Storefront City Chicago

Archive for the category “See It!”

11 Feb 2013

Lady Day at Emerson’s Bar & Grill

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

Alexis J. Rogers (Credit: Kelsey Jorissen)

Rogers (Credit: Kelsey Jorissen)

OUR RATING: Do It!

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

(porchlightmusictheatre.org)

(porchlightmusictheatre.org)

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

(porchlightmusictheatre.org)

(porchlightmusictheatre.org)

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

(porchlightmusictheatre.org)

(porchlightmusictheatre.org)

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

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

(porchlightmusictheatre.org)

(porchlightmusictheatre.org)

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

(porchlightmusictheatre.org)

(porchlightmusictheatre.org)

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

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

Silence Kills

WHAT: Silence Kills (Photographic Exhibit)
WHEN: February 1 – 25
WHERE: 1431 N. Milwaukee Ave. (inside EyeWant Eyewear)
HOST: Eyeporium Gallery

OUR RATING: Do It!

Credit: Brian Leli

Credit: Brian Leli

Last week, Storefront City dropped into the Eyeporium Gallery in Wicker Park for the opening reception of Brian Leli’s photography exhibition “Silence Kills,” which also provided the perfect opportunity to celebrate the release of his new photo and essay book, “London in a Year.”

Credit: Brian Leli (August 2011: A man rests in front of a wall painted with street art at the Notting Hill Carnival.)

Credit: Brian Leli

“Silence Kills”  tells the everyday story of a city (in this case London), which seems to prove the point that an ordinary day doesn’t exist for a huge metropolis. Documenting everything from protesters in the Occupy Movement outside St. Paul’s Cathedral, gay pride celebrants in Trafalgar Square, or a coffee shop owner in Camden, Leli’s work focuses on the people that make a city tick, and their place beside these well-known monuments of old. As such, this is a snapshot of Londoners, rather than the city, and what it means to be a member of (or outsider in) a modern cosmopolitan capital.

The exhibition is located within the Eyeporium Gallery, which is, in turn, inside an eye-wear store, EyeWant. But this isn’t your average Pearle Vision. Colorfully decorated with Oriental lamps topping display cases, luxuriant plush seats, a plethora of bespectacled  mannequin heads, and fantastical representations of the ocular variety (yes, even including a hoard of The Residents paraphernalia), EyeWant is the perfect space to host a gallery, and really peer into a different kind of retail experience.


Due to the eclectic nature of this salon-style gallery, the gallery can maintain an attractive fringe quality while not being subsumed by the faux vogue of similar galleries elsewhere. Owned by local philanthropist Annette Sollars, the gallery is directed by Carron Little, who we had the good fortune to speak with at the opening. Apparently, this little gem has represented some of Chicago’s more well known visual artists, including Tony Fitzpatrick and Marc Hauser, but we’re always excited to see galleries who nurture a variety of artists, both emerging and established.

Credit: Brian Leli (October 2011: Occupy London: a woman smokes a cigarette at the steps to St Paul’s Cathedral.)

Credit: Brian Leli

Photography often ranks lower on the scale of artistry for some people, probably because it is believed that anyone can snap a photo, while only a talented few can apply paint to canvas with even a modicum of success. However, Leli’s work seems to show us that a certain artistic endowment is absolutely necessary to capture that look of proud triumph while marching with Occupy London or a state of complete defiance whilst protesting against the bombing of Yemen. Then again, the choice to close the shutter on a mundane puff of a cigarette whilst outside St. Paul’s or the pain of illness in a London hospice, seems to immortalize moments otherwise lost, perhaps because we don’t want to remember these happenings in the grand scheme of history. By being forced to remember them through photography, artists like Leli do humanity a service that any other profession would be hard pressed to emulate.

Ravishing, didactic and insightful, Leli’s exhibit will let you explore London at your own pace, and see the city (and its people) behind the monuments.

Posted in See It!, Visual Arts and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
04 Feb 2013

Night of the Magician

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

OUR RATING: Chance It!

