E.M. Forster’s 1910 literary classic is a sprawling novel about rank, morals and love among three English families from different social classes
His novel offered an insightful portrait of England at the height of its imperial world influence just prior to World War I. Through the lives of three diverse families, he showed how fast progress was happening and shaping Edwardian England.
In light of the sweeping changes taking place, Forster seemed to ask who would eventually inherit England? Which class would ultimately define this powerful nation?
Through this tale, we come to know the wealthy, capitalist Wilcox dynasty, the idealistic, intellectual upper middle class Schlegel sisters and the ever struggling, financially impoverished lower class Leonard and Jacky Bast.
Douglas Post’s faithful theatrical adaptation is truly eloquent and makes E.M. Forster’s novel accessible in a two-and-a-half hour production. This is a beautiful, carefully constructed play commissioned by Remy Bumppo Theatre, and currently enjoying its world premiere at Theater Wit.
It’s true that the very best writers use experiences from their own lives to inspire their writing. English author D.H. Lawrence, whose early twentieth century novels like Lady Chatterley’s Lover, Women in Love, Mr. Noon and The Rainbow shocked and entertained readers during this “Age of Innocence.” It’s also true that his stories are all very intimately bound up with his own life. But none of his novels is more autobiographical than Sons and Lovers.
This is Lawrence writing about his life and recreating scenes from his own experience, but fictionalizing it. He began writing the book in 1910, finishing the novel two years later.
The story underwent lots of revisions, including the title, and was influenced by many personal crises that occurred during this period. Lawrence ended a long relationship with Jesse Chambers (who’d serve as the model for his character, Miriam Leivers).
He became engaged to, and then broke up with Louie Burrows (who would be the inspiration for the character of Clara Dawes). He lost his mother to cancer, became seriously ill with pneumonia, gave up teaching and moved away from his birthplace. But this is a story that’s derived from the author’s own Oedipus complex.
When Lydia was a young woman, she lost her first love to another woman. She settled for Walter Morel, a boorish, yet passionate lower class man who worked long hours down in the Midland mines.
As sons William and Paul grew up, Lydia doted on them to the point where Walter is brow-beaten and practically ignored and she redirects all of her ardor and passion to her sons. They, in turn, become her lovers and as they grow to manhood they aren’t able to love any other women because their mother’s hold over them is so strong.
As part of Pride Films & Plays’ exploration of all things gender related, we travel back to the Chevalier d’Eon Resort in the Catskill Mountains. It’s 1962, and a secret world is revealed to 21st century audiences that actually existed during those more innocent, post-war years.
For at least one weekend during the late Spring, a group of happily married men with families, highly-respected in their chosen, white-collar professions, gather in this secluded Garden of Eden to express their alter-egos.
These men are not homosexuals, nor do they harbor a hidden desire to undergo surgery in order to become full-time women. They’re cross-dressers who, in private, simply enjoy (sometimes) being a girl.
In this remote setting, several longtime friends and a couple of new acquaintances, are provided the freedom to express themselves as feminine, girly girls in their own private, woman’s world.
First, a gentle warning to theatergoers planning to see”All That He Was,” a deeply moving, sometimes humorous new musical by Pride Films & Plays at The Buena: bring along lots of Kleenex.
When theatergoers walk into The Buena, they may be surprised to discover that they’re about to attend a funeral. The entire theatre has been transformed into an outdoor, park-like space.
This sepulchral space is highlighted by a tasteful garden of plants and flowers surrounding an arbor and peppered with places to sit and the stage is festooned by strings of tiny white lights.
A poignant AIDS-inspired, mostly sung-through musical, “All That He Was” is a newly revised version of the original, award-winning one-act by Larry Todd Cousineau (book and lyrics) and Cindy O’Connor (music).
Fast forward to the year 2094, 75 years in the future when”Women of 4G,” presented by Babes with Blades, tackle Earth’s uninhabitable air.
Because of the arrogance and stupidity of our world leaders, the earth’s fragile environment has now been totally destroyed. With the planet’s atmosphere almost completely polluted, mankind is literally gasping its last breath.
In one final, heroic attempt to insure another 500 years of life, a team of seven superior female scientists and their lone male Captain, have been sent on a life-and-death mission into outer space.
Once into the cosmos, the crew of 4G plan to launch a lifesaving satellite, brilliantly developed by one their own, LT Wollman. This celestial orb promises to reverse the harmful gases and lethal rays that have destroyed earth’s precious oxygen supply.
