PicksInSix Review: Twelfth Night - Chicago Shakespeare Theater

“Twelfth Night” — Free-Spirited, Comic Gem!
PicksInSix® Review | Ed Tracy

Without a doubt, the astounding quality and resulting popularity of productions of Shakespeare’s work at Chicago Shakespeare Theater rests firmly on the theater’s decades-long artistic commitment to presenting work with universal clarity and understanding, multi-talented casts and purely whimsical staging. A large part of this artistic ethos has to do with the diversity of the massive audiences drawn to Navy Pier, a top Midwest destination attraction that offers a once-in-a-lifetime experience for visitors to Chicago and an endless stream of students whose trip to the magnificent Courtyard Theatre is often their introduction to both theater and Shakespeare.

So, it is no surprise that the opening of “Twelfth Night”—a free-spirited, comic gem directed by Tyrone Phillips—was enthusiastically received on Thursday night. Shakespeare’s celebration of the many facets of love, and its impact on who we are, takes on new meaning in Phillips adaptation which is at the same time true to the comic roots of the original and cleverly awash with 21st century references that fit together seamlessly. With Shakespeare’s robust characters bursting forth with purpose, passion and promise, Chicago Shakespeare’s “Twelfth Night” is clever, smart and a joy to watch from beginning to end.

Set in the Caribbean, the story revolves around the separation of shipwrecked twins Viola (Jaeda LaVonne) and Sebastin (Justen Ross) on the island of Illyria. In order to deal with the grief and abandonment that she is feeling with the supposed loss of her brother at sea, Viola disguises herself as a young man named Cesario and takes a position as page to Duke Orsino(Yao Dogbe). The Duke implores Viola(as Cesario) to become the intermediary for his love interest, the Countess Olivia(Christiana Clark) who is in mourning herself about the recent passing of her brother. While Viola finds herself falling hard for the Duke, Olivia, determined to shun the Duke, begins to woo Viola(as Cesario).

Olivia lives with her uncle Sir Toby Belch(Ronald L. Conner) who spends most of his time in drunken—and hilarious—merrymaking with his companion Sir Andrew Aguecheek(Alex Goodrich) along with Olivia’s gentlewoman Maria(Danielle Davis), Fabian(Shelby Lynn Bias) and the jester Feste(Israel Erron Ford).  The group’s brand of roguish behavior riles Olivia’s cynical steward Malvolio(Paul Oakley Stovall) into such a fit that the group conspires to deceive him into believing that Olivia is enamored with him. One comic situation follows another with love eventually conquering all.

The show is infused with a universal blend of contemporary hip-hop and reggae music by music director Robert Reddrick and movement director Sadira Muhammad that befits the storytelling. Philips and his creative team, led by scenic designer Sydney Lynne with costume designer Christine Pascua, have conceived a striking seaside atmosphere that transitions effortlessly from scene to scene. With extraordinary precision, the crystal blue Caribbean skies turn to a thunderous rainstorm in the blink of an eye and a nod to the evocative lighting design of Xavier Pierce, stunning projections by Mike Tutaj and an intricately charged sound design by Willow James.

It all feels like an expertly-crafted ensemble piece. LaVonne’s earnest and engaging Viola/Cesario is a delight. Sir Toby Belch and Aguecheek, two of Shakespeare’s most beloved comic foils, are played here by Conner and Goodrich with reckless comic abandon. Davis, whose sustained laughter is infectious, and the sublime vocals of Ford, round out the band of hooligans at the center of the comic subplot to upend Stovall’s staunchly priggish servant turned infatuated manic lover Malvolio—the brilliant and commanding performance of the night—all make “Twelfth Night” a show to see and enjoy!  

PHOTO|Liz Lauren

Chicago Shakespeare Theater
presents
TWELFTH NIGHT
Courtyard Theater
Navy Pier
through November 26

WEBSITE

TICKETS

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: "cullud wattah" - Victory Gardens Theater

Great Purpose, Power Drive “cullud wattah”
PicksInSix® Review | Guest Contributor Ronald Keaton

Big Ma (Renee Lockett) says to Reesee (Ireon Roach), as they share their troubles together, “Yo’ hurt ain’t even knee-high yet” in cullud wattah, the ambitious new play by Erika Dickerson-Despenza, now playing at Victory Gardens Theater through July 17. It’s a sentence that rings true for the fortunes of a down-on-its-luck family trying to right the ship. Directed in a stylish, free-flowing manner by VG Resident Director Lili-Anne Brown, cullud wattah ostensibly deals with the tragic public water crisis in Flint, Michigan – a calamity that has continued in some form or another in the now eight years since the tragedy became public.

The crisis, however, is examined in this play through the eyes of one African-American family, all women…and all going through their own difficulties.  Plum (Demetra Dee) is the youngest in the family and the one facing the most immediate challenge – cancer.  It’s a cancer that was puzzling in its origin until a report came out, saying that lead had been discovered in the new water source for the city, the Flint River.  Marion (Brianna Buckley) has just gotten a dramatic promotion and raise at her job at General Motors – the company suspected and accused of contaminating the river water.

