REVIEW: Daredevils’ Hamlet (The Neo-Futurists)

 

“Jackass” Meets The Bard

 

 

Jay Torrence, John Pierson, Trevor Dawkins, Ryan Walters, Anthony Courser, Brennan Buhl - from Neo-Futurists' "Daredevil's Hamlet"

   
The Neo-Futurists present
  
Daredevils’ Hamlet
  
Written by Ryan Walters and ensemble
Directed by
Halena Kays
at
Neo-Futurarium, 5153 N. Ashland (map)
through September 25  |  tickets: $15  |  more info

reviewed by Lawrence Bommer

Only in culture centers like Chicago could there be a theater audience savvy enough to completely comprehend this show’s connections between Shakespeare and professional wrestling, the indecisive Hamlet’s crisis of confidence and the endangered masculinity of modern metrosexuals; the actors’ own neuroses and the Shakespearean characters they’re most drawn to. We deserve this show, if only because it won’t be lost on us.

Ryan Walters, from Neo-Futurists' "Daredevil's Hamlet" In 2005 Ryan Walters’ band of jumpsuited or strait-jacketed daredevils created their first edition of exuberant “jackassery.” But, intent on putting statements behind their stunts, five years later the quintet are riffing on “Hamlet,” using their cartwheels, tumbling, acrobatics, and hoop diving to illustrate the melancholy Dane’s identity crisis and adding their own autobiographical confessions to this absorbing “afterword.” (Each gets to answer questions about their dads, whether they would avenge their father’s murder by exterminating their uncle, and whether they are men of action or men of thought.)

The audience is warmed up as an interactive game of “Four-Square” opens the inquiry. It’s followed by various action-oriented depictions of scenes from the tragedy: Young Ryan Walters rides a tricycle as he attempts a small-scale Knievel-like jump across a wooden ramp. (The exact link to Hamlet escaped me here except that he was also reciting the “What a piece of work is man!” speech.) The graveyard scene is depicted with the performers naked in black light with tiny skulls lit up as codpieces over their privates. Ophelia’s drowning occurs in a real flower-strewn trough, a kind of life-size baptismal font. Though the fight between Hamlet and Laertes is reduced to overhyped WWF combat, the sword fight finale is performed exactly as written because, of course, the daredevils can’t overdo the original when it comes to exaggerated overkill.

John Pierson, from Neo-Futurists' "Daredevil's Hamlet"

These 100 minutes teem with fascinating connections where art deconstructs art and life imitates itself. Buhl, stretching a bit, compares Hamlet’s pursuit of justice with his own memories of “wild play” in a kiddie pool that got out of control. Anthony Courser prefers to portray an action figure like Robin Hood whose black-and-white status as a legend is preferable to Hamlet’s moral ambiguity. John Pierson describes the fasting and sacrifices he intends to make throughout the show’s run (including sex and modern food). Jay Torrence is fascinating by Horatio’s loyalty to Hamlet and depicts it with some homoerotic interaction with Walters. Finally, the show’s conceiver, Ryan Walters, playing the pseudo crazy, roller-skating Prince of Denmark, eloquently soliloquizes on the transience of life and its poignant surrogate, the theater, as he bends over an audience member who he intends to never forget. There’s even a brief interlude in which an unnamed actress enters as Gertrude to make a rather convincing defense of Hamlet’s much maligned mother.

It’s not the sometimes indulgent, hit-and-run skits that convince here; they’re clever distractions within a larger illustrated lecture. What wears you down and finally wins you over is the fascinating totality of this free-form action portrait of a play that’s as seemingly inexhaustible as the sun. “Hamlet” and Hamlet are everything we can project onto them and Daredevil’s Hamlet exposes us every bit as much as it illuminates a rather old script.

