Author: Jodie Jacobs

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ideas and aspirations of their own, eventually viewing their human creators as archaic inferior predecessors, in-fact outdated models?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 17th 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

Visit Theatre in Chicago for more reviews

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

 

Wedding Party Revelations

Highly Recommended

A group of bridesmaids hiding out in an upstairs bedroom during a wedding reception find reasons to bond in “Five Women Wearing the Same Dress” produced by St. Sebastian Players.

Featuring costumes by Mary McCarthy, the bonding ritual begins with the common agreement that the attendants’ dress with matching hat chosen by the bride is perfectly ridiculous.

Eventually the bond is further forged by the realization that they don’t even really like the bride that much and the only reason any of them are there is because of some blood relation or past friendship.

There are moments of sincere introspection and serious revelations. As each woman reveals something of herself, they traverse a range of emotions; infuriated, anxious, remorseful, exasperated, frantic, exhausted, flirtatious, but overall, hilarious.

Francis (Kayla Erpenbeck) a self-declared devout Christian is the youngest of the group who ultimately has her eyes opened a bit by the other more worldly-wise ladies.

Merideth (Hannah Green) the hostile sister of the bride would prefer to be anywhere but this wedding and as far away from her Knoxville home as possible.

Trisha (Alexandra T. Cross) somewhat renowned for her past sexual proclivity is a former confident of the bride.

Georgeanne (Claire Rutkowski) involved in an unhappy marriage has encountered a past lover at the reception.

Mindy (Laura Peterson) is the openly lesbian sister of the groom.

Each of these actors do a superb job inhabiting their respective roles. The dialog by playwright Alan Ball is believable and smooth as the women segue from story to story. Director Jill Chuckerman Test moves the players seamlessly in and out of the one room set and around the stage in a very natural manner.

The set design by Emil Zbella is perfectly reminiscent of a fashionable bedroom in an upscale suburban Knoxville home, complete with 1980s style stenciling on the walls, a small chaise lounge and a make-up table or vanity where much of the action takes place.

Act One of this two act “drawing-room” comedy is flawless. My issue with Act Two is with the playwright, not the actors. Ball somewhat abruptly introduces a new male character, Tripp (Trey Sorensen) to serve as a love interest for one of the women. Since the play is set roughly in the 1990s there is dialog that was maybe hip and edgy at the time but seems a little cringy today.

I personally feel this new plotline needlessly takes the story in a new and unexpected direction. I wish he could have thought of an alternate way to wrap this up within the context of the established characters. In the end it does not spoil the experience but is more of a hiccup.

The theater is a comfortable venue with tiered seating that accommodates about 75 in the basement of St. Bonaventure Church. Sadly, there is no elevator so be prepared to navigate some stairs. Limited free parking is available in the back with plenty of additional street parking.

Details: “Five Women Wearing the Same Dress” produced by St. Sebastian Players at St. Bonaventure Church, 1625 W. Diversey, Chicago, IL runs through May 18, 2025. Running time is 2 hours including a 10-minute intermission. For tickets and information visit saintsebastianplayers.org

Reno Lovison

Sex and drugs and rocking chairs

 

L to R Bob Sanders, Ellen Phelps, Kenneth Johnson and Elizabeth Rule. Photo by North Shore Camera Club.

HighlyRrecommended

In case you think that “A Jukebox for the Algonquin” is merely about an old people’s care center, the phrase listed under the title is a hint to what the show at Citadel Theatre in Lake Forest is really about.

Well directed by Scott Westerman it takes place in upstate New York’s Placid Pines Senior Care Center where a recreation room is dominated by a fish tank that you don’t see but can imagine as a handful of residents feed the fish or refer to it.

They decide a much better use of the space would be  a jukebox they could use to play tunes and dance to. They hear of a second-hand Wurlitzer but how would they pay for it? You get the how idea at the end of Act I as they learn what is among the stuff being cleaned out of a room there just vacated.

They are residents Johnny ( Kenneth Johnson) somewhat of a leader of the group, his good friend Dennis (Bob Sanders), Annie (Ellen Phelps) who has an over-the top personality and BTW is Citadel’s co-producer, and Peg who bakes cookies (Elizabeth Rude who also plays Mrs. McDarren, a visitor who is checking out the facility).

Also on the set are Chuck, a knowledgeable and funny janitor (Patrick Thornton), and the facility’s staff members, Josefina who often pops in (Karla Corona)  and Tyler (Joshua Thomas).

Written by Paul Stroili, the plot reminds us there is more to senior citizens and growing old than gazing at the TV or a large fish tank.

