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Archive for the category “See It!”

10 Aug 2013

Belleville

WHAT: Belleville
WHEN: June 27 – August 25, 2013 (schedule)
WHERE: Downstairs Theatre, Steppenwolf (1650 N. Halsted St.)
RUNTIME: 1 hour and 40 minutes, no intermission
WHO: Steppenwolf Theatre Company
PRICE: $20-78

OUR RATING: Do It!

(steppenwolf.org)

(steppenwolf.org)

Amy Herzog’s intriguing work about two Americans living fitfully in the French capital, albeit in a peripheral neighbourhood, uncovers for us one of the deepest fears we can have about anyone – what is a person’s true nature? While producing a facade of slightly Bohemian homeliness, Herzog illustrates that just under the surface writhes a secret world, waiting to be exposed.

Adam: Relationships are ongoing affairs – each one meanders in such a way as to make it totally indiscernible to the the outside world. Couples present visions of themselves, and to each other, and Herzog’s keen writing and knack for accentuating a fractious situation sheds light on the darker side of the individual – the part of us that is not truly known.

(Photo by Michael Brosilow)

(Credit: Michael Brosilow)

Zack (Cliff Chamberlain) and Abby (Kate Arrington, Steppenwolf ensemble member) live in a limbo world in which neither of them belong: an all-American home thrust into a foreign city and, to make matters more confusing, they reside in a district populated by the scions of the Francophone empire. Perhaps it is this obviously different backdrop that allows Amy Herzog’s characters to love and fight so passionately, but there is also a sickness flowering between them, fueled by a need to escape, an escape from their very contained reality.

(Photo by Michael Brosilow)

(Credit: Michael Brosilow)

This relationship is instantly illuminated as tainted by neuroses: both parties have much to answer for, and the unknowing juvenal nature of their behavior can take an audience from laughter, to repulsion, and finally, to shock.

Alicia: After reading the script for Belleville I was excited to see such a riveting play performed by a quartet of some of Chicago’s finest (and sexiest) actors. Amy Herzog’s script might have a few flaws, but she is a very talented writer, and what seems most important are the levels of suspense she creates. You’re not suspended in one feeling, but taken on a journey, so that once you reach the climax of the production, you’re on the edge of your seat just waiting for a fall, but what kind of fall that is, and from how high, is a mystery.

(Photo by Michael Brosilow)

(Credit: Michael Brosilow)

My first impression of Steppenwolf’s production, however, was not quite so high, as I was immediately put off by James Schuette’s set design. Two young expats with two kids manage an apartment complex in the North of Paris, and two Americans with low-paying jobs are coming to live there. But the set is relatively extravagant, and seems not-quite-so affordable for these characters.

Nonetheless, the show as a whole was a definite thriller, and even though I already knew the suspenseful ending, the production and Anne Kauffman’s direction brought a whole new life to a complex and intelligent script.

(Photo by Michael Brosilow)

(Credit: Michael Brosilow)

Final Thoughts: Be wary of who you go to see Belleville with. We’ve heard of couples having huge fights after the play, each identifying with different characters and viewpoints. But, if you can take that emotion home with you, then a piece of art has done its job.

P.S.: Despite our love for most Steppenwolf productions, we must admit we were furious with our seats. Steppenwolf should be ashamed to seat patrons in their box seats if there are sightline issues. We could not see the entirety of stage right. Luckily, most of the thrilling action occurs stage left, so we felt more sorry for the folks seating in the house right boxes. Nonetheless, disgustingly disappointing.

Posted in Performing Arts and tagged , , , , , , , , , , , , , , , , , , ,
07 Jun 2013

The Internationalist

WHAT: The Internationalist
WHEN: May 28 – June 16, 2013 (schedule)
WHERE: Steppenwolf Garage Theatre (1624 N. Halsted)
RUNTIME: 85 minutes, no intermission
WHO: Steppenwolf Theatre Company/Northwestern University
PRICE: $20

OUR RATING: Skip it!

The Internationalist, written by Anne Washburn, is one of the three productions that make up Steppenwolf’s Next Up Repertory presented in collaboration with Northwestern University’s MFA programs in Direction and Design. Featuring the work of graduates of those programs, the productions are coupled with casts of professional Chicago actors. Neil LaBute’s Fat Pig and Adam Bock’s The Drunken City complete the repertory, all set up in The Garage Theatre.

