Storefront City Chicago

Archive for the category “Performing Arts”

22 Mar 2013

Measure for Measure

WHAT: Measure for Measure
WHEN: March 9 – April 14, 2013 (schedule)
WHERE: Goodman Theatre (170 N. Dearborn St.)
RUNTIME: 2 Hours and 40 minutes, with a 15 minute intermission
WHO: Goodman Theatre
PRICE: $25-86

OUR RATING: Chance It!

It seems that Chicago has an appetite for Shakespeare recently, and especially for some of the less-performed works from the Bard’s repertoire. One of the three “problem plays,” Measure for Measure has been classified as a dark comedy, though audiences consistently find its treatment of certain subjects distasteful. In the Goodman Theatre’s production, Measure for Measure is transposed to 1970s New York, where greed, lust and depravity rule supreme.

(goodmantheatre.org)

(goodmantheatre.org)

The Duke of Vienna determines to leave the city in the hands of Lord Angelo, during whose brief reign laws that had fallen into obscurity are prosecuted most vigorously. This leads the young man Claudio, who has been involved in an unconsecrated relationship with Juliet, to be arrested and sentenced to die. His fate lies with his sister, the nun Isabella, who must appeal to Angelo for her brother’s life, and bear his dreadful, lecherous proposal.

Adam: I have a statement to make: updating Shakespeare rarely ever works, and especially if significant scripting changes do not occur. By specifically setting the play in 1970s New York City, director Robert Falls has limited himself, making references throughout the play incompatible with his vision, and generally undermining the story.

(L to R) Sean Fortunato, Kevin Fugaro and Travis A. (goodmantheatre.org)

(L to R) Sean Fortunato, Kevin Fugaro and Travis A. (goodmantheatre.org)

Perhaps it’s the fact that I come from an education rooted in historical study, or that I’ve seen my fair share of traditionally-staged Shakespeare in England that works fantastically, but I just can’t fully get behind these types of changes. They alter the essence of the work, allowing audiences to conveniently skip over the history involved in favor of more recent events they can understand without learning the background.

That being said, one must give Goodman credit for attempting a play that does not translate well to the modern day, with ample misogyny that must be dealt with in order for the play to be successful.

(L to R) Celeste M. Cooper and James Newcomb (goodmantheatre.org)

(L to R) Celeste M. Cooper and James Newcomb (goodmantheatre.org)

Some star performances were to be had from the amusing and versatile James Newcomb (Duke Vincentio), whose eloquence and charm make his depiction of depraved royalty most watchable, while supporting actor Sean Fortunato (Elbow) provides a humorous and uncannily accurate depiction of a New York City police officer.

Unfortunately, the final reveal of the play seemed to be elongated, so that one thought the Duke almost cruel in his actions. Nevertheless, Measure for Measure will appeal to some audiences, with its likability based mainly on your personal preference for how Shakespeare should be performed.

Alejandra Escalante (goodmantheatre.org)

Alejandra Escalante (goodmantheatre.org)

Alicia: Overall, I was pretty disappointed with this production, and to be honest, I haven’t enjoyed much I’ve seen at the Goodman since The Seagull a few years ago. Yet, if you can score some cheap student/Hot Tix tickets, this production is on an entire different scale than anything else you’ll see in Chicago, with the possible exception of Broadway in Chicago and the like. It’s big. It’s loud. It’s certainly trying to say something, and trying really, really hard.

The prologue is perhaps the most impressive moment of the play, where director Robert Falls drops us most foully (and in slow motion no less) into a sleazy and sex-crazed Midtown Manhattan, all to the warped tune of Donna Summer’s “Love to Love You, Baby.” With this song as a starting point, Richard Woodbury’s sound design only gets better, with beautiful original scores playing throughout most scenes and peaking with intensity during transitions.

(L to R) Aaron Todd Douglas and Joe Foust (goodmantheatre.org)

(L to R) Aaron Todd Douglas and Joe Foust (goodmantheatre.org)

Yet, the worst moment of the play is the final component of a Donna Summers bookend to the performance, with “Last Dance” playing for the finale while the entire cast does a choreographed disco dance, and as Falls decides to kill off a major character that survived Shakespeare’s version. Utterly tragic.

And don’t even get me started on Walt Spangler’s scenic design. While I usually love and admire Spangler’s work, it looked like the Goodman’s production of Camino Real came back to haunt me and vomited all over the stage. The Goodman sure does like to flaunt that they have lots of money, and I’ve never appreciated that aspect of their productions.

(L to R) Alejandra Escalante and Jay Whittaker (goodmantheatre.org)

(L to R) Alejandra Escalante and Jay Whittaker (goodmantheatre.org)

Finally, Falls tried super hard to make this piece funny, and most of the audience laughed from beginning to end. With the exception of a handful of moments, I didn’t really laugh at all. And when the audience laughed after Isabella’s (Alejandra Escalante) attempted rape, I wanted to burn the theatre down.

Final Thoughts: We’re a little on the fence with this one, as you can probably tell. “Chance It” was dangerously close to “Skip It,” but ultimately, with a generally talented cast of actors and a strong directorial point-of-view, we suggest you think about it.

