Guest Reviewer Reno Lovison – Chicago Theater and Arts

Do not expect the movie or book in ‘Midnight in the Garden of Good and Evil’ – The Musical

Mary Ernster, Christopher Kelley, Sean Donovan, Andre Malcolm, J. Harrison Ghee, DeMarius R. Copes, Jarvis B. Manning Jr. and Wes Olivier in "Midnight in the Garden of Good and Evil" at the Goodman Theatre. (Liz Lauren)

Mary Ernster, Christopher Kelley, Sean Donovan, Andre Malcolm, J. Harrison Ghee, DeMarius R. Copes, Jarvis B. Manning Jr. and Wes Olivier in “Midnight in the Garden of Good and Evil” at the Goodman Theatre. (Photo by Liz Lauren)

Highly Recommended

It would be a crime to miss this.

Without a doubt “Midnight in the Garden of Good and Evil” is the best musical I have seen in years. You will be hearing a lot about this for some time as word spreads of this world premier production currently at the Goodman Theater.

The action begins, revealing a spectacular Spanish moss draped dimly lit atmospheric set design by Christopher Oram worthy of a grand opera.

We come to learn in the opening number “Bonaventure” that we are in an aged cemetery in Savannah, Georgia. Voodoo practitioner, Minerva (Brianna Buckley) wails a ghostly incantation as various figures move silently among the monuments.

As the lights become full, the tone shifts. It is daylight and Jim Williams (Tom Hewitt) continues the song explaining where we are and introducing us to some of the quaint customs of Savannah society including the reverence for the past and importance of social drinking.

Over the course of the play, we learn that Jim Williams is a gay antiques dealer and nouveau riche restorer of homes. His pride and joy is the restoration of Mercer House, a stately but at one point quite neglected derelict mansion built by the great-grandfather of famed composer Johnny Mercer.

The Mercer connection is interesting because “Midnight in the Garden of Good and Evil” is based on a true story. In fact, it is a “true crime story” that interweaves high society with a number of alternative lifestyle individuals and others considered outside the elite social strata including a gay man and his “white trash” lover, a drag queen and an African American debutante.

The 1980s era high society Savannah ladies led by Emma Dawes (Sierra Boggess), fond of mentioning her invitation to the White House, intersect with the rest through Williams and a mutual love of restoring old Savannah homes.

This is not a whodunnit. We come to learn soon enough who did it. Rather this is a story of restoration. Not only the restoration of houses but also the quest to restore one’s life and indeed, one’s soul.

The parallel story is that of “The Lady Chablis” (J. Harrison Ghee), a popular drag queen who treats the audience to a very enjoyable and frank performance at “The Shed” where she is the headliner.

Lady Chablis loses her job after a particularly bawdy performance, setting her on a quest to restore what she perceives to be her deserved station in life.

The story is not too complicated. It’s there to move the action, and this show is all about the action presented as a series of vignette performances that are more like Burlesque scenes, any one of which would wow a Las Vegas nightclub in the 80’s.

Keep in mind that this is a period piece that takes place in a very particular place at a very specific time. Some might argue that the portrayal of LGBTQ characters are somewhat two dimensional, even stereotypical, which is how they generally were portrayed at the time. But at least in the 1980s they were beginning to be seen and their stories could begin to be presented to a mainstream public.

Perhaps in the New Millennium we are more enlightened, but for some, indeed many, perhaps not.

The audience’s sympathy for Williams and appreciation for the talent and struggle of Chablis means we are breaking through and seeing these individuals as real people not simply cardboard cutouts.

Jason Robert Brown’s music and lyrics are phenomenal and inspired, harkening back to the Great American Songbook and jazz stylings of the twentieth century.

One lyric describing Savannah says something like “If your idea of an auntie leans toward antebellum . . .” is vintage tin pan alley. Perhaps inspired by Mercer and others there are notes of Sondheim as well.

But this work is not derivative. It is fresh and unique. Each number is expertly performed by arguably one of the most impressive performance companies to grace a Chicago stage in recent memory. From Ghee and Hewitt at the top through to every swing dancer, each performer is top-notch. When this show moves to Broadway which it undoubtably will, it should run for years.

When Buckley as Minerva begins her incantation, we know this is going to be interesting but when Hewitt begins his part of “Bonaventure” with his amazing voice we know we are in for something special.

Likewise with Ghee as Chablis. When she does her number “The Shed Shack” buckle up because we’re going on an unexpected ride. “Let There Be Light” in the first act is a show stopper and “Butterflies” was a touching and fitting finale.

Boggess as Dawes offers much of the comic relief but her impressive soprano gives her songs added dimension that takes them beyond novelty numbers.

“Lift Her Up” led by Bobby Hutchins with dance performance by ingénue Lavella Cole and company is likely to become a staple at every cotillion, bat mitzvah, sweet sixteen, graduation and some weddings.

