Review: Stage Kiss (Goodman Theatre)

     
     

Cheap laughs mark time in Ruhl’s surface-skimming romantic fantasy

     
     

HE (Mark L. Montgomery) and SHE (Jenny Bacon) get lost in one another’s embrace as they perform as Johnny Lowell and Ada Wilcox in One Last Kiss -- the play-within-the-play.  (Photo: Liz Lauren)

  
Goodman Theatre presents
  
     
Stage Kiss
    
   
Written by Sarah Ruhl
Directed by Jessica Thebus
at Goodman’s Albert Theatre, 170 N. Dearborn (map)
through June 5  |  tickets: $17-$69   |  more info

Reviewed by Dan Jakes

Goodman Theatre and Sarah Ruhl have shared a fruitful relationship dating back to her 2006 The Clean House. Stage Kiss marks the MacArthur Fellowship winning playwright’s third production and first commission with the company, and with that, it may be time for Ruhl to reevaluate the details of that partnership. A two-year development process has yielded thin, runny results.

SHE’s daughter, Angela (Sarah Tolan-Mee), arrives at Laurie (Erica Elam)’s apartment to take her mother home.  (Photo: Liz Lauren)“What happens when lovers share a stage kiss…or actors share a real one?” Worthy question. Ruhl is a capable author to study it, too, having asserted her lyrical style and poignant insight into her characters’ romantic needs in previous, stronger works. This new play’s premise gets short shrift to accommodate Noises Off!-type metatheatrical slapstick silliness. If only Ruhl or director Jessica Thebus were more dedicated to exploring their substantial central theme, we’d be provided a better answer than ‘they fall down and go oomph.’

They also apparently seek refuge by escaping their own play, addressing the audience directly through occasional poetic spurts and barely integrated speeches. Stage Kiss’ most thoughtful moments are presented less as theater and more like essays. The nameless protagonist’s (Jenny Bacon) daughter (Sarah Tolan-Mee) ponders aloud why talented actors don’t seem to frown upon sleeping with talentless ones while, on the other hand, good painters seldom seem to sleep with bad painters. Elsewhere, a character articulates the difference between watching sex on film and sex on stage. Those interesting ideas are well phrased, but they come from Ruhl, not her characters. Action is totally halted during the speeches–just show us. Don’t tell.

     
Johnny Lowell (Mark L. Montgomery) meets Millicent (Erica Elam) in a scene from One Last Kiss.  (Photo: Liz Lauren) (l to r) Ada Wilcox (Jenny Bacon) and her Husband (Scott Jaeck) realize their daughter (Sarah Tolan-Mee) has run away with Johnny Lowell (Mark L. Montgomery) in a scene from One Last Kiss. (Photo: Liz Lauren)
(l to r) HE (Mark L. Montgomery), Laurie (Erica Elam), SHE (Jenny Bacon) and Harrison (Scott Jaeck) dance with one another to the tune of “Some Enchanted Evening.”  (Photo: Liz Lauren) (clockwise l to r) The cast of One Last Kiss (Jeffrey Carlson, Erica Elam, Sarah Tolan-Mee, Scott Jaeck, Jenny Bacon and Mark L. Montgomery) sits around the table as the director (Ross Lehman) speaks to them at first rehearsal.  (Photo: Liz Lauren)

Most of the two and half hours are instead spent satirizing the rehearsal process of a 1930’s Noël Coward-style play revival in which the married woman has been cast opposite her ex-lover (Mark L. Montgomery). The play-within-a-play jokes are decent enough, sometimes original and funny (“Why is everyone in this play named Millicent?”), but mostly easy and worn-thin. Ross Lehman is underplayed and hilarious as the production’s passive director, the all-too-familiar type that masks incompetence with friendliness. Pretending to be a bad actor is akin to pretending to be drunk; resisting temptations to exaggerate is probably for the best. The otherwise gifted Jeffrey Carlson does not and goes for broke as a gay, (potentially mentally disabled?) barely functioning bit-actor.

Decency doesn’t carry a show–once the novelty of the physical humor and accent-play wears off, there’s little else fleshed out to justify ludicrous character twists or the underdeveloped concept. Had Ruhl lived up to her potential and played to her strengths, she could have touched on some provocative ideas. Stage Kiss draws too thick of a line between romance and comedy for either to flourish.

  
  
Rating: ★★½
  
  

(center) Laurie (Erica Elam) confronts (l to r) HE (Mark L. Montgomery) and SHE (Jenny Bacon) as SHE’s daughter Angela (Sarah Tolan-Mee) and husband Harrison (Scott Jaeck) look on. (Photo: Liz Lauren)

Stage Kiss runs approximately two hours, 15 minutes, with a 15-minute intermission.

     

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Review: El Nogalar (Teatro Vista at Goodman Theatre)

  
  

A fresh, visceral update of Chekhov classic

  
  

Sandra Delgado and Christina Nieves - El Nogalar

  
Teatro Vista i/a/w Goodman Theatre presents
  
El Nogalar
  
Written by Tanya Saracho
Directed by Cecilie D. Kennan
at Goodman Theatre, 170 N. Dearborn (map)
through April 24  |  tickets: $15-$32  |  more info

Reviewed by Paige Listerud

‘”They’ve taken our Mexico. They’ve taken our days, our nights.”   –Valeria

Breakout Chicago playwright Tanya Saracho has taken Anton Chekhov’s The Cherry Orchard and planted it in contemporary Northern Mexico. Change the cherries to pecans, keep the once-wealthy family and the rigid class divisions, hang on to willful blindness to a way of life changing and you have the Silver Age of Russia all over again. One notable exception: Madame Ranevsky and her household never had to contend with the violence spawned by drug cartels vying for control of their territory. Bracingly directed by Cecilie D. Keenan, Saracho’s adept variation takes Chekhov’s premise from the frying pan and throws it directly into the fire. The result is an exciting new work that speaks with immediacy and passion to our times.

Carlo Lorenzo Garcia and Yunuen Pardo - El NogalarDunia (Yunuen Pardo) and Guillermo Lòpez (Carlo Lorenzo Garcia) maintain the house and land belonging to the once-prosperous Galvan family. Only the older daughter of the clan, distraught, anxious and overworked Valeria (Sandra Delgado), has stayed on to manage the property. Her mother Maité (Charin Alvarez) and sister Anita (Christina Nieves) have long lived up north in America, Anita attending various schools and Maité absorbed in an abusive affair with an American intellectual—a man who says “Mexican” like it’s a dirty thing. “You know he means other kinds of Mexicans,” says Valeria to her returning sister, hanging on to those little shreds of the past and class distinction that once defined her family. The past hangs on like a ghost they can’t shake and, in the past, their home played host to governors and senators. An upstairs bedroom contains a bed rumored to have held a former president of Mexico. Now, Valeria fights Dunia to keep the lights off during the day to save electricity and she desperately relies on Guillermo for physical protection and financial solutions.

Maité and Anita return to the shell of their family’s former ease and grandeur—a condition symbolically reinforced by the oversized, intricately detailed dollhouse that centers Brian Bembridge’s set design. Their friends, the old rich and influential families of Mexico, have fled. Only those too poor to leave, like Dunia and Guillermo, have stayed to endure the ravishment of their lives and futures by ongoing drug wars. Drug lords have grabbed surrounding lands and now set their claws on the Galvan’s land, which sports a once-glorious pecan orchard that Guillermo Lòpez worked in barefoot as a child.

