Eddie Bennett and Rob Lindley/Photo: Michael Brosilow

Review: Angels in America/Court Theatre

RECOMMENDED

Perhaps the best theatrical experience is always personal, but ever since I saw “Angels in America Part One: Millennium Approaches” during the premiere run of its national tour at the Royal George in 1994, I’ve had a particular attachment to this show, which I’ve long considered the best new play of my adult lifetime. Read the rest of this entry »

COURT THEATRE ANNOUNCES 2012-13 SEASON

COURT THEATRE’S 58TH SEASON TO FEATURE AUGUST WILSON’S JITNEY, JAMES JOYCE’S “THE DEAD,”
DAVID HARE’S SKYLIGHT, DAVID AUBURN’S PROOF,
AND MOLIERE’S THE MISANTHROPE & TARTUFFE

Chicago, IL – Court Theatre proudly announces its 2012/13 season under the continuing leadership of Artistic Director Charles Newell, Executive Director Stephen J. Albert, Board Chair Virginia Gerst and Deputy Provost of the Arts Larry Norman. The company’s 58th season will feature August Wilson’s Jitney, directed by Resident Artist Ron OJ Parson; a reimagining of James Joyce’s The Dead directed by Artistic Director Charles Newell with Musical Direction by Doug Peck; David Hare’s Skylight directed by William Brown in his Court Theatre debut; and University of Chicago alumnus David Auburn’s Proof, also directed by Charles Newell. Newell will close the season by returning to the world of French Baroque with Moliere’s The Misanthrope, followed by Tartuffe.  Read the rest of this entry »

Darren Criss (#4) with Team StarKid

With our criteria shifted back to artistic accomplishment in theater, dance, comedy and opera this year, our task got infinitely tougher. Because while the number of performing venues grows at a steady rate, the increase in the number of noteworthy artists seems to grow exponentially. For everyone we name on the list below, we had to leave off five, an embarrassment of riches for Chicago. We made a conscious effort to introduce a meaningful number of new faces to the list this year; the necessary absences should not be construed as a loss of worthiness as a consequence. We often find trends when we do the research these lists require; this year we’re starting to see a more meaningful effort to redefine performance itself in the internet age, from the runaway success of StarKids, to the more calculated endeavors of Silk Road. So what defines a “player”? Consider it some complex stew of career achievement, recent “heat” and, in some cases, rising stardom.

Written by Zach Freeman, Brian Hieggelke, Sharon Hoyer and Dennis Polkow

Read the rest of this entry »

Here’s the press release from Court Theatre:

COURT THEATRE ANNOUNCES 2011-12 SEASON

COURT THEATRE’S 57TH SEASON TO FEATURE
TONY KUSHNER’S ANGELS IN AMERICA DIRECTED BY CHARLES NEWELL,
A WORLD PREMIERE ADAPTATION OF RALPH ELLISON’S INVISIBLE MAN DIRECTED BY CHRISTOPHER MCELROEN AND ADAPTATIONS OF WORKS BY ZORA NEALE HURSTON AND HOMER

Read the rest of this entry »

Maura Kidwell, Lois Markle, Mary Beth Fisher

“Three Tall Women” is widely understood to be Edward Albee’s most personal play, which he himself referred to as a “kind of exorcism”—it revolves around the somewhat dismal life of a strong, prejudiced, self-interested woman based on Albee’s mother, for whom Albee clearly feels little sympathy. The play portrays the tall woman at three stages in her life: regal, difficult and somewhat demented in old age, bitter in middle age, and optimistic, bright-eyed and confident in youth. Through a surreal, heightened interview among each version of the woman on the oldest’s deathbed, “Three Tall Women” comprises a hard, bleak study of the loss of innocence, the grief of being estranged from family, the endless torture of an unhappy marriage. And it’s often very funny and sometimes very wise about the delusions of youth and unavoidable tragedies of aging. But there’s an element of empathy in the play missing, which results in a lack of real dramatic tension, despite Charles Newell’s direction of the three female actors, Mary Beth Fisher in particular, in remarkably intricate and moving performances. The play is limited to the perspective of a scarred and complex, but to put it bluntly, ultimately a gold-digging, unsympathetic character. While the first half zings with one-liners and occasional moments of profundity, there’s no engine in the second act, no emotional investment that can motor us through an hour of revelations and despair. The production will and should garner positive reviews for its strong performances and beautiful technical theater, but I remain unsold on the play itself. (Monica Westin)

At Court Theatre, 5535 South Ellis, (773)753-4472. Through February 13.