(chopintheatre.com)

(chopintheatre.com)

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

(moviesarebetterlive.com)

(moviesarebetterlive.com)

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

(moviesarebetterlive.com)

(moviesarebetterlive.com)



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

(moviesarebetterlive.com)

(moviesarebetterlive.com)

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

(moviesarebetterlive.com)

(moviesarebetterlive.com)

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

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

(moviesarebetterlive.com)

(moviesarebetterlive.com)

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

(Credit: Joe Mazza at Brave-Lux)

(Credit: Joe Mazza at Brave-Lux)



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

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

(Credit: Joe Mazza at Brave-Lux)

(Credit: Joe Mazza at Brave-Lux)

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

(moviesarebetterlive.com)

(moviesarebetterlive.com)

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

(moviesarebetterlive.com)

(moviesarebetterlive.com)

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


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

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

Off the Record at saki

WHAT: Off the Record (music series)
WHERE: saki (3716 W. Fullerton Ave.)
HOSTS: saki, City of Chicago Department of Cultural Affairs and Special Events

OUR RATING: Do It!

(sakistore.net)

(sakistore.net)

Storefront City ventured to Logan Square for the kickoff to Off the Record, a new monthly music series presented by saki, a record store/art gallery/performance space in Logan Square, and the City of Chicago’s DCASE. The first in the series featured a live performance from Brokeback, hors d’oeuvres from Provenance, beverages from Goose Island, and a DJ set from Thrill Jockey Records.

(sakistore.net)

(sakistore.net)

Founded in 2010, saki is by far one of the cooler venues we’ve visited in the past few months. From the outside it might just look like your average hipster vinyl record store (although, they also sell DVDs, CDs, books and other knick knacks). Inside, the bright and eclectic space beams with energy and attracts discerning clients who know what record they want. The selection is huge and includes modern LPs as well as the more vintage varieties.

Brokeback performs live!

Brokeback performs live!

Anyways, back to the music series. Off the Record’s monthly events celebrate a new record, sometimes in advance of its release. During the 2013 season, there will be live performances and sometimes even interactive portions for each event. For the opening of the series, the instrumental rock band Brokeback performed tracks from their new album “Brokeback & the Black Rock,” which is their first release in ten years, and there was even a Q&A with the band and an aforementioned DJ set.

(sakistore.net) "Yuck" by Delicious Design League

Not good enough for you? How about this: all Off the Record events are free and for all ages. And saki provides a really amazing backdrop with remarkably good acoustics. Right now they have an amazing show going on by Delicious Design League (“Yuck”) with a bunch of their screen-prints hanging up around the store. But this exhibition space is only temporary: Amanda Olbrys’ show “Balance” will be taking its place on the walls on Friday, February 1.

(sakistore.net)

(sakistore.net)

So, can we even really call this a record store? Not really, considering you’ve got a performance space and gallery built in. It’s definitely the new chic when it comes to mixed media spaces–combined art forms are catching on as people realize that using a space in multiple ways has tons of benefits, from cost efficiency to audience sharing.

Definitely head over to their next event. It’s well worth the trek.

Posted in Do It!, Music and Concerts, See It!, Shopping, Visual Arts and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
30 Jan 2013

Stadium Devildare

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

OUR RATING: Skip It!

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

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

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

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

(redtapetheatre.org)

(redtapetheatre.org)

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

(redtapetheatre.org)

(redtapetheatre.org)

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

(redtapetheatre.org)

(redtapetheatre.org)

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

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

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

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

Alibi Fine Art

WHAT: Alibi Fine Art (Art Gallery)
WHERE: 1966 W. Montrose Ave.

OUR RATING: Do It! (If you’re near)

(alibifineart.com)

(alibifineart.com)

Storefront City traveled to North Center to attend the opening reception of Burkhart’s Underground, a gallery showing by Fred Burkhart at the Alibi Fine Art Gallery. Alibi Fine Art is a free contemporary gallery in Chicago intended to support new, mid-career and overlooked artists. While Alibi’s exhibition choices tend to focus on photography, they sometimes also represent other media. The Burkhart opening was our first foray into their space.

Alibi has a great location on Montrose, but as with many privately owned galleries in town, it is super tiny, and can only comfortably fit up to about two dozen people. This made the Burkhart opening claustrophobic, as the attendance was much higher, but nonetheless very exciting!

"Old Red Eye" (burkhartstudios.com)

“Old Red Eye” (burkhartstudios.com)

Fred Burkhart doesn’t fit the “new” or “mid-career” categories, but rather that of “overlooked”, as he has been part of the art scene in the city for almost three decades. Burkharts Underground, which will be up at Alibi until March 23, highlights Burkhart’s black and white photography documenting a vast array of subjects. From the Klu Klux Klan to the Gay Pride Movement, diverse and polarising topics that pulse through the modern American discourse are the focus of his work, which captures moments, rather than stories, allowing the viewer to appreciate the humanity that lies beneath his subjects.

