PICKSINSIX Review: HOW TO USE A KNIFE

"SEARING 'KNIFE' LEAVES DEEP, HAUNTING WOUNDS"

A pivotal reckoning … The stark and haunting wounds of civil strife that lay at the center of playwright Will Snider’s searing drama How to Use a Knife directed by Shattered Globe’s producing artistic director Sandy Shinner are now nearly 25 years old. Coincidentally, news reports have surfaced recently about ongoing efforts to identify the staggering number of more than 800,000 victims of the genocide in Rwanda, a defining event for one of the two main characters whose personal coping methods begin to emerge as the pivotal reckoning for his boss, Chef George, who has a thousand-yard stare all his own.  

What’s it about … Michael worked on the line for Michelin star Chef George years ago. Not very talented, George recalls, but, smart enough to parley meetings with George’s patrons, raise capital and launch his own restaurant.  Meanwhile, after George invented the “12/12 Pairing Menu” his fast-paced lifestyle took a gut-wrenching turn. So now George “needs to get his wings back” and Michael has hired him as the new chef in his trendy Wall Street restaurant.

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Everyone has a story … Peter DeFaria delivers a fine, multi-layered performance as the complex and tortured chef who suffers from drug and alcohol addiction.  Helping George find his way out of the darkness is Steve – Anthony Irons in a powerful, measured performance – whose willingness to learn quickly moves him up as a confidant and mentee. As Steve's past comes back to roost, it is the impassioned, deeply personal, interplay that brings them together and ultimately drives them apart.

A terrific pairing … Snider’s frank statements about accountability and loss permeate this story and there is a depth chart running through each character. Michael (a solid role for Shattered Globe ensemble member Brad Woodard) appears to have completely lost touch with the business and those he works with, so must rely on someone he can trust in the kitchen. The line cooks, Miguel and Carlos, a terrific pairing of Victor Marana and Dennis García, share the responsibility of keeping things running at the restaurant but also need to protect their jobs. Everyone is seemingly trying to stay ahead of Kim (Michelle Bester) from the immigration authorities while Jack, the busboy/writer that Dillon Kelleher splendidly embodies as the voice of the playwright, is happy to just get a paycheck.

Precise detailing … the precise detailing of the set design by Jeffrey Bauer, elaborate props by Abigail Cain, costumes by Hailey Rakowiecki, sizzling lights and sound by Shelley Strasser and Christopher Kriz is so striking that you almost smell the steak coming off the grill. One can imagine what’s happening just outside the swinging doors as the activity on stage heats up and more of this heart-wrenching story unfolds.

A lot to be learned … recreating a busy, fast-paced kitchen environment requires the kind of ingenious staging that Shinner has fashioned with the audience on two-sides in Theater Wit's Theater Three. There is a lot to be learned about the inner workings of expeditors, line cooks, and busboys but not everyone is who they appear to be - particularly when they are holding the knife, which adds an effective and chilling element to the dark side of this play full of manic, unhinged emotions, and mind-searing life experiences that are hauntingly familiar.

PHOTOS|MICHAEL BROSILOW

SHATTERED GLOBE THEATRE
Presents
HOW TO USE A KNIFE
Written by Will Snider
Directed by Sandy Shinner
through June 9th
Theatre Wit
1229 W Belmont Ave
Chicago, IL 60657
773-770-0333

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PICKSINSIX Review: LAST STOP ON MARKET STREET

“DANCING TO THE BEAT OF LIFE”

All you need to know is … The seven-year-old future zoologist CJ is on his way to his Nana’s when we meet him in the opening moments of the world premiere of Last Stop on Market Street directed by Henry Godinez now playing at the Chicago Children’s Theatre. He is savvy enough for his age, but not comfortable in a neighborhood vastly different from his own and is nervously counting down the hours until he will be back at home with his parents and his aptly-named canine pal, Doggy. With only the security of his backpack, a few bucks in his turtle pillow, and his cell phone, tablet and headphones, CJ is not at all prepared for what comes next. After first applying sugar, Nana tells it like it is and draws a line by singing “All you need to know is that I said so!”

A glorious, inspiring and heartwarming journey … As you might imagine, things get off to a rocky start, mostly because CJ is convinced, as most seven-year-olds are, that he is in charge. That begins to change as the two embark on Nana's regular crosstown adventure to the other side of town. Through her wise and insightful observations, CJ learns that the excitement of discovery is as much in the journey as it is in reaching the destination. And what a glorious, inspiring and heartwarming journey it is!

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Bowl of soul … The new musical adapted by Cheryl L. West with a hip score by Motown legend Lamont Dozier and his son, Paris Ray Dozier, is based on the 2016 Newbery award-winning children’s book written by Matt de la Peña and illustrated by Christian Robinson. Add the considerable stage and vocal talent of E. Faye Butler, a terrific ensemble with musical direction by Andra Velis Simon, ingenious staging(John Musial), choreography(Stephanie Paul), costumes (Izumi Inaba), sound(Ray Nardall) and lighting(Alexander Ridgers), and with a bus that appears virtually out of nowhere, Last Stop on Market Street is truly a “bowl of soul” for all ages.

Magical chemistry … Parents and fans of the book, written for preschoolers, will thoroughly enjoy this expanded stage version of the touching story of a bus ride across town for a young boy, played at the Saturday afternoon opening performance by the endearing Kei Rawlins (sharing the role with Alejandro Medina) and his no-nonsense Nana, the incomparable Butler. There are a lot of lessons to learn and this show is a real conversation starter for youngsters five and up. Every one of the fascinating characters influence CJ in his quest for answers including (in multiple roles): the bus driver, Mr. Dennis (Breon Arzell), the blind musician, Vernon (Jesse Bhamrah), the rapper Tat Man (Brian Keys), Butterfly & Posey (Melanie Brezill), and a young homeless girl Jojo (Kirra Silver).

Every morning brings a new song … the Dozier score rocks a range from the jiving opening company number “Hello, Goodbye” to the poignant “Servin’ Up Love” … Butler’s “Cause I Said So” and “Praise the Lord” are terrific. You are sure to be humming “The Beat of Life” on the way home.

Next stop: Minneapolis … Director Godinez and his team have created an ingenious, colorful panorama of urban neighborhood locations. For those of us without prior knowledge of the material, our discovery is as fulfilling as CJ’s. For that reason alone, you should climb aboard and make a date to see this show running through May 27th. Bring a youngster. Support the Greater Chicago Food Depository with a donation. Buy the book in the gift shop and get ready for a heartwarmingly wonderful hour of entertainment. After the CCT engagement, the next stop: Children’s Theatre Company of Minneapolis, also directed by Godinez. 

PHOTOS|CHARLES OSGOOD

CHICAGO CHILDREN's THEATRE
Presents
A New Musical
LAST STOP ON MARKET STREET
through May 27th
The Station
100 S. Racine Avenue
(312) 374-8835

WEBSITE

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PICKSINSIX Review: MEMPHIS

"THE BIRTH OF ROCK AND ROLL."

Something in the water … There are a lot of reasons for you to run to see MEMPHIS, the exhilarating new Porchlight Music Theatre production directed by Daryl Brooks that opened Wednesday at the Ruth Page Center for the Arts. One is certainly the charismatic performance of Liam Quealy as Huey Calhoun, a character inspired by the life and career of Memphis DJ and personality Dewey Phillips. Another is the radiant and explosive Aerial Williams in the role of Felicia Farrell. Then there is an amazing company of talented dancers, singers, actors, and musicians who are non-stop great! Maybe there is something in the water at PMT these days. They've done it again. MEMPHIS is a SMASH!

Embraces R&B music … Part revolutionary, part rebel, Quealy’s Calhoun oozes with the kind of passion that drives a dream - a crusader who rejects stereotypes, fights bigotry, racism and the segregation of the era in which he lived. Against the odds, he embraces R&B music as a way of bringing people together, first on the radio, and then on television. As this engaging, often dark and richly soul-filled journey unfolds in Calhoun’s 1950s Memphis, what we are really seeing is the birth of rock and roll.

