Review: Some Enchanted Evening (Theo Ubique Theatre)

  
  

Update: Now extended through July 3rd!

More American than apple pie!

  
  

Austin Cook, Evan Tyrone Martin, Dana Tretta - Theo-Ubique Cabaret Theatre - Some Enchanted Evening

  
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.

Danni Smith and Austin Cook - Theo-Ubique Cabaret Theatre - Some Enchanted Evening, Songs of Rogers and HammersteinFramed 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.”

     
Danni Smith, Evan Tyrone Martin, Dana Tretta - Theo-Ubique Cabaret Theatre Austin Cook, Evan Tyrone Martin, Dana Tretta, Jeremy Trager - Theo-Ubique Theatre
Some Enchated Evening ensemble - Theo-Ubique Cabaret 3 Evan Tyrone Martin, Dana Tretta, Austin Cook, Jeremy Trager Danni Smith and Sara Schoch in 'Some Enchated Evening' - Theo-Ubique Cabaret

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: ★★★★
  
  

Austin Cook, Dana Tretta, Jeremy Trager, Danni Smith, Sara Schoch and Evan Tyrone Martin in 'Some Enchanted Evening' - Theo Ubique Cabaret Theatre

All photos by G. Thomas Ward Photography

     
     

Continue reading

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

Eloquent Period Piece Is an Endurance Test

 

Ladys Not For Burning - Theo Ubique 8

   
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.

Ladys Not For Burning - Theo Ubique 9 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.

 

Ladys Not For Burning - Theo Ubique 5 Ladys Not For Burning - Theo Ubique 3
Ladys Not For Burning - Theo Ubique 1 Ladys Not For Burning - Theo Ubique 6

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
  
  

Ladys Not For Burning - Theo Ubique 4

 

Continue reading

REVIEW: Sweet and Hot (Theo Ubique Cabaret Theatre)

Sweet, Hot, and Effective

 

sweet-and-hot-01

    
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-03Sweet 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 20th 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.

sweet-and-hot-04 sweet-and-hot-06

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: ★★★
   
   

sweet-and-hot-02

      
      

REVIEW: Chess (Theo Ubique Cabaret Theatre)

Chess – an ’80s period piece

 IMG_0548

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.

IMG_0580It’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.

IMG_0654 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.

chess2_IMG_4100  chess2_IMG_2405
chess2_IMG_3188 IMG_0635 

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.

All photos by Johnny Knight

Review: Theo Ubique’s “Man of La Mancha”

lamanchapostcard

Theo Ubique Cabaret Theatre presents:

Man of La Mancha

Book by Dale Wasserman
Music by Mitch Leigh
Lyrics by Joe Darion
Directed by David Heimann
Music Directed by Ethan Deppe
Thru November 22nd (buy tickets)

reviewed by Katy Walsh

lamancha21 With a plunger for a sword and a bowl for a helmet, Cervantes proclaims he is the knight, Don Quixote. Sounds crazy? Set in a mental institution, the asylum’s newest inmate, Cervantes, must convince a jury of his peers that he is not crazy. Man of La Mancha, then, is a play within a play. Don Quixote tells his tale of slaying dragons (windmills), storming castles (the local inn) and rescuing a lady in distress (the local whore) to prove his identity. From the playwright  (Dale Wasserman), who penned One Flew Over the Cuckoo’s Nest, and the man (and No Exit Café owner Michael James), whose father first produced the 1965 Broadway version, Theo Ubique Cabaret Theatre presents this musical featuring a woman as the Man of La Mancha.

Instead of going in a Victor/Victoria direction – a  woman believing she is a man believing she’s a different man – this production of Man of La Mancha introduces Danielle Brothers (Cervantes/Don Quixote) as simply a man. Brothers does an excellent job of sustaining that illusion. With a formal elocution, she portrays a man of chivalry and honor from days gone by. There are only sporadic moments of …oh right, Brothers is a woman… during some of the songs. Singing in a range not her norm, Brothers hits the notes but loses a little power on the projection. This is most apparent when she is singing with her sidekick Sancho (Anthony John Lawrence Apodaca). Accompanied by a live orchestra, the cast’s amazing singing leads to involuntary shoulder dancing and humming. “To Dream the Impossible Dream” prompts hope and empowerment within a crazy world. This light hearted musical energy is briefly interrupted with “The Abduction” song. More precise, “The Rape” song is a little startlingly dramatic to the overall enjoyment of crazy people’s antics.

lamancha1 Bringing back dinner theatre, Theo Ubique provides a dinner option for an additional $23. But don’t go for the food! Salad, frittata, and banana bread isn’t a bad three course meal. It’s just not a great one. Go for the opportunity to experience the actors already in character on stage and serving the meal. Apodaca is our repeat server (also served us in the company’s Jeff Award-winning Evita). Apodaca warns us to keep an eye on our silverware around the inmates. During the dinner hour, it’s fascinating to observe the interpretations of insanity. Daniel Waters (Padre) was particularly intriguing (I want to say creepy but that doesn’t sound politically correct) as he sat on the stage rocking. Go crazy and over tip! Chicago actors as servers is one of my favorite charities to support.

