Photo: Liz Lauren
In “Road Show,” now playing at Chicago Shakespeare Theater, Stephen Sondheim and John Weidman compress the story of minor American legends Wilson and Addison Mizner into a peripatetic fable. The Mizners lived big, meandering and literally beguiling lives. They crossed paths with, or just crossed, many notable Americans as they made their way. The real Wilson, a Promethean con man, first sought his fortune in Alaska, where he helped create Nome with a saloon and crooked card table. Between 1910 and 1933, he worked both on Broadway and in Hollywood, where he co-wrote sexualized dramas about ambition and cons. When streetcar magnate Charles T. Yerkes died, Wilson married his widow Mary Adelaide Moore Yerkes and moved into her 5th Avenue mansion, selling forgeries of her masters paintings. Wilson had a Johnsonian knack for quips. He presumably was the first to utter “Be nice to people on your way up because you’ll meet the same people on your way down.” Wilson eventually sued the former Mrs. Yerkes for divorce. When his attorney reportedly asked his reasons, Wilson asked “Isn’t marriage enough?” Read the rest of this entry »
There is a grim and calculating excess at the heart of Barbara Gaines’ version of “Merry Wives of Windsor,” overwhelming the music of the playwright’s words and leaving in its place something hard and loud and exhausting. In attempting to popularize Shakespeare’s relatively slight but charming riff on bourgeois life, she has reduced it to one long dirty joke. Worse yet, she has done badly by Sir John Falstaff (a misused Scott Jaeck), turning him into a crotch-grabbing yahoo whose goal seems not so much to have his way with Mistress Ford (Heidi Kettenring) and cuckold her wealthy, jealous husband (Ross Lehman), as to earn a spot on the Elizabethan version of “Jackass.”
As usual with CST’s productions, the externals—especially Susan E. Mickey’s costumes and James Noone’s clever indoor/outdoor set—are little short of perfect. However, they serve mainly to highlight the production’s deficit of purpose and soul. Real theater does more than look pretty; it breathes and flows, thus drawing the audience into its temporary world. But this overdone, trying-too-hard production is as flat as a TV screen and about as evocative as a beer commercial. Read the rest of this entry »
Postell Pringle and Jackson Doran/Photo: Michael Brosilow
Everybody has a favorite rap song. Currently, mine is “Holy Grail.” I know it is a bit overplayed, but man can that Jay-Z rap. I also like Chicago Shakespeare Theater, which consistently spins the overplayed into gold. Methinks, however, the two rarely meet. But last night they did meet during the warmup to “A Q Brothers’ Christmas Carol” and you know what? It sounded pretty good. It might not work all the time (kind of like swapping out rum for vodka in your eggnog), but now and then it is downright refreshing.
With more flavors than an ice-cream shop, this show brings reggae, hip-hop, old school rap, dancehall sounds and some gritty industrial touches to the old Dickens classic. There’s even a little Blue Man Group thrown into the Ghost of Christmas Future number. Written collaboratively by the four actors on stage (Jackson Doran, GQ, JQ and Postell Pringle), the script may rhyme, but it also stays true to the spirit of the original. The touches they do add (like a loving gay nephew who repeatedly invites Scrooge to his Christmas party) might feel a little contrived, but fit in well with the overall theme of good cheer (otherwise known as Christmas spirit). This is a show that has a lot of fun with the source material (such as giving Tiny Tim every affliction known to man, including scurvy) but does not shy away from being sentimental. The Q Brothers do well at balancing the traditional and non-traditional and in doing so tease together something unique. Read the rest of this entry »
Harry Groener, Nick Dillenburg, Julie Jesneck. Photo: Liz Lauren
Sometimes Chicago Shakespeare produces bold reinventions of classics. Other times it brings in world-theater innovators as one of the most globally minded cultural entities in Chicago. And then sometimes it produces high-quality but highly conventional productions of iconic works. Director Penny Metropulos’ new production of “Cyrano de Bergerac” is the latter, a perfectly straightforward interpretation of Edmond Rostand’s 1897 story about love and deception that engages the wit but fails to move the heart. Read the rest of this entry »
Photo: Fabio Esposito
“Who can solve the mystery of dreams?” demands actor/director Toni Servillo as the increasingly disheartened Alberto Saporito in Piccolo Teatro di Milano’s production of the darkly comedic Italian play “Inner Voices,” written by the prolific Eduardo De Filippo in 1948. At least that’s how the English translation of the fervent Italian dialogue reads, rapidly projected on three glowing screens above the action taking place on the dramatically raked stage of Chicago Shakespeare’s Courtyard Theater.