Set in an undisclosed Eastern European country, The Internationalist tells the story of American businessman Lowell on a business trip abroad, where he must cope with a foreign culture and language he can’t begin to understand, all the while caught up in an overwhelming office romance and an overall disconcerting office culture undergoing constant chaos.

(Photo by Michael Brosilow)

(Photo by Michael Brosilow)

Alicia: This show had a difficult start, and it was clear from the beginning that Northwestern MFA student and director Erin Murray couldn’t quite make sense of what is ultimately an intriguing, but very rough and flawed script. And neither could I for that matter, and while the center of the story had a few ups in its execution, the shaky beginning and end of the production found me confused and frustrated, and all I wanted to do after the show was over was forget I ever saw it. Which was not really a problem, as in the end there was nothing really memorable at all.

(Photo by Michael Brosilow)

(Photo by Michael Brosilow)

Perhaps the only consistently redeeming aspect of the production was Scenic Designer Stephanie Cluggish’s set, who pulled off some amazing effects and beautiful scenes and who really made this place (whatever it was) her own. And while most of Sound Designer Kevin O’Donnell’s soundscape was intriguing (with a consistent underscore of a manipulated “Relax” by Frankie Goes to Hollywood), there were some really awful choices made in some scenes where the music would suddenly change to un-subtly reflect the change in topic and mood, which instead of enhancing the transition, called it out in an extremely uncomfortable manner.

And don’t get me started on the transitions in this show. Oh, so very painful.

(Photo by Michael Brosilow)

(Photo by Michael Brosilow)

Adam: There is something seriously unintelligible about The Internationalist, and its not just the gibberish language created to reflect some unknown Eastern European tongue (it doesn’t sound Eastern European at all). One has to imagine that we are being plunged into the depth of jet-lag while trying to make sense of our new surroundings, but who really wants to see a play where you feel the awful oppression of a nine hour difference in a mere 90 minutes. There is a sense of mystery here, but the subplots seem unfortunately under-realized, while placing this work in any particular genre seems almost impossible.

(Photo by Michael Brosilow)

(Photo by Michael Brosilow)

We have glimmers of an intriguing story: a businessman on the same plane as a suspected jewel thief,  the dizzying array of noir characters (some potential assassins, others criminals and some just completely narcissistic) lead one to believe we are about to see something unique and special. But the jewel heist is unexplored, the assassins brushed under the rug and the potential criminal activities never completely explained, meaning I felt extremely lost in translation in an unfulfilling, dragging way.

(Photo by Michael Brosilow)

(Photo by Michael Brosilow)

Perhaps the star of the show was John Gray (James, Waiter and (potentially) Partisan Bartender), whose ability to flawlessly move between a variety of characters (self-conscious, confident, brazed and psychopathic) makes him a pleasure to watch. So make sure you look out for him in upcoming productions around Chicago: he has star talent.

(Photo by Michael Brosilow)

(Photo by Michael Brosilow)

Final thoughts: Overall, The Internationalist is a murky play, with little content and more cryptology surrounding it than the old KGB building. But, just like you wouldn’t want to hang out in Lubyanka Square, so too is this production one to be avoided.

Posted in Performing Arts, See It! and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
31 May 2013

Star Trek Into Darkness

FILM: Star Trek Into Darkness
RATING: PG-13
DIRECTOR: J.J. Abrams
LANGUAGE: English
RUNTIME: 2 hours and 12 minutes

OUR RATING: Chance It!

There’s something you should know. A confession, so to speak: we are both huge Star Trek fans. While not venturing into the Original or Animated Series much, we’ve watched every episode of The Next Generation, Deep Space Nine, Voyager and are currently on the final season of Enterprise. We both got some subtle enjoyment out of the first Star Trek reboot film: it was new, quirky and fun. But, Star Trek Into Darkness, with its attempt to comment on global terrorism, reinvent already brilliant characters and an extremely heavy use of CGI, leaves us feeling we’ve missed something – that Trek mysteriously went mainstream while we weren’t looking, and now can appeal to anyone, anywhere (apart from Trekkies, of course!).