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On the radio … From his musical awakening in a black nightclub on Beale Street with “The Music In My Soul” and falling for Felicia, we follow Calhoun through his unlikely success as a D.J in a department store and eventually on the radio extolling his commitment to African-American music. Along the way, Williams thrills with the poignant “Ain’t Nothin’ But a Kiss” with Quealy, “Colored Woman” and “Love Will Stand When All Else Fails”.

Musical revolution ... The bittersweet love story inevitably leads to rejection and reprisals. Felicia’s brother, nightclub owner Delray Jones (Lorenzo Rush, Jr.) sees only trouble and Huey’s mom, Gladys (Nancy Wagner) experiences hate firsthand. Through it all, Huey single-mindedly pursues what is right until his own musical revolution - and rebellious nature – wear him out. Rush makes the role of Delray all his own and in Bobby, the triple-threat talents of James Earl Jones II are on full and glorious display. Gator finds his voice in fine form from Gilbert Domally.  

What to watch and wait for … so many spirited, high-energy company numbers including “Scratch My Itch” … “Everybody Wants to Be Black On A Saturday Night” … “Someday” and “Stand Up” … Rush’s powerful “She’s My Sister” … Jones at his best in “Big Love” ... Christopher Carter & Reneisha Jenkins dynamic choreography ... be sure to lean in and listen every time Williams steps up to the microphone. 

Porchlight motto … fulfilling the Porchlight motto - “american musicals. chicago style” - in rousing fashion,  MEMPHIS completes the 23rd season for the company and the first in their new home at the Ruth Page Center for the Arts. MEMPHIS has already been extended to June 10th, but don’t wait a moment longer to see this show.    

PHOTOS|MICHAEL COURIER

PORCHLIGHT MUSIC THEATRE
Presents
MEMPHIS
through June 10th
Ruth Page Center for the Arts
1016 N. Dearborn St.
773.777.9884
WEBSITE

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PICKSINSIX Review: GRAND HOTEL

"WE’LL TAKE A GLASS TOGETHER!"

If only the walls could talk … Berlin. 1928. The situation is desperate just beyond the revolving door of the Grand Hotel. “People come and people go ... but time is running out” for the current guests we are about to meet whose lives intersect on one fateful night. If only the walls could talk what stories they would tell. For the rest of us, there is Kokandy’s stirring new staging of Grand Hotel, the four-time Tony Award-winning musical of love, mayhem and murder playing now at Theater Wit.

What you need to know … ground-breaking for its time at just over 110 minutes in one-act, Grand Hotel received 12 Tony nominations, winning five including Best Director and Best Choreographer for Tommy Tune and Best Performance by a Featured Actor for Michael Jetter. The Robert Wright/George Forrest score, with additional music and lyrics by Maury Yeston, is a continuous combination of music and dance.

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A fast-paced, non-stop gem … In the expert hands of director John D. Glover with Musical Director Aaron Benham and Choreographer Brenda Didier, Kokandy’s Grand Hotel is a fast-paced, non-stop gem. The broadsheet program lists nearly two dozen in the cast. Several of the high-stepping dance numbers had over twenty onstage - no small feat of traffic control by the seasoned Didier to pull off so marvelously in Wit’s Theater One.

The players … the story unfolds with Colonel Doctor(Jerry Miller) in the lobby of the Grand Hotel, joined by Preysing(Jeremy Trager), whose manufacturing operation is failing; Flaemmchen(Leryn Turlington), a young typist with Hollywood ambitions; Otto Kringelein(Jonathan Schwart), a wealthy and seriously ill accountant; Baron Felix Von Gaigern(Erik Dohner), the dashing (and busted) bon vivant; and, Elizaveta Grushinskaya(Michelle Jasso), a prima ballerina trying desperately to turn back the clock and attended by her loyal companion Raefella(Liz Norton). While Elizaveta reluctantly prepares for the ballet, Flaemmche is falling head over heels for the Baron. Coerced into a plan to steal Elizaveta’s necklace to pay off his debt, things heat up in the boudoir for the Baron when Elizaveta returns. Meanwhile, with her options dwindling, Flaemmche makes an ill-fated decision to turn her attention to Preysing, who is now facing ruin and will say anything to have her. Along the way, and at the heart of the story, is the delightful interplay between the pragmatic Kringelein, the Jimmy's - Darren Patin and Travis Auston Wright - and all of the others at the hotel.

So much to see and hear …  the richly appointed Jeffrey D. Kmiec set, with lighting by Alexander Ridgers and costume designs by John Nasca perfectly evoke the period. There is so much to see and hear thanks to the superb work of music director/pianist/conductor Aaron Benham teaming with Elena Spiegel and Tony Scandora. The pace and flow make this a surprisingly tuneful score including the company opener “At the Grand Hotel” … the Jimmy's (Darren Patin and Travis Auston Wright) snappy “Maybe My Baby Loves Me” … Jasso’s poignant “Fire and Ice” ... the charming Turlington’s “l Want To Go To Hollywood”… Dohner, Turlington, and Schwart in  “Who Couldn’t Dance With You” … “Love Can’t Happen” … and the show-stopping number for Schwart, Dohner and the company in “We’ll Take A Glass Together”

Turning point … looking through the historical lens to Vicky Baum’s 1928 play and novel Menschen im Hotel, the source material for the 1932 Garbo film, and all that followed, it may seem obvious that the encounters of these characters in a lavish hotel in Berlin serve as a turning point of the inner war years. What may not be readily apparent is that this compelling and artfully staged production allows us to more fully understand the inevitable outcome as if we are experiencing it for the first time - a future that lays in wait just outside the Grand Hotel's revolving door.

PHOTOS|EVAN HANOVER

KOKANDY PRODUCTIONS
Presents
GRAND HOTEL
THEATER WIT
1229 W Belmont Ave
through May 27th
TICKETS
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PICKSINSIX Review: OKLAHOMA!

'OKLAHOMA!' ONE GOODBYE IS NEVER ENOUGH.

Right up front … the rollicking production of OKLAHOMA! now playing at Marriott Theatre through June 24th corrals an energized cast in a toe-tapping musical masterpiece. You may want to come again and bring your friends. Like Ali Haxim says: "One goodbye is never enough!”  

Captivating performances ... the 75th-anniversary production of Rodgers and Hammerstein’s first musical OKLAHOMA!, based on Lynn Riggs 1931 play, Green Grow the Lilacs, is directed by Lead Artistic Director Aaron Thielen with choreography by Alex Sanchez and music direction and orchestrations by Ryan T. Nelson. The captivating performances and silky chemistry of Jennie Sophia (Laurey) and Brandon Springman(Curly) lead a multi-talented ensemble who sing and dance up a prairie dust storm all night long.

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Nifty roping …There are no cattle standing like statues in Theilson’s expertly staged production-in-the-round, a particularly challenging feat for a sizable cast that uses the entire expansive theatre – including massive plains projections on a canvas envelope and post & beam rigging - to create the perfect atmosphere for farmer and cowman alike. This approach paves the way for the show to change pace on the fly, none more so than early on when Aaron Umsted (Will Parker) stops the show with some nifty roping while leading the company in “Kansas City”.

Who Stands out ... Aunt Eller, delightfully played by Susan Moniz, oversees the developing courtship of Laurey and Curly and the intrusions of the sinister Jud (a fine turn for Shea Coffman) at the center of this classic story. On the fringe, there is Ado Annie, a charming role for the versatile Michelle Lauto, whose suitors include Umsted’s bumbling Parker and Evan Tyrone Martin, a showcase performance as Ali Haxim.

Watch and Wait for … Springman’s “Oh, What A Beautiful Mornin’”… Umsted’s terrific “Kansas City”… Lauto’s “I Cain’t Say No” … Sophia’s “Many A New Day”... Sophia and Springman’s “People Will Say We’re in Love” …“The Farmer and the Cowman” … “Out of My Dreams – Ballet” ... and, of course, “Oklahoma!”

Cain’t Say No … Marriott Theatre's fine reputation for mounting challenging and exciting musical theatre in the round is on full display, enhanced by state-of-the-art projections, lighting, sound, imaginative scenic elements, exquisite costumes and a seasoned professional cast. With all this and a classic Rodgers & Hammerstein score - expertly served up eight times a week by the superb musical supervisor and conductor Patti Garwood - you just “Cain’t Say No” to OKLAHOMA!   