     
Charín Alvarez and Christina Nieves - El Nogalar Sandra Delgado and Yunuen Pardo - El Nogalar
Charín Alvarez, Christina Nieves and Sandra Delgado Christina Nieves - El Nogalar

Pardo and Garcia do a brilliant job setting up the brutal and dangerous reality that informs their every action and choice. “Who would believe the news?” says Dunia about the kidnappings and slayings that are a constant occurrence, “It seems like a movie.” Lòpez tells her she talks too much and will no doubt end up dead in a ditch for it, but he himself seems ambivalent about his own tough pose. “Words are for idle people, people who don’t have to work for a living,” he mutters as he strokes a book that he longs to have the security and leisure to read and absorb, like his wealthy employer before him.

Yet, nothing heightens the dangers facing the Galvan family like mother Maité’s entrance. Here is a woman on the edge, who still dresses and acts like a jet-setter from a lost era of affluence. Alvarez subtly captures Maité’s mania and pushes it over that edge at precise moments, but never overplays it. Here is a woman with her head in the sand, with a manic faith in the belief that just acting the part of a jaded millionaire will pay her way and protect her from the losses to come. “Look at this place. It’s breaking my heart in two,” she says of the house and her dried out, untended pecan trees, yet we know she will never take responsibility for its neglect. Sandra Delgado and Christina Nieves in El NogalarStill absorbed in a vision of herself from 20 years ago, she jogs the hills in tight mini-shorts heedless of the risk she’s putting herself in.

Young Anita also returns sorely unprepared for the world she’s come home to. An adolescence spent shifting from boarding school to boarding school has left her as ungrounded and as unconnected to her culture as can be. “I’m a half person,” she complains to Valeria, having only a little grasp of Spanish and a debutante’s understanding of the world. Of the three Galvan women, only Valeria seems to have developed the capacity to survive the loss of the orchard. Delgado deftly runs the gamut of overtaxed emotions that are Valeria’s lot, whether trying to contain her mother’s excesses or get her to accept the reality of their situation. Her crowning moment comes once the place is no longer theirs and she throws the keys that she’s worn as a chatelaine at her mother’s feet.

Saracho’s reworking of Chekhov is vivid in its dialogue and visceral in the chances that it takes. Teatro Vista’s cast renders earthier performances than one will find in a delicately balanced Cherry Orchard, but nothing that isn’t absolutely appropriate to time and place. Not only does the production never veer into overwrought territory, it instead awakens us to a version of ourselves under similar conditions. What could be a more enlightening evening in the theater than that?

  
  
Rating: ★★★½
  
  

Carlo Lorenzo Garcia and Bert Matias - El Nogalar.

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Review: God of Carnage (Goodman Theatre)

   
   

‘God of Carnage’, worthy of worship?

  
  

(l to r) Alan (David Pasquesi) tries to comfort his wife Annette (Beth Lacke) as Veronica (Mary Beth Fisher) continues to discuss the argument between their two children. Photo credit Eric Y. Exit

  
Goodman Theatre presents
   
God of Carnage
  
Written by Yasmina Reza
Directed by Rick Snyder
at
Goodman Theatre, 170 N. Dearborn (map)
through April 17  |  tickets: $22-$90  |  more info

Reviewed by Barry Eitel

Yasmina Reza’s God of Carnage must be a producer’s wet dream—four actors, one set, and a run time less than 90 minutes. Plus, it’s hyper-relevant to upper-middle class urban professionals. The overall vibe is very similar to Reza’s Art, especially in skewering yuppie lifestyles. It all worked out very well for the Goodman, which snagged the Midwest premier after the Broadway debut won a bevy of Tonys and Broadway in Chicago dropped it from its season. With all the encapsulating hype, Reza’s tight little play (translated and Veronica (Mary Beth Fisher) is horrified as her civil get together turns into chaotic mayhem. Photo credit: Eric Y. Exittweaked for American audiences by Christopher Hampton) is sure to get some butts in the Goodman’s seats. And the production lives up to the hoopla, even though no one in the cast has the national name recognition as Jeff Daniels or James Gandolfini.

The idea Reza plays around with in her play is whether adults and children are really that different, especially when it comes to scuffling. One child whacks another in the face with a stick, knocking out a couple of teeth. We see the obligatory meeting of parents sans children. From the beginning, there’s the awkward conflict between parenting techniques. Add to that the fact that maybe no party is innocent. Of course, things quickly spiral out of control.

To direct this darkly hilarious piece, the Goodman selected Rick Snyder, the same who directed a terrific production of Art at Steppenwolf a couple of seasons back. His experience with Reza shows—he allows his cast to push the humor just enough before becoming too ridiculous.

In the end, God of Carnage is an actors’ show. The New York folks got that when they brought in Gandolfini, Daniels, Marcia Gay Harden, and Hope Davis. Snyder cast his own set of Chicago stage heavyweights: Mary Beth Fisher, Beth Lacke, David Pasquesi, and Keith Kupferer. The foursome has a great thrust and parry with each other—and this is a play where alliances constantly shift and no one is on any one else’s side for very long (even if they’re married to them).

Pasquesi is Alan, a high-profile corporate lawyer, and is married to Annette (Lacke). She’s bothered by his love affair with his Blackberry. The hosts, Veronica (Fisher) and Michael (Kupferer, in the role originated by Gandolfini), are victim to their own neurosis. Veronica writes books about far-away conflicts and buys books about art; Michael sells doorknobs (among other things) and recently tossed the family hamster out on the street. Things really pick up when the liquor starts flowing, a la Who’s Afraid of Virginia Woolf? Really, you end up feeling sorry for the unseen children most of all.

Unfortunately, it seems like Snyder holds back, which is the show’s biggest shortcoming. There could be more chaos. I was also hoping for more rolling-on-the-floor laughing moments. The Monday night opening came off as a little Monday-ish. Even in the craziest instants, when things are thrown around or thrown up—the play is a bit unsatisfying. The cast needs to be all-in all the time.

God of Carnage succeeds because it nails the savagery that we all understand. Reza posits that there may not be much of a difference between parks infested with roving gangs of kids or Brooklyn living rooms with cups of espresso and imported rum. She digs under the veneer of modern civilization, and even Veronica, modern civilization’s biggest champion, can’t prevent her passions from slipping out. To insult and question how a person raises their kids is asking for strong responses. But Reza, Snyder, and the cast commit fully to this explosive scenario, and we get to enjoy the fireworks.

  
  
Rating: ★★★
  
  

(l to r) Michael (Keith Kupferer) tries to rationalize the situation while speaking to Alan (David Pasquesi) Annette (Beth Lacke) and Veronica (Mary Beth Fisher). Photo credit: Eric Y. Exit

     
     

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Review: Terminus (Abbey Theatre – MCA Stage)

 
   

Ireland’s best takes to the MCA stage

  
  

Declan Conlon, Catherine Walker, Olwen Fouere - Terminus

  
Abbey Theatre, i/a/w Goodman Theatre presents
  
Terminus
  
Written and Directed by Mark O’Rowe
at
Museum of Contemporary Art Stage, 220 E. Chicago (map)
through March 6  |  tickets: $28-$35  |  more info

Reviewed by Oliver Sava

The monologue is a difficult thing to master, both in terms of writing and performance, so I was a little wary when I found out Terminus is only three intertwining monologues. Luckily, Abbey Theatre, the national theater of Ireland, knows how to transform the monologue into riveting theater, as Mark O’Rowe’s poetry is exquisitely performed by the three actors. Standing inside a shattered picture frame, giant shards of glass surrounding them, A (Olwen Fouéré), B (Catherine Walker), and C (Declan Conlon) recount the events of one evening that will change them forever.