 

Rating: «««

 

Aside: The man who is perfectly at home in any asylum, Dick describes the show as crazy, romantic and cool.

Continue reading

Review: Theo Ubique’s “The Taming of the Shrew”

Making the most of a risky venture

Taming_of_the_Shrew1 

Theo Ubique presents:

The Taming of the Shrew
by William Shakespeare
directed by Nick Minas
thru October 4th (buy tickets)

Reviewed by Barry Eitel

Plopping Shakespeare into a cabaret setting seems like a very risky venture. However, so does paring down Andrew Lloyd Weber to fit into a tiny café. Theo Ubique had wild success with that, though, recently reeling in a massive amount of non-equity Jeff Awards for their spring production of Evita. To open this season, the spunky company tackles The Taming of the Shrew, a work a few centuries older than their usual musical flavored fare. The earnest performances tear down the fourth wall and make the intimate space work for the famous comedy, but a flimsy handling of the language keeps this innovative production from reaching its full potential.

Taming_of_the_Shrew2 In the director’s note, Nick Minas describes what Elizabethan theatre-goers would witness at one of William Shakespeare’s original productions: food, musicians, and jugglers— not unlike the cabarets of later centuries. And the cabaret style that Theo Ubique has nailed down works well for Shakespeare’s comedic styling. For a few hours in the cozy No Exit Café tucked away in Rogers Park, clowns, lovers, and ludicrous lords traipse around the tables and drink at the bar.

Minas and his cast do a brilliant job with the using the entire space and engaging the audience. The show begins with the backstage curtain being removed, revealing Lucentio and Tranio staring through the windows facing Glenwood Avenue. The use of this window is the highlight of the show. The audience watches characters peer into the café, run from entrance to entrance, and Kate (Jenny Lamb) even graffitis the building. It also adds a street performance vibe to the production: we watch how people walking by react. Whenever possible, the actors reference this unsuspecting audience, seeking support or sympathy. Opening up the window was a truly inspired choice; it adds another facet to the production and totally redefines the performances.

Taming_of_the_Shrew8 However, many of the actors are unable to wrangle down Shakespeare’s language. While the concepts are fleshed out and the cabaret style is vibrantly portrayed, the actual text is muddled and unclear. This serves as a painful reminder that the scrappy little company has its limits. Ben Mason’s Hortensio has a great physicality, but much of his lines are sped through and the story suffers. Ryan Jarosch as Grumio also rushes through some lines, but no one in the cast has a great grasp on Shakespeare’s words. More attention should have been paid to studying the verse. Considering the text is already full of puns and references that don’t make instant sense to a modern audience, failing to give it the proper respect can be disastrous. Fortunately, the cast is talented and charismatic enough that some of the hurried or imprecise lines can be forgiven, but these missteps add up and blur the story.

Taming_of_the_Shrew4 Taming_of_the_Shrew6 Taming_of_the_Shrew9b

Theo Ubique has played up the original compositions by Ethan Deppe that appear throughout the production. Much of the music is acapella and has a fun, carnival-like atmosphere. A few monologues are turned into song lyrics, these feel more unnecessary than enlightening. The production is also filled with sound effects—cymbals, slide whistlers, shakers of various kinds—that are used throughout. This adds a “Loony Toons” quality to this “Shrew,” but they are used too often. Some restraint would make this stylistic choice a lot funnier.

Taming_of_the_Shrew7 Besides stumbling with the language, the performances are pretty solid. Jeremy Van Meter makes a powerful, sexual Petruchio. Lamb’s Kate is terrifying, yet can reach into the vulnerability the character needs. The two match each other’s energy beautifully, and Minas fills their interactions with intensely physical combat and seduction. Matthew Sherbach is cross-cast as Bianca and does a great job capturing her brattiness. This adds another degree of comedy when she is courted by Steve Gensler’s wide-eyed Lucentio. His Tranio (Mike Oleon), though, can’t connect to the audience as well as the rest of the cast, and Oleon’s performance falters.

The final flaw with the production comes with Kate’s monologue at the end. If played too seriously, the monologue, describing how women should obey their husbands, comes off as backwards for modern audiences. Lamb and Minas couldn’t find the right way to make the finale work, we’re not sure if Kate has been beaten into submission or is tricking Petruchio. In the end, we’re just left feeling uncomfortable.

Rating: «««

View Taming of the Shrew - Theo Ubique

Continue reading

Flex-pass for multiple Rogers Park theater companies!