   
   
Rating: ★★★
  
  

Trevor Dawkins and Ryan Walters, from Neo Futurists' "Daredevil's Hamlet"

All photos by Candice Conner / Oomphotography

   

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Adventure Stage Chicago announces 2010-2011 Season

Adventure Stage Chicago

 

Adventure Stage Chicago Announces 2010-2011 Season

 

for Young Audiences

 

Adventure Stage Chicago (ASC) proudly announces their 2010-2011 season for young audiences, comprised of three thrilling plays making their Chicago debuts: a moving Holocaust drama, an action-packed magical adventure and a comedic physical theater event.


 

October 30 – Dec. 9, 2010

 

And a Child Shall Lead by Michael Slade

Directed by ASC Producing Artistic Director Tom Arvetis

Chicago Premiere!

     
  Thirty miles outside Prague lies the city of Terezin, a Nazi-described "Jewish ghetto" and makeshift way station for millions of people awaiting transfer to death camps. Amid such bleak surroundings, a group of courageous children create stories, music, poetry, drawings, plays, puppets, and even an underground newspaper to craft a dream world of hope and beauty in a place where neither exist. Incorporating actual poems and other writings recovered from Terezin after the war, this exquisite play explores the strength, optimism and extraordinary resilience at the core of the human spirit. Recommended for ages 11 and older.

Performance Schedule:

  • Previews: 10:30 a.m. Oct. 28 & 29
  • Weekends: 2:00 p.m. Oct. 30, Nov. 6, Nov. 13, Nov. 20 & Nov. 27 (Saturdays) and Nov. 14 & 28 (Sundays)
  • Weekdays: 10:30 a.m. Nov. 2, 4, 9, 16, 18, 23, 30 & Dec. 2, 7, 9
  • Evenings: 7:00 p.m. Friday, Nov. 26 only.

 

March 19 – April 16, 2011

Sinbad: The Untold Tale  by Charles Way

Directed by Amanda Delheimer

U.S. Premiere!

     
  Ittifaq, the pampered daughter of famed sailor Sinbad of the Seven Seas, bristles under her father’s overprotective care and longs for an adventure of her own. Young Sinbad, an orphaned porter, lives on the streets and relies on his clever wit to survive. The two meet by chance just before a bitter sorceress casts a poison cloud over the city of Baghdad. Rendered sick by the witch’s curse, the elder Sinbad bids his daughter and the porter to set sail in search of the poison’s antidote. On their quest, the unlikely duo form a reluctant bond as they encounter good and evil genies, daring swordfights, magic boats and flying carpets. But can Sinbad and Ittifaq defeat the sorceress in time, or will their beloved city be destroyed forever? Recommended for ages 9 and older.

Performance Schedule:

  • Previews: 10:30 a.m. March 17 & 18
  • Weekends: 2:00 p.m. March 19, March 26, April 2, April 9 & April 16 (Saturdays)
  • Weekdays: 10:30 a.m. March 22, 24, 29, 31 & April 5, 7, 8, 12, 14, 15
  • Evenings: 7:00 p.m. Friday, April 8 only.

 

 

May 3 – May 21, 2011

500 Clown Nose

  World Premiere!
 

Experience 500 Clown’s signature mix of high physicality, raw emotion and powerful storytelling with content accessible to an all-ages audience. In 500 CLOWN NOSE, three clowns stumble into a quagmire and soon find themselves jailed in a barren landscape. Their attempts at escape encompass slapstick mishaps, vaudevillian turns, clown acts and daring physical feats. Their desperate search for a way out relies on ingenuity and resilience. When they find the exit, freedom comes at the price of leaving the fun world they’ve created. Featuring 500 Clown founder Adrian Danzig with Timothy Heck and Lea Pascal.   

Performance Schedule:

  • Weekends: 2:00 p.m. & 7:00 p.m. May 7, 14, & 21 (Saturdays) and 7:00 p.m. May 6, 13 & 20 (Fridays)
  • Weekdays: 10:30 a.m. May 3, 5, 10, 11, 17 & 19

 

Tickets for all shows are $17.00 for adults, $12.00 children aged 14 and under, $10.00 previews and $8.00 school groups. Other group discounts available. Passport to Adventure subscriptions are available beginning in mid-September. For tickets or more information, call (773) 342-4141 or visit www.adventurestage.org.

