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Archive for the tag “Steppenwolf Theatre”

Vinci

WHAT: Vinci (Italian)
WHERE: 1732 N. Halsted St.

OUR RATING: Do It! (Especially after theatre)

Providing a formal atmosphere with friendly, family service, and solid Italian cuisine, Vinci, located in Lincoln Park, would seem to have everything going for it. Definitely positioned to cater to the theatre crowd generated by Steppenwolf and the Royal George, Vinci’s prices are inflated for the demographic it serves, but its food tends to be quite excellent. One must order wisely, and we have this sagely advice just for you.

Adam: Vinci’s selection is quite vast. Excellent for people with varied tastes, but are perhaps not too adventurous, groups are welcome here and can sit at the long, community-oriented tables that are excellent for conversation and camaraderie. To start, I suggest you sit back with a Vinci Caprese Salad, made special by the addition of sun-dried tomatoes, not generally present in other local varieties of this dish. Actually rather filling it is slathered in balsamic and tastes divine.

Then, why not tuck into a lovely margherita pizza. With an emphasis on sauce rather than cheese, you can feel a little better about yourself afterwards, as well as satisfied that you’ve tried something quite simple and authentic. Of course, the preponderance of sauce also means that this pizza might not be to everyone’s taste, being more soft than crispy, but I wouldn’t let that deter you.

An Italian meal must be finished in Italian style: with panna cotta and Italian cookies. The panna cotta comes with a dried cherry balsamic sauce and sugared almonds, but seems too small to truly recommend itself, although the amount given is quite enjoyable. The cookies on the other hand are a treat, and go perfectly with the Italian dark coffee, in which they should be dipped for full effectiveness. In all, I crafted a decent meal at Vinci, but it didn’t come without its own surprises.

Alicia: Vinci is elegantly casual dining at it’s best, and super welcoming despite its high status in the Chicago restaurant scene. One of the things that impresses me the most about this place is the wide variety of atmospheric experiences you can have. You can enjoy a glass of wine at their bar, sit near the windows enjoying a fresh salad as you look outside, have a conversation with friends at their booths, or even go back into the cavernous wine room for a more intimate culinary adventure.

What Vinci also does well is balance your typical Italian ingredients of cheese, tomato and cream. To celebrate these ingredients I started with a sampling of their risotto of the day, which happened to be a spinach, caramelized onions, gorgonzola and walnut risotto, which was insanely rich and creamy with a savory saltiness from the chopped nuts and gorgonzola. I’m glad I just sampled this though, because this dish is beyond rich and heavy, and eating this dish in its entirety would be quite the undertaking.

To transition from cheese to more cheese I tried a piece of their 3 meat pizza with sausage, crispy prosciutto, applewood smoked bacon, fontina, tomato sauce and red onions. This was one of the most delicious pieces of pizza I’ve had in awhile, with the hierarchy focusing on the sweet and spicy tomato sauce and the thinly sliced onions, and then perfectly complimented with a healthy (but not too-healthy) dose of salty pork in three distinct and flavorful variations. Then, finally, came spots of fontina, which were lovingly placed instead of completely overwhelming everything else.

But perhaps the focal point of the evening was one of their staple dishes: the rigatoni. Perfect al dente rigatoni basked in tomato cream sauce that victoriously coated, rather than soaked, the tender pasta. But that’s not all. Parmigiano cheese, broccoli di rabe and herby Italian sausage changed things up a bit with every mouthful I took, and the variety of textures made for an adventure.

One visit I have taken to Vinci was actually a work holiday lunch, so when a large table of us ordered the tiramisu, we were flabbergasted when a GIANT sheet of tiramisu was brought to us, along with a few handfuls of berries that cut the heaviness of the tiramisu, but which failed to trick us into thinking we weren’t eating the most sinful thing in the world. The espresso and rum soaked ladyfingers provided the perfect cakey texture to balance a mascarpone and zabaione cream. Oh, and there was chocolate sauce too, just to top everything off.

Final Thoughts: Vinci seems like a great place to take the folks, out-of-town friends and long-lost acquaintances, as it combines the comfort of familiar food with fine stylings. Have fun, get some wine to start, and you’ll be well on to the via Italiana.

