Review: Some Enchanted Evening (Theo Ubique Theatre)

Update: Now extended through July 3rd!

More American than apple pie!

Theo Ubique Cabaret Theatre presents

Some Enchanted Evening:

The Songs of Rodgers and Hammerstein

Directed by Fred Anzevino Music Directed by Austin Cook at No Exit Café, 6970 N. Glenwood (map) through June 5  |  tickets: $25-$30 (dinner: $20)  |  more info

Reviewed by Lawrence Bommer

The purest patriotism possible in this troubled land is just to love the subject of this show. The beautiful Broadway created by Rodgers and Hammerstein is broad indeed, and a way to everything that’s (still) good about America. We can enjoy the optimism of Oklahoma, dangerous ambition of Carousel, courage and tolerance of South Pacific, family values of State Fair, curiosity and growth of The King and I, assimilation of Flower Drum Song, and, well, the love of singing in The Sound of Music.  It’s there in melodies (Rodgers) you could get drunk on and lyrics (Hammerstein) that feel good because they’re just true.

Framed as a rehearsal that turns into a performance, Fred Anzevino’s generous, two-hour tribute to R&H’s glorious Americana showcases five splendid singers flawlessly directed by musical director and pianist Austin Cook. The uncredited compilation offers clever to sumptuous arrangements in a program that lets the songs talk to each other almost as much as they resonate with an equally impassioned audience. We grew up with these songs until they’re now part of our emotional DNA.

At the same time, you’ve never imagined “Maria” as a possible love song about a relationship, not a complaint by nuns, but it works well here. (Less so is the unnecessarily jazzed-up backdrop to “Something Wonderful.”) A few discoveries offer less-known confirmation of the partners’ mastery, like the winsome “A Fellow Needs a Girl” and the sardonic lament “The Gentleman Is a Dope” (Rodgers’ later sequel to “The Lady Is a Tramp”?).

So many favorites are included that it’s easier to mention the ones that aren’t (the power anthems “Climb Every Mountain” and “You’ll Never Walk Along” and my favorite ballad, “What’s the Use of Won’drin’?”). What made the cut, however, is perfection enough, especially as sung by a soaring soprano and euphoric belter like Sarah Schoch, who gives “A Wonderful Guy” a fitting sweep and scope. Dana Tretta is a wicked comedienne in “I Can’t Say No” and a wistful lover in “I Have Dreamed.” Danni Smith brings star quality to the fragile “Love, Look Away” and raw nostalgia and tensile heartbreak to “Hello, Young Lovers.”

Jeremy Trager’s baritone serves him splendidly throughout, never more so than in his driven version of Billy Bigelow’s all-confessing “Soliloquy.” Finally, Evan Tyrone Martin brings a heavenly tenor to “Edelweiss,” a folk song so pure it fits every possible singer, while his tender and haunting take on the little-known “Everybody’s Got a Home But Me” shows how R&H could summon up the blues in spirit if not in note.

Fine as they are, collectively this terrific ensemble turn “Shall We Dance,” “A Grand Night,” “Grant Avenue,” and the seductive title song into harmonious musical gems of a thousand carats each.

Well, the revue’s title says it all. My one complaint is that the whole show should have been a sing-along. But I’ll leave that to “The Messiah.”

Rating: ★★★★

All photos by G. Thomas Ward Photography

REVIEW: Cats (Theo Ubique Cabaret Theatre)

Update – now extended through Jan 20th!

This show’s the cat’s meow!

Theo Ubique Cabaret Theatre i/a/w Michael James presents

Cats

Music by Andrew Lloyd Weber Book/Lyrics by T.S. Eliot Directed and Choreographed by Brenda Didier at No Exit Café, 6970 N. Glenwood (map) through January 2  |  tickets: $30-$35  |  more info

Reviewed by Paige Listerud

How to take a mammoth Broadway production and shrink it without sacrificing dramatic quality or big, broad, showbiz appeal? Theo Ubique Cabaret Theatre accomplishes that transformation with Andrew Lloyd Webber’s Cats, under the lively direction and choreography of Brenda Didier. Didier’s collaborations with Theo Ubique’s Artistic Director Fred Anzevino bore fruit last spring with their Jeff award-winning production of Chess (our review ★★½). Well, it looks like Cats is poised to pounce on the holiday theater season and swipe all the public’s attention.

