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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RECOMMENDED

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

RECOMMENDED

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.

RECOMMENDED

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.

HALF-RECOMMENDED

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

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.
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