(burkhartstudios.com)

(burkhartstudios.com)

Mr. Burkhart’s work has never been displayed in a solo gallery show before, which is tragic given the important nature of his photographs. Even more tragic is the photographer’s recent diagnosis of terminal cancer, making this possibly his last exhibition. However, his work lives afresh at Alibi and will certainly allow him to be remembered as an artist and social commentator in the years to come.

This exhibition is not recommended for children.

Posted in Do It!, See It!, Tours and Museums, Visual Arts and tagged , , , , , , , , , , ,
21 Jan 2013

Improv All-Stars

WHAT: Improv All-Stars (Comedy)
WHEN: Every Monday at 8pm from January 21 – April 29 (with an additional performance on January 24 at 8pm)
WHERE: UP Comedy Club (230 W. North Ave.)
RUN TIME: 60 minutes, no intermission
PRICE: $16.00 (Online and phone orders incur a $3-$7.50 fee)

OUR RATING: Chance It!

In Chicago, you can’t get more classic than The Second City. Founded in the 1950s at the University of Chicago, it is a cornerstone of comedy, and so, we expect only the best chortles when appreciating their interpretation of the artform. Improv All-Stars at UP Comedy Club, comprised of Second City-ites, certainly made us chuckle, but fell short of the mark and ultimately left us believing that you can only do the same routines so many times before they become old and worn.

(upcomedyclub.com)

(upcomedyclub.com)

We’d previously been initiated into the UP Comedy Club scene a few months ago to see a few stand-up acts by Maribeth Monroe and Erik Griffin from the show Workaholics. The space, located on the third floor of Piper’s Alley in Old Town, and just adjacent to their presenter Second City, is pretty unique, offering two levels of cabaret-style seating, as well as a full service kitchen and bar.

Under the direction of Mick Napier, Improv All-Stars features highly interactive improvisational comedy, with a mix of traditional games you’ll see elsewhere in the Chicago improv scene with some long-form pieces. We will admit that some classic routines, including shout-outs from the audience to construct a story told by each member in succession (including robots and Asians) and a full musical sung about completely wacky subjects, with the accompaniment of an acoustic piano, were really fun and could not be replicated by other groups.

(upcomedyclub.com)

(upcomedyclub.com)

Improv All-Stars really plays on their ancestry, once in awhile speaking about the development of the improvisational art form and the uniqueness of Second-City comedy. This segwayed into a simple, but rather lengthy, two-person improvised scene based entirely on one suggestion from the audience.

(upcomedyclub.com)

(upcomedyclub.com)

However, perhaps what bothers us the most about UP is not the content or locations, but the little things that seem to get in the way of a good evening. The price, at $16, is steep for an hour of comedy (even if it is Second City), and especially so when the material is not really that new. Add to this the service charges (we could talk about how nauseating annoying these are in another post entirely) and you have tickets costing over $20 for only 60 minutes of performance. That’s more than a just-minted college grad makes in 2 or so hours, and they are literally just running around the stage playing games! And then there are the wait staff. Our advice to them: stop harassing patrons who are clearly not going to buy anything, especially since there isn’t a drink minimum (if we’ve said no once, do you really think our answer is going to change over the course of an hour? And if it did, we’d just wave you over to help us out).

(upcomedyclub.com)

(upcomedyclub.com)

Seeing comedy in Chicago is kind of like playing Russian Roulette, and with the cast of Improv All-Stars constantly rotating, there is such a thing as an on or off night. So, our advice to you (if you have the $20 to spare) is go and try it out. You’ll have a good time regardless (it’s funny), but only if you are willing to part with your Jackson with no hard feelings.

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

Concerning Strange Devices from the Distant West

WHAT: Concerning Strange Devices from the Distant West (Theater)
WHEN: January 15 – April 14, 2013 (Previews from January 15-23)
WHERE: TimeLine Theatre Company (615 W. Wellington Ave.)
RUN TIME: 90 minutes, no intermission
HOST: TimeLine Theatre Company

OUR RATING: Chance It!

(timelinetheatre.com)

(timelinetheatre.com)

Pack your bags and get ready to travel from East to West and across time in the Midwest Premiere of Naomi Iizuka’s Concerning Strange Devices from the Distant West, now playing at TimeLine Theatre Company in Lakeview East.

