Review: The Last Saint on Sugar Hill (MPAACT)

     
     

A new modern tragedy classic is born

  
  

Chicago's award-winning theatre company MPAACT presents "The Last Saint on Sugar Hill" by Keith Josef Adkins.

  
MPAACT presents
  
  
The Last Saint on Sugar Hill
   
Written by Keith Josef Adkins
Directed by Carla Stillwell
at Greenhouse Theater Center, 2257 N. Lincoln (map)
through June 12th  |  tickets: $23  |  more info

Reviewed by K.D. Hopkins

It is a privilege to see new theater works from the outset. MPAACT’s production of The Last Saint on Sugar Hill is one of those rare privileged moments in time. This is destined to be a classic written by Keith Josef Adkins and directed by Carla Stillwell – Resident Director of MPAACT. Adkins opens the hot button issue of gentrification and those who profit from it for examination of motives and consequences.

The Pedigrew family lives a comfortable life in what remains of hardscrabble Harlem. The residence of former President Clinton, gourmet coffee, and wine shops threaten to change the landscape and remove the people who know no other home.

In a stunningly visceral performance, journeyman actor Trinity Murdock potrays the character of Napoleon Pedigrew, who presides over the last of the Harlem buildings gone to seed. I have seen Murdock in several roles on Chicago stages and he can be depended upon to play the neighborhood good guy or singing griot.

Chicago's award-winning theatre company MPAACT presents "The Last Saint on Sugar Hill" by Keith Josef Adkins. Chicago's award-winning theatre company MPAACT presents "The Last Saint on Sugar Hill" by Keith Josef Adkins. The role of Napoleon Pedigrew is rooted in ancient traditional tragedy and 20th Century social unrest. Playwright Adkins has carefully crafted a non-stereotypical role in Napoleon. I say that because it is an unflinching and honest look at what has been unspoken on the mainstream stage. Mr. Murdock presents a sociopath whose interests and wealth are literally ripped from the bodies and souls of those who are unfortunate enough to inhabit his buildings or contain his DNA.

The language is street raw and dismissive of political or societal correctness. There is no "N" word- it is nigger said with ferocity. At first, the rap that flows from Napoleon is pithy and comedic in the folksy style of that favorite or feared drunk relative. It is funny in the style of Richard Pryor performing for a Black audience. As the play barrels forward like a bullet, Napoleon Pedigrew’s words take on a frightening tilt. Here is a man who felt the spike of poverty and the chokehold of the underclass so keenly that his conscience snapped. Trinity Murdock plays this character laid bare and full of angry hubris. Napoleon brags of his knowledge from snippets of PBS to which he donates to give him the cache of current education. It is a bravura performance.

Napoleon Pedigrew’s sons are the vehicles for his parasitic real estate empire and the victims of his stranglehold on their memories. Mateo Smith plays the role of eldest son Dexter Pedigrew. Dexter was a promising med student who has been drawn into his father’s world of cracking heads for rent and unscrupulous methods to hide cheap or dangerous repairs. Mr. Smith gives a nuanced and heartbreaking performance as a man who wants to please his father and somehow be of service to the neighborhood that is crumbling under his feet. Napoleon tells Dexter that he is a thug and it would be a waste of his talent to be a doctor.

Dexter’s childhood holds a traumatic event that pressed his humanity to the side at his father’s behest. Napoleon tells his son, "Thinking is for thinkers and you are a thug down to the bone." He pounds the thought into Dexter’s head that boxing is the greatest form of capitalism and one of the fringe benefits of his daddy’s sperm. Smith subtly recoils at each of the jabs from the father character. Each jolt builds in a slow and controlled simmer that is on an equally frightening steady boil at the climax of the play.

The youngest son Z is played by David Goodloe. At first Z seems to play into his father’s world of debauchery. He reduces women to asses, thighs, and panties. Mr. Goodloe is at first funny as the tail-chasing stud playing with his daddy’s money. His father has him under the control of the promise of being comfortable no matter what happens in the neighborhood. Z gleefully hits happy hour at the new fancy cigar bar to see how much sex he can rack up. It’s sad to know that his youth has been wasted on violence and sex as an education. Napoleon encourages the hedonism in misplaced elevation of how he can rule the world with money.