All shows are performed at Vittum Theater, 1012 N. Noble St., in the heart of Chicago’s West Town neighborhood. Street parking is available, and the theater is close to the Noble St. stop on the #56 Milwaukee bus line and the Division stop on the CTA Blue Line. The theater is wheelchair accessible.

Each Adventure Stage Chicago production presents weekday performances primarily for school groups, as well as weekend matinees for the general public. Every performance includes a post-show audience talkback with the cast.

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Adventure Stage Chicago forms new artistic ensemble

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Adventure Stage Chicago announces new Artistic Ensemble

As Adventure Stage Chicago (ASC) prepares to end their sixth season with the Midwest premiere of the pirate musical The Ghosts of Treasure Island, ASC announces the formation of a new artistic ensemble.

The eleven-member ensemble is comprised of actors, designers, directors, stage managers, teaching artists and writers committed to achieving artistic excellence through long-term collaboration and the creation of original work. The ensemble will be directly involved in the proposal of new projects, script development, season selection and the production process. A number of ensemble members also work in classrooms as teaching artists, implementing the company’s Neighborhood Bridges program in Chicago Public Schools. Additionally, ensemble members will serve as ambassadors for the company within the community, playing their part during outreach events at libraries, park districts, neighborhood street festivals and celebrations.

The creation of the ensemble re-focuses the development of new and original work to come from within the company, creating dynamic and transformative theatre experiences by Chicagoans for youth and families of Chicago.

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ASC Ensemble Members:

 

Tom Arvetis
  Tom Arvetis is the founding Producing Artistic Director of Adventure Stage Chicago, where he has directed world premieres of Katrina: The Girl Who Wanted Her Name Back by Jason Tremblay, The Blue House by Jose Cruz Gonzalez, and I Dream in Blues, which he co-wrote with Chicago blues singer Katharine Davis. Additionally, he recently helmed a workshop reading of Dragon/Sky by Elizabeth Wong (Silk Road Theatre Project). Tom is an Emeritus Company Member with Barrel of Monkeys, has acted in award-winning productions with the Neo-Futurists, Bailiwick Repertory Company (now Bailiwick Chicago) and Pyewacket Theatre, among others, and is a veteran sound designer. He is a graduate of Northwestern University.

 

Brian Bell
  Brian Bell recently directed Gossamer for ASC (where he also serves as a teaching artist) and will appear in their upcoming production The Ghosts of Treasure Island. Previously he completed a directing internship with the Carrousel Theater an der Parkaue in Germany and went on to direct The Retreating World by Naomi Wallace at Berlin’s Acud Theater. Brian graduated with a B.A. in Theatre Performance from the University of North Texas, where he directed and adapted Woyzeck by Georg Buechner as a final thesis. Brian is the artistic director of Chicago’s Cabaret Vagabond and has worked with Lincoln Square Theatre, Darknight Productions, Piccolo Theatre, Apple Tree Theatre and Collaboraction. He is an alumnus of the Chicago Directors Lab.

 

Brandon Campbell
  Brandon Campbell has worked for Adventure Stage Chicago as a teaching artist, stage manager and production manager since moving to Chicago in 2001. He is also an Associate of Collaboraction, serving as production manager for Sketchbook 5, 6, 7, 8 and Carnaval. Other production credits include the world premiere of Jose Rivera‘s Massacre at Goodman Theatre (with Teatro Vista), Chicago Sketchfest and several shows with the Neo-Futurists. In his creative time he has worked as a writer/performer (Dark Eyed Strangers), a puppeteer and designer (Laika’s Coffin, The Cay, Joe’s Garage, Beowulf Vs. Grendel), and a sax player (Seeking Wonderland, 2nd Story, Jenn Rhoads Project).

