Cast and production crew of Manual Cinema’s Frankenstine at Court Theatre (Michael Brosilow photos)
4 Stars
It is supposed that our most ancient cave dwelling predecessors told supernatural cautionary tales of adventure that included encounters with fantastic creatures.
Their flickering fires casting out-sized, ominous, and at times, grotesque shadows on the wall amplified the sense of dread and danger. Add the slow beating of a drum mimicking the ever increasing beating of hearts, mixing with the mysterious sounds of nature lurking in the darkness and you begin to see the primeval recipe that Manual Cinema has tapped into in the telling of their version of Mary Shelley’s “Frankenstein.”
Manual Cinema is a singular theatrical experience that has elements of street theater and silent film. The company mixes live action, silhouettes, puppets, shadow puppetry, masks, video, slide projection and all manner of theatrical techniques, ancient and modern to create a captivating monochromatic video mash-up, reminiscent of a nickelodeon feature, assembled and projected on stage before your eyes.
L-R: Amber Cartwright, Katherine Duffy, Rachael Soglin, Raina Lynn (Photos by Brian McConkey Photography
This delightful Invictus Theatre experience proves once again that little has changed since Shakespeare penned this early comedy about the powerful drive of the passions of youth.
The young Ferdinand King of Navarre (Chad Bay) challenges his three besties Berowne (Charles Askenaizer), Longaville (Taylor Glowac) and Dumain (Sam Cheeseman) to forsake romance and other distractions of the flesh such as eating for the purpose of devoting themselves fully to their studies for three years.
The pact does not last long due to the hunger of youth and the arrival of a young French Princess (Raina Lynn) and her posse of eligible young maids in waiting Rosaline (Rachael Soglin), Katherine (Amber Cartwright) and Maria (Katherine Duffy). Conveniently there is the requisite number of each sex for the two respective royal crews to square off.
The young men have soon forsaken their fasting and studies and have instead turned their hand to verses of love, while the ladies delight in disguising themselves and otherwise confounding their suitors for sport.
As with most of The Bard’s theatricals there are a few side trips not the least of which is a Spanish Lord Don Armado (Martin Diaz-Valdes) and doltish slave Costard (Johnny Kalita) pursuing the same country wench Jaquenetta (Daniela Martinez); and the play-within- a-play featuring the self-important teacher Holofernes (Alisha Fabbi) and his sycophant the curate Nathaniel (Jack Morsovillo). Continue reading “Love’s Labour’s Lost – A timeless tale”
(left to right) Tim Kough and Catherine Dvorak in Greenhouse Theater Center and Forum Productions’ world premiere of Truman and the Birth of Israel. (Photo by Michael Brosilow)
“Truman and the Birth of Israel” is a politically wonkish tale about a fictional encounter between the retired 33rd President and a young, future congresswoman, Bella Abzug (Catherine Dvorak).
At this point she is a rising New York attorney already showing a penchant for championing Zionist, feminist and civil rights ideals that will be her trademark in later years.
The action takes place in the home study and garden of Harry S. Truman (Tim Kough). Abzug has been assigned to represent “Give’m Hell Harry” in a libel action the former President intends to initiate against an East Coast newspaper reporter who has allegedly defamed him by insulting his daughter’s singing talent.
Truman’s law firm assigns Bella Abzug to the case presumably because both she and the reporter are Jewish. Abzug feels certain that the defense will attack Truman for his past anti-Semitism and sets out to understand the complexities of a man who was once a card carrying member of the KKK but is also credited with helping to make the State of Israel a possibility.
Matthew Polenzani and cast of Mozart’s Idomeneo at Lyric Opera of Chicago. (Kyle Flubacker photo)
If you have ever been caught in a storm while sailing or found yourself on a rough boat ride in Lake Michigan you can understand why Idomeneo is ready to bargain with Neptune in return for a safe harbor after being tempest tossed while returning from the Trojan War.
Neptune, willing to make a deal with Idomeneo says he will assure his safe arrival at shore but in return the hero must sacrifice the first person he sees.
