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: Spamalot (Drury Lane)

  
  

Drury Lane’s ‘Spamalot’ is a merry night of dancing and singing!

  
  

SPAMALOT--James Earl Jones II, Grant Thomas, Gary Carlson, Matthew Crowle, Brandon Springman and Richard Strimer

   
Drury Lane Theatre presents
  
Spamalot
   
Book and Lyrics by Eric Idle
Music by John Du Prez
Directed by William Osetek
at
Drury Lane Theatre, Oak Brook (map)
through March 6  |  tickets: $31-$45  |  more info

Reviewed by Allegra Gallian

Monty Python began as a British comedy group that created the television show Monty Python’s Flying Circus. Ensemble members included Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin. The success of the show led to feature films including “Monty Python and the Holy Grail,” which is loosely based on the legend of King Arthur and his knights of the round table. With its witty and sometimes absurdist humor, Monty Python became a cultural phenomenon and “Holy Grail” was the basis for the musical Spamalot.

SPAMALOT--Gina Milo and David KortemeierThe set for Spamalot at Drury Lane Theatre resembles a traditional castle, with a castle gate center stage flanked by large wooden castle doors on other side, surrounded by stone bricks and gated windows. As the show progresses, scene changes are seamless and quick, never disrupting the momentum or action of the show.

Spamalot opens with an historian (Jackson Evans) explaining the history of Britain. He’s initially both relatable and charming, instantly pulling the audience into the action. The story the historian relates then comes to life as King Arthur (David Kortemeier) enters. Arthur is searching for knights for his round table and is traveling throughout England in search of them. He puts together what seems like somewhat of a motley crew consisting of Sir Lancelot (John Sanders), Sir Robin (Adam Pelty), Sir Galahad (Sean Allan Krill) and Sir Bedevere (Bradley Mott).

All of the actors are fully charismatic and bring a ton of characterization to their parts: Robin (Pelty) is sweet and funny with his fear of actual fighting. Galahad (Krill) is charming but not irritating with his pretty boy looks and demeanor. Lancelot (Sanders) is entertaining with his tough boy act to hide his hidden interests and Bedevere (Mott) works well to round out to the cast.

Not only is the acting stellar, but the singing is strong and clear and the music is just fun. Each actor’s range is suited to their character, allowing their singing talents to really shine. This is especially the case with The Lady of the Lake (Gina Milo). Milo’s voice is stunning and powerful, and her ability to hit so many runs in the music is SPAMALOT--John Sanders and Jackson Evanscaptivating. The only minor complaint is that, on occasion, vibratos in the cast are a bit too heavy.

As a show with a triple threat, the dancing is also well choreographed and shows of the dancing talents of the cast. Minus a few missed landings and mishaps, the dancing is quite spectacular, especially Patsy’s tap number (Matthew Crowle) during “Always Look on the Bright Side of Life.” It’s clear that Crowle has a talent for it and he shows it off spectacularly.

Once the crew is assembled, they are given a task directly from God: find the Holy Grail. With this task at hand, the group, led by Arthur, goes in search of the Grail. Encountering various other knights and obstacles, the action flows quickly with a lively energy, pulling our attention towards the stage. The actors play up the comedy, doing well with the laugh lines and the hilarity of the writing.

Spamalot is a fun-filled, hilarious show that fits for anyone who loves Monty Python and the tale of the Holy Grail. Highly recommended!

  
  
Rating: ★★★½
  
  

Spamalot plays at Drury Lane Theatre, 100 Drury Lane, Oak Brook, IL, through March 6. Tickets are $31 to $45 with lunch/dinner packages ranging from $45.75 to $68. Student and senior prices available. Ticket can be purchased through the box office by calling 630-530-0111.