(startrekmovie.com)

(startrekmovie.com)

This mass appeal is detrimental to the franchise. It supposes that you should have a general, cult knowledge of Trek (which everyone does, unless you’ve been living under a Tribble since 1966), but not know enough to tell your Cardassians from your Breen, or to know, first and foremost, that Star Trek is a show in which exploration rather than war is paramount. While revisiting some key moments and recreating some classic characters, Star Trek Into Darkness is really an action film with Trek branding.

(startrekmovie.com)

(startrekmovie.com)

Adam: J.J. Abrams has a mammoth task on his hands. Tackling a phenomenon like Star Trek, with its own fandom community, extensive history and life of its own is nearly impossible for one man alone, and is perhaps why he took the safe route of rebooting the series in 2009. Still, one must tread a fine line between pleasing fans and selling out to the public. Unfortunately, Abrams does sell out here, but that doesn’t mean the film shouldn’t recommend itself as a standalone piece.

(startrekmovie.com)

(startrekmovie.com)

We open, thankfully, on an alien world with James T. Kirk (Chris Pine) fleeing some spear throwing natives who haven’t fully appreciated his intergalactic charm (knowing Kirk, he probably slept with the Chief’s daughter). I found myself suddenly realising that I’d seen this all before: Raiders of the Lost Ark, 1981. While this trope is always fun (yes, I know the Raiders scene is prejudiced, detrimental to archaeology etc., but it was the 1930s!), it felt immediately weird in the Trek context – who were these people, what’s happened, and many other questions come to mind that are never answered. Pine is passable as Kirk, but not nearly as interesting, choosing to be as one-dimensional as possible.

(startrekmovie.com)

(startrekmovie.com)

The central theme of the film is terrorism – unseen, unrelenting and unmerciful. This is NOT the Star Trek of the TV series, where Earth is a utopian egalitarian paradise. On this Earth, massive destruction rips the hearts out of cities, while Benedict Cumberbatch plays the evil Englishman in a manner reminiscent of Alan Rickman’s Snape.

(startrekmovie.com)

(startrekmovie.com)

Yet, for all its troubles, you do get some fun performances and great action scenes worthy of a good movie. Scotty (Simon Pegg) is still as dry and witty as ever, while Bones (Karl Urban) manages to rattle out some classic lines that still capture some of the Southern comfort we derived from DeForest Kelley.

(startrekmovie.com)

(startrekmovie.com)

Alicia: Four years ago I didn’t really know much about the Star Trek franchise. I thought Klingon was Vulcan sign language, that’s how muddied my ST knowledge was. So when I saw the 2009 film I had nothing to really anchor my experience off of, other than one of your many space science-fiction films, and I rather enjoyed it.

(startrekmovie.com)

(startrekmovie.com)

Four years later and I’ve seen every series except the Original, so I suppose I still don’t have quite the repertoire of a Trekkie going into seeing a movie based on the same time period and characters as the original series, but my past few years watching The Next Generation, Deep Space Nine, Voyager and Enterprise has made me a fan of ST. Not a trekkie, not a die-hard fan, but a fan nonetheless. It has offered me interesting philosophical insights, aesthetic pleasures, and with Enterprise a keen patience for ridiculous American Nationalism.

(startrekmovie.com)

(startrekmovie.com)

And oh, Into Darkness, how uninspiring you are, and how xenophobic. You could have been any science fiction movie (well, more like pure action movie set partially in space), and no matter how hard you tried with your famous actors, your one/two sets of Vulcan ears, your terrible Klingon makeup attempts and the cameo appearance from Leonard Nimoy, you just weren’t very Star Trek. Just calling characters ‘Spock’ and ‘Kirk’ doesn’t make them Spock and Kirk, and neither did any of your other attempts in recreating this world make them such. Other than that…an okay space action movie I suppose?

Final Thoughts: This isn’t your parents Star Trek, or even yours, but Into Darkness is a valiant effort and worth seeing if only to keep the franchise we love so dearly alive.

P.S. To really help Star Trek “Live Long and Prosper”, pick up a copy of Star Trek Into Darkness pre-order and have fun with the included Phaser, which is an exact replica (meaning the EXACT specifications) as those used on screen.