 

Sarah Rose Graber
  Sarah Rose Graber graduated from Northwestern University’s theatre program and received her Acting Certificate from the Royal Academy of Dramatic Art in London. She was the Circumnavigator Foundation’s Travel Around the World Study Grant Scholar, which enabled her to travel the globe while researching the way theatre is used as a tool for communication and education to encourage social change. She chronicled her journey in a play called Time For Take-Off! She adapted The Chronicles of Narnia: The Lion, the Witch and the Wardrobe into a bilingual play for English and Spanish viewers and Edmund Spenser‘s epic poem “The Faerie Queene” into a mask play she directed called IMAGO, for which she received the Center for Interdisciplinary Research in the Arts Grant (CIRA) and the Program in the Study of the Imagination Grant (PSI). Chicago credits include Northlight Theatre, Metropolis Performing Arts Center, Strawdog Theatre, Chemically Imbalanced Comedy, Village Players Theatre, and Factory Theatre, where she is also a company member.  As a teaching artist, Sarah has taught and directed for Northlight Theatre, Arts Berwyn, Chicago Children’s Humanities Festival, the National High School Institute at Northwestern, Neighborhood Bridges, and many residencies at Chicago area schools.

 

Laura Kollar
  Laura Kollar attended Loyola University Chicago, where she earned degrees in Theater and Psychology. Costume design credits at Adventure Stage Chicago include Gossamer, Holes, The Blue House, The Cay and Shakespeare Stealer. She co-designed Still Life With Iris with fellow ASC ensemble member Jessica Kuehnau and helped create costumes for Katrina: The Girl Who Wanted Her Name Back and I Dream in Blues.  Laura’s work has also been seen with Actor’s Theatre Company, Theatre Mir, Lookingglass Theatre, Collaboraction, Chicago Shakespeare Theater, Serendipity Theatre, North Park University and Pegasus Players, among others.

 

Jessica Kuehnau
  Jessica Kuehnau‘s previous designs for ASC have included sets for Eye of the Storm, The Shakespeare Stealer, and The Blue House, and costumes for Still Life with Iris, Search for Odysseus and Katrina: The Girl Who Wanted Her Name Back. Since completing her MFA in Scenic and Costume Design at Northwestern University, Chicago design credits include Rivendell Theatre, Pegasus Players, Lifeline Theatre, Griffin Theatre, Backstage Theatre Company, MPAACT, The Building Stage, Metropolis Performing Arts Center, and Light Opera Works. She is also full time faculty and resident scenic designer at Northeastern Illinois University, as well as the resident set designer and design professor at North Park University.

 

Allison Latta
  Allison Latta is a graduate of the theatre program at Virginia Tech. She has also studied Commedia dell ‘Arte with Anotonio Fava in Reggio Emelia, Italy. Chicago performance credits include Buffalo Theatre Ensemble, Strawdog Theatre and Redmoon Theatre. She was a founding member of TriArts, Inc. and created four original Commedia shows with that company, including Hfob-N-Ffos, which was named a Best of Fringe show at the Winnipeg Fringe Festival. She has appeared in ASC’s productions of Sideways Stories from the Wayside School, And Then They Came for Me: Remembering the World of Anne Frank, Still Life With Iris, The Ash Girl, Holes and Gossamer. She can also be seen in a number of national commercials and independent films. She has worked as a teaching artist with ASC, Gallery 37 and Metropolis Performing Arts Center

 

Scott Letscher
  Scott Letscher is currently the Managing Director of Adventure Stage Chicago. He was a company member of the late, lamented Terrapin Theatre for over ten years, where he served for two years as their Artistic Director. At Terrapin, he directed the After Dark Award-winning production of Aunt Dan and Lemon, the world premiere of Requiem in a Light Aqua Room by Sean Graney, The Rimers of Eldritch, The Sneeze and Public/Privacy. He appeared in the Terrapin productions Nina Variations, Blue Remembered Hills, The Pooka and Daniel O’Rourke, The Kramer and Laurel and Hardy Sleep Together. He also spent four years with the Children’s Theatre Fantasy Orchard as an actor and adaptor. He received a Theatre Arts degree from Marquette University.