PHOTOS|Liz Lauren

MARRIOTT THEATRE
Presents
Rodgers & Hammerstein's
OKLAHOMA!
through June 10th
Ten Marriott Drive
Lincolnshire, IL 60069
847-634-0200 

WEBSITE

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PICKSINSIX Review: COMPANY

TALENTED ‘COMPANY’ CHRISTENS TERRIFIC VENUS VENUE!

Surrounded by friends …. It’s Bobby's 35th birthday. The guest of honor is surrounded by friends who all feel that he should be happier than he is and that he needs to be married to achieve the fulfillment he deserves. What is he really looking for? Well, in a word, company.

Sleek new performance space… Most of us either know ‘Robert’ or we identify with a version of the character ‘Bobby’ or the friends who exist at the center of the landmark Stephen Sondheim musical COMPANY, a terrific production of which is now playing at Venus Cabaret Theater, the sleek new performance space adjacent to Mercury Theater Chicago. Venus is the brainchild of producer/director L. Walter Stearns who with musical director Eugene Dizon, have an eye for this sort of thing and have baked a special cake for Sondheim fans everywhere. It is a glorious debut for this one-of-a-kind new space on Southport. 

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Early is on time … guests arrive for the party. The cash bar is stocked and there are hors d’ouerves at every table, so plan ahead and remember that 'early' is 'on time'. The stage has a unique scenic element that I promise you will find as pleasing as the club seating where a dynamic show like COMPANY feels right at home.  

There will be cake … If you have never seen COMPANY, you need to know that when in Venus, there will be cake. As the story goes, the married couples all want a better life for their friend Bobby(David Sajewich). It’s New York City in the late 1960’s and things are loosening up for Bobby’s friends Harry(Frederick Harris) and Sarah(Nicole Cready),  David(Ryan Stajmiger) and Jenny(Hannah Dawe), Peter(Derek Self) and Susan (Nicole Armold), Amy (Jenna Coker-Jones) and Paul(Greg Foster), Joanne(Heather Townsend) and Larry(Steve Silver) and three women who come in and out of Bobby's life: April(Allison Sill), Kathy(Kiersten Frumkin) and Marta(Kyrie Courter). 

Standout performances … COMPANY received seven Tony Awards including Best Musical, Best Music and Lyrics and Best Book(George Furth).  Among the many standout performances in Stearns' high-energy ensemble are:  Sill, Frumkin and Courter in ‘You Could Drive a Person Crazy’… Sajewich in “Marry Me A Little” and the moving “Being Alive” … “Side By Side By Side” … Coker-Jones’ hilarious “Getting Married Today”… Townsend’s “The Ladies Who Lunch”… Sajewich and Sill “Barcelona”.  

Next Up at Venus … See COMPANY through June 3rd, but don’t delay. Tickets will be hard to get to this party, followed closely by Monty Python’s SPAMALOT, running June 14 through August 5th.

PHOTOS|Brett A. Beiner

VENUS CABARET THEATER
Presents
COMPANY
Music and Lyrics by Stephen Sondheim
Written by George Furth
Directed by L Walter Stearns
through June 3rd

Mercury Theater Chicago
3745 N Southport Ave
773 325-1700
WEBSITE

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PICKSINSIX Review: SOUTH PACIFIC

'SOUTH PACIFIC' – BRAWNY, BOISTEROUS AND BEAUTIFUL!

A visual stunner … There is a brilliant simplicity to the Drury Lane’s lofty new production of Rodgers & Hammerstein’s classic SOUTH PACIFIC. Director Victor Malana Maog and his creative team have delivered a visual stunner, assembling an extraordinary cast – led by the commanding performances of Tony Award nominees Robert Cucciolli and Samantha Hill – while perfectly navigating the delicate divide of the themes of prejudice and racism to make a powerhouse evening of entertainment. Drury Lane's SOUTH PACIFIC is brawny, boisterous and beautiful!

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Who’s who … You may need to know that Emile de Becque(Cucciolli) is convinced that Ensign Nellie Forbush(Hill) is the woman of his dreams when he meets her during naval operations on a remote island in the South Pacific. It is 1944 and Nellie and the nurses keep time with the SeaBees, the engineering arm of the Navy, led in rousing spirit by Luther Billis(Matt Crowle) an operator who is competing for the local business with Bloody Mary(Yvonne Strumecki) a native of Bali Hai, the mysterious and forbidden island nearby. Enter Lt. Joseph Cable(Austin Colby) mix in some intrigue, adventure and suspense, and you have the makings of a pair of star-crossed love stories.  

What stands out … Musical Director Roberta Duchak and Conductor Christopher Sargent have created an exhilarating musical experience. It helps to have the exceptional talents of Cuciolli and Hill at the center of a professional cast.  What is striking, however, is that every transitional change of set(Scott Davis), lighting(Yael Lebetzky), costumes(Olivera Gajic) and sound(Ray Nardelli) are perfectly woven together with the choreography(Otis Sallid) to create a series of simple, but dramatically effective tableaus.   

What to watch and wait for … the classics: “Some Enchanted Evening”, “Bali Hai”, “I’m Gonna Wash That Man Right Outa My Hair” and “This Nearly Was Mine” … touching moments: “Younger Than Springtime”, ”You’ve Got To Be Carefully Taught” and tons of fun: “There Is Nothing Like A Dame, “ and “Honey Bun”.

Timely topics … There is exceptional depth in the material and Maog’s production of SOUTH PACIFIC broadens our understanding of timely topics. So, beyond the enjoyment of a classic score and the terrific performances, this production ventures to a place where we can consider how our lives have been changed and enriched.

The takeaway … Look no further than the lyrics of “You’ve Got to Be Carefully Taught” and it is clear that Rodgers & Hammerstein knew that no one is born with prejudice, bias and fear, a message that it is perhaps even more relevant and important to us now than ever before. This a memorable experience on every level. Don’t miss it – SOUTH PACIFIC is high-flying fun! 

PHOTOS|Brett Beiner


DRURY LANE PRESENTS
RODGERS & HAMMERSTEIN'S
SOUTH PACIFIC
through June 17th
100 Drury Lane
Oakbrook Terrace, IL
(630) 530-0111

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PICKSINSIX Review: 9 TO 5 THE MUSICAL

‘9 TO 5’ IS A HOOT!

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Clever, funny, inspiring … After setting The Den’s Bookspan Theatre ablaze with their first-ever production of LIZZIE last fall, Firebrand Theatre returns with a rousing production of 9 TO 5 THE MUSICAL. Firebrand’s Artistic Director Harmony France has assembled a terrific, multi-talented ensemble who double as musicians and just about everything else from office workers to forest creatures. It’s clever, funny, inspiring and what’s more, this ‘9 TO 5’ is a hoot! 

The more things change … The high jinks of  the Broadway version of this show felt more frivolous musical comedy and less like the 1980 film that energized a movement or the transformational Firebrand edition now playing on North Milwaukee Avenue. It is a story about three women who face personal and professional challenges in the workplace brought about by a despicable, sexist employer. On the way home you will be humming the familiar tunes and thinking that the more things change, the more they stay the same.

A cogent parable … 9 TO 5 THE MUSICAL has become a cogent parable for our times and France's insightful approach speaks to the core Firebrand philosophy, that of empowering gender equality on and off the stage. There are clear creative choices throughout -- 'One of the Boys' being a prime example -- that strengthen the overall message of inclusion while at the same time delivering laugh-out-loud entertainment. In the real world, of course, there are severe consequences for kidnapping your boss for a month, so think of it these days as more like musical comedy with the message that working together for change is always the best choice.

Formidable talent … In the role of Doralee, Sharriese Hamilton brings her formidable talent to bear as the assistant who is constantly being pursued by Scott Danielson’s loathsome Mr. Hart. Delivering a dynamic, full-range, performance is Anne Sheridan Smith as Violet, the rising leader of the pack. Judy is played with sensitivity and humor by Sara Reinecke. Once they all start busting up the old boy network, even the distrustful and devious Roz, a role that Veronica Garzas was destined to play, begins to crack. At the end of the day, it is clear that the work world is about to change for the better. 