Posted in Performing Arts, See It! and tagged , , , , , , , , , , , , , , , , , , , , , , , , ,
20 Mar 2013

The La Ronde Project

WHAT: The La Ronde Project (La Ronde, The Blue Room, Fucking Men)
WHEN: March 10 – April 14, 2013 (Schedule)
WHERE: Stage 773 (1225 W. Belmont)
RUNTIME: Approximately 2 hours per show
WHO: Street Tempo Theatre
PRICE: $28 per play, or $60 for all three

OUR RATING: Do It!

Storefront City experienced a whirlwind day of theatre with Street Tempo Theatre’s La Ronde Project, a new three-play repertory presenting Arthur Schnitzler’s controversial 1903 erotic drama (La Ronde) along with other pieces it inspired: The Blue Room by David Hare and Fucking Men by Joe DiPietro. The repertory is also accompanied by an Improvised Musical Le Ronde that we unfortunately were unable to catch, but judging by director John Hildreth’s Second City credentials is sure to be hilarious. Controversial, witty and totally sexual, The La Ronde Project is sure to raise eyebrows.

La Ronde by Arthur Schnitzler (script available here)

Lauren Bourke and Dan Planz (Photo by Brian Work)

Lauren Bourke and Dan Planz (Photo by Brian Work)

Arthur Schnitzler’s dizzyingly erotic play, first privately published in German in 1900 (he thought the subject matter would cause uproar – it wasn’t premiered until 1920) is a commentary on both sexual morals and class struggle at the turn of the 20th century. A set of ten dialogues, before and after sexual encounters, the play toys with idea of sexuality being an equalizer, as well as a method of control, carefully buried beneath the pomp of lovely Vienna.

With transitions that allow for but one character to progress in the circle of sex (the “ronde” itself), director Tim Curtis moves us between the worlds of soldiers and prostitutes, maids and masters, as well as actresses and aristocrats, for good measure. The whole scope of Viennese society is captured in vivid detail, especially through the use of period set pieces, as well as costumes from the talented Laura Wilson.

Ultimately, some of the more subtle aspects might be lost in the century that has passed since Schnitzler penned this promiscuous little piece, but it remains nonetheless a compelling example of expert storytelling.

The Blue Room by David Hare (script available here)

Arielle Kresich and Matt Gall (Photo by Brian Work)

Arielle Kresich and Matt Gall (Photo by Brian Work)

Updated for the modern day, The Blue Room tells the same scandalous tales as La Ronde, but with the astounding directorial touch of Brian Posen and Cody Spellman, you are truly watching a unique piece of theatre outstandingly different from its predecessor. This production also focuses on the difference between the sexes and their (and our) perception of sexual excitement, lust and libido in a modern world that is not always what it seems.

The cast is complete with characters from the 1990s (a cab driver, au pier, and politician put in an appearance). Although we are led through similar scenes as the original, one feels the raw energy more so, as well as the disturbing nature of gender relations that still seems to cling to society, even after one hundred years of progress. The actors are on top form from beginning to end and every second in between, even acting like fiends during transitions and when ‘off-stage.’ Remarkable in both its staging and sensitivity, the exemplary direction of The Blue Room makes it a pleasure to watch.

Fucking Men by Joe DiPietro

Tyler Vaughn and Jaume Wojciechowski (Photo by Brian Work)

Tyler Vaughn and Jaume Wojciechowski (Photo by Brian Work)

This very recent play (premiered 2009) deals with La Ronde’s subject matter, but placing the story entirely within the framework of the ups and downs of gay male life in the United States. By examining relationships, lust and the need to connect in a world which still does not fully accept homosexuality, DiPietro creates a work that shows this and more through powerful dialogue, humor and dramatic poise.

The play knits together a portrait of life between the sheets and within a world that has literal dangerous consequences, and which is complete with arguments for and against monogamy, extreme secrecy and the longing to be fully liberated from oppressive circumstances. Directed by Scott Olsen with particularly strong and provocative staging, and with impressive character acting from Jack Bourgeois (Sammy) and well-rounded performances from Scott Olson (Director/Donald), Street Tempo offers a fierce take on this contemporary work.

(streettempotheatre.com)

Final Thoughts: Once again, quality work has been presented at Stage 773, proving that this venue is perhaps the best in the city for both fringe and mainstream theatre that is readily accessible to everyone. With The La Ronde Project, Street Tempo continues to showcase work that has never, or rarely, been seen in Chicago and puts a fresh spin on old classics. We encourage you to see at least one of these daring and completely amourous productions, as it will give you a taste of the massive scope of this huge project. If you do want to see them all, there is a discount on bulk tickets, so make sure you ask about it at the box office or online.

Posted in Performing Arts, See It! and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
13 Mar 2013

BlackTop Sky

(steppenwolf.org)

(steppenwolf.org)

WHAT: BlackTop Sky
WHEN: February 15 – April 21, 2013 (schedule)
WHERE: Steppenwolf’s Garage Theatre (1624 N. Halsted St.)
RUNTIME: 1 Hour and 30 minutes, no intermission
WHO: Theatre Seven of Chicago
PRICE: $20

OUR RATING: Chance It!

