Living Room Playmakers: Three Stories

This was the inaugural production of The Living Room Playmakers! The show took place in an awesome, preserved Rogers Park mansion & traveled to different settings in the mansion for each of the three plays [1st play in the dining room, 2nd  the attic, & 3rd  in the basement]. I love this idea of moving to different locations during a production. It is an idea that is utilized by Theatre Hikes & a trend I shall coin Adventure Theatre. Adventure Theatre is awesome & I hope to see it flourish. I mean, it’s always awesome when a play’s opening “turn off your cellphones” speech includes instructions to bring your coat & follow the flashlight. Besides the innovative & mobile setting, The Living Room Playmakers provided intelligent, excellent, & well-executed performances in a lovely & approachable setting. Our host Alex Benjamin was engaging & articulate, the sound design by Jessy Smith was impeccable, & Daniel Immerwahr’s live music was a wonderful addition. The featured art by Jaclyn Mednicov also served as a beautiful enrichment to the theatrical productions: her paintings were a beautiful collection of industrial & apocalyptic landscapes [and reminded me of my sister’s art!]. 

THE DANCE LESSON

Written by Erin Austin // Directed by Alex Paul Young 

Aram Monisoff as Noah // Jin You as Morgan // Helene Alter-Dyche as Portia 

The premise for this piece was pretty straightforward: it is a weekday night & Noah has arranged for dancing lessons with his workaholic fiancée Morgan for their close-coming wedding.  Their dance instructor, Portia, comes ready to teach them to truly dance, but what they are looking for is a way to not make fools of themselves during the first dance at their wedding. The script was concisely written & pleasantly punctuated with cool, isolated moments of a man & woman envisioning their future & remembering their past. For being a simple script set in a dining room, the production was surprisingly full. They used every inch of their performance space by entering/exiting from the front door, kitchen, living room, & the porch that anchored the back wall of the performance space. The costumes were also perfectly appropriate for the needs of script.  All three actors gave pitch-perfect performances: Aram Monisoff created an open-hearted accountant who romanticized his glorious moments dancing in Carousel & Jin You played his perfectly paired fiancée who was fully committed to her man but still a driven, type-A working woman. Although they were very different, both actors communicated an appreciation for each other’s differences, despite the irritation it might occasionally cause. The highlight of this piece was Helene Alter-Dyche’s performance as Portia: in a role that could have been campy or over-acted, Ms. Alter-Dyche played a dynamic, though refreshingly quiet, eccentric. Picture Norma Desmond, but with a heart. And I really loved her main sentiment: We Don’t Dance. Until We Do. 

HOUSEBOAT

Written by Chad Eschman // Directed by Erin Murray 

Naomi Rosen as Ashley // Abby Zan Scwhartz as Carly 

Houseboat took place in a seemingly near but disturbingly distant future where Lake Michigan is overflowing the city & some *crazy creatures* are flooding the city along with the water. Ashley & Carly are two sisters in their attic waiting for their mother to return until Carly reveals she had been *bitten* & the time has come for them to fend for themselves. This play was equally well-defined in character-development & a driving plot. I especially enjoyed the dynamic of two sisters left alone together to face a disaster. In that sense, it is a coming-of-age story where the younger sister needs to be taught how to use a gun rather than apply make-up. It is also interesting to explore how individuals have such different reactions to the same disaster; Ashley envisioned the idealized glory aspect of a disaster & suggests making a contemporary Ark to master the flood, while the Carly snapped into adulthood & grabbed the reigns to save what was left of her family. All three pieces used their respective space well, but the attic was my favorite setting. It felt like a full-set & there were moments were one could forget that this was an actual attic as opposed to a set [scenic design by Kristin Abhalter & Sarah Berkeley]. 

THE BRIDE

Written by J.L. Rumberger // Directed by Damon Krometis 

J.L. Rumberger as The Bride

Here’s the set-up: a bride is waiting with her father at the back of a church when *something* sweeps the church & annihilates everyone. The Bride’s father shoves her out of the way & she locks herself in the church’s basement. We never learned the details of what happened or how long she has/will be in this basement, but we did get to know The Bride very well. When we first met The Bride -- sitting in her tattered dress, in a basement of white-washed brick & exposed pipes, crafting what appeared to be Amish crafts -- she seemed crazy & disjointed, but we soon realized a world ended on this woman’s wedding day. Her creepy crosses [crafted from wooden shards & strips of wedding dress] are actually makeshift grave markers for every individual she’s every known, almost making this piece the unsettling picture of the opposite of a funeral. We know what it’s like for a group of people to come together to honor the memory of one person, but what if one person is mourning the world? That’s heavy stuff. Luckily, the script was crafted cleverly with contemporary humor & a wholly-relatable character. She seemed like any bride, having ridiculous wedding day tiffs & living up Her Day; but she also could quietly break your heart her moments of relating to Castaway & slowly losing grip on her happy memories. The only play I can align this show to would be Profiles’ production of Bachelorette, but this script was written with a purpose & point that was much more relevant than the crass female frivolity that Bachelorette celebrated. This was better...