A, an emergency hotline operator, explores seedy Dublin pubs as she looks for an ex-student who is trying to abort a child nearly come to term. When a night out goes horribly wrong, B finds herself face to face with the supernatural, and loves what she sees. And C cuts people up without any remorse, so he’s a bit of a wild card in the proceedings. O’Rowe’s evocative language uses rhyme liberally, giving the monologues a bit of a freestyle rap vibe that helps keep the momentum constantly moving forward. O’Rowe is an immensely skilled playwright, and he creates a bleak image of Dublin that is both intensely alive while horrifyingly decayed. The verse allows him to present information in new ways, creating images in segments to build suspense until the big comedic/dramatic reveal.

Catherine Walker, Declan Conlon, Olwen Fouere - TerminusConsidering how serious the subject matter is, O’Rowe’s script is very funny, albeit darkly. There’s a Bette Midler through-line in all the stories that lends itself to comedy but takes on a dark meaning in the context of the plot, and finding the comedy in the midst of all this darkness is why the script is so successful. His characters may speak in verse, but their speech is natural, and the language flows very comfortably from all three actors, who have the unenviable task of keeping an audiences attention on their own. There’s a strength between the three actors that has undoubtedly comes from their time spent in rehearsal, and the connection between them can be felt throughout the entire play, uniting them despite their separate stories.

O’Rowe doesn’t have the same problems as other writer-directors, and that’s because Terminus is a tightly constructed production that doesn’t over-conceptualize or complicate the script with directorial flourishes. The ambition of this play is in it’s script, and the actors turn in beautifully nuanced performances that capture all the ecstasy, terror, and heartbreak of urban life. Often cringe-inducing in its explicitness, O’Rowe’s script is a grim and graphic image of Dublin life, but the poetry of the langue finds the beauty hidden within the darkness of the city’s soul. I didn’t know what to expect from Ireland’s national theater, and now I know not to expect anything less than brilliance.

  
  
Rating: ★★★½
   
  

All photos by Ros Kavanagh

  
  

Review: Mary (Goodman Theatre)

     
     

Unflinching comedy makes you flinch

     
     

(l to r) James (Scott Jaeck), David (Alex Weisman), Jonathan (Eddie Bennett) and Dolores (Barbara Garrick) sit down to a family dinner while Mary (Myra Lucretia Taylor) tends to them in Thomas Bradshaw’s Mary. Photo by Liz Lauren.

   
Goodman Theatre presents
  
Mary
  
Written by Thomas Bradshaw
Directed by May Adrales
at Goodman Theatre, 170 N. Dearborn (map)
through March 6  |  tickets: $15-$32  |  more info 

Reviewed by Keith Ecker 

In his short time as a professional playwright, Thomas Bradshaw has developed a reputation as one of the foremost provocateurs in the theatre. And after having seen the Goodman Theatre’s production of Mary, it’s a title that is well deserved.

Bradshaw obviously is not one to shy away from such controversial topics as homosexuality, race relations, religion and AIDS, all of which he tackles in the exceedingly dark comedy. But he also is able to deal with these subjects in a way that isn’t sensational. His handling may be over-the-top, taking notions of racism, for example, to absurd heights in order to comically portray the realities of racial inequality. But he never loses sight of the point he is trying to make. In other words, the material isn’t shocking merely to be shocking.

College sweethearts (l to r) Jonathan (Eddie Bennett) and David (Alex Weisman) embrace as they get ready to leave school for winter break in Thomas Bradshaw’s Mary. Photo by Liz Lauren.Mary begins in the year 1983. A collegiate gay couple, David (Alex Weisman) and Jonathan (Eddie Bennett), are preparing for the holidays. When David asks if Jonathan would like to spend the Christmas season with his family, Jonathan apprehensively agrees. The two decide to hide their sexuality from the parents, insisting instead they are just really good buddies.

To say David’s family is unusual is an understatement. His extraordinarily over-the-top WASPy parents (played by Barbara Garrick and Scott Jaeck) keep a black maid on hand who they endearingly refer to as Nigger Mary. Mary (Myra Lucretia Taylor) embodies the mammy caricature, that portly maternal good-natured but simple black woman that has permeated white representations of blacks for decades. She is subservient with a smile and treated as a member of the family.

Jonathan is our fish-out-of-water in this scenario, and so we view David’s bizarre family dynamic through his eyes. Of course, seeing a black woman who is affectionately referred to as a nigger and who lives in a cabin on the property doesn’t sit well with Jonathan. And so he urges David to convince his parents to make some changes. David eventually confronts his mother, pleading with her to send Mary to community college so that she may learn to read.

Meanwhile, Mary and her husband Elroy are uncomfortable with David’s obvious homosexuality. The notion of two men engaging in a sexual relationship goes against their strong Christian roots. And so Mary vows to do God’s work and instructs Elroy to shoot Jonathan in the crotch with a BB gun.

     
Dolores (Barbara Garrick) surprises her husband James (Scott Jaeck) with an early Christmas present in Thomas Bradshaw’s Mary.  Photo by Liz Lauren. Mary (Myra Lucretia Taylor) recites the Biblical story of Lot to her husband Elroy (Cedric Young) in Thomas Bradshaw’s 'Mary'.  Photo by Liz Lauren.

It certainly sounds like we’re venturing into sitcom territory here. And that seems to be Bradshaw’s intention. But I can assure you that the play does not end on a hearty laugh and a freeze frame. In fact, the ending is quite possibly one of the most unsettling endings to any play I have ever seen. Without giving too much away, Bradshaw in essence pulls the rug out from under the audience, delivering a big "Fuck you!" It’s both ingenious and sadistic.

My problem is that, although I think the ending is a brilliant concept, it feels like the punch line to a very long sketch. It’s a little glib; a little out of left field. It doesn’t entirely make sense when you really sit and think about the characters and the journey they have undergone. And so as much as I really do appreciate the ending as a conceit, I can’t say it was necessarily good playwriting. Myra Lucretia Taylor, as Nigger Mary, struggles with her relationship with the Jennings family in Thomas Bradshaw's 'Mary'. Photo by Liz Lauren.It just makes too big of a leap in logic in order to express how religion and good intentions can send people on misguided missions.

Kudos to the actors, all of whom hold their own in this topsy-turvy play. Weisman and Bennett are good at playing up the puppy love of their relationship, while Bennett scores big laughs with his nimble prancing and shocked facial expressions. Meanwhile, Taylor is incredibly likeable as Mary, even when her character is scheming to shoot a man in the testicles. This likeability makes the play’s conclusion that much more revolting.

May Adrales‘ direction is adept. She keeps the play in motion constantly, giving little time for pause between scenes. It’s exceptional pacing that makes this 90-minute one act breeze by.

The accolades that Bradshaw has received have been earned. Mary really is a thought-provoking and important piece of theatre. I just wish Bradshaw could have found a way to draft his ending so that it wouldn’t compromise the integrity of the characters. Still, the point is made. Just don’t expect to leave the Goodman feeling uplifted.

