Photo: Michael Brosilow
There’s disagreement on exactly what mood House Theatre is trying to achieve within its campfire concert, “Ploughed Under: An American Songbook.” The upstairs theater at the Chopin is configured into a nightclub, atmospherically well-suited to a musty rockabilly gig or the Country Bear Jamboree. From the stage, five long wooden tables reach out like rays of sunlight and the rest of the large space is studded with round tables, each with a burning candle. There is some raked seating in the back, but that’s for me and the other lepers. All in all, it’s a pretty happy room.
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Photo credit: Michael Brosilow
Wizards. Pirates. Vikings. Politics. Tracy Letts voicing a giant dragon. The first show of the House Theatre’s eleventh season is nothing if not ambitious. Striving to be epic, playwrights Chris Mathews and Nathan Allen (who also serves as artistic director of The House and director of this production) have sought to cram a multitude of themes, characters and backstory into the two-and-a-half-hour part one of the “Iron Stag King” trilogy. Intertwining the legends of King Arthur with early American politics and fantasy sensibilities, the story follows storyteller Hap the Golden (Cliff Chamberlain) as he leads a stalwart (if unsure) young man (Brandon Ruiter), a team of warriors and a fanboy (Ben Hertel, providing ample comedic relief) to reclaim a magic hammer and thus the crown of the land. With seating arranged in an arena-like square around an open set allowing for four entrances and exits, the action sequences are thrilling and immediate. Read the rest of this entry »
By Eric Shoemaker
House Theatre artistic director Nathan Allen and Chris Mathews have partnered to create the epic trilogy “The Iron Stag King,” which Allen describes as the tale of “Arthur, in a parallel proto-America.” This pioneer American/Norse/British fantasy adventure, with over thirty cast and staff members, was slated for production at the end of their tenth season, but was pushed back when “Death and Harry Houdini” went into an extended run as one of the most popular shows of the year.
Ten years old, House Theatre creates immersive experiences for viewers. “There is no moat separating the audience from the performance. Our goal is, when the audience leaves, for them to feel less alone,” says Allen. The company is chomping at the bit to put on its dungeon-crawling, violent show, which is filled with zany segmented metal animal puppets, flying lights, algorithmic sounds and Tolkienesque costumes. The writers shared their hopes, dreams, and tongue-in-cheek qualms about their massive Dungeons and Dragons meets cowboys and Indians baby in interviews during and after “Iron Stag King”’s first rehearsal. 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
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Most anyone is likely to be familiar with the story of Cyrano de Bergerac, even if they’ve never seen Edmond Rostand’s 1897 play. The Steve Martin adaptation “Roxanne” was a popular film, and the play’s balcony scene is rivaled only by the one from “Romeo and Juliet.” Ubiquity aside, however, Matt Hawkins’ new version strips the story down to its iconic bare essentials, making for a swashbuckling, irreverent evening of heroism and romance. Read the rest of this entry »
Here’s the press release from House Theatre:
The House Theatre of Chicago celebrates its 10th year with a season of unbelievable new plays!
CHICAGO, IL—The House Theatre of Chicago has been creating Amazing Feats of Storytelling for 10 years! Today, The House is thrilled to announce its most exciting season to date. The season begins with Cyrano. This new adaptation of the classic story of the world’s greatest poet-swordsman, Cyrano De Bergerac, is written and directed by 4-time Jeff Award Winning director Matt Hawkins. Read the rest of this entry »
Carla Kessler/Photo: Michael Brosilow
The House’s remount of their successful 2007 holiday show is a very loose adaptation of ETA Hoffman’s classic story “The Nutcracker and the Mouse King,” and yet its prologue is still almost ironically evocative of the Tchaikovsky ballet. Cheerful dancing around the Christmas tree turns to tragedy, however, when news arrives of the son’s death at war. A year later, no Christmas party almost means no Christmas, until a surprise visit from Uncle Drosselmeyer, with a gift for Clara of a nutcracker that looks like her brother, upsets the somber balance of the household. The adaptation by company members Phillip C. Klapperich and Jake Minton cleverly psychologizes the tale, spinning the magical battle against darkness and Rat Kings as one against childhood grief and family wounds. The brisk, lively staging never lets you linger on such heavy thoughts for too long, but the actors all have great fun with each other, with the script, and with the audience. You’ll believe in magic again. (Neal Ryan Shaw)
The House Theatre of Chicago at the Chopin Theater, 1543 West Division, (773)251-2195. Through December 26.
The House Theatre of Chicago understands how to engage a live audience. Setting up an elaborate multipurpose two-story set, avoiding unnecessary props, providing a live soundtrack and speeding up the action with well-organized montages are only a few of the ways that their latest offering—the gangster drama “Thieves Like Us”—highlights their dedication to keeping theater relevant and exciting. The only downside here is the somewhat generic feel of the story itself. Adapted from the 1937 Edward Anderson novel of the same name, Damon Kiely’s script follows a group of escaped convicts robbing banks throughout Oklahoma. The central character, Bowie Bowers (John Byrnes), falls for the sweet-but-tough Keechie (Paige Hoffman) and the duo attempt to escape the life of crime that they’ve become a part of. Though the story flows nicely, it can’t help but start to feel too familiar before it’s over. But even the slightly predictable ending is offset by the explosively creative staging of the finale. (Zach Freeman)
The House Theatre at the Chopin Theatre, 1543 West Division, (773)251-2195, through October 30.
Most bad theater experiences are awkward for everyone involved, but this might be the first production I’ve seen with an awful lot wrong with it technically—an incredibly hackneyed plot, cheesy writing, very questionable artistic choices, harsh sound, some really bad singing—that’s massively entertaining to watch. It’s a profoundly peculiar theatrical experience, and a reminder that there might be a place for cult theater as much as cult movies. As a cult theater experience, this play might have it all: glam-rock/high-emo style (Remember emo? Director/artistic director Nathan Allen does.), glitter-covered guns (shot to express metaphorical pain, which is signified by red rose petals), and often off-key rock ballads with laughably bad lyrics. A girl sings about her virginity with “I’ve been afraid to open up all the way” and, in the final song-and-dance number, she wails “take away my sharpest toys and leave me to bleed.” The play follows a group of stereotypical high-school students as they cope with sex, drugs that almost keep them from committing homicide, and said rock ‘n’ roll. And yet it’s nothing if not amusing, either unwittingly or not—how seriously this show takes itself, and theater, for that matter, is up for infinite debate. (Monica Westin)
At the Chopin Theatre, 1543 W. Division, (773)251-2195. Through May 29.
Photo: John Taflan
“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.