May 2025 – Chicago Theater and Arts

Theater News

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/

Robot Revolt in Edgewater

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ideas and aspirations of their own, eventually viewing their human creators as archaic inferior predecessors, in-fact outdated models?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

Galileo revisited

Recommended

Trap Door Theatre’s presentation of “Galileo” stays close to the heart of Bertolt Brecht’s script but is a challenging and thought-provoking interpretation.

Fragments of the original dialogue featuring a translation by Charles Laughton are there, but the production has been reshaped and reimagined by director Max Truax into a postmodern, avant-garde style.

The storyline is ostensibly about the struggle of the famed 17^th Century mathematician and scientist Galileo Galilei who championed the then controversial notion that the Sun rather than the Earth was the center of our known universe. He employed the new invention of the telescope to prove his hypothesis.

For these heretical observations he was threatened with torture and ultimately sentenced to house arrest and forbidden to continue his research.

In reality, this is a story of unchecked centralized political and religious power repressing new ideas in order to keep the general populace ignorant and under control.

Brecht realized his version of “Galileo” in the midst of WWII which was largely precipitated by a rise in fascism throughout Europe. Echoes of intolerance continued to reverberate during the anti-communist movements of the late 1940s and 50s.

In the United States, the Red Scare and McCarthyism were on the rise making it no accident that Charles Laughton, a champion of modernist cinema and left-leaning causes would be attracted to the message of Brecht’s play. He successfully introduced it to a Los Angeles audience to reflect what was happening in the cultural climate of the day.

Interestingly, this current version of the play is much about the director’s vision. It’s notable that Truax graduated from Oberlin College where he studied visual art, performance art and choreography as this production could be a master’s thesis in the application of these art forms.

David Lovejoy as Galileo is literally the person around whom this entire production revolves. The blocking in this modernist staging has the players often moving in elliptical orbits around each other and most notably around Galileo himself as he is the central force.

Lovejoy is naked on stage at the beginning wearing only a flesh-colored dance belt for modesty. He is bathed in light looking not unlike the Sun itself. It soon becomes evident that, in essence, he as Galileo has exposed himself before the world. Any subsequent use of clothing is in direct relation to the degree of practical concessions he makes to the powers that be.

Joan Nahid is the blindfolded Inquisitor who ironically is the one keeping the most watchful eye on Galileo. Clothed in black and seemingly everywhere, she is “the void,” the chief tattletale and the very essence of ignorance. Andrea played by Shail Modi is Galileo’s young protégé and the foil for presenting his ideas to the audience. He is the future.

Galileo’s daughter Virginia (Genevieve Corkery) is a devoted Catholic. At least she is devoted to early morning visits to church and devoted to maintaining the status quo. Dressed in a floral blue dress and sporting blue eye shadow, she represents the Earth. She has little interest in scientific thought but she, like all of the planets, is caught within her father’s gravitational force and reflects his light.

Virginia’s suitor Ludovico (Caleb Lee Jenkins), is shallow as is she. But like a meteor, he is a potentially destructive force in the lives of father and daughter.

Fulganzio (Amber Washington) is a monk who sees the light and is at least intrigued by the teachings of Galileo.

Likewise, Cardinal Barberini (Gus Thomas) who later became Pope Urban VIII, was also educated in mathematics with a genuine interest in science. But he has to navigate and reconcile his scientific insights with the Church’s position on the new concept of heliocentrism. If the Earth was not the center of the Universe how will this affect the teachings of The Church and where might it lead?

Dan Cobbler has an important role as the Curator and other businessmen. He is a kind of one-man Greek chorus who fills many roles that would have been performed by multiple actors in a more traditional performance.

He is the voice of commerce who see the practical applications of new ideas but who also must avoid harm, being careful not to get too close to the sun. Cobbler’s performance has a comical element that offers some respite from what could become a most oppressive topic.

Largely done in contemporary attire (or lack of) with costumes by Rachel Sypniewski, Truax also uses several black and white vintage television sets that display only static. People with influence carry them about to communicate their thoughts to those in power.

Integration of multi-media is a feature of the modern epic theater movement as is social or political commentary. The same goes for breaking the fourth wall by speaking directly to the audience, done here very effectively.

Alluded to earlier, this production exploits highly choreographed movements. The players are very nearly always in motion, not unlike the motion of the planets. That gives this an almost music-less ballet quality.

Galileo is often stationary at which times he might strike a quite stylized pose, notably a time where Lovejoy in his nakedness is bent at a ninety-degree angle looking quite like Atlas carrying the weight of the world (or a Rodin sculpture).

