Friends are the opposite of Matthew McConaughey’s beloved “high school girls.” You keep getting older, and they keep getting older too. You change, they change. Eventually you might still be “friends” even though the people you are now are entirely different than the people you were when you first connected. Such is life. And such is life especially in your twenties.
This experience of being a twenty-something/someone is at the heart of Ryan Patrick Dolan’s new play “Moraine.” It begins at the bedside of Gus (Joel Reitsma) who is in an induced coma after a battle with cancer. His best friend Mark (Caleb Fullen) is at his side, bearing sarcasm like a pair of brass knuckles when his ex-girlfriend Kelly (Allie Kunkler) comes to pay Mark a visit. From there, “Moraine” skips back and forth through time. We see person by person how Mark and Gus’ friend group came to be as Mark helps his friend Russell (Terence Sims) open a successful line of boutique ice cream stores. Gus is one of their first hires, followed by Gus’ improv buddy Mackenzie (Becca Slack) and finally Kelly, an aspiring actress and former punk-band drummer. The group coalesces, and eventually disintegrates under the pressures of careers, breakups and just plain growing up. Read the rest of this entry »
Hollis Resnik/Photo: Michael Brosilow
In Court Theatre’s world premiere of “The Good Book” we follow the lives of Miriam (Hollis Resnik) and Connor (Alex Weisman) as they struggle with their personal faith. Miriam, who ironically has a biblical name, is an atheist biblical scholar and college professor. She tells a zealous Christian student who is opposed to her teachings, “We have to build separate rooms, one for the mind and one for the heart.” In Miriam’s class and life, she thinks of the Bible and faith strictly from an intellectual viewpoint. That heart stuff she left behind a long time ago, until she is faced with a tragedy and has to look inward.
Connor, on the other hand, is a fifteen-year-old boy with hopes of being a priest. His devotion to both the Bible and his faith is evident. Yet when he struggles with his identity, he must reconcile whether this particular faith is for him. Interwoven throughout these two stories are historical reenactments of what went into the creation of the Bible from ancient times until now. Read the rest of this entry »
Chris Hart and Patrick Cameron/Photo: Kat Dennis
The old maxim says, “You can’t go home again.” Which is of course not true. It’s a lying old maxim, a blanket statement that ignores an entire class of people for whom home is eminently returnable. These homes are immutable certainties, testaments to the inertia of late-twentieth-century middle-class living. Living relics of the pre-Y2K world. “You can’t go home again” clearly never anticipated aluminum siding, barcaloungers and “Frasier” reruns.
That feeling holds true for Ron Popp’s new play “Homefront,” which is part of a very long tradition of American family dramas that center around the family settee and are concluded just in time for dinner. The play feels musty, like it was recently removed from storage. And the characters seem like people I would love to be friends with, but who are a little too boring to be all that interesting. Read the rest of this entry »
The title of Kate Walbert’s “Genius”—now receiving its world premiere at the Profiles Theatre—refers to the MacArthur Foundation’s “genius” grants—the prospect of a MacArthur prize provides the turning point in the play. Walbert’s script presents strong ideas about large subjects.
First idea: Talented public men in America betray the women they love over money, other women, fame, position and influence in an instant. They do this because they’ve always done it, and nobody has thought or said much about it. The more intelligent the woman, the better it feels to wipe one’s feet on her.
Second idea: Even the smartest American woman by habit protects and nurtures her man’s over-estimation of his own powers as thinker, creator, artist, humanitarian or scholar. Superior women ego-stroke without thinking about it because it’s what they’ve always done. Walbert implies it’s time that women who think stop acting as props for mediocre, needy male egoists. Read the rest of this entry »
After a one-year production hiatus, Chicago Dramatists returns with a compelling and important world premiere penned by Rohina Malik, “The Mecca Tales.” Four American Muslim women of diverse backgrounds embark on their first pilgrimage to Mecca, known as the Hajj, led by another, more experienced woman of a similar background. It’s a trying experience, both physically as the desert and huge crowds throw up obstacles to their journey, as well as spiritually, as they attempt to come to terms with their reasons for undertaking it.