 

Jana Liles
  Jana Liles came to Chicago after receiving her B.F.A. in Theatre from Emporia State University in her home state of Kansas. She completed her M.F.A. in Theatre from The Chicago College of Performing Arts at Roosevelt University. She has performed with such theatre companies as Chicago Shakespeare Theatre, Light Opera Works, Quest Theatre Ensemble, The GreyZelda Theatre Group, Chemically Imbalanced Comedy and Adventure Stage Chicago, while also appearing in numerous films, local television programs and commercials. An accomplished singer and dancer, she has also been fortunate enough to perform in front of thousands of people at the Lollapalooza music festival in Grant Park. In addition to serving as ASC’s Marketing Coordinator, she is the Casting Director at BackStage Theatre Company.

 

Merissa Shunk
  Merissa Shunk has been with Adventure Stage Chicago since 2007 as the Director of Education. Before moving to Chicago she lived in Chiang Mai, Thailand as a Peace Corps Volunteer. She is originally from sunny California where she studied theatre, taught theatre, and studied how to teach theatre at UCLA and Santa Clara University. She has freelanced as a curriculum writer and teaching artist for the Silk Road Theater Project, is the Fine Arts Curriculum Advisor at Rowe Elementary School, and has been a mentor (Drama Mama) in Redmoon Theater‘s Mentoring program, Drama Girls.  In fall of 2008 she co-founded the Chicago Arts Educator Forum and also serves on the board of the Illinois Theatre Association.

 

Brandon Wardell
  Brandon Wardell is a freelance Lighting and Scenic Designer in Chicago. He holds an MFA from Northwestern University and teaches at several universities, including Northwestern University, Columbia College Chicago, The University of Chicago, and Illinois Wesleyan. Recent lighting credits include The Hollow Lands (Steep Theatre), On An Average Day (Backstage Theatre Company), The Arab-Israeli Cookbook (Theatre Mir), John & Jen (Apple Tree Theatre), The Robber Bridegroom (Griffin Theatre) and The Blue House (ASC).  Scenic Designs include Maria’s Field (TUTA), In Arabia We’d All Be Kings (Steep Theatre), Holes (ASC), Dracula (The Building Stage) and Be More Chill (Griffin Theatre). 

REVIEW: That’s Weird, Grandma (Barrel of Monkeys)

Innovative art springs from the minds of babes

 

That's Weird, Grandma - Barrel of Monkeys - Photo by Erich Nerger (2)

Barrel of Monkeys presents:

That’s Weird, Grandma

Open Run at the Neo-Futurists  (more info)

review by Keith Ecker

Chicago is not lacking in the comedy department. I’ve met accountants who do improv comedy by night and schoolteachers who do stand-up. There are no less than three prominent comedy institutions in the city—Second City, iO and the Annoyance Theatre—not to mention the smaller contenders, including The Playground Theater, the Cornservatory, Chemically Imbalanced Comedy, pH Productions and ComedySportz.

That's Weird, Grandma - Barrel of Monkeys - Photo by Erich Nerger (5) Perhaps this saturation is to compensate for the depressing and long Chicago winters we have to suffer through. Regardless, saturation is the key term. How much comedy can one sit through before you feel like you’ve heard the same joke a hundred times over? Who do we turn to for comedy that pushes the boundaries while delivering fresh material?

The answer is the children.

Theatre company Barrel of Monkeys has tapped into the genius that is Chicago’s public school students and mined the young minds for comedic gems. And what they deliver is absolutely fascinating, often surreal and at times extraordinarily touching.

The show That’s Weird Grandma, which plays weekly at the Neo-Futurists space in Andersonville, is a fast-paced variety show of child-written stories adapted to the stage by the talented theatre group. Each week, the cast slots out one to three sketches, resulting in a completely new show every few weeks.

