Theater, Dance, Comedy and Performance in Chicago

Review: Delicious Night: Baudelaire in a Box, Episode 8/Theater Oobleck

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Dave Buchen/photo: courtesy of Theatre Oobleck

Dave Buchen/photo: Theatre Oobleck


Cantastoria is not a terribly familiar theatrical form, but it is a legitimate one, and one that is appropriately suited to bringing the poetry of Charles Baudelaire to those of us who are bombarded daily with memes on Facebook. On the surface, “Delicious Night: Baudelaire in a Box, Episode 8” seems like it ought not to be called a theatrical production, but rather a rock concert. An ensemble of six musicians (four of who are the evening’s composers) play songs that set the French poet’s words to music. All the while Dave Buchen’s inspired artwork slowly slides past on hand-cranked rolls of white paper. Read the rest of this entry »

Review: The Fly Honey Show/The Inconvenience

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For the most part, The Inconvenience’s sixth annual “The Fly Honey Show”’s blatantly burlesque and abounding pop cultural references can make it feel specifically millennial. However, in the moments when performers stand firmly outside of the glib pastiche with personal honesty and poetic earnestness (“Join the hive… the whole damn tribe. All my honeys, let’s shake a good wing for a good thing, all of my honeys, let’s thrive.”), it is clear that “The Fly Honey Show” is not just an exercise in genre but a genuine effort to bring viewers (millennial and otherwise) into The Inconvenience’s glittering underground hive for a reprieve from conventionality’s tyrannies.

Mary Williamson, a powerful host, tirelessly herds the audience through more than twenty acts of spoken word, mash-ups, striptease and comedy. She makes you feel at home in your body as she and the other barely clad bodies dancing throughout the theater are in theirs. Of her fly side-ponytail she says, “It’s business on this side and nonna your goddamn business on this side, because I’m a layered and complicated individual.” Read the rest of this entry »

Review: #TBT/Under The Gun Theater

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Angie McMahon

Angie McMahon


I’ve never been one to keep a consistent journal, but judging by the expressive content of the readings at Under The Gun Theater’s new monthly show “#TBT,” my infrequent entries are far too dry and logistical. A bit of background for the unfamiliar (read: old): #TBT (Throwback Thursday) is a Twitter/Instagram (and even Facebook, though their hashtag game is pretty weak) hashtag people use to post a photo or memory from their past. Every second Thursday at Under The Gun, “#TBT” provides a stage for ensemble members to read their early writing (mostly journals and letters) in all of their embarrassingly inelegant glory. And it is the perfect combination of all three: embarrassing, inelegant and glorious. It’s also sometimes moving.

The night I attended, a dozen readers braved the stage, clutching old diaries, personal letters and short stories. While the fiction readings delivered laughs through their overly ambitious prose—Allison Keller’s eighth-grade opus “The Homeless Child” described a color as “a deep planetarium purple”—the angsty and adamant pinings from young diaries make this a truly captivating show. Read the rest of this entry »

Review: Kurios—Cabinet of Curiosities/Cirque du Soleil

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Mr. Microsmos and Mini Lili1-credit Martin Girard shootstudio

Mr. Microcosmos and Mili Lili/Photo: Martin Girard


To some extent, every Cirque du Soleil show is dreamlike. Writer/director Michel Laprise’s “Kurios—Cabinet of Curiosities” is the first I have seen that makes that scenario explicit. Though ostensibly set in “an alternate yet familiar past”—embodied by a set (Stéphane Roy) and costumes (Philippe Guillotel) that steampunk fans will flip for—the show features a wide-eyed character called the Seeker who climbs into a gigantic wooden chair for a rest at the start of the show with a clock behind him stuck at 11:11 and returns to it at the end to open his eyes just as that clock trips over to 11:12. Since everything that happens in between is purely fantastical, the book ending is apt.

Throughout its two-hour running time—including a twenty-five minute intermission, which only seems long until you see the lines for the bathrooms—“Kurios” delivers. This may be a pop-up show in a parking lot of the United Center, but it’s the full Cirque experience. As soon as you enter the temporary Big Top structure you’re engulfed: with Cirque merchandise, concession stands and costumed actors, among other things. And the space itself is large enough for an actual circus; the true height of the ceiling is repeatedly explored in the high-energy acts that fill the Seeker’s imagination. Read the rest of this entry »

Review: The Moth GrandSLAM/The Moth

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The Moth GrandSLAM 1: Into the Wild

The Moth GrandSLAM 1: Into the Wild


Starting a show by making audacious promises to the audience—you will laugh, you will be amazed, etc.—is usually a misguided path to disaster. But host/MC Don Hall came off as more soothsayer than bloviator as The Moth Chicago GrandSLAM delivered on all accounts. The Moth storytelling series is a well-known mainstay to the Chicago area, with shows every couple weeks at Martyrs and Haymarket. The format is fairly simple: story tellers put their name in a hat, and those drawn get five minutes to tell a story compatible with that evening’s theme. But the GrandSLAM serves as a special event held a few times throughout the year, with the purpose of pitting ten Moth winners against each other for the grand prize of bragging rights. Three sets of judges—including a group of former Moth GrandSLAM winners, members from local LGBTQ storytellers OUTspoken and a randomly selected crew of audience members—scored each story on unspecified criteria. The theme was “Mea Culpa.” Read the rest of this entry »

Review: Acrobatica Infiniti: The Nerd Circus/Acrobatica Infiniti Circus

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Natalie Abell/Photo: Nancy Behall

Natalie Abell/Photo: Nancy Behall


Science fiction, fantasy and comic books are lousy with circuses. From the Flying Graysons to the Circus of Crime to whatever creepy clown Stephen King last wrote about, nerds seem to love a good circus. With this in mind, it seems like a no-brainer that someone somewhere would conceive of a nerd circus where the worlds of fandom and the circus collide. Enter Acrobatica Infiniti Circus.

Acrobatica Infiniti is a community of circus performers dedicated to creating connection between circus performance and geek fandom. Threading the middle of that particular Venn Diagram could have led to an epic disaster of a show, but Acrobatica Infiniti’s “The Nerd Circus” on Friday night was anything but. The show, directed by Tana Karo, and performed for one night only at the Vittum Theater, was funny, thrilling and surprisingly touching.

The night began with an introduction by an MC in a Superman t-shirt. He entered without any of the bombast you would normally expect from a circus ringmaster. At first this choice seemed off-putting, underselling the pomp and circumstance of the show, but over the course of the evening, guiding the audience from one performer to the next, he won us over with his wit, humility, humor and, of course, a few juggling tricks. Read the rest of this entry »

Review: The Salts/The Inconvenience

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The Salts - 3


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 »

Breaking Barriers: The Chicago Inclusion Project Makes its Debut

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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

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 »

Review: Belmont Burlesque Revue/Belmont Burlesque

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Photo: Chris Neseman

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 »

Critic’s Postcard: Fairies and Snakes at Moulin Rouge

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Photo: S. Bertrand

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 » | quick loans tucson | personal loan case