Spun in a manner reminiscent of Mary Zimmerman’s masterful “The Arabian Nights,” but with stories more relevant and contemporary, Malik has managed to do something quite challenging: that is to take a religion and its customs, practiced by billions worldwide but misunderstood by millions of Americans, and convey its beauty and the deep spirituality of its followers in a subtle but powerful way to what is likely a primarily secular white Judeo-Christian audience. Read the rest of this entry »
Opening night for pre-Broadway shows in Chicago can be fun. The excitement both real (will this be the next “The Producers” or “Kinky Boots”?) and manufactured (red carpets, Klieg lights and TV crews breathlessly interviewing the handful of celebrities and “celebrities” who show up), coupled with a house packed with producers and their enthusiastic friends not only heightens expectations but gives a sense for the personal efforts that such undertakings represent, both creative and financial. At the opening night for “First Wives Club,” the lead producers grabbed a mike at the curtain call and, after pointing out celebrity guests like onetime hit makers Holland, Dozier and Holland (who wrote music and lyrics for this show), along with former TV royalty Linda Bloodworth Thomason (who wrote the book), gave shoutouts to several of the investors in the room, in recognition of the long journey and huge investment a show like this represents. Read the rest of this entry »
Kara Davidson, Kevin Stangler, JJ Phillips, William Dick/Photo: Michael Brosilow
The Iron Stag King
If “Game of Thrones” took the Arthurian high fantasy genre and dragged it off its clean white pedestal down into the muck, then The House Theatre’s “Hammer Trinity” is the thing that seizes it by the scruff of its neck and hauls it across the seas to American soil. The nine-hour, seven-act trilogy of plays is just as indebted to the legacy of America’s founding mythos—common folk bellowing for freedom, cracked bells, western outlaws, steel-hearted robber barons and endlessly rejustified genocides—as it is to the legends of Arthur and Merlin. It is also nothing short of stunning.
Written by Chris Mathews and Nathan Allen (who also directs), “The Hammer Trinity” tells of a land called New Plymouth—a place ruled by narratives. Instead of wizards there are storytellers, ancient beings who conjure tales about who is good and bad, right and wrong, who should rule and who should be ruled.
“The Iron Stag King,” the first play in the trilogy, opens with the tale of young Casper Kent (Kevin Stangler), a simple orphan who is (of course!) anything but. He learns from storyteller Hap The Golden (William Dick) that he must quest to find the magical Hammer of his ancestors and unite a splintered land. Hot on his heels are the forces of the Crownless, led by the vicious fop Henley Hawthorne (Joey Steakley) hellbent on snuffing out Casper’s royal line for good. Read the rest of this entry »
Sarah Bright and Izadorius Tortuga/Photo: Nathanael Filbert
When I first sat down in the Athenaeum Theatre’s third-floor studio, I noticed that Brian Browne’s set design for “Picture Imperfect” includes a wall that obscures the view from much of the audience. It was my intention to recommend sitting on the right-hand side of the audience for a better view of all of the play’s action. However, I can now safely say that sitting elsewhere would be best, and by elsewhere I mean anywhere else in Chicago.
Seldom do I get to witness the perfect storm of a terrible script brought to life through poor acting and misguided direction upon a stage badly designed while having my ears assaulted by a constantly buzzing low-end hum. For those choosing to take in the newest offering from Bread & Roses Productions, this is what awaits in this world-premiere production. Read the rest of this entry »
Alia Peck and Paul D’Addario/Photo: Claire Demos
The television series “Lost” followed people trapped on a tropical island. Primarily driven by character development, the series ran for six seasons. The Gift Theatre’s world premiere of Mat Smart’s “The Royal Society of Antarctica” follows people trapped in a land of ice. Primarily driven by character development, the show runs for three hours.
A young woman signs on to clean toilets in Antarctica to find out what happened to her mother, who gave birth to her there and then disappeared, which, I’m guessing here, makes her a protagonist; her arrival and departure frame the three-act piece. But unless the antagonist is her father, who isn’t there, or her mother, who we presume is dead, or Antarctica itself, it’s challenging to select that construct.
So perhaps the piece is an ensemble play. The secondary characters are extremely compelling, and some have more concrete arcs than the alleged protagonist. I’m reaching, but maybe the anti-protagonist is an Everyman character, who leads us into the story, listens to and observes the characters encountered, and emerges enlightened. Read the rest of this entry »
Michaela Petro and Sam Guinan-Nyhart/Photo: Kyle Hamman
We savor our mysteries for that flashpoint moment when all the pieces of the puzzle interlock perfectly. Red herrings can show up to dinner, as long as they make sense in the final analysis. Jagged changes in timeline can ratchet up the tension, as long as literality grants the audience equilibrium by the denouement.
Strawdog Theatre Company celebrates its 100th production with the world premiere of playwright John Henry Roberts’ second play, “The Sweeter Option.” This noirish murder mystery is served well by the scenic design of Joanna Iwanicka and the lighting of Jordan Kardasz. Director Marti Lyons’ cast fold and refold flats to create new scenes during the changes, push and pull furniture and props, and always remain in character. Intense moments shatter into darkness, and just as suddenly burst into awakening. Heath Hays’ sound design is a partner to the strategic madness that is just right for a thriller with a murderous, comedic bent. Read the rest of this entry »