Photo: Mark Campbell
By Aaron Hunt
The Marriott Theatre in Lincolnshire is kicking off its fortieth anniversary season and I had the chance to speak with executive producer Terry James. “I came here as an actor in 1981. It was just a theater and a resort in the middle of all these beautiful fields.” Given his thirty-year stint at Marriott, James is perhaps the best positioned to talk about the magic formula that continues to keep Marriott—one of the few remaining in-the round, arena-style houses in the country—Greater Chicago’s longest-running, and most-subscribed musical theater, with 507 Joseph Jefferson Award nominations and 93 wins to its name.
“I think part of the reason we’ve been successful is because of the mix of programming that was developed over the years,” James told me. “We’re doing a classic, a seldom-done show, a new take on a show, a new work; we don’t do the same type of show all the time.” Read the rest of this entry »
By Raymond Rehayem
“Go Fuck Yourself” is surely the most provocatively titled of the five Beau O’Reilly one-acts featured in the 26th Annual Rhinoceros Theater Festival. O’Reilly got a surprising reaction when he brought the idea to his theater company. “I expected everybody to go, ‘God, this is terrible! You can’t do this, you’re just shooting yourself in the foot’,” explains O’Reilly. “That’s not what happened: the majority of people who read the play thought, ‘This is the best thing you’ve ever written.’”
In the play, the co-founder of Curious Theatre Branch portrays a mean old actor/writer whose work grows increasingly short until “finally he’s doing this piece called ‘Go Fuck Yourself’ where that’s the only line in the play. It’s extremely satirical about making theater in the Chicago fringe. It’s mean, and it’s nasty, and it’s silly, and it’s funny. It’s mean-funny. Over the past five or six years, I’m consciously writing to what’s funny about the uncomfortable situation. For a long time, I was just writing the uncomfortable situation. And then I realized I liked it better when it was funny.”
Having helped helm Chicago’s longest running fringe festival all these years, O’Reilly is entitled to assail the scene. Asked to also define it, he first points to one frequent Rhino contributor’s aversion to the term. Read the rest of this entry »
Artist’s rendering of the Uptown Underground Grand Promenade
By Raymond Rehayem
I am even less qualified to build a stage, rig lighting, or put up drywall than I am to put on some pasties and do burlesque. Actually I might look strangely alluring in the aforementioned nipple patches installing one of the Uptown Underground’s lovely chandeliers, but my point is when I recently toured the venue I couldn’t visualize how wonderful it will look for its nearly sold-out New Year’s Eve opening night. It was still under construction. Luckily Kiss Kiss Cabaret’s Chris O. Biddle and Jenn A. Kincaid, the pair behind this new 7,000-square-foot theater, were there to fill in the gaps in my imagination.
In the basement of architect Walter W. Ahlschlager’s 1926 Uptown Broadway Building, the cabaret arts mecca that the Kiss Kiss founders envision will occupy a space which—per neighborhood lore—once housed a speakeasy. The building’s ornate exterior immediately evokes the era.
While scouting locations, Biddle couldn’t believe the fortuitous availability of this historic edifice. “I knew the address,” he explains, “and I thought ‘surely it isn’t that big caramel wedding cake.’ And it is. It’s this beautiful baroque style.”
Like many cakes, the lowest level is the widest. There are columns on either side of what Biddle describes as the “grand promenade,” the western side actually extending under Broadway’s sidewalk. Passage between these columns will take you beyond the elevated main stage, past a wall of retro amusements such as vertical pinball machines, art deco claw machines, and a fortune-telling machine, to a more intimate secondary performance space. With the main stage seating 150, the secondary stage seating fifty to sixty, and multiple dressing rooms to facilitate the overlapping of performers, the entertainment need never stall. In what’s being dubbed the Moon Room of the Starlight Lounge, a gal will sip martinis perched on a six-foot-high crescent moon acquired from a Twin Cities production of “Mame.” Read the rest of this entry »
Redtwist Theatre’s storefront location
By Aaron Hunt
With thirty-six Joseph Jefferson nominations and nine wins since Redtwist Theatre’s first show in the Edgewater neighborhood opened in September 2003, it might seem that the company didn’t spend much Cinderella-time by the fireplace. But none of Chicago’s storefront theaters skate through more than ten years without some bumps along the way and this season Redtwist celebrates the anniversary of their residency at 1044 West Bryn Mawr with an eleventh season entitled “Rising From the Ashes.”
