Chicago Theater and Arts

HIGHLY RECOMMENDED

The House That Will Not Stand at Invictus Theatre Company is a compelling exposé of racism and misogyny representing several vertebrae in the backbone of our country. These are fundamental defects baked into the DNA of the nation with repercussions passed forward through generations.

Taking place in New Orleans circa 1813, the dialog skillfully explains that with statehood, the status of many free people of color and those of mixed-race heritage is going to change. Previous Spanish and French colonial laws were more liberal in regard to property rights, inheritance and manumission. Each of which are topics explored within this powerful production.

At the center is matriarch Beartrice Albans (Britt Edwards) the mixed race placée or concubine of the now deceased white patriarch, Lazare (Ron Quade) lying in repose on the dining room table.

In mourning are the couple’s three daughters Agnes (Kaylah Marie Crosby), Maude Lynn (Sierra Coachman) and Odette (Alysia Slade), also Beartrice’s troubled sister Marie Josephine (Jimiece Gilbert), as well as the matriarch’s visiting frenemy Madame La Veuve (Sandra Adjoumani) and including the household slave woman Makeda (Shenise Brown).

As the story unfolds, we learn that the family’s inheritance and the freedom of the women are at risk as a result of Lazare’s death.

Meanwhile, the young ladies yearn for more independence from their demanding and overbearing mother. They eventually conspire to sneak away to the upcoming ball where they might have the opportunity to meet a wealthy white man and affect a plaçage relationship that would provide for their future.

In the midst of their scheming, Agnes who is burning to find love, suggests that she will have the best chance of success because she is lighter skinned and therefore more desirable.

The beating heart at the core of the tale is Makeda, housekeeper, nanny and confident to all. She is practiced in voodoo but declares she only uses it for good and does not partake in the dark arts.

All of Makeda’s actions are focused on eventually obtaining freedom for herself as she performs a number of small favors to earn the money she will eventually need.

This is one of those rare theatrical productions where the entire cast is equally matched, each actor exhibiting the very highest level of skill and maturity. Shoutout to casting director Becca Holloway who obviously has an eye for talent.

To mention the performance of one actor over another is to do each a disservice, though Edwards as Beartrice has the last word in a short powerful energetically delivered summation monologue.

Those familiar with my reviews might have noticed I am quick to fault directors for many of a production’s shortcomings; but in this case I offer full compliments to Aaron Reese Boseman for pulling together one of the best ensembles I have seen in recent years.

This is an unusually lengthy production, in excess of two hours, but runs like a well-oiled machine. The extraordinary timing of the action did not rush nor did it linger.

The pacing felt like a symphony, partly due to the melodic cadence of the creole accents aided by dialect coach Susan Gosdick, while Ronald McDowell as Man with the Bamboula contributes periodic complex background rhythms from offstage reminiscent of not-to-distant African drums.

The stagecraft was exceptional including the blocking and delivery of each performance on the substantially imposing set design of Kevin Rolfs. This was augmented by the atmospheric lighting of Levi Wilkins including a substantial number of candles and lanterns that kept us solidly rooted in the time period, as did the costumes of Terri Devine with hair and makeup by Rueben Echoles.

Boseman’s steady hand, leadership and vision are obvious throughout the production.

There can be a tendency among some theater goers to feel that Off-Loop productions are not equal to their larger downtown cousins, but this production would certainly look perfectly comfortable on the Goodman, Steppenwolf or Shakespeare stages.

As a final personal note, I happened to have visited New Orleans a few weeks ago and in fact had partaken in a walking tour of the city’s history. So, I was really feeling the vibe and particularly enjoyed seeing many of the historical references I recently learned played out in context.

This story indeed deals with some dramatic and weighty subjects but the script by Marcus Gardley is not overbearing. If you are interested in seeing an enlightening historic drama well performed don’t miss this.

Details: The House That Will Not Stand at Invictus Theatre Company of Chicago, 3014 W. Irving Park Road, Chicago, IL plays through December 14, 2025. Running Time is 2 hours and 45 minutes with one 15-minute intermission. For tickets and more information visit invictustheaterco.com

Reno Lovison

(Photo courtesy of Tank Noodle)

If you’re looking for a genuine Asian experience on the northside of Chicago, Argyle Street is probably your best bet.

Today was a nearly ideal summer day and I realized we had a gift certificate won as part of a Lunar New Year Celebration in February that was about to expire.

The certificate was for $15.00 at Tank Noodle, a Vietnamese restaurant (whose name has a kind of militaristic reference that seems to harken back to the unfortunate events of the 1960s) located at the corner of Broadway and Argyle in Uptown.