Goodloe’s performance evolves into a man discontented with what his life has become. His realization comes as a sudden jolt after the father is fully revealed as a monster. Goodloe fleshes out the Pedigrew dysfunction by playing an unwitting victim who was never taught to be a fully evolved and involved man. The cast is rounded out by Terry Francois and Sati Word in perfectly crafted motif roles that fill in the story. Mr. Francois plays a homeless man who becomes the living conscience for Dexter. It is a beautiful performance that never becomes maudlin. Sati Word is another MPAACT ensemble regular that I last saw in the highly-recommended Tad in the 5th City (my review). He plays medical resident Joseph who reminds Dexter of his potential and responsibility to himself and his community. He represents another facet of Dexter’s conscience. Mr. Word is an engaging presence that I would love to see in a showcased role.

It should be noted that opening night was full of local actors and friends of the cast. I found it unsettling that they kept laughing long after it became obvious that Napoleon Pedigrew believed all of his egotistical folksy ravings. He meant that he would cut the heads off of his children if it would get him what he wanted. I felt great sorrow when Napoleon stated," America is trying to kill us Black men. We are an endangered species scrambling for our own crumbs. The only way to stop the watchful eye of The Man is to sit on a throne of cash!" Like any great art, there is painful or recognizable truth contained in the words, notes, or brushstrokes. It seems as if they have not seen much of the life they portray on the stage and I felt that it was very disrespectful of their fellow actors.

This show is something that should be put on your viewing schedule. It is entertaining but also a telling social commentary about how business gets done in America. Bernie Madoff and Donald Trump are just the tip of a very dirty iceberg. Also, Trinity Murdock’s performance is not to be missed. Bravo!

     
    
Rating: ★★★★
   
   

Chicago's award-winning theatre company MPAACT presents "The Last Saint on Sugar Hill" by Keith Josef Adkins.

MPAACT’s The Last Saint on Sugar Hill continues through June 12th at Chicago’s Greenhouse Theater Center (2257 N. Clark), with performances Thursdays through Saturdays at 8pm, Sundays at 3pm.  Tickets are $23, and can be purchased from the MPAACT website.

  
  

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Review: Ghosts of Atwood (MPAACT)

     
     

Exorcising the past without reconciliation

 

  
     

  
MPAACT presents
  
Ghosts of Atwood
  
Written by Shepsu Aahku
Directed by
Andrea J. Dymond
at
Greenhouse Theater Center, 2257 N. Lincoln (map)
through Feb 27  |  tickets: $21-$23  |  more info

Reviewed by K.D. Hopkins

Ghosts of Atwood has a fascinating and voyeuristic premise – a chance to see behind the walls of a midwestern boys military school. The fascination comes from the fact that the narrator is a still-traumatized Black man looking back thirty or so years. He comes from a past of being only one of the few allowed in the White world. It was supposed to be a privilege and an honor to assimilate and pave the way for others to follow.

As suspected, the grass is not green in the verdant woods of Wisconsin for toy soldier Quinn. MPAACT playwright-in-residence Shepsu Aahku is the author of Ghosts of Atwood.  His work is a memoir of his own time in military school back in the 1970’s and, according to Aahku, sometimes memory cannot be trusted. It turns out that this is a rationalization fed to impressionable children to mask the horrors inflicted upon them. What is the truth? Who is your brother when it hits the fan?

Quinn is dropped off at Atwood while his still loving mother gets her life in order. He comes from a supportive family that wants him to have a good life, the kind of life advertised in the Sunday supplement magazine.

Quinn is brutally hazed by cadet Moose and his posse on his first day at Atwood. Zack Shornick is brilliant as the abusive and abandoned Moose. He blends fear, anger, and atavism in an explosive performance.

Equally brilliant is Corey Spruill as cadet Whitehead – the only other black kid at Atwood. Spruill quiet performance simmers and then boils over in a seething climax that breaks the heart from the shame of recognition. Whitehead has been at Atwood for seven years and doesn’t classify himself as anything other than a soldier. The moment that he allows vulnerability, the shell breaks completely.

Aahku’s structure for  Ghosts of Atwood is pretty straightforward. But in an effort to distinguish this work from similar stories like “Lord of the Flies” or “Taps”, he adds an esoteric quality to the ‘ghosts’. Imaging horrific abuse as a monster under the bed drives the fact that the cadets are really children. 