As the economy slowly lifts us back to our feet and we look around, we see a remarkable sight: a performance industry in Chicago that survived the worst recession since the Great Depression wholly intact. Sure, we had a few brushes with death, and no doubt a few very small, very new theater companies threw in the towel, as they do even in good years, but unlike many other cities across the country, we’re in pretty good shape. How good? The League of Chicago Theatres issued a press release last week proclaiming our town as America’s theater leader, with more than 250 professional theaters, including four Regional Tony Award winners, and a combined annual budget of $250 million serving five million audience members. Add in our thriving dance community, a comedy scene that’s the envy of the nation and two world-class opera companies and you’d have to say we’re doing pretty damn good. But neither the economy nor any cultural organization is fully out of the water yet, and the dramatic uncertainty injected into the political sea by Mayor Daley’s decision to call it a day means Chicago’s performance community will need some steady hands at the wheel these next few years. Accordingly, for this edition of The Players, we’ve broadened our horizon and taken a closer-than-ever look at the individuals in charge of the financial fitness of our local institutions. Read the rest of this entry »

RECOMMENDED

By now, one knows what to expect from director Charles Newell:  bold sets and striking design (“Uncle Vanya”); big emotions and (in the best possible way) sentimentality (“Carousel,” “Caroline, or Change”); playful meta-theatrics (“Titus Andronicus”); narrative coherence amidst structural sophistication and dense vernacular (“Rock and Roll,” “Arcadia”).

That his imaginative and beautiful new play at Court Theater manages to showcase all of these talents in one compact evening is some achievement.  That the play is Pierre Corneille’s “The Illusion,” a rarely-staged, seventeenth-century comedy from a French tragedian, makes that achievement truly amazing.  And yet, thanks to a sumptuous staging, full of heart, comic brio and modern-day relevance, Newell and his collaborators have taken a minor comedy and transformed it into a great play. Read the rest of this entry »

Technically, it’s a dazzling success. Mary Beth Fisher’s performance in the one-woman show is as agile, intellectually driven and illuminating as Joan Didion’s writing in the memoir, from which the play was adapted by Didion herself. And as adaptations go, it’s an astute one, directed gracefully and with some restraint by Charles Newell, who puts Fisher at a minimalist desk that floats against a sea of blackness, which she circles while performing her descent into deep pain and deeper anxiety. But it’s ultimately hard to recommend the show after having read the book, in which Didion, ever the journalist, turns her cool gaze onto her own grief during the year when both her husband and only daughter died in separate tragic and unforseeable ways. The triumph of the memoir is Didion’s clinical, academic, incisive approach to her experience; this play manages to convey a good deal of this philosophy, and does an especially effective job of hitting the notes of dark comedy that could have gotten lost, but it veers too often into confrontation and hysteria—when Fisher shouts “This will happen to you,” it’s hard to imagine Didion shouting this, or losing control, or pacing around in the eventually repetitive blocking, constantly readjusting a scarf as Fisher does throughout the piece. Then again, to make the obvious point that a one-person show must necessarily create some kind of dramatic arc, this might just be a genre problem: a memoir as delicately balanced and meditative as Didion’s just doesn’t hold up to the heavy hand of theater. (Monica Westin)

At Court Theatre, 5535 S. Ellis, (773)753-4472. Through February 14.

Tara DeFrancisco, No. 36

In this town of performers—theater makers, dancers, comedy creators—you’d think it’d be pretty easy to assemble a list of artistic influencers and innovators. And it is. The challenge is paring that list down to a mere fifty. It’s a testament to the wonders of the performing-arts culture in Chicago that we easily came up with about 200 names when we set out to create this year’s version of The Players. Unfortunately, we’re only listing a fraction of those worthy of your attention, but that’s the problem with an abundance of riches. Hopefully you’ll see a handful of recognizable names and a whole lot more you’ll start noticing from this point on. We’ve retooled the criteria for this year, focusing on onstage artistic achievement, rather than the backstage influence of artistic directors, executive directors and the like—who will get their day again next year. Let the arguments begin. Read the rest of this entry »

Pizza? Theater Oobleck's "Strauss at Midnight"

As part of this story, we sent a few questions to leaders of the theater community in Chicago and received about forty written responses. Here are excerpts from some of their answers. The full text will also soon be published online.

Any observations or thoughts about Chicago theater in the last decade?

“When one theater has a hit show, its not just a hit for that show, it’s a hit for Chicago.”
—Deb Clapp, Executive Director, League of Chicago Theatres

“I love the shake-ups that are happening as a result of management changes, economic pressures, and influx of new artists. It’s exciting to see the landscape shifting so dramatically, the new work that is being created as a result, and the new artists and management teams that are getting a chance at bat.”
— Kevin Mayes, Executive Director, Bailiwick Chicago

“The first SKETCHBOOK was produced in January 2000 and has gone on to create 135 world premiere short plays with over 1000 different artists for over 30,000 audience members and launching numerous careers.”
— Anthony Moseley, Executive and Artistic Director, Collaboraction Read the rest of this entry »