I like that scenic designer Catalina Nino kept the setting simple and that costume Danielle Reinhardt stayed with normal, wearable clothes so that the audience could focus on the words and actions.

DETAILS: “A Jukebox for the Algonquin” is at Citadel Theatre, 300 S. Waukegan Rd., Lake Forest, IL. now through May 25, 2025. Running time: 2 hours with one intermission. For tickets and other information call  847-735-8554, x1, or visit www.citadeltheatre.org.

Jodie Jacobs

For more shows visit Theatre in Chicago

A political horror story

 

https://i0.wp.com/www.chicagotheatrereview.com/wp-content/uploads/2025/04/SGT_ATOTC_8537_web_credit-Michael-Brosilow.jpeg?fit=640%2C446&ssl=1

Highly recommended

 

Charles Dickens’ expose of the French Revolution produced by the Shattered Globe Theatre at the Wit is cleverly performed by a cast of eight and seems a little too close to home in today’s political climate.

This story of love, politics, mob action and self-sacrifice demonstrates how collective passion for social change can ensnare even the innocent in a net of violence that is intended to punish those guilty of creating financial crises, promoting social inequality and suppressing the ideals of enlightened thinking.

A well-conceived adaptation of “A Tale of Two Cities” adapted by Brendan Pelsue and directed by Mikael Burke, tells a big story on a small stage with a minimal cast that encourages the audience to express their emotions as various incidents occur.

This vocalization from “the mob” adds energy to the production providing a visceral feeling of being part of the events and perhaps even some responsibility for decisions that are made and actions that take place.

A cautionary tale that depicts injustice masquerading as justice, this shows how those in power can manipulate the system to exact revenge and to accomplish their political objectives, illustrating how the manipulated emotions of the mob can incite violence and add credibility to the injustices being perpetrated.

Dickens weaves a fictional chronical that begins with a love triangle involving Lucie Minnet and two men who bear an uncanny resemblance to one another, Charles Darnay and Sydney Carton.

Ultimately the three are engulfed in “the terror” that results in guillotine executions of thousands of aristocrats and their perceived associates and sympathizers including the king and queen.

Lucie’s father, Dr. Minnet, has been falsely imprisoned in the notorious Bastille because he was witness to a horrible crime involving two aristocrats who used their power to silence him.

Dr. Minnet becomes a hero of the “Storming of the Bastille,” an event that sparked the beginning of the French Revolution.

Darnay, a member of the French aristocracy, has denounced his favored position as a Marquis in sympathy with the revolutionaries who seeks to put more power into the hands of “the people.”

The status of Dr. Minnet as a revolutionary hero and Darnay’s sympathetic stance cannot totally insulate them and their family from the madness of the mob personified by the character of Madame Defarge. As an overzealous and vengeful revolutionary, she even manages to whip this rather passive audience at The Wit into a frenzy.

The talented ensemble moves seamlessly from role to role as each of the actors portray multiple characters. The cast is comprised of Daria Harper (Actor 1), Diego Vazquez Gomez (Actor 2), Demetra Dee (Actor 3), Glenn Obrero (Actor 4), Penelope Walker (Actor 5), Jazzma Pryor (Actor 6), Jeff Rodriguez (Actor 7), and William A. S. Rose II (Actor 8).

This is a story of a reality that seems impossible. The set design by Eleanor Kahn & Milo Bue features an array of smoky semi-gilded mirrors that dominates the backdrop from floor to ceiling. It provides an otherworldly distorted reflection of the action as well as an eerily distorted view of the audience who are part of the ensemble.

The lighting by Eric Watkins is subdued augmented by clusters of candles around the perimeter of the stage that contribute to the indistinct and unsettling nature of events taking place.

The candlelight along with the costumes by Kotryna Hilko indicate that this is a period piece that historically represents an actual place in time.

The overall cadence of the dialogue has a contemporary vibe with moments of humor and levity that lighten the atmosphere a bit. Its gallows humor reminds us of just how absurd things can get when they have gotten completely out of control.

The actors make no attempt to affect either a British or French accent which would only unduly complicate the message.

This modern approach no doubt makes the production more accessible to younger audience members who may find a more traditional telling of the story somewhat oppressive and remote.

My first impression was that Pelsue’s approach harks back to what we might have called a “Cliff’s Notes” version of Dickens’ original story. That is to say, an abbreviated retelling designed primarily to touch on the main themes in order to pass a literature test.

But thinking back to the 1958 film, it took about the same amount of time to tell as this version. The advantage of a movie is you can get more information in the time provided because you can tell with moving images details that you cannot include on stage.