   

The ghost causes one child, Bobby, to be a chronic bed wetter at the mercy of Moose and the other boys. Jack Miggins is heartbreaking as Bobby, who should be playing baseball but is Moose’s unfortunate ‘bitch’. His breakdown recalls the demise of Billy Bibbit in One Flew Over The Cuckoo’s Nest.

The grownups in Ghosts of Atwood are stock military characters. The role of Hammer (Dan Loftus) is a disciplinarian handing out demerits for dirty dress whites and a paddling for unruly behavior. Loftus projects a martial image of paternal firmness. Niall McGinty plays the jolly wilderness guide Major Taggert. His folksy Mayberry demeanor adds a jolt to his character being revealed as a malevolent force.

Wardell Julius Clark plays the lead role of cadet Quinn. His character is seen as a teenager and then as an adult decades later still haunted by Atwood. Clark’s performance comes off as strangely tight and stiff even in light of his character’s memories. It’s given that Quinn is well spoken and in a military milieu but it doesn’t jibe with the more naturalistic method of the rest of the cast.

Actors James Holbrook and Jack Moore give excellent performances as boys who’ have molded into military life. Mr. Moore is chilling and funny as the perfect Drill Captain whose uniform is full of braids and medals. Mr. Holbrook also fits the military image as well. His character Waddelow is the cadet who gets to log in the demerits and inflict abuse unpunished for the most part. He has mastered the smug sneer and is physically menacing, which is perfect for the role.

I would be remiss to not mention the glorious Trinity P. Murdock as Nesta the Rastafarian griot/singer. He is a sort of Greek Chorus underscoring the present day Quinn’s post- traumatic memories and the means by which Whitehead coped with Atwood in the past. Whitehead believes in the Rastafarian idea of justice and resistance through Jah and sacramental spliffs. It is lost on naïve Quinn but remains a constant song in his adult memory through Nesta.

Ghosts of Atwood is designed well. The imaging of the ghost as an undulating black mist gives one the chills and provides for an appropriate visual metaphor of a child’s nightmare memories. The sparse dormitory and wood footlockers give an authentic old boarding school feel to the set.

I give kudos to the cast and Drill Team Choreographer Demetria Thomas for precision worthy of competition. Also, a special mention is given to Kevin Douglas for excellent fight choreography. These scenes are brutal and have to be precise and authentic to have the intended impact.

This is a production that should be on your list of shows to see this month. Ghosts of Atwood is a chilling and authentic exploration of the truth that society is not willing to remember. With resident director Andrea J. Dymond doing an exemplary job shaping and pacing the show,  Ghosts is a powerful indictment of what authority is willing to ignore or deny under the guise of ivy-covered utopias at the expense of the future.

  
  
Rating: ★★★½
  
  

Ghost of Atwood runs Thursdays through Saturdays at 8:00pm and Sundays at 3:00pm until February 27th. The Greenhouse Theatre Center is located 2257 N. Lincoln Avenue. Call 773-404-7336 for box office information or check out the website www.mpaact.org

   
  

Theater Thursday: Ghosts of Atwood – MPAACT

  
  

Theater Thursday: January 20th

   
   
Ghosts of Atwood
  
by Shepsu Aakhu
MPAACT at Greenhouse Theater Center
2257 N. Lincoln, Chicago (map)
   

ghostsofatwoodMeet the MPAACT family for a wine and cheese reception before the show and stay for a post-show discussion with the playwright, director and cast. Atwood School for Boys–an ivy covered paradise tucked away in the rolling hills of Wisconsin.  Quinn finds himself "alone with white people" for the first time in his life.  The challenges of isolation and racial tension greet him as he begins to navigate this new world.  But in the Ghost of Atwood, deeper questions erupt as Quinn discovers that there are far greater dangers lurching in the hallowed halls of the Academy.

Tickets: $25  /  Event begins at 7pm  /  Show begins at 8pm

For reservations call 773.404.7336 and mention MPAACT THEATER THURSDAYS.