That’s Weird Grandma is only a small component of the Barrel of Monkeys franchise, which consists of an ambitious educational outreach program that teaches kids about creative writing. Since the program began, the group has worked in 32 Chicago Public Schools, and more than 7,000 students have participated in its workshops. There is also an after-school program in Loyola Park Field House in Rogers Park.

That's Weird, Grandma - Barrel of Monkeys - Photo by Erich NergerThe show I saw consisted of 16 sketches, each lasting no more than several minutes. Sketches were presented in rapid-fire succession, and each was given an introduction that included the name and school of the student who had written the piece. Most of the pieces were completely fictitious though a couple were reflections of real life, including the hilarious scene “My Dad at Panda Express,” which features an angry father chewing out a young and confused Panda Express employee for neglecting to save any orange chicken for him.

Music accompanies every scene, and many sketches are musical in nature. For example, “Kool-Yummm” is a lyrical ode to Kool-Aid and features a hip-hop jam from the big red pitcher himself, the Kool-Aid Man.

As mentioned, the comedy captures the surreal minds of children in a way that celebrates their imaginations. That's Weird, Grandma - Barrel of Monkeys - Photo by Erich Nerger (4)You’re not laughing at them; you’re laughing with them. For instance, “W-I-A-R-D” is a bewildering scene about three girls, one of which is named Monkey, who find a note on the ground. What does the note say? “It say Jogococo.” Is this explained? No. Does it need an explanation? No. This is an unfiltered reflection of the hyperactive imaginations that rises out of the minds of babes, and that is satisfying enough.

The show wouldn’t be as amazing if it wasn’t for the talented cast, many of whom received training at the aforementioned comedy powerhouses. Their energy is big,; their commitment is strong; and their singing abilities are solid. Two of the cast members even swapped out seats at the piano to provide the accompaniment.

That’s Weird, Grandma is appropriate for all ages and has mass appeal. Scripts are tweaked so that some subtle jokes for the adults are thrown in, but the material in general is the stuff that everyone can relate to, from sisters ruining lives to parents ignoring children.

If you’re looking for something beyond Second City’s political humor, iO’s long-form improv and the Annoyance’s in-your-face comedy, That’s Weird, Grandma fills a Dadaist niche all its own that is much more than child’s play.

 

Rating: ★★★★

 A scene from the story 'Big Riders' from 'That's Weird, Grandma'

Performance Dates, Times and Location

"That’s Weird, Grandma" is currently running Sunday afternoons at 2 PM. Our Sunday matinee shows continue through April 4, and our 8 PM Monday night shows return on March 15.

The show runs a little over an hour.

"That’s Weird, Grandma" is presented at the  Neo Futurists Theatre, located at 5153 N. Ashland Ave., on the corner of Ashland and Foster in Chicago.

That's Weird, Grandma - Barrel of Monkeys - Photo by Erich Nerger (3) Kids and actors join in the fun during a public school performance.

This week’s Chicago theater show openings/closings

2437303-Skyline-Chicago

show openings

The 9/11 Report La Red Music Theatre

Bikerman and the Jewish Avenger Metropolis Performing Arts Centre

Bye Bye Birdie Northwestern University Theater

Ching, Chong, Chinaman Silk Road Theatre Project

Fun O’Clock: A Very Special “That’s Weird Grandma” Barrel of Monkeys

Honest Steppenwolf Theatre

How to Succeed in Business Without Really Trying St. Celestine Theatre

Lies and LiarsTheatre Seven of Chicago

Lorita and Other Dances Theatre Building Chicago

The Mistress Cycle Apple Tree Theatre

Sex with Strangers Steppenwolf Theatre

Six Degrees of Separation Eclipse Theatre

Ski Dubai Steppenwolf Theatre

Waiting for Godot Redtwist Theatre

 

