Review: Dot & Ziggy (Chicago Children’s Theatre)

     
     

A little cuteness, a little charm, a lot of predictability

  
  

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Chicago Children’s Theatre presents
   
   
Dot & Ziggy
   
Created by Linda Hartzell, Mark Perry
and the Seattle Children’s Theatre
Directed by Linda Hartzell
at Victory Gardens Biograph Theater, 2433 N. Lincoln (map)
through June 26th  |  tickets: $16-$18  |  more info

Reviewed by Paige Listerud

Dot & Ziggy is Chicago Children’s Theatre’s first crack at targeting the baby and toddler audience—and, of course, those parents seeking a fun, interactive theatrical event to share with their youngest. Theater for the very young, age 6 months to 4 years, has been established in Europe and Australia for over two decades now and is just finding its audience in America, with Seattle and Minneapolis leading the way in baby and toddler theatre. Success for Dot & Ziggy could open the way to a whole new Chicago audience.

Created and directed by Linda Hartzell, Chicago Children’s Theatre also promotes Dot & Ziggy as childhood entertainment that doubles as “time well spent.” Clearly, the production was developed along early child development guidelines. The tried and true formulas first instigated by “Sesame Street” in the 1960s are all over this show. The production’s one variation from television lies in the moments it provides for interactive movement and sound. But the oft-repeated recognition of shapes, the recognition of opposites in language, as well as lessons on socialization – via the budding friendship between a ladybug, Dot (Roni Geva) and a skunk named Ziggy (Don Darryl Rivera) – are plainly safe, comfortable and predictable territory.

CCT-Dot-Ziggy-4_lo-resFar be it from me, not being a parent, to throw cold water on a theatrical experience that might be exactly what some parents want for their children—something that fits easily into parameters they’ve already been exposed to at home. Obviously, the young audience’s response to Dot and Ziggy’s friendship forms a far better indicator. Geva is charming in the dedicated earnestness with which she tries to make Ziggy see things her way. Rivera employs a hint of cheerful mischief in Ziggy’s opposition to Dot. It’s also a plus that Dot and Ziggy lead the audience with music from the lobby of the Victory Gardens Biograph Theater to the upstairs theatre space. Once inside, Nicolas Davio’s fresh and simple musical accompaniment forms a strong underpinning to the storytelling. By far, watching the kids react to the material may be the show’s biggest entertainment value—an element that reinforces the communal nature of live theater, both for adults and the very young.

I do question, however, an over-reliance on the Sesame-Street-model or an over-dependency on sociological approaches when it comes to creating theater, all with the intent that it be “good for children.” What can be lost is wonder; what results is a production that looks like it was created more by a well-meaning committee than by theater artists. Also, at some point, the question of whether parents really need to spend $16 a ticket to sing “The Itsy Bitsy Spider” with their children comes into view. Dot & Ziggy does have a very endearing original song near its end and one can only hope that further works for very young people, centered on greater originality and creativity, will be forthcoming.

  
  
Rating: ★★★
  

baby watching Dot and Ziggy

 

Chicago Children’s Theatre’s Dot & Ziggy continues through June 26th, with performances Tuesdays-Thursdays at 10am, Fridays-Sundays at 10am and 12pm. Tickets are $16 on weekdays and $18 on weekends, and can be purchased by phone (773-871-3000) or online.

 

  
  

Review: The Outgoing Tide (Northlight Theatre)

     
     

Northlight creates a compassionate, witty world premiere

     
     

John Mahoney (Gunner), Thomas J. Cox (Jack) and Rondi Reed (Peg)

  
Northlight Theatre presents
   
   
The Outgoing Tide
   
Written by Bruce Graham
Directed by BJ Jones
at North Shore Center the Performing Arts, Skokie (map)
through June 19  |  tickets: $30-$50  |  more info 

Reviewed by Lawrence Bommer

The shock of a loved one turning into a bewildered stranger—that’s the curse of Alzheimer’s Disease. Like the wrath of God, in this new work it’s visited on a small family living on the shore of the Chesapeake. But it could easily be any in the audience. That’s one reason The Outgoing Tide, an effective world premiere from Northlight Theatre, is as much a rehearsal for the future as theater can offer. The other is the utter honesty of BJ Jones casting and staging.

