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 57th 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
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.
‘On the Edge of Victory’ showing at the Chicago Film Festival. (Photo courtesy of film fest presenter Cinema/Chicago)
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.
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.
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
Chicago International Film Festival Oct. 13-24, 2021. (Photo courtesy of film fest presenter Cinema/Chicago)
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.
Chicago International Film Festival Oct. 13-24, 2021. (Photo courtesy of Cinema/Chicago)
Here are three capsule reviews of films at the Chicago International Film Festival that are based in Chicago or that have Chicago themes or subjects. Each of these films has limited in-person theater viewing options during the festival as well as virtual viewing between October 14, 2021 through October 24, 2021. Check back at CTAA for more International Film Fest reviews. For specific information visit ChicagoFilmFestival.com.
A compassionate look at the challenges of mental illness
3 stars
Producer/director Margaret Byrne bravely reveals her own story of mental illness while following three other individuals as they each battle their inner demons and indeed struggle day-by-day just to function. With any luck they may ultimately succeed even though on “Any Given Day” their illness might take hold and set them back.
Byrne lets her camera do a lot of the speaking through aerial shots, cutaways of urban landscapes and close-up glimpses of nature, using artful imagery to convey personal thought processes where words might fail.
“Any Given Day” a Chicago International Film Festival 2021 U.S. premiere should remind us to consider that some human beings have extraordinary challenges beyond their control and important stories to share.
“Any Given Day” Run Time: 94 minutes
Chicago International Film Festival Oct. 13-24, 2021. (Photo courtesy of Cinema/Chicago)
An appealing thrill ride to nowhere
2.5 stars
“Broadcast Signal Intrusion” a visually appealing thriller by a talented production team with a great musical score is inspired by a true Chicago mystery.
Based in 1999, video editor James believably portrayed by (Crazy Rich Asians) Harry Shum Jr. sets out to find who is behind the interruptions of local TV broadcast signals that occurred ten years earlier featuring a weird masked figure, speaking some garbled message, through a haze of static which may be connected to the disappearance of several women.
This vintage homage to ’70s paranoid cinema falls short compared to the classics on which it is based with more loose ends then your grandma’s shag carpet. A local odyssey full of intriguing characters is at best a pleasurable buggy ride to nowhere that leaves you mildly exhilarated but ultimately unfulfilled.
“Broadcast Signal Intrusion” Run Time 104 minutes
Chicago International Film Festival Oct. 13-24, 2021. (Photo courtesy of Cinema/Chicago)
This film hits all the right notes
4 stars
An African American senior, physically debilitated due to a childhood injury purposely inflicted by his mentally impaired father, is virtually paralyzed on one side of his body and unable to use his right hand.
“For the left hand” is an inspiring documentary by Leslie Simmer and Gordon Quinn based on a feature story by Chicago Tribune music critic Howard Reich about Lincoln Park High School choral director Norman Malone who in spite of his challenges followed his passion to teach music and in retirement fulfills a lifelong dream to master Ravel’s “Concerto for left hand” then play it in front of an audience with a full orchestra for the first time at age 79.
The Road Up, a documentary film. (Siskel/Jacobs photo)
4 Stars
In “The Road Up”, a Chicago-based documentary, Jesse “Mr Jesse” Teverbaugh is part teacher, part preacher and part drill sergeant as he guides a class of mostly middle aged job seekers through a training course. The course is part of the Cara program designed to raise self-esteem and hone skills that will improve their readiness for employment.
Based in the South Loop, Cara focuses on individuals who have been out of the workforce due to domestic violence, incarceration, homelessness or other factors that challenge their readiness to work.
The film, produced by Rachel Pikelny and co-producer Amy Ostrander, follows the progress of four individuals who reveal their fears and aspirations as they work through the month-long boot camp called Transformations that offers the possibility of a new beginning.
Many of us with little insight into the actual depths of despair some people face, understand that employment is an important part of battling crime and poverty. But perhaps we do not fully appreciate the struggles many individuals face due to their limited world view, personal stresses, inability to cope, poor self-image, lack of peer or family support and other psychological and sociological issues that inhibit their chance of success. It’s not just a matter of saying here’s a job- do it.
“The Road Up” shows us what a handful of people are experiencing and how this particular social service program is attempting to triage a few of the wounds before sending their participants back into the battle.
Mr. Jesse explains to his class that this is not going to solve all of their problems or send them happily off into the sunset. Rather, he attempts to convey what is expected of them, that life and work are full of challenges that you have to be willing to face. He emphasizes that they are not a captive of their past.
Directed by Jon Siskel and Greg Jacobs; and edited by John Farbrother, the film features a lovely sound track and is punctuated by some pretty gritty stills plus a b-roll presumably inspired by Photography Director Stephan Mazurek.