The backdrop for this performance designed by Merje Veski is a multitude of sheets of black paper filled with notations, no doubt representing the many thoughts of the scientific master. Likewise, there is mathematical and scientific graffiti on the floor eliciting the effect of being surrounded, indeed engulfed within the mind of this genius.

DETAILS: “Galileo” is presented by Trap Door Theatre, 1655 W. Cortland, Chicago, through June 14, 2025. Running time is 90 minutes with no intermission. Tickets and information can be had at trapdoortheatre.com or call (773) 384-0494.

Reviewer Reno Lovison reports that he appeared in a production of this play, traditionally staged, at the Goodman School of Drama, many years ago and was pleased to see this adaptation.

For more reviews visit https://www.theatreinchicago.com/reviewlistings.php

A picture of friendship

Chad Bay and Justin Albinder. (Photo by Nomee Photography.)

Highly Recommended

Long term friendships can be complicated and messy. Honesty can be dangerous and revealing. Are you willing to take a chance? What are your motivations? Can your friendship survive?

A fourteen-year friendship between three friends explodes over the purchase of an expensive, modernist painting in ART, presented by Remy Bumppo at Theater Wit in Chicago.

This smart and very funny piece of theater by Yasmina Reza, expertly translated by Christopher Hampton, is directed by Marti Lyons.

Originally written in French, it retains certain European overtones, not simply in the character names and the fact that the painting in question was purchased for 200,000 francs but also in the intellectualism of the writing.

That is to say that Europeans have a way of broadcasting their intellectual thoughts and ideas openly. They seem to revel in philosophical debate. Whereas I believe Americans generally see intellectual expression as over -complicated and ostentatious.

Therein lies the essence of the conflict. Reza through these characters is poking fun at the very ostentatiousness that is so prevalent and alive in European discourse> However, Hampton has translated this into a very real Americanized version.

My impression is that this seemed like an extended “Seinfeld” episode, artfully combining the esoteric and mundane and featuring a fair amount of absurdity.

Serge (Chad Bay) an apparently successful dermatologist, excitedly reveals his purchase of a large, monochromatic painting to his longtime friend, Marc (Justin Albinder), who is unable to hide his negative reaction by laughingly calls the painting “shit” and criticizes Serge for buying it.

Offended, Serge defends himself by saying that Marc simply does not have the depth of understanding and knowledge needed to fully comprehend the significance of the artist’s work.

Marc insists that Serge is simply buying into a sort of bourgeoise display of affluence and furthermore has lost his perspective and the sense of humor he once had which would have allowed him to see how outrageously absurd this is.

Seeking an ally, Marc visits their mutual friend, Yvan (Eduardo Curley) who is about to be married, to tell him of Serge’s new acquisition and lost sense of humor.

Yvan visits Serge and instead of siding with Marc, tells him that he appreciates the artist’s attempt and sees why the painting appeals to him.

Later when the three unite, Marc is horrified that Yvan has seemingly sided with Serge. But Yvan admits that he doesn’t really like the painting, he was just trying to avoid conflict and keep peace between the friends.

His attempt to play both sides backfires as Marc and Serge join forces accusing him of being an indecisive, untrustworthy friend.

What begins as a disagreement over art quickly escalates into a heated exchange about values, perception and loyalty, ultimately threatening to unravel their long-standing friendship.

The tension between Serge, Marc, and Yvan is a reflection of how personal taste, societal pressures, and human insecurities intertwine. The painting itself is a catalyst for deeper resentment and philosophical disagreements about identity and relationships.

Marc seems to see the painting as a symbol of Serge’s pretentiousness, while Serge views Marc’s reaction as a lack of intellectual depth. Yvan—caught between them— is just trying to smooth things over but ends up being criticized for his neutrality.

There is a hysterical, roughly three-minute monologue by Yvan that is a diatribe. It revolves around his fiancé’s step-mother and his step-mother and who is on the wedding invitation.

It results in his birth mother declaring she will not have her name on the invitation if the step-mother’s name is there. This rant gives us insight into Yvan’s inner struggles and frustrations.

A fast-paced, hilarious conversational farce, the action takes place on a one room monochromatic set by Lauren M. Nichols with cream-colored walls and sofa.

In the center, is a single panel that changes to display another piece of artwork that indicates whose apartment we are in. Serge’s apartment is blank and neutral. Marc’s place features a realist scene of a medieval castle in the country. Yvan’s wall displays a vase full of colorful flowers.

If you’re lucky enough to have one or more long friendships you will no doubt recognize the frustration of having to navigate what you love about a person combined with the small irritations that can drive you crazy at times. Also, that the freedom to speak openly based on years of trust can be a minefield.

Finally, there is coming to terms with occasions when you may not be sure if the investment in time justifies preserving a relationship that may simply have changed too much and is not what it once was.

