Zoe Drift, Diva LaVida and Choco Latina/Photo: Jason Brown

RECOMMENDED

Anchored by the well-honed comedic timing of Diva LaVida as Mari, a tough mariachi seeking revenge for the killing of his “womans” by local gangster Mierda, the cast of this provocative parody of Robert Rodriguez’s cult favorite “El Mariachi” (later remade into the more popular “Desperado” starring Antonio Banderas) works hard to sell the jokes in this episodic script by The Salsation Theatre Company. And their work mostly pays off (in pesos). Read the rest of this entry »

Usman Ally, Alana Arenas, Lee Stark, Benim Foster/Photo: Michael Brosilow

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Amir is an American of Islamic heritage, his parents from the part of the world now known as Pakistan. He seems fully assimilated in all the ways mainstream America would want him to be: he’s disavowed the religion of his people, married a white woman and, most important of all, become an asshole corporate lawyer who wears $600 shirts. For what aspiration is more American than to be an asshole corporate lawyer?

But no one wants the assimilated Amir. Not his nephew who still clings to the Koran. Nor his wife, who’s using Islam in a  contemporary version of radical chic to establish her career as an artist. And in the ultimate act of identity suppression, he’s immersed himself, it seems, in a world of American Jews—at his law firm, among his social circle. Read the rest of this entry »

Randall Newsome, Sally Murphy, Kristina Valada-Viars and Francis Guinan/Photo: Michael Brosilow

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War photographer Sarah, played with a sense of psychic damage to match her physically wrecked state by Sally Murphy, is home in New York with her long-term companion James, a freelance war journalist, who Randall Newsome injects with just enough emotionalism to complement Sarah’s internal struggle. She’s just barely survived a horrible injury while on assignment. Addicted to excitement, they’re the “Sid and Nancy” of journalism, as their pal Richard (Francis Guinan, brilliant as always) describes them in exasperation. But when Richard introduces his young and bright and naive new girlfriend, Mandy Bloom (Kristina Valada-Viars, charmingly bathetic), Sarah and James come to question the decisions they’ve made about life and love. Read the rest of this entry »

Meredith Alvarez and Philip Winston/Photo: Johnny Knight

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Signal Ensemble might be the 1968 New York Jets of Chicago theater: scrappy, undermanned and under-resourced, but quarterbacked by a leader with a knack for championship-level razzle dazzle. I’d write something like that, but Ronan Marra, Signal’s co-artistic director and the playwright of “Motion” is a Cleveland native and a Browns fan, so he might object. In any case, something pretty cool’s happening up at Signal, and “Motion” follows on the extraordinary success of 2010′s Rolling Stones bipolar “Aftermath,” with a re-teaming of playwright Marra and director Aaron Snook delivering similarly impressive results.

The small theater space has been transformed into a football field, with the cast sitting on “the bench” and about forty audience members surrounding the action in “the bleachers,” complete with cup holders and complimentary popcorn. Read the rest of this entry »

Bret Tuomi as Jeffrey Skilling/Photo: Lara Goetsch

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Jeffrey Skilling (Bret Tuomi) comes to Enron with new ideas: mark-to-market accounting, electricity trading. The company makes fistfuls of cash and causes fatal, rolling blackouts in California. But it’s not just Skilling’s ideas that are scandalous; it’s that everyone (Enron lawyers and accountants, the financial industry) lets him get away with it. Read the rest of this entry »

From left: Adrian Danzig, Samuel Taylor, John Judd/Photo: Michael Brosilow

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What if all the magical action in “The Tempest” happened inside the head of one bitter, wronged man? “The Feast” portrays a tormented Prospero (John Judd) commanding his slaves Ariel (Samuel Taylor) and Caliban (Adrian Danzig) to repeatedly act out an unfolding drama of his own creation using masks and puppets. Read the rest of this entry »

Tamberla Perry, Geoffrey Owens, Marc Grapey, Patrick Clear/Photo: Eric Y. Exit

RECOMMENDED

When David Mamet was on Charlie Rose promoting the New York premiere of his new play “Race” last year, he was naturally enough asked what he thought of President Obama. “I would rather not answer that question,” he said after a long silence, “as it might influence how people approach this play.” Since then, Mamet has released his infamous liberal-to-conservative manifesto, “The Secret Knowledge: On the Dismantling of American Culture,” a kind of upside-down Augustine’s “Confessions” where he describes Obama’s “Change” that was so “accepted by a drugged populace and a supine press” as “the unfortunate descent of a productive nation into socialism” where “racial tensions have devolved to acrimony unknown in this country for decades.” Of Obama’s declaration that “Selma belongs to me, too,” Mamet assesses, “but the credit does not.”

No wonder in promoting the Chicago premiere of “Race” that Goodman Theatre, Mamet’s old stomping ground, has by and large turned the production over to its African-American director Chuck Smith. Also no wonder that, while Goodman’s gift shop had plenty of copies of “Race” on hand and virtually any other Mamet play for sale during intermission opening night as well as his book of theater essays, “The Secret Knowledge,” Mamet’s latest and most controversial opus, was nowhere to be found. Read the rest of this entry »

Leah Karpel, Ryan Heindl, JJ Phillips and Jess Berry/Photo:Michael Brosilow

RECOMMENDED

Lest one be confused by the title of this 2009 Simon Stephens play, Griffin opens the show with the image of British schoolchildren rocking out to Big Black’s “Kerosene,” a mean thrasher whose lines ”Probably come to die in this town, lived here my whole life” encapsulate the very palpable fears of the play’s protagonists. Ever the mouthpiece for disenfranchised youths, the punk ethos pervades the show, if not the aesthetic. Set in a suburb of Manchester, England, and inspired by the 1999 Columbine shootings, “Punk Rock” creates a portrait of teenage violence that seems to come from a modern disdain for small-town, middle-class monotony. Read the rest of this entry »

Teagle Bougere/Photo: Michael Brosilow

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There’s a certain advantage to adapting a masterpiece of literature to the stage: the story and the characters are proven entities, not likely to elicit complaints about plausibility or development. But there is an even bigger disadvantage: not only will audiences inevitably make comparisons, usually unfavorable, to the primary work, but the distillation of a novel the length of Ralph Ellison’s “Invisible Man” into a three-hour stage play (including two intermissions) will necessitate vast edits that might threaten clarity even if, as is the case here, the dialogue is drawn strictly from Ellison’s text. Contrarily, the risk is equally great that careful adherence to the text will result in a work that, while unquestioned genius on the page, is plodding on the stage.

Fortunately, most of these potential problems have been avoided with Oren Jacoby’s world-premiere adaptation of “Invisible Man,” now playing at Court. Read the rest of this entry »

Photo: Cesar Moza

RECOMMENDED

“Dark Play or Stories for Boys” is a cautionary tale about teenagers’ willingness to avoid face-to-face conversations and retreat to the worldwide web in order to feel what they want to feel. The omnipresence of the internet today, and the resulting confusion about what’s real and what’s not real, perpetuates cruelty that only shows through their stifled cries. Director Anthony Moseley’s intimate staging and the undeniable rawness of the actors render “Dark Play” a deeply felt Chicago premiere. Read the rest of this entry »