Adam Peacock, Ryan Archibald, Brooke Breit, Kevin Sciretta/Photo: Todd Rosenberg
Still going strong after more than three years, this sixty-minute showcase of Second City’s improvisational skill, with an on-stage cast of five that rotates through almost twenty listed cast members, manages a healthy mix of audience-pleasing quick laughs and more in-depth improvisational games. Director Mick Napier has allowed for plenty of audience suggestions (who laughs more than the person whose suggestion was taken?) with quick, clearly explained improv games while still letting his performers take a few scenes to expand on lengthier scenes with more character development.
On the Monday night I attended, the UP Comedy Club was nearly full and nearly every game, from the stalwart “freeze” to more elaborate games involving telling a story from multiple character perspectives and styles, landed. But the darker moments stood out—“Reunions are about going to be with the people who are supposed to make you happy but they don’t.”/”I thought that’s what Facebook was?”—demonstrating that this cast knows what’s funny is not always happy. Read the rest of this entry »
While watching Second City alum Ithamar Enriquez, I couldn’t help but think of “Geri’s Game,” the Pixar short film wherein an elderly man plays an increasingly erratic and high-stakes game of chess against a vicious opponent that turns out to be none other than himself. “Ithamar Has Nothing to Say” is not just a solo performance. It’s also a silent one. Billed as a modern update of the silent masters, Enriquez has sculpted, along with director Frank Caeti, an ode to vaudeville that also celebrates the “Yes And” brand of comedy touted by Enriquez’s alma mater.
Anyone accustomed to sketch or standup may take a little while to adjust to “Ithamar Has Nothing to Say.” The show’s first ten minutes demonstrate Enriquez’s physical dexterity, as he hops all over the stage, seemingly against his will. Transitions between sketches can sometimes be abrupt, though Enriquez keeps the energy going through each. The show uses a good deal of music across a broad genre spectrum, whether it be for the purposes of clever sendup—a The Who-themed spot is particularly hysterical—or to cue the audience into a cultural reference a la Enriquez’s string of handsy movie parodies. Read the rest of this entry »
By Loy Webb
When I was younger, my two sisters and I shared a room. One of our many Saturday rituals was flipping through magazines to find pictures to decorate our walls. Most of the pictures consisted of our favorite members of an R&B boy band called B2K (pretty hot in the early 2000s).
But my younger sister, I kid you not, cut out a picture of Kevin Hart and put it on the wall. She was in elementary school at the time mind you, and nobody knew who he was. He hadn’t had a major movie, a comedy special, let alone the title he has today as one of the world’s top comedians.
And if you walk into our house today, on that wall, between the old pictures of Kanye West, Destiny’s Child, Usher and Jamie Foxx, is a picture of a young Kevin Hart with a blurb on the side that reads “up and coming comedian/actor.”
I remember asking my sister why she put that picture up. She shrugged and said she thought he was cute. But maybe, just maybe, she saw his star potential. I know that’s pretty deep for an elementary school kid, but hey, a child shall lead them right?
Watching the two-day “Break Out Comedy Festival” presented by NBC Universal and Second City this weekend, I felt like my younger sister. I was not just bearing witness to the next generation of comedic talent, but the next generation of comedic stars with futures filled with blinding brightness. Read the rest of this entry »
Lisa Beasley, Tim Ryder, Carisa Barreca, Rashawn Nadine Scott, Eddie Mujica and Scott Morehead/Photo: Todd Rosenberg
Satire works best when it has enough of a bite that even those laughing can feel the teeth marks. Too gentle and the jokes just feel safe and congratulatory for those in agreement, but too much and it’s hard to keep laughing. This narrow playing space is what keeps a lot of sketch stuck in the relative safety of an inoffensive nonsense land (where, to be fair, some of the funniest concepts and characters live and flourish—not everything needs to have a point). Still, Chicago audiences are lucky that the cast members of “Soul Brother, Where Art Thou?”—a slow build of a revue that starts out a bit flat and rises to some impressive peaks—know exactly when and how to push things for the sake of comedy serving as a message delivery system.