SPAMALOT--Gina Milo, now at Drury Lane Theatre in Oakbrook

        
        

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REVIEW: A Christmas Carol (Drury Lane Children’s Theatre)

   
  

A heart-warming tale of transformation and joy

  
 

A CHRISTMAS CAROL- William Dick as Scrooge

   
Drury Lane Children’s Theatre presents
   
A Christmas Carol
       
Written by Charles Dickens
Directed by
Scott Calcagno
at
Drury Lane Theatre, Oakbrook (map)
through Dec 18  |  tickets: $12  |   more info

Reviewed by Allegra Gallian

The Christmas season is once again upon us, and with it is brought one of the most beloved holiday stories, A Christmas Carol, once again brought to life by Drury Lane Theatre. Based on the novel by Charles Dickens, A Christmas Carol tells the heartwarming transformational story of Ebenezer Scrooge, a bitter old man as greedy and he is unhappy, who’s offered one last chance on Christmas Eve to discover the true meaning of Christmas before he is forever fated to doom and despair.

The set focuses in on a large wooden door center stage, complete with a large, lion-head knocker. Flanking the stage is distressed wood walls and throughout the performance set pieces are brought on and off stage in quick changes to create Scrooge’s counting house, his home, the Crachet’s and other various places around town. Scene changes are done quickly and efficiently, never slowing down the performance.

imageTravelling back to the London of 1843, A Christmas Carol opens with the townspeople milling about, singing Christmas carols and enjoying each other’s company. The stage instantly comes to life with action and a charming sense of the season. That is, until Scrooge makes his entrance scowling and “bah humbug-ing” his way through the now-silenced crowd. Scrooge, played by William Dick, is a clear distinction of the bitter old man, and Dick embodies him fully, while adding a bit of jolliness to the character. Dick could have taken a bit meaner turn with Scrooge in the beginning, making the transformation more prevalent at the end, but Dick does a fine job at portraying the old Miser.

The counter to Scrooge is Bob Crachit (Andrew Weir), wonderfully full of merriment and Christmas cheer. With an understanding of how poor Crachet and his family are, Weir reaches deep down and creates a lovely sense of hope and love for not just himself but the entire Crachit family (and Scrooge as well!).

As Scrooge settles into his lonesome Christmas Eve, he is joined by the spirit of his former partner, Jacob Marley (Christian Gray), now forced to walk the earth bearing the chains he created in life. A chilling portrayal of what Scrooge is to become should be not change his ways, Gray delivers a solid performance and is spot on with the spookiness of his character.

The ghost of Christmas Past (Cathy Lord) is regal and elegant as she takes Scrooge on a journey of his Christmas memories. She’s comforting with a protective demeanor. Christmas Present (Don Forston) is as jovial as one would hope as he shows Scrooge how his young co-worker and nephew celebrate, while Christmas Future (Andrew Redlawsk), grim and terrifying in his ways, shows Scrooge just what is to become of him and those in his life.

The lighting effects help to bring create a sense of mystery and wonder, especially surrounding the three spirits. The use of strobe lighting, colored spotlights and other lighting effects bring the fantasy to life and really aid in telling the story.

As Scrooge awakens on Christmas morning, it’s heart-warming to see the change come over him and the happiness he’s found. William Dick does a fantastic job of spreading that newly-acquired Christmas spirit around the theatre. And as Tiny Tim (Nicky Amato/Shane Franz) cries out, “God bless us, everyone” it’s clear that everyone both on and off stage is feeling a little merrier than when the play began.

   
  
Rating: ★★★½
   
   

A Christmas Carol plays at Drury Lane Theatre, 100 Drury Lane, Oak Brook, Ill., through December 18. Tickets are $12 and can be purchased by calling the box office at 630-530-0111.  Families are also offered the special opportunity to have breakfast or dinner with Santa Claus on select performance dates, with a festive buffet-style menu complete with seasonal favorites (more info after the fold). This all-time favorite play with music is an exhilarating opportunity to introduce children to the arts. 