John Mahoney (Gunner) and Rondi Reed (Peg).Author Bruce Graham compassionately and wittily considers his play’s ongoing crisis—a father’s senility as a permanent impairment—from all sides. It’s wrenching to hear as confident an actor as John Mahoney, Chicago icon, suddenly descend into the depths of a terminal brain malfunction. His Gunner Concannon is a shanty-Irish success, a blue-collar trucker used to getting his way. But time is taking a daily toll: his tested but true wife Peg (down-to-earth Rondi Reed) faces “a new battle every day.” Gunner repeats himself, can’t remember basic information, recalls the past perfectly but forgets yesterday or who he’s with, and wanders away, helpless to return.

But, unlike Alzheimer patients in the later stages, Gunner can feel and taste his diminishing returns, enough to propose a terrifying idea to Peg and his son Jack (himself facing two other family crises, divorce and alienation from his teenage son). Like Willie Loman before him, Gunner will arrange an accident. The $2.4 million payout from this self-administered euthanasia will free himself from dependency and diapers in a hateful hospice, give Peg the comfortable future that that expense would have negated, and enable Gunner to open the restaurant he’s always dreamed of. But it has to be tomorrow because the future’s not on Gunner’s side: With winter approaching, a boat heading out will soon stand out.

Much of the play deals with the denial and panic triggered by Gunner’s decision to take his boat out and plunge himself into the “outgoing tide.” Peg despairs that, with Gunner gone, she’ll have no one to care for, though Jack (Thomas J. Cox, looking as bewildered as you’d expect) will need her even more now. Jack hates the thought that his dream depends on his dad’s death.

     
Rondi Reed (Peg) and John Mahoney (Gunner). Thomas J. Cox (Jack) and John Mahoney (Gunner).
Thomas J. Cox (Jack) and Rondi Reed Peg). John Mahoney (Gunner). Rondi Reed (Peg) and in the background Thomas J. Cox (Jack) in Northlight Theatre's "The Outgoing Tide" by Bruce Graham, directed by BJ Jones. Rondi Reed Peg) and Thomas J. Cox (Jack)

Clearly, this is no “On Golden Pond,” full of sentimental banter (“you old poop”) and analogies to lost loons. (It’s a lot more like Marsha Norman’s “’night, Mother,” where a suicide looms over, and finally finishes, the action.) There’s enough humor (what if a demented man, bent on murder-suicide, forgets to commit the second crime?) to leaven the loaf. The particulars of this beleaguered family are balanced against the universal plight that we’re all clocks fated to run down until we tick no longer. Flashbacks fill us in on a marriage that clearly grew from love into, well, whatever is left now.

Spry and game, Mahoney brings an energetic actor’s instincts to a part that doesn’t always need them. His sheer spryness somewhat blunts the seriousness of Gunner’s losing game, but it also makes his sudden losses of reality all the more wrenching. Reed exudes a feisty practicality that, alas, is useless in this family calamity. Cox depicts how cherished memories turn toxic when their source is no longer the person you grew up with.

Yes, The Outgoing Tide is definitely a promissory note for crises to come. See it now before the tide comes back.

  
  
Rating: ★★★
  
  

Thomas J. Cox (Jack), John Mahoney (Gunner) and Rondi Reed (Peg).

Performances: through June 19th, with performances Tuesdays at 7:30pm, Wednesdays at 1pm and 7:30pm, Thursdays at 7:30pm, Fridays at 8pm, Saturdays at 2:30pm and 8:00pm, and Sundays 2:30 and 7:00pm. (some variations may occur – check website for exact performance info)  Tickets: Tickets are $40-$50, and can be purchased by phone (847-673-6300) or online at www.northlight.org. Location: All performances take place at the North Shore Center for the Performing Arts, 9501 Skokie Blvd., Skokie (map).

