Photo: John Taflan

RECOMMENDED

“Wilson Wants It All,” the newest show from House Theatre of Chicago, directed and conceived by Michael Rohd and written by Rohd and Phillip C. Klapperich, may not take the whole shebang, but it damn well comes close. Set thirty years in the future in a seven-party America on the brink of a civil war over reproductive rights, “Wilson” tells the story of a reluctant Hope, the daughter of a slain senator who has been endowed with the… well hope of a divided people.  Another young woman, Ruth, looks remarkably similar to Hope and is just as discontent with her life.  The two switch places and with the help of the titular political advisor, the new Hope makes a run for office.  Part “Minority Report,” part “The West Wing,” and entirely House, “Wilson” is a feat of storytelling, an engaging ride that employs theatrical magic and inventive staging to create a world that breathes and flourishes. Though slightly too long, the play never drags for more than a minute and Rohd has created moments that defy time altogether with montages, slowmos and transitions that are cinematic in scope. And the sound design of Michael Griggs is worth the price of admission. His soundscape nods to the present but feels like the future, and in this case it is the bedrock that House’s signature magic is built on. (William Scott)

At the Chopin Theater, 1543 W. Division, (773)251-2195. Through March 27.

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 »

The Addams Family at The Oriental/Photo: Samuel Adams

By Brian Hieggelke

As the wind blows the snow sideways this December evening, the weatherman is telling Chicagoans to stay bunkered; the deserted downtown streets reflect their obedience. All save the sidewalk near the intersection of State and Randolph, as TV crews jockey for faces on the red carpet in front of the Ford Center for the Performing Arts Oriental Theatre, where more than 2,000 patrons, including a who’s who of backstage Broadway, are gathering for the world premiere of a new musical featuring a AAA list of talent, onstage and off. “The Addams Family,” with multiple Tony winners Nathan Lane and Bebe Neuwirth in its leads, a book from the librettists of “Jersey Boys” and so on, is certainly Broadway bound, but tonight—tonight—Chicago is the center of theater in the world.

That’s the story of Chicago theater in the zeroes: the decade in which it grew up and got big. Whether it’s the launch and monumental success of Broadway In Chicago, the maturation and astonishing quality of a remarkable number of small and mid-sized companies or the increasing demand for Chicago product and Chicago talent on Broadway, Chicago theater has fully come into its own. Read the rest of this entry »

Here’s the press release from the Jeff Awards:

JEFF AWARDS COMMITTEE PRESENTS NON-EQUITY AWARDS FOR THE 2008 – 2009 SEASON

Theo Ubique Receives Highest Number of Awards;
“Evita” and “Our Town” Garner Outstanding Production Awards

Chicago, IL.     Chicago’s nationally-renowned storefront and black box theatre community gathered at the Park West today for its annual celebration as the Jeff Awards Committee gave out 26 Non-Equity Jeff Awards in 24 categories. In addition, a Special Award was given to Pegasus Players’ founder Arlene Crewdson for her lifelong contributions to Chicago theatre. The festive event was emceed by actor-composer Jon Steinhagen, appearing in that role for the third time.
Read the rest of this entry »

Here’s the press release from the Jeff Awards:

The Jeff Awards
Announces 2009 Non-Equity Nominations

Lifeline (14) and Theo Ubique (13) Are Top-Nominated Companies;
“Evita,” “Mariette in Ecstasy,” and “Rose and the Rime”
Garner 7 Nominations Each

Chicago, IL.  The Jeff Awards today announced 114 nominations in 24 categories for Non-Equity Jeff Awards, which honor excellence in Chicago theatres not under a union contract, for productions that opened between April 1, 2008, and March 31, 2009.  The Jeff Awards judged the opening nights of 130 productions offered by 57 non-Equity producing organizations and recommended 54 of them for further judging, making those 54 eligible for Non-Equity Jeff Award nominations in all categories. Read the rest of this entry »

Here is the press release from The Hypocrites

FOR IMMEDIATE RELEASE

THE HYPOCRITES ANNOUNCES 2009-10 SEASON

CHICAGO, IL – The Hypocrites announces its 13th Season of presenting bold art to courageous audiences. The 2009-10 Season will include an original adaptation of a gothic classic, an existential masterpiece and one of the seediest musicals ever written. With each production, The Hypocrites’ will continue to challenge the audience, the artists and the theatrical form. Read the rest of this entry »

Carolyn Defrin/Photo: Michael Brosilow

RECOMMENDED

The House Theatre’s sharp eye for design saturates its production of “Rose and The Rime.” The whole piece is a stylish endeavor, from Collette Pollard’s icy set design, to Lee Keenan’s lighting, to Debbie Baer’s hip, harmonious costumes, right down to the fancy-schmancy playing-card programs. But it’s difficult to cut through the gloss and whimsy to find a story worthy of the images that support it.

