Elijah McTiernan, Taelon Stonecipher, Nick Arceo and Sean M.G. Caron in “Forever Plaid” at the Skokie Theatre. Photo by Laine Rogers

Atra Asdou (Photo by Ricardo Adame)

Highly Recommended

A laugh-out-loud comical attack of geopolitical humor invades Lookingglass Theater in “Iraq but Funny.”

Playwright / performer Astra Asdou recalls the history of the Assyrian people through this semi-autobiographical story of five generations of the women in her family.

Asdou, herself, takes on the persona of a ridiculous, uniformed, pith hat-wearing, mustachioed British army officer who, in stand-up comedy style, acts as narrator.

Four other actors (Susaan Jamshidi, Gloria Imseih Petrelli, James Rana, Sina Pooresmaeil ) rotate through multiple roles, presenting a series of vignettes that ultimately reveal, the more things change the more they remain the same.

Each generation of women is motivated to improve themselves personally in their patriarchal dominated culture while taking on the duty to assure the survival of the next generation. Their quest is made that much more challenging within the context of opposing political and religious forces.

I would venture to say that most Americans could not find Iraq on a map and have virtually no understanding of who the Assyrian people are let alone how this part of the world came to play into the geopolitics of recent memory. I’ll give you a hint that the last part has to do with oil and the first part an ancient Mesopotamian culture

The ultimate court jester, Asdou reveals how absurd those in power appear when viewed from a distance. Under the guise of protection and promise of peace they actually manipulate people’s fear, ruining the lives of countless individuals to achieve their own greedy motives.

Sure, that sounds grim but Asdou understands the line between comedy and tragedy is thin. If we stopped to fully engage in the chaos and destruction around us, we would be exhausted and paralyzed with anxiety.

The production has an improvisational vibe that humorously exposes the absurd actions of individuals trying to maintain some semblance of order in their lives when the world is crumbling around them.

Darwin suggested that it is the strong who survive. Asdou clarifies that for us. It is the cunning, the strong of mind and spirit that survive.

Asdou reminds us not to take ourselves too seriously, to see that life is absurd on many levels and that no matter our culture we simply want to live our lives quietly enjoying our family and quirky customs with minimal interference from the world at-large.

Asdou said, “[I] want to share a side of my people audiences rarely see: their sense of humor.”  That statement reminded me of another, in “English,” which recently played at Goodman Theatre and was Tony nominated on Broadway for best play.  “When you cannot adequately express yourself with the nuance and clarity of a native speaker, people do not know that you are actually smart, funny, and kind. Instead, they only hear your imperfect pronunciation and limited vocabulary. You may be easily assumed to be inferior with little or nothing to offer.”

Written as an insider, Asdou takes some liberties by poking self-effacing fun at her culture’s ethnic habits that may appear funny from a modern American perspective. But this style of humor, possibly uniquely American, is something anyone from any ethnic group would understand. It’s a way of saying, “I know this looks odd, but it’s actually a kind of charming indication of who we are.”

This has been the cornerstone of Jewish humor for more than fifty years, followed by Italians. Then, more recently, Asian and South Asian comedians and others have followed, all becoming a kind of rite of passage into the ethnic stew that is America.

Utilizing a dizzying array of theatrical techniques, this fast-paced production is a three-ring circus of costume changes, scenic projections, and lighting and sound, aided by a small army of six or seven crew members who stealthily set props in a seamless stream of visual surprises.

Details: “Iraq, But Funny” is at Lookingglass Theater through July 20 in The Joan and Paul Theatre at Water Tower Water Works at Michigan Ave., 163 E. Pearson St., Chicago. Running time is 2 1/2 hours with one 15 minute intermission. Tickets at (312) 337-0665 or visit lookingglasstheatre.org

Reviewer: Reno Lovison

Justin Banks (L) and Dennis Cockrum in Golden Leaf Ragtime Blues at American Blues Theater  (Photo by Michael Brosilow)

Somewhat Recommended

Feeling controlled by outside forces, two people on the opposite ends of life are each trying to manage their own destiny in the Chicago Premiere of Charles Smith’s “Golden Leaf Ragtime Blues” at American Blues Theater.