What to watch and wait for … Musical Director Andra Velis Simon has added depth to the Dollie Parton score in familiar tunes like “9 to 5” … “Around Here” …“I Just Might” … “Backwoods Barbie” … “Heart to Hart” … “Shine Like The Sun” … “One of the Boys” … “Get Out And Stay Out”.

The Takeaway … it will take vigilance, many more adjustments of attitude at the top, a fostering of mutual respect, support and understanding, and flexible hours to effect change. When all else fails, a one-way ticket to Bolivia just might do the trick.

PHOTOS|Emily Schwartz

FIREBRAND THEATRE
Presents
9 TO 5 THE MUSICAL
Music and Lyrics by Dolly Parton
Book by Patricia Resnick
Directed by Artistic Director Harmony France
Music Direction by Andra Velis-Simon
through May 20, 2018

The Den Theatre|Bookspan Theatre
1331 N. Milwaukee Ave
Chicago, IL 60622
773-697-3830
WEBSITE  TICKETS

For more reviews, visit: Theatre In Chicago

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with HARMONY FRANCE
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PICKSINSIX - THIS WEEK!

Firebrand Theatre's 9 TO 5 THE MUSICAL is on the short list of six picks in and around Chicago this week, and we are just getting started. Much more to come in the De Usuris Blog, but be sure to make a date to see these shows before it's too late.

THE ELAINE DAME TRIO - WINTER'S JAZZ CLUB Start the weekend off right with the Elaine Dame Trio at Winter's Jazz Club, Thursday, April 5th. Shows at 7:30 and 9:30. We had a memorable conversation on March 31, 2017 at Winter's with Elaine, one of Chicago's most gifted jazz singers and vocal coaches, about her musical influences and career. HEAR THE PODCAST  WINTER's SCHEDULE 

AN ENEMY OF THE PEOPLE - GOODMAN THEATRE The superb Philip Earl Johnson leads a powerhouse cast, but it is the razer-sharp, searingly-electric confrontations that have him under siege and at odds with his evil brother - a commanding performance by Scott Jacek - that delivers the explosive conflict between truth and deception. Robert Fall's stirring adaptation of the Ibsen classic is currently playing at the Goodman Theatre. PICKSINSIX REVIEW  TICKETS Through April 15th PHOTO|LIZ LAUREN

GUESS WHO'S COMING TO DINNER - COURT THEATRE Despite how we feel personally about bias and prejudice, facing up to it in our own lives is another matter. This play fits well into our national dialogue, an inspired choice for Court's season, and further proof that even in this very entertaining and fast-paced comedy, the underlying issues of race in America are profoundly real. PICKSINSIX REVIEW  TICKETS Through April 15th

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Guess Who's Coming to Dinner at Court Theatre (l-r Sydney Charles, Bryce Gangel, Michael Aaron Pogue) PHOTO|MICHAEL BROSILOW

THE BEAUTY QUEEN OF LEENANE - NORTHLIGHT - This dark comedy of deceit, deception and the ravages of mental illness, written by Martin McDonagh and directed by BJ Jones, is manifested in the riveting performances of Wendy Robie and Kate Frye. Resentment mixed with fear shrinks Robie’s demanding mother Mag in the face of the mounting frustration and anger of Frye’s Maureen. A powerful and moving experience that will stay with you. TICKETS Through April 22nd PHOTO|MICHAEL BROSILOW

LETTERS HOME|GHOSTS OF WAR - THE DEN THEATRE LETTERS HOME returns in repertory with Artistic Director William Massolia’s new production, GHOSTS OF WAR, based on the true story of Ryan Smithson, who joined the Army Reserve at 17 and was deployed to Iraq two years later as an Army Engineer. PODCAST TICKETS April 6th through May 6th  

9 TO 5 THE MUSICAL - FIREBRAND THEATRE -THE DEN THEATRE The 2nd production of Firebrand Theatre's inaugural season is 9 TO 5 THE MUSICAL featuring music and lyrics by Dolly Parton, book by Patricia Resnick, directed by Firebrand's Artistic Director Harmony France with music director Andra Velis-Simon and choreographer Kasey Alfonso. TICKETS 
April 7th through May 20th

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PICKSINSIX Review: GUESS WHO'S COMING TO DINNER

RIGHT THERE IN BLACK AND WHITE

Meet Matilda “Tillie” Banks … There is quite a bit of Tillie in all of us. In fact, the world might be a whole lot better if we could bottle up her special mix of irreverence, humanity and infectious charm and spread it around when we think that everything is fine just the way it is. You see Tillie’s point of view of the eyebrow-raising revelations unfolding at the Drayton’s San Francisco hilltop home – served up in all its splendidly-stylish 1960’s glory in the superb new Court Theatre production of Todd Kreidler’s Guess Who’s Coming to Dinner directed by Marti Lyons with Associate Director Wardell Julius Clark – is a spot-on reflection of what we believe is our point of view. That’s why we relate so strongly to her, even as the two families involved –  one white and one black – struggle with essentially the same bias and prejudice toward one another. Don’t get too comfortable or be fooled by all of this.  Our prejudices are still very much intact, 50 years later, and they are hard to miss in the intimate confines of the Abelson Auditorium. It’s all right there in black and white.

Packed and ready to go … If you are not familiar with the story, you need to know that it is spring 1967, Joanna “Joey” Drayton and Dr. John Prentice are ten days in love and have returned for a very short visit to tell her parents, Matt and Christina, that they are getting married. Christina’s excitement for the news slowly dissolves as she finds out from Joey that in addition to John being a world-renowned research physician, he is also an older, black man. Matt, whose golf game has been suddenly and mysteriously interrupted by a telephone call from Tillie, is equally aghast at the news and decides that he needs time to process. There isn’t much of that around because we learn that the couple is leaving that night and Joey has invited John’s parents over for dinner. This is when it all gets very interesting because we find out that the poised and proper John has not been altogether forthcoming about the situation with his parents at all. In between Tillie stepping in to hold things together and stocking the bar so Monsignor Ryan can make it to the first course, we see all the hilarious and poignant sides of this complex situation play out.

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What’s really happening … Despite how we feel personally about bias and prejudice, facing up to it in our own lives is another matter. That is what’s really happening to these families. Tillie and Monsignor Ryan represent the voices of reason, reminding us that the bigotry of the past — embodied early on by Hilary St. George (Rachel Sledd) whose zero-tolerance dismissal is a vitally important event — is still prevalent in every sector of our society. This play fits well into our national dialogue, an inspired choice for Court's season, and further proof that even in this very entertaining and fast-paced comedy, the underlying issues of race in America are profoundly real.

Who stands out … The remarkably talented and balanced ensemble combines Mary Beth Fisher, Tim Hopper, Jacqueline Williams and Dexter Zollicoffer from the houses of Drayton and Prentice. Fisher and Williams bring maturity and sensitivity to their roles, displaying a wide range of patience and empathy for their children, in contrast to the autocratic nature of the fathers, deftly portrayed by Hopper and Zollicoffer, who wrestle openly with their own fears that are squarely based in social perceptions of the time. Hopper gives an impassioned summation that speaks to universal acceptance. Michael Aaron Pogue's considerable talent is on full display when he is defending his right to a life of his choosing and standing with the charming Bryce Gangel (Joanna) to both support and defend their decision. Dan Waller is perfect as the spirited Monsignor Ryan, who actually is spirited throughout. The evening, however, belongs to the marvelous Sydney Charles who wraps herself up in Tillie's subtle and not-so-subtle musings with uproarious delight.

Split-level interior … Scott David has created a 60’s era split-level stark white interior, centered in the shadow of massive scaffolding and bridge abutments in the wings that together with Samantha Jones’ costumes and lighting by Lee Fiskness suggest that this is a snapshot in the rearview mirror of life and not to be confused with anything closer than it appears. Then again ...