  
  
Rating: ★★★½
  
  

(l to r) David (Alex Weisman) plays his new violin for his mother Dolores (Barbara Garrick), his father James (Scott Jaeck), Elroy (Cedric Young) and Mary (Myra Lucretia Taylor) in Thomas Bradshaw’s Mary. Photo by Liz Lauren

All photos by Liz Lauren

         
           

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Top 25 Chicago Plays of 2010

Abagail's Party - A Red Orchid Theatre Ian Westerfer as Baal at TUTA Theatre '1001' - Collaboraction Andrew Carter and Terry Hamilton - Frost-Nixon at Timeline Theatre Killer Joe - Profiles Theatre Awake and Sing at Porchlight - Nussbaum, Lazerine, Troy, Gold
Ragtime - Drury Lane Oakbrook Anton Chekhov's 'The Seagull' - Goodman Theatre streetcar named desire - tennessee williams - writers theatre To Master The Art - Timeline Theatre Chicago Brother-Sister Plays at Steppenwolf Theatre - Tarell Alvin McCraney Tracy Letts and Amy Morton in Virginia Woolf - Steppenwolf Theatre
About Face Theatre presents 'Float' hot mikado - andy lupp, todd kryger, stephen schellhardt - Drury Lane Strawdog Theatre - State of the Union Hey Dancin - Factory Theater Liz Hoffman in Last Night of Ballyhoo The Illusion - Kushner - Court Theatre
My Brother's Keeper - Black Ensemble Theatre "Memory" by the Backstage Theatre Company Mimesophobia - Theatre Seven - by Carlos Murillo "Oleanna" by David Mamet - American Theater Company The Water Engine: An American Fable - by David Mamet.  Picture: Charles Lang and George Zerante from Theatre Seven Geoff Packard as Candide in Goodman Theatre's 'Candide', music by Leonard Bernstein, directed by Mary Zimmerman
"Scorched" by Wajdi Mouawad - Silk Road Theatre Project "Side Man" by Lauren Rawitz at Metroplis Performing Arts Centre "The Tallest Man" at Artistic Home Haff, the Man - Falling Girl - Zarko Theatre - photo by Laura Montenegro Tad in the 5th City - MPAACT Chicago Sarah Rose Graber in 'Book of Liz' - Chemically Imbalanced Comedy

 

Top 25 Chicago Productions of 2010

(in alphabetical order)

All told, Chicago Theater Blog covered an astounding 508 shows in 2010—proving without a doubt that this town is truly a non-stop theater machine! Whittling 500 shows down to the year’s top 25 productions was not an easy task, but we think this list illuminates what makes Chicago such a dynamic place to perform and create – a mix of works produced by small storefront companies all the way up to large Equity houses.

So, without further ado, here – listed alphabetically – are the top 25 productions of 2010:

 

   
Collaboraction 1001 - Chicago Theater Blog
1001


Collaboraction (Sept 2010)
Written by Jason Grote
Directed by Seth Bockley
our review 

“The Arabian Nights” are replayed in a near-futuristic setting, taking place in the belly of New York City’s underground tunnels after a nuclear blast. Says reviewer Oliver Sava, “Grote masterfully intertwines the various story threads, bleeding slapstick comedy, relationship drama, political criticism, and post-modern philosophy together to create a play that defies categorization.”. Chris Jones of the Chicago Tribune called the play “savvy, self-aware and adroit at noting the power of myth in generations of sectarian strife . . .” and Monica Westin of New City noted, “It’s almost impossible to overstate the wit, fluidity and complexity . . .” of the production. (our review)

 

   
Abagail's Party - A Red Orchid Theatre
Abagail’s Party

A Red Orchid Theatre  (Feb 2010)
Written by
Mike Leigh
Directed by Shade Murray
our review

A Red Orchid Theatre brought out some of their best ensemble work for Mike Leigh’s class-conscious play about stifled lives in 1970s English suburbia. Director Shade Murray lovingly crafted middle class malaise out of Leigh’s caustic script, while Kirsten Fitzgerald lit the torch as Beverly–leading the tight and superb cast in a reckless, discontented charge to mutual destruction. As Susan, Natalie West “essentially reprises her role of Crystal from Roseanne but with a British accent . . . she becomes the play’s most relatable character. Watching in horror as suburban drama unfolds before her eyes, she is an audience member on the other side of the curtain: sober, shocked, and completely in awe.” (our review)

 

   
Awake and Sing at Porchlight - Nussbaum, Lazerine, Troy, Gold
Awake and Sing

Northlight Theatre  (Feb 2010)
By Clifford Odets
Directed by Amy Morton
our review

On Broadway, the original, 1935 production of Awake and Sing ran for 120 performances and fixed Clifford Odets‘ reputation as a playwright to reckon with. Chicago audiences were not so impressed. "They threw oranges and apples. I was hit by a grapefruit," recalled Group Theatre actress Phoebe Brand.  From today’s viewpoint, it’s hard to see why, especially considering Northlight Theatre‘s powerful revival of this blackly humorous hard-times drama. The play stands on the side of the working class, documenting the warring of capitalism vs. socialism, plodding resignation vs. revolutionary fervor, and long-range hope vs. live-for-today fatalism among them.  As director, Steppenwolf’s Amy Morton adeptly paced the show, no doubt helped with a top-knotch cast, including seasoned performers Cindy Gold, Peter Kevoian, Mike Nussbaum and Jay Whittaker.    (our review)

 

   
Ian Westerfer as Baal at TUTA Theatre
Baal


TUTA Theatre (May 2010)
Written by
Bertolt Brecht
Directed by Zeljko Djukic
our review

TUTA Theatre will remount its very successful production of Brecht’s The Wedding this February. However, their stronger tour de force was the young Brecht’s very first play, Baal, which explored the rise and fall of the ultimate rebel artist. Assisted by a brilliantly clean and powerful translation by Peter Tegel, director Zeljko Djukic and cast executed a searing interrogation of the subversive artist as pop idol, while at the same time delivering to audiences a wildly intuitive and anarchic performance by Ian Westerfer in the title role. An exactingly cohesive ensemble cast matched Westerfer moment-to-moment, composing the perfect Petri dish for pre-Nazi cynicism, cruelty and decadence. Josh Schmidt’s original music contemporized and rounded out the mood and atmosphere for the piece. (See our review here.) Tom Williams of Chicago Critic called the production “refreshingly inventive as it swiftly blends drama with raw sensuality . . . demonstrates what the power of dedicated artists can produce once they are in creative sync.” Albert Williams of the Reader called Baal “a vivid, dreamlike work of stage poetry.”  (our review)

   
Sarah Rose Graber in Book of Liz - Chemically Imbalanced Comedy Chicago

 

The Book of Liz

Chemically Imbalanced Comedy (Sept 2010)
Written by
Amy and David Sedaris
Directed by Angie McMahon
our review