     
     

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Review: Big Love (Chicago Fusion Theatre)

  
  

Ambition exceeds preparation in wedding dark-comedy

  
  

Jamie Bragg and Marcus Davis in Chicago Fusion Theatre's "Big Love" by Charles Mee

     
Chicago Fusion Theatre presents
   
   
Big Love
  
Written by Charles Mee
Directed by Nilsa Reyna
at Royal George Theatre, 1641 N. Halsted (map)
through June 25  |  tickets: $25  |  more info

Reviewed by Dan Jakes

Tackling a work by contemporary mosaic playwright Charles Mee requires aiming high. By design, Mee’s scripts are better described as blueprints than directives. His stage directions pose particularly unique challenges for production directors; some are broad and flexible, while others are comically specific, often with a blatant disregard for economy:

“…and, of all the brides and grooms, some are/ burning themselves with cigarettes/lighting their hands on fire and standing with their hands burning/ throwing plates and smashing them/ throwing kitchen knives/ taking huge bites of food/ and having to spit it out at once, vomiting…”

Stack commands like that on top of hefty themes and purposefully jarring in-play styles, and one can imagine why so many young artists are drawn to Mee’s work. The challenge his shows present offer unique opportunities for exciting, meaningful, fiercely entertaining theater.

Carla Alegre Harrison in Chicago Fusion Theatre's "Big Love" by Charles MeeIf the actors have their lines memorized, that is. Director Nilsa Reyna’s production demonstrates a worthy vision, but his hindered in practice by jumbled dialogue, meandering actor-intentions, and hit-or-miss execution.

Adapted from The Suppliants by Aeschylus, Big Love follows 50 Greek women’s journey for refuge from a family arrangement forcing incestuous marriage upon them to their cousins. Having escaped by ship, three would-be brides (Carla Alegre, Jamie Bragg and Kate LoConti) seek shelter in an Italian mansion, owned by wealthy Piero (Todd Michael Kiech, inexplicably cast as a man of persuasion–Kiech exhibits the charisma of a robot wearing an ascot). Soon after, intended husbands Patrick King, Marcus Davis and John Taflan (ideal as the entitled, handsome, bratty, machismo-saturated Constantine) discover their fiancés’ hiding-spot and follow pursuit. Mee’s play jumps back and forth between Aeschylus’ narrative and broader musings on love, duty, and gender.

Royal George Theatre’s teeny upstairs studio serves as the playing space for Mee’s large-scale show. Nick Sieben’s smart, functional thrust set makes ideal use of the black box’s shortcomings. Concrete slabs, a soaking tub, pink ribbon, and a flower-installation create an ambiance that performs double-duty satisfying the play’s realistic and ethereal sensibilities. It’s one indication of a clear vision behind the show–another is David Mitchell as the curly Q’d, flaming nephew. Mitchell’s heightened acting meshes with text’s abstract style in a way that even when, out of the blue, he dips into a bath and sings a show tune, the moment is touching instead of hackneyed or contrived. Kate LoConti too makes hard-to-digest character traits easy to swallow.

     
(from top) John Taflan as Constantine, Marcus Davis as Oed, Pat King as Nikos in Chicago Fusion Theatre's "Big Love" by Charles Mee (from left) Carla Alegre-Harrison as Lydia, Jamie Bragg as Thyona, and Kate LoConti as Olympia

The rest of the show fares less well. Too many scenes are burdened by actors not seeming to be invested in the same moments, and emotional highpoints reading as stilted and clunky. Here, Fusion can’t quite merge Mee’s tangential ideas with a convincing story.

There‘s a reason so many plays end with a wedding; for better or for worse, they’re inherently dramatic. When even one that ends in a murder-orgy is tedious, the chemistry is off.