The storyline is well crafted with a touching, somewhat surprising finale.
“The Road Up” can be seen at The Siskel Film Center, 164 N. State St., Chicago Oct. 8-14, 2021. Running time is 93 minutes. To learn about other screenings or information visit TheRoadUpFilm.
Broadway, regional and Marriott stars in Kander and Ebb revue at Marriott Theatre. L-R, Amanda Rose, Allison Blackwell, Joseph Anthony Byrd, Meghan Murphy and Kevin Earley.(Photo courtesy of Marriott Theatre)
4 Stars
“We’re back!” The opening line, really a shout from the five performers of Marriott Theatre Lincolnshire’s “The World Goes Round: The Songs of Kander and Ebb,” was met with a roar and applause from the audience on opening night, Sept. 23, 2021 The show, a musical revue, was in previews since Sept. 15 and continues through Nov. 7, 2021.
What the audience saw as they took their seats was a stage that looked as if one of Kander and Ebb’s shows was “struck” as long as a year and a half ago and joined by props from past shows.
It was all brought back to life with superb solos, duets, trios and dance numbers by Broadway, regional and Marriott performers Amanda Rose, Allison E. Blackwell, Joseph Anthony Byrd, Meghan Murphy and Kevin Earley.
Blackwell started the show on a fine mezzo soprano note with a beautiful rendition of “And the World Goes ‘Round.”
The revue moved from strength to strength with a funny version of “Coffee in Cardboard Cup sung by the cast followed by “The Happy Time” by versatile baritone Earley who later did a fantastic “Kiss of the Spider Woman.”
Murphy, an exuberant redhead, infused numbers such as “Colored Lights” and “Ring Them Bells” with the joyous fervor needed now. Byrd, an accomplished character-style singer who can easily move from a funny “Sara Lee” to a not so funny “Mr. Cellophane,” excels in the show’s dance movements. He and Rose did a long “Shoes Dance” number that brought a collective audience “Wow.” Rose , an actor/singer performed a wickedly funny “Arthur in the Afternoon.”
My favorite number, watch for it, was a gorgeous blending of songs by a trio of Blackwell, Murphy and Earley.
Of course, since this was a Kander and Ebb revue, it included “And All That Jazz, “Money, Money” and “Cabaret” but the number some people were humming was the final number “New York, New York.”
Kudos have to go to director/choreographer Marcia Milgrom Dodge, orchestra conductor Patti Garwood, music director Ryan t. Nelson, Set designer Christopher Rhoton and the costume designer Sally Ratke.
DETAILS: “The World Goes Round: The songs of Kander and Ebb” is at Marriott Theatre Lincolnshire now through Nov. 7, 2021. Run time: 90 minutes (an approved abridged version). Attendees must wear face coverings and present a vaccination card. For tickets and more information visit www.MarriottTheatre.com.
Left to right: Shawna Tucker, Delia Ford, Andrea Conway-Diaz, Julia Kessler, Cameron Feagin, Sheila Willis, Maggie Cain, Noelle Klyce, Kat Evans in City Lit Theater’s Thirteen Days. (Photos by Steve Graue)
4 Stars
In 2020, the world premiere adaptation of Robert F. Kennedy’s “Thirteen Days” was in rehearsals and set to open in March. Due to the pandemic, it was forced to shutter. Fast forward to September of 2021 and the show has finally opened.
“Thirteen Days, presented by City Lit Theatre,” tells the suspenseful story of the 1962 Cuban Missile Crisis. Based on a memoir by Robert F. Kennedy, who served as the Attorney General under his brother, President John F. Kennedy, the story is authentic and presented as a cat and mouse game played on the world stage.
On October 16, 1962, long-range Soviet missiles carrying nuclear warheads aimed at the United States were discovered in Cuba. For the next 13 days all eyes were on the White House as President John Kennedy and his team maneuvered around this international crisis.
Communications were conflicting, confusing and constantly changing during the stand down with Nikita Khrushchev and Soviet Ambassador Anatoly Dobrynin.
President Kennedy did not want to make another mistake like he did in the “Bay of Pigs.” His cabinet could not agree on the best strategy and military response. One wrong move could cause World War III.
Kat Evans as Robert Kennedy in City Lit Theater’s ‘Thirteen Days.’
Adapted for the theatre and directed by Brian Pastor, City Lit’s Resident Director, this production features a cast totally comprised of women. While all of the characters in the book are white males, this ambitious twist creates a unique reflection of gender issues in the body politic.