  
  

REVIEW: Tad in the 5th City (MPAACT)

A burning reminder of days past

 

  
MPAACT presents
 
Tad in the 5th City
 
Directed and adapted by Carla Stillwell
Based on poetry by
Orron Kenyatta
at
Greenhouse Theater Center, 2257 N. Lincoln (map)
through June 13th  tickets: $23  |  more info

reviewed by K.D. Hopkins

I was eight years old when the West Side of Chicago went up in flames. My grandparents lived there and I visited them often. After the death of Dr. King and the riots, life changed for Black America and every pundit was asking why. Why would they burn their own neighborhoods? Why are they so angry? MPAACT Theatre presents life from the ashes of the riots with Tad in 5th City. It is a raw and painful look at how poverty, drugs, and the accompanying violence became systemic in Black families.

Tad in 5th City is adapted from the poetry of Orron Kenyatta by Carla Stillwell. Ms. Stillwell also directed this world premiere. The play takes us to ten years after the riots in the roach-infested apartment of the Brown family. Mama drinks from a liquor bottle like it’s water. Pappa Daddy is strung out on heroin. Older son James is feeling the pull of burgeoning thug life. Young Tad is an innocent born after the apocalypse on 29 blocks of Chicago. Life is happening to the Browns and they are struggling against an impossible tide of de facto segregation and new families formed by gangs.

Ms. Stillwell’s adaptation of Kenyatta’s poetry is fluid, retaining the angst of poet forebears such as Gil Scott Heron and The Last Poets. Life in the ghetto was not necessarily an episode of “Good Times” with stereotypically ‘strong Black women’ and errant Black men. The characters are represented realistically and with respect for the lives they chose no matter the path.

The griot of 5th City is the newspaper stand owner-Uncle Brotha. The magnificent Andre Teamer plays Uncle Brotha with the desperation and hope of a man watching his neighborhood swirl down the sewer. He knows that some people will be lost and he gives mentoring encouragement to those who can be saved. The entire neighborhood passes by his newsstand and he is the one positive constant in Tad’s life. Teamer’s body language seems weighted down and, indeed, his character carries a generation of burden. The anguish and tears that flow in the final scenes feel authentic in expressing loss, anger, and of having to speak the truth.

Sidney Miller plays the role of Mama. I have to say that it was a relief to see a Black female character as vulnerable instead of stoic and trembling in dignity all of the time. Ms. Miller’s Mama is a profane and wounded character. She sips from the liquor bottle as an anesthetic. Her person is pulled together one moment and disheveled the next. Yes, Mama is going it alone but there is scant pride or reward for her efforts.

Eddie Jordan III plays the role of Pappa Daddy, taking the difficult task of making an absentee addict father sympathetic. Pappa steals to hock items for the rent and to fill his veins with relief. He gets no respect at home and what love there was has long since left their marriage. Jordan powerfully projects the shame and self- loathing of addiction. This character is the proverbial invisible man until the police choose to see him. Drugs have obscured his pride and muted his drive to make any efforts at being the man of the house.

David Goodloe is new to America and the Chicago stage. His portrayal of James is like an exposed nerve. The usual portrayal is that young men want the easy life and money of drug dealing but the truth is often anything but easy. James’ family provides no role models. There is no dignity or power in the substandard education he is forced to endure. He chooses the most accessible route and gets a convoluted ‘brotherhood’ and status in peddling drugs.

Destin L. Teamer plays the central role of Tad. Young Destin Teamer is the son of Andre Teamer (Uncle Brotha), and this is his theatrical debut. What a debut it is! Destin is an adorable and handsome young man in the 5th grade and yet he turns in a performance of a seasoned veteran. His Tad is no adorable moppet watching the world in innocent wonder – his portrayal is savvy and heart breaking. Tad is a boy who likes to read the newspaper and draw comics, a huge deal in a neighborhood scarred by riots and decay. The character of Mama is profane in her version of love, telling him to ‘get his ass home by four’ and ‘get your ass to school’. Destin Teamer’s portrayal is unflinching and letter perfect. I give kudos on the possible beginnings of an acting dynasty.

