PicksInSix Review: The Targeted - A Red Orchid Theatre

‘TARGETED’: Conspiracy, Harassment and Human Obsession
PicksInSix® Review | Guest Contributor | Ronald Keaton

Well, it's both comic and intense. Profane and highly satirical in tone and in presentation. “The Targeted,” Hanna Kime's world premiere receiving a bang-bang production through the auspices of A Red Orchid Theatre at the Chopin Theatre, spares no quarter in its group of quite radical, disparate people and viewpoints. Director Grace Dolezal-Ng gives it all an almost improvisational feel in many of the exchanges between characters. She also makes it easy to follow in the frenetic pace of the writing, recognizing Ms. Kime's highly emotional back-and-forth in compartmentalized staging with three definitive areas of the camp, the lodge, whatever it seems to be.

The conceit is the Solidarity And Truth Summit, organized by Jeff (Lawrence Grimm shines as a smarmy leader of the weekend), who has researched all kinds of torture and surveillance groups that seem, in his mind, to have a "Big Brother" influence on all of society. Echoes of Jim Jones-like figures emanate every time he speaks. It's in the woods, of course, to protect all who attend from as much pain and upheaval as possible.

Everyone who is present has their own axe to grind, so to speak, even one person, Mia (Stephanie Shum, who carries the heavy weight of doubt in all these proceedings quite admirably), attending the conference to support her younger brother Eric (Glenn Obrero in a fine turn), who has a chip of sorts in his arm that constantly itches.

Meanwhile, the strongest advocate in the group, Rhonda, (the wonderful Kirsten Fitzgerald, who makes intensity look easy), an acclaimed author, is highly suspicious of anyone and everyone in attendance. Rhonda intimidates with authority in these proceedings, while never really having come to grips with her own problems with her daughter. She influences Sherry (a bright performance by Sadieh Rifai), whose seeming innocence belies an anger that she's never shared. The most interesting relationship in the play is between Rhonda and Sherry. One is quite dominant and forceful in her opinions. One learns how truly naive she's been in her own life. Both Ms. Fitzgerald and Ms. Rifai own these moments with strength and commitment.

AROT stalwart Natalie West, blessed with impeccable comic timing, garners her share of laughs as Didi, an apparent victim of all kinds of emotional and mental torture, but who retains somehow a sense of humor and grace to all. The Lauren M. Nichols set design is quite minimalist and wonderfully appropriate with its three playing areas on the set itself.

There actually is a fourth area for the actors out in the first couple of rows in the audience, where all are included whenever Jeff speaks to participants as the erstwhile host. Smart mood and area lighting are thanks to Josiah Croegaert's design talents. I'm guessing the real fun in rehearsals for this play came from what knowledge that Dan Washelesky, the dramaturg/script supervisor could impart. It's a challenging and fascinating story that's written here, dealing in conspiracy, harassment and human obsession—only a few of society's ills touched in a well-conceived script.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.com.  Coming soon, his new solo play about Ben Franklin, THE FIRST EMBASSY.

PHOTO | Evan Hanover

A Red Orchid Theatre
presents
WORLD PREMIERE
THE TARGETED

Chopin Theatre
1543 West Division
through June 14, 2026

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PicksInSix Review: Birds of North America - A Red Orchid Theatre

The Father-Daughter Emotional Field Guide.
PicksInSix® Review | Guest Contributor | Sarah Frances Fiorello

Nestled snugly in their intimate Old Town storefront performance space, A Red Orchid Theatre is lighting a slow, smoldering fire of generational drama with the Chicago Premiere of “Birds of North America” set to warm the coldest of Chicago winter nights.

John and his daughter, Caitlyn, are birding from John’s backyard in suburban Maryland, while the two travel through a decade of relational touchpoints. Stage lights rise and fall on this father-daughter duo, marking the many seasons of their respective lives as well as demonstrating time’s ability to erode even the most certain of those seasons. John and Caitlyn peer through their binoculars searching for rare birds, while simultaneously searching for the missing connection within their relationship. Like those elusive winged creatures, they never quite seem to find each other, despite their love and obvious devotion. Their profound humanity in continuing to try will have you rooting for them until the final curtain.

What the ensemble of A Red Orchid Theatre manages to produce in what I’d affectionately call a “micro” theatre space is inspiring and invigorating with “Birds of North America” being no exception: there is nowhere to hide from the themes playwright Anna Ouyang Moench asks us to examine. Her writing nearly demands us to think with adequate complexity on “Us vs. Them” political and philosophical arguments, taking big swings at touchy ideologies: privilege of principle-based living and “working to live vs. living to work” chief among them. Her writing is compassionate while necessarily confrontational—pushing on that stubborn wall between our differing views, pulling on our shared humanity to connect in spite of it.