        
       

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REVIEW: Seven Brides for Seven Brothers (Drury Lane)

 

Dynamic choreography, rousing leading lady save flawed musical

 

 (L-R) Cara Salerno, Vanessa Panerosa, Amber Mak, Hallie Cercone, Abby Mueller, Katie Huff, and Amanda Kroiss star in SEVEN BRIDES FOR SEVEN BROTHERS, running through December 19 at Drury Lane Theatre. Photo by Brett Beiner

        
Drury Lane Oakbrook presents
   
Seven Brides for Seven Brothers
   
Book by Gene del Paul, Al Kasha and Joel Hirschhorn
Music/Lyrics by Gene del Paul, Al Kasha, Joel Hirschhorn and Johnny Mercer
Directed by Bill Jenkins
Musical Direction by
Roberta Duchak
at
Drury Lane Theatre, Oakbrook Terrace (map)
through December 19  |  tickets: $31-$45  |  more info

Reviewed by Oliver Sava

In the 1954 movie musicalSeven Brides for Seven Brothers”, when men kidnap women and trick them into marriage, it’s not Stockholm syndrome, it’s love. “Seven Brides for Seven Brothers” is one of those movie musicals that is a product of its time, when women were looked at as little more than glorified housekeepers and baby makers, born to do the will of their man. When Adam Pontipee (Steve Blanchard) deceives the sassy Milly (Abby Mueller) into marrying him, his six brothers set out to capture wives for themselves, ambushing six town girls and throwing them in the back of their wagon. It’s offensive, but the music is jovial and melodic, the dancing is energetic and plentiful, and the film’s leading man Howard Keel’s booming voice and charming smile make it difficult to despise the chauvinistic Adam.

(L-R) Richard Strimer (Benjamin) and Abby Mueller (Milly) star in SEVEN BRIDES FOR SEVEN BROTHERS, running through December 19 at Drury Lane Theatre. Photo by Brett BeinerMy problems with the stage adaptation of Seven Brides for Seven Brothers arise from its attempts to flesh out the characters, which sounds like a good thing but ends up backfiring by making them even shallower. The solos do very little to make you sympathize with the characters, with Milly’s “One Man” beginning as a condemnation of her husband’s trickery before devolving into a tribute to female subservience. Conversely, Adam’s big Act Two moment of redemption “Where Were You?” attempts to justify his sexism by giving him a daddy complex, blaming his actions on his absent father instead of taking responsibility himself. It’s not difficult to assume that Adam’s behavior is a product of his environment, but when it is put into song it just makes the already unlikable character seem pathetic. Blanchard’s vocals don’t help matters, lacking the timbre and strength expected from an 1850 frontiersman. And while the added ensemble numbers manage to evoke the musical style of the film, the solos and smaller group sequences have a contemporary feel that is out of place with the rest of the show’s classic musical theater sound.

The highlight of the production is easily Milly and her relationship with her six brothers-in-law. Mueller’s crystal clear tone and powerful belt make her musical numbers stand out, and she has great chemistry with her new relatives as she assumes a dominating mother position in the household. Watching the brothers transform under Milly’s feminine influence is a joy, from learning to dance in “Goin’ Courtin’” to finally appreciating their women in the heartfelt “Glad That You Were Born.” With the brothers, there is evidence of a struggle between the uncivilized way they’ve been brought up and the restraint that makes for successful courting. “We Gotta Make It Through The Winter” is a hilarious exclamation of horny frustration, but it is followed by Daniel (William Travis-Taylor) and Frank (Brandon Springman) ruminating on the somber effects of loneliness in the beautiful “Lonesome Polecat.”

 

(L-R)  Abby Mueller (Milly) and Steve Blanchard (Adam) star in SEVEN BRIDES FOR SEVEN BROTHERS, running through December 19 at Drury Lane Theatre. Photo by Brett Beiner (L-R) Richard Strimer, Jarret Ditch, William Travis Taylor, Chris Yonan, Brandon Springman and (back) Zach Zube star in Seven Brides for Seven Brothers.  Photo by Brett Beiner.

The brothers learning to dance comes in handy for Tammy Mader’s intense, dynamic choreography. Maybe the reason Adam and Milly’s romance never blossoms on stage is because they don’t have a nice dance together like the brothers and their brides. There isn’t much depth to these characters and their affection for each other, but the substance appears in their dancing, when the chemistry really ignites. The extended town dance sequence in Act I is a mesmerizing affair, albeit a little chaotic and unclear at times, while an Act II all-bride dream ballet brings some sensuality to the affair.

Like the film, this production is propelled by its dancing, but bodies in movement can’t overcome all the flaws of the writing. The changes to the film give the story a more modern context, and the attempt to psychoanalyze the characters through song removes much of the musical’s charm. Drury Lane’s Seven Brides for Seven Brothers is a polished, well-performed production, but the questionable source material prevents it from rising to true greatness.

