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: The Music Man (Marriott Theatre)

         
        

Iowa Splendid

 

 

Bernie Yvon and Danny Coonley in The Music Man - Marriott Theatre

    
Marriott Theatre presents
   
The Music Man
   
Book/Music/Lyrics by Meredith Willson
Directed by
Gary Griffin
at
Marriott Theatre, Linconshire (map)
through Jan 9  |  tickets: $40-$48  |  more info

Reviewed by Lawrence Bommer

For reasons we can only guess at, Marriott Theatre has picked it for their holiday offering. But if ever a show spelled out summer, it’s Meredith Willson‘s 1957 masterpiece The Music Man. Throughout the rollicking story the title character exudes sunny optimism, a flimflam that "Professor" Harold Hill wants to believe as much as the suckers who take it in. His buoyant drive fits the season like a picnic. You’ll forget about the winter completely over the next 150 minutes.

Johanna McKenzie Miller and Bernie Yvon in The Music Man - Marriott TheatreOf course Hill is a 1912 confidence man who hornswaggles a ragtag band into playing music, a shy boy into speaking, a town into believing in itself and a librarian into love. The sturdy story is perfectly embedded in a very particular time capsule, with Willson meticulously employing with glorious abandon assorted slang, celebrities and colorful metaphors from the era and the state.

Helping this miracle worker Hill cast his spell, Willson gives him such powerful persuasion as "Seventy-Six Trombones" and "Trouble," the famous snake-oil sermon. By the musical’s end Hill has sold far more than he knows, a passel of dreams for River City to grow on. It’s a great formula: A mysterious stranger comes to town and changes everyone for the best, including himself when he realizes that what he gives is worth far more than what he sells.

Few shows strike such a shrewd balance between downhome decency and showbiz savvy. Because The Music Man wears its songs on its sleeve, it can’t seem too slick or smooth. What matters is the tender loving care.

The heart comes through like a charm in Marriott Theatre’s easy-winning, arena revival. Intimately homespun yet always knowing, Gary Griffin’s staging trusts the material, Willson’s fast-moving book, deceptively clever lyrics and unimprovable melodies–and gets them right throughout.

The look, for instance: Tom Ryan‘s clever, flexible and detailed set pieces combine to create a richly nostalgic Iowa setting, and Nancy Missimi’s fashionplate period costumes complete the illusion.

The human illusions are equally on target. Conning with unforced charm, Bernie Yvon offers a Harold Hill who listens as much as hoodwinks; like a good salesman he connects with the townsfolk until you see how much he means it. His charm is non-negotiable, though the changes he undergoes are a bit harder to measure under Yvon’s boundless confidence.

Barbara Cook and Shirley Jones notwithstanding (comparisons are odious), Johanna McKenzie Miller nicely inhabits Marian’s rich mix of spinster standoffishness and idealistic yearning. Her "Till There Was You" is earned by every line she’s said. (The fact that she also sounds just like Cook in her perfect prime doesn’t hurt in the least either.)

The cast of The Music Man - Marriott Theatre 2

Johnny Rabe and Danny Coonley in The Music Man - Marriott Theatre Johanna McKenzie Miller and Bernie Yvon in The Music Man - Marriott Theatre 3

Like the leads, the supporting roles betray much more life than art, even the hammy stock roles like John Reeger‘s pompous mayor, Iris Lieberman as his starched-blouse wife, Mary Ernster as Marian’s matchmaking mother and Andy Lupp as Hill’s gleeful trickster accomplice.

As the decent local kids whom Harold helps, Adrian Aguilar and Amanda Tanguay carry the romantic subplot with goofy grace. Special credit goes to little Johnny Rabe whose bashful Winthrop wails out "Gary, Indiana" as if he just made it up.

Finally, Matt Raftery‘s unshowy choreography reminds us that these are unpretentious Iowans whooping it up as best they can: There’s no showoff hoofing here. The “Shipoopi” explodes with prewar pep and a palpable joy that makes the most difficult dancing seem a gift to perform as much as perceive. David Kreppel’s musical direction is assured, especially in the barbershop-quartet offerings.