Posted in In Theatres..., See It!, Watch it Now and tagged , , , , , , , , , , , , , , , , , , , , , ,
13 May 2013

Lascivious Something

Picture 35WHAT: Lascivious Something
WHEN: May 4 – June 8 (schedule)
WHERE: Signal Ensemble Theatre (1802 W. Berenice Ave.)
RUNTIME: 1 hour and 50 min w/ a 10 minute intermission
WHO: Signal Ensemble Theatre
PRICE: $15-20

OUR RATING: Chance It!

Sexually charged, mysterious and somewhat reclusive, Signal Ensemble Theatre’s Lascivious Something meanders through the treacherous relationships that ensue when one doesn’t fully leave behind the past (or that past comes after you). Set on a remote Greek island, an American expatriate has settled with his local wife and is enjoying the ancient Greek tradition of winemaking, although it is clear that this industry has become lost over the millennia. Then, as if a thunderbolt came crashing through the clouds, a familiar stranger from his past wreaks havoc upon the couple, presenting a situation that has no easy answers or quick getaways.

Sheila Callaghan’s script can be choppy at times, but that doesn’t mean you won’t fall in love with this production – it just depends on your tastes.

(Photo by Johnny Knight)

Adam: On a meticulously detailed stage that seems to be inspired in its positioning by the skene and orchestra of the ancient variety, four characters collide in the disturbing and sometimes reflective Lascivious Something. Vinification is the word of the moment, and the obsession with producing the perfect bottle central to August (Joe McCauley), as he becomes lost in the process of creating a legend in a bottle. But, as we see his past unfold before us, through anecdotes related to his wife, Daphne (Simone Roos) and the unexpected arrival of a long-lost friend (Georgann Charuhas), we start to wonder whether he is trying to bottle himself, almost, and the potential legend he could have been, were his choices just slightly different.

(Photo by Johnny Knight)

Time is a key element here, with alternate possibilities played out in sequence. Although this is sometimes confusing and becomes almost routine by the end, the use of time as a way of exploring unspoken or unrealised actions gives the work an interesting and unique angle. The playwright seems to be acknowledging the endless universes in which we could be living, or is she just hinting at the ponderings and fantasies  we all have, thus explaining the more extreme outcomes.

(Photo by Johnny Knight)

But, above all, this is a play about gender, politics and sex. August is now settled with a child on the way, but old loves, both human and ideological, still play heavy upon him, like mind-ghosts creeping in the shadows, just waiting to pounce. Will he resign himself to his supposedly stable relationship (it’s not; his wife clearly has other sexual conquests of a more Sapphic type in mind) or resume rebellion, personally sexual and public social, back in California with his wayward love? Perhaps neither answer is satisfactory – the decisions were all made long ago.

One aspect of this play does prove itself to be rather weak in the offing, namely nudity. I, like most people of my generation, am immune to nudity, as it permeates just about every cable show imaginable in such a way as to make it commonplace and expected. This is less so in the theatre, but I am of the belief that most directors choose to portray nudity for shock value, rather than for any real plot driven reason. Unless the nudity is absolutely necessary for the scene, I view it as a last resort: simply there to give people something to talk about afterwards. It cheapens the play because it’s desperate and naively assumes that none of us have ever seen a breast before.

(Photo by Johnny Knight)

Alicia: As you walk into the theater, Buck Blue’s magnificently intimate Grecian set greets you with its warm embrace – an invitingly quaint villa with the utmost detail. Yet while its picturesque image astounds, it is simple enough to let the actors shine, highlighting Signal Ensemble Theatre’s mission on actor-focused work. And despite a few dips on the acting scale, the performances are quite powerful, with tension-filled moments lying masked in the dangerous minefield of August’s ultimate reckoning. Perhaps the most stand-out performance came from Cassidy Shea Stirtz (Boy), for while her stage time was the shortest, her moments were achingly raw and exciting.

Sexual tension and images of a carnal nature are pervasive in this work, and actresses Charahus and Roos play with this tension masterfully, always knowing when to hold back and when to strike and sink their teeth into their next biting remark or their outspoken revelation. They’re quick to the punch, and sultry in their manipulations.