You had to know it was coming: a review on the final show of Steppenwolf’s Garage Rep 2013, BlackTop Sky from Theatre Seven of Chicago.

(theatreseven.org)

(theatreseven.org)

Started in 2007, Theatre Seven of Chicago’s mission is to tell Chicago stories. After winning the League of Chicago Theatres’s Emerging Theater Award in 2012, Theatre Seven of Chicago has quickly jumped into the spotlight, along with emerging playwright Christina Anderson, whose Man in Love also played at Steppenwolf’s Next Up repertory back in 2012.

(Credit: Michael Brosilow)

(Credit: Michael Brosilow)

Interestingly, although Theatre Seven of Chicago focuses on Chicago stories, BlackTop Sky and its setting of the David L. Hynn Housing Projects is not based in Chicago. Yet, as managing director Brian Golden notes in his program letter for the show, it is still a story reminiscent of so many pasts and presents in this city, with issues of love, violence, relationships, neighborhood and community within the public housing project.

(Credit: Michael Brosilow)

(Credit: Michael Brosilow)

The play centres around a young woman who witnesses the mistreatment of a street vendor, and fellow resident of the Projects. This incident profoundly disturbs her, and leads to her befriending a young homeless man who lives in the courtyard of her building. But, her boyfriend doesn’t like this one bit, and thus the narrative unfolds around a tragic, torn centre, which leads us to question the assumptions we have about who we could have been had circumstances been different, as well as the relationship we have to the world as both a passive viewer and an active participant.

(Credit: Michael Brosilow)

(Credit: Michael Brosilow)

Ultimately, with such a touching and piercing topic, we really wanted to like BlackTop Sky. With only three actors, what this play really called for was some powerhouse acting, and while Julian Parker (Klass) adroitly balances between vulnerability and passion, Kristin E. Ellis (Ida) and Eric Lynch (Wynn) really seemed to struggle through and didn’t offer much depth. This being said, BlackTop Sky deals with some extremely moving topics and lends itself well to the mission of Theatre Seven of Chicago. In fact, it seemed that the police brutality depicted in passing did not really emphasise its true horror, perhaps making the scenario less believable.

(theatreseven.org)

Scenic Designer Lizzie Bracken and Lighting Designer Lee Keenan once again strengthen the productions they work on, and with the direction of Cassy Sanders, these two designers help the audience transition through time, allowing us to spend day after day after day with Klass and his decaying, yet always-present, park bench home. We aren’t quite comfortable with these transitions though, for while they are powerful storytellers, scene changes and light effects probably took up at least 45 minutes of the production, making it move a little too slow. Or perhaps that was the somewhat awkward choreography of the run crew. We’re unsure.

BlackTop Sky provides mixed results, and will probably tighten as the run proceeds. But, for the sake of good storytelling it is certainly worth a ticket, even if you shouldn’t clamber to get one.

P.S. We’ve suggested it twice already, but check out the Garage Rep 2013 trailer!

Posted in Performing Arts, See It! and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
06 Mar 2013

Richard II

WHAT: Richard II
WHEN: January 31 – March 16 (calendar)
WHERE:The Athenaeum Theatre (2936 N. Southport Ave.)
RUNTIME: 95 minutes, no intermission
WHO: Two Pence Theatre Company
PRICE: $14 – $22

OUR RATING: Chance It!

We here at Storefront City apologize that, before today, we had not brought Shakespeare into our reviewing realm. We swear it won’t happen again.

We had the opportunity to see our first Two Pence Theatre Company production with Richard II. Two Pence’s mission is to provide audiences with works inspired by the principles of the Renaissance so as to illuminate what it means to be human. This doesn’t mean just Shakespearean scripts, but in today’s instance, it does!

Richard II, the first history play of William Shakespeare’s Henriad tetralogy (and the least performed), poetically tells the tale of the last two years of King Richard II’s reign (1377-1399) and, ultimately, his deposition. We must admit we understand why this work isn’t performed very much: there’s a whole lot of words compared to action and story, and a whole slew of characters to keep track of, but Two Pence pulls it off quite admirably.

(twopencetheatre.org)

(twopencetheatre.org)

Adam: The choice to produce Richard II, one of the most wordy and difficult of Shakespeare’s plays, is a testament to the daring nature of Two Pence; and they should be given ample applause for venturing into these murky, less trodden waters. The overall effect, perhaps due to the themes, and also because of the textual nature of the play, is perhaps less impressive, but a wide variety of performances make it enjoyable nonetheless.

(twopencetheatre.org)

(twopencetheatre.org)

Company Member Michael Mercier (Richard II) portrays the title role in all its complexity, leading to a lively and riveting portrait of a man who must struggle with the fact that his title must be based on more than divine right and, that ultimately, one must be a good diplomat to be a good ruler. I find it interesting that Two Pence chose to stage this play during this historical period, which so closely mirrors that of the Elizabethan time when the original was written. The ever-present issues of legitimacy, stability and rebellion ring true and perhaps unconsciously influenced this staging of an ever-present classic.

My one major qualm was the occasional, but consistent mispronunciation of place names, that seemed strange as they were correct at other times. However, I shan’t go on too much about this matter, it being of more interest to the historian amongst us, but suffice to say Hereford is said He-re-ford and Derby as Dar-bee, and we’ll leave it at that.

