Those who say punk rock is dead have been spending too much time at the Wicker Park Urban Outfitters and not enough time right down the street at the Flatiron Arts Building, where the spirit of ’77 is alive and well. Flatiron is the temporary home of The Inconvenience, an interdisciplinary company that takes all the pretension out of the term “interdisciplinary.”
The Inconvenience kicks off their promising 2015 season with a dynamic evening of dance billed simply as “The Salts.” As a collaboration between Erin Kilmurray (who also performs) and Molly Brennan, the performance’s reference points are intentionally iconic: Iggy Pop, Velvet Underground, Patti Smith, Talking Heads. Yet the take is refreshingly modern, with frenetic choreography broken up by humorous interjections and politically charged vignettes. The routines themselves celebrate the spirit of punk: loose yet taut, zealous yet highly accessible. Read the rest of this entry »
Top row from left: Behzad Dabu, Todd Garcia, Emjoy Gavino, Barbara Robertson
Bottom row from left: Yunuen Pardo, Anthony Fleming III, Delia Kropp, Michael Patrick Thornton
Middle: Charin Alvarez, Bryan Bosque
By Mary Kroeck
Emjoy Gavino, Michael Patrick Thornton and Chay Yew are familiar names in the Chicago theater circuit. Gavino is a teaching artist with Barrel of Monkeys, ensemble member of Remy Bumppo and was recently in Court Theatre’s world premiere of “The Good Book.” Thornton had a recurring role on the television show “Private Practice” and is a Jeff Award-winning actor who recently appeared in Lookingglass’ production of “Title and Deed.” Yew is an Obie Award-winning director and the artistic director of Victory Gardens. Individually, these three have impressive resumes. However, one challenge they, and many others in and out of the theater profession, have struggled with, is how to create a more inclusive and diverse environment within the city of Chicago for artists to grow. So, along with other members of the theater community, Victory Gardens and the League of Chicago Theatres are joining together to launch The Chicago Inclusion Project.
“We have exceptional African-American theater companies and Latino companies and LGBTQ companies, but it’s rare for all these different, vibrant communities to have the chance to share the same stage or even be considered for the same project,” says Gavino, The Chicago Inclusion Project’s founder and producer. “That’s our aim. That’s why this initiative is necessary.” Read the rest of this entry »
Photo: Chris Neseman
If you’re looking for an enchanting emcee who can walk the fine line between low-key and high class while sipping a giant martini, look no further than MsPixy, the quick-witted host of the Belmont Burlesque Revue (BBR). Languidly pacing the stage in a shimmery evening gown, she leads audiences through this eighty-minute mix of burlesque, comedy, music and magic (or “a variety of entertaining and often sexy-like things,” in her words) every other month on a stage at Theater Wit with a rental agreement that MsPixy describes as similar to “your cousin who stays on your couch,” since the revue essentially borrows another show’s set for the night.
On Saturday night, the abstract set for Shattered Globe Theatre’s “The Grown-Up” provided a space for the ladies (known collectively as the Belmont Bombshells) and gents of BBR to perform upon. And perform they did, opening with a parasol-spinning Bombshell quartet that may have been the weakest number of the night, but set the stage for the kind of shimmying and teasing that ever-growing burlesque audiences have come to expect. Read the rest of this entry »
Photo: S. Bertrand
By Zach Freeman
There are very few theatrical venues in the world that can boast anything like the history, cachet and all-around tourist-centric sexiness of Moulin Rouge, now celebrating its 125th (!) anniversary. With that in mind my wife and I made our way to the iconic red windmill at the intersection of Rue Lepic and Boulevard de Clichy in the Montmarte district a few weeks ago, expanding our trip to Paris to include the latest offering from “the most famous cabaret in the world.”
Entitled simply “Féerie” (Fairy), it turns out that this production—which has been running since the end of 1999—is every bit as flashy, ephemeral, evocative and simple as the name implies. For clarity’s sake I should add that by “simple” I just mean “nearly plotless”—with 1,000 costumes, eighty dancers, six horses and five pythons (yes, you read those last two correctly)—this show is anything but simple in the technical sense. But more on that in a bit.
Entering the historical eighteenth arrondissement theater through a throng of camera-toting tourists and fellow attendees is a theatrical experience in itself. The bright red carpet and brighter lights successfully immerse you as you check in and are guided to your table. (With 900 seats, it’s no surprise that they don’t trust you to find your way alone.) The space is set up like a massive, two-story restaurant, allowing for customers booking 7pm tickets to eat dinner before the 9pm show. Since we opted for the 9pm show, we arrived at our table post-dinner and were promptly greeted with glasses of champagne. Read the rest of this entry »
Photo: Joan Marcus
Magic is tricky (eh?). If it’s not your genre of choice it could be difficult to summon the proper enthusiasm to enjoy yourself. This particular show opens with a montage demonstrating each performer’s special skill. I needed something to get me interested and this montage proved to be more than ample. I muttered “holy shit” in earnest at least twice, once when a full-size train car appeared on stage.
