If you believe that Don Quixote embodies any hopes to be able to right at least some of the world’s wrongs and if you agree that apathy is generally a societal problem, you will love ‘Quixote: On the Conquest of Self,’ now at Writers Theatre.
Henry Godinez as Don Quixote at Writers Theatre. (Michael Brosilow photo)
I liked Henry Godinez’s soliloquy as Don Quixote that comes in the first third of the production.
Costumed in found objects such as car license plates, what looks like a beer can sleeve, buttons and other possibly tossed in the trash items, Godinez tells the audience what chapters and pages he doesn’t like because they either are physically painful or come across as a misunderstood character assessment by Miguel de Cervantes.
He espouses these ideas in acrobatic positions and while doing forward or backwards somersaults that emphasize how he and his life are tossed around by Cervantes.
However, not as helpful in conveying his object lesson of do or say something before it’s too late is the second part of the production. This part breaks the fourth wall as Godinez pulls in audience members not just for his story, but for other stories by Cervantes.
I can’t go into the third part without a spoiler alert so, suffice it to know that apathy versus righting wrongs becomes crucial. Unfortunately, it has overtones of Peter Pan’s plea for Tinker Bell’s life with do-you-believe-in-fairies type proposals.
Written by Monica Hoth and Claudio Valdéz Kuri and translated by Georgina Escobar, the Writers Theatre production is directed by Kuri, a noted Mexican director.
The acting is superb and the show’s minimalist staging is perfect for Writers’ small Gillian Theatre. An argument could be made that the show is also perfect for a high school audience where discussions on the conquest of self and apathy could take place.
‘Quixote: On the Conquest of Self’ is at Writers Theatre,325 Tudor Court, Glencoe, through Dec. 17, 2017. Running time: 90 minutes, no intermission. For tickets and other information call (847) 242-6011 and visit Writers Theatre.
Instead of looking for them in farmers’ fields, look for scarecrows and pumpkins at three fun-for-all-ages festivals where you can make or carve an inspired personality. The festivals are happening Oct. 6-8, 2017.
Highwood, a North Shore town, is holding its now nationally famous Great Highwood Pumpkin Festival. St. Charles, west of Chicago, has its 32nd Annual Scarecrow Fest. The Chalet Nursery, a fun place to find holiday items and indoor/outdoor décor pieces near Edens Expressway, is doing its annual scarecrow-making festival.
Great Highwood Pumpkin Festival has thousands of lit pumpkins at night and fun activities during the day. (Highwood photo)
You’ll never see as many pumpkins and different pumpkin faces as in Highwood, IL this weekend. The tiny (little over a square mile) city tucked between Highland Park and Lake Forest, has been trying to break the Guiness World record of 30,851 carved pumpkins for the past few years. The streets on the east side of METRA’s Union Pacific North Line tracks are edged with tall, metal pumpkin stands where lit pumpkins cunningly grin at visitors at night. Festival doings day and night range from pie eating and costume contests to hay, pony and camel rides. There is also a Super Hero walk-run to honor a Make-A Wish child plus pumpkin carving, entertainment, food, tricks and treats.
A $3 per day or $5 for the weekend admission charge benefits the Make A Wish Foundation. Last year the festival raised $60,000. But also go just because the event is fun.
Some events need registering. For the Fun Walk/Run click here. For the entertainment and full event times and other registrations visit schedule. Hours are Friday 4 to 10, Sat. 9 a.m Fun Walk/Run and general opening 11 a.m. to 10 p.m. and Sun. 11 a.m. to 9 p.m, 847-668-1213
Best plan is take the train because parking will be scarce. Or go north to Old Elm Road then east to Sheridan road and back south to Hotel Moraine at 700 Sheridan Road where a shuttle will take visitors to the festival.
More than 100 scarecrows will populate St. Charles Oct. 6 through Oct. 8.
Make your own scarecrow at the St. Charles Scarecrow Festival or at the Chalet Nursery in Wilmette. (Jodie Jacobs photo taken at the Chalet)
The event also includes, Arts & Crafts show, vintage autos, entertainment, pumpkin displays, make-you-own scarecrow stations, pumpkin carving and food. Most events are free. The festival is divided into sponsored activity zones along Main Street (Hwy 64) between Fifth and Third Streets east of the Fox River and just south of Main Street across the river.
Hours: Friday and Saturday, 10 a.m.-9 p.m., Sunday 10 a.m.-5 p.m. For more activity information download the detailed map pdf by visiting brochure.
Chalet Nursery Scarecrow Festival
The Chalet Nursery and Garden Center has lots of Halloween decor plus visitrs can make their own scarecrow. All that is needed is to bring the scarecrow’s clothes because the Chalet will provide a head and straw. Hours: Oct. 7-8, 11 a.m. to 4 p.m. The Chalet is at 3132 Lake Ave, Wilmette across from Edens Plaza. For more information call (847) 256-0561 and for general Chalet information visit Nursery.
Mention “The Taming of the Shrew,” the late 16th century William Shakespeare comedy on how a man (Petruchio) uses different methods to turn a willful woman (Katherina) into an ideal wife, and you might get arguments on how a civil, democratic society would frown on his methods and how the play appears misogynistic.