Aspects of Love @ Theo Ubique

Aspects of Love first appeared in 1983 as a cabaret project crafted by Andrew Lloyd Webber & Trevor Nunn. It fully debuted onstage 5 years later at London’s Prince of Wales Theatre, where it ran for 1,325 performances. A replica production opened on Broadway in 1990 & ran for 376 performances. In September of 1991, a revised version commenced a 29-city tour that ended in  June of 1993.  From 1993-94, a similar production toured the U.K. The original West End & Broadway productions reflected a grandiose, spectacular approach which the touring productions pared down to become a more intimate, character/relationship-based chamber piece. Theo Ubique chose to produce the version used in the tours & it was a smart decision. I’ve never seen Aspects of Love (although I can’t remember a time when I didn’t want to, seeing as it was one of my first favorite musicals) & I can’t imagine seeing it in any other capacity. The simplification of this contextually complicated show was a necessary move by the creative team; the setting of a bar/restaurant was a perfect one for producing this improved, updated piece of musical theatre history. 

Based on the novella of the same name by David Garnett, Aspects of Love is one of Sir Andrew Lloyd Webber’s lesser performed but arguably, one of his more intricate, complicated and most personal works. Spanning across 17 years (1947-1964), the story tightly centres on an ever increasing entanglement of relationships, conquests, betrayals and losses. Focusing on actress Rose Vibert, her admiring fan Alex Dillingham, his underage cousin Jenny, his uncle George, and George’s mistress, sculptress Giulietta Trapani, the musical is entirely sung through, reaching a mix between a chamber musical and intimate modern opera.

~theo ubique website

Michael Ball singing Love Changes Everything @ Andrew Lloyd Webbers 50th Birthday Celebration

THE THEATRE: I have long wanted to visit Theo Ubique [pronounced thee-ooh (Greek for god) oob-eeh-kay (Latin for "everywhere")]. They incorporated these two cultural corners of Western society due to the influence of theatre on their society in terms of communal storytelling. To further abide by this artistic vision of intimacy in storytelling, Theo Ubique also presents its' productions in a cabaret format with the option of a pre-show 3-course dinner served by the actors for $25. My inaugural visit to Theo Ubique was great & I regret not seeing a production earlier; specifically, I wish I had seen  their interpretations of Smokey Joe's Cafe (my mom's favorite musical), The Light in the Piazza (written by my boy Adam Guettel & recipient of rave reviews), or Cats (I have an emotional attachment). 

THE PRODUCTION: I can't say enough good things. They clearly cast based on singing ability first & foremost because there was no weak vocal link in this 10-person cast. However, just because the cast was comprised of singers does not mean their acting suffered in anyway. This cast was solid overall & were very much in-tune with the subtle & significant dynamics of their characters. The set was forced to be simple due to the cabaret setting, but that didn't cause them to slack on the set pieces that were incorporated; the set was comprised of quiet & quality pieces that served a variety of purposes throughout the production. The costumes were perfectly stylish, appropriate & obviously intentional in their vision & execution (especially Rose's dress in Act I & the show's infamous Celia gown). My one complaint with the vision behind the costume design was that Jenny's costumes were too juvenile; they were well-executed & I understand the purpose behind their vision was to communicate her youth, but the idea was taken too far. 

THE PLAYERS: 

Kelli Harrington as ROSE: Ms. Harrington is a goddess. Rose is a difficult role & I was fully expecting the most pivotal leading lady to inevitably drop the ball in some way or another. I could not have been more wrong & Ms. Harrington could not have been more right, perfect, & [insert favorite adjective here because I was left speechless]. I missed Theo Ubique’s recent legendary production of Light on the Piazza, although I was on the wait-list for tickets. Ms. Harrington won the 2012 Non-Equity Jeff Award for Best Actress & I’m sure she deserved it [also: this lady deserves Equity Membership more than anyone I’ve ever encountered]. I would bet that the clever choice to produce this show was based on knowing they had Ms. Harrington to cast as the leading lady & carry the show. Smart move, Theo Ubique! This lady rules.

This not Kelli Harrington, but Sarah Brightman in what appears to be a 1980's theatre music video singing Rose's big ballad.  

Matthew Keffer as ALEX: This man was blessed with an amazing set of lungs. He was a truly stellar Alex; it is a difficult role that marries family ties, sexuality, & the coming-of-age. I’m sure there were a lot of men who wanted this role & the director certainly chose the best-equipped. His singing capabilities were matched only by his exceptional, subtle, & insightful acting.  I can’t say enough good things about his performance: I love Michael Ball, but this man was created to play Alex. 

Sean Thomas as GEORGE: His singing capabilities were amazing & unmatched. However, he lacked the imposing, masculine presence & graceful, charming panache that so defines George’s character.