Whittled down to two hours and only 13 actors, Theo Ubique’s production is a model of economy and stagecraft. But, rather than going along with the old “less is more” meme, it seems Didier’s modus operandi is to give the audience more with less–driving her exuberant cast to make immediate, intimate and vivid connections with the audience while precisely mixing dance elements to build excitement and evoke huge emotional response. Her gamble pays off—Broadway excitement achieved on a stage 8 feet by 22 feet. In the whirlwind of musical numbers, it’s a wonder none of the dancers bump into each other or fall off the stage.

Naturally, it helps to have a super-tight ensemble orchestra under the direction of Ethan Deppe. They are the train that drives this production. Every other layer of theatricality has been preserved as much as possible. Costumes (Matt Guthier, with Michael Buoninconto on wigs) and makeup (Izumi Inaba) maintain the big, Broadway tradition while Michael Narduli’s lighting design reinforces the magic evoked by orchestra and cast. Even the old-fashioned Christmas lights circling up above the stage imply a magical setting to the audience enjoying dinner before the show.

Opening night’s energy started a bit slow. Beginning with T.S. Eliot giving his poetry to a girl in a white dress with a blue satin sash, the initial introduction of “Jellicle Cats” came off a touch stagy until “The Rum Tum Tugger” (Tommy Rivera-Vega) gave the audience a bit of Brando-slash-Elvis for us to remember him by. “Mungojerrie and Rumpleteazer” (Elliot Burton and Maggie Portman) boost the proceedings with a ton of delightful play and buoyant energy. The cast’s build-up to the entrance of Old Deuteronomy (Matt McNabb) really sets the element of magic and mystery; McNabb’s elegant tenor voice certainly confirms his mystical authority among the Jellicle Cats. At the introduction of Grizzabella and the first round of “Memories,” Sydney Charles delivers an unmistakable depiction of feral abandonment and alienation.

Cats’ theatricality truly soars in the second act. Growltiger (Brian-Alwyn Newland) and Griddelbone (Hillary Patingre) nearly bring the house down with the lush gorgeousness of “The Siamese Italian Aria.” Costuming goes the extra mile by donning the enemies of Growltiger with elaborate Thai headdresses and tunics and the women of the company really get their Siamese on to take out Growltiger. Burton gets a chance to shine again as “Shimbleshanks: The Railway Cat” but his triumph is really the cast’s in their coordinated build-up to the number’s complex and colorful finale. By the time Old Deuteronomy must select the cat that will go on to live another cat life in “the Heaviside Layer,” the audience has become heavily invested in this alternate world and the logic by which it exists. In fact, so long as the music and dance keep going, we might never want to leave.

Theo Ubique has put another feather in its cap (or should I say “cat on its lap”?). Hooray for them and lucky for us to get this furry, magical and whimsical dream against the darkening winter ahead.

Rating: ★★★★

All photography by Gary Ward of G. Thomas Ward Photography

Theater Thursday: Lady’s Not For Burning (Theo Ubique)

Thursday, October 30th

The Lady’s Not For Burning  

 

Written by Christopher Fry Directed by Fred Anzevino Theo-Ubique Cabaret Theatre at No Exit Cafe, 6970 N. Glenwood (map)

A romantic comedy written in verse by Christopher Fry. Set in the Middle Ages, it reflects the world’s exhaustion and despair following World War II. The Story is about a disillusioned veteran who wants to be hanged unitil he is wooed by the happier accused witch on her way to the stake. Special guest, Neil Tobin, a well known Chicago mentalist and expert in supernatural history will appear with Fred Anzevino, director and Theo Ubique’s artistic director in a post-show discussion.  A complementary dessert and coffee will be served to Theatre Thursday guests at intermission and a $5 discount is offered.

Show begins at 7:30 p.m.

Event begins immediately following the performance.  

Tickets: $20

For reservations visit www.theoubique.org 

and use discount code "TheatreThursday."

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Additional offers for The Lady’s Not For Burning

 

Weekend Special: 2-for-1 tickets for Friday, Sunday shows

 

Buy 2 tickets for the price of one for the Friday and Sunday performances this weekend (October 1 and 3) through the ticket service at 800-595-4849 or through their website: www.theoubique.org.

A limited number of discount tickets also will be offered through Hot Tix for the duration of the run of The Lady’s Not for Burning, closing October 31 with a special Halloween Party performance package.