Special Film Series … The Court Theatre will be hosting three film screenings  at various locations including the original 1967 film version of Guess Who’s Coming to Dinner directed by Stanley Kramer and starring Sidney Poitier, Spencer Tracy and Katherine Hepburn. The screening will be held on Saturday, April 7th at 3:00 p.m. at the Logan Center for the Arts, 2nd floor. Complimentary admission with reservations at: www.CourtTheatre.org.  

PHOTOS|Michael Brosilow

COURT THEATRE
PRESENTS
GUESS WHO'S COMING TO DINNER
Written by Todd Kreidler
Directed by Marti Lyons
with Associate Director Wardell Julius Clark
through April 15th

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PICKSINSIX Q & A: BUNNY BUNNY

Six Questions for Dana Tretta – BUNNY BUNNY

We liked BUNNY BUNNY: GILDA RADNER, A (Sort Of) Love Story so much that we devoted this week’s PicksInSix to six questions for the enormously talented Dana Tretta, who is now appearing as Gilda at the Mercury Theater Chicago through April 15th. This is a clever, heartfelt and amazingly poignant evening in the theatre that will have you laughing and crying. Tretta brings exuberant charm to her role and that will make you long for just a little more time to savor the creativity and joy of one of our most beloved entertainers. DON'T MISS - Mercury Theater's BUNNY BUNNY! et

CWET: “BUNNY BUNNY” explores the relationship between Gilda Radner and writer Alan Zweibel who meet up at auditions for Saturday Night Live and instantly bond in a relationship that lasted for the rest of her life.

What do you think it is that first attracts the two of them? Was it love at first sight?

DT: “Our brilliant director, Warner Crocker, described their relationship best with four words: sexual, platonic, romantic, creative. I believe from their first interaction, they recognized all four of these possibilities with each other, which intensely attracted them to one another like magnets. If you’re lucky enough to meet someone where there’s an immediate spark with several layers of connection, don’t let them out of your sight!”

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CWET: Although everyone comes in with a different perception of Gilda from their own experience, your performance has been universally praised for its warmth, sincerity and charm. What are a few of the choices you made in recreating the offstage character of Gilda?

DT: “After I read the script, I was thrilled that the play wasn’t a parade of Gilda’s sketches, because there’s only one Gilda, and to even attempt to be 'her' would be futile. In conversations with my director, we both agreed the goal of my portrayal would be to find the 'essence' of Gilda. From there, I dug into the script to find what Zweibel wanted to entrust about Gilda to the audience, and he doesn’t hold back. He shares her innate kindness, her love for laughter, her creativity, her insecurities, her demons, and her extreme longing and appreciation for a soulmate. I’m the lucky gal who gets to play in that sandbox with Jackson and Jason.” 

CWET: There is an unique chemistry between you, the hilarious Jackson Peter Evans and the amazing Jason Grimm, who plays “Everyone Else” in this show. How bizarre was the rehearsal process and is the show still evolving?

DT: “The rehearsal process was fast and furious, so we had no choice but to hit the ground running! Thankfully, we had a director who loved the show, had wonderful ideas and opinions about the show, and was extremely positive and caring towards his three actors who very often left rehearsal feeling like we were hit by a truck.  I’ll confess that after our first rehearsal, I walked to my car with an enormous smile on my face and butterflies in my stomach because the chemistry in the room was infectious and so very exciting. Once we got through tech and previews, the three of us agreed that the show is very malleable, and it’s like jumping on a moving train at the top, trying very hard not to fall off for the remainder of the show, but if we stuck together, we’d be OK.  Now, in our 8th week of the run, I think we’re still white-knuckling that train, but thankfully, have been evolving, listening, stripping away, strengthening, and growing together.  It’s a rush every night.”

CWET: With the passage of time, some have said that the show is even more relevant now than when it was first produced Off-Broadway in 1997. Do you agree, and, if so, what do you think has changed?

DT: “Personally, I think the show may be more relevant now for one reason: cancer.  It’s almost 30 years since Gilda passed, and that monster is still ravaging our world. I palpably feel from every audience the affect it has had on their lives. And like Gilda, who decided to write a book about her experiences to possibly help others, I hope this play reminds people that we can never give up the fight, we can never stop supporting each other, and we can never stop laughing.”

CWET: Can you discuss any surprises that have happened during the run or perhaps a moment when you felt particularly inspired or emotionally connected to the character?

DT: “I’ve felt connected to Gilda since I was a little girl. I’ll never forget seeing “Haunted Honeymoon”, and there was this actress, who didn’t look or act like the usual actresses that headlined movies, and that’s exactly why I loved her immediately. I was drawn to her “otherness”. This show has only cemented my love and connection to her. We share some darknesses. We have the same fears. We both use humor to get through the madness. I only hope I find my own Zweibel someday. That being said, I’m blessed to portray an idol of mine alongside Jackson, who challenges and allows the deepest of connections every single show.”

CWET: The play covers a specific period of Gilda’s career, a sort of backstage view through the eyes of someone who cared deeply for her. Can you point to a few aspects of her legacy that have a deeper meaning to you now as a result of playing this role?

DT: “Gilda has taught me the following: Always be kind - to everyone. Try to exude confidence even when you are afraid, but allow yourself to be scared. Open your heart and mind to others. Laugh as much as you possibly can. Never stop fighting for what you believe in.”

PHOTOS|Brett A. Beiner

BUNNY BUNNY: GILDA RADNER, A (Sort Of) Love Story
Written by Allan Zweibel
Directed by Warner Crocker
through April 15th

Mercury Theater Chicago
3745 N Southport Ave
Chicago, IL ‎60613
773 325-1700

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PICKSINSIX Review: AN ENEMY OF THE PEOPLE

"BETTER A LUNATIC THAN A COWARD."

Compelling new adaptation … Goodman Theatre’s Artistic Director Robert Falls has crafted, and directs, a compelling new adaptation of Henrik Ibsen’s An Enemy of the People based on a translation by Eleanor Marx-Aveling, a work that reflects the desperate and fractured time in which we live with such raw energy and emotion that it is hard at times to separate the superb dramatic styling from our everyday lives. All sides of our fractured national conversation are weaved within Falls' take on Ibsen's epic struggle of one man’s quest for truth at all costs.

Rightful purpose ... it is not always clear that the rightful purpose of bold, truthful action will justify the means to an end, particularly when that end may result in mass hysteria, conspiracy theories, financial ruin, and, ultimately, the collapse of our common understanding of liberty, freedom and democracy. There is also an insightful element of the flawed family dynamic between family members who each are competing for recognition, approval and self-interests. If this all sounds like the current social climate in America, imagine what Ibsen was feeling in 1882 when he wrote about a community in crisis and whose very existence depends on the healing nature of its luxury spa, which is now contaminated. To reasonable people, then and now, there is no choice when confronting the moral dilemma to cure a health crisis. Unfortunately, there are few reasonable people around so legislating an opposing position becomes surprisingly easy and pretty much guarantees that this may not end well.

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At the heart of the story … Dr. Tom Stockmann (Philip Earl Johnson) has confirmed his theory that a local tannery along with others have polluted the pristine waters with harmful toxins. The public dissemination of his findings are at the heart of the story. Running up against stiff opposition, he decides his best option is to hold a public hearing and let the people decide. To the community, firmly under the autocratic rule of his brother, Mayor Peter Stockmann (Scott Jacek), exposing the truth becomes a weapon. As a wave of personal and professional retaliation mounts, all unite in a lock-step revolt, fueled by deception, greed and stupidity. Lots of stupidity, according to Tom.

A powerhouse cast ... the superb Philip Earl Johnson leads a powerhouse cast, his delirious and impassioned frustration finally boiling over in rage as he wrestles the frenzied mob poised against him. But it is the razer-sharp, searingly-electric confrontations that have him under siege and at odds with his evil brother, a commanding performance by Scott Jacek, that delivers the explosive conflict between truth and deception. As a collaborative voice – a sort of Greek chorus – the characters of Billing (Jesse Bhamrah), Hovstad (Aubrey Deeker Hernandez) and Aslaksen (Allen Gilmore) descend rapidly from the moral high ground to frame the populus point of view. Only Tom's wife Katherine (sensitively played by Lanise Antione Shelley) and his ardent daughter Petra (a fine turn for Rebecca Hurd) consistently bring compassion to Stockmann's plight. The accomplished talents of David Darlow (Morton Kiil) and Larry Neumann, Jr. (The Drunk) add depth in featured roles.