The show’s cast includes Cameron Feagin (President John F. Kennedy), Kat Evans (Attorney General Robert F. Kennedy), Sheila Willis (Secretary of Defense Robert McNamara), Julia Kessler (Secretary of State Dean Rusk), Maggie Cain (Director of Central Intelligence John A. McCone and Soviet U.N. Ambassador Valerian Zorin), Andrea Conway-Diaz (McGeorge Bundy), Delia Ford (Chairman of the Joint Chief of Staff Maxwell D. Taylor), Noelle Klyce (Ted Sorenson), Kim Fukawa (Arthur C. Lundahl, the aerial photography expert who detected missile installations in Cuba and Soviet Ambassador to the U.S. Anatoly Dobrynin), Shawna Tucker (National Security Council member Llewellyn “Tommy” Thompson and Anne Wrider (Adlai Stevenson, United State Ambassador to the United Nations).
On the production team are Liz Cooper (lighting design), Jeremy Hollis (set designer) and Satoe Schechner (costume designer.) Kudos to Schechner for dressing the women in business suits, ties, and shoes that make them look powerful and professional.
Cameron Feagin as JFK knows when to be tough and how to react to the building pressure. Kat Evans as Bobby Kennedy narrates this nerve-wracking drama, creating real tension until the final showdown. Both of these lead actors bear an uncanny physical resemblance to the Kennedy family, adding to the performance.
Covid protocols include masks and proof of vaccination for entrance. The theatre will also be following CDC ventilation guidelines to ensure a complete exchange of air in the theatre between performances.
“Thirteen Days” runs through Oct. 24, 2021 at the Edgewater Presbyterian Church, 1020 W. Bryn Mawr, Chicago. Run time: 90 minutes with no intermission.
For tickets and other information visit citylit.org or call (773) 293-3682.
Live at Mr. Kelly’s documentary. (Photo courtesy of the film’s producers
4 Stars
If you’re new to the city or younger than 60 you might not know that on the corner of Rush and Bellevue where Gibson’s Steakhouse now stands was one of the premiere entertainment venues in the country, a nightclub called Mr. Kelly’s that was the center of the city’s midcentury bohemian nightlife.
Kelly’s was ground zero for the local jet set, Michigan Avenue “Mad Men” and visiting businessmen from around the country who came to the Windy City to cut monumental deals.
It was virtually guaranteed that executives visiting between 1955 and 1975 would be treated to a night at Kelly’s that included a great steak and world class entertainment.
The venue was the brainchild of brothers Oscar and George Marienthal. This documentary film “Live at Mr. Kelly’s” is a love letter from George’s son, Executive Producer David Marienthal.
About 90 minutes long, “Live at Mr. Kelly’s” is jam packed with testimonials and stories from many entertainers including Barbra Streisand, Lily Tomlin, Bob Newhart, Herbie Hancock, Shecky Green, Ramsey Lewis, Bette Midler, The Smothers Brothers, Lainie Kazan, Tom Dreesen, Tim Reed, Mort Sahl and others who, while in Chicago, called Mr. Kelly’s home or who attribute their appearance at the local club as a significant contribution to their success.
Many of the comedians credit Mr. Kelly’s with helping to fashion the unique American art form of standup comedy. Certainly the club championed the best of the best with early appearances by the likes of Lenny Bruce and Peoria native Richard Pryor.
Barbra Streisand opens the film with a story about shooting publicity photos on Oak Street Beach, one of which went on to win a Grammy for best album cover.
Did you know that the famed poet, Maya Angelou, was once a calypso singer who played congas? It’s true and she performed at Mr. Kelly’s.
The title of this film is something of a misnomer since it gives nearly equal time to the history of the London House, which by the way, also featured great steaks, peerless piano players and top executives, and mentions the popular Happy Medium. Those venues were also owned and operated by the Marienthal brothers.
I learned from this film that one thing I have in common with Herbie Hancock is we both took prom dates to the London House. I don’t know about Herbie but I married my date
It was actually my now wife’s prom. She was graduating from Senn High School on the northside and going on to study piano at Millikin University in Decatur so of course she wanted a dinner venue with piano music. What could be better than Ramsey Lewis at the London House on Michigan Avenue and Wacker with a romantic late night boat ride afterwards.
The London House was the cool jazz version of Kelly’s, concentrating nearly exclusively on the hippest of the hip including greats like Duke Ellington, Ella Fitzgerald, Andre Previn and Oscar Peterson.
Both Mr. Kelly’s and London House made live recordings that added to their fame. Luckily for us they’re available to listen to and get a sense of the ambiance of each of the intimate spaces.
This is a bit of Chicago history that with each passing day fades further into obscurity. Thankfully this film has made an effort to stop the clock and capture a snapshot of the past from a few of those who were there to witness it in its heyday.
Directed by Ted Bogosian “Live at Mr. Kelly’s” had a premiere showing at the Siskel Center September 17-19, 2021. It will be released as a video on demand (VOD) in 2021 on Oct. 12 and on DVD Oct. 19. For information visit www.misterkellyschicago.
Brighton Beach Memoirs at Citadel Theatre L-R: Siah Berlatsky, Ron Quade, Shaya Harris (back to camera), Abby Lee, Juliana Liscio, Danny Mulae (face obscured), and Monica Castle (Photos by North Shore Camera Club)
4 Stars
Live theatre is now alive and well at the Citadel Theatre in Lake Forest!
Opening their season after the pandemic is playwright Neil Simon’s warm and wonderful, “Brighton Beach Memoirs.”
“Brighton Beach Memoirs” tells the story of Eugene Jerome, a young man who desires to be a writer and starts with what he knows best, his own downtrodden family. The time is 1937 in Brooklyn and undertones of the brewing war in Europe are laced throughout the play. America is well aware of the news, but wants no part of it.
Eugene, who also serves as the narrator and talks to the audience about his plight, has his own issues of teenage angst while dreaming of being a baseball player and lusting after his older cousin.
The trials and tribulations of not having enough money for his two parents, brother Stanley, widowed Aunt Blanche and her two daughters who live with them — loom large. Unemployment, gambling, sickness are all part of daily life.
Yet in typical Neil Simon fashion, you’ll laugh and you’ll cry, all within a few minutes.
Siah Berlatsky as Eugene has just the right amount of high energy and pathos to light up every scene. The audience really sympathizes with him and at the same time, recognizes his bright, successful future ahead.
Siah Berlatsky as EugeneBrighton in Beach Memoirs at Citadel Theatre.
Standouts include his put-upon mother Kate, played by Monica Castle, who carries the weight of everyone’s problems and must convey a range of raw emotions. She does so with great style. Ron Quade as patriarch Jack, who everyone relies on, plays his role with power, heart and a little bit of vulnerability
The cast also includes Abby Lee (Blanche), Danny Mulae (Stanley), Shaya Harris (Laurie), and Juliana Liscio (Nora) who work together to create a realistic family group and share their challenges. You’ll cheer them on and hope for the best.
Citadel Theatre Artistic Director Scott Phelps and director of the production makes great use of the theatre space. Having the dining room table where much of the dialogue takes place creates a very intimate stage, making the audience feel like they are right there.
Also on the production team are Jeff award-winner Eric Luchen (Set Design), Colin Meyer (Costume Design) and Samuel Stephen (Lighting Design).
DETAILS: “Brighton Beach Memoirs” runs through October 17, 2021 at Citadel Theatre, 300 S. Waukegan, Lake Forest. Run time: Approximately 2 hours with one intermission. Seating is limited and masks are required.
For tickets and other information visit Citadel Theatre or call (847) 735-8554, ext. 1.
Documentary film Searching for Mr Rugoff. (Photo courtesy of Ira Deutchman
“Searching for Mr. Rugoff” is a documentary film about a man who’s taste in film contributed to shaping the culture of the 1960s and 70s. However, this is also a story how a once powerful individual can fall almost instantly into obscurity.
Rugoff was responsible for distributing and promoting Elvira Madigan, Z, The Sorrow and the Pity, Putney Swope, Trash, Marjoe, Gimme Shelter, Scenes From a Marriage, Swept Away, Monty Python and the Holy Grail, The Man Who Fell to Earth, or Pumping Iron to name a few.
If these are familiar to you it is probably at least in some part due to the decisions and possibly the “P.T. Barnum” tactics of film distributor Donald Rugoff.
Producer / Director Ira Deutchman provides a peek at the inner workings of the business of film distribution and how one person like Rugoff can make decisions that influence each of us subtly or even in direct and profound ways.
Deutchman acquaints us with the role of the film distributor as having the responsibility of introducing new films to moviegoers and is thereby charged with creating the needed momentum that will ultimately lead to a film’s monetary success or not. It is at this point that many worthy films live or die.
If you are unfamiliar with these titles I can assure you that they each in their own way either expressed or reflected back to the audience images of the counter-culture and for many provided a virtual roadmap of changing values and shifts in social discourse.
“Searching for Mr. Rugoff” is obviously a labor of love, or at least a labor of deep appreciation and respect for the man who Deutchman describes as his mentor. He says Rugoff taught him everything he knows about film distribution.
The release of the 94 minute film was delayed due to COVID and is now enjoying a limited screening schedule at the Music Box Theater on Southport.
Alternatively it can be downloaded at musicboxdirect.com for streaming online at home. For more viewing options nationwide visit Mrrugoff.com and to learn more about the producer / director. To see outtakes from the film visit iradeutchman.com.