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show closings

Anti-Social Darwinism and High School Musical 4: Come Hell or Heil Water Donny’s Skybox

Boleros for the Disenchanted Goodman Theatre 

Busman’s Honeymoon Lifeline Theatre

Cloclo Chicago Center for the Performing Arts

The Conduct of Life The Viaduct

Consume Gorilla Tango Theatre

A Coupla White Chicks Sitting Around Talking Buffalo Theatre Ensemble

Death Roast Annoyance Theatre

Hedda Gabler Raven Theatre

Hitched! Donny’s Skybox

Posers Donny’s Skybox

A Song for Coretta Eclipse Theatre

Super Happy Fun Show Corn Productions

Uncle Vanya TUTA Theatre Chicago

Wanted Gorilla Tango Theatre

What We May Be Gorilla Tango Theatre

special ticket offers

$15 tickets to The Great American Nudie Spectacular! by Scratch Media at Theatre Building Chicago, 1225 W. Belmont. TBC is offering a limited number of discount tickets for the following performances:  Friday, July 24, and Saturday, July 25, both at 10:30 p.m. The discount is available for these two performances only. Call the box office at 773-327-5252 and mention this offer.

New Artistic Director for Barrel of Monkeys

New Artistic Director for BOM

Barrel of Monkeys announces their new, permanent Artistic Director will be long- time company member Luke Hatton, as of the beginning of the eleventh anniversary, 2008-2009 season on September 1st. He started with the ensemble in fall 2000, right after graduating with a BS in Theatre from Northwestern University, and began performing and teaching for many of BOM’s in-school residencies. Hatton then served as a member of the Teacher Corps, a select group of lead teachers within the company, and as a Program Officer. In 2003, he began directing in-school and public performances for BOM, and in 2007, he served as Artistic Associate for the company. Hatton has also worked extensively as a performer in Chicago with Steppenwolf Theatre, The Neo-Futurists, The Hypocrites, The Gift, Lifeline, and with Geva Theatre Center in New York. He has directed acclaimed theatrical productions with Steep Theatre and Phalanx Theaters. As an arts educator, Luke has developed and taught curriculum with After School Matters and Adventure Stage Chicago.

weirdgrandma Interim Artistic Director Laura Grey will leave the position to continue to perform with Second City etc’s “Campaign Supernova” (and will also continue to perform in the BOM ensemble), and founding Artistic Director Halena Kays will begin a University of Texas, Austin, MFA, after recently returning to Chicago to direct The Neo-Futurists’ “Fake Lake.”

After three years as Production Stage Manager for BOM’s Monday night show “That’s Weird, Grandma,” Maggie Fullilove-Nugent joins the staff as part-time Company Manager. She is also the Production Manager for The Hypocrites and North Park University Theatre. As a freelance lighting designer and technician, she has worked on over 50 productions with companies including 500 Clown, House, Building Stage, Lifeline and Artistic Home.

Best of luck to Luke!!

Luke Hatton, as seen in "Big Riders"

For WGN Radio – My summer picks…

Chicago - My Kind of Theater Town - cropped

For Kids and Families:

  • Lyle, Lyle, the Crocodile, Lifeline Theatre
    • June 13th -July 13th; Friday-Sunday at 1pm
    • Tickets: $10
  • Cirque Shanghai: Gold ; Navy Pier outdoor theater
    • Runs all summer through Sept. 1st
    • Performed at outdoor theater at Navy Pier (just east of Ferris Wheel), so take in the show, then experience the huge fireworks display every Wednesday and Saturday evening.
    • Tickets: $12.50-$30
  • Willy Wonka, Chicago Shakespeare at Navy Pier
    • July 8th – August 17th
    • Tickets: $18-$23
  • Blue Man Group, Briar Street Theatre
    • Super-fun for kids of all ages
    • Tickets: $49-$59 (box office: 773-348-4000)

For Teens (and the young-at-heart):

