Storefront City Chicago

Archive for the category “See It!”

05 Apr 2013

Catch Me If You Can The Musical

WHAT: Catch Me If You Can The Musical
WHEN: April 2 – 14, 2013 (schedule)
WHERE: Cadillac Palace Theatre (151 W. Randolph St.)
RUNTIME: 2 Hours and 55 minutes, with a 15 minute intermission
WHO: Broadway in Chicago
PRICE: $18-85

OUR RATING: Skip It!

The latest adaptation of Frank Abagnale, Jr.’s 1980 biography, and heavily based upon the 2002 film, Catch Me If You Can follows the story of this con-artist through the many twists and turns of his life, from airline pilot, doctor, lawyer and so on, as he evades the authorities while tapping out a few tunes. Poorly written and musically glib, the performance is made worse by the serious lack of vocal talent on offer and the frustratingly predictable content.

Adam: Every year, tens of musicals are written around the world with only a few seeing the lights of the Broadway stage. Some are beyond belief fantastic, while others make you wonder whether The Producers is actually coming true, with Bialystock and Bloom succeeding in making a flop. I would have preferred to sit through a fictional musical about Hitler than the asinine malarkey presented on the Cadillac Palace Theatre stage this week. An embarrassing array of mediocrity, Catch Me If You Can The Musical will leave you firmly planted in your seat, while its cast imagines soaring through the skies, only for you to wish they would come crashing down in a fireball.

(Photo by Christian Toto)

(Photo by Christian Toto)

Stephen Anthony’s depiction of Frank Abagnale, Jr. is actually admirable. He captures some of the youthful zest of DiCaprio’s screen performance, but leaves one wishing for the tour de force of the original actor. Most disappointing was his singing range, which clearly was not appropriate for the role. His inability to hit certain notes was not only clearly apparent, but terribly distracting and unacceptable for a Broadway musical.

(Photo by Carol Rosegg)

(Photo by Carol Rosegg)

The chorus was also absolutely not up to Broadway calibre, and I felt sorry for an audience who had shelled out good money to be regaled by these untrained Sirens, who seemed to plunge the whole endeavor into the realms of YouTube videos that I purely watch for schadenfreude.

I left the theatre not believing what I had just seen: a complete flop that was given a standing ovation by the audience. Perhaps I got it wrong and the audience was right, but I suspect that this is once again a sign of the times: the audience wouldn’t care if it was bad or good, just so long as they see a musical, all will be well.

(Photo by Carol Rosegg)

(Photo by Carol Rosegg)

Alicia: There are a few aspects to this production which are commendable. One, scenic designer David Rockwell’s escalator-esque set piece upon which the entire orchestra sits (with the drums underneath). Second, the orchestra and local musicians themselves, both in being able to watch them perform (instead of hiding them in the pit) as well as the quality of their performance. Third was Bob Bonniol’s video system and content design. While some of the video was way too over the top and completely ridiculous (anywhere from flashing stars the colors of the rainbow to sunrises), some of it reminded me of the aesthetic of the last James Bond film, which was fitting for this show. But to be perfectly honest, this was the first time I have seen this kind of design content before, so I may have just been impressed by the technology more than the actual aesthetic.

(Photo by Carol Rosegg)

(Photo by Carol Rosegg)

Yet, if you had been there to see my reactions to this performance, you would not have guessed that I liked anything at all, being in utter disbelief in what was happening on stage. First and foremost, I felt sorry that William Ivey Long had to costume design this thing, with a script calling for women dressed up as Elmer’s Glue, India Ink and a Swiss Army Knife, and other women dressed in practically nothing. And performances from Aubrey Mae Davis (Brenda) and Allyson Tolbert (India Ink Assistant, Nurse, etc.) make you wonder how some of these performers were allowed to set foot on a Broadway stage.

(Photo by Carol Rosegg)

(Photo by Carol Rosegg)

The only enjoyable song by any means was “Don’t Break the Rules,” sung by Merritt David Janes (Agent Carl Hanratty) and company. Yet songs like “(Our) Family Tree” and “Fly, Fly Away” made me wonder why I didn’t leave during intermission, or why I even came at all.