REVIEW: The Lady’s Not For Burning (Theo-Ubique)

Eloquent Period Piece Is an Endurance Test

 

Theo-Ubique Cabaret Theatre presents

The Lady’s Not For Burning

Written by Christopher Fry Directed by Fred Anzevino at No Exit Cafe, 6970 N. Glenwood (map) through October 31  |  tickets: $25  |  more info

Reviewed by Keith Ecker

Watching Theo Ubique Cabaret Theatre’s production of The Lady’s Not for Burning is like a marathon for your mind. For a comedy, the play is incredibly dense. Written in Shakespearean-style prose, the language is beautifully ornate at times while confusingly verbose at others. The whole thing in the end feels like a riddle, a riddle that goes on and on for two-and-a-half hours.

It is this length that serves as the production’s greatest hindrance. The cast is confident and spot on with their comedic timing. The staging is economic given the awkwardly shaped theater space. You would think that such skillful acting and direction would be able to sustain a play. And although The Lady’s Not for Burning charges out of the gate, it eventually loses steam and limps its way to its conclusion.

Written by Christopher Fry in 1948, the play takes place in the Middle Ages, incorporating period style dress and speech. As Arthur Miller would later do with The Crucible, Fry touches on themes relevant to post-World War II society, including the Red Scare. However, unlike The Crucible, The Lady’s Not for Burning is a comedy, and so it uses satire to address these heavy social issues. Unfortunately, the language and plot are so heavy themselves that these social commentaries get lost within the thick of the play.

To simplify it as much as possible, the play is about a soldier (Layne Manzer) who encourages the mayor (J. Preddie Predmore) to execute him by hanging. Conversely, there is an alleged witch (Jenny Lamb) who wants to live. The two have long conversations about their predicaments, which leads to a blossoming love.

There is of course much more to the story than this. Why else would it stretch on for so long? The problem is the other elements of the story are inconsequential. In fact, it’s unclear as to what purpose the other characters serve other than to occupy space and battle wits with one another for humor’s sake.

And humor is the highlight of the play. Even if the piece becomes crushed under its own weight, the humor adds some much-needed levity.

As mentioned, the acting is superb. Predmore plays the mayor with a wonderful mix of overconfidence and idiocy. Manzer embodies the soldier’s sardonic personality, and Drew Longo, as both the depressed chaplain and the town drunk, proves himself to be a dynamic actor and effective clown.

 

Director Fred Anzevino, who is also the artistic director of Theo Ubique, characterizes The Lady’s Not for Burning as a musical without song or music. While I can understand the sentiment behind the statement, the play is more akin to an epic poem, emphasis on the epic. There is no denying that there is some fine writing here. The descriptions are clever and unique. The imagery painted through Fry’s words is vibrant. But unfortunately, it is this same diction that serves to disconnect the audience from the play. While interesting sentence structure, word choice and figurative language may be pleasant, coherency should be the ultimate goal. Unfortunately, the writing at times impedes understanding.

I’m not sure what instrument from the director’s toolbox could have been employed to help this play. There is little to no downtime between scenes, so there isn’t much that can be whittled away to shorten the piece. In the end, there’s a lot of talent at work here, and there is a lot of potential in the commentary, especially in the play’s first half. But as we stretch into the third act, our patience is tested, and we begin watching our watches rather than the stage.

Rating: ★★½

 

REVIEW: Sweet and Hot (Theo Ubique Cabaret Theatre)

Sweet, Hot, and Effective

 

Theo Ubique Cabaret Theatre presents

Sweet and Hot: Songs of Harold Arlen

Adapted by Julianne Boyd Directed by Fred Anzevino at No Exit Café, 6970 N. Glenwood (map) through August 8th  |  tickets: $25- $45  | more info

reviewed by Barry Eitel

Director Fred Anzevino and his Theo Ubique Cabaret Theatre work best when they keep things simple. Evita and Chess succeeded so well because they masterfully pared down these sprawling musicals to fit in their beloved No Exit Café. Sweet and Hot is driven by a much more minimal concept—the revue involves a sextet of crooners belting out the greatest hits collection of songsmith Harold Arlen. While  Anzevino’s production lacks depth, the tunes are beautifully sung and concisely delivered. Even in a room full of theatre critics on a hot June evening, the romance in the candlelit Rogers Park storefront was palpable.

Sweet and Hot is Theo Ubique’s most recent addition to a long line of revues focusing on a single composer (past honorees include Kurt Weill and Jacques Brel). Instead of piecing together his own collage of songs, Anzevino relies on a prefabricated set-list gathered by Julianne Boyd. It sounds like an opened time capsule revealing some of the best compositions of the first half of the 20^th Century. The talented cast pipes out numbers like “Blues in the Night” and “I’ve Got the World on a String” with a refreshing amount of energy, blowing off any dust these famous melodies have gathered.

To ratchet up the intimacy, Anzevino tosses out most of the band, saving only the piano. Musical director Steve Carson rearranges the pieces to accommodate. The result is delightfully straightforward, imparting the cozy, informal feeling of a couple of friends singing around an upright.

Decked in ‘40s attire, the cast of six all have distinguishable takes on their pieces. The highlight here is Bethany Thomas, who crams the tiny space with passion and bravado during the slow-burning “Stormy Weather” and “The Man That Got Away.” She is joined by the glamorously blonde Stephanie Herman and the adorable Sarah Hayes. The Gentleman Trio comprises of (usually) gloomy Kristofer Simmons, dashing Eric Martin, and the boyish Eric Lindahl. One of the most interesting aspects of the production is that the over-the-top optimistic numbers (“Happy As the Day is Long,” “Get Happy”) all have a tinge of delusion here, giving them a heftier dramatic weight. It isn’t completely nailed down, but it gives them a little subtext. However, the portrayals overall are pretty shallow and mostly rely on jazz club-ish charisma and emotional stakes. There isn’t really any through-line or character in the piece; the cast sort of musters up whatever mood the songs require. A little more dramatic cohesion would make the show feel less like a recital and more like poignant, vibrant theatre.

Along with lyricists such as E.Y. Harburg, Johnny Mercer, and Ira Gershwin, Arlen (best known for penning the melodies of “The Wizard of Oz”) created a songbook with pieces ranging from the bizarrely comic to the downright tragic. The cast can reach into both reservoirs. For example, Simmons’ rendition of “Lydia the Tattooed Lady” (a Groucho Marx stand-by) is droll and goofy, while his “One For My Baby (And One More for the Road)” is heartrending. Carson even gets his own moment to shine with the charming “This Time the Dream’s On Me.”

Anzevino’s staging occasionally comes off as having actors move just to have actors move, and “Over the Rainbow,” which receives a mention on the poster, could have received a lot more attention. Fortunately, David Heimann’s choreography always infuses energy into the songs. I’m not usually a fan of musical revues. Most of the time, they seem to me like live compilation albums meant to score a few more dollars from deceased songwriters. But with Theo Ubique’s focus on intimacy and simply presenting songs the whole team obviously loves, they come up with a show that has a tangible effect on the audience. This Sweet and Hot is a living experience.

Rating: ★★★

Non-Equity Jeff Awards nominees announced

2010 Non-Equity Jeff Award Nominees

 

 

Production – Play

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

 

Production – Musical

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

 

Director – Play

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

  

Director – Musical

Fred Anzevino & Brenda Didier: Chess – Theo Ubique Theatre (review ★★½) Jeffrey Cass:  The Who’s Tommy – Circle Theatre Stephen M. Genovese: The Glorious Ones – Boho Rep (review ★★★) Andrew Park: Evolution/Creation – Quest Theatre Ensemble  (review ★★★)

 

Ensemble

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

 

Actor in a Principal Role – Play

Tony Bozzuto: On an Average Day – BackStage Theatre Company  Darrell W. Cox: Killer Joe – Profiles Theatre  (review ★★★½) Andrew Jessop: The Pillowman – Redtwist Theatre (review ★★★) Peter Robel: I Am My Own Wife – Bohemian Theatre  (review ★★★★) Chuck Spencer: Death of a Salesman – Raven Theatre  (review ★★★½)

 

Actor in a Principle Role – Musical

Courtney Crouse: Chess – Theo Ubique Cabaret Theatre  (review ★★½) Tom McGunn: The Who’s Tommy – Circle Theatre Eric Damon Smith:  The Glorious Ones – Bohemian Theatre (review ★★★) Jeremy Trager: Chess – Theo Ubique Cabaret Theatre   (review ★★½)

   

Actress in a Principle Role – Play

Brenda Barrie:  Mrs. Caliban – Lifeline Theatre  (review ★★★★) LaNisa Frederick:  The Gimmick -  Pegasus Players (review ★★) Millicent Hurley:  Lettice & Lovage – Redtwist Theatre (review ★★★★) Kendra Thulin: Harper Regan – Steep Theatre  (review ★★½ ) Rebekah Ward-Hays: Aunt Dan and Lemon – BackStage Theatre

 

Actress in a Principle Role – Musical

Danielle Brothers: Man of La Mancha – Theo Ubique Theatre  (review ★★★) Sarah Hayes: Man of La Mancha – Theo Ubique Theatre   (review ★★★) Maggie Portman:  Chess  -  Theo Ubique Cabaret Theatre  (review ★★½)

 

Actor in a Supporting Role – Play

Chance Bone: Cooperstown – Theatre Seven of Chicago  (review ★★) Jason Huysman:  Death of a Salesman – Raven Theatre (review ★★★½) Edward Kuffert:  The Crucible -  Infamous Commonwealth (review ★★★) Peter Oyloe: The Pillowman – Redtwist Theatre   (review ★★★) Phil Timberlake:  Busman’s Honeymoon – Lifeline Theatre  (review ★★★)

 

Actor in a Supporting Role – Musical

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

 

Actress in a Supporting Role – Play

Nancy Friedrich: The Crucible – Infamous Commonwealth (review ★★★) Vanessa Greenway: The Night Season – Vitalist Theatre i/a/w Premiere Theatre & Performance (review ★★★★) Kelly Lynn Hogan:  The Night Season – Vitalist Theatre i/a/w Premiere Theatre & Performance (review ★★★★) Kristy Johnson: A Song for Coretta -  Eclipse Theatre  (review ★★) Mary Redmon:  The Analytical Engine  – Circle Theatre  (review ★★★)

 

Actress in a Supporting Role – Musical

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

 

New Work

Aaron Carter:  First Words  -  MPAACT (review ★★★★) Ellen Fairey:  Graceland  -  Profiles Theatre  (review ★★★) Tommy Lee Johnston:  Aura  -  Redtwist Theatre Andrew Park and Scott Lamps:  Evolution/Creation  -   Quest Theatre Ensemble (review ★★★) Michael Rohd & Phillip C. Klapperich:  Wilson Wants It All  -  The House Theatre of Chicago  (review ★★★)

 

New Adaptation

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

 

Choreography

Kevin Bellie:  The Who’s Tommy  -  Circle Theatre Brenda Didier:  Chess   -  Theo Ubique Cabaret Theatre (review ★★½) James Brigitte Ditmars:  Poseidon! An Upside Down Musical  – Hell in a Handbag Productions

 

Original Incidental Music

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

 

Music Direction

Ryan Brewster:  Chess  – Theo Ubique Cabaret Theatre (review ★★½) Gary Powell:  Evolution/Creation  -  Quest Theatre   (review ★★★) Nick Sula:  The Glorious Ones  -  Bohemian Theatre   (review ★★★)

 

Scenic Design

Tom Burch:  Uncle Vanya -  Strawdog Theatre  (review ★★★) Alan Donahue:  Treasure Island -  Lifeline Theatre (review ★★★½) Heath Hays:  On an Average Day  -   BackStage Theatre Company Bob Knuth:  The Analytical Engine  -  Circle Theatre (review ★★★) Bob Knuth:  Little Women  -   Circle Theatre (review ★★★) John Zuiker:   I Am My Own Wife  -   Bohemian Theatre (review ★★★★)

 

Lighting Design

Diane Fairchild:  The Gimmick  -  Pegasus Players (review ★★) Kevin D. Gawley: Treasure Island – Lifeline Theatre (review ★★★½) Sean Mallary:  St. Crispin’s Day  – Strawdog Theatre Company (review ★★) Jared B. Moore:  The Man Who Was Thursday – New Leaf Theatre Katy Peterson:  I Am My Own Wife -  Bohemian Theatre (review ★★★★)

 

Costume Design

Theresa Ham:  The Glorious Ones  -  Bohemian Theatre  (review ★★★) Branimira Ivanova:  Treasure Island  -  Lifeline Theatre (review ★★★½) Joanna Melville:  St. Crispin’s Day  -  Strawdog Theatre Company (review ★★) Jill Van Brussel:  The Taming of the Shrew  -  Theo Ubique  (review  ★★★) Elizabeth Wislar:  The Analytical Engine  – Circle Theatre (review ★★★)

 

Sound Design

Mikhail Fiksel:  Oedipus – The Hypocrites (review ★★★★) Michael Griggs:  Wilson Wants It All -  The House Theatre (review ★★★) Andrew Hansen:  Treasure Island -  Lifeline Theatre  (review ★★★½)   Joshua Horvath:  Mrs. Caliban -  Lifeline Theatre (review ★★★★) Miles Polaski:  Mouse in a Jar -  Red Tape Theatre  (review ★★★)

 

Artistic Specialization

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

 

Fight Choreography

Geoff Coates: On An Average Day  -  BackStage Theatre Company Geoff Coates:  Treasure Island  -  Lifeline Theatre   (review ★★★½) Matt Hawkins:  St. Crispin’s Day -  Strawdog Theatre Company (review ★★) R & D Choreography:  Killer Joe  -  Profiles Theatre  (review ★★★½  )

 

More info at the Jeff Awards website.

REVIEW: Chess (Theo Ubique Cabaret Theatre)

Chess – an ’80s period piece

 

Theo Ubique Cabaret Theatre presents

Chess

 Book by Richard Nelson, lyrics by Tim Rice
music by Benny Andersson and Björn Ulvaeus
Directed by Fred Anzevino and Brenda Didier
Musical direction by Ryan Brewster
At No Exit Cafe, Rogers Park
Through April 25 (more info)

Reviewed by Leah A. Zeldes

Where you’re seated in a theater often has a big impact on your perception of a show. If, as I did at opening night at Theo Ubique’s Chess, you sit far to one side of the stage, 3 feet from the amps, with a post blocking your view, you’re apt to enjoy the production rather less than if you get to sit at a front-and-center table specially reserved for you.

It’s rare that a 60-seat house has terrible seats, but this one does. The cramped cabaret set-up of No Exit Cafe assures that some people at the back will have heads blocking their view of the stage. Other lucky patrons must perch on barstools throughout the performance. As there are no reserved seats for anyone short of the critic from the Chicago Tribune, plan to arrive very early for a choice of decent views, and if you want to be assured of a table, book the pre-show dinner package for $20 above the $25 ticket price.

Directors Fred Anzevino and Brenda Didier have done the best job possible in blocking the show against the handicaps of their setting, and the cast offers some first-rate performances, but from my seat this deeply flawed, overlong and dated musical perhaps seemed exceptionally askew.

A largely unmemorable mishmash of Hungarian folk music, cheesy pop, dirgelike anthems, country-style ballads and ABBA-esque tunes by that band’s Benny Andersson and Björn Ulvaeus, with lyricist Tim Rice, the score originated as a concept album in 1984. Ryan Brewster‘s five-piece band and most of the singers do it full justice, but the musical style, like the Cold War plot, seems stale.

If you’ve heard of one of the songs, it’s likely to be the maudlin love song “I Know Him So Well,” which was covered by Barbra Streisand, Whitney and Cissy Houston, and most recently by Britain’s Got Talent phenomenon Susan Boyle in a TV duet with Elaine Paige, who sang it on the original concept album and in the 1986 West End production.

Produced, to mixed reception, as a largely sung-through musical on the London stage, Chess was reworked, with a new book by Richard Nelson, for Broadway. Theo Ubique uses Nelson’s script, which was supposedly made nicer to Americans and added narrative and dialogue. The West End version played three years; the New York show folded after 68 performances in 1988, shortly before the Berlin Wall fell.

The 1972 World Chess Championship match between American Bobby Fischer and Russian Boris Spassky inspired this study in black and white, which seems less like the three-dimensional chessboard than the flat cartoon Spy vs. Spy.

We have the pure Russian chess champ, Anatoly, seeking freedom and love, and ultimately sacrificing them. The Ugly American challenger, Freddie, selfish and vain. Naive Florence, the Hungarian-refugee chess coach who fickly wavers between them, a smart woman who behaves stupidly for love. Stoic Svetlana, Anatoly’s deserted wife, seeking to regain her loveless marriage (or is it merely their revoked apartment?). The tricky Russian spy. His callous and conniving American counterpart. There are no likeable characters here.

Jeremy Trager’s Anatoly comes closest to being a real human being, with a beautiful voice to boot. As Florence, Maggie Portman brings a soulful country-western musical style and a bouncy stage presence befitting her role’s up-and-down character.

The rest are pretty much comic-book figures, though Jon B. Leen offers some subtlety and a fine voice as Anatoly’s minder, Molokov. Stephanie Herman captures cool Russian beauty as Svetlana. Courtney Crouse, as Freddie, acts the jerk well but has some problems with pitch and volume; his vocals are often swallowed by the band. Anthony Apodaca and John Taflan ham it up as Freddie’s “agent,” Walter, and the tournament Arbiter, who somehow manages to do his job without the aid of a chess clock.

The production has loads of talent, but not enough to bring this musty musical into the present. Those who sit staunchly among ABBA fans and ’80s nostalgia buffs will probably enjoy Chess more than others

Rating: ★★½

 

NOTE: Allow time to find parking. For some performances, theater patrons may use the lot at Christian Mission Elim, 1615 W. Morse Ave.

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All photos by Johnny Knight