We visited TimeLine last season for Enron and were pretty impressed. Their mission is to present stories inspired by history that connect with the social and political issues of today. Concerning Strange Devices definitely hits this target, but we were generally more impressed by TimeLine’s production than by Iizuka’s script.

Last night we attended the first preview performance, so please take this review with a grain of salt. As we both know well, until their opening night on January 24th, this piece is still a work in progress, so a lot could change before you set foot in director Lisa Portes’ vision.

Pictured: Rebecca Spence as Isabel Hewlett. (timelinetheatre.com)

Rebecca Spence as Isabel Hewlett. (timelinetheatre.com)

And what a vision it is. As soon as you walk into the lobby you are subsumed within a fascinating, interactive and educational foray into the history of Japanese tattoos and photography with a well-thought out lobby display designed by Dina Spoerl. It’s small, but it sure packs its share of punches.

After milling about the lobby you are welcomed with open arms into the performance space through a hyper-surreal tunnel of beautiful giant Japanese paper lanterns and into an Alley-configuration theatre with a projection screen puzzle on the opposite wall.

The play focuses on several characters across the span of the 19th century to the present day. The central theme is the camera, which captures both the real and imaginary, and blurs the line between the two. In the late 1800s, an American woman, Isabel Hewlett (Rebecca Spence), discovers the magic of Japan through the camera of photographer Adolfo Farsari (Michael McKeogh). In the present day, a collector of rare photographs (also McKeogh) travels to Japan to negotiate a deal for the very same Farsari photos. Except, this isn’t the whole story, but we shall not say more.

Playwright Naomi Iizuka (timelinetheatre.com)

Playwright Naomi Iizuka (timelinetheatre.com)

Adam: I was most impressed by the design of the set and lighting, which allowed one to enter the world of the production as a member, rather than a spectator. I was also extremely happy with most performances, although Tiffany Villarin (as A Woman in a Kimono, A Servant Girl and Kiku) tended to be weaker than her co-stars. While the production was held together well, my biggest concern is the script. Iizuka creates jumpy, underdeveloped dialogue that sounds oddly like a devised piece from a college than a professionally written piece of theatre. She also seems to have a tenuous grasp of the history surrounding the production (i.e. Farsari’s sexuality), as well as the neurological underpinnings of sight.

That being said, this does not belittle the production itself, and TimeLine does an admirable job of bringing seriously flawed material to life through impeccable line delivery and world creation. It is a shame that TimeLine chose to give Iizuka’s shaky script a go, however, when so many more worthy playwrights remain unproduced.

Director Lisa Portes (timelinetheatre.com)

Director Lisa Portes (timelinetheatre.com)

Alicia: What really made this show: Spence’s star performance, Mike Tutaj’s dazzling projection design, Portes’ surreal/fantastical/sexy transitions, and the fact that pieces of the lobby infiltrated the performance space. This team really thought about the audience experience.

As the space is so intimate, even the smallest details are important, and while Julia Eberhardt’s props capitalized on this with their intricacies, scenic designer Brian Sidney Bembridge’s flooring and Costume Designer Janice Pytel’s take on Hewlett’s Victorian dress cheapened the experience. However, major kudos to them all for being able to transition back and forth and tackle this multifaceted world.

(timelinetheatre.com)

(timelinetheatre.com)

Final thoughts: For all our criticism of the production, it must be remembered that it is only currently in previews and will be until January 23. We expect that, as more runs are completed, the show will tighten and become even more enjoyable to watch.

In a way, it is simply worth going to see the amazing design elements, that allow you to transition from a little Japanese camera shop in the 1880s to a chic high-rise bar in modern Tokyo with effortless finesse.

P.S.: For examples of the photographs taken by Farsari, check out the authoritative and complete Photography in Japan 1853-1912

A word of warning: this production is not appropriate for children.

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

The Paper Machete

WHAT: The Paper Machete (Variety Show)
WHEN: Every Saturday from 3pm
WHERE: The Green Mill (4802 N. Broadway Ave.)

OUR RATING:
Do It!–Our experience
Chance It!–Possible future performances

(thepapermacheteshow.com)

(thepapermacheteshow.com)

The Paper Machete is a town crier for the modern age, providing audiences with amusing, serious and diverse entertainment covering pop culture, current events and a good dose of musical interlude. Originally launched in 2010, and created and hosted by writer Christopher Piatt, The Paper Machete tickles nearly every fancy, and allows one to experience the iconic cocktail lounge The Green Mill (of Prohibition fame) in the same manner as generations past: with a complete variety show.