(twopencetheatre.org)

(twopencetheatre.org)

Alicia: I have two words for you: Ally Carey. By far the most powerful and versatile actor of the bunch (although the whole ensemble was generally strong), Ally Carey (John of Gaunt and others) not only gives it her all to each and every character she plays, but seems to almost glide effortlessly in transitioning between them. And with Violence Choreographer Justin Verstraete’s talented guidance, she is one bad-ass assassin. I will definitely be on a lookout for her on other Chicago stages in the future, perhaps a Babes with Blades production?

(twopencetheatre.org)

(twopencetheatre.org)

Carey, like the other five actors, takes on a plethora of roles under ensemble member Kathryn Walsh’s direction. If it wasn’t for the helpful family tree drawings, an array of moving chalkboard set pieces and numerous quick costume changes, it’d be impossible to tell who is who from one instant to the next. Honestly, at times I did find myself a little confused as to who we were watching, as sometimes little context was given and the actors and set pieces only did so much to assuage the discomfort and confusion I felt. A little more guidance from the production, even with a program note or two, would have alleviated this.

(twopencetheatre.org)

(twopencetheatre.org)

Final Thoughts: Intriguing, influential and well-thought out, Richard II from Two Pence Theatre company provides a nice evening of entertainment by an emerging company whom we are excited to see more from in the future. Definitely for the Shakespeare enthusiast, and any fan of theatre and the power of language, but perhaps not for the infrequent theatre-goer. Only two weeks left!

P.S.: If you’d like to read along with a fantastic new edition of Richard II check this out.

Posted in Performing Arts, See It! and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
04 Mar 2013

See What I Wanna See

WHAT: See What I Wanna See
WHEN: February 15 – April 12, 2013 (schedule)
WHERE: Steppenwolf Garage Theatre (1624 N. Halsted St.)
RUNTIME: 2 Hours with a 15 minute intermission
WHO: Bailiwick Chicago
PRICE: $20

OUR RATING: Skip It!

(bailiwickchicago.com)

(bailiwickchicago.com)

(bailiwickchicago.com)

(bailiwickchicago.com)

As we mentioned last week, each year Steppenwolf’s Garage Theatre explodes with new talent in three repertory productions from some of Chicago’s up-and-coming theater companies.

Storefront City takes on Garage Rep 2013 once again, but this time with Bailiwick Chicago’s See What I Wanna See. Bailiwick Chicago, with a mission focused on producing contemporary (and reinventing classical) musicals, is an itinerant theater company that launched in 2009 out of the remnants of Bailiwick Repertory Theatre.

(Credit: Michael Brosilow)

(Credit: Michael Brosilow)

Directed by Artistic Director Lili-Anne Brown, See What I Wanna See is a three-part musical by Michael John LaChiusa. The performance is broken down into two acts with two prologues which journey through feudal Japan with lovers Kesa and Morito. The musical then jumps forward in time in Act 1 to a murder noir in New York City in 1951, and then even further forward in Act 2 to Central Park, New York City, 2002, where a priest undergoes a crisis of faith post-9/11. Exploring desire, hope and truth, this five person ensemble piece utilizes a mix of pop, jazz and classical music, along with some Asian flairs.

(Credit: Michael Brosilow)

(Credit: Michael Brosilow)

Ultimately, despite Bailiwick’s best intentions, See What I Wanna See is a flawed production, complete with musical numbers that fail to capture the imagination of even the most Philistinic member of society, a number of untrained vocalists, and disparate storylines that clearly come from an intelligent yet confused mind, whose comment on culture is unclear.

(Credit: Michael Brosilow)

(Credit: Michael Brosilow)

The redeeming factors of this show are limited. Danni Smith, a collective member of Bailiwick Chicago, proves talented and versatile in her roles as the wife and Aunt Monica. And Lizzie Bracken’s scenic design, particularly the mirroring of the floor design with the stencil silhouette on the wall, is lovely for a show in rep. Mix the two together and you get the seductive and beautiful scene in Act 1 where Smith performs behind Bracken’s screen with Lee Keenan’s adept lighting choices. This, and the general strength of the cast’s ensemble work, are commemorable, but nothing was quite memorable enough to get us wanting more.

(Credit: Michael Brosilow)

(Credit: Michael Brosilow)

When it comes down to it, See What I Wanna See seems a poor choice to produce: its music, lyrics and script being so unfortunately weak. Ultimately, some of the casting decisions seriously undermined the production, and we suspect that qualified musicians would have brought more to the experience.

P.S. If you missed it last week, check out the Garage Rep 2013 trailer!

Posted in Performing Arts, See It! and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , ,
28 Feb 2013

She Kills Monsters

(buzz22chicago.com)

(buzz22chicago.com)

WHAT: She Kills Monsters
WHEN: February 15 – April 21, 2013 (schedule)
WHERE: Steppenwolf Garage Theatre (1624 N. Halsted St.)
RUNTIME: 90 minutes, no intermission
WHO: Buzz22 Chicago
PRICE: $20

OUR RATING: Do It!