Colette Todd as GIULIETTA: Her voice is undoubtedly glorious, rich, & classically-trained. In terms of character, she adequately incorporated  Giulietta’s earthy, exciting, enticing charm; she also played Nancy in Oliver!, which is a similarly sensual role & one that would showcase her amazing vocal ability. 

Daniel Waters as MARCEL: His performance served as highlight as a  minor role. His bio credited a production of RAGTIME in which he played J.P. Morgan; I wish I had seen that production because Mr. Waters conquered this role & would certainly conquer that one. 

Rochelle Therrien as JENNY: I have always envisioned Jenny with as a blond, but Ms. Therrien presented a fresh, beautiful interpretation of Jenny that blew my imaginings out of the water. She sang with the most lovely little lilt & infused the second act with a very necessary sense of fresh & sweet air. I saw Ms. Therrien in Liberal Arts: The Musical & was impressed with her talents; this production served as a much stronger showcase for this lady’s amazing voice & performance capabilities.

Midsommer/Midsummer @ the Park.

The Chicago Parks District has been hosting free Shakespeare productions in various parks throughout the summer. Not surprisingly,  it took me until the last weekend in August to take advantage of these shows, but I finally saw A Midsummer Night’s Dream at Touhy Park. This was a perfect choice for my inaugural CHC/park/Shakespeare experience since this show was an inaugural experience all its’ own. The play was produced by MIDSOMMER FLIGHT, a brand-new company founded by Beth Wolf whose objective is to establish a Chicago theatre collective dedicated to producing outdoor performances of Shakespeare’s plays. 

This production faced two obvious challenges: being a brand-new company (which is slightly remedied by the fact that they teamed with the Chicago Parks District, they offer FREE shows, & the fact that no one can resist a picnic) and performing against the elements of an urban park. Despite the sirens, crickets, & annoying neighborhood kids, this cast held up pretty well against the elements working against them. There was definitely room for improvement in terms of sound quality, but, for the most part, the actors spoke loudly & articulately. Since the audience sat level to the stage, it was difficult to see some of the action (especially during pivotal moments when the actors were lying down), but they generally used the space well. The cast also deserves mad props for making it work in a production space that offers no backstage. Only a seasoned & committed/invested group could conquer those challenges in their first attempt at a production.

The acting ensemble was as impressive in their credentials as in their performance quality,especially with Jared Dennis as a booming & authoritative Oberon, Annie Hogan as billowy & blustering Helena, & J. Preddie Predmore as a boisterous & engaging Bottom. It was a cleverly consolidated cast with the standard Theseus/Oberon & Titania/Hippolyta pairs, as well as the fairies doubling as the rude mechanicals. This play was especially fun because it reminded me of a project in which I participated as one of the founding members of the Delaware Shakespeare Festival. Our inaugural production was also Midsummer (I was a fierce Hermia, BTW). DSF is flourishing & celebrated their 10th anniversary season this summer with a new production of Midsummer. I predict Midsummer Flight will flourish just as boldly & brightly.

The Great American Trailer Park Musical @ Theatre Wit

This production was a breath of fresh air. It was a musical whose songs were new to me but were still memorable, catchy, & less campy than expected (very Bat Boy-esque). I didn’t realize The Great American Trailer Park Musical has had such a rich/international production history: it debuted in 2004 at New York Music Theatre Festival. In 2005, TGATPM premiered Off-Broadway Dodger Stages on September 27, 2005. In 2006, it made its’ regional debut at the Hippodrome State Theatre in Gainsville Florida. 2008 marked the 1st National Tour, with the same cast taking to show to the Edinburgh Fringe Festival. 2008 also marked TGATPM’s English premiere in Birmingham, England. In 2010, Arizona Onstage Productions in Tucson, AZ presented TGATTM  as the world’s first scratch-and-sniff musical (the audience was handed out cards to scratch & sniff at different points throughout the show). TGATPM also made its’ Australian debut in 2010 with a production at New Theatre in Newtown, Sydney. The fact that this musical has existed & continued to be performed means the piece is quality, somewhat timeless work. It was a very smart choice for Kokandy Production’s premiere production: it is a quality show that is relatively unknown but is still appealing to a wide range of people. Kokandy Productions is a new company started by by Scot Kokandy; he has previously co-produced Towle Theatre's GOOD BOYS AND TRUE & was one of the awesome People of Godspell who joined together in produced GODSPELL on Broadway (a movement ultimately incorporated by my buddy Ken Davenport). TGATPM marks the company’s first full production & it presented a wonderful first impression. Check out their blog & keep an eye out for their future productions; I predict this company brings some great work to the stage.