Creator and Host Christopher Priatt (thepapermacheteshow.com)

Christopher Priatt (thepapermacheteshow.com)

Every Saturday afternoon at 3pm, this “live magazine” offers patrons a chance to connect with stars from the likes of iO, The Second City, the Neo-Futurists and beyond. Named best comedy variety show of 2011 by the Chicago Reader, the show encompasses an array of performances that are sure not to disappoint regulars and newcomers alike.

(greenmilljazz.com)

(greenmilljazz.com)

This past Saturday, Storefront City had a chance to visit this historic location and listen along to this rapid-fire magazine of popular thought. Our afternoon began with a rather serious interlude into environmental protection by Rachael Mason of iO. What appeared at first to be a paean for environmental action, soon showed its true colours as an amusing reflection on her childhood poetry for Earth Day, that brought up important and pertinent issues related to the recent Hurricane Sandy and its effects on her family. Masterfully blending humor and reality, Mason kept our attention and made us appreciate the awesome destructive power of nature, and man’s influence on it.

The Green Mill (courtesy of Tom Gill)

The Green Mill (courtesy of Tom Gill)

In keeping with this serious nature, Lisa Buscani of the Neo-Futurists’ investigation into the sordid world of Sandusky, from the perspective of another inmate at the same prison, provided a reflective moment to appreciate the situation of those who are behind bars and the circumstances that lead society to imprison.

Ike Holter

Ike Holter

But, let’s be honest, a magazine is never all about it’s newsworthy material, and we were treated to an inventive series of laughs as well. Ike Holter, popular playwright of Hit the Wall (first performed by The Inconvenience at Steppenwolf last year, and now moving to Off-Broadway), gave us an op-ed monologue musing on this year’s selection for the Academy Awards. Featuring quotes from “that owner of 7 Eleven who shouts at hipsters” to acceptances speeches themselves, Holter was full of ingenuity and verve.

(reformedwhores.com)

NYC’s Reformed Whores (reformedwhores.com)

And what variety show would be complete without music? We giggled with NYC musical comedy duo Reformed Whores, and swung along to the dulcet tones of Bethany Thomas (of Porgy and Bess fame), who created an atmosphere entirely appropriate to such a venerated establishment as The Green Mill.

Chad the Bird (wbez.org)

Chad the Bird (wbez.org)

A well-rounded current events publication needs a sports section, this one provided by resident puppet Chad the Bird (a Josh Zagoren creation). Staging in the venue was divided between the main stage towards the back, and the bar area, where Chad gave us his weekly sports roundup.

Matt Braunger (thepapermachete.com)

Matt Braunger (thepapermacheteshow.com)

Finally, Matt Braunger (love your website!) provided the capstone to the afternoon, also performing from the bar area. With topics covering Chicago staples such as certain kinds of people on the #22 bus, to tripped out nights dressed as clowns downtown, Braunger tapped into the audience and hit all the right notes. We highly recommend you see him if you can in the future.

Bethany Thomas (courtesy of Jeremy Rill)

Bethany Thomas (courtesy of Jeremy Rill)

Busy on Saturday afternoons? Not to worry! Every week The Paper Machete and host WBEZ create a podcast, also known as “The Paper Machete Radio Magazine,” with selections from the latest show.

The Paper Machete comes highly recommended from Storefront City. Best enjoyed with a couple of friends (the space is crowded) and a relaxed attitude, performances may vary week to week, but if the quality remains the same as last time, you will not be disappointed.

Posted in Music and Concerts, Performing Arts, See It! and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
08 Jan 2013

The 12th Annual Chicago Sketch Comedy Festival

WHAT: The 12th Annual Chicago Sketch Comedy Festival (SketchFest) (Comedy)
WHEN: January 3-13, 2013 (see schedule here for specific start times)
WHERE: Stage 773 (1225 W. Belmont Ave.)
HOST: Stage 773

OUR RATING: Do It!