Congratulations to The Goodman for assembling such a high caliber cast of performers and production team from the set design (including a spectacular chandelier), lighting, music, costumes (Toni-Leslie James) to the outstanding choreography of Tanya Biri-Torres aided by incredible swing dancers who were able to execute their moves – all brought together in a seemingly effortless fashion by Director Rob Ashford with Musical Direction by Thomas Murray.

Opening night was one to remember. John Berendt, the author of the best-selling book, was on hand for the curtain call and to see this new musical version written by Taylor Mac come to life. The excitement of the evening spilled out into the street as people chattered about what a great time this was.

This show runs nearly 3 hours including a 15-minute intermission. Likely they will find a few more cuts and trims as they see what works and what doesn’t but I would hate to be the one making those decisions. Every number is a gem.

Details: “Midnight in the Garden of Good and Evil” is at The Goodman Theatre, 70 N Dearborn St, Chicago, IL 60601, extended through August 11, 2024. Running time: about 2 hours, 45 minutes with one 15 minute intermission. For tickets and information visit https://www.goodmantheatre.org or call the box office at (312) 443-3800 (12noon – 5pm daily).

By Reno Lovison

For more shows visit Theatre In Chicago

Exciting Flyover ‘ride’ comes to Chicago

Navy Pier adds a three dimensional ride. Photo by J Jacobs) — Navy Pier adds a three-dimensional ride. Photo by J Jacobs)

See Chicago in a whole new way.

Flyover Chicago is part thrill ride and part immersive three-dimensional multi-sensory video experience that utilizes cutting edge drone technology featuring impressive aerial views allowing visitors to see Chicago in a whole new way.

Located in the former IMAX theater at Navy Pier. The attraction’s designers say they immediately realized it was the perfect place to present the newest addition to their Flyover family that includes theater rides in Vancouver, Canada; Reykjavík, Iceland; and La Vegas.

Participants will sit in a moveable seat that pitches, rolls and articulates while viewing never been seen drone footage of Chicago on a 65 foot high domed theater screen. Flying towards, through and over buildings throughout Chicago in a way you have never seen them before. This means you will feel totally immersed in the Flyover experience.

There is no narration but rather a custom designed surround sound soundtrack of music that defines Chicago including rock, blues, gospel, jazz, hip hop, rap, house and more. Fragrances are included to complete your multisensory enjoyment.

Flyover Chicago will open March 1, 2024 at Navy Pier, 600 E Grand Ave, Chicago, IL The attraction opens at 11:00 AM Daily. Advance purchase tickets are available online at flyoverchicagonavypier.com

Reno Lovison

Music Theater Works does justice to the Pippin dreamworld

Connor Ripperger as Pippin at Music Theater Works in the North Shore Performing Arts Center. (Photo Courtesy of Music Theater Works)

Highly Recommended

Music Theater works brings Pippin to the North Shore Center for Performing Arts in a production that is a feast for the senses and uses the entire spectrum of theater craft.

Explaining the plot of Pippin is as useful as trying to recall the details of a dream. What exactly happened is not important but the fact that your brain was trying to help you organize your thoughts and work through your anxiety is important.

But for context I’ll tell you that Pippin (Connor Ripperger) who has recently completed his education in Italy is the eldest son of Charlemagne Thomas M. Shea.) Ripperger’s Pippin has a longing boyish quality that is spot on.

The boy is anxious to make his way in the world but the problems in his way are stepmother Fastrada (Savannah Sinclair) and stepbrother Lewis (Andrew Freeland). They want to get rid of Pippin so Lewis will become first heir to the throne.

Though Lewis is purported to be a better warrior, Pippin sets out to prove himself in battle where he learns war is a deadly and dirty business.

Pippin’s grandmother, Berte (Kathleen Puls Andrade), encourages the lad to enjoy life and have more sex. He tries but his experiences bring him little pleasure and take him no closer to a fulfilling life.

Then Pippin falls into the arms of a wealthy widow,, Catherine (Desiree Gonzalez) who has a small b oy, Theo (Di’Aire Wilson). Again the promise of a quiet and distracting domestic life is not fulfilling to the restless youth.

Ultimately, Pippin is back in Charlemagne’s palace where he becomes king after the untimely death of his father. Saddened by the injustices of the world, Pippin attempts to right some wrongs but learns that the problems are more complex than they appear.

The phantasmagoric experience is orchestrated and narrated by the Leading Player (Sonia Goldberg) who promises a finale we will never forget. Goldberg has the needed commanding stage presence that lets you know she is in charge.

The action will not have anything to do with the actual life of Charlemagne. In fact, it includes video games, tv reports and images on large screens mimicking fragments expected from a dream.