But something else has gone deadly awry. At the top of the play, the audience learns that the ship’s captain has been murdered. Playwright Amy Tofte’s often funny, frequently violent feminist science fiction melodrama quickly evolves into an intergalactic whodunnit?
You arrive at the 14th floor of the Cambria Hotel to be greeted by a bevy of smiling faces, all of whom are there to happily launch your theatrical experience.
If you’ve ever been on a cruise ship, you’ll understand what awaits you. At the far end of the theatre lobby there’s a huge bar, where all manner of beverages await your order, including a complimentary glass of champagne.
Then, with a fanfare, the company of waitstaff announce that the 300+ seat Spiegeltent is now open and ready for your entertainment and dining pleasure. And with that, you’re off and running for three hours of nonstop munching, merriment and mayhem.
Seated at one of the linen-covered tables arranged in-the-round on various levels, the audience is waited upon by cheerful, exuberant waitpersons. The delicious, four-course dinner, developed and overseen by “The Goddess,” Debbie Sharpe, begins with an appetizer, that already waits at your table.
Your waiter takes your order of entree you prefer (braised beef short ribs, a pasta dish, vegetarian Thai curry, roasted chicken breast or herb roasted salmon); he also records a credit card, in the event you decide to order additional drinks. While you’re enjoying your first course, you start to take in your gorgeous surroundings.
There are so many unexpected twists and turns in this exciting drama, that seeing this one-act as the finale to Haven’s current season. is truly an emotional experience.
At first, the play is masked as a melodrama about four friends in Damascus who are united in their addiction to watching a particular soap opera but Chilean playwright Guillermo Calderon has written a political story.
The play opens in Hadeel’s somewhat bland-looking apartment. This lovely young woman who’ll be hosting the evening’s get-together, settles in to relax and watch some television before her guests arrive for their viewing party.
Suddenly, there’s a knock at the door. Arriving much earlier than the others, Youssif enters the living room with something important on his mind. Without giving away too much, suffice it to say that long before the televised soap opera’s fireworks start, the emotional pyrotechnics of real life begin.
American Blues Theater’s latest offering doesn’t just touch your heart; it enfolds your soul in warmth and caresses you with its humanity. Like the song that one character sings, this production “Shines.”
It’s impossible to experience this folksy musical without shedding a tear or feeling a lump in your throat. At its core, this little musical is a celebration of the simple things in life.
With music by James Valcq, lyrics by Fred Alley and a book co-adapted by both artists from the film of the same name, this is a warm, heartfelt story of redemption and hope. It’s a show we could all use right now because it’s so positive.
The composers eschewed a big, brassy score to instead create a gentle mixture of folk, country, pop and bluegrass spiced with just a touch of Celtic influence
Musical director Malcolm Ruhl brings the lovely score to life on accordion, with Ian Paul Custer on piano, Greg Hirte on violin, Scott Sedlacek on guitar/mandolin and Magdalena Sustere on cello. Although told primarily through its music, the simple tale rejoices in its quieter, more reflective moments.
Director Tammy Mader really understands this musical and demonstrates, once again, why she’s become one of Chicago’s preeminent directors. Staged with sincerity and artistry, Mader takes us on an emotional journey that audiences aren’t likely to forget. She creates some gorgeous stage pictures, allowing movement to flow organically.
Like the season during which the play begins, the attitudes of this small town are initially cold and guarded. But, like Spring, the weather and people in Gilead soon begin to warm up. Color, light and love gradually fill the stage.
In this intimate Stage 773 venue, actors are never very far from the audience. The line between theatergoer and actor seems to disappear as patrons become comfortable and feel like almost a part of the story.
This is thanks, in part, to Sarah E. Ross’ rustic scenic design within a forest setting. Jared Gooding’s mood-altering lighting design conveys the earthiness along with the changing Wisconsin seasons. Costumer Lily Grace Walls has designed a realistic wardrobe for the characters, at first in earth tones of brown beige, and eventually bursting with color and patterns like the town itself.
The cast is exceptional. Each actor brings personality and honesty to his or her character. Their powerful voices are filled with pain, healing and, ultimately, blissful happiness.
The always splendid Jacquelyne Jones carries the show playing tough, ex-con Percy Talbott. As her own tragic story begins to blend with the suspicious, gossiping folks around her, Percy’s protective walls start to crumble and secrets are revealed.
The magnificently talented Catherine Smitko is doing some of her finest work in this production. She’s feisty, but real, grounded and humane as Hannah, the bitter, yet motherly owner of the Spitfire Grill.