“Birds of North America” is directed by A Red Orchid Theatre Artistic Director Kirsten Fitzgerald and features standout original composition by Composer and Sound Designer Ethan Korvne. The play’s soundscape is contemplative, gentle, and stirring, offering a surprisingly moving touch to the feel of the story with Morgan Laszlo’s rustic scenic design matched by Seojung Jang’s lighting design. On a particularly blustery winter night, I was warmed to the core by this striking, original, powerful new work.

Equity Jeff-Award winner Cassidy Slaughter-Mason offers a composed and contemplative performance as Caitlyn. Deftly portraying the woes and realities of young adult life in the 21st Century, we share her hope against hope that her science-minded father might understand her, as a person first and a statistic second. A Red Orchid Theatre Ensemble Member John Judd expertly unravels the character of John, a committed conservationist and scientist who isn’t entirely wrong in his staunch pragmatism but often fails to see exactly why that matters. There are about as many iterations of father-daughter struggles as there are bird calls in the wild; this piece drills down to the essence of them all, managing to capture something deeply personal while being sweepingly universal and hauntingly specific.

“Birds of North America” is playing now through February 22nd at A Red Orchid Theatre and is worth braving whatever snow and cold may stand between you and their space on Wells St. There is no need to brush up on your North American Field Guide before attending, but you may find yourself wanting to dig it out on your way home. Before bundling up to attend the theatre, leave it on your nightstand as the second special treat of the evening.

CONTENT ADVISORY: This production includes discussion of miscarriage and brief violence.

GUEST CONTRIBUTOR | SARAH FRANCES FIORELLO is a graduate of Shenandoah Conservatory with a BFA in Music Theatre and a Chicago-based poet, writer, and performer. Instagram: @writtenbysarahfrances

PHOTO|Evan Hanover

A Red Orchid Theatre
presents
Chicago Premiere
Birds of North America
1531 North Wells Street
through February 22, 2026

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TICKETS

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PicksInSix Review: SWEAT

SIZZLING ‘SWEAT’ FEATURES POWERFUL CORE PERFORMANCES

“Sweat,” the 2017 Pulitzer Prize-winning play by Lynn Nottage that opened Monday in a crisply directed Ron OJ Parson Chicago premiere production at Goodman Theatre, is set in Reading, Pennsylvania, a steel mill town in the midst of the cyclical industrial turmoil that threatens blue-collar families in communities across America.  

The action occurs at pivot points in 2000 and 2008, bookends that allow for the dramatic elements of the storyline to evolve in vignettes that initially include parole officer Evan (Ronald L. Conner) in meetings with Jason (Mike Cherry) and Chris (Edgar Miguel Sanchez) who have recently been released from prison.

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The livelihood of every character in Nottage’s compelling story is tied to the prosperity of the Olstead steel tubing plant. In the opening scene set eight years earlier at a local bar managed by Stan (Keith Kupferer), three women who have worked together on the factory floor since high school–Chris’s mother, Cynthia (Tyla Abercrumbie) who is African-American, Jason’s mother, Tracey (Kirsten Fitzgerald), and their over-served wingman Jessie (Chaon Cross)–are celebrating Tracey’s birthday.  Stan’s Colombian employee Oscar (Steve Casillas) is present, as well as Cynthia’s ex-husband, Brucie (André Teamer), whose life and familial relationships have spiraled out of control since he lost his job.  

A supervisor opening at the mill has everyone talking. Cynthia views the promotion as a chance to finally leave the floor and applies. However, when she gets the job, the friction riles her relationship with Tracey and Jessie, who know that a change in their work association will be fatal to the friendship. It all starts to unravel when a notice is distributed in Spanish; lines are drawn and tempers begin to flare.

The sizzling emotional interaction of Abercrumbie and Fitzgerald–alternating between sisterhood and disdain for one another–provide the show’s powerful core performances. Kupferer is terrific in the role of the former mill worker whose career was cut short due to injury. The entertaining Cross spends most of the evening delightfully inebriated, while the friendships between the women is mirrored in the fine portrayals of the sons by Cherry and Sanchez, who, with Casillas, raise the dramatic tension of the piece to a fever pitch.

The creative design team–Kevin Depinet (set), Mara Blumenfeld (costumes), Keith Parham (lighting) and Richard Woodbury (sound)–have created a stunner for this production that evokes the pre-911 post-market collapse span of the era as a defining moment for generations of factory workers whose lives and world view have been irreparably altered. Nottage’s profoundly insightful work reminds us of the collateral damage that hateful dialogue and pent-up rage can inflict on others–a stark and valuable lesson for our time. 

PHOTOS|Liz Lauren

GOODMAN THEATRE
Presents
SWEAT
through April 14th
ALBERT THEATRE
170 NORTH DEARBORN
(312) 443-3800

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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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