“The Memo” is an interesting if not important piece of theater as it was written by Vaclav Havel who went on to become a player on the world stage in the role of reformer. Havel served as the last President of Czechoslovakia, then as the first President of the Czech Republic from 1993 to 2003.
Written in 1965, it was originally translated into English as “The Memorandum” by British writer Vera Blackwell in 1967. The Organic Theatre production is using the later translation from 2006, encouraged and approved by Havel, written by Canadian Paul Wilson and re-titled “The Memo.”
This is an absurdist black comedy that might be described as Monty Python meets “Office Space” in the “Twilight Zone.”
The Chicago Shakespeare Theater presents the North American premiere of the energetic pop-concert musical “Six” by Toby Marlow and Lucy Moss featuring the story of the six wives of England’s 16th Century monarch Henry VIII.
The fate of the queens are apparently remembered by English school children using the rhyme “divorced, beheaded, died; divorced, beheaded, survived” which becomes the leitmotif of the opening number as the women introduce themselves to the audience.
A series of nine musical numbers centered around a common theme with virtually no dialog, this production is more of a pop-concert than what you think of as traditional musical theater.
Presented as a kind of musical competition, each of the “Six” wives takes turns telling her life story, including her relationship with the notorious Henry.
This theatrical version of “The Adventures of Augie March,” at the Court Theatre perhaps serves to illustrate why the popular novel by Chicagoan Saul Bellow has never before been adapted to the stage.
The story line basically follows everyman hero Augie March (Patrick Mulvey) as he meanders aimlessly through life allowing the people he meets to shape his journey. In this way Bellow suggests the arbitrariness of life and is perhaps a cautionary tale of the dangers of undefined goals.
The play opens in the Atlantic Ocean with Augie and his maniacal companion (John Judd) floating in a lifeboat after the sinking of their merchant ship.
During a flashback, Augie’s odyssey begins in the 1930s depression era crowded apartment he shares with his mother (Chaon Cross), two brothers and an overbearing Russian Jewish grandmother (Marilyn Dodds Frank).
Along the way Augie meets an odd assortment of characters which is one of the hallmarks of Bellow’s writing as he reveled in the peculiarities and idiosyncrasies of humanity.
There is so much to like about “The Undeniable Sound of Right Now” by Laura Eason at the Raven Theatre in Edgewater. It’s a snapshot of one of the many evolutionary changes that is inevitable in a growing and vibrant city.
Set in the fall of 1992 Hank (Jeff Mills), the owner of a Chicago dive bar, slash, live music venue, is in the autumn of his career in the midst of evolving musical tastes and gentrification that threaten everything he has built.
Hank has two great loves – live music and his twenty-one year old daughter Lena (Lindsay Stock) who grew up above the club and shares her dad’s enthusiasm for music.
Lena is anxious to expand her horizons to include the emerging style of “house,” a genre of electronic dance music of the era created in Chicago that features D.J.’s as the curators of the musical experience.
Her dad is a traditionalist who feels that D.J.’s are not musicians and that electronic music is in opposition to the live music he has championed for twenty-five years.
Thus the conflict is established,. It plays out in the confines of a neighborhood tavern that, like its owner, is definitely showing its wear.
The set design by Jeffrey D. Kmiec and decorated by Lacie Hexom is reminiscent of the many neighborhood watering holes that once dotted the Chicago map from north to south in this working class city.
In the earlier half of the 20th century Chicago boasted 10,000 “shot and a beer” joints. Most have closed or been converted to fern bars and pubs. Those that survived like Hank’s are loved-to-death by countless elbows, decorated through neglect and illuminated with the ever present twinkling strand or two of Christmas lights.
These establishments retain and reflect a bit of each of the individuals and groups that made this particular venue their social hub, and Hank’s clientele have indeed left their unique mark on this location.
But neighborhoods, music, and people change; and we are all forced to face the changes that are an inevitable part of growing up and growing older. What is undeniable is the here-and-now and the sounds it makes.
Hank has little patience for nostalgia and no stomach for being viewed as a legend. The question is how do you confront the end of an era?