   
   
Rating: ★★½
   
  

(L-R) Chris Yonan, Hallie Cercone, Jarret Ditch, and Cara Salerno star in SEVEN BRIDES FOR SEVEN BROTHERS, running through December 19 at Drury Lane Theatre. Photo by Brett Beiner

 

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REVIEW: Hot Mikado (Drury Lane Oakbrook)

 

Nanki Poo, Zoot Suits and Dancing – Oh my!

 

(L-R) Andy Lupp (Pish Tush), Todd Kryger (Pooh-Bah) and Stephen Schellhardt (Ko Ko) star in HOT MIKADO at Drury Lane Theatre Oakbrook Terrace through October 3.

   
Drury Lane Oakbrook presents
   
Hot Mikado
  
Written by Gilbert and Sullivan
Directed by
David Bell
at
Drury Lane Oakbrook, 100 Drury Lane, Oakbrook Terrace (map)
through October 3  |  tickets: $31-$45  |  more info

reviewed by Lawrence Bommer

If imitation is the highest compliment, in 1939 Gilbert and Sullivan‘s The Mikado was praised to the skies: no less than two all-black, all-jazz versions from Chicago and from New York played opposite each other on Broadway. (Alas, they beat each other to a draw, ticket-wise.) It must have seemed as if America would swing its way out of the Depression, with some help from two dead Victorian males.

HOT_MIKADO--Aurelia_WilliamsA Drury Lane Oakbrook Theatre revival (Marriott’s Lincolnshire Theatre "premiered" this version in 1993), Hot Mikado is director/choreographer David H. Bell‘s sizzling homage to those ever-young jitterbug versions. (Purists may carp but then nothing in Sullivan’s music was any more "Japanese" than are these jazz translations, while Gilbert’s satire is timeless.) This time it’s a proscenium presentation and that gives it even more depth and scope than the original arena production.

Retaining the topsy-turvy tale of how Nanki Poo, the Mikado’s son who poses as a wandering minstrel, falls in love with the aggressively demure Yum-Yum; pursued by the voracious harridan Katisha, he’s almost executed by his rival Ko-Ko, the Lord High Executioner. The Mikado’s arrival causes instant confusion, then the requisite resolution.

Based on a successful 1986 production that Bell first mounted at Ford’s Theatre in Washington that has gone on to play London’s West End, Dublin and Prague, Hot Mikado is blessed with music director Michael Mahler‘s period-perfect musical Midas touch. It also has one of the loveliest looks of a Drury Lane show: Marcus Stephens’ set enchants illuminated Japanese footbridge, pavilion and cherry trees with leaves of fans and Japanese lanterns. Jesse Klug lights it like a rainbow in heat, though Jeremy Floyd‘s time-traveling costumes would be bright in the dark.

True to its name, Hot Mikado sizzles with David Bell‘s Lindy-hopping, be-bopping, high-stepping dances; dolled up in Zoot suits or bodice bursters, the all-dancing cast turn the Mikado’s entrance into a tap-dancing tour-de-force (led by Ted Levy’s inexhaustible Bojangles imitation in the title role) and hoof up a storm to "Swing a Merry Madrigal." "Three Little Maids" here becomes a hep-swinging Andrew Sisters ballad. The red-hot first act finale comes straight from Stork Club heaven, with a hint of gospel and a highly anachronistic allusion to disco.

 

HOT_MIKADO--Ted_Levy HOT_MIKADO--Devin_DeSantis_and_Summer_Smart

Bell’s troupe (which includes Susan Moniz, who was Yum-Yum 17 years ago in Lincolnshire) sing and dance into a lather. A throwback to classic vaudeville (as veteran Ross Lehman was in Lincolnshire), Stephen Schellhardt gives Ko-Ko alternate touches of Groucho and, even, in his crying fits, Stephen Colbert showing some sentiment. Surprisingly self-effacing even at his hammiest, Schellhardt shows the gentle wistfulness of Keaton and Chaplin and his double takes show stopwatch timing.