This production, running for a mere five days in Chicago, is part of Italy’s “Year of Italian Culture in America.” Billed as “a journey that will reveal today’s Italy, its brilliance and its excellence anchored in the present and driven by an unparalleled past,” the full year includes showcases of everything from theater to science to light installations and poetry readings. And De Filippo’s text, written shortly after the devastation of World War II, is a prime candidate to reveal Italian excellence on stage, particularly as interpreted here by Servillo (in both his capacities as actor and director). Read the rest of this entry »
By Johnny Oleksinski
Playwright and Chicago native son David Ives is receiving a rolling homecoming by happenstance this season and next. Last winter, Chicago Shakespeare Theater presented his adaptation of Molière’s “The Misanthrope,” called “The School for Lies.” Next March, the Goodman Theatre will stage the Chicago premiere of his thunderous Best Play Tony Award-nominated “Venus in Fur” (Nina Arianda won Best Actress). And coming up later this month is “The Liar,” Ives’ modernly classic take on Pierre Corneille’s little-known “Le Menteur” at Writers’ Theatre in Glencoe.
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Photo: Tim Morozzo
Few works of theater have the adrenaline-fueled urgency of “Roadkill.” But it’s not the familiar rush of exhilaration; it’s the primal clamor for survival that pulsates so fervently in this hopeless crypt. During this brusque, profoundly upsetting performance, the heartbeat quickens to prepare for a gutsy sprint away from your captors. Directed and conceived by Cora Bissett with a text by Stef Smith, “Roadkill” is truly that invasive. Sex trafficking, the subject of this British import, is typically resigned to the police blotter, in one ear and out the other. Knowing of the world’s emotional detachment to a rampant international crime with victims so forlornly voiceless, this team has dragged us screaming into an immersive space to tell their story, that of a young life destroyed by child prostitution. Late in this sickening tale, I found myself saying, “Oh, my God. Oh, my God.” in a hushed tone on repeat.
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Photo: Liz Lauren
There is churchly ambiance to “Henry VIII,” which opened Wednesday night at Chicago Shakespeare Theater. Catholic clergymen clad in red vestments descend the central aisle to the stage in grand and contrived fashion. There’s enough shimmering hung fabric for another papal coronation, and the palpable vibe among the attendees is one of religious obligation—a common drive for Shakespearean theatergoers, believing the Bard to always be of crucial cultural significance, no matter the delivery. That push is even stronger in this particular instance.
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Though we publish a list of “players” every year, we alternate between those whose accomplishments are most visible on-stage (the artists, last year) and those who wield their influence behind the curtain (this year). Not only does this allow us to consider twice as many people, but it also puts some temporal distance between the lists. So, the last time we visited this cast of characters, two years ago, we were celebrating the end of the Richard M. Daley years in Chicago, fretting over a nation seemingly in the mood for a Tea Party and contemplating the possibility of a Latter Day Saint in the White House. Today, we’ve got a dancer in the mayor’s office, the most prominent Mormons are in a chorus line at the Bank of America Theatre and the Tea Cup runneth dry. Call us cockeyed optimists, but things sure look better from here. And so, meet the folks who, today, bring us the best theater, dance, comedy and opera in the nation.
Written by Zach Freeman, Brian Hieggelke, Sharon Hoyer and Johnny Oleksinski
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Photo: Prudence Upton
When we think of Charles Dickens, often we only remember Ebenezer Scrooge’s life-affirming nocturnal journey, or SparkNoting “Great Expectations” in high school. This year marked the 200th anniversary of Dickens’ birth, and many publications ran tributary articles about his life’s work and several publishing companies re-released his novels with contemporary cover art. None of those can quite compare to Miriam Margolyes’ eccentric one-woman show about Dickens and his most colorful female characters. This show seems intent on pointing out how the various, and mostly silent, women in Charles Dickens’ life really shaped his work. “Dickens’ Women” makes its final stop at the Chicago Shakespeare Theater after a ten month tour.
Researched and carefully curated by legendary stage and film actress Miriam Margolyes, “Dickens’ Women” seamlessly weaves in and out of dramatic interpretation and exposition concerning Dickens’ fiction and life. Margolyes’ script focuses on the dark nature of Dickens’ struggle to overcome poverty and artistic fulfillment. More than just an animated history of his life, this show almost seems like a live-action essay. The author does a great job of supporting the claims made about Dickens’ personal life by backing up her analysis with famous, and even some lesser-known literary scenes. At times, the characters can run together, but it’s when Margolyes taps into the real comedy or the dark depths of the text that she shines the most. In reading Dickens, readers can often miss his skewering sense of humor, but it’s recreated here tirelessly. Read the rest of this entry »