The story involves non-traditional family relationships and various forms of love which in this case includes Hank’s longtime, off-again on-again, salt-of-the-earth girlfriend, Bette (Dana Black), who accepted the role of surrogate mother in the absence of Lena’s birth mother
It is clear the two women have a true affection for each other which was all the more poignant on the Mother’s Day performance I attended.
Stock is spot on and perfectly embodies the role of Lena who is smart, savvy and charismatic. It is no wonder that she is adored by her “parents” as well as the club manager, Toby (Christopher Acevedo), the landlord’s son Joey (Casey Morris), and Nash (Henry Greenberg) the up-and-coming D.J. each vying in one way or another for her attention.
No doubt casting director Kanome Jones made Director BJ Jones’ life a little easier by providing an outstanding ensemble.
Eason has done a terrific job of juggling a number of ideas yet pulling it all together into one well-crafted unified whole. She understands Hank’s reluctance to turn over the reins and sympathetically advocates for the youthful exuberance of Nash and Lena.
Meanwhile the supporting roles of Bette, Toby, and Joey are fully fleshed characters with their own important contributions to the plot. Her dialogue is authentic and at times emotional without becoming saccharine.
When I don’t know much about a play I try to keep it that way until I see it. This was surprisingly different than what I expected, thinking it was going to be more of a jukebox musical.
It does have some recorded music as background as well as a few short riffs and verses admirably played on guitar by Mills – choices of sound designer Lindsay Jones. Music is integral to the story but it is not a musical.
If you are afraid that the indie music rock scene is not a genre you understand or enjoy do not let this dissuade you. The theme of the story is universal and the musical references are incidental. This can be any time period and any inter-generational conflict.
I predict this production will be deemed Jeff worthy with special recognition of Lindsay Stock and maybe BJ Jones and Kmiec as well.
Don’t miss this one. If you have experience with an aging business owner, a music maker, or someone affected by change that they feared or were reluctant to face this will likely resonate with you.
DETAILS: “The Undeniable Sound of Right Now” is at Raven Theatre, 6157 N. Clark Street, Chicago through June 16, 2019. Running time is 90 minutes with no intermission. For tickets and information call (773) 338-2177 and visit raventheatre.com.
As the baseball season begins, City Lit is ending their 39th theatrical season with “Two Days in Court: A Double-Header of Classic One Acts.”
The two plays are “The Devil and Daniel Webster” by Stephen Vincent Benet, and the farcical Gilbert & Sullivan operetta “Trial by Jury.”
In “The Devil and Daniel Webster” a young farmer turned senator Jabez Stone (Nate Strain) has literally sold his soul to The Devil “Scratch” (Lee Wichman) in exchange for his success. The agreement comes due coincidentally at midnight on the day of his wedding to Mary Stone (Laura Resinger).
Luckily for the Stones one of their wedding guests is the famed orator of-the-day and prominent attorney Daniel Webster (Bill Chamberlain) who agrees to represent Jabez against Scratch in front of a “jury of the damned” to get the young Senator released from this most egregious contract.
Webster reminds the jury who have each sold their soul for advantage over others and short term gain, that they have sacrificed the simple pleasures of life.
For those of you interested in surveys and statistics three out of the five top traveler-ranked places of interest in Chicago are magic shows.
By the way, the blockbuster theater experience, “Hamilton,” is ranked number two with “Jazz Showcase” and “Lyric Opera” at six and seven respectively followed by Chicago Symphony and The Shakespeare Theater.
So based on travellers willing to take the time to leave a review and rank their performance experiences at Trip Advisor, “Magic Penthouse” falls in as number five in the top ten.
If you are a fan of prestidigitation, magic impresario and Munich native, Sin Ordu and his troupe of tricksters and spellbinders will keep you thoroughly engaged and entertained for roughly two and a half hours.
This is a unique total post-dinner evening package that includes entertainment, ample adult beverages, and a smattering of appetizers for one fixe prix.
Doors open at 8 p.m. The festivities begin with a mix and mingle cocktail reception featuring an open bar and plenty of sparkling wine pre-poured and ready to go.