Chemically Imbalanced Comedy had a huge success with The Book of Liz, so much so that it was extended numerous times, and is still running well into 2011. The show, written by Amy and David Sedaris, concerns a small community of Quaker-like Christians known as “The Squeamish”. The Squeamish are simple folk who do without modern-day amenities and instead spend their time praising God and making cheeseballs. Liz is the under-appreciated genius behind the cheeseballs, which serve as the community’s financial backbone. In this hilarious production, Angie McMahon’s direction is resourceful when using the tight space, managing to swiftly transform the stage from a parish to a restaurant to a doctor’s office without letting the momentum of the play slow for a moment. The Book of Liz stayed true to the Sedaris spirit, and fortunately did not hamper the actors from taking risks and breathing new life into the play’s characters. (our review)

   
Brother-Sister Plays at Steppenwolf Theatre - Tarell Alvin McCraney
Brother/Sister Plays
 

Steppenwolf Theatre (Feb 2010)
Written by Tarell Alvin McCraney
directed by Tina Landau
our review  |  photo album

McCraney’s much-anticipated Chicago debut at Steppenwolf did not disappoint. Indeed, concisely paired with Tina Landau’s sparse and enigmatic Viewpoints direction, the triptych of In the Red and Brown Water, The Brothers Size and Marcus; or the Secret of Sweet formed a breathtaking mythic and generational through-line that consistently transcended time and space. To be a young playwright mentioned along with August Wilson, Lorraine Hansberry, and Tony Kushner must be quite a heady experience. But Steppenwolf’s production—teaming with sterling performances by Jaqueline Williams, K. Todd Freeman, Philip James Brannon and Glenn Davis—shows that sometimes you can absolutely believe the hype. Barry Eitel’s review (see here) affirms Chicago’s critical consensus that “McCraney will no doubt become an important dramatic voice for our generation.”  (our review)

   
Candide - Goodman Theatre - Hollis Resnick and Lauren Molina
Candide

Goodman Theatre (Sept 2010)
Adapted from
Voltaire by Hugh Wheeler 
Music by Leonard Bernstein, et.al.
Directed by
Mary Zimmerman
our review 

Mary Zimmerman is the mastermind behind The Goodman Theatre’s new musical production of Candide. The Tony-award winner not only directed the epic, whose plot literally spans years and oceans, but she also adapted the script. Normally, I’m not a fan of one person having such a heavy hand in the development of a drama. Having a  separate writer and director has major benefits, namely the benefit of distance from the work. And it is this distance that can fix any glaring errors in the script or add directorial nuances to strengthen the production. “Thanks to director Zimmerman’s affinity for levity,” said our own Keith Ecker, “Zimmerman saves Voltaire’s classic philosophical narrative from becoming crushed under the weight of its own ideology. I’m amazed that such a sprawling script and dense story can be so digestible. (our review)

 

   
float-about-face-theatre
FLOAT 

About Face Theatre (Nov 2010)
Written by Patricia Kane
Directed by
Leslie Buxbum Danzig 
our review 

About Face Theatre overcame the pitfalls of preciousness that come when presenting a Christmas story about five women with Minnesota-nice written all over them. Members of a Midwest women’s society, they gather in a barn to create the annual Christmas float. What could have devolved into Hallmark card caricature actually resulted in honest emotional plumbing of their lives, conflicts and pressures. Director Leslie Buxbaum Danzig kept the pace brisk while the cast molded complex and full-figured characters out of Patricia Kane’s witty script. FLOAT became the new fresh face in a holiday theater season stuffed to the gills with the same old fruitcake. (our review)

 

 
Andrew Carter and Terry Hamilton - Frost-Nixon at Timeline Theatre
Frost/Nixon
 

Timeline Theatre (Aug 2010)
Written by Peter Morgan
Directed by Louis Contey
our review

A reclusive, disgraced ex-president squares off against a glib playboy talk show host in a televised battle for public approval. TimeLine’ Theatre’s production of Frost/Nixon inventively captured America right on the cusp–before reality TV but shortly after the boob tube emerged as the gladiatorial arena in which public figures are tried and tested. Terry Hamilton’s portrayal of the fallen Nixon impressed everyone with its grounded, humanistic veracity. Andrew Carter’s Frost signaled a smooth operator, fitting the jet-set mold of the period, yet heralding vacuous times ahead for civic discourse. Scenic designer Keith Pitts collaborated with projectionist Mike Tutaj to manifest the perfect facile realm for Louis Contey’s subtle and tense direction. (our review)

 

   
Haff, The Man - Falling Girl - Theatre Zarko - Michael Montenegro.
Haff, the Man/Falling Girl 

Theatre Zarko (Oct 2010)
Written by
Michael Montenegro
Directed by
Montenegro and Ellen O’Keefe
our review 

Master puppeteer Michael Montenegro and long-time creative partner Ellen O’Keefe created and directed two deeply evocative stories; one about a man trying to restore himself in order to begin a new life with a new love, another about a young girl dangerously desperate for the promising adventure that could be her life. An extremely dedicated and integrated troupe of puppeteers and performers executed Montenegro’s dreamlike dramatic creations, manifesting a fully realized, vivid revival of the Symbolist Theatre tradition. Sublime musical atmosphere directed by Jude Mathews backed up their efforts. The result was pure, unadulterated poetry for the child within the adult theatergoer. (our review)

 

   
Hey Dancin - Factory Theater
Hey! Dancin’! 

Factory Theater (March 2010)
by
Kirk Pynchon and Mike Beyer
directed by
Sarah Rose Graber
our review 

Hey! Dancin’! isn’t just a hair-brained ‘80s-inspired comedy. It’s also an effective satire on people’s perceptions of celebrity today. K.K. and his girlfriend Tanya see themselves as the center of the universe because they are on TV.—cable access—but TV nonetheless. Halle (Melissa Nedell) and Trisha (Catherine Dughi) give this notion weight since they are star-obsessed with these no-name nudniks. Yet as Halle gets to know the real K.K. (Jacob A. Ware), who admittedly dreams of being famous without actually ever wanting to hone any real talent, the image of these backwoods celebrities begins to crumble.  Says our own Keith Ecker: “The acting is brilliant. The comedic timing of most of the players is impeccable. I’ve seen countless improv, sketch and stand-up shows, and this rivals the best of them. Simon as the recovering alcoholic station manager is a scene-stealer with his Muppet-like voice and general awkwardness.”  (our review)

 

   
hot mikado - andy lupp, todd kryger, stephen schellhardt - Drury Lane
Hot Mikado 

Drury Lane Oakbrook (Aug 2010)
Written by Gilbert and Sullivan
Directed by David Bell
our review 

Drury Lane Theatre tore it up with this jazz-age revival version of Gilbert and Sullivan’s classic. Lawrence Bommer raved that its music director Michael Mahler had a “period-perfect Midas touch” and that the production “sizzles with (director) David Bell’s Lindy-hopping, be-bopping, high-step dances . . . the all-dancing cast turn the Mikado’s entrance into a tap-dancing tour-de-force . . .”  Aurelia Williams brought the power as Katisha, while Stephen Schellhardt worked his comic chops, recalling Groucho Marx, Stephen Colbert, Keaton and Chaplin. All in all, Drury Lane’s production was a unmistakably riotous success heard all around the Chicagoland area.  (our review)

 

   
The Illusion - Kushner - Court Theatre
The Illusion 

Court Theatre  (March 2010)
Written by
Pierre Corneille
Adapted by Tony Kushner 
Directed by
Charles Newell 
our review  |  photo album