Rounding out the cast are Sati Word and Shayla A. Jarvis. Mr. Word does triple duty as a drug dealer, a vicious pimp, and a hilarious preacher. My grandmother would refer to this Reverend as a ‘jacklegged’ preacher. Mr. Word spouts Biblical passages and platitudes at Uncle Brotha trying to bring him to his church. It is spot on how he pronounces God with three syllables. Mr. Word’s Reverend and Mr. Teamer’s Uncle Brotha have a magnificent sparring on the interpretation of the Bible, in particularly the Gospel of Matthew and Hebrews. They verbally circle each other in front of Tad in a climatic confrontation that sizzles with vitriol and anger. Mr. Word’s pimp starts out with the comic undertones of a 70’s television character. The tone darkens considerably when he calls the prostitute Miss Lady “bitch”.

Miss Lady is played by Shayla A. Jarvis. It is a searing performance and highlights the vulnerability in what has been perceived as a tough woman’s game. Ms. Jarvis tempers the comic possibilities of Miss Lady with her tenderness toward Tad and her respect for Uncle Brotha. Her character becomes the most sympathetic because she is not written as a drug addict. She works for the Pimp out of a need for love, protection, and approval. Hers is a story that has been analyzed for sociology studies and mined for fraternity pimps-and-ho’s parties, but Ms. Jarvis beautifully humanizes a woman on the lowest rung of a lower society.

Tad in 5th City tells a story that is unique to Chicago. Playwright Stillwell has lifted the cover off of a forgotten story. The city can tear down and gentrify the edifices in an attempt to obscure history but the wounds and vestiges are systemic. This story is a step toward confronting the past and healing it. Indeed the revolution will not be televised – the revolution will be live (with respect to G.S. Heron). MPAACT has produced yet another honest and powerhouse addition to the Chicago theatre scene. Tad In 5th City is not to be missed for those who love theatre and who love Chicago.

  
  
Rating: ★★★½
 

tadarticle

This is not a play for young children as there is incendiary language, violence, drug use, and frank sexuality.

The play runs Thursdays through Sundays from May 13th till June 13th at The Greenhouse Theatre Center, 2257 N. Lincoln Ave. Box Office 773-404-7336 or www.mpaact.org

 

 

       
     

Non-Equity Jeff Awards nominees announced

chicagoatnight

2010 Non-Equity Jeff Award Nominees

 

 

Production – Play
  Busman’s Honeymoon Lifeline Theatre (review ★★★)
Death of a Salesman Raven Theatre (review ★★★½)
Killer Joe Profiles Theatre (review ★★★½ )
The PillowmanRedtwist Theatre (review ★★★)
St. Crispin’s Day Strawdog Theatre Company (review ★★)
Wilson Wants It All The House Theatre of Chicago (review ★★★)

 

Production – Musical
  Chess  Theo Ubique Cabaret Theatre i/a/w Michael James (review ★★½)
Evolution/Creation  -   Quest Theatre Ensemble (review ★★★)
The Glorious Ones   Bohemian Theatre Ensemble (review ★★★)
The Who’s Tommy Circle Theatre 

 

Director – Play
  Aaron Todd Douglas: Twelve Angry Men Raven Theatre  (review ★★★)
Michael Menendian: Death of a SalesmanRaven Theatre (review ★★★½)
Michael Rohd: Wilson Wants It All House Theatre of Chicago (review ★★★)
Kimberly Senior: The PillowmanRedtwist Theatre (review ★★★)
Rick Snyder: – Killer Joe Profiles Theatre  (review ★★★½)

  

Director – Musical
  Fred Anzevino & Brenda Didier: Chess – Theo Ubique Theatre (review ★★½)
Jeffrey CassThe Who’s TommyCircle Theatre
Stephen M. Genovese: The Glorious Ones Boho Rep (review ★★★)
Andrew Park: Evolution/CreationQuest Theatre Ensemble  (review ★★★)

 

Ensemble
  The Glorious Ones Bohemian Theatre Ensemble (review ★★★)
Red Noses Strawdog Theatre Company
Twelve Angry Men
Raven Theatre  (review ★★★)
Under Milk Wood  Caffeine Theatre  (review ★★)

 

Actor in a Principal Role – Play
  Tony Bozzuto: On an Average DayBackStage Theatre Company 
Darrell W. Cox: Killer Joe
Profiles Theatre  (review ★★★½)
Andrew Jessop: The PillowmanRedtwist Theatre (review ★★★)
Peter Robel: I Am My Own Wife Bohemian Theatre  (review ★★★★)
Chuck Spencer: Death of a Salesman Raven Theatre  (review ★★★½)