The atmosphere was upbeat with an air of eager anticipation from the guests. Interestingly, there was plenty of interaction between guests as we managed to enjoy short conversations with three or four other couples including the very tall and mysterious “Mr. Johnson,” also a pleasant conversation with one Stetson-hat/ostrich-leather-boot adorned “dude” from the Northshore named Nick.
There is plenty to like about this Broadway in Chicago theatrical extravaganza. It is loosely based on the true story of a woman who claimed to be the surviving daughter of Czar Nicholas II of Russia and whose family was assassinated along with him by the Bolsheviks following the Communist uprising in July 1917.
But don’t worry this version of “Anastasia” has little to do with reality. Inspired by the Twentieth Century Fox animated film (later acquired by Disney Corporation), it refers to the tragedy but is scrubbed clean of most of the ugly parts, leaving behind the tale of a young, beautiful and strong heroine striving to find her true identity while struggling to come to terms with her inner princess.
It was an enthusiastic and appreciative, mostly female audience that packed Chicago’s Nederlander Theater opening night. The book by Terrence McNally is expertly crafted to suit its intended audience of preadolescent girls who themselves are likely exploring their own future and place in the world.Read More
This version of the coming of age story “A Bronx Tale” is based on an off-Broadway, one-man play by Chazz Palmintiri later turned into the 1993 Robert De Niro movie of the same name.
Adding music by Alan Menken and Lyrics by Glenn Slater this is a very successful adaptation appearing in Chicago on tour.
Narrated by Calogero (Joey Barreiro), he tells of growing up in an Italian/American section of the New York borough of The Bronx during the tumultuous and racially charged era of The Sixties. And that he is mentored by a local mobster, Sonny (Joe Barbara), and is hanging out with “the wrong crowd.”Read More
In spite of the venue “The Choir of Man” is more boy band concert than Broadway musical. It features nine very energetic, vocally talented, male singers who purport to be “regulars” at a traditional Irish Pub named “The Jungle,” that serves up pop.
This musical extravaganza is loosely narrated by Denis Grindel who introduces his mate. He provides a bit of backstory about each of their characters as a way of establishing the iconic stereotypes we have all encountered in every tavern and public house the world round.
Grindel’s introductions explain that this is one of those places where we go to be who we are and where people accept us for who we are — good, bad and ugly. Though in this case the boys are not too “bad” and nary a one, would be accused of being ugly.
This being the case, “The Choir of Man” is a perfect fantasy for those looking for a bit of testosterone flavored eye-candy, perhaps a “girls night out,” that’s not too naughty.
I could not help thinking that after taking little sister to the American Girl store, a few steps away, Mom could take bigger sister here for her share of fun.
Yes, there is plenty of beer flowing but I do not think there is anything said or done that an average thirteen year-old has not seen or heard on prime-time TV. And in fact, there were a number of youngsters on hand opening night.
Sadly, the program does not include a list of songs so I suspect they change it up as they get a sense of what’s working. It is basically about 15 or so cover tunes by Adele, Queen, Paul Simon, Katy Perry, Red Hot Chili Peppers and others that everyone will find enjoyable and most will find familiar.
The harmonies are awesome with onstage guitar accompaniment by Peter Lawrence, occasional piano by Connor Going and random percussion including a foot stomping tap dance by Matt Cox.
This is good clean well-intentioned, high caliber, fun. Perfect, if you happen to be in town for a visit or just looking for something to do before or after a nice dinner near Michigan Avenue or Rush Street.
“The Choir of Man” is at Broadway Playhouse at Water Tower Place, 175 E. Chestnut St., Chicago, through March 17, 2019 (before continuing their US tour). For more information, visit BroadwayInChicago.
The Lyric Opera’s “Ariodante” by George Frideric Handel (of “Messiah” fame) satisfies the sensibilities of a modern audience.
The storyline of this eighteenth century Baroque opera has elements familiar to a twenty-first century TV audience including love, sex, drugs, infidelity, deception and a missing person. Oh! and puppets.
The plot-line would benefit from a chart. But essentially, Ginevra and Ariodante are in love and soon to be married, however, the villainous Polinesso is also in love with Ginevra who incidentally, can’t stand the sight of him.