Head of Passes

(steppenwolf.org)

(steppenwolf.org)

WHAT: Head of Passes
WHEN: April 4 – June 9, 2013 (schedule)
WHERE: 1650 N. Halsted Ave.
RUN TIME: 2 hours with a ten-minute intermission
WHO: Steppenwolf Theatre Company
PRICE: $15-$78

OUR RATING: Do it!

(Photo by Michael Brosilow)

(Photo by Michael Brosilow)

As is traditional, Steppenwolf Theatre Company continues to churn out a plethora of plays that one can classify as “living room dramas;” in other words most, if not all the action takes place in the homes of the characters, and that home becomes a central character in itself. Indeed, the house is one of the main protagonists in ensemble member Tarell Alvin McCraney’s newest work, set in the Louisiana marshes and brimming with superb oceanic symbolism. The home has a sense of fallen grandeur about it, as its dilapidation turns to ruin, much in the same way we see the decline and fall of the matriarch residing within.

(Photo by Michael Brosilow)

(Photo by Michael Brosilow)

Head of Passes, said by McCraney to be loosely inspired by the Book of Job, charts the course of dying Shelah (Cheryl Lynn Bruce), as she is swept up in the surprise festivities for her birthday, thrown by her adult children. Her life seems to be defined by only pain and devotion to God, one begetting the other, although it seems clear that the question of which came first weighs heavy on Shelah’s mind. Bruce’s depiction is solid and captivating, even if some of the scripting is rather long.

(Photo by Michael Brosilow)

(Photo by Michael Brosilow)

Similarly captivating is actor Chris Boykin, playing the Angel in Act 1 and a construction worker in Act 2. His charisma floods the stage and the parallel between his two characters is riveting and forceful. Our only complaint is director Tina Landau’s ignorance towards the house right audience in regards to staging Boykin, who is turned away from this audience for most of Act 1, leaving them in the dark in regards to many important physical gestures he displays.

(Photo by Michael Brosilow)

(Photo by Michael Brosilow)

Perhaps most powerfully, Scenic Designer David Gallo and Scenic Design Consultant Collette Pollard conjure up Mother Nature in their fantastically magical set design. You can feel the creaks and dampness of the Head of Passes and the ongoing storm outside the house is brought inside with great ferocity. Beginning with a few drips of water on stage, the set is catapulted by winds and rain, ending with the house subsiding chaotically at the end of Act 1. A true feat of engineering, and a wonder to watch.

(Photo by Michael Brosilow)

(Photo by Michael Brosilow)

Scott Zielinski’s lighting design dances hand-in-hand with the scenic design, and one can feel the power of the storm and the magic of what happens on stage with his strings of lights, extreme side-lighting, and the beautiful shadows cast within the home as Mother Nature shifts and does her work. Unfortunately, one is slightly distracted by Michael Bodeen and Rob Milburn’s sound design through it all, as the sound doesn’t seem real but rather far-off and full of static. Perhaps this was an artistic choice, but it’s far too dissonant for our liking.

(Photo by Michael Brosilow)

(Photo by Michael Brosilow)

Ultimately, this world premiere of Head of Passes takes its audience on one heck of a roller-coaster, and leaves us pondering our life choices and convictions and allows us to contemplate how we define our family and our idea of home. Tragedy is an unfortunate yet exceedingly human element to every life. How one deals with it defines their character, whether they be resilient, avoidant, vengeful or forgiving. McCraney’s exploration of these ideas enhances our appreciation for the high complexity of everyday life and how we too must all face tragedy.

The Whale

WHAT: The Whale
WHEN: April 5 – May 5, 2013 (see schedule) (in previews until April 15)
WHERE: Victory Gardens Biograph Theater (2433 N. Lincoln Ave.)
RUNTIME: 1 hour 50 minutes with no intermission
WHO: Victory Gardens Biograph Theater
PRICE: $30-60 ($15 for students)

OUR RATING: Do It!