The production was performed impeccably with a keen eye on details. One detail that was very much appreciated: a good program. It is my firm belief that a production should take pride in the details & establish as much of a sense of continuity in the theatre space as possible. I have been to recent productions that didn’t even hand out a program (infuriating, in my book). This program was engaging & cleverly constructed (rules for living in a trailer park, faux ads, etc.); the program lacked cast bios, but it was a very nice touch otherwise. That acute attention to detail was equally apparent onstage: from the hair claws to the Cheetos, the artistic & production staff was clearly committed to wholly creating this world within the trailer park. The set was impressive; it was not only visually appealing, but also smart & vibrant utilization of a constricted space. There stationary set consisted of three trailers, one of which had a cut-out in the front so that actors could use the interior space to provide a sense of dimension.  It is especially imperative for this specific show to have a stellar set since the setting is a character in itself. Set designer Zachary Gipson created a community that was part cartoon campground, part honky-tonk hang-out, & entirely awesome. 

The Players

Jennifer Wisegarver (Donna), Ashley Braxton (Lin), Danni Smith (Betty), 

Alex Grelle (Duke), Bri Schumacher (Pippi), Jonathan Hickerson (Norbert), Christina Hall (Jeannie) 

Jennifer Wisegarver (Donna), Ashley Braxton (Lin), Danni Smith (Betty) served as our Greek chorus; they gave exposition & insight on the characters & community while still playing isolated, independent roles. The singing capabilities of this cast were exceptional across the board & these women were steely belters who made 3 voices fill the space like a full ensemble. Their internal interactions were also notable: it was evident that these actresses have developed a strong performance connection and were [justifiably] confident onstage. As Norbert & Duke, Jonathan Hickerson & Alex Grelle provided nice punctuating moments in this female-heavy ensemble. Hickerson was an especially strong actor & carrying the bulk of the show’s conflict. The two stand-out performances were by Christina Hall as Jeannie (the agoraphobic wife trying to muster the strength to leave her trailer for her anniversary) & Bri Schumacher as Pippi (a dancer who’s the newest resident of Armadillo Acres & having an affair with Betty’s husband). Both of these women were impressive singers who performed their respective roles without turning them into cardboard, bland stereotypes. They nailed the jokes & an understanding of what made their characters fun & funny, but did not do the easy & obvious disservice to the production by relying too heavily on the humorous aspects of the show. This cast is a rarity considering there really were no weak links; but that sentiment could be applied to the entire production: no weak link & no complaints (except for the lack of cast bios, but I can let that slide). 

BUY TICKETS [or visit HotTix like me]
This was also my first Theatre Thursday experience, but more on that later... 

Hit the Wall @ Theatre on the Lake

HIT THE WALL

Theatre on the Lake

It’s the summer of ’69 and the death of music icon Judy Garland has emboldened her gay followers. A routine police raid on an underground Greenwich Village hotspot erupts in to a full-scale riot, the impetus of the modern gay rights movement. That’s the well-known, oft-rehearsed myth of Stonewall, anyhow. Smash that myth against the vivid theatrical imagination of playwright Ike Holter, add a howling live rock ‘n roll band, and you get the world premiere play, Hit the Wall. Remixing this historic confrontation reveals ten unlikely revolutionaries, caught in the turmoil and fighting to claim “I was there.”

This was my first visit to the Theatre on the Lake. It wasn’t as hard to find as I expected. I liked the theatre itself, especially that they provided fan and encouraged eating & drinking. There was a 3-person band that played before & during the show; I couldn’t help but think the theatre on the Lake was a better setting to showcase their sound the original production Upstairs at Steppenwolf. The band was great; besides an impeccable sound, they were incorporated into the show subtlety & provided a consistent tone for the show. 

I LOVED IT. I would liken it most to a lovechild of Hedwig & the Angry Inch, HAIR, and Fires in the Mirror (all winners in my book).  Ike Holter’s script incorporated a refreshing variety of moments & artistic styles…tirades that border on raps, personal & poignant revelatory monologues, whispered warnings, chaotic overlapping ensemble, etc. 

I had never heard of the Stonewall Riots, or that it was the catalyst for the LGBT movement. This play provided an interesting historic perspective for me: LGBT rights seem sort of an assumed right for our generation, but it’s interesting how little energy remembering the fight they fought. The struggle for Black Equality & Women’s Rights will never be forgotten, but the LGBT movement doesn‘t seem to garner the same sense of attention to its’ history. Maybe it’s because the LGBT movement puts all its’ energy in contemporary advancements, but it is important for any group to pay honor to those who came before them. Hit the Wall certainly accomplished that sense of respect towards the individuals who endured those riots, while simultaneously crafting an energetic, entertaining, funny, & innovative production. The Reader voted it Best New Play of 2012 and I agree. 

Cirque Shanghai @ Navy Pier Skyline

CIRQUE SHANGHAI 

@ Navy Pier's Pepsi Skyline Stage  

I DON'T GET IT. 

All the reviews I’ve read (even Chris Jones!) 

have given Cirque Shanghai nothing but stellar reviews. 