As the cavorting cuties, Devin DeSantis’ crooning Nanki-Poo and Summer Naomi Smart’s demure but designing Yum-Yum bring new life to "This Is What I’ll Never Do." Todd M. Kryger oozes pomposity out of Pooh-Bah and Moniz’ Pitti-Sing belts to beat the Big Band.

But the stand-out show-stopper is easily Aurelia Williams, a powerhouse to equal Felicia Fields in Bell’s Lincolnshire debut. Playing the awesome Katisha as a blues-wailing big mamma, she tears the heart out of "The Hour of Gladness" and wipes the set with "Alone and Yet Alive." No surprise that Williams got the biggest ovation at the curtain call: She supplies the heat in Hot Mikado.

Pizzazz-packed as it is, it’s still possible to wish that, color-blind casting aside, Hot Mikado was, like its original, all-black (instead of, as here, fitfully integrated). It’s weird to hear white performers sing what you know would be cooked to a crisp by a black cast. Soul singing, especially of blues standards, will belong culturally to some folks more than others. But then Marriott’s production was equally opportunistic, so I’m resigned to it.

   
   
Rating: ★★★★
 
 

TimeLine Theatre announces 2010-11 season

timelinelogo historyboys2
fiorello-at-timeline 89_theater_children historyboys

“Our 14th season builds on the success and excitement of TimeLine’s past year,” says TimeLine Artistic Director PJ Powers. “As we did with The History Boys and The Farnsworth Invention, we’ll feature the local premiere of a widely renowned play. We’ll present the first production of a brand-new script that we commissioned. And we will dig into Chicago’s past for a revival of one of our town’s most fun and beloved tales. Plus we will soon be announcing a fourth production. It’s a big, ambitious season that will tell the stories of big, ambitious people, and we can’t wait to get started.”

 

The 2010-11 TimeLine Theatre Season

 

 

Frost/Nixon
by Peter Moran
directed by Louis Contey
Chicago Premiere
August 21 – October 10, 2010
 
Frost/Nixon
takes audiences inside the real-life 1977 television interviews between journalist David Frost and former president Richard Nixon. It has been three years since Nixon resigned from office in disgrace. The Watergate scandal is still on the minds of many, but the former commander-in-chief has yet to break his silence about his role in those events. Now Nixon has agreed to be interviewed by the up-and-coming British broadcaster David Frost. Behind-the-scenes it’s a battle of egos for the upper hand in controlling history, but as the cameras roll, the world is riveted by a remarkably honest exchange between one man who has lost everything and another with everything to gain.

 

Mastering the Art
by William Brown and Doug Frew
directed by
William Brown
World Premiere
October 30 – December 19, 2010
   
  Commissioned by TimeLine Theatre Company in 2008 and developed here in 2010, Mastering The Art is a look at the lives of Julia and Paul Child as they meet, fall in love and embark on a transatlantic journey of discovery together. Visiting pivotal moments in their lives — from the table in France where Julia fell in love with food, wine and Paul, to the table in their home where Julia recreated everything she learned in cooking class, to an interrogation room where Paul was grilled by U.S. agents about alleged Communist contacts — this play unfolds the true story of a larger-than-life culinary icon as she and her husband struggle to find themselves as Americans abroad. Mastering the Art marks the first production commissioned by TimeLine to be produced on the company’s stage. The development of Mastering the Art has been partially supported by The Dramatists Guild Fund.

 

Play #3 – TBA (Jan 22 – March 20, 2011)

 

The Front Page
by Ben Hecht and Charles MacArthur
directed by Nick Bowling
April 16 – June 12, 2011
   
  The Front Page is a 1920’s classic Chicago comedy often considered responsible for defining the newspaper business. Drawn from Ben Hecht and Charles MacArthur’s careers as journalists in Chicago, the play takes you inside the press room at Chicago’s Criminal Courts Building as a group of reporters cover a controversial execution and uncover the rampant corruption, scandal and hi-jinx associated with Chicago politics and journalism. TimeLine is thrilled to revive a quintessential Chicago classic and to highlight for audiences the wealth of local history embedded in this script.

Casting for all productions in TimeLine’s 2010-11 season is still to be determined.