That is particularly so with the subplot on how Katherina’s younger sister (Bianca) is wooed by several suitors who consider her to be an ideal wife because she is sweet and even-tempered.
Then, think about how the play could be presented. In its original format, the intro to the play is offered within what has been called a framing device. In it a nobleman has the play performed for a drunken tinker named Christopher Sly whom he has tricked into believing that he also is a nobleman.
The brilliant way writer Ron West has worked out the play’s presentation with Chicago Shakespeare Theatre’s famed Barbara Gaines, director of “The Shrew,” is to expand on the framing device so it moves along parallel to the play in the appropriately offsetting, 1900s suffragette movement.
Cast of ‘Taming of the Shrew’ at Chicago Shakespeare. (Liz Lauren photos)
No trickery is needed here because the Columbia Women’s Club members chose “The Shrew” as part of their amateur theater Shakespearean series.
They are rehearsing the show at a member’s mansion, exquisitely done by scenic designer Kevin Depinet, somewhere near Michigan Avenue (likely the Gold Coast neighborhood). They are there because the hall where they would have been had just flooded during a bad storm that is still going on outside.
To add to the comedy, parts of some costumes were ruined in the flood so the women stripped down to their bloomers but added capes and hats to help them stay in character. Susan E. Mickey cleverly mixed typical Shakespearean wear with bloomers.
The rehearsal sticks to Shakespeare’s lines and action but its message is greatly tempered by the actors going in and out of the mansion with their Suffragette signs and reports of what’s happening on Michigan Avenue.
Other Chicago references are made to Northwestern University and the Cubs and personalities such as an Emanuel and a McCormick. But current politics are also referenced such as the line that “Here on earth the popular vote means nothing,” which was said to great applause.
In between rehearsal sessions, the members break into song and the club’s show director speaks to some of the women about their roles and speeches.
The entire cast is excellent so instead of describing individual interpretations here you have who plays which role in the “Shrew” play and in the Women’s Club: E. Faye Butler is Baptista and Dr. Fannie Emmanuel, Lillian Castillo is Biondello and Mrs. Lucinda James, Tina Gluschenko is Hortensio and Mrs. Beatrice Ivey Welles, Cindy Gold is Vincentio and Mrs. Sarah Willoughby, Alexandra Henrikson is Katherine and Mrs. Louise Harrison.
Alexandra Henrikson (Katherine) and Crystal Lucas-Perry (Petruhio) in ‘The taming of the Shrew.’
Also Ann James is Pedant and Mrs. Elizabeth Nicewander, Heidi Kettenring is Tranio and Mrs. Dorothy Mercer, Crystal Lucas-Perry is Petruchio and Mrs. Victoria Van Dyne, Rita Rehn is Grumio and Widow and Mrs. Mildred Sherman.
In addition, Hollis Resnik is Gremio and Miss Judith Smith, Faith Servant is Curtis and Mrs. Barbara Starkey, Kate Marie Smith is Lucentio and Mrs. Olivia Twist and Olivia Washington is Bianca and Mrs. Emily Ingersoll.
It’s OK if you don’t remember their roles (except, of course Kate) so here is a an abbreviated guide: Katherina (Kate) Minola is the “shrew and Petruchio is her suitor. Bianca, Kate’s sister, is pursued by the elderly Gremio, by Lucentio and by Hortensio who is also a friend of Petruchio. Baptista Minola is Katherina and Bianca’s father. There is also the Widow wooed by Hortensio and Vincetio who is Lucentio’s father.
Then there is Grumio who is Petruchio’s manservant and Tranio, Lucentio’s manservant. Also, Biondello is Lucentio’s servant and Curtis is Petruchio’s servant.
When it’s over, you probably won’t care if you kept track of the roles because the play and play within the play offer glorious theater. Even though the Chicago Shakespeare production runs two hours, 45 minutes, it’s so much fun to watch that the time goes quickly.
‘Taming of the Shrew’ is at Chicago Shakespeare, 800 E. Grand Ave. through Nov. 12, 2017. For tickets and other information call (312) 595-5600 and visit ChgoShakes.
Audiences don’t have to ask themselves what do playwrights sometimes think about directors, actors and backers. Moss Hart gives his answer in his 1948 spoof, ‘Light Up the Sky.’
L-R Geoff Isaac, Laurie Carter Rose, Robert Frankel, Jordon Golding and Chuck Quinn in ‘Light Up the Sky’ at Citadel Theatre. (Photos by North Shore Camera Club)
Now at Citadel Theatre, the play offers a behind-the-scenes scenario where a veteran director and actress and a new backer go from fairly confident before the curtain rises, to devastated when they think the show is a failure, to we-have-a-hit exultation when the reviews come in.
Usually co-authoring a play with George S. Kaufman in the 1930s such as ‘You Can’t take it with you’ and Merrily We Roll Along,’ Hart wrote ‘Light Up the Sky alone in the late 1940s. It was first produced in 1948. BTW, Hart moved to writing screenplays in the 1950s.