DETAILS: Art, presented by Remy Bumppo Theatre Company is at the Wit Theater, 1229 W. Belmont, Chicago through June 1, 2025. Running time is about 80 minutes with no intermission. For information go to RemyBumppo.org or visit the theater box office.

Reno Lovison

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Rock n Roll

Rock ‘n Roll Hall of Fame designed by I.M. Pei.

Maybe you know that the Rock & Roll Hall of Fame museum is on Lake Erie’s shore in Cleveland, OH. It is definitely worth a visit. Learn more about the museum below.

But first see this year’s inductees list of its Class of Performers that pretty much explains why they are chosen. (There is also the Musical Excellence Award and Musical Influencer’s Award.

Following that is a description of the museum and what to expect if you go. Figure at least two hours to go through it.

Brief 2025l ist of Performer Inductees

Announced April 29, it includes Cyndi Lauper, Joe Cocker, Chubby Checker, Bad Company, Outcast and White Stripes. If you want to know why these names are mostly out of the past it is because to be eligible for induction, an individual artist or band must have released its first commercial recording a minimum of 25 years before the nomination year.

The 2025 Induction Ceremony will be Nov. 8, at the Peacock Theater in LA., streamed live on Disney+ and available on Hulu Nov. 9.

Songwriter/singer Cyndi Lauper: Her album, She’s So Unusual, featured “Girls Just Want to Have Fun,” “Time After Time,” “She Bop,” and “All Through the Night,” won two Grammys.

Songwriter, performer Joe Cocker: Particularly known for his interpretations “Feelin’ Alright” and “The Letter,” is often referenced for his “With a Little Help From My Friends.”

Chubby Checker: Think radio broadcasts of the 1960s’ rock & roll dance craze. He and his audience loved “The Twist,” but also “The Fly,” “The Pony,” and “Limbo Rock.”

Bad Company: Formed in London in 1973 by former members of Free and King Crimson, they interpreted music at its basic soul level with such FM rock & roll standards as “Bad Company,” “Can’t Get Enough,” “Feel Like Makin’ Love,” and “Shooting Star.”

Outkast: It blended funk, soul, and jazz with storytelling to become a very successful hip-hop group with such popular recordings as “Hey Ya!,”

The White Stripes: Originally started in Detroit in 1997 by guitarist Jack White and drummer Meg White, the group reinterpreted blues and then went with a major re-release of “White Blood Cells” in 2002 before making their breakout album of “”Elephant” in 2003.

Soundgardent: Started by bassist Hiro Yamamoto with guitarist Kim Thayil and singer Chris Cornell in the early 1980’s, they appeared on the Deep Six Seattle grunge compilation in 1984 and 1986 with drummer Matt Cameron on Indie labels and then went on to release Badmotorfinger in 1991 and the six-time platinum Superunknown in 1994.

The Rock And Roll Hall of Fame often called the Rock Hall.

It’s a museum but definitely not boring.

If you go, you will find many of its featured collections at Level 0 but there is a lot to see on the other levels so start where you want. You might get through it in two hours but leave a larger block of time. There is so much to see from the early years about the genre’s trailblazers. Take your time then move on to the more recent inductees. It’s all a “blast from the past.” But maybe you even have some of the records mentioned so not so distant a past.

Why Cleveland?

It’s location made no sense to me when I first visited it on a travel-writing trip. However, the city and particularly WJW disc jockey Alan Freed pushed for the location. Freed often used the term “rock and roll” when referring on his radio show to what became a popular music genre. In addition, WJW sponsored the sold-out Moondog Coronation Ball, considered as the first major rock and roll concert.

Before the Rock Hall, as its often called, became a reality there was the RRHOF Foundation. Established in 1983 by Ahmet Ertegun and his group that included Rolling Stone publisher Jann S. Wenner, they began naming artists in 1986 and looked for a location including in NYC and Memphis.

Cleveland won with its $65 million offer and the committee liked Freed’s radio and event efforts.BTW Freed was a member of the Rock Hall’s first class in 1986. Groundbreaking took place June 7, 1993. In attendance were Chuck Berry, Billy Joel and Pete Townshend, among others.

Rock Hall Guide

I like Level 5. Called Legends of Rock, (used to be on Level O), and filled with artifacts, you might want to start here and then go down. Or start at the beginning with Level O and the Pioneers of Rock – Chuck Berry, Elvis and Wanda Jackson because then you’ll know how much time you need to see everything else.

For more info visit https://rockhall.com/visit/

The museum is at 1100 Rock and Roll blvd, Cleveland, OH 44114, (216) 781-7625.

Jodie Jacobs