To be clear, “Soul Brother” nails some easy targets (and nails them well): the NFL’s record (or lack thereof) of supporting their players, Scientology, the George Lucas museum. But it also delves into much headier territory with equally funny aplomb: remembering 9/11, the dark underbelly of the sex trade, words white people can say that black people can’t, laws based on religious beliefs. And, surprisingly, there’s even a wordless sketch that hits many of the same emotional high-points as the legendary intro to “Up,” delivering more of a gut-punch than a punchline. Across the board, this is very smart, intentional writing. Read the rest of this entry »
The steady expansion of the performing arts in Chicago continues its marvelous pace, with more and better theater, dance, comedy and opera gracing more and better stages each passing year. The upward progression is so steady that epic undertakings—a new campus at Steppenwolf, a bigger chunk of Navy Pier for Chicago Shakes—seem almost business as usual these days. And that is a marvelous thing. This year we again celebrate the lesser-sung heroes offstage who deal with the less glamorous things like building those new stages, and paying those expanding payrolls without which the stars would have nowhere to shine.
Tragedy has been central to theater since the ancient Greeks first staged it, but the last year has brought a disproportionate volume of real-life tragedy to our community. No doubt, the expanding and maturing performing arts universe means that more members of its community will pass on each year, but the number of those struck down long before their expected hour was overwhelming these last twelve months and struck every corner of performing arts, from theater, to dance, to comedy, to opera. Molly Glynn, Jason Chin, Eric Eatherly, Bernie Yvon, Johan Engels, Julia Neary—and others we’ve unintentionally overlooked—we dim our collective marquee for you. (Brian Hieggelke)
Players was written by Zach Freeman and Sharon Hoyer
With additional contributions by Brian Hieggelke, Alex Huntsberger, Aaron Hunt, Hugh Iglarsh and Loy Webb
All photos by Joe Mazza/Brave-Lux, taken on location at Steppenwolf Theatre, Goodman Theatre, Lyric Opera of Chicago and Brave-Lux Studio Read the rest of this entry »
John Thibodeaux, Lisa Beasley, Scott Morehead, Marlena Rodriguez, Alan Linic, Liz Reuss/Photo:Kirsten Miccoli
There’s an internal tension with the holiday season between what everyone is supposed to feel—joyous, thankful and free—and how everyone actually feels—miserable, stressed-out and massively in debt. Whether it’s binge-eating on seasonally appropriate chocolates, comparing holiday bonuses, fretting about the inevitable failure of New Year’s resolutions or questioning the very theological basis on which the whole “Christmas” thing is conceived, people deal with this tension in different ways. And most of those ways are not very healthy. If there is a thematic backbone to Second City’s “Holidazed and Confused,” these myriad splinterings of the holiday cheer façade is it. (The thematic backbone is distinct from the business-side backbone which is, quite simply: “Holidays + Comedy = $$$.”)
Performed in the intimate app-and-a-nightcap environs of the UP Comedy Club, “Holidazed and Confused” is the standard Second City cocktail of sketch, improv and music. The material is consistent overall even if the quality is not totally homogenous; there are equal parts surprise and obviousness mixed in with a whole lot of solid work. There are jokes about Ebola and Tinder and pumpkin spice lattes and even one about Ferguson (which… yeah) and there are some very charming bits of audience interaction. Which reminds me, if you are planning on giving someone you love a gift card this holiday season, do not tell them that. They will make fun of you. In song. And everyone will laugh. Because it will be very funny. Read the rest of this entry »
Chelsea Devantez, Paul Jurewicz, Emily Walker and Christine Tawfik/Photo: Todd Rosenberg
As the title suggests, the writer/performers of this 103rd Second City Mainstage revue don’t just throw bits together based on recent headlines, they very carefully string them together to highlight the unending stream of media-enhanced panic that most Americans have been subjected to in recent memory. Gun violence, disappearing airplanes, Ebola, Burwell v. Hobby Lobby, bullying, hacked cloud storage… the list goes on. And perhaps there is cause for panic when even comedy oases are intentionally reminding you about all the shit that’s going down around you.