(steppenwolf.org)

(steppenwolf.org)

Each year, Steppenwolf’s Garage Theatre explodes with new talent in three repertory productions from some of Chicago’s up-and-coming theater companies. Storefront City takes on Garage Rep 2013, starting with Buzz22 Chicago’s She Kills Monsters.

(Credit: Michael Brosilow)

(Credit: Michael Brosilow)

If you’re like us, you know what Dungeons & Dragons is: an epic game of wits, stamina and adventure (and, ultimately, creativity), it represented an epoch when tabletop games were the norm and your imagination could take you anywhere. Buzz22 Chicago’s She Kills Monsters is not only an extremely fun romp through the world of fantasy, but also a meditation on our perceptions of those we love, and how they exist in their own minds.

(Credit: Michael Brosilow)

(Credit: Michael Brosilow)

In Qui Nguyen’s play, a young woman must face the perils created by her sister’s mind on a D&D quest to save that sister’s very soul (you can pick up the script at She Kills Monsters). Under Scott Weinstein’s direction, a plot unfolds that shows us this young woman is as much trying to save her own soul as her sister’s: accompanied by a motley band of followers, demons are slain in more ways than one in this epically funny and compelling fantasy-action-comedy.

(Credit: Michael Brosilow)

(Credit: Michael Brosilow)

With transitions from the world of High School to the mythical world of role-playing, we are privy to choreographed battles, large scale puppetry work by Colleen Werle, beautifully intimate shadow puppetry from the majestic Manual Cinema, awe-inspiring mask design from Colleen Werle and Trina McGee, and thrilling costume designs that will take you back into the 90s, through the lands of elves, and even into the depths where demons lurk while watching ER and Twin Peaks.

(Credit: Michael Brosilow)

(Credit: Michael Brosilow)

You don’t need to know about D&D to appreciate this epic show (to be honest, only half our duo is a D&D nerd). Yet, one of the magical aspects about She Kills Monsters is the wide array of audience members who attend: we shared the house with an avid D&D player who had ‘nerd’ written all over his face and down to his toes, and who had probably not seen a lot of theater before. On top of that, Buzz22 Chicago is just brimming with energy and youthfulness. This young company’s mission is to explore coming of age and the ideas of change, growth and transition that are constant in all of our lives. No matter what you do with your free time, whether you watch reality TV or play RPGs, this show allows us all to share a unique and mesmerizing adventure.

(Buzz22Chicago.com)

(Buzz22Chicago.com)

She Kills Monsters is absolutely fun, subtly thought-provoking and a must for anyone who dreams of being something more. Highly recommended, so pick up tickets while you still can!

P.S. Check out the Garage Rep 2013 trailer! And if you want to play a bit of D&D, this is the place to start: Dungeons & Dragons Fantasy Roleplaying Game: An Essential D&D Starter (4th Edition D&D)

Posted in Performing Arts, See It! and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
18 Feb 2013

The Birthday Party

WHAT: The Birthday Party
WHEN: January 24 – April 28, 2013
WHERE: 1650 N. Halsted Ave.
RUNTIME: 2 hours and 30 minutes with two 10-minute intermissions
HOST: Steppenwolf Theatre Company
PRICE: $15-$78

OUR RATING: Chance It!

(Credit: Sandro)

(Credit: Sandro)

Ambiguity takes and reigns the stage in Steppenwolf Theatre Company’s production of Harold Pinter’s The Birthday Party, now playing until March 3rd in Steppenwolf’s newly configured Upstairs Theatre in Lincoln Park. Directed by ensemble member Austin Pendleton and starring an epic cast of Steppenwolf ensemble members Ian Barford, Francis Guinan, Moira Harris and John Mahoney (along with Marc Grapey and Sophie Sinise), Steppenwolf’s take on Pinter’s nightmarish dark-comic classic is lukewarm at best.

(Credit: Michael Brosilow)

Moira Harris, Ian Barford, Sophia Sinise, Francis Guinan and Marc Grapey (Credit: Michael Brosilow)

Set in a seaside English boarding house, this comedy of menace is absurd to say the least, with a fluid and questionable sense of time, place, identity and context. To put it simply, the lives of owners Meg (Moira Harris) and Petey (John Mahoney) and their guest Stanley (Ian Barford) are turned upside down with the arrival of two mysterious strangers (Francis Guinan and Marc Grapey). Other aspects of the plot are given step by step and questioned along the way, leaving the audience to piece together the rest of the story.

Steppenwolf’s new configuration of their Upstairs Theatre definitely adds some excitement to the piece, now bringing their audience closer in a new alley (traverse) staging that provides a unique and slightly uncomfortable intimacy with both the stage and the audience on the other side.

(Credit: Michael Brosilow)

Barford and Harris (Credit: Michael Brosilow)

However, the most essential pieces of a Pinter play are unfortunately found missing in this production. The classic suspense and menace that pervade each of his works, including The Birthday Party, are only subtle here, leaving the audience without the unique creepiness and spine-tingling feeling of risk that one usually associates with the Nobel laureate’s work. After reading the play, one feels a certain amount of discomfort and tension that is refreshing and exciting and scary all at the same time. But Pendleton’s direction seems more stagnant and lacks this sense of the dramatic, with a few hapless cameos of the over-dramatic.