Now $15.00 doesn’t usually go very far these days but at this spot it is very near the average cost of most entrees and appetizers on their extensive menu.

I’ve been to Tank Noodle a few times before, but in the winter for a massive bowl of Pho and my first thought was that’s what we would get.

This is probably one of at least ten restaurants within walking distance of each other that feature Pho, widely considered to be the national dish of Vietnam. I have not tried enough of them to offer a comparison. You’ll have to do that yourself. Then let us know.

For those unfamiliar with Pho (pronounced fuh), it is delicious rice noodles bathed in meat broth simmered with spices, to which you can add your choice of protein, topped with fresh herbs (like Thai basil and cilantro), also bean sprouts, then served with lime wedges, sliced chili, and hoisin or sriracha sauce on the side.

However, today was a perfect 76-degree day and it seemed like something cooler was more in order. Also, we did not want to over eat.

Now we are at the age (let’s say senior-ish) where I am no longer embarrassed about splitting entrees. I don’t mind taking food home and having it the next day. But sometimes I am more in the mood for just having a little something to eat and not necessarily meal planning for the week.

With this in mind we ordered a fried rice combo that included shrimp, beef, chicken and veggies topped with a sprig of cilantro; and an order of (2) shrimp spring rolls stuffed with cool fresh greens served with a peanut sauce. Both items were very tasty. Maybe not OMG the best I ever had, but quite good and the portion size together was perfect for our lighter summer appetites.

We ordered two waters and were surprisingly presented with ice cold water bottles that were not included on our bill. Additionally, we sipped on an iced Du Monde Café with condensed milk. I prefer my coffee with no sugar but in this case the condensed milk adds just enough sweetness to make this a refreshing pleasurable treat.

Our waiter was very friendly, complimenting me on my “chopstickery” (a word my wife coined today). Admittedly her chopstickery skills are sadly lacking and our Asian waiter lamented that he has never really gotten the hang of it, much to the dismay of his mother.

We sat outside on the Argyle Street side as it was a tad less hectic than the Broadway side. Inside seating is definitely an option. There is nothing fancy here and it’s clear this place has been around for a few years but it seems clean. 

Our tab was $37.54 with tax, minus $15 certificate, total $22.50 plus tip. Keep in mind this is more likely what it would be for one person, but then you’ll be taking food home or will be very full.

Tank Noodle has an accessible, highly visible corner location and appears to be steadily busy. The food is very good and at a reasonable cost in a clean environment. Perfect for a casual, authentic, urban, ethnic Chicago experience on a budget or for frugal diners.

Tank Noodle – 4953-55 N Broadway, Chicago, IL 60640 Phone: (773) 878-2253 tanknoodlechicago.com

By Reno Lovison

Photo courtesy of Chicago Botanic Garden

Grocers and farmers have their pumpkins out. It’s “boo” time around Chicago. So here are three venues that up the fall seasonal joy.

Brookfield Zoo- Day time activities

Boo! at the Zoo, Oct. 4-31.  brookfieldzoo.org/BooAtTheZoo, 10:00 a.m. – 5 p.m. weekdays & 10:00 a.m. – 6 p.m. weekends. Check the pumpkin enrichment schedule. The Halloween fun ranges from daily photo ops and trick-or-treating with candy courtesy of Ferrara to weekend pumpkin decorating, costume parades, live music plus an art fair on Sundays.

Parking Fee south gate: $20. Main entrance $17 (members free) south parking lot 3300 Golf Rd, Brookfield.

The zoo has  free admission every Tuesday and Thursday in October and November (except Thanksgiving Day), as well as Mondays and Tuesdays from December 1-23. More information is available at brookfieldzoo.org/visit.

Lincoln Park Zoo – Day event

Oct. 18  Spooky Zoo | Lincoln Park Zoo Fun includes trick – or-treating, animal chats, craft zones, Ferris wheel, Endangered Species Carousel and Giant Fun Slide. Costumes encouraged. More info at https://www.lpzoo.org/event/spooky-zoo/

Chicago Botanic Garden – Night of 1,000 Jack-o’-Lanterns | Chicago Botanic Garden

October nights Wednesday thru Sunday, 1000 Lake Cook Road, Glencoe, just east of Edens Exp. Oct 8-12, 15-19 and 22-26, 6:30-10:30 p.m., Advance cost: $22 member, $25 nonmember.

What to expect: People and pets in costume, carvings of Chicago sports, vampires, giant pumpkins and popular carvings from past seasons plus live pumpkin carving.