(Photo by Johnny Knight)

Ultimately, this play was a little difficult for me to wrap my feelings around, for while the concept was new and exciting and the cast and crew worked crazy dramatic magic, Callaghan’s script was really rough. The twists and turns and moments of instant-replay were filled with tension bordering between threatening and arousing, which made for an exciting theater-going experience. Yet, near the end of the play the plot became muddled in a way that made it impossible to wade through, and I found myself exasperated. Director Ronan Marra and the Signal Ensemble team did what they could to make this script work, but ultimately I was caught between being compelled by their production, and being thoroughly confused with Callaghan’s thought-process.

Final Thoughts: Lascivious Something has powerful staging, interesting relationships and makes you feel like the Greek sun is beating down on you. However, certain aspects mean it will not be appreciate by all who lay eyes upon it.

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

Cupid Has a Heart On: A Musical Guide to Relationships

WHAT: Cupid Has a Heart On: A Musical Guide to Relationships
WHEN: 8pm on Saturdays
WHERE: Stage 773 (1225 W. Belmont Ave.)
RUNTIME: 1 hour and 30 minutes, no intermission (can vary)
WHO: The Cupid Players
PRICE: $20

OUR RATING: Do It!

Picture 18The fact that Chicago is the King of Comedy shouldn’t be surprising to any reader by now. But, if all you’ve seen is The Second City, you’re just scratching the surface of this vibrant and evolving scene that is perhaps best reflected in small productions at less well-known venues. The Cupid Players’ weekly show at Lakeview’s Stage 773 is Chicago creativity at its best and is in fact funnier than most of its more mainstream counterparts elsewhere. An all-musical production with big ensemble pieces and hilarious solos, each night is an extravaganza and completely different to the last.

Picture 22Adam: There’s one word that comes to mind when thinking of The Cupid Players: ensemble. This is a strong team who, after at least a decade of work, have become flawlessly enwoven to create a wonderful variety of hilarious, all original works.

Located in 773’s Cab theatre, decked out cabaret style with tables, chairs and booths, the intimate space allows for maximum interaction with the characters being forged before you, who sometimes jump right into your seat. And expect them to be singing something extremely dirty while they’re coming for you…that’s part of the game. With musical genres deriving mainly from Broadway, but also Rock and Barbershop, the group moves effortlessly between characters, highlighting everyday troubles in the most elevated manner, from the walk of shame to more taboo topics in songs like “Bathroom Time” and “Parents.”

Witty, vulgar, fun and full of energy, I was laughing through every minute of their material. After being around for over 14 years, let’s hope they stick around for another 14 and more.

Picture 20Alicia: The Cupid Players and their production moved from the iO Theater to Stage 773 back in 2011, and both Stage 773 and their Cab Theatre serve as the perfect venue for this intimate and hilarious crew, named by the Chicago Reader one year as “Best Sketch Comedy Group”. Directed by Brian Posen, this talented crew of comedians were the longest running revue in iO history and continue in popularity on their newer stage.

Picture 19I’ve had the opportunity to see The Cupid Players perform twice, each time incorporating different material with a few of the same songs here and there, all originally written and all completely hysterical. The repertoire is diverse, with anything from ballads to pop, and even a little bit of rap and rock n’ roll, just to keep things interesting. They even mix things up, with some numbers performed by a single individual, but with plenty of group numbers to kick things up a notch. And sure, most of their songs are a little raunchy, so this probably isn’t the kind of thing you want to take the kiddies to, but the songs are smart and catchy, so it all balances out in the end to create a night of extreme fun.

Final Thoughts: Relationships might be painful, but the only pain you’ll get with The Cupid Players and their musical guide to relationships will be the pain in your side from laughing too hard. Go for a crazy fun night out, and laugh the night away.

Posted in Performing Arts, See It! and tagged , , , , , , , , , , , , , , , ,
24 Apr 2013

29th Chicago Latino Film Festival

clff_2WHAT: 29th Chicago Latino Film Festival
WHEN: April 11 – 25, 2013
WHERE: AMC Loews Theatres 600 (600 N. Michigan Ave.)

FILM: Dictado (Childish Games)
RATING: Not Rated
DIRECTOR: Antonio Chavarrias
LANGUAGE: Spanish with English Subtitles
RUN TIME: 95 minutes

OUR RATING: Do It!