I don’t really share that opinion, but I’ll start with... 

THE GOOD

I liked the theatre itself…an open air theatre on a pier (even if it is Navy Pier) is a nice place to spend a Sunday afternoon. It seems like an ideal space for a family-oriented show, even though this show didn’t seem especially geared towards kids. Also, he tickets were only $22.44 thanks to Hottix & the performance only lasted 90 minutes. 

THE BAD

The performers were clearly skilled, but their skills just weren’t that amazing (or infallible: the imperfections in the acts were not only present but noticeable.) There were awesome & impressive moments, but the performance just lacked an overall WOW factor. The performance also lacked cohesion between the individual acts…it felt more like America’s Got Shanghai Talent than a unified piece of performance art. 

THE UGLY 

The production lacked artistry.; it seemed like a gymnastics show that only gave a second thought to sets & costumes. While the performers were clearly skilled, this type of performance still heavily relies on production design. The women’s ensemble numbers were a train-wreck, costume-wise: they alternated between resembling wedding-cake toppers & retired costumes from baby-beauty pageants. 

Attend The Tale of Danny Tanner @ Gorilla Tango

ATTEND THE TALE OF DANNY TANNER

Presented by Gorilla Tango
By Chris Gorton and Katie Johnston-Smith
Directed by Kelly Williams

This was my first visit to Gorilla Tango, which was especially exciting because it was also my first production in the Bucktown/Wicker Park area. The theatre was small & packed with an enthusiastic audience; this piece seemed like a perfect fit for a neighborhood comprised of the people who grew up on Full House. The opening number (a mash-up Attend the Tale of Sweeney Todd & Wake Up San Francisco. The despondent, & sweeping number quickly established that this was not TGIF’s Full House.  We soon learn why Danny Tanner allowed Joey Gladstone & Jesse Katsopolis to live in his house rent-free for all those years. It was not because they helped take care of the girls (as the television show made us believe), but because, once a year, on the anniversary of his wife’s DUI death, Joey & Jesse have to kill a drunk driver. On this year’s anniversary, Joey & Jesse decide they want to get out of this arrangement. Meanwhile, DJ wants to get out of the house to hang out with hunky Steve. But when Danny catches them stumbling home, things take a turn for the bloodier. I won’t ruin the ending, but I will say the references to Sweeney Todd hit hardest in the finale.

The 8-person ensemble was comprised of smart, confidant performers with clean & quality vocals. As Danny Tanner, Rob Speer channeled Bob Saget’s energy/mannerisms while simultaneously transforming the role into a blood-thirsty, vengeful widower.  As Joey & Jesse, Chris Gorton & James Dolbeare were excellent comedic actors who had a strong sense of history & chemistry with each other (which is an especially impressive feat considering they only perform the musical once a week). My one complaint: James Dolbeare seemed a little too Caucasian for Uncle Jesse; the Elvis obsession, smooth moves, slick hair, & Italian stallion element were in a little lacking.The Tannner girls were awesome across the board; their performances were articulate & finely-tuned into the personas from the 1990’s originals. As the senior sister DJ, Katie Johnston-Smith exhibited dead-on comedic timing, had a beautiful belt, & played over-the-top adolescent angst without inhibition. As the Jan Brady of the trio, Meghan M. Hillmeyer was a pitch-perfect Stephanie; her physical resemblance Jodie Sweetin was uncanny & her presence onstage was a consistent highlight of the production. Ali Keirn played the baby Michelle; I would imagine this is the most difficult to cast & perform in the musical. It’s a strange enough challenge for an adult to play a child, let alone a baby. But Ms. Keirn dominated the role by channeling a toddler-esque gurgle to her words & applying an adult’s interpretation to the R-Rated text. Her acting abilities were phenomenal; from other reviews I’ve read, I am not alone in this opinion. My one complaint regarding the girls: I wish they had all been blonde (DJ was brunette, Stephanie was blonde, & Michelle was a redhead). The Tanner girls were notorious blondies & I would have liked to see that element of the show kept consistent.Miryam Andrews and Tom Daily rounded-out the cast by filling in the miscellaneous remaining characters: Kimmy Gibler, DJ’s BF Steve, Aunt Becky, Mr. Woodchuck & miscellaneous drunk drivers. During the opening number, I assumed Miryam Andrews was playing DJ & Katie Johnston-Smith  was playing Aunt Becky (based only on physical appearances) but she ended up being a lovely performer & versatile actress. Most of Tom Daily’s stage time was spent playing a drunk, which he did convincingly. He had a wonderfully expressive face & fluid physical flexibility that added to his ability as a skilled actor. As the production’s accompanist (and musical director), Rhapsody Snyder created a strong backbone for the entire production.