Final Thoughts: Broadway is expensive. Please don’t shell out your hard-earned money for this one. If you really want to learn about Frank Abagnale, Jr., either watch the film Catch Me If You Can, read a book, or wiki it. You’ll save yourself a lot of headache, a lot of money, and a solid three hours of your life.

P.S.: Check fraud was not the only crime being committed that night. Clearly, judging by the sight-lines, Cadillac Palace Theatre was having a little swindle of their own. A seat should not have no view of a quarter of the stage. We don’t appreciate guessing who is singing when they disappear, as it makes for an annoying experience. This is Broadway Cadillac, get your act together!

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

Butt Trash

WHAT: Butt Trash
WHEN: Sundays at 8pm, March 24 – April 28
WHERE: Chemically Imbalanced Comedy (1422 W. Irving Park Rd.)
RUNTIME: 1 hour, with an approximately 5-minute intermission
WHO: Fanny and Dumpster, Chemically Imbalanced Comedy
PRICE: $10

OUR RATING: Do It!

Lakeview’s Chemically Imbalanced Comedy has a ton of shows going on right now, so Storefront City headed over to see one of their newer improv comedy shows, Butt Trash, featuring female improv comedy groups Fanny and Dumpster.

Adam: Our night began with Fanny, a group of women providing excruciatingly hilarious character acting, positively accurate group dynamics and strong comedy that seemed reminiscent of It’s Always Sunny in Philadelphia; I was most certainly bursting with laughter at these girls.

Made up of Blair Beeken, Claire Mulaney, Sarah Shook and Lily Sullivan, Fanny managed to take the annoyingly complicated suggestion of ‘municipal’ and turn it into a full-fledged ridiculous drama, replete with underage alcohol supply, sexual tension, eating disorders and the most broken social group I’ve seen presented on stage (and that’s a good thing).

What I like most about Fanny is their unashamed comedic antics. Leave your prudishness at home and wallow in the clever skits they produce, otherwise you’ll end up shocked and unamused. Standing out for me were performances by Claire Mulaney, who perfected the awkward overly long-dwelling on a subject that somehow makes it irresistibly funny, and Lily Sullivan, who managed to drop us right in the middle of the most timidly approachable subjects while remaining absolutely straight-faced.

Stream of consciousness and delightfully wonderful improv, Fanny are masters of their art and should be seen at all costs.

(cicomedy.com)

(cicomedy.com)

Alicia: After the briefest of intermissions came the next quartet, Dumpster, whose motto is “the Devil never closes a door without opening a dumpster.” Composed of cast members Jill Fenstermaker, Ellen Haeg, Molly Hall and Amy Speckien, the ladies in this group have credentials ranging from stints at iO Theater, The Gift Theatre, and plenty of other shows at CIC.

While not as successful as their predecessors from Fanny, Dumpster began and ended their show with a group scene, with different characters and combinations in between. The two weakest aspects of the performance was the group’s inability to stay on topic with the audience suggestion (merely using the subject to initiate the first scene, and then never referring to it again), and the constant rotation of changing characters that was hard to follow and which felt like somewhat of a letdown after Fanny’s consistent character profiles.

Yet, Dumpster’s focus on neuroses, family dynamics and a healthy variety of character acting led to fast-paced fun that definitely kept the audience at the edge of their seats wondering what might come next. With a suggestion of “toaster,” this dynamic quartet presented scenes anywhere from neurotic housewives reading romance novels and discussing their feminine problems, to an all-out family war at the dinner table sparked by a little bit of sibling rivalry. With Dumpster, you’re never sure what’s lurking around the next corner, or in the next garbage bin.

bt6

Final Thoughts: Chemically Imbalanced Comedy is producing new comedy at highly affordable prices. Easily accessible and rarely frequented, you are almost definitely guaranteed a seat and plenty of laughs at this independent and developing venue.

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

Under a Rainbow Flag

WHAT: Under a Rainbow Flag
WHEN: March 21 – April 21, 2013 (schedule)
WHERE: Profiles Theatre – The Main Stage (4139 N. Broadway Ave.)
RUNTIME: 2 Hours and 30 minutes, with a 10 minute intermission
WHO: Pride Films and Plays
PRICE: $15-25

OUR RATING: Do It!