From humble beginnings in 1985 to the international recognized mega-festival we now celebrate, the Chicago Latino Film Festival (CLFF) organized by the International Latino Cultural Center is an explosion of creativity that brings the best of Latino filmic arts to the Chicago screens. With over 100 feature length films and shorts from the length and breadth of Latin America, there is literally a film for every taste, whether you’re interested in gritty social commentary, light-hearted comedy, or darkly fascinating thrillers.

Perhaps what makes the CLFF most innovative is that it highlights Chicago as a center of Latino culture within the United States, a distinction that might not be the first thing to come to mind. This internationalization has only positive effects, allowing for cross-cultural pollination and diverse understanding that transforms Chicago into a truly global city.

clff_1

While the festival is two weeks long, we only managed to secure tickets to one show at this highly popular event, where tickets go for $11 per film. Dictado, a thriller in the style of Hitchcock, seemed to be absolutely up our street, and we even got the opportunity to participate in a Q&A with the director. Sit back, grab a popcorn and enjoy!

clff_4Adam: Dictado, known in English as Childish Games, creates a psychological tapestry with deep, dark undertones that play on our deepest emotions. Above all, what would happen if an event from our childhood came back to haunt us with full force?

In an intriguing story, childless couple Daniel (Juan Diego Botto) and Laura (Barbara Lennie) take in the orphaned Julia (Magica Perez), who is not everything that she seems, as she holds the key to unlock a repressed moment in Daniel’s childhood. Directed by Antonio Chavarrias, we see produced a beautifully compact piece that seems akin to a play in its intimacy and a high calibre film in its cinematography (Guillermo Granillo) – a melding that we do not often experience. Chavarrias makes us question the validity of our protagonists’ actions and memories, thus presenting a mysterious world that is both riveting and reflective.

As the truth about Daniel’s past is slowly revealed (is it a descent into madness, or the opening of emotional floodgates, the waters of which he is unable to stem?), I was enthralled to see the unexpected and twistful realizations that make this film worthy of being included beside the likes of the great English Ghost authors such as M.R. James.

Drawing heavily from Greek tragedy, although perhaps not exploring it in the way you would expect, almost no violence occurs “on stage”, while the psychologies of the characters are fully untangled to explore the plot’s core horror. A much needed antidote to the regular blood and guts of the genre.

clff_6Alicia: During our Q&A session with Chavarrias, he mentioned one of his influences being the infamous Frankenstein and the question of what makes one a monster and what factors influence an individual in thinking that they themselves are monsters, which *hint hint* is something that is beautifully explored here.

The psychological exploration of violence through fear, rather than through malice, is another incredibly intriguing aspect of this film, and the filming of any violence in this movie is done with the intentions of beauty and sadness, rather than shock or grotesqueness.

How are monsters forged: by the monsters themselves, or by others? Rather than just thrusting us into a solution, Chavarrias lets us think about this in a more adult way. How responsible are children for their actions and do adults sometimes make things worse? One of the best Spanish-language films out this year, Dictado is a must-see.

clff_3

Final Thoughts: The Chicago Latino Film Festival allows audiences across cultures to experience the enormous diversity of Latin America in this unique creative outlet, merging art with education, especially through discussions with local and visiting filmmakers which accompany a majority of the screenings. The festival’s wide array of programming allows moviegoers of all types to enjoy this multicultural exploration.

P.S.: Dictado is now available on DVD, but only as a non-US import. If you can play international DVDs, pick it up here and enjoy.

Posted in Do It!, Festivals, In Theatres..., See It!, Watch it Now and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
22 Apr 2013

The Silent Language

WHAT: The Silent Language
WHEN: April 11 – May 9, 2013 (schedule)
WHERE: TUTA Studio Theatre (2010 W. Fulton St.)
RUNTIME: 87 minutes with no intermission
WHO: TUTA Theatre Chicago
PRICE: $15-25

OUR RATING: Do It!

Recommended for Ages 8 & Up

tutato.com

tutato.com

This spring, TUTA dances forth onto the Chicago stage with Miodrag Stanisavljevic’s The Silent Language. In this adaptation of a Serbian folk tale, a young boy enters the forest to learn the secret silent language that allows him to understand the animals who help him throughout his quest. With a lavishly decorated space, adventurous plot and equally questful characters, you’ll be immersed in TUTA’s magical world from start to finish.