Jodie Jacobs

Somewhat Recommended

We are all familiar with the existence of books entitled the complete works of William Shakespeare and may likely have heard of priceless editions of what is called the first folio recognized as being the first compilation of his works.

“The Book of Will” by Lauren Gunderson, currently  presented by Promethean Theatre Ensemble, is a fanciful, mostly humorous, fictional account of what it might have been like for Shakespeare’s friends and supporters to preserve his works for posterity.

The premise depends on the primary individuals who are referenced in the publication of the first folio. These include two fellow actors and longtime colleagues of Shakespeare, John Heminges (Jared Dennis) and Henry Condell (Ben Veatch). Both are credited with compiling and editing the plays for the Folio.

Also there are William Jaggard (Brendan Hutt) and Isaac Jaggard (Kevin Sheehan), the printers responsible for actually producing the physical book and playwright Ben Jonson (James Lewis), Shakespeare’s longtime friend and rival who wrote a dedication.

Hutt also plays Richard Burbage a celebrated actor of the time, considered to be a close collaborator of The Bard.

Another player is Ralph Crane (Jonathan Perkins) a professional scribe known for his role in transcribing and editing several of Shakespeare’s works. In addition, there are comedic roles enthusiastically played by Jesus Barajas.

This having been a largely male dominated society the ladies in this story operate primarily behind the scenes, principally in the persons of Rebecca Heminges (Anne Sheridan Smith) and Alice Heminges (Brittani Yawn) John’s wife and daughter respectively; as well as Elizabeth Condell (Sabine Wan) wife of Henry. The two wives and daughter provide insight and encouragement throughout the arduous process of identifying, procuring, editing, and producing the precious manuscript.

“The play’s the thing” and “this is the short and long of it . . . the web of [this play] is of a mingled yarn, good and ill together.”

To begin I found the script itself amusing and the premise thought provoking. After all, someone had to compile this evidently fragmented material in order for it to be bound for the benefit of future generations and I am glad of it. This accounting of what may have transpired is as good a guess as any.

Here’s where a few things went wrong. Most of the jokes are amusing but not really laugh-out-loud hysterical. The problem was a few members of the audience chose to issue loud guffaws or ear-splitting cackles. In this case it very nearly ruined the first half hour of the play for me but thankfully trailed off as the play progressed. I believe that I’ve noticed this to generally be a trend especially in smaller theaters lately and one that I hope will cease sometime soon.

The company decided not to try to perform this production with British accents which is fine, and each of the players did a fine job delivering their lines but, in many cases, there was an overall modern attitude to their delivery and comportment that I found mildly annoying within the context of this Elizabethan plotline.

“The purpose of playing… was and is, to hold as ’twere the mirror up to nature.”

Anne Sheridan Smith was the one who struck a tone and rhythm closest to what I would hope to hear. She seemed to do the best at internalizing the thoughts and feeling behind the words and speak them with heartfelt meaning. Brendan Hutt also had a theatrical comportment that seemed right for the material as did Jonathan Perkins as Crane.

I’m mixed on the performance of James Lewis as Jonson. When he recited Elizabethan texts, I could listen to his booming basso all day but the rest of his performance was too loose. I would think of Jonson as a drunkard perhaps but still a commanding person with inner dignity always working to maintain command of the stage.

The costumes of Rachel Sypniewski helped the overall atmosphere but I would like to have seen a few hats or caps especially on the men.

As they plot the folio project, Dennis and Veach have a lot of dialogue together which felt flat to me. But at some point, I closed my eyes to listen to them and realized that much of the issue came as a result of the awkward staging. It was all too static. They were often sitting bent over some papers at a small table stage left.

Likewise, Yawn as Alice was endlessly stuck behind an atrocious cube that served as the bar within the tavern where the action takes place. She had little stage business to occupy her and her relationship to the men at the table seemed distant.

The set design by Trevor Dotson was a complete miss for me. The bar is the focal point in the middle of the stage and it did nothing to add to the period décor. A piece of wood on two saw horses would have been better instead of what looked like a repurposed airport podium. The matching Formica credenza at the back must have come with it as part of an ensemble and was totally boring and out of place. Even a bit of foliage might have spruced it up. When it came to John and Rebecca’s pivotal bedroom scene it just looked like nobody cared and distracted from the moment.

The lighting of Jackson Mikkelsen could have helped more. I appreciated the few attempts at isolating the action but it needs to be amped up to be much more dramatic, especially in the bedroom scene and the following scene between John and Henry sitting on the floor. In both of these cases the mood would have been greatly enhanced by blacking out most of the set and isolating the duos.

