Chris Jones announces 10 best plays of 2009

The Tribune’s Chris Jones announces Top 10 Plays of 2009

For the complete description, explanations and reviews of these plays (and others), be sure to visit Chris Jones’ excellent blog: The Theater Loop


1. The Arabian Nights by Mary ZimmermanLookingglass Theatre  (our review)

 

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2. The History Boys by Nicholas HytnerTimeline Theatre 

 

3. The Overwhelming by J.T. RogersNext Theatre 

4. The Elaborate Entrance of Chad Deity by Kristoffer DiazVictory Gardens (our review)

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5. Blackbird by David HarrowerVictory Gardens (our review)

 

6. Cabaret by Kander and EbbDrury Lane Oakbrook (our review)

 

7. The Mystery of Irma Vep by Sean GraneyCourt Theatre (our review)

 

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8. Graceland by Ellen FaireyProfiles Theatre (our review)

 

9. Oh Coward!devised by Roderick CookWriters’ Theatre (our review)

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10. Stud Terkel’s Not WorkingSecond City e.t.c.

 

Chris Jones’ list of 10 shows that “should have made the list”

Desire Under the ElmsGoodman Theatre

Little Foxes Shattered Globe Theatre 

Miss SaigonDrury Lane Oakbrook

Old Glory Writers’ Theatre

Our Lady of the Underpass Teatro Vista Theatre

Rock ‘n’ RollGoodman Theatre

Top Dog/Underdog American Theater Company and Congo Square Theatre

 Twelfth NightChicago Shakespeare Theatre 

The 25th Annual Putnam County Spelling Bee Marriott Theatre

REVIEW – “Requiem for a Heavyweight” at Shattered Globe

Requiem for a Heavyweight
“Why do so many have to feed off one guy’s misery?” This line in Shattered Globe’s heroic, heart-wrenching production of Requiem for a Heavyweight, sums up the life of the lead character, a boxer nick-named Mountain (Sean Sullivan). Written by Rod Serling (creator of “The Twilight Zone“) as a 1957 teleplay, Serling lays out for us the extremes that people will go in furthering their own lives, all the while squeezing out every last ounce of dignity from others. Mountain, a tender giant from Tennessee, who at one time was ranked 5th in the world, finds himself unemployed after 14-years of boxing. The play begins during Mountain’s final fight, a startlingly brutal confrontation, blood and sweat flying off him as he is barraged with punch after punch by the soon-to-be victor. His eyes and face beaten to a pulp (with severe disfiguration from years of fighting), the doctor rules that this will be his last fight, as any more damage to his eyes could leave him blind. Feeling indebted to his manager, Maish (Bill Bannon), Mountain finds himself at an employment office, where he meets with job counselor Grace (Paula Stevens), who takes him under her wing, determined to find him a job. This scene involving Mountain and Grace is a marvel to behold, as Mountain clumsily blurts out that – once people see his disfigured face – nobody is willing to hire him. Though Grace sets him up with a job working as a camp counselor, his manager Maish has other plans for him, booking him into the humiliating realm of professional wrestling, posing as an Appalachian Davey Crockett, complete with coonskin hat and long-johns. We are left at the end with deep sympathy for Mountain, while holding inside a glimmer of hope that his life will someday get better.

Strengths: Director Lou Contey has outdone himself with his vision and execution of this glorious story – the ensemble is dead-on in the depictions of their characters. Along with Sean Sullivan, Bill Bannon and Paula Stevens, praise must also be given to the rest of the cast – Brian McCartney, Scott Aiello, and Jamie Vann. The production looks great – with a superbly-adaptable set designed by Kevin Hagan.

Reservations: Though there is little here not to love, the final scene becomes a bit preachy, as Mountain spells out what he is doing and why. Though Mountain is an honorable character, he’s not the type that’s eloquent enough to package his actions so succinctly.

Summary: In Requiem for a Heavyweight, Shattered Globe presents us with a perfect example of the kind of ensemble theatre Chicago is known for: gritty, raw and vulnerable, all wrapped inside a small intimate theatre space. It will be hard to experience a better performance than that of Sean Sullivan, who brings the empathetic audience to tears, as he succumbs to the realization that he has been used and then tossed aside by all those in his life whom he thought were looking out for him. This play is not to be missed. Highly recommended.