A meeting on a train for four gay soldiers during World War Two is the starting point for Leo Schwartz’s new musical Under the Rainbow Flag, based on the true story of veteran Jon Phillips. A tale of self-discovery, good humor and utter tragedy, we journey west to San Francisco and onto the war-torn shores of East Asia, exploring the many different paths these remarkable men take.

With show-stopping tunes and wonderfully composed ensemble pieces, Under the Rainbow Flag tells the very real story of servicemen who fought and died for a country which denied and opposed their sexuality, and for this it should be celebrated as an original and heartfelt triumph.

(Photo by David Zak)

(Photo by David Zak)

Alicia: The production of Under a Rainbow Flag couldn’t have better timing. The show was submitted as part of Pride Films and Plays’ Great Gay Play Contest (2012), and now the next installment is right around the corner with Gay Play Weekend and the 2013 Great Gay Play Contest showing its fierce talent at Center on Halsted from May 17 to 19.

Since last year’s contest, Under a Rainbow Flag has nurtured and grown, with a staged reading at Center on Halsted last May, and with an overwhelming response to their Indiegogo project, raising over $5000. And now, after months of work, it has matured and found its place on Uptown’s Main Stage.

(Photo by David Zak)

(Photo by David Zak)

Under the Rainbow Flag is a poignant, fast-paced soiree that really does take you back to those days of radio plays, big bands and rhythm & blues, and the prevalence of WWII propaganda infiltrating the modern lives of American civilians and soldiers alike. Set Designer Ashley Ann Woods works magic on the production, with WWII vintage print posters lining the top level of the stage, magnificently painted background drops of San Francisco on the main level, and even her trolley-track work-of-art flooring. She works hand-in-hand with lighting designer Garvin Jellison to move the audience effortlessly from setting to setting, with my favorite moments being spotlights against a Pearl Harbor poster (and did I detect an outline of a radio?) while the radio news played to provide a bit of historical background to the theatrical mix.

But the talent didn’t stop on the tech side, with director and Pride Films and Plays Executive Director David Zak showing his directorial prowess with a melange of smart, risky and just-plain-fun choices. Knockout performances were seen from James Nedrud (Russell) and Jordan Phelps (Stefano), who may not have been the main characters, but were really the ones who carried the show for me. Nedrud has obviously played the musical scene before (his rendition of “The Army’s Handing Out Medals” with fellow actor Luis Herrera (Bender) was a highlight of the night), and I would love to see him elsewhere on stage. He knows how to play to a crowd and how to really work Tracy Strimple’s choreography. Meanwhile, Phelps has a sincere and provocative charm which adds complexity to his bitingly raw performance.

Adam: The presence of gays in the military during World War Two is not a subject that is covered much in the history books. While technically banned from service in the 1940s, the imperative for fighting men meant that gays were indeed admitted, albeit while keeping their sexuality low profile. Indeed, the recent repeal of DADT, as well as the cases currently before the Supreme Court, reminds us that we are still in the midst of this discrimination, and have only just begun taking steps towards equality. Under a Rainbow Flag starts to illuminate some of this history for the first time, an extremely important service.

(Photo by David Zak)

(Photo by David Zak)

Truly marvelous and catchy numbers (especially “Queens”, which is perhaps the most riotously fantastic piece in the whole work) create a sense of connection and camaraderie between audience and actors. Full of energy and life, we are treated to a full array of experiences from the openly camp, to the closeted (but hilarious) reactions to straight servicemen. Codes are an essential part of life for these men, who must balance between the ideal and reality, which is also more brutally reflected in the wartime setting, replete with its own codes and ciphers, even if they are for more grisly purposes.

(Photo by David Zak)

With expert music direction by Robert Ollis, seated behind the keyboard in full military uniform, a perfect score beams forth that makes us laugh as well as reflect on the wider, more serious issues that it raises. An important piece of theatre for our times, I would highly recommend you pick up a ticket and get a front row seat.

Final Thoughts: With Under the Rainbow Flag, Pride Films and Plays continues to foster compelling and talented work that speaks to the LGBT community and beyond, and we’re thrilled to see such a commendable piece of work find its footing in the performing arts and have such great success in a short period of time.

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

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