  
  
Rating: ★★½
  
  

 David Wesley Mitchell, Lisa Siciliano, Todd Kiech in Chicago Fusion Theatre's "Big Love" by Charles Mee

 

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Review: The Gospel According to James (Victory Gardens)

  
  

History is anything but black and white in “Gospel”

  
  

André De Shields as James in Victory Garden's "The Gospel According To James" by Charles Smith (photo: Liz Lauren)

  
Victory Gardens Theater presents
  
  
The Gospel According to James
   
Written by Charles Smith
Directed by Chuck Smith
at Victory Gardens Biograph Theater, 2433 N. Lincoln (map)
through June 12  | 
tickets: $35-$50  |  more info

Reviewed by Keith Ecker 

On Aug. 7, 1930, Thomas Shipp and Abram Smith were lynched in the town of Marion, Indiana. The two African-American men allegedly murdered a white local factory worker and raped his white girlfriend. Instead of allowing the justice system to weigh whether the men were truly guilty, the townspeople took the law into their own hands and tore down the jailhouse doors. Beaten and bloody, the bodies of both men were strung up on an tree. Studio photographer Lawrence Beitler managed to immortalize the horrific event, snapping a picture of the bodies swinging from the tree as a crowd of joyful onlookers stand below. Today, that picture serves as a powerful and grizzly reminder of the consequences of racial intolerance.

Kelsey Brennan as Mary and Tyler Jacob Rollinson as Abe Smith in Charles Smith’s "The Gospel According to James. (photo: Liz Lauren)No one knows precisely what events transpired that led to the charges against Thomas and Abram. James Cameron, a third black man initially identified as an accomplice to the crime, was spared from death at the hands of the mob. He would later state in interviews that he fled the seen before the murder took place. Marie Ball, the woman who was allegedly raped, would later testify that she was, in fact, never raped.

This ambiguity makes the case of Thomas and Abram ripe for speculation. And so playwright Charles Smith has embarked on crafting a script that dramatizes what may have transpired throughout those days leading up to the lynching. What results is an intriguing work of historical fiction that wisely steers away from tired cliché and instead focuses on the inherent flaws of memory.

The play is about an imagined meeting between James Cameron (portrayed by André De Shields and Anthony Peeples) and Marie Ball (portrayed by Linda Kimbrough and Kelsey Brennan). Fate has brought them back to Marion. In the passing years, Cameron has taken it upon himself to be the vocal historian of that tragic night. His account parallels that of the real-life history of the event: Abram (Tyler Jacob Rollinson) and Thomas (Wardell Julius Clark) held up former foundry worker Claude (Zach Kenney), and before the murder occurred, Cameron fled the scene.

But Marie does not remember it this way. She resents Cameron for spreading lies and threatens to reveal her version of the truth to the public. As Marie recounts her recollection of the events that led to that ugly night, we see her memories take dramatic form. According to her, Claude was hardly an innocent victim. James was more involved than he claims to be. And she and Thomas were much more than mere acquaintances. But despite her compelling account, Marie’s cognizance is called into question, and we are forced to wonder whose story, if anyone’s, is the real deal.

The cast is captivating. Shields is energetic and expressive as the aged James, while Kimbrough serves as an effective forlorn foil. Meanwhile, the scenes between Marie’s parents (portrayed by Diane Kondrat and Christopher Jon Martin) are powerful, while Kenney is a believable slime ball. There is real chemistry between Rollinson and Brennan, which makes Abram’s lynching that much more heartbreaking. Peeples is the only odd man out here. His portrayal of the youthful version of James is cartoonishly juvenile. He speaks in a childlike tone and talks like an imbecile. This is a complete disconnect from the adult James, who is well spoken and refined.

Smith is a smart playwright. He could have used the Marion lynching as a platform to soapbox about the ills of racism, a trite topic that always falls on agreeable ears. Instead, he focuses on memory and the subjectiveness of history. This is a much more interesting subject to parse, and he does a good job of portraying it dramatically. However, there are a few bumps in the script, particularly when the dialogue veers too far into poetry, creating a sense of melodrama.

Victory Gardens’ production of The Gospel According to James is an engaging fictional account of a historical event. Despite its minor flaws, the solid acting and a strong script prevail, making it a thoroughly entertaining watch.