The production was genuinely funny: it’s humor was original while incorporating the necessary mocks & digs towards the original sitcom. I am glad they didn’t wholly rely on relaying show’s original jokes or overplay the cheesiness. I was surprised, however, that there weren’t any jokes about the original cast members (especially Jodie Sweetin), but overall the production was energetic, innovative, engaging, & definitely worth the trek to Blue Line Country. 

* EXTENDED UNTIL JULY! *  Saturdays @ 7:30 * 


*UPDATE* ATTEND THE TALE OF DANNY TANNER: A FULL HOUSE MUSICAL has been extended yet again! 
It will perform TUESDAYS at 7:30pm, August 14 & 21, & September 4-25.
Tickets are $15 @ www.gorillatango.com or             773-598-4549       for tickets and more info. 

Waiting for Lefty by American Blues Theatre

Waiting for Lefty was inspired by the New York City’s 1934 taxi strike and first staged in 1935 by the Group Theater. Clifford Odets structured this timeless commentary on the social & economical inequalities as a series of vignettes that offer varying perspectives on the personal effects of this strike. I loved it, both the script and the productions. I'm a big fan of scripts based in this era and considering our currently economically-difficult American situation, this play was a such a smart & awesome piece for American Blues Theatre include in their season. The production was flawlessly executed due its large cast comprised of substantially skilled actors.

I liked their graphic design choices. Their posters have vivid colors, excellent artistic execution, and a clear presentation of a forthcoming production. However, the poster didn’t authentically reflect the artistic choices of this specific production. The bright red, white, & blue invoke imagery of a patriotic nature. However, this play relayed a historical period where many bright, fresh Americans felt very removed from this country’s commitment to life, liberty, & pursuit of happiness. I would prefer the production I saw to the production that the postcard promised; it is more purposeful & much more relevant, especially in these economically impossible times. I wish they had chosen to advertise what this excellent production turned out to be Cradle Will Rock meets It’s All True. I loved both of those and I loved this.

I love theatre but am unfortunately wired with a very short attention span. This play was quick, even for me. A 60-minute play does not equal a full-length production; this is what we call a one-act. Luckily, I bought a half-off ticket for $12.50 at HotTix. If I’d spent twice as much, I’d have felt ripped off, even though the quality of the production was excellent. Charging $25 a ticket equals $2.40 a minute; that rate is applicable to a massage but not a theatre ticket. The quality of this production is not in question, but the ticket price needs to be adjusted considering the fact that this was a one-act.

Stand-Out Performances

Cheryl Graeff as Dr. Benjamin

Dr. Benjamin was dedicated physician who was the first on her hospital staff to be fired (based primarily on the her Jewish heritage). This vignette opened with her expressing a validated frustration to her supervisor at the different treatments patients received due to their economic class. It closed with her establishing herself as an angry victim who has serious plans to fight back. Her piece was the last one that was primarily character-driven & it was such an effective playwriting decision. In a play that focuses primarily on the effects of a depression upon the specific cab-driving group, it is important to acknowledge & remember that the economic effects of this period managed to destroy both white-collared and blue-collared families. In her role, Cheryl Graeff created a character with a strong spectrum of ideas, experience, and history. I felt her authentic commitment to her work as a doctor. She only had a few lines about her parents, but those lines were so articulate in their artistic interpretation that I felt a quick connection to this character’s widespread history. She was dynamic in creating a flow in the text, an excellent reactionary in relating to her supervisor (played by John Mohrlein) & entirely engaging.

Gwendolyn Whiteside as Florrie

Florrie was a young woman torn between her family’s dependence on her minimal secretary salary and her earnest desire to continue investing her love & energy in 3-year engagement to Sid (played perfectly by Zachary Keeney). This engagement would realistically never result in a marriage due to the economic impossibilities they would inevitably face in starting a new life together. At the pressure-some prompting of her brother Irving (played by Bradford R. Lund) and the tragic acknowledgment of their situation’s reality by her beloved, Florrie & Sid together make the necessary & impossible decision. This vignette effectively communicated the true tragedies that befell these Americans because it showed the true consequences of this horrible era: the loss of the ability to pursue one’s happiness & love. Florrie held on so hard the to the hope of her love-filled marriage becoming a reality because that is the most basic American & human right. Gwendolyn Whiteside made this character empathetic, earnest, and overall endearing. She crafted a character the audience would have loved to see in a wedding dress, and so she simultaneously created an empathetic audience who mourned along with her at the loss of that dream.

Slaughter City by Jackalope Theatre Co. @ Raven Theatre



Slaughter City
by Naomi Wallace/directed by Kaiser Ahmed

The effort & quality of the production outweighed the quality of the script. I loved the artistic interpretation of the script. It was very much my personal taste, and executed exquisitely. The pristine but crafty style of Julie Taymor meets tenement rags of Rags…it felt at the same time a period piece, a timeless commentary, & a futuristic cautionary tale. This is a feat of the production staff--the dramaturge (high-five for having one), the meticulous direction, truly artistic stage dressing, & a finely-tuned cast. However, none of this can make up for a script that I found largely lacking.