The small Midwestern Town of Radio Falls is imprisoned in an eternal winter by the Rime Witch. Indomitable Rose (Carolyn Defrin) vows to free her town, and sets off to battle the witch and bring back the Magic Coin that can save it. The multitalented cast sings, dances and capably handles the movement work necessary to the show’s look. But they are never given much to say, and the show suffers. Deconstructions are fun, but so is meaningful dialogue. (Lisa Buscani)

At the Chopin Theater, 1543 W. Division, (773)251-2195. Through May 9.

What makes Chicago’s theater world special? We picked up the latest issue of Entertainment Weekly for clues. In the cover story, “CSI” star William Petersen explains his decision to leave his role as one of the top paid actors in television, earning a rumored $600,000 an episode, to move back to Chicago and Chicago theater: “It was too safe for me at this point. So I needed to try and break that, and the way to do that, for me, is the theater.” EW went on to credit Petersen for much of the show’s success, notably bringing a theatrical ensemble philosophy to play in its production. Or consider the runaway success of Steppenwolf’s “August: Osage County,” which transferred to Broadway,  receiving critical acclaim and multiple Tony Awards, not by shaking it up with Broadway “names” but instead by virtually transferring the Steppenwolf production intact, with the addition of lead producer and fellow Chicagoan Steve Traxler. What makes Chicago theater—or for that matter, Chicago dance or any other form of performance practiced on our stages—special? We’d contend it’s the power of the ensemble, the spirit of collaboration that champions artistic risk-taking and subordinates the commercial. And so, in that spirit, the critical ensemble responsible for Newcity’s ongoing stage coverage presents our take on the most influential people on and offstage in Chicago. Read the rest of this entry »

Who hasn’t fantasized about time travel? Reliving your happiest moments, correcting your most regretted mistakes, maybe encountering a few aliens on the way. The House Theatre has decided to trek back to 2005 and revive their production of “Dave DaVinci Saves the Universe”—having transported to their new home at the Chopin Theatre. I did not see the show’s first incarnation, so I can’t say this revival is, as the press release claims, sharper, tighter or more heartfelt than before. I can, however, wholeheartedly say that the current production is visually sleek, finely tuned and incredibly touching. The story of a Dave, the mathematician (played by both Stephen Taylor and Dennis Watkins) and his musician wife Nora (the always wonderful Stacy Stoltz ) who, devastated by the suicide of their prodigal daughter, science-fiction writer Purdi DaVinci (Paige Hoffman), lay all their hopes and faith on Dave’s homemade (from a cell phone) time machine as the instrument by which they can save Purdi’s life. The past, present and future plays out alongside the fictional world of Purdi’s stories, inhabited by a young, fiery space captain named Cass Meridian (Hoffman again) and her trusty (and phenomenally costumed) sidekicks, a robot named T.H. (Joshua Holden) and the large, looming space bear Arcturus (Carolyn Defrin, who also takes on the role of Nora from the past). Despite some fuzzy logic as the time travel begins to get frantic, the entire production runs like a well oiled-machine under the direction of Nathan Allen, who shares playwriting credits with Chris Matthews and Jake Minton. (Valerie Jean Johnson)

At Chopin Theatre, 1543 W. Division, (773)251.2195, through November 8

RECOMMENDED

“The Attemptors” is the new one from The House and it seems to be a bit of a departure for those sly storytellers. On the one hand, it displays the childlike delight in telling tall tales that has always characterized the best of The House. On the other, this fifth-season closer admirably abstains from phantasmagorical narrative and sleight-of-hand staging to concentrate on character. That character, as imagined by playwright Shawn Pfautsch and director Marika Mashburn, is Danny Hackles, a socially inept, un-fabulous, solipsistic, overachieving 17-year-old with abandonment issues. In other words he is your typical teenager. And “The Attemptors’” boy-meets-girl, boy-loses-girl, boy-gets-girl story would have been agreeable and charming at best, formulaic and unenlightening at worst, if not for its dialogue, as well as the presence of actor Chris Matthews in the title role. Indeed, from the euphonious character names—Wayne Vane; Nola Charley; Sam Sommers—to the cliché-ridden, popular song-lyric seeping-dialogue that characterizes Hackles’ argot, Pfautsch’s writing has a visceral theatricality that never lets up. Smarty pants prolix? Yep. Self-consciously ingratiating at times? Absolutely. But also fun, fast and rhapsodically well-realized by Matthews, an actor of limitless energy who clearly relishes the opportunity to let it rip. I enjoyed the confidence with which “The Attemptors” wore its sentimental heart on sleeve, even if it could have benefited from a little more Housian wistfulness. Then again, Pfautsch is at his best when dramatizing teenage awkwardness instead of teenage angst. It’s a small cavil for this entertaining and unassuming play with a bold performance at its heart. (Fabrizio O. Almeida) 

At the Building Stage, 412 N. Carpenter, (773)251-2195.

This production will run at the the Theater on the Lake, 2401 N. Lake Shore Drive, (312)742-7994, Jul 23 through Jul 27.