as “an improvised one-act play set in a single location.” As promised, the show consists of one continuous, real-time, forty-five-minute scene, with each player sticking to a sole character for the entire show. As an audience member, if you so choose, you are left to wonder just how much of the show is improvised: The entire evening? The basic plot? Certain plot twists? Just a bit of dialogue? I found myself not caring. As the company’s site also explains, “Theatre Momentum strives for work that is theatre that happens to be improvised.” As a viewer, I approached it as such. Unconcerned with the degree to which the show may or may not be improvised, I experienced the show as it was presented: unpretentious, conversational, casual, loose and, above all, humorous. The staging is simple, there are no props to speak of, and the performances could be taking place in your living room. It all results in a satisfying, enjoyable and rather brief evening of entertainment. Read the rest of this entry »

Review: Old Jews Telling Jokes/The Royal George Theatre

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(l to r)Alex Goodrich, Dara Cameron, Renee Matthews, Tim Kazurinsky/Photo by Dan Rest

(l to r) Alex Goodrich, Dara Cameron, Renee Matthews, Tim Kazurinsky/Photo: Dan Rest

RECOMMENDED

Talk about high-concept. If you can’t gather what this show is about based on the title… what kind of a dumb schmuck are you? Based on the popular website OldJewsTellingJokes.com (guess what’s on the website), the original production of “Old Jews Telling Jokes” just closed in the middle of last month after running for almost a year and a half Off-Broadway before opening in Chicago at the Royal George Theatre with plans to run through mid-February of next year. And this goyim loves it.

Though the concept and presentation are blatantly Jewish (even the program looks like a deli menu while the logo is a monstrous pastrami sandwich with a gherkin perched on top of it) the main conceit here is just to throw out as many jokes as possible (along with a few song-and-dance numbers and some brief monologues) and keep the laughs coming. Stripped down, this show really isn’t much more than a long series of jokes: puns, one-liners, anecdotes and stories. Read the rest of this entry »

Review: What the Tour Guide Didn’t Tell You: A Chicago Revue/Second City

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Brianna Baker and Shad Kunkle/Photo by Samual Roberson

Brianna Baker and Shad Kunkle/Photo by Samual Roberson

RECOMMENDED

As a sketch toward the end of this gentle send-up of Chicago makes clear (with a self-referential punchline), Second City has been making audiences laugh (and casting directors take note) since 1959. And “What the Tour Guide Didn’t Tell You” is not so much a standalone revue as it is a “best-of” collection of sketches about Chicago from the last five decades or so of revues—which means they have a lot of material to choose from.

References are made to both the current and previous mayors (the former gets some quick sketches while the latter gets an entire song), potholes on Lake Shore Drive, Wrigleyville, da Bears and da Bean, among other Chicago notables. Still, the focus is always more on comedy than Chicago and even non-Chicagoans should have no trouble following along with the cracks and one-liners. They might even learn a thing or two about Chicago that the tour guide may, in fact, have neglected to mention; the out-of-towners I went with asked me afterward, “So, Lincoln Park is a snooty neighborhood?” Point made, Second City. Read the rest of this entry »

Review: A Clown Car Named Desire/Second City e.t.c.

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Photo: Todd Rosenberg

Photo: Todd Rosenberg

RECOMMENDED

There is a sketch early on in the second act of “A Clown Car Named Desire” that starts out seeming like your standard hipster-mocking (and let’s be honest, who doesn’t enjoy a good hipster-mocking?), but then it ever-so-slowly and subtly morphs into what has to be one of the funniest sketches the e.t.c. stage has hosted in its illustrious history (“Clown Car” marks the stage’s thirty-seventh revue).

It takes place in an American Apparel, where two employees (Mike Kosinski and Brooke Breit) indifferently greet a customer (Chris Witaske) only to discover that he also works at American Apparel. The trio then begin an epic marathon of idle one-upmanship and “top that,” while languidly pacing the stage, attempting to look unimpressed with each other and using as little energy as possible to speak (Breit declares her hate for a four-legged adversary in one breath: “ifuckenhatethatgoat”). At one point Witaske, sporting a fanny pack and colorful tights, declares “I’m exactly where I want to be for a thirty-five-year old man.” And we believe it. Both for Witaske and for his character. Read the rest of this entry »