 

  
  
Rating: ★★★★
 
 

The performance schedule is Wednesdays at 1pm and 8pm, Thursday and Fridays at 8pm, Saturdays at 4:30pm and 8pm, and Sundays at 1pm and 5pm.  There will be an added performance Tuesday, 11/23 at 8pm and Friday, 11/26 at 4:30pm.  No performances Tuesday-Thursday, Nov 24th and 25th.

The cast of The Music Man - Marriott Theatre

 

 

Continue reading

REVIEW: Pinocchio (Marriott Theatre)

A thrilling show for kids of all ages

 

PINOCCHIO Jameson Cooper and Cory Goodrich 2

   
Marriott Children’s Theatre presents
   
Pinocchio
   
Music, Lyrics and Book by Marc Robin
Directed and Choreographed by
Rachel Rockwell
Musical Direction by
Roberta Duchak
at
Marriott Theatre, Lincolnshire (map)
through August 29th  |  tickets: $15  |  more info

reviewed by Allegra Gallian

When people think of Pinnocchio, most would refer back to the Disney movie featuring the morally-conscious Jiminy Cricket and the wonderfully naïve little wooden puppet who dreams of becoming a real, live boy. Not this time. Marriott Lincolnshire’s Children’s Theatre has brought a new spin to the beloved fairy tale through their original musical production of Pinocchio, adapted for the stage by Marc Robin.

PINOCCHIO Michael Haws, Jackson Evans, Jameson Cooper 2 Minimal set pieces cover the stage, giving way for the large personalities of each character to fill the space. Just a worktable and door frame rest on the stage of the in-the-round theatre. Still, there’s a cozy feeling running through as groups of children and their parents take their seats. A fantasy-like quality is emitted and, as the lights go down and anticipation builds, the stage is dimly lit by a singular center spot on Geppetto’s work table, where the puppet Pinocchio rests.

The well-known character of Geppetto (Michael Haws) instantly brings an energy to the stage as he introduces his puppet shop through a cheerful song-and-dance number. Haws conveys the kind and gentle feel of the old wood-worker, creating an engaging presence that’s hard not to bond with. With the energy level set high from the start, Pinocchio, under the direction of Rachel Rockwell, flows smoothly along with quick scene changes and keeps an excited buzz running to the audience.

After Geppetto’s wife dies, he spends his lonely nights wishing on stars until he meets a new friend, an over-the-top grasshopper name G. Hopper. Played by Jackson Evans, Hopper is a larger-than-life character, full of energy as he bounces and flits around the stage. Evans’ Hopper provides plenty of laughs with his adept comedic timing throughout the production.

As a foil to the rest of the cast’s lively antics, the Blue Fairy (Cory Goodrich) creates a regal and calming presence. She comes to grant Geppetto’s wish of bringing the puppet Pinocchio to life because Geppetto has been such a good and honest man his whole life. Goodrich supplies a genuine characterization that truly touches the audience. Her voice fills the stage as she sings of all the positive attributes Pinocchio will need to possess if he’s ever to become a real boy.

Once Geppetto’s wish is granted, Pinocchio (Jameson Cooper) is taught to walk and talk in a catchy musical duet by his newly named conscience, Hopper. Evans and Cooper’s freshly-formed friendship feels authentic and honest. Throughout his misadventures: ditching school, hanging out at Pleasure Island and getting lost in a whale, Cooper offers up an adorable portrayal of Pinocchio with a quality endearing him immediately to audience members.

PINOCCHIO Jameson Cooper as Pinocchio

Cory Goodrich as Blue Fairy Jackson Evans as Hopper

With musicals, one generally expect the singing to be top-notch. Unfortunately, this is where Pinocchio comes up short. The singing is good-quality work, but not stellar – which may partly be caused by the fast-paced choreography. That being said, Goodrich’s Blue Fairy sings with a wonderful soprano voice that rings clear to the back of the house.