But for a few dramatic speed bumps between the romantic leads, Court Theatre pulled off a dense, ornately rich and multilayered dream world with Tony Kushner’s story-within-several-stories adaptation of Pierre Corneille’s 400 year-old play. Charles Newell’s direction led the dance between reality and fantasy, while Collette Pollard’s set design established an delightfully uncanny magical realm. Chris Sullivan amazed as the magician, Alcandre, and Timothy Edward Kane roiled the audience with his comic portrayal of Matamore, the cowardly warrior. Barry Eitel declared the production an “uncommon delight” and a “triumph,” a love letter to the theater. (our review)

     
Killer Joe - Profiles Theatre
Killer Joe 

Profiles Theatre (Jan 2010)
Written by
Tracy Letts
directed by Rick Snyder
our review

Profiles Theatre pushed the envelope with Tracy Lett’s early play and gave audiences a sly, close, depraved and dangerous ride. Rick Snyder’s direction never stinted on its desolate Texas trailer-trash realism or let up on the work’s unrelenting dark humor and looming tension. Darrel Cox gave a killer performance as Killer Joe Cooper, hired by Chris (Kevin Bigley) to kill his birth mother for insurance money in order to pay off his debt to a drug dealer. Keith Ecker notes Cox’s facility to go “from southern gent to cold-blooded killer . . . all that much more shocking when Joe tosses aside his southern hospitality to reveal the psychopath that lies beneath.” Catey Sullivan observed that Profiles’ production was not for the faint of heart, yet its “blood-drenched, innocence-murdered gallows” humor in Snyder’s hands was “a thrilling piece of theater.” (our review)

   
Liz Hoffman in Last Night of Ballyhoo
The Last Night of Ballyhoo 

Project 891 Theatre (Nov 2010)
By Alfred Uhry
Directed by
Jason W. Rost
our review 

Project 891 created an intimate and emotionally mature depiction of a Jewish family of the American South right on the cusp of World War II and the Holocaust. Sort of fitting in, but not quite, informed by the culture surrounding them, yet set apart, director Jason W. Rost gently unraveled this family’s issues around identity, belonging and success at the Gunther Mansion (now known as the North Lakeside Cultural Center). Darrelyn Marx dominated as the matriarch Boo and Liz Hoffman generated much sympathy as her awkward daughter Lala. Winning and balanced performances from Sarah Latin-Kasper, Jason Kellerman, Lori Grupp, Larry Garner and Austin Oie rounded out the cast. (our review)

 

   
memory-backstage-theatre-photo-by-heath-hays
Memory 

BackStage Theatre  (Nov 2010)
Written and
Jonathan Lichtenstein
Directed by Matthew Reeder
our review  |  photo album

Director Matthew Reeder and cast evolved rich, enmeshed and powerful emotional journeys, from rehearsal process to fully realized production, from a woman’s struggle to tell the complete story of her traumatic survival of the Holocaust to a Palestinian’s story about his embattled and complex relationship with an Israeli soldier. Says Allegra Gallian of the Backstage Theatre’s production, “The stage chemistry is genuine and emanates throughout the space . . . performances grow to become so emotionally charged that they grab hold of the audience, captivating us so it’s impossible to look away as the ensemble digs down to the deepest point of authentic emotion.” (our review)

 

   
Mimesophobia - Theatre Seven - Carlos Murillo
Mimesophobia 

Theatre Seven (March 2010)
Written by
Carlos Murillo
Directed by
Margot Bordelon 
our review 

Theatre Seven’s production crowned a season full of excellent deconstructive theatrical storytelling. Margot Bordelon’s driven and well-paced direction expertly juggled three storylines regarding the mysterious murder of a woman. Oliver Sava noted the savvy Brechtian distancing wrought by the intelligent cast and the emotional immediacy supplied by Cassy Sander’s performance. “Sanders brings vulnerability . . . her scenes are the most visceral of the production . . . Mimesophobia is a huge success for the young company and one of the more refreshing plays to land this season.” (our review)

 

   
My Brothers Keeper - Black Ensemble Theatre
My Brother’s Keeper 

Black Ensemble Theater  (March 2010)
Written by
Rubin D. Echoles 
Directed by
Jackie Taylor  
our review  |  photo album

Though light on storytelling, Black Ensemble Theatre’s recreation of the dancing career of the uber-talented Nicholas Brothers was as close to seeing the originals as audiences are bound to get. Jackie Taylor directed an exuberant production overflowing with swinging musical finesse and huge dancing talent. Rashawn Thompson and Rubin Echoles played Fayard and Harold Nicholas to Thomas “Tom Tom 84” Washington’s musical arrangements and Echoles’ choreography. Donald Barnes and Dawn Bless warmly rounded out the tale as the boys’ vaudeville-bound parents; Michael Bartlett and Rhonda Preston added showbiz flare and power as Bill “Bojangles” Robinson and Big Maybelle. All in all, the cast excelled in reviving the joy of pure, solid entertainment. (our review)

 

   
Speed-the-Plow by David Mamet - American Theater Company
Oleanna / Speed-the-Plow

American Theater Company (Sept 2010)
Written by David Mamet  
Directed by
Rick Snyder  
our review

American Theater Company scored big with two searing, back-to-back productions of David Mamet. Director Rick Snyder had a field day building a war between a student and professor over a slight, but fatal, misstep versus a showdown between big commercial movie business and art. Darrell W. Cox expertly worked his range between playing a slick, cut-throat producer in one and a smug, self-compromised liberal arts professor in the other. The difference between the two Mamet works may have been Nicole Lowrance’s sympathetic portrayal of Carol in Oleanna, which rang more truthful and well timed than her turn as Karen in Speed the Plow. All the same, Lance Baker oozed fierce sleazebag perfection in his role as Charlie Fox, bringing Plow to a devastating end. (our reviews here and here)

 

   
A Parallelogram by Bruce Norris - at Steppenwolf Theatre
A Parallelogram 

Steppenwolf Theatre (July 2010)
Written by
Bruce Norris
Directed by
Anna D. Shapiro
our review 

Written by Bruce Norris—a Steppenwolf regular whose other works include We All Went Down to Amsterdam and The Pain and the Itch, among others—the play tells the tale of Bee (Kate Arrington), a woman who was the other woman to Jay (Tom Irwin) before he left his wife for her. They live in an unremarkable home with a pool and a backyard, which is cared for by JJ (Tim Bickel), the friendly Guatemalan landscaper. With this production it’s clear that Director Anna Shapiro knew this material well. She came at the heady story with a comedic eye, which relieved the pretension that could so easily have sunk the play. Said our own Keith Ecker: “If you only see one play this year, see (this play).…the set design by Todd Rosenthal is amazing. …Parallelogram has one of the most eye-popping set transitions I have ever seen.”  (our review)

 

     
Ragtime - Drury Lane Oakbrook
Ragtime
 

Drury Lane Theatre (April 2010)
Book by Terrance McNally
Music/Lyrics by
Flaherty and Ahrens 
Directed by Rachel Rockwell
our review  |  photo album

Other productions have lost focus and been crushed under the multiple layers and storylines of this musical adaptation of E. L. Doctorow’s novel. Yet, Drury Lane, under Rachel Rockwell’s knowing direction, succeeded in taking its panoramic 19th century sweep and transforming it into a work that truly earns the word “epic.”  Brilliantly cast with Quentin Earl Darrington, Valisia LeKae, Cory Goodrich and Mark David Kaplan, Ragtime’s spare and fluid set design was offset by Santo Loquasto’s lush costuming for the strongest visual impact. John Beer of TimeOut Chicago recognized “this Ragtime yields a snapshot of a nation recognizably our own: dynamic, idealistic and terminally haunted by bigotry and fear.”  (our review)