Rogers Park Theatres Offer 2008-2009 Season Flex Pass

$50 to See Four Plays at Four Theatres; Dining Discounts at Local Eateries

What a great, great idea!  I know that often potential theatre-goers are wary of being “tied down” to specific dates, which is the m.o. of most theatre subscriptions. (on a personal note, being on the board of my condo, I am very aware that people feign away from being on committees for fear of being “tied down” to a meeting schedule).  But now theatre-devotees have an offer they can’t refuse – you can go to various theatres without being shackled to specific dates, specific shows and specific number of seats for the performance.  Brilliant!

The participating Rogers Park theatres, all in the Glenwood Avenue Arts District, include Bohemian Theatre Ensemble, Lifeline Theatre, The Side Project, and Theo Ubique(Okay, it’s a bit of a stretch to designate the Side Project as part of the Glenwood Arts district, but who am I to question).  The flexible subscription pass will be valid for any of these theatre’s productions from September 15, 2008, to July 1, 2009. This foursome garnered nine non-Equity Jeff Awards this season alone, and wanted to share this commitment to excellence in this neighborhood with the community, by offering this discounted pass with up to 40% savings over regular single tickets.

Where: The $50, four-show pass – good for one adult or kids show, anytime during the season, from each of the four participating theaters (offer does not include participant shows in venues outside Rogers Park) – is available at each theatre’s box office, and at www.thesideproject.net/tickets.php The pass is business card-sized to be kept throughout the season, to be punched when used at each theatre, and displayed at each restaurant when a discount is requested.

Who: Participating theatres and 2008-2009 season offerings include (call or visit the Web sites for run dates and details):

boho_thumb Bohemian Theatre Ensemble (BoHo) at the Heartland Studio Theater, 7016 N. Glenwood Ave., 773-791-2393, info@bohotheatre.com, www.bohotheatre.com“Bernarda Alba – A Musical,” “Playing with Fire (After Frankenstein),” “The Tempest.”

 

 

 

lifeline_logo Lifeline Theatre, 6912 N. Glenwood Ave., 773-761-4477, info@lifelinetheatre.com, www.lifelinetheatre.com – MainStage shows “The Picture of Dorian Gray,” “Mariette in Ecstasy,” “Busman’s Honeymoon,” and KidSeries shows “Duck for President,” “Snowflake Tim’s Big Holiday Adventure,” “Flight of the Dodo,” “Mrs. Piggle-Wiggle.”

 

sideproject Side Project Theatre Company, 1439 W. Jarvis Ave., 773-973-2150, tickets@thesideproject.net, www.thesideproject.net“Cut to the Quick,” one-acts including “Static/Cling,” “Splinters and Shrapnel,” “Splayed Verbiage (and other compound fractures): 10-Minute Plays with No Time to Waste” (fall 2008); and “The Bird Sanctuary,” “The Rocks” and a second “Splayed Verbiage” (spring 2009); plus Rascal Children’s Theater titles “The Nerdy Girl and the Intergalactic Dog,” “Tam Lin,” “Spinning Yarns: A Journey Through Legends.”

theoubique Theo Ubique at the No Exit Café, 6970 N. Glenwood Ave., 773-743-3355, freddyanz@gmail.com, www.theoubique.org – “Jacques Brel’s Lonesome Losers of the Night,” “Evita.”

 

 

Dining Discounts: Rogers Park restaurants near these theatres are partnering to offer dining discounts to pass purchasers for the season through July 1, 2009. The Heartland Café (“good wholesome food for the mind and body”), 7000 N. Glenwood Ave., is offering a 15% discount to audiences with a flex pass; Gruppo di Amici (Roman style Italian food), 1508 W. Jarvis Ave., and the Morseland (“good eats, nice beats”), 1218 W. Morse Ave., will extend 10% off to patrons (with flex pass). In addition, Charmers Café/Dagel & Beli [sic] (coffeehouse and bagels), 1500 W. Jarvis Ave., will offer $2 off one order with flex pass (one visit only-not season long). Theo Ubique offers dinner and show packages at the No Exit Café, 6970 N. Glenwood Ave.

Glenwood Avenue Arts District, in the heart of Rogers Park, features numerous artist studios, music venues, theaters and restaurants and is fast becoming known as a vibrant and unique arts destination, which was described in the Daily Herald“Rogers Park, on the north edge of Chicago, offers an urban vibe, intimate but exciting theater, a variety of live music, good restaurants and largely free parking, not to mention glorious Lake Michigan beachfront open to all.” The theatres in this area frequently are nominated for, and win, Jeff Awards (www.jeffawards.org), and are often picked to perform at the Chicago Park District’s Theater on the Lake, “best of the best” summer season.

Last word: Again, I think this is a great idea.  I would suggest looking into getting Raven Theatre on board (maybe they already have), as well as looking into the type of flex pass the Raven uses – one that never expires.  I suggest this because I assume that most people will use all of their flex-pass tickets during the first year anyway – but offering tickets with no expiration date just makes the deal that much sweeter.