An emotionally-charged and gut-wrenching drama, Victory Gardens Theater’s production of The Whale is a powerful midwest premiere from ensemble playwright and Obie Award-winner Samuel D. Hunter. After the death of his partner, morbidly obese Charlie, weighing in at 600 pounds, confines himself inside his small apartment for years, ignoring his rapidly failing health. Knowing how grave his situation is, he desperately tries to reconnect with his estranged and intensely angry teenage daughter, willing to do anything for her.

(Photo by Michael Brosilow)

(Photo by Michael Brosilow)

Adam: Shocking, fascinating and deeply moving, The Whale lays bare the collision between society and the individual, making us examine this intersection, and the extremely damaged people it leaves behind. Charlie (Dale Calandra) is knowingly committing suicide before us, destroying his body in response to the annihilation of his lover by the deeds of religion.

(Photo by Michael Brosilow)

(Photo by Michael Brosilow)

A teacher, whose disembodied voice is delivered to students across the wilds of the internet, Charlie is a gentle, sensitive and educated man, whose inability to deal with loss has led to his own destruction. But he is also a selfish man, choosing not to address his previous relations in an adult manner, preferring to defer them to the last minute. Thus, we are left with his struggle to rebuild already lost connections, and the deep regret that accompanies such endeavors.

(Photo by Michael Brosilow)

(Photo by Michael Brosilow)

As the story unfolds, it becomes apparent that we are dealing with a narrative about our society’s current problems: healthcare, religious fundamentalism, discrimination and interventionism are just a few of the topics that spring to mind; but it is clear that none of these issues are actually resolved by Charlie or any of the characters. Perhaps this is because they are unresolvable, or perhaps we lack the will as a society to resolve them.

How did this play leave me? Deeply affected. As Charlie fell further and further away towards his own, self-inflicted mortality, my rage grew, as if I wanted to step into the scene and rescue the whole lot of them through a deus ex machina of my own invention. In truth, we must reflect on the causes of such injustices (economically unequal healthcare, bigoted religion, and isolation) and direct our rage towards them, so that perhaps we are spurned to some action that will overcome these challenges and inequalities.

(Photo by Michael Brosilow)

(Photo by Michael Brosilow)

Alicia: This was one of the toughest performances I have watched in a very long time. I found myself vulnerable and upset during the entire piece, and afterwards for the rest of the evening I was kind of a wreck and felt completely and utterly drained. Perhaps this was because the play hit really close to home for me in a few unique ways, but I think no matter who you are this show will punch through your gut and twist around to add to your pain.

(Photo by Michael Brosilow)

(Photo by Michael Brosilow)

Joanie Schultz directs some powerhouse actors, including stars Dale Calandra (Charlie), Leah Karpel (Ellie) and Will Allan (Elder Thomas). After seeing Karpel most recently in last year’s Next Up repertory at Steppenwolf Theatre in The Glass Menagerie as Laura Wingfield, it was refreshing to see this young actress in a more aggressive role, and I was grateful for her maturity and depth, despite her age. As for Allan, I am always super excited to see this up-and-coming actor on stage, after seeing him in Steppenwolf’s Good People and The March. He’s charming, vulnerable, and plays complexity to a tee.

(Photo by Michael Brosilow)

(Photo by Michael Brosilow)

And then there’s Dale Calandra. I only know Calandra from his stint as Aunt Lola Cabana, a drag-character he uses to host benefits, corporate events, roasts and the like. Yet while I recognized Calandra right away from this alter-ego, he immediately transformed into Charlie and I’m not sure I’ve ever believed a performance and a character more than I did his. With help from costume designer Janice Pytel, Calandra took on a 600-pound role complete with intense costuming that must have weighed a ton, with the emotional toll of the role probably weighing at least that much and possibly more.

I was torn; I wanted to sympathize with his situation, yet at the same time I was at once somewhat, admittedly, disgusted with the whole thing, and also outraged with how stagnant and passive every single character was with the grave issues at hand. I felt sick to my stomach with this disgust and sadness, which exploded during the final and most intense moment of the play, and which left me in pieces.

Final Thoughts: Riveting and profound theater, The Whale will make you think deeply about individual issues and their wider consequences through stunning acting, convincing costuming and a strong script. It will leave you in a different place, a place which you will have to discover on your own.