 

Actor in a Principle Role – Musical
  Courtney Crouse: ChessTheo Ubique Cabaret Theatre  (review ★★½)
Tom McGunn: The Who’s Tommy Circle Theatre
Eric Damon SmithThe Glorious Ones
Bohemian Theatre (review ★★★)
Jeremy Trager: Chess Theo Ubique Cabaret Theatre   (review ★★½)

   

Actress in a Principle Role – Play
  Brenda BarrieMrs. CalibanLifeline Theatre  (review ★★★★)
LaNisa FrederickThe Gimmick Pegasus Players (review ★★)
Millicent HurleyLettice & Lovage Redtwist Theatre (review ★★★★)
Kendra Thulin: Harper Regan Steep Theatre  (review ★★½ )
Rebekah Ward-Hays: Aunt Dan and Lemon BackStage Theatre 

 

Actress in a Principle Role – Musical
  Danielle Brothers: Man of La Mancha Theo Ubique Theatre  (review ★★★)
Sarah Hayes: Man of La ManchaTheo Ubique Theatre   (review ★★★)
Maggie PortmanChess  Theo Ubique Cabaret Theatre  (review ★★½)

 

Actor in a Supporting Role – Play
  Chance Bone: Cooperstown Theatre Seven of Chicago  (review ★★)
Jason HuysmanDeath of a Salesman Raven Theatre (review ★★★½)
Edward KuffertThe CrucibleInfamous Commonwealth (review ★★★)
Peter Oyloe: The Pillowman Redtwist Theatre   (review ★★★)
Phil TimberlakeBusman’s Honeymoon Lifeline Theatre  (review ★★★)

 

Actor in a Supporting Role – Musical
  Eric Lindahl: The Who’s Tommy Circle Theatre
Steve Kimbrough:
Poseidon! An Upside Down Musical Hell in a Handbag
John B. LeenChess Theo Ubique Cabaret Theatre  (review ★★½)

 

Actress in a Supporting Role – Play
  Nancy Friedrich: The Crucible Infamous Commonwealth (review ★★★)
Vanessa Greenway: The Night SeasonVitalist Theatre i/a/w Premiere Theatre & Performance (review ★★★★)
Kelly Lynn HoganThe Night Season Vitalist Theatre i/a/w Premiere Theatre & Performance (review ★★★★)
Kristy Johnson: A Song for Coretta Eclipse Theatre  (review ★★)
Mary RedmonThe Analytical Engine  – Circle Theatre  (review ★★★)

 

Actress in a Supporting Role – Musical
  Kate GarassinoBombs Away!  – Bailiwick Repertory Theatre  
Danni Smith
The Glorious Ones  -   Bohemian Theatre (review ★★★)
Trista Smith: Poseidon! An Upside Down Musical  -  Hell in a Handbag
Dana Tretta
The Glorious Ones  Bohemian Theatre   (review ★★★)

 

New Work
  Aaron CarterFirst Words  MPAACT (review ★★★)
Ellen FaireyGraceland Profiles Theatre  (review ★★★)
Tommy Lee JohnstonAura  Redtwist Theatre
Andrew Park and Scott Lamps
Evolution/Creation  -   Quest Theatre Ensemble (review ★★★)
Michael Rohd & Phillip C. KlapperichWilson Wants It All  -  The House Theatre of Chicago  (review ★★★)

 

New Adaptation
  Bilal Dardai: The Man Who Was ThursdayNew Leaf Theatre  
Sean Graney:  –
Oedipus  The Hypocrites (review ★★★★)
Frances LimoncelliBusman’s Honeymoon Lifeline Theatre (review ★★★)
Frances Limoncelli:  – Mrs. Caliban  – Lifeline Theatre (review ★★★)
William Massolia: Little Brother  Griffin Theatre

 

Choreography
  Kevin BellieThe Who’s Tommy  Circle Theatre
Brenda Didier
Chess   Theo Ubique Cabaret Theatre (review ★★½)
James Brigitte DitmarsPoseidon! An Upside Down Musical  Hell in a Handbag Productions

 