Pippin was co-written and originally directed and choreographed by Chicago native Bob fosse in 1972 at the epicenter of his successful and frenetic career. (Possibly his drug addiction might help explain this bizarre tale of how Pippin’s quest for meaning plays out.) Fosse’s fingerprints (or say footprints) are all over this psychedelic fever dream.

Many of the characters, notably Pippin and The Leading Player, are gloved which is a nod to Fosse’s iconic “Jazz hands” and his desire to accentuate hand movements as part of dance.

This production’s co-choreographers, Mollyanne Nunn and Kaitlyn Pasquinelli, got all they demanded from their talented company who kept the non-stop action energetic and entertaining.

Director Kyle A. Dougan with assistant director Patrick Tierney did an expert job wrangling the large cast of about 20 players around a limited area of the smaller North Theater in the Skokie complex.

Shane Cinal supplied the needed multilevel set design that provided additional room for movement including clever areas for unusual entrances and exits. Andrew Meyers lighting effects were key components of several scenes.

Jazmin Aurora Medina’s colorful fantastical costumes, augmented by Alice Salazar’s hair, wig and makeup, added the right look for the chaotic action. Charlemagne’s toys sealed in plastic and his plastic crown added a subtle brilliance of detail to the array of often absurd imagery.

The music and lyrics of Stephen Schwartz who gave us the highly acclaimed Wicked is high caliber. It doesn’t have a break-out number with the possible exception of “Corner of the Sky.” When performed by the Jackson Five it became #18 on Billboard. Schwartz almost simultaneously wrote Godspell. My initial response was to characterize Pippin as The Fantastiks meets Godspell.

On the surface, Pippin seems weird and fragmented but in retrospect, the Tony Award winning musical is deeply reflective of the competitive and often, tormented mind of Fosse. In a larger context, its the reflection of us all as we strive to live more meaningful lives.

Details: Pippin, a Music Theater Works production, is at the North Shore Center for Performing Arts, 9501 Skokie Blvd., Skokie, IL ,through June 25, 2023. Running time: 2 and 1/2 hours with a 15 minute intermission. for tickets and information visit Music Theater Works or call (847) 673-6300.

Note: Though the production has an overall comedic tone it contains adult themes and language as well as allusions to sexual activity, murder and suicide so may not be appropriate for everyone.

Reno Lovison

For more shows visit Theatre in Chicago

Good ‘Lucy and Charles’ music and cast are not enough

Aurora Adachi-Winter and Matthew C. Yee in“Lucy and Charlie’s Honeymoon” at Lookingglass Theatre. (Photo by Liz Lauren) — Aurora Adachi-Winter and Matthew C. Yee in “Lucy and Charlie’s Honeymoon” at Lookingglass Theatre. (Photo by Liz Lauren)

Somewhat recommended

Lucy and Charlie’s Honeymoon by Matthew C. Yee is a light romp with a dark twist followed by a hasty, muddled ending wrapped up in a cloud of very good music – all of which is performed by a remarkable cast of actor musicians.

This adventure revolves around Asian identity, Asian stereotypes and the experience of being Asian in America so I will simply set the stage now.

The following characters are all presented in the production as Asian or Asian-American: Charlie (Matthew C. Yee) and Lucy (Aurora Adachi-Winter), Grandma (Wai Ching Ho), Peter (Rammel Chan), Jeff (Daniel Lee Smith) and Bao (Harmony Zhang).

Characters presented as non-Asian are senior security professional agent Feinberg (Mary Williamson), Gabriel (Matt Bittner) and Martin (Doug Pawlik).

Lucy and Charlie met two weeks ago. Charlie has dubbed himself an Asian-American renegade and recently reinvented himself as a cool cowboy which attracted Lucy to him. They married and are on a poorly conceived amateurish crime adventure.

Charlie’s brother Peter, a security agent trainee, finds himself in the awkward position of investigating a convenience store robbery involving the pair.

In the meantime, at a rest stop, Lucy befriends Bao, a recent arrival from China, who is waiting to be picked-up by her sponsor, ostensibly to work for a cleaning company which Lucy quickly determines is really a front for a sex slave operation.

Peter gets his boss Feinberg, his grandma, and uncle Jeff involved to help rescue the couple, who, with Bao, have taken refuge at Grandma’s cottage in Winnebago, WI where the two hope to elude the sex-slave operators, Gabriel and Martin.

Kudos to Matthew C. Yee who wrote the book and music, plays the role of Charlie and performs a significant amount of the accompaniment as an onstage guitarist and does it all very well.

I feel Yee shot himself in the foot by not making his songs a little more universal and slightly less specific to the production.

All of the great commercially successful musicals have songs that can break out of the confines of the story and speak to a larger human condition. allowing them to stand apart and take on a life of their own.

The storyline had a spark of brilliance in the tradition of many classic screwball comedies, crime mysteries or culture clash stories. My major complaint is the use of gratuitous gun violence to resolve and ultimately squander the conflict that Yee spent the first act rather expertly crafting.