(Photo by Anthony La Penna)

(Photo by Anthony La Penna)

Adam: What is the silent language? In the bewitching terrain of TUTA’s stage, we are introduced to a concept beyond the communications of humans. It is the animal language, that primal understanding, the bearer of which has unprecedented access to the mysteries of the untamed wild. Poor Gasho (Max Lotspeich), gaining this ability, must fulfill the archetypal journey of the hero, rescuing the Princess (Carolyn Molloy) from the clutches of the evil Elf (Aaron Lawson), while preserving his own skin.

(Photo by Anthony La Penna)

(Photo by Anthony La Penna)

Perhaps the most fascinating aspect of Zoran Paunovic’s translation is the way it makes you appreciate and listen to nature herself. In the ever-encroaching, frenetic and mechanised world, the very idea that animals would have languages seems far away. Yet here, amongst the trees, it is possible to hear the crow speak or the frog croak and understand every gesture as a method of conversation.

(Photo by Anthony La Penna)

(Photo by Anthony La Penna)

Particularly admirable performances were given by Sean Ewert (the Boogeyman, others) and Jaimelyn Gray (the Ironjaw Hag and, memorably, the Crow) who threw themselves headlong into their roles, never faltering for a minute. Ewert’s hilarious, yet psychotic depiction of the nightmarish Boogeyman will make you laugh and jump, while Gray gives nuanced performances, shifting between her roles effortlessly and producing original characters for each. Getting caught up in the theatrical magic is amazingly easy – a must see.

(Photo by Anthony La Penna)

(Photo by Anthony La Penna)

Alicia: I fell in love with TUTA and this show over and over again, first being seduced by their friendly box office and front of house team, then courted by scenic designer Michelle Lilly’s magnificently magical space, and finally moved by the entire production and the encompassing experience for the senses it offered me. Newly appointed TUTA Artistic Director Jacqueline Stone directs this piece masterfully, and TUTA’s mission to bring innovative and international works to American audiences is clear and inspirationally refreshing.

(Photo by Anthony La Penna)

(Photo by Anthony La Penna)

TUTA’s commitment to original and rearranged forms of music is beautifully highlighted in this production, with original music and musical direction by Wain Parham and sound design by Joe Court, not to mention a collaboration between the entire acting ensemble to bring the sound onstage to life. The piece is musical in form and content, and moves with effortless rhythm from beginning to end, allowing one to feel as if they have joined a dance with Poor Gasho, the main character, through his journey into this fairy tale forest.

(Photo by Anthony La Penna)

(Photo by Anthony La Penna)

What most excited me with this production, if I really had to pick one aspect, was Branimira Ivanova’s costume design. I have never seen actors and a piece so transformed by this level of costume design for a storefront theater, with each magical character stunningly fantastical and unbelievably real all at once. I almost felt I was in the film The Labyrinth with such a riveting mesh of fantasy and reality, thus creating a world all to itself. In particular, the crow, frog and boogeyman were characters brought to life in the extreme, and I would see this production every night just so I could experience these personas and their physical manifestations all over again.

Final Thoughts: TUTA is the very definition of innovative international work, and they are a must-see within the Chicago theater scene, particularly with this enchanting production. TUTA invites you to partake in this fairy tale and inhabit its mystical world, and we suggest you take them up on the offer.

Posted in Performing Arts, See It! and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
16 Apr 2013

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.

Posted in Performing Arts, See It! and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
14 Apr 2013

Big Fish The Musical

A big welcome to our first Sunday Guest Author, a Chicago playwright and director, who weighs in on the recent pre-Broadway world premiere of Big Fish The Musical. Our guest author is pleased to be joining us as a contributing author, providing a unique perspective from behind the curtain of the theatrical world.

WHAT: Big Fish The Musical
WHEN: April 02 – May 05, 2013 (schedule)
WHERE: The Oriental Theatre (24 W. Randolph St.)
RUN TIME: 2 hours and 30 minutes with a 15 minute intermission
WHO: Broadway in Chicago
PRICE: $33-$100

GUEST RATING: Do it!