 

   
Scorched by Wajdi Mouawad - Silk Road Theatre Project Scorched 

Silk Road Theatre Project  (Oct 2010)
Written by
Wajdi Mouawad  
Translated by Linda Gaboriau
Directed by Dale Heinen   
our review 

Silk Road Theatre Project breathed life into a contemporary yet timeless tale of war, poverty, age-old gender inequities, lost family threads, and finding a restored sense of self out of the ashes. Dale Heinen’s direction brought all the suspense of a mystery thriller without sacrificing the emotional weight that gave the play the quality of a Classical Greek Tragedy or a war story out of Bible. Three actresses, Rinska M. Carrasco, Carolyn Hoerdemann and Diana Simonzadeh, convincingly played Nawal, the Middle Eastern mother who mysteriously stops speaking 5 years before her death and posthumously sends her twin children on a quest to find their father and brother. Adam Poss was riveting as Nihad—the pop music and celebrity obsessed jihadi sniper who becomes inextricably linked with their lives. The sterling production of this new work announced Wajdi Mouawad as a playwright to watch. (our review)

 

      
anton-chekhov-the-seagull-01-goodman-theatre-photo-by-liz-lauren
The Seagull

Goodman Theatre  (Oct 2010)
Written by Anton Chekhov
directed by Robert Falls
our review  photo album

Director Robert Falls wowed audiences with a simple, almost ascetic, presentation of Anton Chekhov’s sprawling tale of a dysfunctional theater family. Mary Shen Barnidge of Windy City Times noted that the production demanded much from both performers and audience but “The experience is well worth the effort . . . with intimacy generated by this Spartan approach illuminating the smallest secrets hidden beneath the surface of the most self-effacing personalities.” Our own Catey Sullivan raved, “Falls and his rock star cast have captured the emotional truth in Chekhov’s text with a power and glory that makes the piece fly by . . . When even the ‘bit’ roles are this rich, you know you have an ensemble of extraordinary power.” (our review)

 

   
Side Man at Metroplis Arts
Side Man 

Metropolis Performing Arts Centre (March 2010)
Written by
Warren Leight
Directed by Lauren Rawitz  
our review  |  photo album

Warren Leight’s Tony Award-winning play was no maudlin sulkfest on the downward spiraling fortunes of jazz musicians tending to a diminishing art. If anything, director Lauren Rawitz followed the play’s emphasis on strong individual characterization and an unsentimental view of the unstable nature of artistic life. The tough, moxie and cohesive cast captured Leight’s humorous and gritty take on the lives of jazzmen and the women who love them. Michael B. Woods gave an especially stellar performance as Jonesy and Ryan Hallahan’s wry Clifford grounded the show as its narrator. Dustin Efrid’s neon set design gave the production the just the right touch of bluesy feel. (our review)

 

   
Strawdog Theatre - State of the Union
State of the Union 

Strawdog Theatre (October 2010)
Written by
Russel Crouse and Howard Lindsay
Directed by
Geoff Button
our review 

For a political play to matter much, it must prove its relevance beyond its genesis. These dramas must rise above the particulars of their time-sensitive plots and reveal to us a greater truth, something about the human condition or the faults of our society.State of the Union, the 1946 Pulitzer Prize-winning comedy, is an example of this brilliant kind of evergreen political theatre, especially as its tale of political gaming and pandering is as true today as it ever was then. Infused with the talent of the Strawdog Theatre Company, this work managed to not only serve as editorial but as a charmingly funny piece of theatre.  Geoff Button’s direction was commendable, especially given the sheer number of entrances and exits he had to manage throughout the play. (our review)

     
streetcar named desire - tennessee williams - writers theatre
A Streetcar Named Desire
 

Writers’ Theatre (May 2010)
Written by
Tennessee Williams
Directed by David Cromer
our review 

David Cromer’s direction injected vitality and vivid perspective into Writers’ production of this sultry Williams classic. Barry Eitel remarked, “Instead of hashing out a bland carbon copy, Cromer finds all kinds of unique tricks in Tennessee’s text but . . . he maintains a sacred reverence for Williams and his blistering story . . . his Streetcar is a searing as July in the French Quarter.”  Matt Hawkins, Natasha Lowe and Stacy Stoltz carved new and original ground as Stanley, Blanche and Stella and Collette Pollard’s scenic design put the audience right in their squalid New Orleans apartment. Kerry Reid of the Chicago Reader wrote that Writers’ production “tears away at the Spanish moss of sentimentality that sometimes shrouds this play and lays bare our tragic flaws, both as individuals and as a people . . .”  (our review)

 

   
Tad in the 5th City - MPAACT Chicago
Tad in the 5th City 

MPAACT  (May 2010) 
Directed and Adapted by
Carla Stillwell  
From the poetry of
Orron Kenyatta
our review 

MPAACT gave Chicago a visceral shot in the arm with its world premiere adaptation about the aftermath of the 1968 riots that burned the West side of Chicago. Our K. D. Hopkins praises the outstanding cast that poetically depicts the community that survived in the ashes. “The magnificent Andre Teamer plays Uncle Brotha with the desperation and hope of a man watching his neighborhood swirl down the sewer . . . David Goodloe is new to America . . . His portrayal of James is like an exposed nerve . . . Destin L. Teamer . . . son of Andre Teamer . . . is an adorable and handsome young man in the 5th grade and yet he turns in a performance of a seasoned veteran . . . his portrayal is savvy and heartbreaking . . . MPAACT has produced yet another honest and powerhouse addition to the Chicago theater scene.” (our review)

 

   
The Tallest Man at Artistic Home
The Tallest Man 

The Artistic Home  (June 2010)
Written by
Jim Lynch 
Directed by
John Mossman  
our review

The Artistic Home evoked intense cultural accuracy and emotional veracity with their rendering of Jim Lynch’s turn-of-the-century Irish township, where people scramble for survival under British rule, the memory of the Potato Famine a lurking shadow of the recent past. A consummate ensemble effort by the cast brought out the best in Jim Lynch’s script. K. D. Hopkins writes, “The language is coarse and the action naturalistic. There is blood, sweat, spit and lust in every scene both implied or seen. John Mossman directs this production seamlessly . . .” (our review)

   
To Master The Art - Timeline Theatre Chicago
To Master the Art 

Timeline Theatre (Nov 2010)
Written by William Brown and Doug Frew
Directed by William Brown
our review

Timeline’s first commissioned play was a “masterful, multilayered experience that excites all the senses,” said Leah Zeldes. The production gently folded in Cold War obsessions about Communism with Julia Child’s discovery of French cuisine and her efforts to compose and publish her groundbreaking cookbook. (our review) Karen James Woditsch, Craig Spidle, Terry Hamilton, Jeannie Affelder and Ann Wakefield led the superbly balanced ensemble cast. William Brown’s staging was “impeccable” around scenic designer Keith Pitts’ charming Parisian kitchen.  (our review)

   
Cassy Sanders, Brian Stojak and Dan McArdle in Water Engine - Theatre Seven
The Water Engine: An American Fable 