  
  
Rating: ★★★½
  
  

Anthony Peeples as Apples, Kelsey Brennan as Mary and Wardell Julius Clark as Tommy Shipp in Charles Smith’s "The Gospel According To James" at Victory Gardens Theatre (photo: Liz Lauren)

Ticket Prices: $35-$50, Students with I.D.- $20, and can be purchased by phone 773.871.3000 or via e-mail (tickets@victorygardens.org).   Performance Times: Tues-Saturday: 7:30pm, Saturday Matinee: 4pm, Sunday Matinee: 3pm, Wednesday Matinee: 2pm.   Recommended Age: 16 & up

  
  

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Review: Fifty Words (Profiles Theatre)

        
        

A rapid-fire assault on a crumbling marriage

  
  

Darrell W. Cox and Katherine Keberlein in Profile Theater's "Fifty Words", by Michael Weller.  (Photo: Wayne Karl)

  
Profiles Theatre presents
   
  
Fifty Words
  
Written by Michael Weller
Directed by Joe Jahraus
at Profiles Theatre, 4147 N. Broadway (map)
through June 26  |  tickets: $35-$40  |  more info

Reviewed by Oliver Sava

On the way to Profiles, my friend and I were discussing how a play is like the season finale of a TV show, when months, even years worth of plots come to a head, often leaving the audience on a cliffhanger that makes them crave more. The difference is that a play doesn’t have a season’s worth of episodes leading up to it, and playwrights have to integrate all that history into the script without breaking the momentum of the present catastrophe. Michael Weller’s Fifty Words condenses ten years worth of marital crises into a 90-minute whirlwind of exposed secrets and pent-up aggression, as Jan (Katherine Keberlein) and Adam (Darrell H. Cox) spend their first night alone together in 9 years. With their son Dylan in Staten Island for a sleepover, Adam sees the evening as a rare opportunity to revive their struggling sex life, attempting to seduce his wife while she’s preoccupied with their son and her upstart online business. Champagne and take-out aren’t enough to take Jan’s mind off Dylan’s troubling behavior at school and Adam’s lengthy business trips to the Midwest, and the dinner discussion turns ugly as truths come out that could potentially destroy their family.

Darrell W. Cox and Katherine Keberlein in Profile Theater's "Fifty Words", by Michael Weller.  (Photo: Wayne Karl)Weller writes quick dialogue that Keberlein and Cox maneuver swiftly, snapping at each other like animals as the stakes are heightened. The mood is constantly shifting as the aggression between the two turns sexual, and Joe Jahraus’ direction captures the tension well, especially in the intimate (some one would say tight) Profiles space. The actors are kept on opposite ends of the kitchen when the arguments are at their fiercest, and when they are physically close it’s either to relieve the tension or because the tension just snapped. Lindsey Lyddan’s lighting design reflects the tonal shifts during the scenes changes, with cool blue washing over the sensual moments and stark red highlighting the more furious sequences. It’s a bit obvious, but it works in the context of Weller’s script, which has a lot of the standard tropes of the marriage power play –overbearing wife, inattentive husband, troubled child, infidelity – but approaches the concepts from intriguing new angles.

Fifty Words is about the relationship between power and desire, and Jan and Adam are in the paradoxical situation of wanting to take individual control of their marriage wile still wanting a more aggressive partner to fulfill personal desires. The conflict arises from the difference in their needs, with Jan wanting Adam to take a more active role in their son’s life while Adam is more concerned with getting his wife in bed. They’re both fully aware of the other’s demands, and they willfully withhold relief to make the other suffer. As revelations come out, the fighting becomes more violent, and sex becomes a weapon. Sex is a major driving force of the plot, and as usual, Profiles doesn’t shy away from the erotic elements of the script.

Sarah Ruhl’s Stage Kiss tried to explain why audiences don’t like nudity and sex on stage, but embrace it on film, and there is certainly something unnerving about seeing a topless woman get ravaged by her husband on their kitchen counter. That’s also not necessarily a bad thing. Nudity creates a strong reaction from the audience, and when the subject is physically in the same room, there’s an added layer of intimacy, especially in Profiles’ small space. The comfort the two actors have in their intensely sexual scenes helps solidify their characters’ relationship, and we get a glimpse of the passion that brought them together in the first place.