And lovely Dara Cameron is shy, touchingly withdrawn and emotionally battered as Shelby. Her performance is at once heartbreaking and hopeful. Shelby provides the gentle friendship to Percy that helps the young woman to soften and trust again.
Together, these three talented actresses are transcendent and provide the heart and soul of this production.
All three actresses display excellent, expressive, professionally-trained voices. Jacquelyne Jones’ “A Ring Around the Moon,” which opens the play, is stunning. Dara Cameron’s exquisite “When Hope Goes” tells how the town and its residents have changed over the years. The two women share their hopes and dreams in the wonderful “The Colors of Paradise.” In “Forgotten Lullaby,” Catherine Smitko’s Hannah discovers the deep-rooted feelings and haunting memories that she’s buried for years.
Completing the cast are handsome Donterrio Johnson as Joe, the town sheriff and Percy’s parole officer. He beautifully sings of his own wishes for the future in “This Wide Woods.”
Karl Hamilton plays Caleb, Shelby’s abusive husband, a bitter man who lives in the shadow of an MIA war hero. His melancholy can also be attributed to losing his job after the local quarry closed (“Digging Stone”). Ian Paul Custer is gentle and touching as the mysterious Stranger, a role guaranteed to bring a tear to the eye. And Gabrielle Lott-Rogers is very funny as Effy, the town’s nosy, outspoken postmistress and effusive gossip-monger.
Mader’s production is simply wonderful. It’s pitch perfect in every way, from her magnificently talented cast, to her creative team who help bring the show to life. She presents a heartfelt story with characters and music as cozy and welcoming as comfort food, the perfect anecdote to all the negativity that surrounds us today.
This is really a must-see production, a tale told by a gifted theatre company that absolutely “Shines.”
DETAILS: “The Spitfire Grill” is at American Blues Theater at Stage 773, 1225 W. Belmont Ave., Chicago through August 17. Running time: 2 hours, 10 minutes. For tickets and other information call (773) 654-3103 or visit American Blues Theater.
In the dark, dystopian world that young, British playwright Alistair McDowall creates, reality unexpectedly oozes into the science fiction thriller and then, just as suddenly leaches back out again.
This surrealistic play is a kind of mobius strip of a story. The non-linear plot pops back and forth between the present and the future. It kicks all logic deep into the murky shadows that envelope Joe Schermoly’s nightmarish scenic design, and reality turns into an M.C. Escher-like staircase to nowhere.
McDowall’s play begins in a car driven by a verbose man named Zeppo (the always excellent Peter Moore) who goes to great lengths to describe the plot of “Raiders of the Lost Ark” to Ollie, his confused traveling companion.
Throughout his enthusiastic narration, as Zeppo devours a bag of McDonalds’ chicken nuggets, we learn that Ollie, played with empathy by Amber Sallis, is meeting with Zeppo because she’s desperate to find her twin sister who disappeared. Ollie hasn’t contacted the police because her sister, who may or may not actually exist, might’ve been involved in some shady dealings.Read More
Since “The Wizard of Oz,” first delighted children and grownups back in 1939, L. Frank Baum’s glorious fantasy, has been a continual favorite whether on film, in print or live on stage, as it is at Chicago Shakespeare Theater.
This road story, directed with spirit by Brian Hill and imaginatively choreographed by Kenny Ingram, is about how friends help, comfort and support each other. It also shows how experiencing new places can delight and educate, but ultimately reminds the traveler that, in the end, there’s no place like home.
Living on a colorless Kansas farm with her Auntie Em and Uncle Henry (played by Emily Rohm and Jared D.M. Grant), lovely Leryn Turlington winningly steps into the ruby slippers as Dorothy Gale.
After being threatened by grouchy Almira Gulch, portrayed by Chicago stage veteran Hollis Resnik, Dorothy runs away with her little dog Toto (played perfectly by Derby, the dog), meets clairvoyant Professor Marvel and is swept away to the Land of Oz by a powerful cyclone.
Earnest and charming, with a smile that lights up the stage, Turlington puts her own touching stamp on the soulful ballad “Over the Rainbow.”
On her travels through Oz, Dorothy meets Emily Rohm, transformed into a glittering, pink Glinda, the Good Witch. Dorothy also makes friends with the local Munchkins played by Karla Boye, Timothy P. Foszcz, Jarod D.M. Grant, Haley Gustafson, Aalon Smith, Lauren Smith, Anthony Sullivan Jr. and Kaleb Van Rijswijck who advise her to “Follow the Yellow Brick Road.”