While the singing lacks, Rachel Rockwell’s choreography shines. Intricate dance numbers are a pleasure to watch, and it’s clear that these actors have natural dance talent. There’s even a crowd-pleasing scene at Pleasure Island complete with beat boxing and break dancing, spectacularly performed by Adrian Aguilar.

What really promotes the magic of this show is the exceptional lighting design by Jesse Klug. The fanciful, special effects lighting creates a fairy tale world full of color and enchantment that transports the audience to a world of wonder.  Jesse Gaffney’s minimalist set also elevates the magic.

Pinocchio proves to be a thrilling show for kids of all ages who wish to be marveled by inherently good blue fairies and hopeful wooden boys whose wishes come true by telling the truth and always letting your conscience be your guide.

   
   
Rating: ★★★
   
   

Jackson Evans as Hopper, Jameson Cooper as Pinocchio

Pinocchio plays Wednesday through Sunday at 10:00 am through August 29th at the Marriott Theatre, 10 Marriott Dr., in Lincolnshire. Single and group tickets are available. Call 847-634-0200 or visit www.MarriottTheatre.com.

     

Continue reading

REVIEW: Ragtime (Drury Lane Oakbrook)

Drury Lane scores big with epic musical “Ragtime”

RAGTIME-_The_cast

 
Drury Lane Oakbrook presents
 
Ragtime
 
Based on the novel by E.L. Doctorow
by
Terrance McNally (book), Stephen Flaherty (music), Lynn Ahrens (lyrics)
directed/choreographed by
Rachel Rockwell
at
Drury Lane Theatre, Oakbrook (map)
through May 23 (more info)

By Katy Walsh

‘What can happen in a year?’ Father’s question is an expectation that life is simple and predictable.

BF1C0838 The reality is birth, death, emancipation, persecution, obsession, syncopation. In 1906, the regularity in life takes unexpected turns as Drury Lane Oakbrook presents Ragtime The Musical. The show focuses on the lives of three groups: WASPs, blacks, and immigrants. In the New York suburbs, a wealthy family breaks the monotony with wild excursions and celebrity stalking. In Harlem, a successful black piano player decides to search for his lost love. Just off the boat, an Jewish immigrant artist and his daughter arrive with nothing but optimistic anticipation. Three distinctly different rhythms unexpectedly intersect to create a new tune. Ragtime celebrates a year in American history by paralleling the adaption of ragtime music with socio-economic changes of the time period. The results are a stunning history lesson intertwined with melodies of hope and change.

Under the skillful direction and choreography of Rachel Rockwell, the tempo never misses a beat. Rockwell strikes all the right notes with this multi-talented cast. Quentin Earl Darrington (Coalhouse) is the powerhouse of emotional range in song and act. His tune changes throughout the show – regret, love, vengeance. Darrington connects the audience with his story based on heart wrenching hope. His “The Wheels of a Dream” duet with Valisia LeKae (Sarah) is flawless. LeKae is a perfect match-up and their onstage chemistry is the epic-love-story-kind. Cory Goodrich (Mother) is marvelous in an understated and nonchalant way. Goodrich’s character changes her family’s life dramatically with simple choices. Her transformation is most baffling to Father played by Larry Adams. In a pivotal song, Adams is perplexed as he sings, ‘I thought I knew what love was but these lovers play different music.’

With inspirational paternal love, Mark David Kaplan (Tateh) chases a train for a teary-eyed audience impact. Alongside the principals, smaller and famous roles engage curiosity. Emma Goldman (Catherine Lord) influences as a social reformer. Evelyn Nesbit (Summer Naomi Smart) is the Brittany Spears of the time period…whee! Harry Houdini (Stef Tovar) mystifies as a successful immigrant. Booker T. Washington (James Earl Jones II) commands integration and respect.