Like the best season finales, Fifty Words ends on a hell of a cliffhanger, setting up plenty more story to never be explored. That’s the thing with plays: once the lights come up, the story is over. There’s the very rare play sequel/prequel, and there are playwrights like Martin McDonnagh and August Wilson who have recurring characters and locations through multiple works, but for the most part, this is the last time that you will see these characters. Michael Weller leaves Jan and Adam with their marriage in shambles, but their story lives on in what the audience takes away from this production. Profiles’ production reveals the complexities of love, and the ways that secrets and lies can corrode it from the inside. I’m reminded of a quote from another great marriage crisis play this season, The Goat or Who Is Sylvia?: “Be careful who you fall in love with, because you might marry him.” Fifty Words is warning that no matter what word you use to describe it, love will always be an unpredictable force that can hurt as much as it heals.

  
  
Rating: ★★★
  
  

Katherine Keberlein and Darrell W. Cox in Profile Theater's "Fifty Words", by Michael Weller.  (Photo: Wayne Karl)

Profile Theatre’s Fifty Words continues through June 26th at their theatre space, 4147 N. Broadway, with performances Thursday and Fridays at 8pm, Saturdays at 5pm and 8pm and Sundays at 7pm.  Tickets are $35-$40, and can be purchased by phone (773-549-1815) or online.

All photos by Wayne Karl

  
  

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Review: Murder for Two (Chicago Shakespeare Theater)

     
     

Giddy, lighthearted show makes for perfect night at Navy Pier

     
     

Alan Schmuckler and Joe Kinosian in Chicago Shakespeare Theater’s "Murder for Two—A Killer Musical", directed by David H. Bell and playing Upstairs at Navy Pier's Chicago Shakespeare. (Photo: Liz Lauren)

  
Chicago Shakespeare presents
  
  
Murder for Two – A Killer Musical
   
Music and Book by Joe Kinosian 
Lyrics and Book by Kellen Blair
Directed by David Bell 
at
Chicago Shakespeare, 800 E. Grand, Navy Pier (map)
through June 19  |  tickets: $25-$30   |  more info

Reviewed by Catey Sullivan

For all those who have ever wanted to just let loose on those entitled, staggeringly clueless cretins who let their cell phones ring in the theater – I mean really school them with an unsparing, five alarm verbal evisceration – there is a mighty catharsis that comes not once, not twice but three times within the confines of Murder for Two. Listening to Joe Kinosian go off after the loathsome twarbles (Who the fuck do you think you are?) invade the world of the play is not as deeply satisfying as hearing a skillfully delivered Shakespearian monologue. But it comes close. Such are the times we live in.

Joe Kinosian in Chicago Shakespeare Theater’s Murder for Two—A Killer Musical, directed by David H. Bell and playing Upstairs at Chicago Shakespeare. (Photo: Liz Lauren)As for the rest of Murder for Two, think The Mystery of Irma Vep infused with the world’s most gleefully wackadoodle piano recital. The two-person musical , which stars Alan Schmuckler as aspiring detective Marcus Moscowicz and Kinosian as nine murder suspects – is about as giddy and lighthearted as you can get short of climbing into a hermetically sealed, helium-filled bubble.

Kinosian (book and music) and Kellen Blair (book and lyrics) take the familiar elements of Agatha Christie’s “Ten Little Indians” and set them drunkenly careening through a music-filled spoof wherein homicide is hilarious and the climactic capture of the criminal isn’t nearly as important as the four-handed piano jam that follows it.

Directed by David Bell, Murder for Two is about as campy, over the top and self-consciously silly as theater gets. The piece is a showcase for the seemingly effortless madcap comic talents and fleet-fingered piano virtuosity of Schmuckler and Kinosian, whose musical repartee is just as important as their verbal repartee. The two manhandle and finesse the baby grand onstage with an athleticism you don’t usually associate with piano performance and a synergy that evokes Siamese twins – no mean feat, given that Kinosian is as lanky as a bean pole and limber as taffy while Schmuckler is significantly more compact both in personal architecture and in gesture.