Dickens’ writing traditionally is fraught with minute details that draw you into the time and place. In a book, he can take as much time as he wants to set the scene and explain the backstory. I would compare this version to that of an operatic libretto. The story is complete but stripped to the essentials. In this case a narrator or one of the characters often fills in some of the details in order to keep the plot line moving.

The overall effect of this version of a “Tale of Two Cities” was quite satisfying and thought provoking. I would highly recommend this to Dickens fans; anyone unfamiliar with the story; anyone unfamiliar with the history of the French Revolution and anyone interested in how a political movement run amok can affect the lives of every person involved resulting in unfathomable horrors perpetrated in the name of justice.

Details: “A Tale of Two Cities” by Shattered Glode Theatre is at Theater Wit, 1229 W. Belmont, Chicago, IL through May 31, 2025. Running time: About 2 hours plus a 15-minute intermission. For tickets and information visit sgtheatre.org, call the Theater Wit box office, (773) 975-8150, or purchase in person at Theater Wit.

Reno Lovison
For more reviews visit TheatreInChicago

Titanic the Musical

Sully Ratke’s perfectly dated costumes and finery (or lack of it) define their wearers’ status which in this period musical is important as they reflect the lifestyles of the passengers who promenade each of Titanic’s decks.
If you go, do glance up at the walls where an up to date time appears as the Titanaic moves toward the iceberg. Four days into her maiden voyage from Southampton, England to New York, the RMS Titanic sank April 15, 1912 in the North Atlantic Ocean. There were about 2,224 people on board of whom more than 1,500 died. 
DETAILS: “Titaanic the Musical” is at Marriott Theatre Lincolnshire, 10 Marriott Drive, Lincolnshire, IL, now through June 1, 2025. For tickets and more information visit  Marriott Theatre 0r call 847-634-0200.
Jodie Jacobs

Stingingly familiar peek at organizational leadership

The Whole Seamus Thing

Highly Recommended

The founder of a plucky not-for-profit who has been on administrative leave returns threatening to revert to the status quo and up end planned changes taking place in his absence.

This is a humorous take on a very real inflection point where an organization is moving beyond the skill set of the founder whose success has been largely due to an ability to engage others in their vision. At the same time those in administrative positions and others operating behind the scenes do not fully appreciate the value of charisma and passion.

Writers Ben Auxier and L.C. Bernadine seemed to have had a shared experience that has allowed them to capture, with one voice, the essence of the behind-the-scenes realities of typically underfunded, understaffed and overworked not-for-profits often surviving on dedication to make up for a lack of resources.

“The Whole Seamus Thing,” skillfully directed by Spencer Huffman is a perfect ensemble piece where each cast member is equally weighted. No one stands out as more important than anyone else in regard to telling the story. Each role speaks on behalf of one of the organization’s stakeholder groups.

The simple set design by Raquel Dwight combined with the effortless dialogue, in this intimate theater space, has a naturalness that puts you immediately at ease and feeling like you are a fly on the wall.

Seamus (Alexander Attea) is the affable, sometimes disingenuous, passive aggressive founder who feels his lofty position allows him the latitude to behave as he wishes, often with total disregard for the feelings of others.

Mel (Lydia Moss) is currently the communications manager, aspiring to become the new executive director who is feeling overwhelmed by having to cover for the founder’s short comings including his lack of attention to detail.

It is the tension between Seamus and Mel that drives the plotline.

Co-writer Ben Auxier plays Marty the laid-back confidante of Mel who represents the support staff that keeps the ship in balance. He works hard to relieve tension by running interference between the opposing factions. This job is his livelihood and his safe harbor. He does not seek personal attention and does not want to contribute to anything that rocks the boat.

Gabriel Fries offers a measured comic sensibility as Newton, the clueless board member who has stepped in as acting executive director until the situation regarding the “whole Seamus thing” is resolved. He has very little idea of the inner workings of the organization or what he is supposed to be doing so he busies himself as cheerleader-in-chief hoping to keep everyone motivated.

Olivia Lindsay is quietly hilarious as Kayla the industrious well-meaning volunteer who has a penchant for climbing ladders and zealously guarding the precious markers and tape. It is no surprise that Lindsay is also a professional clown incorporating every element of her being into the role.

Those who have any experience with working inside a grassroots not-for-profit will feel the sting of familiarity. For those without that experience it is a peek into an unknown word that smacks of a reality TV show or a mockumentary like “Waiting for Guffman” or “Spinal Tap.”

Details: “The Whole Seamus Thing” is at Bramble Arts Loft, 5545 N. Clark St, Chicago. through April 19, 2025. Running time is about 90 minutes with no intermission. Tickets are on sale at https://bit.ly/seamusthing

Reno Lovison