(Credit: Michael Brosilow)

Guinan and Grapey (Credit: Michael Brosilow)

In addition to this, the setting, which is clearly stated by Pinter to be a southern English town (as mentioned on several occasions in the media), does not seem to have mattered to whoever provided guidance for accents on this production. Dialects seem to range from northern working class (Mahoney), Thespian London (Guinan), and indiscernible (Welsh?) (Harris). This added to the confused feeling of the production and was perhaps intentional. However, it still doesn’t forgive some of the poorer accent approximations given by certain members of the cast, which are simply unnecessary with the proper training. We, however, blame this more so on a failing of the voice coach than any of the actors themselves.

John Mahoney and Francis Guinan (Credit: Michael Brosilow)

Mahoney and Guinan (Credit: Michael Brosilow)

This doesn’t negate the fact that the acting as a whole is superb, with stellar performances from Francis Guinan and John Mahoney, although Mahoney’s part is much smaller than we would have liked. Each of these theatrical veterans bring a whole lot of punch to this play, with Mahoney’s strange vulnerability and the lovable, yet terrifying, character of Guinan’s.

While the average ticket price may be a bit too steep for this production, Steppenwolf offers some pretty awesome ticket discounts, including $15 student tickets and twenty $20 tickets to every single show. Twenty bucks to see some top Steppenwolf acting of Pinter’s ominous absurd-ism may just be worth it.

Posted in Performing Arts, See It! and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
11 Feb 2013

Lady Day at Emerson’s Bar & Grill

WHAT: Lady Day at Emerson’s Bar & Grill
WHEN: February 2 – March 10, 2013 (see here for schedule)
WHERE:Stage 773 (1225 W. Belmont Ave.)
RUNTIME: 90 minutes with no intermission
HOST: Porchlight Music Theatre
PRICE: $32-$41

Alexis J. Rogers (Credit: Kelsey Jorissen)

Rogers (Credit: Kelsey Jorissen)

OUR RATING: Do It!

As the lights come up on Emerson’s Bar & Grill in Philadelphia, 1959, the legendary Billie Holiday takes the stage and lives out one of her final concerts in this sometimes tragic, sometimes uplifting and always powerful performance. Accompanied by a wonderfully talented and expressive jazz trio, Holiday (Alexis J. Rogers) leads us on a musical journey through her life, relationships and struggles in a fascinating and deeply emotional portrait of one of the world’s greatest legendary jazz singers.

(porchlightmusictheatre.org)

(porchlightmusictheatre.org)

Adam: One of the strongest productions I’ve seen in the last year, Lady Day is a moving, stirring tribute to this great icon of jazz. With old standards like Easy Livin’, What a Little Moonlight Can Do, and the incomparable God Bless the Child, we learn the true story behind Holiday and begin to better understand the struggles her life, and success, entailed.

(porchlightmusictheatre.org)

(porchlightmusictheatre.org)

Rogers’ smooth and sultry voice is a perfect imitation of Holiday’s, and at some points, I thought Rogers was holding back her own voice in order to emulate that of the great singer. But, I didn’t mind. Along with Lanie Robertson’s superb script, including anecdotes that speak to all humanity about the evils of oppression and the horrific struggle to overcome all types of adversity, Rogers fools the audience into believing she really is Holiday, leading one to the tragic realization that any dramatization of her life must end in her death. In this way, a sense of dread builds throughout the production, masterfully executed under the direction of Rob Lindley and Jaret Landon. Nevertheless, I was left feeling elated at such a wonderful portrayal of such an irreplaceable singer. Highly recommended.

(porchlightmusictheatre.org)

(porchlightmusictheatre.org)

Alicia: As you walk into Stage 773’s proscenium theater in Lakeview, you can’t help but feel you’ve entered a jazz club from the 50s, and all that is missing are cabaret tables and lamps. And you realize that you and the rest of the audience are dressed all-too-inappropriately. The women should be in glitzy A-line dresses reminiscent of the glitz of the roaring 20s with the sophistication of modern 50s fabrics. And your date definitely forgot his fedora.

Scenic designer Jeffrey D. Kmiec must be applauded for his intimate and simply beautiful set that reels you into a small bar in Philadelphia from this era, with a well placed fog machine imitating the cigarette smoke that was probably pervading the bar back then. The only thing I wished was that the whole play was transplanted next door to Stage 773’s cabaret theater instead, but perhaps that’s too much to ask.

(porchlightmusictheatre.org)

(porchlightmusictheatre.org)

The show from start to finish is completely riveting, and the role of Holiday is all too perfect for Rogers, who not only slips into – but owns – the star’s shoes. After first seeing Rogers as Bess in Court Theatre’s production of Porgy and Bess, and being pretty disappointed in the pairing of Rogers and her character, she has completed altered my perception of her as a performer. She transforms and transitions skillfully from song to song with some interrupting discussions with the audience and her band, and you almost forget that you aren’t watching and listening to the real thing. There’s passion, hope, loss, faith, love, and darkness, and they all stalk you for the whole 90 minutes, leaving you quite exhausted by the end of it all. But exhausted in the way you feel after a good workout, or a good cry, and at the end of her performance there’s nothing you can do but give the work a standing applause.