Picture 1Growing up doing plays in grade school and theater camp, I was endowed with a deep appreciation for the Broadway musical. After five years of living in Chicago though, I’ve come to prefer the intimate to the spectacular and emotional honesty to razzle dazzle, which the Chicago storefront community ably provides. Nevertheless, when I saw the soon-to-be Broadway production of Big Fish at the Oriental Theatre, I couldn’t help but remember my childhood wonderment with everything Broadway.

If you’re thinking about seeing Big Fish, it’s important to understand that this show is geared towards New York. It’s designed to appeal to tourists and present large scale spectacle for mass consumption. There is nothing particularly adventurous about its storytelling or characters. However, in spite of this, Big Fish proves to be tremendously satisfying and echoes enough of what is good about the modern Broadway musical to make you forgive everything that is wrong with it.

(bigfishthemusical.com)

Big Fish is based on the 2003 Tim Burton film of the same name, which itself is derived from the 1998 novel by Daniel Wallace. John August, Big Fish‘s screenwriter, wrote the book for the musical, using much of the same dialogue, while the music and lyrics are written by Andrew Lippa, best known for the musical version of The Addams Family. The story is set in Alabama and focuses on Will Bloom’s relationship with his father, Edward. Edward communicates with his son through tall tales about everything he’s done and accomplished during his life, featuring fantastical characters including a witch, a werewolf, a giant, and, of course, a big fish. When Edward is dying of cancer, Will must use the stories to understand the true story of his father’s life and legacy.

(Photo by Paul Kolnik)

I was very eager to see this production and ever since I saw the film, I knew it was strong musical material: a simple, emotional story with ample room theatrical magic. Spectacle is something that Big Fish gets absolutely right. It uses projections quite well, and the spectacle does more than just dazzle: it surprises. Surprise is really one of the great strengths of this piece, and director Susan Stroman‘s visual tricks are effective not because they are lavish or expensive but because they surprise the audience and move the story forward. Andrew Lippa’s score is strong for the most part. There are a few clunkers that don’t belong (hopefully they will be removed before the Broadway run) but also some incredibly successful pieces including like “Fight the Dragons,” “Closer to Her,” and “How it Ends.” The score is not a “hummable” one, and I’m not sure I’d listen to the cast album, but the songs that work serve the play well.

(Photo by Paul Kolnik)

For all the good songs, Big Fish still has a lot of problems, but it’s biggest overarching issue is that it just doesn’t trust its audience. This is perhaps a symptom of it being a commercial production. The creators are so afraid of our attention wandering that they refuse to take their foot off the gas and let the story unfold. They keep the pace frantic, the musical numbers big and plentiful, and moments of character development few and far between. The biggest improvements Big Fish could make before moving to New York involve spending more time with its individual characters in both dialogue and song. There is a wonderful moment where Edward’s wife Sandra (played by Kate Baldwin) sings about her husband, saying, “There’s magic in the man,” a beautiful turn of phrase that surely would work well as a song and a way into her character. However, rather than exploring Sandra Bloom, the song cuts back and forth between her singing and Edward’s encounter with a mermaid. This I think is very emblematic of what is wrong with the production, but it’s nothing some careful changes cannot fix.

(Photo by Brian Harkin)

Additionally, there seems to be a lack of clarity about the show’s protagonist. Make no mistake, Big Fish is Will Bloom’s story. He is the character who changes, who ends the play differently than where he began it. Edward has more stage time, which is fine, but the artistic team needs to find a way to highlight Will’s journey. Frankly, I think the Will role might need to be recast. Edward is played by two-time Tony winner Norbert Leo Butz, and he dominates the stage vocally and emotionally. The actor playing Will, Bobby Steggert, simply cannot match him and never makes a direct connection with the audience. Part of this is because Will is never really given his own musical number early on in the play, a huge miscalculation. What the show really needs is a strong enough actor in this part to be on equal footing with Butz. Yes, Norbert Leo Butz is the marquis name, but his character doesn’t help create a coherent story.

(bigfishthemusical.com)

Tickets for this show are expensive, though they do offer some great promotional offers. If you love musicals and are willing to see something as a work in progress, then this is an absolute must see. The show is only a few changes away from being a front-runner for next year’s Best Musical Tony Award, and it would be a shame for any musical fan to miss it while it is playing in Chicago.

Posted in In Theatres..., See It! and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
09 Apr 2013

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.

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

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