Rating: ««««

Opening: Shattered Globe’s “Requiem for a Heavyweight”.

One of my favorite Chicago theatre companies, Shattered Globe, continues their exciting 2007-2008 season with the tumultuous “Requiem for a Heavyweight” by Rod Serling; directed by Louis Contey. Opening night is Sunday, January 13th. (hat-tip to Karin McKie for providing the production info)

   

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WHAT: Shattered Globe Theatre will present “Requiem for a Heavyweight,” by Rod Serling and directed by Louis Contey.  In this 1956 drama, washed-up prizefighter Harlan “Mountain” McClintock faces the sudden end of his career. Having spent 14 years in the ring, Mountain faces the prospect of a life that does not include boxing and discovers that the skills that almost made him a champion don’t count for much in the wider world. Mountain is torn between the possibility of new love and a promising future offered by social worker Grace, and loyalty to his self-serving manager Maish, who wants to exploit the fighter on the lucrative professional wrestling circuit. Widely regarded as one of the greatest sports dramas of all time, “Requiem for a Heavyweight” is a gut-wrenching account of the merciless prizefight game and the human wreckage it leaves in its wake. 
   
WHERE: Victory Gardens Greenhouse Theater, 2257 N. Lincoln Ave. (map)
   
WHEN: Opens Sunday, January 13th (3pm) through March 8th (Saturday). Complete schedule here.
   
TIX: Call box-office at 773-871-3000, or order online. Reduced tickets at HotTix (when available).
   
CAST: Scott Aiello (Leo), Bill Bannon (Maish), David Bendena (Greeny), Don Blair (Doctor and Charlie), Craig Degel (Morrell, Thug), Mike Falevitz (young boxer and photographer), Brian McCartney (Army), Paula Stevens (Grace), Sean Sullivan (“Mountain” McClintock), and Jamie Vann (Perelli).
   
STAFF: Kevin Hagan (Production Manager and Scenic Design), Brian McCaskill (Co-Producer), Eileen Niccolai (Co-Producer), Danielle Boyke (Stage Manager), Lou Contey (Director), Mike Durst (Lighting Design), Cybele Moon (Costume Design) and Mike Tutaj (Sound Design).
   
FUNDERS: Alphawood Foundation, the Elizabeth F. Cheney Foundation, the Robert J. and Loretta W. Cooney Foundation, the Richard H. Driehaus Foundation, a CityArts I grant from the Chicago Department of Cultural Affairs, the Gaylord and Dorothy Donnelley Foundation, the Leo S. Guthman Fund, the Illinois Arts Council, the Mid-North Association and Much Shelist.

“Suddenly, Last Summer” – intimate yet powerful

Suddenly Last SummerProduction: Suddenly, Last Summer
Producers: Shattered Globe Theatre
Synopsis: In the wildly overgrown garden of a New Orleans mansion, a wealthy family’s matriarch, Violet, seeks to uncover the truth regarding her son Sebastian’s recent death while traveling overseas.  Violet’s niece, Catherine, was the final person to see Sebastian alive.  But from the moment Catherine returned to Louisiana, she began spewing out a version of events so horrific that they couldn’t possibly be true, forcing Violet to institutionalize her niece, in the hopes of shutting her up.   Willing to go to any length to discredit Catherine’s morose account, Violet brings Catherine to her mansion’s garden, where a doctor puts her under the influence of so-called truth serum, and everyone is forced to come to terms with the long-buried secrets that are finally brought to light.
Pros: Director Kevin Hagan does an exemplary job with this fine set of actors.  Catherine’s vitriolic monologue regarding the final ghastly moments with Sebastian is worth the price of the ticket alone.  Veteran Chicago-actor Linda Reiter is dead-on with her portrayal of the arrogant and vengeful matriarch Violet. 
Cons: None.
Bottom Line: Suddenly Last Summer is a wonderful chance to see a true American theatre classic, a script rich with Tennessee Williams’ finest language.  A definite must-see.
Rating: ««««