Artistic impressions ... the extraordinary artistic impressions of costume designer Ana Kuzmanic’s are on full display in the two-story renderings that complement Todd Rosenthal’s industrial cantalever truss design - with lighting by Robert Wierzel - that frames the Stockmann home, the print shop and the public meeting space, which is mysteriously populated and an altogether visually stunning tableau. 

The takeaway ... reflecting the embittered discourse of our times, Falls has crafted a magnificent and explosive oratory that is ripe with political commentary, a consistent theme for the Goodman this season. Here brother faces brother, in the shadow of moral decay, where the bully pulpit rules the day against all adversity. There is a powerful score to settle in this startlingly familiar story examining the courage of our convictions, the devastating consequences of our actions, and, whether or not, it is better to be a lunatic than a coward.

PHOTOS|Liz Lauren

GOODMAN THEATRE
Presents
AN ENEMY OF THE PEOPLE
Adapted and Directed by Robert Falls
Based on a translation by Eleanor Marx-Aveling
through April 15th

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PICKSINSIX Review: MERRILY WE ROLL ALONG

"Porchlight ‘Merrily’ Turns Back the Clock"

Reeling in the years... let’s turn back the clock and find out exactly how we got here from there. That’s the premise of Stephen Sondheim’s Merrily We Roll Along, Porchlight Music Theatre’s brilliant new offering at Ruth Page Center for the Arts. There is a lot to unravel and it’s all done with surgical skill by Porchlight Artistic Director Michael Weber and a cast that sings the daylights out of this score.

What it’s about... let’s begin at the ending, shall we? Franklin Shepard (Jim DeSelm) has all the trappings of success, but no one really likes him much, including his old friend, bestselling author, admirer and alcoholic Mary Flynn (Neala Barron), his wife, Gussie (Keely Vasquez) to whom he has been unfaithful and just about everyone else at his Los Angeles pool party. Tick. Tock. Turn back the clock and Frank and Mary’s partner, Charley Kringas (Matt Crowle), frustrated and hurt by Frank’s actions, implodes on national television. Drilling down, we find that Frank’s world is fraught with temptations that ultimately ruin his marriage to his first wife Beth (Aja Wiltshire) and other twists and turns that lead, to where we all truly start out at one time or another – young, reckless and hopeful.

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The story of our lives... this is one of the iconic musicals that Sondheim fans savor. It is the story of our lives. In the more than four decades that have passed since its inauspicious Broadway debut, this show continues to technically evolve with every passing year, something Weber has tapped into in an ingenious way, this being 2018 after all. It’s a clever use of media, staging and that all makes for great storytelling, or is it 'un-telling'?

Who stands out... Of the three amigos in the middle — Jim DeSelm, Neala Barron and Matt Crowle — DeSelm gets the difficult assignment of being the heartless, success-at-all-costs riser you need to like and you will. Barron is a powerhouse - charming and vulnerable, with a depth of feeling that is up to everything the versatile Crowle, one of Chicago's most gifted talents, dishes out. Keely Vasquez sizzles as Gussie. And, I’ll wager we will be seeing alot more from the terrific, multi-talented Wiltshire. 

What to watch and wait for... Crowle’s show-stopping ‘Franklin Shepard, Inc.’ and 'Good Thing Going'…’Old Friends’…Wiltshire’s touching ‘Not A Day Goes By”…’It’s A Hit’

What life is all about... Friends like us. Damn few.

PHOTOS|MICHAEL COURIER

PORCHLIGHT MUSIC THEATRE
MERRILY WE ROLL ALONG
Stephen Sondheim|George Furth
Directed by Michael Weber
through March 11th
RUTH PAGE CENTER
FOR THE ARTS
1016 N Dearborn St.
773-777-9884

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PICKSINSIX Review: BLIND DATE

'BLIND DATE' "REAL PEOPLE ... WORLDLY VISION"

A turning point... As the clandestine meeting between Ronald Reagan and Mikhail Gorbachev is about to begin at the Geneva Summit, then Secretary of State George Shultz and his counterpart, Soviet Minister of Foreign Affairs Eduard Shevardnadze, share a reflective moment. While looking out at the lakefront, Shultz notices Shevardnadze’s granddaughter scurrying about. It is significant, Shultz remarks, that he brought his granddaughter to such a turning point in international relations. Shevardnadze tells Shultz he is merely babysitting.  Conversations like this one, between real people with a worldly vision, run deep through the Goodman Theatre’s sophisticated and smart world premiere production of Blind Date.

Reagan/Gorbachev legacy... the sweeping epic storyline, written by the award-winning playwright, Rogelio Martinez under the direction of Goodman Theatre Artistic Director Robert Falls, brings East and West together in a fascinating historic reimagining of the first face-to-face meeting of Ronald Reagan and Mikahal Gorbachev. It is an insider’s view of the Reagan/Gorbachev era of hard-nosed diplomacy and line-in-the-sand Cold War rhetoric. And, there is the intrigue - and a fair amount of humor served up diplomatically - surrounding the closed-door meeting of two leaders who clearly understood the impact they would have on their two countries and the world.

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A Four-Picture Deal... years after an assassination attempt and with direct involvement from Nancy Reagan, George Shultz and everyone else close to him, Reagan’s cinematic instincts remain keen. A Reagan soundcheck has international implications and there were spiritual forces at work at the time, as we now know. As if on cue, Reagan adeptly turned film references into policy points. Meanwhile, Gorbachev was redefining the Soviet Union’s place in the world order. Lots to ponder and the air crackles with the consequences of failure. “Well…”says Reagan, “The American people gave me a four-picture deal!” So, that means there is plenty of time and lots of stories to tell.

Public jousting... Shultz and Shevardnadze meet to broker a meeting between the two superpowers. Reagan offers up Washington, DC for the first site. Gorbachev refuses. Formal correspondence is exchanged and more public jousting, until the Geneva Summit is approved and scheduled in November 1985 at a time when the stars would be precisely aligned. While Gorbachev is heavily briefed and apparently starts watching American movies, Shultz plants the seed for a private meeting to mix things up and the rest is, well… history, including another clandestine meeting - that between Nancy Reagan and Raisa Grobachev – a delightfully engaging hand of liars poker, tea time style.

Top-flight cast... Rob Riley (Ronald Reagan), William Dick(Gorbachev), Deann Dunagan(Nancy Reagan) and Mary Beth Fisher(Raisa) are all excellent and bring an authoritative air to the piece leading a top-flight cast. Jim Ortlieb (Shultz) and Steve Pickering(Shevardnadze) along with Thomas J. Cox (Reagan biographer, Edmund Morris) combine brilliantly to frame historical context, sharing thoughts and possible outcomes along the way. 

And, well, there’s much more... the massive, revolving conical set design by Riccardo Hernandez, lighting by Aaron Spivey and period perfect costumes by Amy Clark evoke a time of grand purpose and stately respect for two world leaders whose vastly opposing points of view might actually find some common ground in the future.

The takeaway… History happens while babysitting. Let someone take the kids for the night or bring a blind date of your own for this gem now playing at the Goodman Theatre. 

PHOTOS|Liz Lauren

GOODMAN THEATRE
Presents
BLIND DATE
by Rogelio Martinez
Directed by Robert Falls
through February 25, 2018
170 N Dearborn Street
(312)443-3800
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PICKSINSIX Review: ALL MY SONS

“I ignore what I gotta ignore.”

Precisely imagined... The magnificent revival of Arthur Miller’s All My Sons, now playing at the Court Theatre, is a gripping and compelling production precisely imagined and perfectly staged by Charles Newell, Court’s Marilyn F. Vitale Artistic Director.

Fact-based story... Following the public disgrace of a criminal conviction during World War II, for which he has been officially exonerated, Joe Keller is back on top, having rebuilt his family manufacturing business and unifying the family circle around him. There is a messy untold truth in Miller’s fact-based story that thrusts two families into a morass of moral responsibility, social justice and survival.