Additionally waving guns around in a post Alec Baldwin “Rust” era can be a bit disconcerting to audience members who find themselves looking down the barrel for extended periods of time. (Note to violence designers R+D Choreography, direct the action upstage as much as possible).

In act two the story takes a jarring turn, resulting in a schizophrenic tone. If you want to have fun then have fun. If you want to be serious then do that. Mixing the two has been done but it takes a deft hand. In this case it just seemed like an easy way out. This might be satisfactory in an improvisation or workshop but not as a finished production in a downtown theater especially if there is any thought of wider distribution.

Much of the overall production credit goes to director Amanda Dehner. The entire cast is outstanding, while also being exceptional musicians, breathing life into the material provided by Yee.

It was apparent they understood his vision and executed it expertly in front of a dizzying and whimsical array of floor to ceiling Western and Far East artifacts assembled by scenic director Yu Shibagaki.

Screen projections by projection designer Paul Deziel were helpful for sharing song lyrics and interjecting a bit of humor when referencing images we would were not be able to see. Sully Ratke provided a thoughtful and amusing costume selection.

Yee’s portrayal of Charlie affects a kind of deep silent type cowboy image that definitely takes a backseat to the over-the-top energy of Lucy who is driving much of the action. Peter, Grandma, and Jeff as a comical triumvirate of stereotypes handle the material well. It is obvious the playwright and the actors understand how far they can go when working with ethnic humor.

This group would make a very effective sitcom or web series. But I caution Yee to treat them and their situations with more respect.

Here is my dilemma. I work with an Asian non-profit organization in Uptown, have a number of close Asian friends and some individuals of Asian descent in my extended family. When I think about recommending Lucy and Charlie’s Honeymoon to them, I cringe.

The Boomers and GenX folks especially those who were not born here might find some of the content offensive or at least sophomoric and it’s a bit too rough for the teen and preteen crowd.

That leaves the middle 20- to 40-year-olds who were born here and grew up in a cross-cultural environment that at times, confused and maybe even embarrassed their elders. It’s full of a lot of insider humor. I get this and I know two thirty-something Asian guys who would love this and totally get it. Though this limited target audience is probably not adequate to create the level of success the essence of this play deserves.

Every American-ethnic group has experienced what Yee is trying to convey and it’s an important story. But it has to be told in a way that a general audience can understand and appreciate.

Sex-trafficking and other exploitation of immigrants is a very serious topic that deserves more than a cursory glance and cartoonish treatment.

So as much as I love the actors, characters and the music and appreciate the premise, I can only somewhat recommend Lucy and Charlie’s Honeymoon.

It’s an entertaining Asian-American rockabilly musical but playwright Yee should give “Lucy and Charlie” a second look.

Details: Lucy and Charlie’s Honeymoon is at the Lookingglass Theatre, 821 N. Michigan Avenue through July 16, 2023. Runtime is 2 hours and 15 minutes with one intermission. For tickets and information visit lookingglasstheatre.org

Reno Lovison

For more shows visit Theatre in Chicago

Dracula

4 Stars

If your idea of summer fun included telling spooky tales around the campfire or listening to audiobooks during your cross-country road trip you might enjoy beginning the fall theater season with Brian McKnight’s “Dracula,” a Glass Apple Theatre production at the Raven.

Based on Bram Stoker’s 1897 novel Dracula, the production is an exciting world premiere stage adaptation of Orson Welles’ 1938 radio drama “Dracula.” And it is just in time to prepare your mind for Halloween.

Adapted and directed by McKnight, the show weaves an ominous adventure of suspense centered around the identity and mysterious intentions of the pale skinned Transylvanian Count Dracula portrayed by Andrew Bosworth.

The mystery drives Johnathan Harker played by Chris Jensen, nearly insane and sends his wife, Mina (Madeline Logan), to the edge of her grave.

Meanwhile, Dr. Seward (Connor Brennan) reaches out to the more experienced Dr. Van Helsing (Howard Raik) in a desperate attempt to understand what malady affects the fragile Lucy Westenra (Katie O’Neill), who was Mina’s best friend and in the original story probably was the Count’s first victim.

There’s an eerie old castle, a graveyard, an endangered ship at sea and a number of strange boxes with their curious contents that all have to be puzzled out to save the country from the bloody curse of the undead.

This World Premiere hybrid radio-drama is performed in evocative 19th century period costumes by designer Tina Haglund Spitza (with assistance of Cheryl Snodgrass).

To add dimension to this narrated drama, it is performed in front of projected back wall imagery by scenic designer Lauren Nichols (with Alyssa Mohn).

DETAILS: Orson Welles’ Dracula is onstage at the Raven Theatre, 6157 N. Clark St., Chicago, IL through September 25, 2022. Running time: 80 minutes with no intermission. Ticket information is available at glassappletheatre.