Like many mythological Greek gods of yore Neptune seems to really enjoy some irony. As it turns out the first person Idomeneo spots is his very own son Idamante. Ah! The stuff great opera is made of.
This Lyric Opera of Chicago’s revival of Wolfgang Amadeus Mozart’s Idomeneo with a stellar cast of singers and awesome orchestra led by Music Director Sir Andrew Davis, is indeed lyrical. Continue reading “Idomeneo makes awkward deal with Greek god”
The American Revolution is acted out by Theater Unspeakable cast on a tiny, raised platform.
A talented ensemble of seven actors in red union suits depict the salient moments of the American Revolution in an improvisational tableau style on a roughly three foot by seven foot platform, two feet off the ground, in fifty minutes.
Produced by Theater Unspeakable and directed by Marc Frost, the show is oddly compelling and entertaining.
With no scenery or props and using their bodies alone the cast, skillfully choreographed by movement director Thomas Wynne, employ many time honored devices of stagecraft including pantomime, narration, dialogue and a cappella song to guide us through a timeline beginning with the French and Indian war through to the establishment of a new nation while covering events on two continents.
Cast of Curious Incident of the dog in the nighttime at Steppenwolf Theatre’s Young Adult Program.
“The Curious Incident of the Dog in the Night-Time” follows the adventures of Christopher (Terry Bell) who is a fourteen year old boy with an undefined sensory processing disorder (like autism) who is also a kind of math savant.
While he has advanced mental abilities on one hand, he also has limited interpersonal skills which manifest in his aversion to personal contact, his inability to tell a lie, and his propensity to take everything he hears literally.
For instance, he is confused by most idiomatic phrases and metaphors. When his test proctor asks, “Are you ready to roll” Christopher simply looks bewildered.
Intrigued by the mystery of the obviously intentional death of his neighbor’s dog, the young man sets out to find the perpetrator of the act. That leads him to places he has never been. It confronts him with unimagined truths while being forced to manage and overcome some of his own personal challenges.
This is less of a whodunit and more of a why’d-you-do-it that forces Christopher and us to ponder themes of death, infidelity, and betrayal. In the end there is not so much of a resolution as an open ended series of unanswered, perhaps thought provoking questions.
The strength of the play is providing a glimpse into an alternate state of being.
Actor Terry Bell gave an excellent, well=balanced performance as Christopher. It would be easy to overplay this role but his portrayal is sympathetic and sensitive.
Created as part of the Bach+Beethoven Experience, “Chicago Stories: Book 2” challenges local composers to write a musical suite that utilizes baroque instruments to tell a story about Chicago.
One of the hallmarks of Bach+Beethoven Experience is to create a casual relaxed atmosphere to enjoy music of vintage instruments. There is nothing stuffy about this experience and I venture to say it can be enjoyed by virtually anyone regardless of musical tastes or preferred musical genre.
The premiere performance was presented Sept. 29, 2018 in the Sky Room at the Loyola Park Field House in Rogers Park overlooking Lake Michigan.
The first suite, “Stories of the Bloomingdale Trail” by Ronnie Kuller, was created to evoke memories of the trail’s past as part of an industrial corridor and rail line that contrasted with the present sounds of the walkers, runners, and bicyclists who enjoy the narrow elevated green space. The trail cuts a nearly three-mile path parallel to North Avenue from Ashland on the east to roughly Central Park on the west. Continue reading “Stories of Chicago in Music”
Front, Rashada Dawan, Back left to right Emma Sipora Tyler and Tyler Symone. (Photo by Marisa KM)
HIGHLY RECOMMENDED
Set during a changing period in recent history near New Orleans in 1963 “Caroline, or Change” is an emotionally charged story about the power of money and fear of change.
Caroline (Rashada Dawan) is a maid in a modest Jewish household in Lake Charles, Louisiana. Her employer Stuart Gellman (Jonathan Schwart) is a widower who has recently married one of his deceased wife’s friends, Rose (Blair Robertson) who hails from the Upper West Side of New York.