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REVIEW: Funny Girl (Drury Lane Oakbrook)

Go to ‘Funny Girl’ for the music

 Marc Grapey Adam Pelty Sara Shepard Jameson Cooper Tammy Mad

Drury Lane Oakbrook Terrace presents:

Funny Girl

Music by Jule Styne, lyrics by Bob Merrill, book by Isobel Lennart
Conceived by Gary Griffin and William Osetek and directed by William Osetek with associate director David New
Music direction by Ben Johnson
Through March 7 (ticket info)

reviewed by Leah A. Zeldes

Sara Shepard Barbra Streisand so owned her role in Funny Girl that the 1964 musical has never had a Broadway revival. Loosely based on the life of stage and screen star Fanny Brice (1891–1951), the original ran 1,348 performances, became a hit film in 1968 and forever associated the songs "People" and "Don’t Rain on My Parade" with Streisand. Since the leading actress sings 14 of the 19 songs in the score, that’s a tough act to follow.

So let’s get the inevitable comparison over with: Spirited Sara Sheperd, in the leading role of Drury Lane Oakbrook Terrace’s solid, sophisticated production of "Funny Girl," neither looks nor sounds like Streisand. In fact, she resembles Brice more closely than Streisand does. Her voice, though, is all her own, and she more than holds her own in the part.

If you’re going to this musical for the music, you won’t be disappointed. Jule Styne and Bob Merrill wrote wonderful songs and Sheperd gives them full measure.

Acting excels, as well. Sheperd plays Fanny with verve and a Brooklyn tang. We also see fine acting and talented dance moves from Jameson Cooper, as her fallback friend and mentor Eddie Ryan. Catherine Smitko is keenly sardonic as Fanny’s saloon-keeping mother, and Paul Anthony Stewart suavely shallow as her smooth-talking lover, Nick Arnstein.

If you’re looking for the color and grandeur of Brice’s vaudeville and "Ziegfeld Follies" career, that’s another story. This is a dark version of a troublesome show.

Holly Stauder Iris Lieberman Cathy Smitko Mary Mulligan Joey Stone Ensemble
Joey Stone Sara Shepard Nicole Hren Ariane Dolan Jameson Cooper

Told as a flashback in short, choppy scenes, the storyline covers the feisty comedienne’s determined rise from little-known Brooklyn performer to Broadway star and her love affair with Arnstein, a playboy, gambler and con man. Isobel Lennart’s uneven book reduces Brice’s life to a series of aphorisms. Stamped more by 1960s sensibilities than by those of Brice’s lifetime, the script sweeps aside such issues as Brice’s pre-wedlock pregnancy and sends a slew of mixed messages.

Are we supposed to admire Fanny for her plucky self-confidence as a performer or pity her for her profound insecurity over her looks? Should we applaud the stick-to-itiveness that leads her to practice all night or the devil-may-care with which she abandons long-sought success and leaves associates in the lurch to go running after a man? "Funny Girl" seesaws so rapidly through different moods, we’re left to wonder whether it’s a comedy or a tragedy.

Paul Anthony Stewart Paul Anthony Stewart Sara Shepard Sara Shepard 2

Every show needn’t have deep meaning, and I don’t mind much when songs and dance numbers trump plot and continuity in musicals. This production, weighted toward the downside, though, gives us little razzmatazz to counter the incongruities of the script.

Sheperd’s renditions of the well-known songs sometimes come off as slightly breathless, making numbers like "I’m the Greatest Star" curiously understated. Restrained scenes out of the celebrated "Follies" add no flash — in Act II’s "Rat-Tat-Tat-Tat," for example, costume designer Elizabeth Flauto dresses the chorus in olive drab, and the showgirls of the chorus wander through the scenes clad in street clothes or rehearsal wear. Instead of Ziegfeld’s pomp and glamour, we get rear-alley views and lackluster dance sequences. The stage often looks too empty.

A brave production, with excellent performances, Funny Girl is worth its ticket price, but don’t expect catharsis. At show’s end, we don’t know whether to applaud Fanny or cry for her.

Rating: ★★★

Kent Haina Nicki Hren Joey Stone Zach Zube Anne Acker Jarret