Bailiwick Chicago extends F**KING MEN for 2nd time

Bailiwick Chicago Announces 3-Week Extension

of Joe DiPietro’s F**KING MEN


Executive Director Kevin Mayes announced today that Bailiwick Chicago’s hit production of Joe DiPietro’s F**KING MEN will be extended for an additional three weeks due to popular demand. Performances will continue through Sunday, August 29 at Stage 773, 1225 W. Belmont with the original cast.

We are so pleased that Chicago audiences have embraced this production,” said Mayes, “and we are excited that we’ve been able to keep the original cast together for this second extension. It’s been an amazing summer for Bailiwick Chicago, with our two hit shows Aida and F**KING MEN. We are incredibly proud of – and humbled by – the response.

F**KING MEN observes the sex lives of the modern urban gay American male. Conceived as a noir-riff on Arthur Schnitzler’s 19th century play, LA RONDE, the play examines ten men from all walks of life as they negotiate the before and after of lust, love, betrayal and the pursuit of sex and emotional connection. Funny, poignant, sometimes dramatic, always provocative and sexy, the show has been critically acclaimed by Chicago critics: “Emotionally Searing…Superb Performances…there is truth and understanding in F**KING MEN.” (Hedy Weiss, Chicago Sun-Times) “…[F**KING MEN] is serviced brilliantly by this snappy, assured Chicago production.” (Nina Metz, Chicago Tribune) “…F**KING MEN is pretty fucking solid.” (Kris Vire, TimeOut Chicago).

Bailiwick Chicago has launched a dedicated web site for the production with photos, videos, and additional information about the show at www.FMenChicago.com.

Performances are Fridays at 8 p.m., Saturdays at 7 p.m. and 9 p.m., and Sundays at 7 p.m. General admission tickets are $25. Special Reserved seating is available for $30. Student and Industry rush tickets will be available at the door for $15 at every Sunday performance. Group (6+) tickets are $20.00. To purchase tickets, call the Stage 773 box office at 773-327-5252, or go towww.ticketmaster.com.

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Review: Raven Theatre’s “Hedda Gabler”

Hedda Gabler does the time warp at Raven Theatre

Review by Paige Listerud

Hedda Gabler most often gets the 19th century period treatment, so that it’s eponymous role, an epic role for women, more often than not, is interpreted in stark, severe, neurotic and even sociopathic ways.  (see examples of such augmented portrayals after the fold – including Cate Blanchett and Steppenwolf’s Martha Plimpton.)

Hedda Gabler (Mackenzie Kyle) contemplates her limited and self-limiting options.Michael Menendian, who has waited 20 years to direct this play, has pulled Henrik Ibsen’s Hedda Gabler forward to the 1930s. A time when many 19th century restrictions of gender, race, class, and propriety, still retained their grip, and yet had been slightly loosened by the gender role breakthroughs and financial excesses of the Roaring Twenties. This is not your grandmother’s Hedda; we know this Hedda, not from history, but from personal encounters with sorority sisters and Gold Coast socialites. This draws Mackenzie Kyle’s interpretation of Hedda Gabler a little further away from 19th century virago and a little closer to “Gossip Girl.”

Not that there’s anything wrong with that. If anything, this Hedda Gabler is an expertly crafted and smooth-running timepiece, with every part so honed, tempered and balanced with the others, it clips along with deceptive grace, lightness, and ease. Menendian, the sterling cast, and adaptor Jon Robin Baitz can take pride in their exertions to update a classic without overreaching. In fact, every actor’s performance is a model of technique balanced with dynamic energy and tension.

Hedda Gabler (Mackenzie Kyle) whiles away the hours.Mackenzie Kyle (Hedda Gabler) is a near-perfect blend of boredom and anxiety, exhibiting flippant social grace masking a powder keg of sadism. Ian Novak (George Tesman) humanizes his character’s history-geek ineptitude by not diminishing him to an utter buffoon. Symphony Saunders (Thea Elvsted) and Ian Paul Custer (Eilert Lovborg) deliver sincerity and intensity without over-the-top melodrama. Jon Steinhagen (Judge Brack) portrays evil with the graceful patience of a lazy, sleek cat waiting to spring.  JoAnn Montemurro (Aunt Julia Tesman) is appropriately co-dependent, without being so cloying we do not see her razor’s edge, to be used against any who would threaten her beloved nephew, George. Claudia Garrison (Berta) shows in a few lines a woman who is obsequious, fearful, bitter, and knowing of her mistress.

The pacing is fast; the lines tossed off so consistently, one would think Noel Coward constructed this Ibsen play. Best Comedic Moment goes to Ian Novak, for his pregnant pause and clueless response right after Lovborg, his intellectual rival, has thrown down the gauntlet. The deft and light direction rests on the foundation provided by Baitz’s meticulous adaptation.

They want a piece of her:  George Tesman (Ian Novak), Mackenzie Kyle (Hedda Gabler), Jon Steinhagen (Judge Brack), and Ian Paul Custer (Eilert Lovborg).“To make this modern and accessible, we had to go over every line,” said Michael Menendian, “and ask why Hedda was making this choice. Was she an abused or neglected child by her military father? Is she mad? We didn’t want people to feel sorry for her and we didn’t want the audience to wait for her to just go ahead and die already. She has no real focus, no real talent, no real ambition, and no strong desires. She’s got no idea family, no idea of love. She has a crazy notion of what is Romantic. She lacks courage. She has a twisted idea of pleasure or fun.”