The scenic design of Shayna Patel with the considerable assistance of Properties Designer, Tyson Carter immediately has us interested to know who lives here, why does this look the way it does and what’s going to happen?

Set on the northside of Chicago sometime in the 1990s, the place is the apartment of Pompey (Dennis Cockrum), an eightyish, former vaudeville musical comedy entertainer whose living conditions indicate a chaotic and out-of-control life, stalled in the past.

Pompey harbors a desire to resurrect the old act with his performing partner Ollie (James Sherman) if only he could remember his lines and Ollie can stay alive.

As a result of a visit from his social worker daughter, Marsha (Dawn Bach), Pompey finds himself reluctantly spending time with an African-American teenaged male J’Taurius a/k/a “Jet” (Justin Banks).

It is immediately clear that the two have nothing in common, have no desire to be in each other’s company and are outwardly hostile to one another. Of course, they ultimately find a reason to converse, finding a way to make a connection through their mutual love of music.

Directed by Chuck Smith, both he and author Charles Smith (no relation) are reunited again after their recent successful collaboration on “The Reclamation of Madison Hemings” also at ABT.

The two dramas share a few similarities, both being essentially an extended dialog between two main characters dealing with themes of racial inequities and the influence of outside forces on the trajectory of their lives. However, this production by comparison seems not as well conceived and the dialog to my ears is unrealistic and tedious at times. The players are competent enough but (with the exception of Sherman) seem to be struggling to find a natural conversational rhythm.

Overall, this comes across as a kind of sitcom repartee that we have come to accept as authentic dialog but is simply an exchange of sassy words and pithy phrases mostly devoid of actual emotion. What stands in for emotion are a few exclamatory outbursts that seem assaulting.

The content of “Golden Leaf Ragtime Blues” might be enlightening for some people who perhaps do not live in an urban community or maybe are not much tuned-in or exposed to the plight of disenfranchised youth or struggling elderly. Originally conceived in 1987 it might have been a little more cutting-edge at the time.

I’ve had some experience in the not-for-profit social service world that includes working with the National Runaway and Suicide Prevention Hotline. I also have had two good friends who were social workers dealing with foster children so perhaps I am interjecting my own biases.

I’m concerned for kids who are stuck in a seemingly endless cycle of superficial, temporary and often punitive care. I’m also concerned about overlooked and neglected seniors with dwindling support systems who still have dreams and a desire to continue contributing to life.

For me this particular example leans too heavily on stereotypical attitudes without providing much insight toward furthering our understanding of isolation, except to acknowledge it is a concern that often goes unaddressed combined with a message that for some, the solution might be finding the wherewithal to take responsibility for ourselves.

Details: “Golden Leaf Ragtime Blues” at American Blues Theater, 5627 N Lincoln Ave., Chicago May 23 – June 29,2025, running time 90 minutes with no intermission. Tickets at www.americanbluestheater.com or (773) 654-3103.

Reviewer: Reno Lovison

Persistent Spring showcase of See Chicago Dance

1. The Second City celebrates Asian American and Pacific Islander (AAPI) Month with Dynasty Babies, its third annual Victor Wong Showcase.  The showcase runs 8 p.m. every Tuesday through May 27, 2025 in the e.t.c. Theater. Tickets are $10 and are available at: https://www.secondcity.com/shows/chicago/victor-wong-showcase-chi

Dynasty Babies is a fantasy comedy tour from this year’s fellows that are  sketches using love, longing, power, and catharsis.

The showcase trains and mentors emerging AAPI comedic talent. This year’s showcase features ten rising stars who have spent the past 15 weeks writing, performing, and creating the show.

The 2025 Victor Wong Fellows: Carolyn Hu Bradbury, Cameron Cai, Lauren Hugh, Eliot Huh, Marie Molina, Mizha Lee Overn, Sharon Pasia, Mantra Radhakrishnan, Thomas B. Tran and Rohan Tripathi.