A lot of the blocking written into the script. Which makes the over-direction & air-tight blocking somewhat necessary. It's a good directing style for actors who have talent but lack instincts, but for the high-quality, interpretive actor the restriction is nothing more than restrictive. A micro-managing director can stunt the growth of an actor, and I wonder how much authority these actors were given in the opportunity to interpret their roles. For some actors, such as Jack McCabe, this directing style is so necessary. I saw him in The Homecoming at Mary-Arrchie & his performance in this production was of a much higher caliber. It still was not the best casting choice, in my opinion; this role required a more layered, subtle, & engaging performance that he was able to execute.

The roles of the factory workers required very specific actors, in race, physicality, & specific personal abilities. The cast fulfilled the specifications well. As Rose, Kristin Anderson was natural in her part & never broke focus. She was too young, but that’s a flaw I am willing to overlook due to skill & commitment level. Anne Sears was subtle, sweet, perhaps too guarded, but overall gave a strong performance. As the curious & central character Cod, AJ Ware mastered the dialogue & danced over the words with an articulated influx of emotion. This part can make or break a production & her performance was an excellent fulfillment of the demands of the role.

The script was just too serious & stylized for my taste. It vaguely reminded me a script InterAct would consider. I love a solid, serious, message-oriented script, but it has to be well-rounded. There was no humor at all. The only moments the audience laughed erupted out of awkwardness or irony, but a 2+ hour show requires a light moment here & there.

I wanted more historical context. Isn't that why we have dramaturges on staff? I wanted more narrative of the fire, not the fault of the company but still a fault of the production choice. I love that so much of Chicago-theatre is based on local history & the fire is an intriguing subject matter. With the script's literal smoke & mirrors, stomps, sharpened knives, & heavy-handed metaphors, it is easy to forget to wonder: What Is The Point? It was so thick in metaphor that I couldn’t figure out where to plant my feet. The script itself lacked a solid point-of-view & I didn't leave with a new perspective or education on the subject matter. 



God of Carnage @ The Goodman

I realized after I saw God of Carnage that Yasmina Reza also wrote Art. It put my experience in perspective because I had the exact same reaction to this production that I did to Art. Before I saw both of these plays, I thought they looked right up my alley...they have small casts, contemporary settings, and plotlines that are so simple & intriguing that the play's commentary has to be weighty & important. But at the end of the play, the simple plotline remained very simple. The script just lacked the essential element of enrichment & thought-provocation. Not to say it was pointless. There is something important about actually acknowledging the serious frustrations that erupt from the mundane problems of real life. There can be poetry & purpose found in cleaning up the messes of every day life. I just wish that poetry & purpose had been infused more heavily in the script.

In a quadrangle of a play, it is difficult to truly critique the actors unless they have strikingly varying skill sets. All four actors were sharply-tuned, charasmatic, & fully invested in their roles. To create a strong, 4-person ensemble (absent of a weak link) is a feat to be applauded.

The theatre was beautiful.
The actors were impeccable.
The point of the production....I'm not so clear on.

reasons to be pretty @ Profiles Theatre

reasons to be pretty @ Profiles Theatre


I love Neil LaBute because his text is unrelenting. An awkward beat, actor, lighting cue and all the greatnesses dissipates like an exhale. Thankfully, Profile's premiere of this piece stood its' own against the text. In reasons to be pretty, LaBute paints beauty as the mirage that keeps us staring while exploring the huge aftermath that can be caused by a tiny comment. LaBute speaks the mind of a hopeful women with crystal clarity while building a tetris of four, complicated, astute human characters.

The play recounts the unraveling of a relationship after an offhand comment is relayed. Greg and Steph have been living together for a few years. One tipsy night, he makes an off-hand, off-color comment on his girlfriend's face to his friend Kent.
Kent tells his wife Carly.
Carly tells Steph.
Steph leaves Greg.
And So It Goes.

The players
Darrell W. Cox (Greg) gave a strong, clean presentation of a relatable central character. He crafted a quality character and consistently maintained that with every shrug, gesture, and line.
Darci Nalepa (Steph) entered with explosive energy that set a perfect pace that was noticable in her absence. Her character was one that grew and changed over the course of the play, and she wholly fullfilled the wide spectrum of emotion the role demanded.

Christian Stolte (Kent) was the perfect picture of a bully grown-up. His performance was more skilled in itself than in relating to the other characters. [Sidenote: he was recently seen on the The Chicago Code!]
Somer Benson's (Carly) performance was too pointed & pronounced. She lacked sublteties & her physicality seemed too contrived. She did have moments of being perfectly poignant on on-target with emotional effect, but these moments punctuated a lackluster performance.