Hedda Gabler is indeed a scaredy-cat, but she does manage to express one clarified desire: to have total control over another human being. This well-tempered production inevitably reveals, through its internal balance, the paradoxes of sadomasochism. Hedda wishes total control but is, ultimately, totally controlled. Thea, her rival for influence in Lovborg’s life, seems almost genetically submissive. Still, she demonstrates greater courage than any other character in her willingness to sacrifice marriage, social approval, and economic security. It is, perhaps, overwrought to suggest BDSM themes regarding Hedda Gabler. Yet, while the late Victorian Age was excessively moralistic, it was never innocent. Henrik Ibsen’s crime was to say that in a crowded theater.

Hedda in black “I think that people are amused or fascinated by Hedda Gabler now,” said Menendian. “Not stunned, as they were in Ibsen’s time.” Indeed. I won’t claim that nothing is shocking, but with the breakdown of race, class, gender, and sexuality barriers, the shocks don’t come so hard or so startling. Not to mention, with the steady spectacle of bad behavior the celebrity rich, reality TV, and day and night soaps, we have come a little closer to Hedda, not she to us.

Hedda-Eilert-couch But, putting kink aside, even everyday power exchanges may be too much for a person who wants it all without having to give up anything. The closest Hedda comes to give and take is heightened by her final scene with Aunt Julia, who checks and counters her in as surely as any of the men in Hedda’s life. Their mutual antipathy lies beneath the veiled messages and banal social courtesies they share. Both are playing nice and nobody is fooled for a minute. The sacrifice of truth and authenticity maintains their little détente. If only Hedda could sacrifice something else, hazard something, do something that gives her life weight, value, and meaning—if not absolute freedom. If there is madness here it’s because something’s got to give in this meaningless, safe and conventional existence. This production shows the unbearable lightness of Hedda Gabler’s being.

Rating: «««½

Buy tickets here.  Half-priced tickets available through StyleChicago.com.

From the web:

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‘Rod Blagojevich Superstar’ moving to Chicago Shakespeare

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Following a sold out run at Second City e.t.c., the popular comedy review “Rod Blagojevich Superstarwill be playing a limited engagement Chicago Shakes on Navy Pier.  The Navy Pier version has been updated with new sketches and music to include recent Blago happenings, such as his 6-figure book deal and Roland Burris’ son (and, as the Blago drama proceeds, so will Second City’s improv show!).  After each performance, the famed improv theatre troupe will improvise a 20-minute political comedy set based on audience suggestions.

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Superstar has book by Ed Furman, music and lyrics by T.J. Shanoff and direction by Matt Hovde. The cast includes Joey Bland as Rod Blagojvich, Mike Bradecich as Richard Mell/Pat Fitzgerald, Lauren Dowden as Lisa Madigan, Lori McClain as Patti Blagojevich and Sam Richardson as Senator Roland Burris.

According to Second City notes,

“Politics and parody take center stage Upstairs at Chicago Shakespeare with the Second City’s rollicking musical parody of the rise and fall of ex-Governor Rod Blagojevich. A faux tribute to the man who compares himself to Gandhi, King and Mandela, Rod Blagojevich Superstar presents the story of the former governor in the style of a ’70s rock musical. Jesus and Mary Magdalene have been replaced by Rod and Patti Blagojevich, with appearances by Alderman Dick Mell, Attorney General Lisa Madigan, U.S. Attorney Patrick Fitzgerald and Senator Roland Burris. The jury is still out on Blagojevich, but of the five other Illinois governors who have been charged with crimes, three have done time.”

More info at ChicagoShakes.com.

Rave reviews after the fold.

See video preview of the show here.

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"Beggars" extended thru July 6th

Due to high demand, Mary Arrchie Theatre’s excellent production of Beggars in The House of Plenty has extended their run thru July 6th.  Beggars, by the Tony and Pulitzer Prize winning John Patrick Shanley, is a deeply autobiographical work – a surreal comedy, packed with the wit, insight, confusion, laughter and pain that only family can bring. At once vulgar, poetic and brutally honest, the play leads us on a journey through Shanley’s childhood in the Bronx of the mid-1950’s to the turbulent late 60’s and finally the perspective of adulthood.

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Nina Metz, of the Chicago Tribune, offered these praises:

“the performances here are worth seeing, particularly Daniel Behrendt as Joey, a swaggering, unpredictable force who is charming and dicey and ultimately crushed by forces that Shanley (Carlo Lorenzo Garcia, tender and rough around the edges) was better equipped to escape. Mary Jo Bolduc plays Ma, and she has just the right flat accent and abrasiveness.”

And ChicagoCritic.com added:

“…Carlo Lorenzo Garcia, Karl Potthoff and Daniel Behrendt anchor the excellent ensemble. This play will shake your world.”

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More information can be found at the Mary-Arrchie Theatre website.

Also, check out this week’s Talk! TheatreInChicago podcast for an interview regarding ‘Beggars’!