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)

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.

The Motherf**ker with the Hat

WHAT: The Motherf**ker with the Hat (Theater)
WHEN: December 28, 2012 – March 3, 2013
WHERE: Downstairs Theatre, Steppenwolf (1650 N. Halsted Ave.)
RUN TIME: 1 hr and 40 minutes, no intermission
HOST: Steppenwolf Theatre Company

OUR RATING: Do It!

"The Motherf**ker with the Hat" (courtesy of steppenwolf.org, Photo by Sandro)

“The Motherf**ker with the Hat” (steppenwolf.org, Photo: Sandro)

With a head-turning title that will leave some desperate to see Stephen Adly Guirgis’ newest Chicago production–and make more conservative types turn their noses up–The Motherf**ker with the Hat exudes the fury imbedded in its title and confronts us with the morally tangible nature of love, lust and loneliness. With an utterly stark and beautifully intricate set, all-star talent and layers of profanity, the fast-paced and darkly comical Motherf**ker is not a play to be missed.

John Ortiz as Jackie -- Photo: Michael Brosilow

John Ortiz as Jackie — Photo: Michael Brosilow

The Motherf**ker with the Hat originally premiered on Broadway back in 2011, starring Chris Rock and directed by Steppenwolf ensemble member and Tony Award-winner Anna D. Shapiro. While the cast is entirely different in this Chicago production, Shapiro again directs and is accompanied by some of the same designers from the Broadway production, making this Chicago production a unique reincarnation. Even more unique (and refreshing) is that the cast features no Steppenwolf ensemble member, which separates this show from the usual ensemble-based works by STC.

(right to left) Couson Julio (Gary Perez) cooks breakfast for Jackie (John Ortiz)  -- Photo: Michael Brosilow

(right to left) Cousin Julio (Gary Perez) and Jackie (John Ortiz) — Photo: Michael Brosilow

This is a story of many angles and perspectives, to say the least. Love triangle is not a sufficient expression to describe the deeply flawed and entwined relationships on show, between an ex-con turned janitor, his girlfriend, his sponsor from Alcoholics Anonymous, that man’s wife and the ex-con’s cousin. The complexity is accentuated by the underlying deceit that colours the entire work.

Sandra Delgado as Veronica -- Photo by Michael Brosilow

Sandra Delgado as Veronica — Photo: Michael Brosilow

The protagonist, Jackie (John Ortiz), has just been released from prison and is thrilled to be returning home to his high school sweetheart Veronica (Sandra Delgado)–who is anything but sweet. The chance discovery of the eponymous Motherf**ker’s hat leads to an unfolding of the truth that leaves practically no character untainted by the stain of infidelity and addiction.

(right to left) Jackie (John Ortiz) takes his sponsor, Ralph D. (Jimmy Smits) to visit his Cousin Julio -- Photo by Michael Brosilow

(right to left) Jackie (John Ortiz) and Ralph D. (Jimmy Smits) — Photo: Michael Brosilow

Protected by his mentor Ralph (Jimmy Smits) from the AA, and taken into his home along with his unhappy wife Victoria (Sandra Marquez), Jackie bounces around from his mentor, to his cousin Julio (Gary Perez) and back to his girlfriend. We follow Jackie on this journey, and share in hilarity and intensity of his relationships, which make one both laugh and reflect on the more serious consequences of human emotion.

Todd Rosenthal's scenic design for "The Motherf**ker with the Hat" -- Photo by Michael Brosilow

Todd Rosenthal’s scenic design for “The Motherf**ker with the Hat” — Photo: Michael Brosilow

This superb acting is framed amongst scenic designer Todd Rosenthal’s fantastical cogwheel set, which is perfectly utilized to showcase three distinct scenes, each with its own character. We are even treated to views of some characters living within their homes/sets during scene changes, which lends to the realism captured in both script and set.

A script that makes us consider the values of others in comparison to our own, no matter how unattractive those values may be, plunges the audience into a conundrum worth cogitating on, and a play definitely worth seeing.

P.S. Check out Steppenwolf’s interview with playwright Stephen Adly Guirgis.

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