(porchlightmusictheatre.org)

(porchlightmusictheatre.org)

Final thoughts: Lady Day at Emerson’s Bar & Grill stands out as a wonderful production for anyone passionate about jazz, music and theatre. Rogers’ performance is amazing and well worth your evening. So, book a ticket, pull up a chair and drink in the atmosphere…

Posted in Music and Concerts, Performing Arts, See It! and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
04 Feb 2013

Night of the Magician

WHAT: Night of the Magician
WHEN: January 31 – February 24 (see schedule for details)
WHERE: Chopin Theatre (1543 W. Division Ave.)
RUNTIME: 1 hour and 15 minutes with no intermission
HOST: Screen Door
PRICE: $15

OUR RATING: Chance It!

(chopintheatre.com)

(chopintheatre.com)

If you’ve never been to the Chopin Theatre, it’s a treat for the senses. Part performing arts space, part cabaret and part 19th century cafe, this is the sort of venue Storefront City would love to own if we opened a theatre. It seems magical and timeless, and that makes it a perfect locale for Night of the Magician.

(moviesarebetterlive.com)

(moviesarebetterlive.com)

The company, Screen Door, produces live movie events, causing you to be assailed from all directions by sound, sight and movement. Prior to the main event, this movie begins like all other films on the big screen, but with a twist. Each night a different theater or screening company performs a live movie trailer, promoting their ongoing or upcoming performance – of course without revealing any of the plot twists. This week, it was Whiskey Rebellion Theatre, previewing their Whiskey Radio Hour. This is a great way to get coming attractions out there both fast and fun.

(moviesarebetterlive.com)

(moviesarebetterlive.com)



But on to the main event, which is Screen Door’s first feature length Live Movie, although back in March they premiered I Am a Rocket Scientist, a shorter sci-fi musical Live Movie experience. Written and directed by Jack Lawrence Mayer and David Milton Brent, Night of the Magician is screened before you, actors merge with the movie, sound effects are generated live by a foley artist and music is provided by a band, The Ides of March. In Night of the Magician, Matilda (Ellie Reed), a girl rendered mute by a terrible tragedy, seeks her lost brother (Daniel Desmarais) in a desolate industrial town. Pitted against her are the mysterious forces of Isabelle Lewis (Martine Moore), the heiress to the town factory, the mysterious Magician, and an awful Beast that lives in the woods.

(moviesarebetterlive.com)

(moviesarebetterlive.com)

Adam: I was extremely excited to attend my first ever live movie. It’s a concept that is so novel and innovative, that one is immediately intrigued, and with a title like Night of the Magician, you cannot help but feel you may be transported to those ancient picture-houses, in which music was twinkled out on an old piano, titles flashed in a bright white on black, and sound effects were invented by a “man behind the curtain.” All these expectations were met, other than that the piano man was actually a full-piece band.

(moviesarebetterlive.com)

(moviesarebetterlive.com)

What most impressed me about this production was the cast of amazing characters. The moody and otherworldly performances brought an uncanny realism to the film, which placed you at close quarters with each of the people involved. Mrs. Winter (Gigi Fenlon) provided an expressive, if all too brief, performance as an innkeeper, building tension in her exceptional attention to the very detail of her character. Another outstanding performance was given by Gina Marie Hernandez as the Healer, with a shocking videographic interlude that might be straight out of the opening sequence of American Horror Story.

Another detail I much appreciated was the scene selection, which perfectly painted the dark reality of an industrial complex that seemed to absolutely exist, mainly due to the careful knitting together of locations by a skilled director.

(moviesarebetterlive.com)

(moviesarebetterlive.com)

My one major criticism was not with the performance itself, but in its unfolding. Often, so much was occurring at once around me, that it became unclear on where to affix my attention. Mainly, I focused on the film screen, but I would have been interested to see the effect multiple screens around the room would have had, perhaps showing different perspectives, and thus allowing one to concentrate on the entire experience rather than a few select elements.

(Credit: Joe Mazza at Brave-Lux)

(Credit: Joe Mazza at Brave-Lux)



Alicia: Being a techie at heart, I’m like a kid at a candy store when I get a ‘behind-the-scenes’ view of how anything is created or performed. Because of this, my focus of the night was on the pieces of the film which were produced live right amidst the audience and screened right then and there. When I entered the theater space, it was hard not to notice a huge track laid down at the back of the house, which was used to guide a camera dolly. The rules regarding the camera dolly’s use were clear and strategic, with only stories ‘of the past’ being filmed, quite ironically, in the present. However, while the theory and practice behind these pieces of the production were quite masterful, I couldn’t help wanting to turn my head and watch what was really happening on the dolly track versus what was happening on the screen. What would have really made this a much more intriguing experience would have been if the track was integrated even more amidst the audience so as to become a much more present piece of the live experience.

Another intriguing component of the experience that just needed to take a few steps further was the traversing of actors from the screen and into the live environment and back again. I really wanted a more fleshed out 2D versus 3D experience, and while I was tantalized by a few beautiful transitions, particularly by the character of Frederich, there just wasn’t enough of a relationship there.