Theatre Seven  (Nov 2010)
Written by
David Mamet 
Directed by
Brian Golden  
our review  photo album

Theatre Seven took on a feat of virtuosity when they mounted this play-within-a-radio-play, with 10 actors taking on 40 roles, in a exploration of a Depression Era inventor’s quest to implement his creation, an engine that runs on pure water. The cast impressed with its uncommon professionalism, working together “like a well-oiled machine,” and Director Brian Golden “effectively blends radio-style performance with more animated action in imaginative ways.” Leah A. Zeldes called the production “beautifully nuanced” and while Mamet’s plot “is stridently black and white, it’s also edge-of-the-seat suspenseful . . .” (our review)

   
Tracy Letts and Amy Morton in Virginia Woolf - Steppenwolf Theatre
Who’s Afraid of Virginia Woolf
 

Steppenwolf Theatre (Dec 2010)
Written by Edward Albee
Directed by Pam McKinnon
our review

Steppenwolf rounded out their year with a tightly drawn, tensely wound portrait of America’s favorite warring couple, George and Martha. Pam McKinnon’s direction insisted on greater naturalism, with Tracy Letts’ consummate performance as George taking on subtler shades of calculation and sadism, while Amy Morton’s Martha was distinctly more understated and vulnerable. (See our review here.) Madison Dirks’ Nick charmed as a budding player who gets played and Carrie Coon’s Honey almost stole the show with her emblematic mixture of goofiness and pathos. Kris Vire of TimeOut Chicago recognizes that MacKinnon’s direction “hugs curves in a way one suspects wouldn’t be possible without the firm rapport between Morton and Letts.” A marriage made in hell for the characters–but a marriage made in heaven for Chicago audiences.  (our review)

All summaries written by Paige Listerud.

     
     

REVIEW: Being Harold Pinter (Belarus Free Theatre)

  
  

Fiercely good.

  
  

Yana Rusakevich, Yana Rusakevich and Aleh Sidorchyk of Belarus Free Theatre - 'Being Harold Pinter' at Goodman Theatre. Photo by Liz Lauren

  
Belarus Free Theatre presents
  
Being Harold Pinter
  
Adapted and Directed by Vladimir Scherban
at
Goodman / Chicago Shakes / Northwestern Univ
through Feb 20  |  tickets: $20  | 
more info

Performance Schedule

     

January 27-29
Goodman Theatre

Feb 4-6, 11-13
Northwestern University

Feb 17-20
Chicago Shakes Upstairs


Reviewed by Paige Listerud

Somehow, in the midst of bleak Chicago winter, a spirit of rebellion has startled the Chicago theater community from its near-hibernation complacency. Yet, I shouldn’t say “somehow.” The Goodman Theatre, Chicago Shakespeare Theatre, the League of Chicago Theatres and Northwestern University have joined forces to shepherd that spirit of rebellion here from New York City’s Under the Radar Festival. But the originators, the guardians of that spirit, the theater company for whom political drama is very definitely NOT an intellectual exercise, the Belarus Free Theatre, has arrived and they have spiked a reawakening to the impact of art speaking truth to power.

'Being Harold Pinter', adapted and directed by Vladimir Scherban of the Belarus Free Theatre.Since BFT has only just eluded the iron grasp of the Belarusian government to come to these shores and, since its founding in 2005, nearly every one of the company has been subjected to imprisonment and/or police harassment due to their “peaceful political and theatrical activities,” they are sure to be the darlings for many Americans in a self-congratulatory mood about the blessings of our democracy and its First Amendment protections compared to Belarus under Alexander Lukashenko. To be sure, for the moment, the US is not quite in dire straits equal to the citizens of Belarus–but two years into Obama’s administration neither do we stand on the moral high ground we once occupied. Bradley Manning endures solitary confinement without trial or sentence; within Chicago and Minneapolis the FBI invaded the homes of anti-war activists.

Thus, what a thoughtful and delicate balancing act the Belarus Free Theatre performs for our delectation. It’s not enough to acknowledge how skillfully they interweave notable sections of Pinter’s plays with the direct, eyewitness accounts of the torture and political persecution of Belarus’ citizens. Rather, Being Harold Pinter sits first and foremost upon the foundation of Harold Pinter’s 2005 Nobel Prize acceptance speech—a speech that excoriates the United States for its illegal invasion of Iraq, its maintenance of Gitmo and its Cold War manipulations in Central and South America.

But most of that is left out of director Vladimir Scherban’s adaptation. Perhaps it is because they are our guests but, more likely, Being Harold Pinter is neither crude agitprop nor is it a collage of Pinter’s words and selected scenes. Scherban takes very seriously Pinter’s view on the role of the artist and the role of the citizen, a discourse that frames every scene yet shift-shapes with each dramatic moment. Perhaps more powerfully than anything else, through Pinter’s own inquiries into the nature of truth, coupled with scenes of interrogation pulled from his plays Ashes to Ashes, Old Times, The Homecoming, One for the Road, The New World Order and Mountain Language, Sherban and his seeringly consummate cast unveil Pinter himself as a Grand Inquisitor in his own way.

     
Yana Rusakevich and Aleh Sidorchyk in Belarus Free Theatre's 'Being Harold Pinter'. Photo by Liz Lauren. Maryna Yurevich, Pavel Haradnitski and Aleh Sidorchyk in Belarus Free Theatre's 'Being Harold Pinter'. Photo by Liz Lauren.
Nikolai Khalezin, Maryna Yurevich and Yana Rusakevich in Belarus Free Theatre's 'Being Harold Pinter'. Photo by Liz Lauren. Maryna Yurevich, Yana Rusakevich, Nikolai Khalezin in Belarus Free Theatre's 'Being Harold Pinter'. Photo by Liz Lauren.

As for execution, they are fiercely good. Using minimal props loaded with significance, the cast tosses off Pinter’s dialogue and glides through scenes I’ve witnessed actors in this town clod-hop their way through. That the Belarus Free Theatre would engage Pinter’s sadomasochistic power plays as a reflection on what they endure from their own prevailing KGB seems like a no-brainer. But what they also reveal is Pinter’s mind going through its own non-stop interrogation. That is the diamond to be found in the middle of all the suffering, degradation and carnage. What they depict of Pinter is a soul in unrelenting pursuit of what is true and the dangerous struggle to present that truth and render it in a way from which audiences cannot escape. Finally, they ground Pinter’s drama with real life accounts from the tortured of their country. The BFT plays for keeps and they should not be missed.

As for their future, the Belarus Free Theatre is still a band on the run. According to Roche Schulfer, The Goodman Theatre’s Executive Director, their visas were set to expire close to the end of the New York festival but so long as they could find more gigs to perform, they would not have to return to Belarus, where they would surely meet with more persecution. Their manager is currently in Washington D.C., consulting with the Secretary of State’s office about asylum. Meanwhile, they’ve booked more performances in Hong Kong and London after Chicago.

By the way, here’s another small Chicago connection: in 2005 the BFT produced a play by Sarah Kane, 4.48 Psychosis, which is currently enjoying a remount during Curious Theatre Branch’s 22nd Annual Rhinoceros Festival. Their production was banned in Belarus and they had to continue it underground.

   
  
Rating: ★★★½
      
  

Scene from Belarus Free Theatre's 'Being Harold Pinter'. Photo by Liz Lauren.

     
     

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