He already had several successes by this time but in the play, the playwright is portrayed as a newbie who speaks from his gut about the state of the world. The actors and audience aren’t sure what it is about, however the backer feels it is important and a winner.
But on opening night the playwright doesn’t even stay for the curtain. Everyone feels it was a dud and they are ready to close it. The playwright leaves for the airport.
Then, a Shriner at the hotel for a very noisy convention, stops at the room to apologize for this friends and says he would like to back a future play because he wants to be part of the theater business. He brings reviews which show that the critics unanimously love what the playwright is trying to do.
L-R Chuck Dribin, Sarah-Lucy Hill, Robert Frankel and Lauren Miller in ‘Light Up the Sky.
Brought back to the hotel from the airport by force upon a request of the backer who has with mob connections, the playwright is venomous in his condemnation of directors, actors, backers and audiences. And yes, he did have a chance to read the reviews at the airport.
Rather than a tribute to show business, the play is more like a comedic, deliberately exaggerated, putdown of the people who populate it. and audiences who don’t understand a show’s message. But it also seems to declare that if play writing is in your blood you learn to put up with others’ foibles and develop a hard shell.
At the end, the playwright is convinced by a seasoned playwright to persevere. So he decides to stay and fix his play for the remaining out-of-town tryouts before going to Broadway.
All the action takes place in the leading lady’s suite at the Ritz in Boston, the town where the play is premiering before possibly heading to Broadway.
The veteran playwright who has worked with the leading lady in his plays, is visiting her in her suite before the show. He calms the young playwright with advice about accepting both the good and frustrating aspects of show-business.
Directed by Pat Murphy, the play is populated by characters with over-the-top personalities such as Carleton Fitzgerald, interpreted as an emoting, emotional director by Geoff Isaac and as Francis Black, played by Sarah-Lucy Hill as a NYC, nasally-sounding, ice-skating, show-girl married to backer Sidney Black.
Surprisingly, Rob Frankel as Sidney who has mob connections, doesn’t sound like a gangster but plays the role with terrific, intelligent, take-charge fortitude. Similarly, Laurie Carter Rose isn’t overly dramatic as the leading lady Irene Livingston but still personifies celebrity.
The sanity foils to the overblown persona in this show are Chuck Quinn, very believable as veteran playwright Owen Turner, Irene Currie who is charming as Livingston’s bio-ghostwriter Miss Lowell, and Jim Heatherly as Shriner William H. Gallagher.
In the hands of Jordan Golding, playwright Peter Sloan shows two sides: quiet and anger.
Added to the mix are the star’s mother, Stella Livingston, a delightful, gin-playing character performed with verve by Lauren Miller, and the star’s husband, Tyler Rayburn, a Wall Street broker, acted with great humor and facial expressions by Chuck Dribin.
Scenery by Eric Luchen and costumes by Paul Kim nicely set the right period and place.
The play offers interesting insight from different perspectives from a playwright who knows what it takes to get to Broadway. But though fun, it doesn’t have to be two and a half hours long. The first act definitely can be shorter. Perhaps one intermission of 15 minutes could replace the two ten minute breaks.
‘Light Up the Sky’ is at Citadel Theatre, 300 S. Waukegan Rd., Lake Forest, through Oct. 29, 2017. For tickets and other information visit Citadel.
An irreverent priest, tale weaving drinking buddy, sex starved fiancé and infirm old mother make up some of those attending Flanagan’s Wake now at Chicago Theater Works.
Cast of Flanagan’s Wake, an interactive experience at Chicago Theater Works.
Flanagan has sadly passed, and you, along with a small cast of characters and about 50 other mourners are invited to attend his wake.
The room is outfitted much like a church basement community room or banquet hall with a small stage on one side and an open bar complete with bartender, who also happens to be the town’s mayor, on the other. Drinks are available for purchase before and during the proceedings.
When you enter you might be greeted by any of the cast who interact with the audience in character and will craftily weave what information they have learned from you into the performance. They may ask questions such as, “how you happen to know Flanagan” and “what you remember about him.”
This is an interactive improvisational performance so come in a good mood and be ready to participate. It is the type of experience that can be particularly fun with a small group of friends.
The audience is seated at tables of six or eight much like any large social gathering. If you come as a party of two you will likely be seated with four other people. We had a good time at our table of six comprised of three groups of two.
Like any improv experience the humor is sophomoric at times; clever and inspired at others. The cast is capable and it is clear that they are well practiced at their craft.
The highlight for me a was clever ditty composed by the grieving fiancée, Fiona Finn, that was created on the spot based on an idea from an audience member.
This is not high humor or great theater but if you are looking for an alternative to a sports bar, maybe a date night or just some good laughs with a few friends, what can be funnier than attending an Irish wake, at least if it is Flanagan’s Wake.
DETAILS: ‘Flanagan’s Wake’ at Chicago Theater Works, 1113 West Belmont, Chicago, runs through Nov. 9, 2017. For tickets and other information visit Chicago Theater Works.
Guest reviewer Reno Lovison is not Irish but always happy to share a Guinness with some mates.