Sex With Strangers @ Steppenwolf

Sex With Strangers @ Steppenwolf


Sex with Strangers recounts an episodic relationship between two writers whose views on relationships, writing, and how the internet effects both. We first meet Olivia Lago, a writer turned teacher who is resigned to write without the expectation of publication to avoid mixed reviews and the effect of caring. We find her snowed in at a writer’s retreat cabin when we meet Ethan Strange. Ethan is taking a detox from his highly successful life as a different kind of writer. His has maintained a blog, Sex With Strangers, recounting his experiences doing just that. With the life lessons learned from the blog’s wild success, Ethan becomes an iMentor to Olivia. And a few nights in that snowy woods cabin lead him to become her boyfriend as well.

Overall, I loved how Laura Eason pinpointed the strange social mannerisms that have erupted from the cellular age. She brought those ideas from the back of our head into full-frontal focus. The audience's eruptions of laughter at these commentaries reinforced how universal the shift in social dynamics that have erupted from the Facebook Generation.

However, for the social authenticity presented in these commentaries, there lacked a cohesian of that nail-on-the-head writing with the presentation of the character of The Internet. This was a play with two actors, but three characters. The Internet served as dominant a role, in both the building of a character and in a plot-point perspective, yet was inconsistently presented and undeveloped. Yes, we are commenting on the dangers of a relationship with the internet. But in the world of Sex With Strangers, the danger seems somewhat benign. Olivia's searches prove that her boyfriend's sexcapades were extreme, but we already knew that. Olivia sacrifices part of her ideal dream to achieve a more tangible success. None of the repercussions of The Internet's influence reflect his actual influence because the driving effects result moreso from the characters' direct decisions. This Internet was not an online predator. And so we are just left with the question Ethan left Olivia regarding their relationship: how much of a villain can the villain be if the victim enters eyes wide open?


Saverio Truglia's Anatomy of this Photo

With a subject as broad as The Internet is taking over our lives and stealing our children’s souls, one’s perspective must be finely-tuned and razor-sharp in its’ articulation. That point, that shock, that line that makes you say Hmmmm…I never thought of it that way just wasn’t there.

I was a hardcore fan of Sex With Strangers until the last scene. I won't kill the ending, but ending the play at the moment Olivia said, "It was fine," would have been absolutely perfect. The last scene's simple Lifetime reflection on lessons learned diluted the effect of the sharp observational epiphanies that punctuated the dialogue. While the experience was overall insightful, entertaining, and skillfully presented, it left no taste in my mouth.

I liked watching this play. I loved moments of it. But the message pittered off to a shallow final note and there was little that I took with me from it. My experience can best summed up by Olivia's idol, Marguerite Duras, “It's afterwards you realize that the feeling of happiness you had with a man didn't necessarily prove that you loved him.”

Cherrywood @ Mary-Arrchie

CHERRYWOOD was written as a series of simple lines, a play without characters, allowing the actors to assemble their roles from the lines they chose to speak, originally devised and created by the Rude Mechanicals and Kirk Lynn of Austin, TX in 2004.

"Welcome to the neighborhood. CHERRYWOOD is probably unlike any place you've lived before.
Or maybe it actually is all the neighborhoods you've ever lived in."
CHERRYWOOD at Mary-Arrchie Theatre Company


Sitting around the perimeter of this upstairs store-front turned suburban basement, one immediately feels at home in this Cherrywood world. That is probably because it’s a place most of us have landed before, or at least have the mental picture from shows about the crazy hijinks of the young & inebriated


We are attending one of those parties where you run into friends you forgot you had and end up drinking out of cups you aren’t sure are yours. It is the Texts From Last Night world that will require help filling in the blanks come tomorrow morning.

Unfortunately, this production also left me with some gaping questions and a foggy recollection of what the point was. As an actor, it is a beneficial & rare opportunity to create a character from scratch (as opposed to executing the vision created by a playwright). I can appreciate the value of this exercise, but I don’t know if the production objective warrants the price of my ticket. Not an untalented cast or poorly executed vision, I just wonder about the quality of the vision as a whole.

Cherrywood was almost Rent-like in dealing with established issues like they were new in its’ awkwardly constructed skeleton of a plot. The quality of the world they created was muddled with clichés, ridiculous plot points, unnatural lines of thought, and shallow moments of meaning. The familiar authenticity of this party evaporated as the characters became actors who were acting like the stakes were inappropriately high. The play’s ending scenes were reminiscent of being sober trying to have a meaningful conversation with someone less so. Maybe there’s a little bit of merit, but it’s longwinded, redundant, and overall futile.
No revolution.
No enlightenment.

I would appreciated it if the artistic objective of Cherrywood had drawn upon the strengths of the ensemble. The production was an excellent recreation of normal and it would have been better to have maintained casual, character-driven feel throughout. Its’ strength was in the subtle, not the forced fortune cookie moments. The poetry should have fallen out through the casual and ordinary dialogue. This setting was a great opportunity to highlight the poetry that erupts in our vernacular, but that opportunity was lost on the effort put into creating drama.