Julie Dumais Osborne, Vice President of The Second City Training Center explained the program.  “Through the Victor Wong Fellowship, we’re investing in bold, original voices and equipping them with the tools to thrive both onstage and beyond.”

2. See Chicago Dance

20th Anniversary Season announces the performers and events for the 2025 Chicago Dance Month.

Now in its 12th year, this summer celebration with many free events, begins with a Chicago Dance Month Kickoff Celebration, Saturday, May 31 at 3 p.m. at Navy Pier, 600 E. Grand Ave.

The Chicago Dance Month includes 34 artists and companies (out of 108 applicants) with performance opportunities in 14 different events.

https://drive.google.com/drive/folders/13qPFMKj5OfK4NWHsBiGymZxHqeuRxT4x

Visit https://seechicagodance.com/

Highly Recommended

If robots take over the world what will their relationship be to humans? Will it be a carefree utopia with happy automatons cheerfully laboring away while people enjoy a life of leisure or will the robots develop ideas and aspirations of their own, eventually viewing their human creators as archaic inferior predecessors, in-fact outdated models?

This is the basic concept behind Bo List’s R.U.R. a world premiere production, freely adapted from the play “Rossum’s Universal Robots” by Karel Capek is at City Lit Theatre.

As the play begins it becomes apparent that the use of robots in society to do menial tasks has been employed for some time however for the most part, they are still considered rudimentary.

Harry Rossum (Bryan Breau) the inheritor of Rossum’s Universal Robots, is a kind of ditzy inventor who is preparing to unveil his new generation of totally lifelike robots at an upcoming world exposition.

Rossum has furthered his development on an isolated island with the assistance of his scientist step-mother, Dr. Gall (Mary Ross), and his business advisor and inventory manager, Alquist (Brian Parry).

Helena Glory (Madelyn Loehr) arrives with her Nana (Shawna Tucker) to discuss the fair and humane treatment of robots with Rossum. In short order Rossum and Glory fall for each other and are wed.

The robots include Radius (Sean William Kelly), Tibia and a few other quite similar models (Claudia Sevilla) who cheerfully go about their programmed tasks. However, robots Marius (Brendan Hutt) and Sulla (Alex George) seem to be gaining knowledge from experience and increasing their intelligence.

Without giving away too much it is safe to disclose that the robots eventually revolt and therein lies the conflict to be resolved.

Directed by Brian Pastor, the overall vibe of this production is lighthearted but with a sense of urgency. It uses a compressed timeline and simple dialog much like a comic book or 1950s sci-fi movie. Think Flash Gordon or The Adventures of Superman.

Breau as Rossum, at times out-of-touch and timid, is requisitely “lost in space” playing up his opportunities for broad humor.

The character of Alquist starts out slow but builds interestingly to the end. Parry’s transformation from bit part to pivotal role is notable.

Alex George’s portrayal of Sulla is the standout. Her physical bearing and cold calculating demeanor is the perfect mix of automation infused with possibly the worst aspects of humanity.

I’m unfamiliar with the original source but understand that written at the dawn of WWII it was intended as a cautionary tale regarding social engineering and ideas of inferiority and otherness. Shadows of this message exist in List’s version. It also ultimately asks the question, “What does it mean to be human?”

Sound design by Jonathan Guillen adds sensory depth to the production. The set design by Jeremiah Barr, intended to be the interior of the robotics showroom is simple but outstandingly augmented by three previous models presumably envisioned and/or fabricated by props designer Meghan X. McGrath. Likewise, the ray guns utilized by the robots and the cordless phone were hysterical.

Costuming by Beth Laske-Miller is exceptional and visually “futuristic” by showing great restraint and keeping within the range of the naivety of the play’s overall attitude.

DETAILS: R.U.R. (Rossum’s Universal Robots) world premiere adaptation by Bo List Freely adapted from the play by Karel Čapek is at City Lit Theater, 1020 W. Bryn Mawr Ave., Chicago (second floor of the historic Edgewater Presbyterian Church) through June 15, 2025. Running time is 2 hours with a 10-minute intermission. For tickets and information visit www.citylit.org or phone (773) 293-3682.

Reno Lovison