Part of the fun is not knowing what happens next, so I’ll limit the spoilers and focus on the moments you can probably search for on YouTube. Adam Trent, “The Futurist,” opens the show with a few simple tricks that don’t inspire awe until an effect where he focuses a camera on an old man in the crowd, walks over to the old man, zooms on the old man, only to have the old man rip off his old man mask and MAGIC! It’s Adam Trent. Baffling. Jeff “the Trickster” Hobson serves as the de facto host for the evening’s events. He introduces a number of the other illusionists, each with their own accolades. Many are award winners, headlined by Yu Ho-Jin, “The Manipulator” and reigning Magician of the Year, who turns the simple use of cards into a mesmerizing display of legerdemain that leaves the audience totally enraptured. Read the rest of this entry »
Carmen Molina, Claudia DiBiccari, Mykele Callicut, Paula Ramirez, Preston Tate Jr., Deanna Reed-Foster and James McGuire/Photo: Anna Sodziak
Heat Wave/Cold Basement Dramatics
A mention of the skin-ripping heat plague that either directly caused or contributed to 739 deaths in Chicago in the summer of 1995 still causes those of us who lived through it to walk through a Windy City winter with jaw-grinding thankfulness. The PR department of the Mayor’s Office spun a tale of deceit that denounced the families, churches and neighbors of the victims for failing in their duty as emissaries of first response. It was left to the CDC and the National Weather Service to disprove this machination, although the residue of finger-pointing still lingers in the city’s consciousness. The mystery of a steady supply of power afforded affluent neighborhoods, while the homes of impoverished, minority citizens suffered repeated, long-term grid failure, continues unsolved.
Steven Simoncic’s play, adapted from Eric Klinenberg’s book, “Heat Wave: A Social Autopsy of Disaster in Chicago,” delivers the hard data of the tragedy, enlightening the horror by grounding his tale in humanity, and allowing the audience to breathe by the heavy use of humor. In lesser hands, such a play might force the watcher to disconnect for emotional safety; Simoncic holds our hands and walks us through the morgue. Read the rest of this entry »
Chicago’s Uptown neighborhood celebrates the long-delayed opening of a venue for burlesque, cabaret, music, magic and comedy. Located in a bunny warren under the refurbished Walter W. Ahlschlager-designed Uptown Broadway Building, the Uptown Underground’s bar and multiple entertainment spaces have the feel of the thrilling, temporary safety of an Al Capone-era speakeasy.
Muffy Fishbasket and Vallery Dolls have been booked into the Underground’s Starlight Lounge, where they currently expound upon the peaks and valleys of “the world’s oldest profession.” With all the gender-bending panache of a couple of girls who have no intention of passing as females with “real lady bits,” Muffy and Vallery use the elements of clown and burlesque to successfully parody their parody. Muffy sports a Lucille Ball volcano wig that threatens to defile the ceiling, a corset, dirigible-bazooms, and little else. Vallery’s boa must be a registered weapon. Read the rest of this entry »
Photo: Christopher Nesemen
Gorilla Tango Burlesque has made a name for itself in recent years performing nerd-themed burlesque shows. After parodying “Star Trek,” “Indiana Jones” and other properties, a “Game of Thrones” show was probably inevitable. “Game of Thongs” is that show. So how does George R.R. Martin’s tale of war, political intrigue, sex and dragons translate to burlesque? Surprisingly, not well.
“Game of Thongs” is a fittingly wordy show as a parody of Martin’s verbose tomes. Long scripted scenes loosely connect each dance number. These scenes have an old-timey, presentational, vaudevillian tone. This can work in a show, but it requires a balance of clever dialogue and physical humor that “Game of Thongs” clearly lacks. The humor seems to be, mostly, a list of synonyms for the word “boobs” placed over character names and places from Martin’s novels. Each of these jokes seems to work once, but are repeated over and over again throughout the show, getting less funny with each mention. A little more creativity combined with the bawdy humor would be welcome. The talented cast does their best to make the scenes work, but it’s an uphill battle. Read the rest of this entry »
Molly Plunk and Dean Evans/Photo: Sylvia Hernandez DiStasi
The tardigrade is a microscopic life form that generally lives under water, but can also survive the vacuum of space. In its newest circus show, the Actors Gymnasium looks through the microscope lens at a magical world that such tiny creatures might inhabit. Remarkably engaging clown work by Dean Evans and Molly Plunk carries the audience through an adventure that features scenes accented by juggling, trapeze work and impressive feats of aerialism.
This circus is not only made up of exceptionally skilled performers, but also fitted perfectly to the performance space in which the Actors Gymnasium makes their home. One surprisingly simple and yet brilliantly effective piece bookends the show, as we become familiar with a character who is nothing more than a laser-pointer dot. It dances around mumbling, and discovering its environs. Occasionally, rather than a flat surface, it runs into a light fixture which diffracts its own light into rings, and the accompanying sounds ring out, too. It’s a fun and funny bit of playing that defines the simple and yet brilliant sort of evening that is to follow. Read the rest of this entry »
Dru Smith, J. Evelyn, Rashaad Hall/Photo: Andy Karol
Just a forewarning: if you are looking for the Chicago featured on marketing postcards and glossy travel guides, you will not find it at Chicago Slam Works’ “Redlined.” There will be no mention of Buckingham Fountain, Millennium Park or Navy Pier. There will be no pictures of sprawling skylines, no top-ten list of great bars or restaurants, and if you’re looking for Bulls, Bears, Sox or Cubbies pride, you will be sorely disappointed.
What will not disappoint however is this lyrically potent love letter to the muffled and hidden faces of this city. In this production they are given both a face and a voice through the ensemble cast of J. Evelyn, Rashaad Hall, Shelley Elaine Geiszler, Frankiem Mitchell, Dru Smith and Teagan Walsh-Davis. These actors are extremely aware of the great burden and blessing that task is, and so with passion and heart they deliver the stories of the city’s forgotten. These stories include those of police-inflicted violence on innocent black and brown bodies—a phenomenon not limited to Eric Garner and Michael Brown, our out-of-state fallen angels. In fact, we are told that Chicago has the highest rate of police homicide in the country. Read the rest of this entry »