Reno Lovison

For more shows visit Theatre in Chicago

Up close at Lincoln Park Zoo Lion House

At Lincoln Park Zoo a lion looks over its shoulder at some members of the Chicago Uptown Lions Club (L.R. Mark Kotz, Sharon Howerton, Suzy Travers-Byster, Julie Lovison, Bob Solomon, Albert Anderson)

Thanks to a $15 million gift from Roxelyn and the late Richard Pepper, Lincoln Park Zoo broke ground on a $41 million renovation of their lion house in December 2019.

After being closed for about 2 years, the new Lion House opened in October 2021 and is home to a pride of lions that includes one male and four females. Rumor has it that locally born offspring may result.

The state-of-the-art habitat has been renamed the Pepper Family Wildlife Center, home not just to lions but also Canada lynx, snow leopards and red pandas.

Fans of the old Lion House will be happy to see the renovation was achieved to preserve and enhance the architecturally significant features of the historic structure built in 1912.

The dramatic entrances on either side bring a flood of natural light into the interior and the beautiful vintage vaulted ceiling has never looked better.

Small cages and cells with their archaic painted backgrounds are gone, replaced inside and out with expansive viewing windows for close-ups of the big cats.

Pepper Family Wild Life Center at Lincoln Park Zoo

The habitat has nearly doubled, now providing the lions with a variety of choices from plenty of outside fresh air and thermal comfort zones to trees for climbing, and elevated rocks to give them high vantage points plus areas to seek privacy, shade, and shelter.

A unique indoor design element known as the Lion Loop, funded by the Women’s Board of Lincoln Park Zoo, enables guests to view the pride even more intimately from the center of the habitat.

The $41 million renovation of the building is the final phase of what has been dubbed The Pride of Chicago, a $135 million capital campaign that began in 2012.

It was my good fortune to tag along with the Chicago Uptown Lions Club on a special tour conducted by Bill Green, accessibility and inclusion manager for the zoo.

About seventy-five percent of the Uptown Lion members are visually impaired. Thanks to a grant by the Hart Prinze Fund, special accommodations have been made to allow those with special needs to enjoy the experience.

Albert Anderson, Sharon Howerton and Bill Green at the newly re done Wild Life Center at Lincoln Park Zoo (Reno Lovison photo}

Green outfitted our small group with wireless earpieces that allowed us to easily hear his commentary as we toured the Lion habitat inside and out while he creatively and thoroughly explained what was being shown so that those unable to see would understand what the rest of us were experiencing visually.

On several occasions there were tactile displays that allowed both the sighted and unsighted members of our group to feel the size of a lion paw, the impression of their print, the feeling of their fur or the rough texture of their tongues.

Inside the building Green produced a special three dimensional map of the African savannah that the visually impaired could run their fingers over to get a sense of the various distances a lion might travel and kinds of terrain they may encounter in their journey.

All-in-all the Pepper Family Wildlife Center and its inhabitants are indeed destined to be the Pride of Chicago and should definitely be on your things to do calendar in the Windy City.

If you haven’t been to the zoo lately you might like to know that there are a number of restaurants and cafés on the grounds and several more within a short walk.

The Lincoln Park Zoo can be approached by car at Fullerton and Cannon Drive just west of Lake Shore Drive. Parking is available and might be considered pricey by some but admission to the zoo is free. If you’re a little more adventurous street parking is available along Clark Street on the west side of the park and there are bus routes that include the zoo entrance.

For more information about the zoo visit lpzoo.org. For more information about the Chicago Uptown Lions Club email [email protected].

Reno Lovison

Lovison reviews two ‘Robust’ movies at Chicago International Film Festival

4 stars

“Robust”

In “Robust,” Gerard Depardieu portrays a lonely, bored, aging actor, Georges, unwilling or uninterested in going through the same old motions.

When his regular driver/security guard is temporarily called out of town, Georges creates a new alliance with his replacement, Aissa, brilliantly played by Déborah Lukumuena. She turns out to be the equal of both the character, Georges, and Depardieu, himself. Every scene between the two is a mesmerizing lesson in restraint and underlying tension.

The film is not a thriller with over the top special effects or chase sequences. There is no great plot or cinematic triumph. “Robust” is basically a quiet character study directed by Constance Meyer and written by Meyer with Marcia Romano providing very believable situations.

The tension is created between the male/female and employer/employee relationship specifically since Georges has personal boundary issues.

But this is not a “me too” theme. Instead, though there is an underlying subtle desire, this is more of a paternal relationship between two people trying to deal with their loneliness in spite of their busy professional lives.

In the end, as with any intense relationship between people in close proximity over a period of time, they learn something about each other and about themselves.