Original Incidental Music
  Andrew Hansen: Treasure Island  -  Lifeline Theatre  (review ★★★½)
Kevin O’Donnell:   -  Wilson Wants It All  -   House Theatre   (review ★★★)
Trevor WatkinThe Black Duckling  -  Dream Theatre

 

Music Direction
  Ryan BrewsterChess  – Theo Ubique Cabaret Theatre (review ★★½)
Gary PowellEvolution/Creation  Quest Theatre   (review ★★★)
Nick SulaThe Glorious Ones  Bohemian Theatre   (review ★★★)

 

Scenic Design
  Tom BurchUncle Vanya Strawdog Theatre  (review ★★★)
Alan DonahueTreasure Island Lifeline Theatre (review ★★★½)
Heath HaysOn an Average Day  -   BackStage Theatre Company
Bob Knuth
The Analytical Engine  Circle Theatre (review ★★★)
Bob KnuthLittle Women  -   Circle Theatre (review ★★★)
John Zuiker:   I Am My Own Wife  -   Bohemian Theatre (review ★★★★)

 

Lighting Design
  Diane FairchildThe Gimmick  -  Pegasus Players (review ★★)
Kevin D. Gawley: Treasure Island Lifeline Theatre (review ★★★½)
Sean MallarySt. Crispin’s Day  – Strawdog Theatre Company (review ★★)
Jared B. MooreThe Man Who Was Thursday New Leaf Theatre
Katy PetersonI Am My Own Wife
Bohemian Theatre (review ★★★★)

 

Costume Design
  Theresa HamThe Glorious Ones  -  Bohemian Theatre  (review ★★★)
Branimira IvanovaTreasure Island  Lifeline Theatre (review ★★★½)
Joanna MelvilleSt. Crispin’s Day  -  Strawdog Theatre Company (review ★★) Jill Van BrusselThe Taming of the Shrew  Theo Ubique  (review  ★★★)
Elizabeth WislarThe Analytical Engine  – Circle Theatre (review ★★★)

 

Sound Design
  Mikhail FikselOedipus The Hypocrites (review ★★★★)
Michael GriggsWilson Wants It AllThe House Theatre (review ★★★)
Andrew HansenTreasure Island Lifeline Theatre  (review ★★★½)  
Joshua HorvathMrs. CalibanLifeline Theatre (review ★★★★)
Miles PolaskiMouse in a Jar Red Tape Theatre  (review ★★)

 

Artistic Specialization
  Kevin Bellie: Projection Design, The Who’s Tommy  -   Circle Theatre
Elise Kauzlaric: Dialect Coach, 
Busman’s Honeymoon  Lifeline Theatre (review ★★★)
Lucas Merino: Video Design, Wilson Wants It AllThe House Theatre of Chicago (review ★★★)
James T. Scott:  Puppets, Evolution/Creation Quest Theatre (review ★★★)

 

Fight Choreography
  Geoff Coates: On An Average Day  -  BackStage Theatre Company
Geoff Coates
Treasure Island  Lifeline Theatre   (review ★★★½)
Matt HawkinsSt. Crispin’s DayStrawdog Theatre Company (review ★★)
R & D ChoreographyKiller Joe  Profiles Theatre  (review ★★★½  )

 

More info at the Jeff Awards website.

   
   

REVIEW: First Words (MPAACT Theatre)

Illuminating "First Words"

 

Adian with blocks Distorted

MPAACT  presents:

First Words

 

by Aaron Carter
directed by Chuck Smith
through February 28th (more info)

Review by K.D. Hopkins

It may be incomprehensible for some to understand a parent’s pain and terror upon learning that something is not quite right with their child. It has been my experience in the African American community that disabilities were an insular subject. It was dealt with within the family and with the support of a tight knit neighborhood. There were no special schools or classes. It was often considered up to ‘the Lord’s will’ how someone with a disability coped in the world. MPAACT productions First Words is a lovingly crafted and honest look at autism and how a family dissolves under the pressures of reality and self-delusion.