The production’s highlight isn’t the solving of the murder, it’s the joyful, rollicking duet the pair unleash as an encore.

If that implies the balance of the show isn’t perfect, well, it isn’t. The primary problem here is that Murder for Two is a whodunit in which the “who” doesn’t really matter . It’s a genuine laff riot to be sure, and one in which the comedy is spectacularly well executed – but there’s never much momentum. Was it the self-absorbed ballerina, the looney tunes wife or the needy psychiatrist? Eh, who cares. The show doesn’t seem to care about creating a serviceable mystery as much as creating a comedy. If Murder for Two had both, it’d be killer. As it is, the show remains a marvelous romp.

Alan Schmuckler and Joe Kinosian in Chicago Shakespeare Theater’s Murder for Two—A Killer Musical, directed by David H. Bell and playing Upstairs at Chicago Shakespeare.  (Photo: Liz Lauren)

Although be warned: If you’re not a fan of the meta-exaggerated mugging school of comedy, Kinosian’s camptacular overdrive will grow grating in a hurry. His mugging is so relentless you’d be forgiven for checking to ensure you still had your wallet post-show. He’s a shameless maelstrom of energy, playing a dizzying, high-energy whirl of suspects that include a daffy grad student in criminal justice, an ice maiden prima ballerina diva, a needy psychiatrist, an utterly insane party hostess (arguably Kinosian’s best work of the night) and a the trio of scamps (Skid, Yonkers and Timmy – think Our Gang crossed with a bunch of circus freaks) that comprise the 12-member all-boys choir brought in to entertain the guest of honor.

And then there’s Schmuckler. Having single-handedly saved Drury Lane’s tedious Sugar from being a total loss, he returns in fine form here. Moscowicz may not get to swan about the stage ronde de jambing or performing all-jazz-hands-on-deck disco showstoppers. He doesn’t need to. Wide-eyed and utterly sincere even as the lunacy reaches size XXL Crazypants, he makes you care and makes you laugh with equal force. He’s not showy, but he’s dazzling nonetheless.

Between them, Kinosian and Schmuckler almost makes you forgive the nagging fact that the murder mystery in Murder for Two seems irrelevant by the end.

  
  
Rating: ★★★
  
  

Alan Schmuckler performs the role of the investigator and Joe Kinosian performs the roles of 13 murder suspects in Chicago Shakespeare Theater's premiere of Murder for Two—A Killer Musical, created by Kinosian (music/book) and Kellen Blair (lyrics/book) and directed by David H. Bell. (Photo: Michael Brosilow)

Photos by Liz Lauren and Michael Brosilow 

        
        

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Review: Murder for Two (Chicago Shakespeare Theater)

     
     

Giddy, lighthearted show makes for perfect night at Navy Pier

     
     

Alan Schmuckler and Joe Kinosian in Chicago Shakespeare Theater’s "Murder for Two—A Killer Musical", directed by David H. Bell and playing Upstairs at Navy Pier's Chicago Shakespeare. (Photo: Liz Lauren)

  
Chicago Shakespeare presents
  
  
Murder for Two – A Killer Musical
   
Music and Book by Joe Kinosian 
Lyrics and Book by Kellen Blair
Directed by David Bell 
at
Chicago Shakespeare, 800 E. Grand, Navy Pier (map)
through June 19  |  tickets: $25-$30   |  more info

Reviewed by Catey Sullivan

For all those who have ever wanted to just let loose on those entitled, staggeringly clueless cretins who let their cell phones ring in the theater – I mean really school them with an unsparing, five alarm verbal evisceration – there is a mighty catharsis that comes not once, not twice but three times within the confines of Murder for Two. Listening to Joe Kinosian go off after the loathsome twarbles (Who the fuck do you think you are?) invade the world of the play is not as deeply satisfying as hearing a skillfully delivered Shakespearian monologue. But it comes close. Such are the times we live in.