“Robust” is produced by Isabelle Madelaine. She apparently has produced a number of short subjects which explains her attraction to this piece that is a kind of expanded short subject.

Kudos to casting director Judith Chalier for putting together such an interesting and talented team. Even the performances of the secondary characters, regardless of the size of their roles, were delivered with sincere perfection.

Cinematographer Simon Beaufils treated us to a number of beautiful close-up portraits that amplified the inner tensions and intimacy. Likewise production designer Julia Lemaire provided an array of interesting, mostly interior, settings that provided subtle insight into the characters and their situations.

“Robust” is much like a warm bath. Just sit back and soak it in. Then when it is over feel refreshed and satisfied.

I highly recommend this film because you will be happy to see Depardieu work his magic. But more importantly, you will be very glad that you got to see an interesting performance by rising star Lukumuena.

This is a North American premiere as part of the Chicago International Film Festival with two live screenings at the AMC River East 10/18 and 10/22 and limited online streaming Oct 14, 2021 to Oct 24, 2021 in the following states: Illinois, Indiana, Iowa, Michigan, Minnesota, Missouri, and Wisconsin. For detailed information visit ChicagoFilmFestival.com

Language: French with English subtitles. Running time: 95 minutes.

4 stars

“Hit the Road”

“Hit the Road” by director Panah Panahi is a story of an Iranian family road trip with overtones of “Little Miss Sunshine” or “National Lampoon’s Vacation.” Lest you think Iranian families are very different than yours, this family will dispel that myth.

It is an odd sort of setup that begins with the father, (Hassan Madjouni) sitting in the back seat with a cast on his leg that is being decorated by his younger 6 year-old son (Rayan Sarlak).

Mom (Pantea Panahiha), a rather attractive forty something wearing a hijab that fashionably reveals her stylish gray hair, is in the front seat, while the elder, twenty-something son (Amin Simiar), is the driver.

You can’t help but to ask, “Who are these people, where are they going and why does he have a broken leg?” For most of the trip the purpose of the journey is unclear.

In the first half of the film, we get to know the quirky characters as they quibble and banter back and forth. Most of the action is directed by the younger son referred to as “the kid” who is full of non-stop energy, curiosity and downright obnoxious silliness. The Spiderman and Batman obsessed “kid” restlessly tumbles and falls relentlessly next to, and on the lap of, the father who willingly partakes in all of the activity, even encouraging him. Mom does little to intercede and indeed encourages him while the older son silently keeps his eyes on the road.

Through the course of their day-long travel they make a few rest stops and we begin to get a better, but still fairly unclear, idea of their destination. This is best described as a dramedy with the characters using the antics of “the kid” to interject some humor and provide distraction for their more serious task at hand.

If you’ve been cooped up due to COVID, “Hit the Road” will give you a chance to take a little family adventure while enjoying the beautiful rugged Iranian landscape. Much like one of those 500 piece picture puzzles you might have been working on this past year, the film’s director doles out small colorful pieces that fit together and begin to make sense amid the chaos of “the kid’s” antics.

Incidentally, this is a debut film by Panah Panahi whose father’s directorial feature film debut was the Iranian classic “White Balloon” (Jafar Panahi 1995). It is the humanistic style of both of these films with their subtle criticisms that somehow manages to exist within the country’s authoritarian regime that I find very interesting.

“Hit the Road,” presented as part of the 57^th Chicago International Film Festival, is available to stream Oct 14 to Oct 24, 2021 in the following states: Illinois, Indiana, Iowa, Michigan, Minnesota, Missouri, and Wisconsin.

LANGUAGE : Farsi with English subtitles. Running time: 94 minutes

Reno Lovison

‘The Last Shelter’ a must see at Chicago International Film Festival

The Last Shelter at Chicago International Film Festival. (Photo courtesy of film fest presenter Cinema/Chicago)

4 stars

A group of random migrants from West Africa destined for Europe stop at “The Last Shelter” on the edge of the Sahel Desert (that transitions into the Sahara) before continuing their journey toward a better life.

Here at “La Maison du Migrants” in Mali they are confronted by a kindly social worker who urges them to return home, explaining that it is admirable that they had gotten this far but many die in the harsh desert conditions beyond. His agency promises them a bus ride back home.

While counseling two sixteen year-old girls from Burkina Faso he pleads with them to reconsider by explaining that even if they do get to Algeria they will likely find no employment and will be forced into prostitution. In a meeting with the others he tells them of his own experience of being cheated of his wages and treated with contempt.

One of the girls reveals how Facebook (and certainly other social media) fuel discontent and spur the hopes of young migrants who see friends and acquaintances who have successfully made the journey. For fifteen or twenty year-olds who hate their life, hardship and even death are abstract ideas that do little to dissuade them.