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Stellar performances... John Judd brings depth and power to tough guy Joe Keller, haunted by the prospect of losing his family legacy, and fearful of losing the love and respect of his son. His tormented wife Kate, an electrifying performance by Kate Collins, alternates between victim and protector. Timothy Edward Kane is terrific as Chris Keller, the troubled love struck son who lives in his brother’s shadow and longs for happiness with Ann Deever, played by the captivating Heidi Kettenring. Johanna McKenzie Miller(Sue Bayliss), Karl Hamilton(Dr. Jim Bayliss) and Dan Waller(George Deever) all stand out in an ensemble of stellar performances.

Striking scenic design.. John Culbert's striking scenic design with Keith Parham’s dynamic lighting and period costumes by Jacqueline Firkins, all combine to transform the intimate Abelson Auditorium into Joe Keller's multi-tiered back yard of the 1940's.   

A respectfully artful tribute... There was a remarkable sense of presence at the press opening on Saturday, the undeniable sense of loss that courses through All My Sons served as a shining and respectfully artful tribute to everyone connected with Court Theatre, The University of Chicago and the theatrical community out of respect for the family, friends and co-workers of Executive Director Stephen J. Albert who passed away recently. As noted in the program on behalf of the company “All My Sons was the work of art that inspired Steve to make theatre his life’s mission. In his absence, we continue to press onward, finding in our dedication to this play above all others an ideal way of celebrating Steve’s life and artistic vision.” 

The takeaway... An artist’s truth is laid bare when the art painfully intersects with reality. That infusion can only then spew out with equal parts of raw emotion and extraordinary technique. This brilliant combination is at the core of Court Theatre’s exceptional production of Arthur Miller’s All My Sons, a rendering of which the playwright – and Steve Albert – would overwhelmingly approve.

PHOTOS|Michael Brosilow

COURT THEATRE
ALL MY SONS
Written by Arthur Miller
Directed by Charles Newell
through February 11th
5535 S Ellis Avenue
773-753-4472
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PICKSINSIX Review: Cal in Camo

"Nature knows what it is doing."

A powerful statement… There is a looming truth hovering over Cal, a new mother who is coping with her insecurities in Cal in Camo, the Chicago premiere of the William France Hoffman drama directed by Hallie Gordon now playing at Rivendell Theatre Ensemble. This is a powerful statement about physical and emotional isolation, familial abandonment and, ultimately, restoring trust and hope.

What you will like… Mixed in with the genuinely heartfelt reality of the subject matter are some really touching moments and more than a few observations on life that will make you laugh out loud.

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Why we care… We care deeply for the characters because we are either related to them or we have known someone just like them. Every one of them. 

What it’s about… Cal, and her husband Tim, have moved away from the comfort of Tim’s Bridgeport neighborhood, and a lucrative sales territory, to their first home in Sterling, Illinois, built on shaky ground. Things between them seem to be unraveling right from the start, talking at each other and keeping secrets. Tim is stuck hawking fruit-flavored beer to bars. Cal struggles mightily with depression, alone, frustrated and frightened that she will never bond with her newborn. So, she decides to fly her backwoodsman brother Flynt to visit following the drowning of his wife - not the ideal makings of a happy family reunion, to be sure. But, as haunting as this setup sounds, the plain-talking Flynt’s arrival is a seismic shift. It does not take long before a storm starts to rage and Flynt’s powerfully gripping influence is felt by everyone. “Nature knows what it is doing,” he says, “Just like water finds a way.”

Top drawer work all around… Ashley Neal gives a gritty, raw and unfailingly honest performance as Cal. Eric Slater(Tim) expertly navigates the emotional space between Cal’s debilitating frustration and the imposing demeanor of Flynt, powerfully portrayed by Keith Kupferer, whose wide-ranging talent is on full display. Credit Director Gordon for digging deep to explore the underlying elements of these relationships and, in so doing, fully realize Hoffman’s moving and forceful imagery.  

The takeaway… It is not always easy to see what is coming next, and sometimes harder still to know exactly how we got into the situation in the first place. So, the only real option left is to be honest with ourselves and those around us, do the best we can when it is our turn, accept the consequences and, then, move on.

PHOTOS|Michael Brosilow

RIVENDELL THEATRE ENSEMBLE
Presents
Cal In Camo
Written by William Frances Hofman
Directed by Hallie Gordon
through February 17, 2018
5779 North Ridge Avenue
(773) 334-7728

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PICKSINSIX Review: FIVE MILE LAKE

MIXED EMOTIONS ROIL 'FIVE MILE LAKE'

Familiar surroundings... Whether you grew up in a small town near a lake, or perhaps summered at one, the artful simplicity of the Chicago premiere of Shattered Globe’s Five Mile Lake, written by Rachel Bonds and directed by Cody Estle is captivating. Even before this one begins, Jeffrey Kmiec’s striking set design evokes the familiar surroundings of a place where everybody knows your name, even if you have been gone for a long time. 

(l to r) Aila Peck, Joseph Wiens, Daniela Colucci and Steve Peebles Photo|Evan Hanover

Strong feelings and fading dreams… It is easy to relate to the situation that presents itself along the shore of Five Mile Lake near Scranton, Pennsylvania. These young people are just starting to understand what life is all about, and living long enough to know that strong feelings and fading dreams chiseled into a heart, remain there. Other people's problems may be easier to understand than our own. But, no matter what, everyone needs help sorting things out from time to time.  

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Steve Peebles and Joseph Wiens Photo|Evan Hanover

What’s it about... Jamie and Mary work the local coffee shop together and both of them are wound up tight in their own way. With her passion for feeding stray cats, Mary is struggling to cope with her brother, an Afghanistan combat veteran, who is back home and looking for work. Jamie, a well-intentioned, somewhat neurotic hockey fan, is looking for an angle to win over his co-worker, while pouring his energy otherwise into home improvement projects in the family lake house to keep busy. Jamie’s brother Rufus, and his girlfriend Peta, arrive for an unannounced visit that continues late into the evening on the icy deck by the lake. It is there that we discover that not all is as it appears to be. Tempers flare and things go a bit off the rails for the two guys, so Rufus ends up back at the coffee shop in the morning to try to make amends. That’s when Mary’s brother, Danny, an old pal, joins in and what happens next is at the heart of this powerfully reflective tale about lasting relationships, loss and deep-seated passion.

Dynamic cast... The ensemble work here is first-rate. Steve Peebles(Jamie) and Daniela Colucci(Mary) capture the essence of two people who have grown up together but remain oddly distant in a small community, both trying to overcome a lack of purpose and fulfillment. Colucci’s tender relationship with her brother Drew Schad (Danny) is compelling to watch unfold. This is also another exceptional opportunity for the fine Chicago actor Joseph Wiens as Rufus, who is both confident and flawed, particularly in his relationship with Peta, a role in which Aila Peck shines.

Here and now... There is a feeling that Five Mile Lake is like a lot of small towns. Nothing much changes day-to-day, that is, until someone new walks in. At an age when there is more of your life ahead than behind, the folks in Five Mile Lake find out that emotions are still raw and true life experiences have devastating consequences.

The takeaway... If we can come home again - and, I think, for a few of us it’s possible – it is important to remember that with our absence, something within our makeup will have fundamentally changed. While those who return have impressions that exist in memory, that is not the case with those who stay. They will be seeing things as they were  and in the time that has passed since. So, to them, everything looks and feels strangely, and inalterably, the same. And, yes, that's a lot to think about over a pumpkin muffin in the morning. 

PHOTOS|EVAN HANOVER

Shattered Globe Theatre
Presents
FIVE MILE LAKE
Written by Rachel Bonds
Directed by Cody Estle
through February 24th
THEATER WIT
1229 West Belmont Avenue
(773) 975-8150

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PICKSINSIX Review: TRAITOR

"Scathing and honest are often interchangeable."