Joe Kinosian in Chicago Shakespeare Theater’s Murder for Two—A Killer Musical, directed by David H. Bell and playing Upstairs at Chicago Shakespeare. (Photo: Liz Lauren)As for the rest of Murder for Two, think The Mystery of Irma Vep infused with the world’s most gleefully wackadoodle piano recital. The two-person musical , which stars Alan Schmuckler as aspiring detective Marcus Moscowicz and Kinosian as nine murder suspects – is about as giddy and lighthearted as you can get short of climbing into a hermetically sealed, helium-filled bubble.

Kinosian (book and music) and Kellen Blair (book and lyrics) take the familiar elements of Agatha Christie’s “Ten Little Indians” and set them drunkenly careening through a music-filled spoof wherein homicide is hilarious and the climactic capture of the criminal isn’t nearly as important as the four-handed piano jam that follows it.

Directed by David Bell, Murder for Two is about as campy, over the top and self-consciously silly as theater gets. The piece is a showcase for the seemingly effortless madcap comic talents and fleet-fingered piano virtuosity of Schmuckler and Kinosian, whose musical repartee is just as important as their verbal repartee. The two manhandle and finesse the baby grand onstage with an athleticism you don’t usually associate with piano performance and a synergy that evokes Siamese twins – no mean feat, given that Kinosian is as lanky as a bean pole and limber as taffy while Schmuckler is significantly more compact both in personal architecture and in gesture.

The production’s highlight isn’t the solving of the murder, it’s the joyful, rollicking duet the pair unleash as an encore.

If that implies the balance of the show isn’t perfect, well, it isn’t. The primary problem here is that Murder for Two is a whodunit in which the “who” doesn’t really matter . It’s a genuine laff riot to be sure, and one in which the comedy is spectacularly well executed – but there’s never much momentum. Was it the self-absorbed ballerina, the looney tunes wife or the needy psychiatrist? Eh, who cares. The show doesn’t seem to care about creating a serviceable mystery as much as creating a comedy. If Murder for Two had both, it’d be killer. As it is, the show remains a marvelous romp.

Alan Schmuckler and Joe Kinosian in Chicago Shakespeare Theater’s Murder for Two—A Killer Musical, directed by David H. Bell and playing Upstairs at Chicago Shakespeare.  (Photo: Liz Lauren)

Although be warned: If you’re not a fan of the meta-exaggerated mugging school of comedy, Kinosian’s camptacular overdrive will grow grating in a hurry. His mugging is so relentless you’d be forgiven for checking to ensure you still had your wallet post-show. He’s a shameless maelstrom of energy, playing a dizzying, high-energy whirl of suspects that include a daffy grad student in criminal justice, an ice maiden prima ballerina diva, a needy psychiatrist, an utterly insane party hostess (arguably Kinosian’s best work of the night) and a the trio of scamps (Skid, Yonkers and Timmy – think Our Gang crossed with a bunch of circus freaks) that comprise the 12-member all-boys choir brought in to entertain the guest of honor.

And then there’s Schmuckler. Having single-handedly saved Drury Lane’s tedious Sugar from being a total loss, he returns in fine form here. Moscowicz may not get to swan about the stage ronde de jambing or performing all-jazz-hands-on-deck disco showstoppers. He doesn’t need to. Wide-eyed and utterly sincere even as the lunacy reaches size XXL Crazypants, he makes you care and makes you laugh with equal force. He’s not showy, but he’s dazzling nonetheless.

Between them, Kinosian and Schmuckler almost makes you forgive the nagging fact that the murder mystery in Murder for Two seems irrelevant by the end.

  
  
Rating: ★★★
  
  

Alan Schmuckler performs the role of the investigator and Joe Kinosian performs the roles of 13 murder suspects in Chicago Shakespeare Theater's premiere of Murder for Two—A Killer Musical, created by Kinosian (music/book) and Kellen Blair (lyrics/book) and directed by David H. Bell. (Photo: Michael Brosilow)

Photos by Liz Lauren and Michael Brosilow 

        
        

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