I spoke with Redtwist’s artistic director Michael Colucci and original member Johnny Garcia about the company’s journey and the alchemy that has given the company its status and resiliency. Colucci was transplanted from New Jersey to Chicago in 1981. “It was because of a corporate job change,” he says. “The company shipped my boss [here]…and he said, why don’t you come with me? There’s an opening in Chicago.” He smiles. “I thought it was a great opportunity.”
Colucci arrived at the beginning of Chicago’s storefront theater boom. Body Politic, Wisdom Bridge, Victory Gardens and other financially strapped, artistically rich organizations re-envisioned street-level real estate no longer fiscally viable for traditional business into storytelling spaces. Rent was cheap, and small but ardent collectives of newly graduated artists bursting out of Chicago’s universities remodeled these “homes” for theatrical expression. Colucci found himself swept into this tidal wave. He studied acting, left his corporate job when his acting career gained momentum, then added coaching and stage direction to his portfolio. His studio became the Actors Workshop Theatre, and then morphed into Redtwist. The company moved into Edgewater in 2002. Read the rest of this entry »
by Raymond Rehayem
Some folks wanna rock. Some folks wanna white Christmas. Dee Snider wants to spread rocking yuletide cheer.
“Dee Snider’s Rock & Roll Christmas Tale” debuts this season here in Chicago, where we rock year ‘round and where last winter resembled Santa’s polar headquarters. Best known as the singer and leader of the eighties heavy-metal hit-makers Twisted Sister, Snider has built a diverse resumé, spanning music, radio, television, film and now, stage. Speaking to the amiable Snider, it’s clear he brings a great enthusiasm to all these disciplines, while never taking for granted his success in any field.
“When I went to write my autobiography, they didn’t want me to write it. They were like, ‘Just because you can sing doesn’t mean you can write.’ I said let me do a few chapters, and they loved it, so they let me write my own book. I’m blessed to have all those talents.” Read the rest of this entry »
Melissa Lorraine/Photo: Devron Enarson
By Hugh Iglarsh
If any one play embodies Theater of the Absurd, it’s Samuel Beckett’s “Happy Days,” in which protagonist Winnie chatters away through Act I while buried above her waist in, well, waste. In Act II she is up to her neck in it. No explanation is proffered. Her situation is what it is, somewhere between open-ended visual metaphor and vaudeville schtick. It is a provocation to the audience and a kind of torture for the exposed and immobile performer. But if we’re all lucky, out of this chaos of word and image something begins to happen between viewer and actor that has little to do with the conventions of story or character, or even theme. It’s something both simpler and deeper: a kind of communion.
“A Beckett play is really a score, it’s music,” says poet-playwright-scholar András Visky, who has come from Romania to direct Theatre Y’s soon-to-open production of this rarely revived 1961 classic. “Nobody goes to a Bach concert and asks, ‘What does it mean?’ Beckett inherited after World War II the fully meaningless language of the Western tradition—a culture that, as he himself saw, doesn’t protect you from murder. So he felt he had to go back to a zero point, beyond the limits of language.” Read the rest of this entry »
Kelson McAuliffe, Tyrone Phillips, Julian Parker, Jessica Dean Turner, Mercedes White, Aurora Adachi-Winter, Neel McNeill/Photo: Joe Mazza
By Loy Webb
There is a contagious energy that fills the room upon meeting Definition Theatre Company (DTC). One look at their bright hopeful eyes, erect self-confident posture, and fiery passion for theater, and their ebullient spirits latch on to you. Gnawing at your inner soul, inspiring you to dream bigger and aim higher.
Most chalk this up to naive youthful enthusiasm, cautioning them to be more realistic in their endeavors and mindful of the traditional trajectory others before them have taken. However while these young people are big dreamers, they are not naive. They just understand the power of “unfolding their own myth,” as the poet Rumi states.