  • Too Much Light Makes the Baby Go Blind, Neo-Futurists
    • Experience Chicago’s longest running play – 20 years and counting!
    • Days/Times: Friday-Saturday, 11pm, Sunday 7pm
    • Price: $6 plus the roll of a dice (so $7-$12 – is that cool or what?!?)
  • That’s Weird Grandma, Barrel of Monkeys
    • Monday nights, 8pm
    • Adults: $9 // Kids: $4

Broadway In Chicago (the big downtown shows):

  • Wicked, Ford Center for the Performing Arts (Oriental Theatre)
    • After 4 super-successful years,Wicked, has announced that it will officially close in January 2009.  So catch it while you can!
    • Ticket Price: $30-$95 (Box Office: 312-902-1400)
  • Jersey Boys, Bank of America Theatre (formerly Schubert Theatre)
    • Open run
    • Ticket Price: $30-$95 (Box Office: 312-902-1400)
  • Shout!, Drury Lane Watertower
    • Through July 20th  
    • Tickets: $45-$55 (Box Office: 312-902-1400)

For Date Night:

My two-pennies worth:

You haven’t experienced Chicago until you’ve ventured north to The Heartland Cafe in East Rogers Park.  First opened in the 1970’s, this earthy restaurant and bar jettisons you back to the late 1960’s and early 70’s (in a granola and incense kind-of-way).  The musical review, Lonesome Losers of the Night, is performed in an intimate coffee house down the street from Heartland, so first grab a bite to eat at Heartland, walk down the block to the performance, then mosey back down to The Heartland for drinks and nightly live music.

 

Comedy

  • Campaign Super Nova: or How Many Democrats Does It Take To Lose An Election?
    • Second City’s newest review
    • Open run, tickets: $19-$25 (Box Office: 312-337-3992)
  • Dead Man’s Cell Phone, Steppenwolf Theatre
    • runs through July 27
    • Tickets: $20-$68 (Box Office: 312-335-1650)
  • Co-Ed Prison Sluts, Annoyance Theatre
    • Annoyance Theatre brings back their raunchy long-running hit of the 80’s and 90’s.
    • Runs July 4th – August 29th
    • Tickets: $15 (Box Office: 773-561-4665)
  • Comedy Sportz – Comedy Sportz Theatre, Belmont and Clark
    • audience-interactive comedy competition between two teams of improv comedians, who perform a series of scenes and songs, all based on suggestions from the audience
    • Open run, now in their 21st year
    • Ticket prices vary, (Box Office: 773-549-8080)

Drama

  • A Steady Rain, Royal George Theatre
    • extended through Oct 5 (then on to Broadway?)
    • Tickets: $50 (box office: 312-988-9000)
  • Taste of Honey, Shattered Globe Theatre Ensemble
    • runs through July 5th
    • Tickets: $15-$35, (box office: 773-871-3000)
  • Hizzoner, Prop Thtr (performed at Beverly Arts Center)
    • Running for over 2-years, this play eerily depicts the infamous Mayor Richard J. Daley and inner-workings of “The Machine”
    • runs through July 29th
    • tickets: $40

Musicals:

  • Fiorello, Timeline Theatre 
    • runs through July 20th
    • Tickets: $15-$30 (Box Office: 773-281-8463)
  • Ain’t Misbehavin’, Goodman Theatre
    • running June 21st – July 27th
    • Tickets: not yet announced (Box Office: 312-443-3800)
  • Jekyll & Hyde, Bohemian Theatre Ensemble
    • through July 20th
    • Tickets: $20-$27 (Box Office: 773-327-5252)
  • Hunchback of Notre Dame, Bailiwick Repertory
    • composed by Dennis DeYoung of the band “Styx
    • runs through July 6t
    • Tickets: $25-$45 (Box Office: 773-883-1090)
  • Buddy: The Buddy Holly Story, Drury Lane Theatre, Oakbrook Terrace
    • runs through July 27th
    • tickets: $28-$33