Paragraph One. Playwright Lucas Hnath’s having a Chicago moment, with his “Isaac’s Eye” in simultaneous production at Writers Theatre this fall. “Death Tax” (Can you imagine the groan emanating from the marketing department when that title was announced?) is a tight, seventy-five minute exploration of healthcare, morality and family ties getting its Lookingglass treatment behind the capable direction of Heidi Stillman. In typical Lookingglass style, the set exists mostly in the imagination: a simple black square painted on the floor with the audience seated in a square as well, on three of four sides. But the sense of being “boxed in” is palpable throughout this play that wears its structure on its sleeve, with lead J. Nicole Brooks announcing each of five scenes in place of conventional transition. Paragraph Two. The only character in every scene, Brooks delivers a fiery, riveting performance as the nurse Tina tending to a dying old woman Maxine (Deanna Dunagan striking a perfect note of manipulative vulnerability) who’s convinced that her only child, her grown daughter, is secretly paying Tina to hasten her demise, for tax purposes. Read the rest of this entry »
A relatively new phenomenon, Chicago Theatre Week is the opportunity for both the diehard fan and the average Joe to explore and enjoy the variety of theater that Chicago has on offer on the cheap with 100 productions all offering reduced ticket prices for the duration of the event. In its brief tenure, Chicago Theatre Week has joined the ranks of Restaurant Week on the list of “amazing activities with which to lust away an entire week in Chicago,” and rightly so—but what is it about Chicago theater that makes it special? And what better time than Chicago Theatre Week to find out?
We asked Deb Clapp, executive director of the League of Chicago Theatres, which organizes Theatre Week, to share her insights with us.
What got you interested in theater in Chicago?
I moved to Chicago to work at the Goodman and I really wasn’t aware at the time that there was such an amazing theater scene happening here… At Goodman I was privileged to be able to work with such companies as Teatro Vista, Teatro Luna and Congo Square. Those companies and their high levels of artistic quality, craftsmanship and professionalism gave me my first glimpse of what was going on in Chicago and got me interested in what was happening in the rest of the city. Read the rest of this entry »
Once was the time, when it came to performing arts, that Chicago was a great place to come from. But thanks to the constant upward trajectory of our community, Chicago is now a great place to come from AND to return to. Every year we see more and more evidence of this, whether it’s the regular homecomings of the likes of Michael Shannon and David Cromer, the Chicago reorientation of international stars like Renee Fleming and Riccardo Muti or the burgeoning national reputations of Tracy Letts and Alejandro Cerrudo, we’ve got quite a perpetual show going on. That means of course, that culling a growing short-list of 300 or so down to the fifty folks who make up this year’s Players, is getting more painful. But we’re crying tears of joy as we do it. What follows are the fifty artists (as opposed to last year’s behind-the-scenesters) in dance, theater, comedy and opera who are making the greatest impact on Chicago stages right now.
Written by Zach Freeman, Brian Hieggelke and Sharon Hoyer, with Mark Roelof Eleveld, Hugh Iglarsh and Robert Eric Shoemaker. Photos by Joe Mazza/Brave Lux
Pictured above: In the foreground, Mike Nussbaum. Continuing in a clockwise circle, Nathan Allen, Charles Newell, Autumn Eckman and Nick Pupillo, Rae Gray and Usman Ally, Alejandro Cerrudo, Ann Filmer, Michael Mahler, Michael Halberstam, Dave Pasquesi, Ayako Kato. In the background, T.J. Jagodowski.
All photos were taken at the Music Box Theatre in Chicago.
There are few stories as universally beloved as Antoine de St. Exupéry’s 1943 tale of a pilot who crash-lands in the Sahara Desert and meets a mysterious little prince from another planet. The love of this book comes with benefits and drawbacks when producing it on stage—your audience brings the excitement of seeing one of their favorite stories brought to life but along with that comes the fear that your vision will be different than theirs. At least (full disclosure) that’s the baggage I brought with me on opening night. And though I have a few minor quibbles with the script by Rick Cummins and John Scoullar and a few even minor-er quibbles with some of director David Catlin’s choices (why TWO characters with French accents?), I was more than pleasantly surprised by this delightful adaptation. Read the rest of this entry »
Everything about this world-premiere adaptation of French author Marguerite Duras’ novel of the same name is surreal. Scenes fade in and out with dreamlike transitions and overlap. Daniel Ostling’s deceptively simple, blankly carpeted set pops tables and chairs up through the floor, silently rotates entire scenes around and features a large door piece that seems to magically slide itself across the stage when needed. The frequently dim but often colorful lighting design (also by Ostling) creates a smoky effect over the stage, as if you can just barely make out what’s happening. In several scenes, Betti Xiang (backlit in a corner of the stage) plays haunting melodies on an erhu (sometimes called the “Chinese violin”).