Family Paul and Barbara are played as a normal and loving couple that has managed to coexist with their differences and the challenge of their autistic son Aiden. Paul carries religious wounds from a strict father and lives in fear of blasphemy lest he be punished. Andre Teamer plays the character of Paul. He projects a beautiful tension and frailty in his role as the father. Tina Marie Wright is a wonderful counterpoint as Barbara who is breaking under the strain of Aiden’s increasingly violent outbursts and no seeming way to get through to her son. Her performance is finely nuanced and subtle. Scott Baity Jr. plays the troubled and sometimes menacing Aiden with a coiled ferocity that was shocking and projected the helplessness of the autistic world.

The role of Diane, the facilitated communications expert, is played by Lauren Malara. Barbara’s character expects her to be an Ivy League White girl and is surprised when it is an Ivy League Black girl who walks in the door. Ms. Malara projects the epitome of fresh-faced enthusiasm. The character of Diane is an advocate of research and empirical evidence  – until she sees the flaws in her methods.

Chuck Smith, whose rendition of James Baldwin’s “Amen Corner” at the Goodman was brilliant, directs this play. It is everyday life in the African American community that has been for the most part remanded to literary interpretation. These are people that I have known and not a glossy film retelling for palatability’s sake. The direction is flowing and I loved the added dimension of the characters projected behind them as they spoke. It underscored what seems to be in an autistic person’s mind: so much stimuli and in so many forms that it cannot be sorted out to the point where a touch can be the breaking point.

The set dressing seems to have been taken from a home in Morgan or Maple Park on the south side of Chicago. The family pictures in color and sepia tone were a wonderful touch as was the glowing white Bible on its own shelf. Mr. Teamer is the props master for this production and I presume that his character of Paul fed into the prop selection.

Adian w light writer cropped Aaron Carter, the playwright for First Words, has an interesting lineage of Baptist preacher and Vaudeville according to his biography notes. He has taken the best of both and crafted a fine play. There is the high dudgeon of fiery Baptist preaching and the slight of hand in Vaudeville without falling into the grotesque. The most compelling scenes are between Ms. Wright and Mr. Baity. Barbara is driven to break the silence and she has nightmares in which Aiden speaks. It becomes the adage of be careful of what you ask for-surely you will get it.

There are no easy answers or resolution to the controversy of facilitated communication for autistic persons in First Words. It is a searing presentation of what happens to a family when faith is divided and trust is broken in pursuit of answers. It is about the perception of what the parental bond means to a God-fearing father and a self-professed heathen mother. The answers are locked inside Aiden’s head as well as his parent’s dreams. The final moment of the play drives the ‘not knowing’ home with one subtle gesture. This production is highly recommended

 

Rating: ★★★★

 

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First Words” runs Thursdays through Sundays January 28th through February 28th at The Greenhouse Theatre Center. 2257 N. Lincoln Avenue. The Box Office number is 773-404-7336. Parents take note: this play contains adult language and scenes of violence.

Shows Opening/Closing this week

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Show Openings

 

“Master Harold”…and the Boys

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The Alcyone Festival 2010 Halcyon Theatre

The Castle Oracle Theatre

Desperately Seeking Chemically Imbalanced Theater

Dreamgirls Cadillac Palace Theatre (Broadway in Chicago)

First Words Greenhouse Theater Center (MPAACT)

The Dames Storm Division New Millenium Theatre

Glitter in the Gutter Annoyance Theatre

Harper Regan Steep Theatre

Hughie/Krapp’s Last Tape Goodman Theatre

King of the Mountain Chemically Imbalanced Theater

Nighthawk Sandwich Storefront Theater (DCA Theatre)

Phedra New World Repertory Theatre

Real Bros of DuPage County Gorilla Tango Theatre

Savage in Limbo Village Players Performing Arts Center

Short Shakespeare! The Comedy of Errors Chicago Shakespeare

WHACK! Gorilla Tango Theatre

The Year of Magical Thinking Court Theatre 

 

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Show Closings

 

Annie Auditorium Theatre of Roosevelt University

The Capitol Steps North Shore Center for the Performing Arts

Cloud Gate Dance Theatre of Taiwan Dance Center of Columbia College

Give Us Monday Gorilla Tango Theatre

Icarus Lookingglass Theatre

Little Women Circle Theatre

Mamma Mia! Rosemont Theatre

Mark and Laura’s Couples Advice Christmas Special Gorilla Tango Theatre

 

Openings/Closings list courtesy of League of Chicago Theatres