Founded by six University of Illinois at Urbana-Champaign BFA alumni who are rising artists in their own right—Tyrone Phillips (artistic director), Julian Parker (executive director), Kelson McAuliffe (development director), Jessica Dean Turner (social media director), Aurora Adachi-Winter (casting director), Mercedes White (marketing director) and a later added seventh company member Neel McNeill (Managing Director)—the company was born out of their frustration with the lack of opportunities for multicultural artists in the American theater. Read the rest of this entry »
Drew Schad, Angie Shriner, Kevin Viol and Steve Peebles/Photo: Michael Brosilow
By Hugh Iglarsh
Before the black gold of petroleum became the driving force of business and empire, it was whale blubber that lit the lamps and lubricated both the machinery and the ambitions of antebellum America. And a generation before Captain Ahab and the Pequod sailed into our collective imagination, there was the very real Captain Pollard and the Essex, a Nantucket-based whaler battered and sunk by an enraged and seemingly vengeful ninety-foot monster of the deep.
The story of hunter turned helpless prey, and of the sailors’ three-month voyage across the open sea in whaleboats after the Essex went down, with only eight of the twenty crew members surviving the ordeal, is coming to the Chicago stage, courtesy of Shattered Globe Theatre.
Here on the shores of Lake Michigan, where the greatest aquatic menace is rotting alewives, Joe Forbrich’s “The Whaleship Essex” will transport the audience back to 1820s New England. It was a time when peace-loving, luxury-spurning Nantucket Quakers roamed from equator to pole in search of sperm whales to slaughter and render into precious oil, spermaceti and ambergris. Driven by a seemingly “un-Friendly” combination of avarice, machismo and bloodlust, they created efficient floating abattoirs, turning the planet’s most magnificent creatures into ingredients for candles and axle grease. It was just business, albeit a risky, widow-making one, and the Nantucketers – described by Herman Melville as “Quakers with a vengeance” – took pride in their ability to feed an insatiable market the commodity it craved. Read the rest of this entry »
By Raymond Rehayem
“We’re telling the real story… we see this stuff. We’re telling the grown-ups what’s really happening, the adults don’t really know. That’s because most of the violence that’s going on is with the youth.” So says Monique, a young performer explaining how she and the other nearly two dozen ethnically diverse local teen girls (and one white teen boy, see below) contribute to the upcoming Collaboraction/Chicago Park District theatrical event “Crime Scene Chicago: Let Hope Rise 2014.” The teens comprise the Crime Scene Youth Ensemble, key participants in the multifaceted “touring theatrical reaction to violent crime in Chicago” which unfolds over a month, starting at Collaboraction’s Wicker Park space and touring to a quartet of Park District venues over four subsequent weekends. Read the rest of this entry »
Jim Harms, Kelly Anne Clark, John Stemberg, Summer Smart
By Aaron Hunt
“I’d really fallen in love with Cole Porter, and his music, and just became obsessed with hearing all these obscure recordings. I saw a musical revue which was called ‘The Decline and Fall of the Entire World as Seen through the Eyes of Cole Porter.’ And I remember seeing that, and after I came out of that I wanted to write a musical. That was the light-switch moment for me. This was what I wanted to do.”
Born on the South Side, Gregg Opelka’s family emigrated to Northern Glenview. The third of nine children, all of whom were given piano lessons (Gregg’s seemed to stick), he attended Loyola Academy. His required studies of Greek and Latin would stand him in good stead in his later career. “I was a British poetry freak. Other kids were outside playing ball, and I was reading Keats and Shelley. I attended Lawrence University, in Appleton, Wisconsin, then got a scholarship to the University of Michigan in Classics. Preparing to be a crusty old college professor, stuck in academia. But I always played the piano as I kid and I was drawn. I missed it. I was getting more and more seduced by the musical theater.” Opelka started sneaking off to the practice rooms in the student union, to keep up his Haydn and Mozart. Opting out after earning his MA, Opelka headed for Boston, where he focused seriously on his pianist chops, before returning to his native Chicago in the mid-1980s. Read the rest of this entry »