First things first... if you are reading this and have not reserved seats, or have a friendly neighborhood subscriber who has one for you, don't delay. Sold out previews and advance sales have created the perfect storm for the A Red Orchid Theatre world premiere of TRAITOR, written by Brett Neveu and directed by Michael Shannon. The reasons are pretty clear. This is a smart, cleverly conceived, social drama that is creatively staged and bubbling up, top to bottom, with an enormously talented cast, led by founding Artistic Director and Ensemble Member Guy Van Swearingen.

World Premiere... TRAITOR is the new era adaptation of Henrik Ibsen's An Enemy of the People, now a contemporary reflection of individual social and moral responsibility and the wide-ranging impact of our decisions on the environment, the community and our families. Rest assured, as serious as all this sounds, there is more than a fair share of outrageously caustic humor to go around.

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What it's about... East Lake is a town reborn, but it is facing at least two major crisies. One of them is Dr. Tom Stock, a Ph.D. who returned to his hometown to teach high school science and lead the design and development of the community's new economic engine, a state-of-the-art charter school. As the story unfolds, the family is fractured as Stock discloses that the new school grounds are seriously contaminated. Stock is determined to expose the truth publicly, and receives an initial ground swell of support. But his passion is in direct conflict with the interests of others that sets off a series of showdowns with business leaders, the town council and the local press, all leading to the collapse of family trust.

Curiously brilliant... if all this sounds complicated, you need to know that the pure enjoyment of this curiously brilliant story is in the telling. Audience and cast are indistinguishable at one point along the way, and this becomes essential to the powerful reckoning.

Who stands out... the interwoven connections between Swearingen's perfectly manic Stock, his supportive but frustrated editor/wife Karla, an exceptional role for Dado, and the opposing forces in East Lake, are fascinating. Ensemble members, Kirsten Fitzgerald, commanding in the role of Patty Stock, Larry Grimm, a fine, multi-layered performance as Walter Hove and Natalie West's Jenn Sheffer, who stirs the pot devilishly in her every scene, all add to the emerging pathos. Frank Nall(Howard), Kirstin E. Ellis(Madison), Missi Davis(Molly) and the youthful Nation Hendrickson, making his Chicago debut as Randal, are all stand outs in the cast of 18. How that is accomplished will not be told here.

Noble calling... this all felt like the first step of a new adventure. Addressing our moral responsibilities through art is a noble calling. If you want to sit in on that conversation, it is happening right now in the intimate confines of A Red Orchid Theatre in one of the most compelling, imaginative and interesting experiences you will ever have in a theatre.

PHOTOS|Michael Brosilow

A Red Orchid Theatre
Presents
TRAITOR
Written by Brett Neveu
Directed by Michael Shannon
through February 25th
1531 N. Wells Street
312-943-8722

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PICKSINSIX Review: FLAMINGO & DECATUR

"What if we were completely honest?"

What’s the buzz... Long shots, beat stories, correlated parlays, proposition bets, letting your guard down, and yes, even dining al fresco, are all part of the Las Vegas lingo-laced Chicago debut of Block St. Theatre Company’s FLAMINGO & DECATUR now playing at Theater Wit.

World Premiere… The Arkansas-based company, dedicated to bringing original new work to the stage, present the world premiere of a new play by Todd Taylor and directed by Chicagoan Kevin Christopher Fox.

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The premise… Set in 2009, a wily gambler named Jackson (Jason M. Shipman) and his earnest wingman, Ben (Drew Johnson), an online poker addict, spend their days in the backyard of a residential property in the hills southwest of the Las Vegas strip plotting the next big score. Early on we meet Simon (Nathaniel Stahlke), the curious, wacky neighbor who quickly sizes up the players and does a little shaking down of his own. But once the guys hatch a new scheme, Ben brings the sweet and saavy poker-playing vegan Nicole (Stephanie Bignault) for a walk-through and things get interesting for Jackson. All bets are soon off when Jackson realizes that being completely honest has its consequences.

What stands out... the three sharks in these waters know the games they are playing. Playwright Taylor, whose sports writing and poker playing experience add essential depth to the dialogue, has created a terrific blend of likable dreamers. We're plugging for Jackson to become a better person than what is left after the next prop bet comes through. Johnson is the lovable loser who just wants 'not to be unlucky' and serves up delightfully offbeat commentary. This is a story that could be earthbound, but instead, there is a fine pace in the writing. Thanks to the skillful direction of Fox, the relationships grow on you. Bignault’s charm and understated vulnerability is refreshing and her performance throughout quite moving. Stahlke is perfect. Joe Schermoly's set and lighting by Alexander Ridgers fit right in here.

Lessons learned… Poker is an adventure, but we bet to win. We love because we want to, not because we expect to get anything in return. It is also true that “Pumas go through life alone” and “You can’t not get back on the horse, can you?”

Dinner out… show up early, park on the street and make a pre-show reservation at Falhstrom’s nearby. There you may have the good fortune to meet Alfredo who can make the most of your seafood experience. The clam chowder is especially good this time of year and be sure to ask about CONSERVAS, a terrifically unique gift!  

PHOTOS|Evan Hanover

Block St Theatre Co
Presents
FLAMINGO & DECATUR
THEATER WIT
1229 West Belmont
through February 18th

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FAHLSTROM'S

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PICKSINSIX Review: NEVERMORE

NEVERMORE
"Dreams No Mortal Ever Dared..."

What’s It About ... tracing the poet's macabre and troubled life, loves and premature death, Nevermore: The Imaginary Life and Mysterious Death of Edgar Allan Poe is framed on a steamer bound for New York, with Poe in and among the Elderado Players, a band of actors who we come to know as all of the characters in his life's story. The Chicago-premiere of this fascinating operatic/sung-through musical, directed by Ed Rutherford, is anchored by the terrific performance of Kevin Webb as Edgar and a marvelous supporting cast who cleverly share Poe's iconic narrator duties all night long.

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Why you should see it ... for most of us, Poe’s work is strangely familiar, but, the story behind the storyteller, well, not so much. Imaginary or not, 'Nevermore' includes subtle and not so subtle references of pits, pendulums, ravens, sorted deaths, one-eyed stepfathers and a multitude of other references that would be sorely missed if they were not there. In truth, this production could easily go to a much darker place if not for the artistic choice to allow the music and poetry to tell the tale. In the end, nothing is as it seems and dreams like 'those no mortal ever dared to dream' do come true. Have no fear. Despite whatever you think you know about Edgar Allan Poe, this ‘Nevermore’ will really keep you guessing.

The heart of the story ... abandoned by his actor/father, struggling with the untimely death of his singer/mother and coping with the resettlement of his siblings, young Edgar lands in the House of Allan, and has a brief but tumultuous relationship with his stepmother. Forced to school by his stepfather, he succumbs to melancholy when he is duped into believing that the love of his life has abandoned him. Returning home, he rebels against his stepfather’s authority, thrusts himself into writing and despite all odds, captures the imagination and attention of a celebrated publisher. Success is somewhat fleeting, however, and ultimately leads to loss and despair. How Edgar and the players face the dark edges of his life, with regular doses of delightfully macabre humor, is at the heart of this story and speaks to how Poe lived his own – often outcast and alone, always brilliant and to the brink of madness.

What to watch and wait for ... in a production about Poe called "Nevermore" underscored so artfully by musical director Nick Sula, one would expect that the title song – herein, “The Raven” – would be a standout. And you would be right. You will also like the Misses Duval and every member of the ensemble in a variety of roles - Megan DeLay(Elmira), Maiko Terazawa(Fanny), Jessica Lauren Fisher(Eliza), Ryan Lanning(Henry), Matt McNab(Jock) and Jeremy Trager(Rufus).

Songs in the key of Poe … among the memorable and melodious treasures within the rich Poe-liously dense score are Webb’s superb "The Death of Eliza" … "The Family Poe and Hush! Hush!" … "The Raven"

A few memorable moments … “The children of actors! Are you out of your mind!?!”... “When it comes to the French, beware!” … “There is beauty where there is hope.”

PHOTOS|Cole Simon

Black Button Eyes Productions
Presents
NEVERMORE
The Imaginary Life and Mysterious Death of Edgar Allan Poe
A Musical by Jonathan Christenson

The Edge Theater
5451 N Broadway
through January 28th

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