For Rose change is manifest in the challenges presented by her new life in the South which include a despondent husband, his eight year-old grieving son Noah (Alejandro Medina) and “negro” housekeeper whose life is slowly unraveling as she quietly struggles to keep it together.
It is the dawn of the civil rights movement, times are changing, President JFK has just been assassinated. Caroline is recently divorced, has three girls (Bre Jacobs, Princess Isis Z. Lang and Lyric K. Sims) at home and a grown son in Vietnam. To make matters worse she is under employed and feeling like she has no skills that would allow her to change her circumstances.
Caroline’s oldest daughter Emmie Thibodeaux (Bre Jacobs ) represents the new generation and the change that is coming.
The term “change” takes on a double meaning as the plot pivots around Noah’s habit of leaving loose change in his pants pockets where Caroline routinely finds it while doing the laundry and where the odd coins become a catalyst for a change in attitudes.
One can nit-pick but every member of this perfect cast turned in wonderful performances in a nearly flawless production directed by Lili-Anne Brown with a nearly flawless script featuring book and lyrics by Tony Kushner, and music by Jeanine Tesori.
The actors are accompanied by the musical direction and keyboard of Andra Velis Simon with her excellent four piece band, Yulia Block (percussion), Kimberly Lawson (violin) Emily Beisel (reeds) and Myles Bacon (guitars).
There is virtually no break in the music from beginning to end so it is difficult to single out individual performances. But, the charming jump rope style song “Roosevelt Petrucius Coleslaw” sung by Caroline’s adorable daughters and joined by Noah in Act One, as well as her own show stopping “Lot’s Wife” toward the end of Act Two were memorable moments for me.
If you are unfamiliar with this play I suggest you definitely put it on your “must see” list. And I will venture to say, that you are not going to get a much better chance than this Firebrand Theatre presentation of “Caroline, or Change.”
DETAILS: “Caroline, or Change,” a Firebrand Theatre production, is at The Den Theatre’s Heath Main Stage,1331 N. Milwaukee Ave. through Oct. 28, 2018. Running time: 2 hrs., 30 min. For tickets or other information visit Firebrand Theatre.
A different performer takes on White Rabbit Red Rabbit at each Interrobang production.
It can be said that any piece of literature is a conversation with the author across time and space but Iranian playwright Nassim Soleimanpour takes this to a new level.
For those interested in a nontraditional performance experience, “White Rabbit Red Rabbit” presented by Interrobang Theatre Project is an enjoyable, thought provoking, perhaps at times, philosophical, leap into experimental theater.
A different actor every night is presented with a few props and a sealed script which is opened on stage. At this point the actor follows the instructions and performs accordingly. Performers: Stephanie Shum (September 24) JD Caudill (October 1), Echaka Agba (October 8), Michael Turrentine (October 15), Joe Lino (October 22), David Cerda (October 29), Shawna Franks (November 5) and Owais Ahmed (November 12).
For some this may be a trip down a proverbial rabbit hole but others like “Alice” may encounter a splendid adventure.
Part of the intrigue is that no one (including me) is permitted to talk about the details of the play because no one sees exactly the same show twice.
Approximately one hour long, it is a kind of improvisational comedic/dramatic,social experiment.
If you are expecting a traditional night at the theater this may not be your thing but if you are looking for a refreshing break from the ordinary then hop over to see “White Rabbit Red Rabbit.”
DETAILS: “White Rabbit Red Rabbit” is at The Den Theatre, 1331 N. Milwaukee Ave., Chicago, through Nov. 12, 2018. For tickets and other information call (312) 219-4140 and visit Interrobangtheatre.
From left: Allen Gilmore, James T Alfred and James Vincent Meredith. (Photo by Michael Brosilow)
A Pittsburgh real estate developer with aspirations of becoming mayor finds himself at odds with his wife and his business partner after encountering a couple of guys from his old neighborhood who bring him closer to his own history and the roots of his community.
This is a story about the quest for success, what is legal, what is fair and ultimately, what is right and what is wrong.
These concepts are not just black and white. They are usually very muddy and predicated on each individual’s point-of-view. On some level this story tries to indicate that there is a clear distinction.