Luckily, this collection of sketches, directed by Second City stalwart Ryan Bernier, is calibrated to induce fits of laughter rather than panic attacks. And while there are a few unfortunate misses, the cast spends the majority of this two-hour show delivering hilarious hit after hit, with a few surprisingly emotional moments woven in for good measure. It’s worth noting that though the sketches flow together nicely, each new scene has a different vibe to it and, more so than any Second City revue I can remember, you can begin to pick up on the influences of various cast members (assuming they’re writing the scenes they’re in). Read the rest of this entry »
Stage 773 Clubhouse Ensemble Training/Photo: Michael Courier
By Sean Kelley
In the world of American acting, fame and fortune are to be found on the coasts in Los Angeles and New York. However, many of America’s most successful actors and comedians come to Chicago to make their bones before making a go at the Big Apple or Hollywood. Chicago’s theater scene is full of young performers looking to learn their trade and beef up their resumes. It should come as no surprise then that Chicago is also home to some of America’s foremost training centers for acting and comedy. The School at Steppenwolf regularly turns out actors who may be the next Joan Allen or John Malkovich. Second City and iO Chicago churn out Tina Feys and Stephen Colberts like clockwork. Sure, find fame and glory on the coasts, but if you want to become a great performer, come to Chicago first.
Chicago has spent decades fomenting its place as a theatrical hub, but in recent years things seem to have really taken off. Chicago’s performance training centers are experiencing something of a renaissance right now. Vaunted Chicago institutions are expanding dramatically (as theaters are apt to do). The Annoyance Theatre recently moved into a brand new space overlooking Clark Street. Second City is expanding in Pipers Alley and, of course, Charna Halpern’s iO Chicago has moved into a gorgeous new space on Kingsbury Street. Annoyance, iO and Second City expanded to accommodate the ever-growing multitudes of eager young performers looking to take their stages and classrooms. Each of these theaters has been around the block and earned the reputation that brings actors from the world over to their doors. But it is not just the old warhorses that have benefited from the legions looking to learn. In addition to these established institutions, there are several new kids on the block looking to help guide the next generation of performers. One of them is Stage 773. Read the rest of this entry »
Punam Patel, Carisa Barreca, Brooke Breit, Tim Ryder, Asher Perlman and
Eddie Mujica/Photo: Todd Rosenberg
“That’s cool as hell!” declares an enthralled pre-recorded voice, breaking away from his own faux deep thoughts about the universe, as the six-person cast of “Apes of Wrath”—the latest revue to hit the Second City e.t.c. stage—holds multicolored balls of light in front of themselves on a darkened stage. This is a near-perfect introduction to the introspective-yet-easily-distractible theme that runs through this production and, if we’re being honest, through most of our internet-connected brains: on one hand we want to be thoughtful and reflective, but on the other… ALL THE THINGS! ALL THE TIME!
Sure there have always been distractions, but it seems that in the last decade, the distractions have just been getting exponentially more impressive, more easily accessible and more instantly forgettable by the day. Notably, the first sketch of the night features a group of writers at BuzzFeed (now that “newspapers are no longer a thing”) teaching a new trainee the ropes of creating engaging content. BuzzFeed’s an easy target for confronting our microsecond attention-spans, but the cast (who are also the writers of the show) nail it without being blatant. And that’s what makes the majority of this two-act show work so well: even when addressing familiar topics, they find a new way in. Read the rest of this entry »
Photo: Ryan Bourque
By Sean Kelley
In a city with such an established and vibrant theater scene, there are many institutions that could easily make the case that the beating heart of Chicago theater lies within their walls. Is Chicago theater’s heart on the stage of Steppenwolf, one of the nation’s most successful theater companies, the home stage of Malkovich, Allen, Sinise and all the rest? Is it sitting in the balconies of the theater district in the Loop watching “Book of Mormon” or “Wicked” as they make their way through town before moving westward on their trek from Broadway to the Pacific Ocean? Is it in one of our venerated improv comedy theaters like Second City or iO Chicago taking a suggestion before pulling a comedic play out of the ether? Or is it in one of Chicago’s many small storefront theaters, striving to grow and put something truly new into the world?
All of these places are part of the body of Chicago theater. They are her hands and bones and eyes and teeth. The heart though? The heart of Chicago theater? That’s the 3031 stage in John Wilson’s backyard. Read the rest of this entry »