This is an all too common tale taking place around the world as young people seek a better life, freedom and more opportunity. This story could be told not only in Africa but in nearly any country throughout the Middle-East and South or Central America as well as Mexico. For many, Europe is a fine destination, but their hope is the ultimate lottery win of reaching the United States.

“The Last Shelter” focuses primarily on the two young girls. Ester says she had hopes of acting, singing or boxing. She chose the latter because she admits having a lot of anger and feels boxing would be a way to release her frustrations. Her friend expresses hopes of being a teacher or doctor because she wants to help people. During their respite in the shelter she is the one who encourages Ester to study English as they work on simple phrases.

The film is sensitively photographed by director/cinematographer Ousmane Samassekou and Amath Niane. It shines with intimate close-ups and beautiful b-roll of the desert sunrise and evocative cutaways of the shelter’s inspiring blue painted interior. The shots are reminiscent of a beach cabana that belies otherwise minimal accommodations and the hot, dry reality outside its doors.

The story is expertly constructed by Samassekou with editor Céline Ducreux to tell a compelling, important and compassionate human story that sheds light on the motivations and desires of migrating individuals.

The Last Shelter is a U.S. Premier presented as part of the 57^th Chicago International Film Festival. Online viewing is available. Visit ChicagoFilmFestival.com for more information.

LANGUAGE : Bambara, French, Fula, Hausa, Mooré, Susu, Waama with English subtitles

Reno Lovison

A look at more Chicago International Film Festival offerings

Reviewer Reno Lovison picks two more shows currently offered by the Chicago International Film Festival worthy of three star ratings. They are either based in Chicago or have Chicago themes or subjects.

The films have limited in-person options but can be viewed virtually October 14 through October 24, 2021. Check back at CTAA for more International Film Fest reviews. For specific information visit ChicagoFilmFestival.com.

3 stars

On the Edge of Victory

How soon we forget. This intimate behind the scenes documentary “Mayor Pete,” follows his bootstrap campaign for the presidency from its nascent beginnings to the edge of victory.

Sure Pete Buttigieg, (pronounced boot-edge-edge) mayor of a small Midwestern city, speaks eight languages, is a Rhode Scholar and retired lieutenant in the Navy Reserves who served in Afghanistan; but that didn’t stop this over achiever from being the first openly gay presidential candidate, with an odd name, from soaring from unknown candidate to winner of the Iowa caucuses, primarily by being extremely intelligent and being his authentic self.

Like many documentaries, “Mayor Pete” by Jesse Moss simply follows the action. Since it starts at the beginning of the campaign the filmmaker has no idea how it will end. Very often in these situations you know you have an interesting subject but you don’t really know what the story will be.

In this case you have someone who many might consider a nontraditional candidate with a same-sex partner running for the highest office in the land. But the mundaneness of his relationship with husband Chasten and the “regular guy” laid back attitude of Pete himself kinda shouts, “There’s nothing to see here folks,” illustrating that those who we might consider as being “other” really have more in common with us than our perceived differences suggest.

“Mayor Pete,” will certainly appeal to political wonks and historians, though it doesn’t really offer much strategic insight other than some interesting preparation for his debates and appearances. At its core it is an inspirational story of authenticity, personal growth, love and victory; even if that victory is not exactly what you had expected.

Running time: 96 minutes. Visit ChicagoFilmFestival.com for more information.

Harlem Renaissance Man (Photo courtesy of film fest presenter Cinema/Chicago)

3 stars

A Harlem Renaissance Man

The small city of Metropolis sits on the southern-most border of Illinois and is best known for its self-described claim to fame as being the “birthplace” of the fictional comic book hero Superman. However the town’s real life native son is author and filmmaker Oscar Micheaux.

Oscar was born in 1884 to former slaves Calvin and Belle Michaux who travelled out of Kentucky over the Ohio River establishing a homestead where the boy spent his early years farming. Eventually he made his way to Chicago getting a very prestigious job as a Pullman porter. This experience no doubt contributed to a wider understanding of the world and introduced him to a more diverse social strata.

Within a short period of time Micheaux was able to obtain a small piece of land in South Dakota. However the harsh winters put his mind to other interests and after a few years he wrote a book about his life experiences and escapades that he self-published then sold door-to-door apparently rather successfully within Black communities.

After gaining some notoriety Micheaux turned down an offer to make one of his stories into a moving picture. Instead in 1919 he opted to buy some equipment, gather some people and do it himself, putting him on the road that would ultimately establish him as the first major Black filmmaker, going on to produce 42 feature films.

Micheaux’s filmmaking business brought him to Harlem, the undisputed Black Capitol of segregated America, at the very dawn of what would become known as the Harlem Renaissance no doubt putting him in contact with some of the most notable cultural icons of that era. Micheaux is in fact credited with hiring Paul Robeson before the actor became an international superstar.