But the story itself—ostensibly autobiographical, though we’re told from the beginning by M (an understated and rather mysterious Deanna Dunagan) that our narrator may not be completely reliable—is the most surreal of all. The story of a fifteen-year-old girl (a strident Rae Gray, referred to only as “The Child”) and her affair with a twenty-seven-year-old Chinese playboy (the effortlessly urbane Tim Chiou, referred to only as “The Lover”) in early 1930s Indochina, this adaptation by Heidi Stillman (who also directs) does little to sugarcoat the nature of the couple’s relationship. She at first claims to be seventeen, then sixteen-and-a-half, but The Lover believes neither. Read the rest of this entry »
“A Steady Rain”-playwright Keith Huff’s newest caper, “Big Lake Big City” at Lookingglass Theatre Company, is a total bust. A wannabe satire of already what’s probably the most satirized profession, the police, this irritating play drags a group of Chicago’s topmost acting talent through the convoluted thicket of crude and juvenile comedy without remorse. Granted, sophomoric humor is usually a likable enough genre, but the cream of the crop always has some semblance of relevancy and bite. However, Huff’s jokes and plots are mothball stagnant and come across no less than two decades behind the times. “Book of Mormon,” this is not.
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Glancing above and around the stage at Lookingglass Theatre Company on Saturday night, one could spy a handful of animal topiaries of varying size and species—giraffe, rhino, bird—a kind of grass menagerie with a dual purpose. For one, it’s the livelihood and artistic respite of an Iraqi gardener-turned-translator, Musa (Anish Jethmalani, persistently disturbed). In a bold move of topicality on the part of the playwright, Musa planted and shaped this garden on the grounds of the now-dead Uday Hussein’s (Kareem Bandealy) palace.
In Rajiv Joseph’s 2003-set “Bengal Tiger at the Baghdad Zoo,” the bright promise of a post-Saddam Iraq has not been achieved, and the violence of war and insurgency are escalating. Soldiers are afraid, citizens are terrified and, in times of fear, escape is paramount. This lifelike collection of sculptures (set by Daniel Ostling) is Musa’s escape until a horrible, scarring tragedy occurs in its midst. The dreamy garden is also a heavenly afterlife for a slain Bengal tiger. In the play’s first scene, Tiger (Troy West) is provoked by a thoughtless Marine (Walter Owen Briggs); he bites the the guy’s hand off, as is his nature, and is shot to death in retaliation. After roaming the streets, Tiger’s ghost stumbles upon the garden, convinced that it’s heaven and that God is just around the corner.
Returning to the Lookingglass stage fourteen years after its debut (and a decade after it won director Mary Zimmerman a Best Director Tony on Broadway) “Metamorphoses” feels as contemporary as ever. Interpreting a series of loosely connected tales/myths taken from Ovid’s “Metamorphoses,” Zimmerman’s work intertwines comedy and tragedy along with the whimsical and contemplative to create a moving and engaging piece of theater that connects modern-day theatergoers to stories that are over two-thousand-years old. The audience sits around a rectangular pool of water surrounded by a thin walkway. The ensemble—and this is truly an ensemble piece—winds around (and frequently through) the water, occasionally splashing the first few rows of the audience (who are provided with towels) in moments of extreme playfulness or torment. Read the rest of this entry »
In 1915 the USS Eastland, a poorly designed, overloaded passenger vessel, flipped to its side and sank, killing 844 people. Lookingglass’ commemorative musical successfully employs this almost forgotten tragedy to tell poignant tales of longing, regret and bravery in the face of the unexpected.
Unhappily married Ilse (Monica West) struggles with adultery; young Bobbie ( Claire Wellin) chafes under her family’s control; rescue diver Reggie (Doug Hara) longs for recognition. All forget their foibles as they confront mortality. The piece could devolve into melodrama but doesn’t as Andrew White’s very human book creates realistically flawed characters that connect. Read the rest of this entry »
By placing the audience around communal tables (loaded with purchasable wine and beer) in a setting that manages to feel like a restaurant with a theater in it rather than the other way around, this delectable mix of Cirque du Soleil and fine dining helps establish a relaxed sense of camaraderie between audience members well before the on-stage theatrics begin. The thirty minutes prior to showtime are spent marveling over margaritas and appetizers with fellow patrons rather than just settling into assigned seats. Read the rest of this entry »