(Credit: Joe Mazza at Brave-Lux)

(Credit: Joe Mazza at Brave-Lux)

Overall, there just wasn’t enough “live” and “filmed” visual integration for me (the foley effects and live band really did their auditory jobs masterfully). The components were there, and I’m not sure if the space Screen Door produced in limited them in this respect (I can only imagine it must have), but some aspects of the night seemed too piecemeal, and it was odd having the last twenty or so minutes of the performance be almost pure film work. And ultimately, the least fulfilling aspects of the performance were the shadow puppets, which felt more slapped in out of artistic interest rather than really worked into the piece, but I usually set relatively high stakes for any production attempting to integrate this art form, so I shan’t be too harsh.

(moviesarebetterlive.com)

(moviesarebetterlive.com)

Final Thoughts: In our opinion, Night of the Magician provides a hauntingly beautiful performance in a developing art form. If you would like a unique experience that you cannot possibly get elsewhere, Screen Door provides it, and we are convinced that their production will only become more sure and steady in the future.

(moviesarebetterlive.com)

(moviesarebetterlive.com)

Although we sat in the main section, we suggest you try to get a seat at the very back of the theater (just beyond the tracks) if it’s a packed enough house. Although some of the sightlines may be difficult, this way, you’ll get a better vantage point of both the live film and foley work. Why not get a first hand look at what really makes this event live and breathe in the moment? And make sure to stick around in the lounge and listen to live music, have a few drinks at the bar, and enjoy the thoughts of others you just shared this experience with.


P.S. We would like to briefly comment on the behavior of some of the audience members throughout the production. During some of the more important parts of the movie, a select group of audience members took it upon themselves to laugh in a mocking, childish and totally inappropriate manner. We felt ashamed to be part of the same audience as these juvenile, haughty and blatantly discourteous individuals. We are of the opinion that such people have no place in the world of respectful theatre and should be removed to the unintellectually bawdy fringes where they belong.

Posted in Performing Arts, See It! and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , ,
30 Jan 2013

Stadium Devildare

WHAT: Stadium Devildare
WHEN: January 17 – February 23 (see schedule for details)
WHERE: 621 W. Belmont Ave. (Red Tape Theatre inside St. Peter’s Episcopal Church, 2nd floor)
RUNTIME: 1 hour 20 minutes, no intermission
PRICE: $25

OUR RATING: Skip It!

How do you summarize Stadium Devildare? Let’s be frank, it’s extremely difficult to fathom what this play is truly about: in some sort of post-apocalyptic future, combatants work both with and against each other in a war zone in a Battle Royale style competition, broadcast to the watching public. We guess?

Red Tape Theatre’s Stadium Devildare did what no art should do: it confused the hell out of the audience and was almost completely and utterly inaccessible.

Adam: The major problem with Stadium Devildare is the extreme obtuseness of the script. What is this battle for glory? Why is it taking place? And why can’t I understand what people are saying, even though they are clearly speaking English?

At first, I thought I was missing the deeper meaning of the play, that my powers of perception and understanding were not great enough to comprehend the words emanating from the stage. Then, I seriously considered the possibility I was having a stroke, but after a quick check of both the right and left sides of my body, I established that the only haemorrhaging occurring was from the outflow of poetic gibberish spewing from Ruth Margraff’s script.

(redtapetheatre.org)

(redtapetheatre.org)

And my belief is strongly that the problems are with the playwright and not the cast or Red Tape Theatre, who did do an admirable job of producing a lemon of a work. A strong performance was to be had from Lyndsay Kane playing the presenter of the night’s entertainment, and all members of the cast engaged in a physically demanding and strenuous set of stage fights. But, the overall quality of the script was so awful that not even an Tony-award winning, or nominated, actor could have redeemed it.

(redtapetheatre.org)

(redtapetheatre.org)

Alicia: I found this play unentertainingly exhausting, which is unfortunate because I have a huge amount of respect for Red Tape and many of the individuals working on the production. Lakeview’s Red Tape Theatre has a mission for reinventing the relationship between the artists onstage and their audience, and have a very unique perspective in providing new and experimental work and an interactive performance space, which many more conservative theaters in Chicago can’t pretend to do. I also found Greg Poljacik’s fight choreography pretty masterful, and there were some really fun scenes with Ninja game characters in this respect (with some stellar nonspeaking performances by Bryan Bosque and Julian Hester). Rachel Spear’s sound design and especially Mike Morch’s scenic design were innovative and also fun to experience.

(redtapetheatre.org)

(redtapetheatre.org)

But that’s as far as it goes, and trust me: those saving graces don’t provide a big enough dosage of aspirin for the headache that Stadium Devildare really was. I felt stupid and confused throughout 95% of the show, which no audience member should have to experience. I’m sure this was not director Karen Yates’s intention, but I had no idea what they were saying, no idea what was going on, and half way through the show I lost my will to keep on attempting to figure it all out. I surrendered and gave up. It was too painful.

Final Thoughts: There is a lesson for the future here: stay away from work you don’t fully understand–inscrutability doesn’t equal gold, and will more than often render nothing but pyrites.

Warning: Contains scenes of rape, extreme violence and foul language.

Posted in Performing Arts, See It! and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , ,

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