It seems that aside from promoting his own written works Micheaux had a desire to use his early silent films and later talkies to project a more wholesome and authentic view of African-American life presumably to counteract the negative stereotypes that were being portrayed in White cinema, most notably in films like D.W. Griffith’s (1915) “Birth of a Nation.”

At least from my perspective Micheaux’s story is as much about his entrepreneurial spirit as it is about his filmmaking. Not only did he write and produce film but often appeared in small roles and set up his own distribution scheme to insure that his films would be screened and seen in African American communities nationwide. It seems he was one of those people who was going to create a place for himself in this world somehow.

“Oscar Micheaux – The Superhero of Black Cinema” had its North American premiere as part of the 2021 Chicago International Film Festival. Directed by Francesco Zippel, it is a sort of meandering biographical documentary that gets this important story told through a number of expert interviews and original film clips.

The importance of this documentary is perhaps to illustrate to younger generations that in the early nineteen hundreds there were a number of African American entrepreneurs who stepped in to fill a void created by segregation.

They operated their professions and crafts parallel to the more influential white power structure by exploiting opportunities to serve a market that was otherwise being neglected.

As a result of America’s unofficial apartheid system these early industrial pioneers rarely were recognized by the wider society for the contributions they made.

“Oscar Micheaux -The Superhero of Black Film Making” is a useful contribution to the library of Black History subjects placing Micheaux into the pantheon of individuals who contributed to the rise of twentieth century African American culture and ultimately, in a more “woke” sense, to the fabric of American culture as a whole.

Running time: 80 minutes. Visit ChicagoFilmFestival.com for more information.

Reno Lovison

Chicago related films now showing at the Chicago Film Festival

Chicago International Film Festival Oct. 13-24, 2021. (Photo courtesy of film fest presenter Cinema/Chicago)

A resounding political battle

4 stars

Before Obama there was Harold Washington, Chicago’s first African American mayor who in 1983 challenged the status quo, took on “The Machine,” and ultimately won the hearts of the majority of the city to build the first truly diverse political coalition in the history of Chicago.

A brutal racially divided campaign culminated in what came to be dubbed “council wars” as the majority white opposition maintained control of the city’s legislative body even after Washington’s election.

Strategies employed in this era of Chicago politics would write the playbook for political opposition that continues to resound on the national scene to this day. Alternately the strategies employed by Harold Washington have written the playbook for many successful minority campaigns nationwide for nearly 40 years and likely well into the future.

“Punch 9 for Harold Washington” a Chicago International Film Festival 2021 world premiere documentary by director Joe Winston, comprised largely of archival footage and interviews, is a sober reminder to those of us who lived through the era and a fitting tribute to one of Chicago’s unique and transformative political figures.

“Punch 9 for Harold Washington” Run time: 104 minutes

4 stars

“SHORTS 1” is an eclectic showcase of eight short subjects from a variety of filmmakers with ties to Chicago. Each film runs about 10 minutes or less and one ticket at the festival will provide access to the entire collection.

Four of the shorts have immigrant related themes and four have generational or age related themes. Though they each are very personal stories I would describe only one of them as being specifically documentary. Two are essentially art films, one of which is specifically in the genre of horror.

There is a little bit here for everyone, but clearly these folks know how to tell stories and make them look beautiful.

“Sink” is a brilliantly disturbing film shot entirely as an overhead shot of a bathroom sink with the only character a pair of hands and the occasional top of the head of a man, written, performed, and edited by Curtis Matzke with interesting music and great sound effects that really heightened the experience.

In “Close Ties to Home Country,” written, directed and outstandingly performed by Akanksha Cruczynski, an immigrant dog walker pines for home while having a weird connection to the animal she cares for.

“Winning in America,” produced by Amrita Singh, explores the relationship of an immigrant father and daughter as they prepare for the state regional competition of the National Spelling Bee.

“Get well soon” is another terrifically performed visually attractive vignette piece that focuses on the emotions of a young woman dealing with the illness of her father, written and directed by Ashley Thompson.

Similarly, “By the time I reach him” by Meg Walsh, uses black and white imagery with voiceover to portray an intimate voyeuristic conversation between a daughter and her Alzheimer afflicted father.

“Speck of Dust” is also a voiceover driven, introspective narrative film. Produced by Moroccan-American, Chicago-based filmmaker Simo Ezoubeiri, it has a vintage vibe that speaks to themes of loneliness and existence from the point-of-view of an elderly man.

“The Year I Went Looking for Birds” is kind of a video gallery of Danny Carroll that illustrates his ability to find interesting images, but it is more of a demo reel than a fully conceived production.

Virginia R. Matos produced “Monochromatic Dreams” which has a lovely musical score by Natalia Perez. It is the most straightforward documentary in the group offering insight into the work of Latinx media installation artist Yvette Mayorga.

“Shorts 1” – Run time 76 minutes

Reno Lovison