(chicagosketchfest.com)

(chicagosketchfest.com)

Chicago is famous for its comedy, and especially its sketch comedy. Since the birth of Second City, the nation’s second city has become a magnet for all comedic types, from the guy performing at the bar right down to Jeff Garlin of Curb Your Enthusiasm fame. However, rarely does all this great talent coalesce in one place. The (12th Annual) Chicago Sketch Comedy Festival (aka SketchFest) at Stage 773 is one such rare place where troupes from around the country (and globe) perform to audience after audience in an excited, electric atmosphere that only a theatre of Stage 773’s calibre could muster. Over just two weeks of performances, Stage 773 will probably be visited by over 10,000 patrons watching 169 performances featuring over 1000 artists. The nation’s largest sketch comedy festival. Astounding.

Stage 773 Lobby (stupidtimemachine.wordpress.com)

Stage 773 (stupidtimemachine.wordpress.com)

When you enter SketchFest, you might be a little confused. There are people everywhere you look, some dressed as lobsters, another as a very demonic looking Winnie the Pooh. Beer is flowing from the bar, a woman stands atop an ice chest selling $4 PBR Tall Boys, as laughter is escaping from the theatres into the lobby. The awesomely-decorated space is pulsing with energy.

But don’t be fooled. This is organized chaos. After you pick up your ticket from the desk to the left of where you enter, you can mill around and have fun until your show is called. There is a really fun raffle going on, where you can win anything from some fun trinkets to a Guinness, and even free tickets, for only a buck. And once the hour comes around, every single theater in the space opens, and guests are ushered into their respective shows.

Once your show is done, you are led out of the theatre via an alternative route than those coming in, providing a constant flow of comedy-goers that prevents traffic jams and speeds transitions. And if you’re up for the challenge, you can go right back into the throng of enthusiastic lobby-dwellers and await the next show.

Stage 773 has four distinct theatres (proscenium, thrust, black box and cabaret), each featuring different comedians and troupes every hour. We didn’t manage to get into all four spaces last weekend, but we’re going to try to this weekend when the Fest continues.

(cupidplayers.com)

The Cupid Players (cupidplayers.com)

Our night started off with The Cupid Players, who actually perform outside of SketchFest every Saturday night at Stage 773. If you’ve never seen Chicago sketch comedy before, this is where you should start. It’s better than any Second City show we’ve seen. Ensemble-driven, The Cupid Players create original and intelligent musical sketch comedies, rooted in social and political satire. They sing, they dance (well, sorta), they play musical instruments and, more importantly, boy do they entertain. It’s a wild and hysterical roller coaster, and when you get off the ride you’ll be high on laughter and your cheeks will hurt from smiling so hard.

Boat (boatcomedy.com)

Boat (boatcomedy.com)

Next up was Boat, a Brooklyn (NY) based trio with a hyper-satirical and rather surreal go at sketch comedy. These three boys are not afraid of the dark-side of comedy. If you aren’t into jokes about pedophilia, death and homosexuality, this may not be for you. But if you’re a little more open, Boat is definitely a unique and risk-taking bunch.

Missing Earl (missingearl.com)

Missing Earl (missingearl.com)

As with any comedy festival, each show you will see is different, and has a chance of being excellent or not to your liking. Such is the nature of comedy, after all. One show that we would not recommend was by Missing Earl from New York City. While a wide array of themes and ideas were put forward, none made these reviewers laugh in the way one would want. Overwhelmingly dark themes that didn’t seem to be derived from much more than grotesque or toilet humor (fancy eating a pilot’s privates after a serious plane crash?), we believe this group needs to focus on more accessible laugh, rather than fringe material whose goal is to shock rather than entertain.

Uncalled For (weareuncalledfor.com)

Uncalled For (weareuncalledfor.com)

However, apart from this slight blemish, the other shows we saw were timely and amazing. Canadian group Uncalled For produced a work reminiscent of the Monty Python good old days, complete with BBC news reports, time travel, CERN, the theory of evolution and free birthday cake. We would describe it as stream of consciousness humor that is hilarious in its absurdity, yet thoughtful in its content and delivery. A sensitive, side-splitting experience!

(chicagosketchfest.com)

(chicagosketchfest.com)

We suggest the best way to experience SketchFest is to go with a few friends and purchase a one-night pass this Saturday, and go from show-to-show (and make sure to see Cupid Players at 8PM on The Pro Stage). Buy a few raffle tickets and you’re practically guaranteed a lovely Guinness or two to accompany you throughout the night (a drink tends to make everything funnier, obviously). If this review isn’t quite enough to convince you to take part in this amazing experience, we think the promo image does the rest of the talking for us.

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

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