BF1C1085 Larry_and_Cory
BF1C0803 BF1C0945 Mark_Kaplan-Jennifer_Baker

Surprisingly, this blockbuster musical starts with a stark stage. The introduction of characters is a popped up portrait of perfection. Literally, group entrances are elevated from below stage. As the three groups multiply across the stage, the unique flair of costume distinction, designed by Santo Loquasto, is a spectacular visual. Costumes, projections, lighting, moments of tasty eye candy decorate this show. From silhouettes marching to swimmers bathing, the imagery dances to the ragtime.

And there was distant music, simple and somehow sublime. Giving the nation a new syncopation.  The people called it Ragtime!’

Paralleling life’s happenstance, my performance had some twists not necessarily planned. There seemed to be an issue with lighting up the solo singers in the first few scenes. A momentary blip broke the backdrop illusion with a ‘Microsoft word computer screen’ projection. Initially, the audio seemed hollow. I was uncertain if it was a microphone or acoustic issue. It either cleared up or my engrossment made it a moot point. All in all, this production was amazing. It left me reinforced that a gesture of kindness changes life’s courses and bewildered about men’s obsessions with cars.

 
Rating: ★★★★
 

BF1C0810

 

Continue reading

REVIEW: Theatre at the Center’s “The Christmas Schooner”

Chicago’s Christmas Play

 THE_CHRISTMAS_SCHOONER_4

Theatre at The Center presents:

The Christmas Schooner

 

by John Reeger and Julie Shannon
Directed by Chuck Gessert
Music-directed by William A. Underwood
Thru December 20th (ticket info)

reviewed by Timothy McGuire

I now have a new favorite holiday show, and I hope it runs as a yearly tradition in the Chicagoland area. The Christmas Schooner ran for many years at the Bailiwick Theatre and this year is currently at Theatre at The Center (an Equity theatre in nearby Munster, IN.)

CHRISTMAS_SCHOONER_2 The Christmas Schooner is a based on a true local story and written by Chicago’s John Reeger (book) and Julie Shannon (music.) The story involves a German family living in Wisconsin on the shore of Lake Michigan and working on the schooners that carry cargo to other ports along the lake. At home the Stossel family has a strong respect for the German traditions as well as generous hearts that feel compassion for those less fortunate. When a letter from Peter Stossel’s (Brandon Dahlquist) sister arrives, addressing her disappointment in not having a Tannebaum for Christmas and how many Germans in Chicago were left feeling homesick without their traditional Christmas symbol, Peter, the father and man of the family, feels a sense of duty to bring the people of Chicago Christmas trees.

Almost this entire story is told through the everlasting music. Shannon’s songs tell the whole story, including witty conversations between family members and acted as if reacting to real dialogue. It is a complex diverse score that moves with the changing tide in the play and allows the astonishing voices on stage to fill the house with the emotion of their characters.

The dialogue succeeds in bringing out the everyday humor in each situation, and Peter Kevoian plays it best as the Opa Gustav Stossel. Kevoian moved me in all direction, having me laughing throughout the play and crying at the end. Each performer created their own individual and, as a whole, the chemistry between each member of the family brings out the strongest sense of family spirit. The message of pride and sacrifice for others is brought out in action and the bonds of love and dependency in one another builds as they set out to please others less fortunate.

THE_CHRISTMAS_SCHOONER_3 CHRISTMAS_SCHOONER_5481

As in all true stories, there are moments of disappointment and sadness, but the courage and strength of the Stossel family bring out the true meaning of Christmas. Their kindness reached people of all ethnic backgrounds and the joy they brought to others made their difficult journeys worth their sacrifice.

The Christmas Schooner is a timeless musical that should be seen by all those dwelling near the Great Lakes, and across the U.S. This is a truly American Christmas story of family relations, traditions and generosity in the melting pot of the Midwest.

Rating: ★★★★

THE_CHRISTMAS_SCHOONER_5 

Continue reading