Her sister Ainee (Sydney Charles) has a checkered history of addiction and miscarriage and is now pregnant for the seventh time. When the news of a class-action lawsuit comes that the family could be a part of, Ainee jumps at the opportunity with relish, while Marion strongly hesitates in favor of the guaranteed income and chance to financially change the family’s luck. The battle between the two sisters is almost epic in substance, as Big Ma tries to be a kind of mediator, while realizing her own mixed feelings on the entire affair.

The switch in the water source to the Flint River ultimately became a financial choice, as the River was more affordable than Lake Huron, obtained through arrangement with the city of Detroit, an hour away. It proved to be an albatross around the neck of Flint city fathers, who apparently ignored reports that the water was tainted. This then became a national issue, of course, and affected thousands in the Flint area – especially school children.

Ms. Dickerson-Despenza’s strong writing has a dual purpose here.  It articulates the family struggle – we see scores of water bottles containing liquids of all colors across the entire stage setting. It shows the power of the bureaucracy through barriers that constantly shadow the family’s attempts to escape this situation and just make it right for themselves.  The scenic work of Sydney Lynne is overpowering – one might question if it was a bit too much, but hey, it’s a play with a definite point of view.  Such power can indeed be justified, particularly with a behemoth like General Motors avoiding well-documented and sometimes redacted responsibility.

One should hesitate to share the play’s conclusion; it’s shocking and yet strongly resolute. cullud wattah was written by the playwright with great purpose, directed with power by Ms. Brown, and offered onstage by a cast with obvious affinity for each other.  As a family should.  The hurt may be more than knee-high, but it needs to be for this family to share and help us understand the alacrity of the story’s dilemma. 

GUEST CONTRIBUTOR RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL www.solochicagotheatre.com

PHOTO|Liz Lauren

VICTORY GARDENS THEATER
presents
cullad wattah
2433 N. Lincoln Avenue
Chicago, IL 60614
through July 17

WEBSITE

TICKETS

DIGITAL PROGRAM

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: Pump Boys and Dinettes

View fullsize

“Pump Boys” Shake, Rattle and Roll!

What happens when a bus breaks down along that section of Highway 57 that intersects with North Dearborn and Oak in River North? You will discover the highly entertaining answer to that question when you venture out to Porchlight Music Theatre’s 27th season opener, a buoyant revival of “Pump Boys and Dinettes” now playing at Ruth Page Center for the Arts.

Written and composed by the collective of John Foley, Mark Harwick, Debra Monk, Cass Morgan, John Schimmel and Jim Wann who piloted the show to runs on Broadway and in London’s North End in the early 80s, the show has a remarkable and fascinating local backstory.

For those, like me, who either were not living here or not aware that it famously ran for over 2,500 performances at the Apollo Theater, the compact melody-filled 90 minutes has a bare thread of a story that connects with a warm-hearted neighborly song list that may not singularly appear in an audition, cabaret or on a piano bar hit list, except perhaps the hilarious ode to fame listed as “T.N.D.P.W.A.M” in the program because the title gives it all away. That said, when taken collectively as a wink and a nod to the popular themes of the country music of the 50s and 60s, “Pump Boys and Dinettes” transcends into a joyous, slap-happy, tongue-in-cheek tune fest all its own and serves as a dynamic showcase for the multi-talented singers and actors required to pull it off. And the cast that director Daryl Brooks and music director Robert Reddrick have assembled is certainly up to the task.

Three of the four Pump Boys–Jim (Ian Paul Custer), L.M. (Frederick Harris) and Jackson (Billy Rude)—are all individually fine, multi-instrument musicians, singers and actors. In fourth position is Eddie (Rafe Bradford) who plays the electric bass and has only a word here and there that’s buttoned by his engaging Cheshire cat grin. They all come to life on Sydney Lynne’s detailed and pristine set—with cozy lighting by Denise Karcewski—that’s equally divided between southern service station and charming, down home Double Cupp Diner, the roadside retreat of the irresistible Dinettes known as the Cupp sisters: Prudie (Shantel Cribbs) and Rhetta (Melanie Loren).

The company numbers “Highway 57”, Taking It Slow” and the Winnebago test drive to Florida “Vacation” and “No Holds Barred” are delightful. The featured performances and duets kick off with Harris’ upbeat “Serve Yourself.” For the spiritual angler, you’ll like the Pump Boys resolute “Fisherman’s Prayer” and “Catfish”. The earnest, plain-spoken enthusiasm of the company is the essential ingredient allowing the quieter more introspective ballads, like Custer’s beautiful rendition of “Mamaw” and Loren’s gritty “Be Good or Be Gone” to fully resonate. The Dinettes’ duets—“Menu Song”, “Tips” and “Sister”—all hit the high water mark.

At first glance, I thought that keeping an intermission in a show that moves so briskly might impact the overall pace. But the snappy act one closing number “Drinkin’ Shoes,” with some smooth choreography by Rueben D. Echoles, is a memorable highlight to a fun night that breezes by thanks to the homespun cast who play and sing their way into your heart.

PHOTO|Chollette

Porchlight Music Theatre
presents
Pump Boys and Dinettes
Ruth Page Center for the Arts
through December 12

WEBSITE

TICKETS

HEALTH & SAFETY

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC