Extensions: The Cabinet, Pillowman, Harper Regan, The Long Red Road

cabinet 

The Cabinet  – extended through April 4th

Redmoon Theatre has announced an extension of their haunting and surreal production. The Cabinet,originally slated to close on March 7th, has now been extended through April 4th.  Tickets are available online or by calling (312) 850 – 8440. (Read our review ★★★½)

 

 

   

PmanLogo600 Pillowman – extended through March 16th

Due to popular demand, Redtwist Theatre’s smash hit Pillowman, by Martin McDonagh and directed by Kimberly Senior, has extended its run through March 16, 2010, with a further extension imminent (fyi: Pillowman has been running strong since November 2009!).  All performances at the Redtwist blackbox space, 1044 W. Bryn Mawr.  Tickets, priced at $22 – $27, are currently on sale.  (See our Pillowman review here ★★★)

 

   

Harper Regan – extended through March 28th

On Thursday, January 21st, the Steep Theatre’s U.S. premiere of Simon StephensHarper Regan opened. Word hit the street by Friday and the first reviews hit the stands Saturday morning. By noon on Monday the 24th, every performance of the six-week run and the one week extension had sold out.  In response to this terrific demand, Steep has announce additional performances of this smash hit. An unprecedented 16 performances have been added to this already extended show – now running through March 28th.  For ticket info here. (our review here)

   

 

LongRedRoad_poster The Long Red Road extended through March 21st

Due to high demand for tickets, Goodman Theatre has extended its world-premiere production of The Long Red Road, a new play by Brett C. Leonard, directed by Philip Seymour Hoffman, by one week—now running February 13 through March 21, 2010. The cast of six remains intact for the extension week, including London’s stage and screen actor Tom Hardy, as well as Marcos Akiaten, Greta Honold, Chris McGarry, Fiona Robert and Katy Sullivan.

 

   

 

REVIEW: “Bright Star: The Love Story of John Keats and Fanny Brawne”

A poetic play in a perfect setting

John & Fanny B

North Lakeside Players present:

Bright Star: The Love Story of John Keats and Fanny Brawne

Written and directed by Frank Farrell
at
North Lakeside Cultural Center in Edgewater.
Through Dec. 20 (ticket info)

reviewed by Leah A. Zeldes

Among the best things about Chicago’s theater scene are wonderful chances to see productions close-up in intimate and sometimes non-traditional settings. Such venues really bridge the gap between audiences and performers. As I overheard a woman say at North Lakeside Players’ charming world premiere, Bright Star: "I felt like I was part of the play."

The Players perform in the historic Gunder Mansion in Edgewater. Built in 1914, reportedly as the lakefront home of an early silent-movie mogul, the house was renovated and opened in 1989 as the North Lakeside Cultural Center.

mrs B & john john & fanny a 12.6.09

The building can accommodate more, but North Lakeside Players Artistic Director Frank Farrell prefers to limit audiences to 20, in part because he likes to stage scenes throughout the house, moving watchers from room to room. Farrell’s Bright Star shifts from the wood-paneled front parlor to the leaded-glass-flanked dining room to a second-floor bedroom, so viewers get something of a house tour along with the play. (Farrell is known for getting his audiences on the move. He’s also the man behind Theater-Hikes, performed during 2-mile walks, and a new project involving bicycle treks.)

North Lakeside Cultural Center forms an ideal setting for historical plays, like "Bright Star," which covers 1818 to 1821, the final years of the short life of British Romantic poet John Keats. Written in 2001, Farrell’s "Bright Star" is based on the 1968 historical novel of the same name by Joan Rees, which was in turn named for Keats’ sonnet, said to have written to his beloved, Fanny Brawne:

Bright star, would I were steadfast as thou art —
Not in lone splendor hung aloft the night
And watching, with eternal lids apart,
Like nature’s patient, sleepless Eremite,
The moving waters at their priestlike task
Of pure ablution round earth’s human shores,
Or gazing on the new soft-fallen mask
Of snow upon the mountains and the moors —
No — yet still steadfast, still unchangeable,
Pillow’d upon my fair love’s ripening breast,
To feel for ever its soft fall and swell,
Awake for ever in a sweet unrest,
Still, still to hear her tender-taken breath,
And so live ever — or else swoon to death.

—John Keats

You need not be a student of literature to appreciate this sad, true love story, also the subject of a recent film by Jane Campion. Keats, 23, and Brawne, 18, met in Hampstead in 1818, and gradually fell in love. Then, as now, life was not easy for self-employed writers — particularly unsuccessful, critically reviled poets — and the couple could not afford to marry. Both her people and his discouraged the relationship. Then, Keats’ health began to fail.

Playwright Farrell weaves wonderful lines, both his own and quotations from Keats, into a compact script. He pares the poetry to a minimum, keeping things moving — aJohn_Keats_by_William_Hiltonlthough I would gladly have heard more of Joe Ciresi’s beautifully expressive recitations.

Ciresi makes a handsome, very boyish Keats (though topped with a Struwwelpeter wig whose historical accuracy appears a little dubious). When it comes to dialogue, however, his performance sometimes seems too restrained.

Actor and script keep the love scenes decorous, as perhaps they really were. Yet surely the intense and stormy Keats who poured his heart into famous love letters with lines like, "Love is my religion — I could die for that — I could die for you" and "You must be mine to die upon the rack if I want you," should display more passion? We need some sizzle, especially between Keats and his darling.

Pretty Nicole Richwalsky brings the right coquettishness and emotion to the young and not very deep Fanny, while Christina Thodos plays her widowed mother with matter-of-fact briskness, delightful in scenes such as one quizzing the young poet on his prospects. Christina Irwin is nicely motherly as the busybody neighbor, Mrs. Dilke, and Michael Mercier doubles proficiently as Keats’ dying brother, Tom, and his friend Charles Brown. Frank R. Sjodin and Nada Latoya Steier capably play a variety of supporting roles.

The playwright knows his subject thoroughly, creating a few puzzles for audience members not so deeply grounded in Keats’ biography. For instance, there’s a rather mystifying scene with Mrs. Isabella Jones (Steier), who needs a better introduction (Keats may or may not have had an affair with her); and glancing references to bad reviews don’t adequately prepare us for an unneeded, anticlimactic monologue damning Keats’ literary critics for the poet’s death.

Quibbles aside, "Bright Star" is a lovely play in a lovely setting, well worth the modest ticket price.

 

Rating: ★★★

 

Note: The production is not wheelchair accessible. Paid parking is available across the street; parking passes must be reserved with tickets. Possible future performances may be in February. 

fanny & john bed Photos by Frank Farrell