I lay nearly all of my criticism at the foot of director Beth Wolf. Maybe the idea was, “we are not going to lean too heavily into the era.” Combined with everything I’ve said already, it just seemed haphazard.  The actors were fine and the script is good. She had the clay but sorry, it just did not come together for me as a polished production.

“Our revels now are ended. These our actors… were all spirits and are melted into air, into thin air.”

I loved the finale and am not unhappy as much as mildly disappointed. I wanted to love this. I did enjoy the story and some of the individual performances so for that reason say this is somewhat recommended.

DETAILS: “The Book of Will” by Promethean Theatre Ensemble is at the Den, 1331 N. Milwaukee, Chicago, IL through October 25, 2025. Running time is 2 hours with one intermission. For tickets and information visit thedentheatre.com or call 773-697-3830.

Reviewer: Reno Lovison

(ED note: Saw the American Players Theatre’s do this in Spring Green, WI a few years ago. The production was magnificent. So don’t write off this play by Lauren Gunderson. Just watch for it. JJ)

Reno Lovison and Tim Paul. (Photo by Ellen Radosh)

Recommended

The documentary film I’m Only Blind is an insightful look at the life of Chicagoan Tim Paul who was born with a severe visual impairment that left him entirely blind by age 27.

Being blind is not Tim’s story. The fact that he has refused to let his visual impairment dictate his life is what makes him an inspiration to everyone he meets.

When filmmaker Kamelya Alexan, a Chicago Columbia College grad, heard about this blind guy who has run over 20 marathons as well as several triathlons and downhill skis (with a guide) she realized there was a story here.

The activities mentioned are just some of those that Tim has tried and mastered, but to tell you more might ruin the fun of seeing the movie. Here’s a hint – – there are boats and a small airplane involved.

I met Tim through the Chicago Uptown Lions Club. He and I have each had the pleasure of serving as former presidents, several years apart. For this reason, I do not consider this a review of the movie but keeping in mind my positive prejudice I would like to recommend you check it out while you can.

Tim works at The Chicago Lighthouse, an organization that offers programs and services to help clients optimize their remaining vision, meet developmental and educational milestones, and find employment that will enable them to lead more independent lives.

The movie briefly delves into an incident where Tim was attacked near the CTA on his way to work which is a sad commentary on our society and certain elements who regard vulnerable individuals as targets for their own benefit. Tim was actually able to resist his attacker who then fled. Though he did not get Tim’s wallet he did manage to capture a bit of his confidence.

However, like every other experience he’s had, Tim refuses to let this define him or substantially alter how he lives. He prefers to try to be the most optimistic person anyone might meet. He continues to live life on his own terms facing every challenge straight on because as Tim says, “I’m Only Blind.”

Documentary films don’t typically stay in theaters very long so if you’re interested be sure to catch it while you can.

I’m Only Blind is playing through Thursday September 25, 2025 at the Pickwick Theatre in Park Ridge. Run time is 65 minutes. For viewing schedule visit https://www.pickwicktheatre.com/movie/im-only-blind. Audio commentary for the visually impaired is available on request. Contact the box office for details 847-825-5800.

Reviewer
Reno Lovison

In case you missed the 77th annual Emmy Awards Sunday, the following list includes some of the recipients. However, first do you know what its title is for?

Consider it as a misspelling for “Immy.” That is a word that is merely a short way of saying “image orthicon tube” which was a mechanism in television cameras.

But “Immy” also now refers to the female statuette handed out to the winners for excellence in the arts and science of the television industry from acting and directing to the technical aspects. ATAS (Academy of Television Arts and Science)

(We refer to the awards here as the “Emmies” because most  TV watchers know the show and statue by that name.)

Netflix’s Adolescence picked up six awards that included one for 15-year-old Owen Cooper for Outstanding Supporting Actor in a Limited Series or Movie.

If you noted that Severance was oft repeated it’s because the Apple TV+ show had 27 nominations. Of those it receives two awards. They went to actors Britt Lower and Tramell Tillman. But the show also picked up five honors during last weekend’s Creative Emmys.

HBO’s The Pitt did well winning Outstanding Lead Actor in a Drama for ER alum Noah Wyle and Outstanding Drama Series.

In addition, two months after CBS canceled long-running “Late Show with Stephen Colbert (was that from pressure from the Washington?) the awards show recognized Colbert with a standing ovation and an Emmy.

More Awards