Reviews – Page 58 – Chicago Theater and Arts

Tony Bennett going strong at 91

Clad in signature vanilla sports jacket and broad grin, Bennett entertained cheering crowds inside Ravinia’s Pavillion and around it on the jammed lawns, Friday, a day after turning 91.

Tony Bennett wows the Ravinia Festival day after his 91st birthday. Photo by Pedro de Jesus for Ravinia. — Tony Bennett wows the Ravinia Festival crowd day after his 91st birthday. Photo by Pedro de Jesus for Ravinia.

“I travel all over but this is my favorite place,” Bennett told the crowd. Indeed, Ravinia Festival is where Bennett has been coming on or day after his Aug. 3 birthday.

Starting with some fine jazz from The Tony Bennett Quartet followed by a few songs from daughter Antonia Bennett, the iconic pop star was introduced as he’s been in recent concerts by the voice of mentor Frank Sinatra saying he’s “the best.”

After a long standing ovation, the crowd was treated to one notable Bennett hit after another from “Boulevard of Broken Dreams” and “Someone Who Needs Me” to “Who can I Turn to,” “Because of You and “The Shadow of Your Smile.”

Some were just a few lines such as “Rags to Riches.” Most others were the whole song.

Sometimes his voice was pure, sometimes, raspy, but Bennett showed he still had it with terrific voice control in amazingly long-held notes. Also, there were nice repeats of key words in his emphatic style as in “The Way You Look Tonight. Tonight! Tonight!”

He did a great “One For My Baby (And One More For The Road)” with jazz, pop and classical pianist Tim Ray sitting in for this season tour regular Billy Stritch.

Ray, who has accompanied Aretha Franklin and Bonnie Raitt and played with Rufus Reid and with the Boston Pops was fun to watch and listen to during solo turns on the piano.

The concert wasn’t all pop. Bennett moved to jazz with “Stepping Out With My Baby” with Ray, as Bennett pointed out, in the style of Duke Ellington.

The blues feeling came with a gorgeous “In My Solitude” done with Bennett’s long-time guitar player, Gray Sargent. Bennett and Sargent did several songs together as a well-matched pair.

Also good to hear were quartet regulars Marshall Wood on bass and Harold Jones on drums in brief shout-outs.

Then there were the audience chuckles as when Bennett started in with “As I approach the prime of my life” in the fine song, “This Is All I Ask.”

It ends with the wonderful words that seem to sum up this multi grammy-winner’s staying power: “And let the music play, As long as there’s a song to sing, and I will stay younger than Spring.”

But with the last words of what some consider his signature song, “I Left My Heart in San Francisco,” the lights came on and the audience applauded thinking the concert was over. However, Bennett continued the joyous evening with a couple more songs.

When it ended for good, the Pavilion audience kept standing and applauding as Bennett left the stage but encores were not to be. Except for short band solos and riffs, he had sung straight through from 9 to 10 p.m. with seemingly endless energy.

And it was easy to believe the final lyrics of “This Is All I Ask.”

‘American in Paris’ shines with wonderful Gershwin music plus terrific set design and dancing

HIGHLY RECOMMENDED

Put together George Gershwin’s stirring music, Ira Gershwin’s delightful lyrics, Craig Lucas’ thoughtful book, Christopher Wheeldon’s exceptional choreography and direction and Bob Crowley’ amazing set design.

Henri (Nick Spangler) and dancers perform a fantasy number at a Parisian club. Photos by Matthew Murphy

Then people their work with the fine dancing talents of McGee Maddox of the National Ballet of Canada and Sara Esty, former Miami City Ballet soloist.

Add in the excellent acting and vocal talents of Nick Spangler from Book of Mormon and of Adam Hockberg and Emily Ferranti from “Wicked.

With all that creativity and talent put into one show you’ll have an evening to remember at ‘American in Paris,’ now at the Oriental Theatre through Aug. 19, 2017.

Continue reading “‘American in Paris’ shines with wonderful Gershwin music plus terrific set design and dancing”

Old boy meets girl story still resonates as a witty musical

RECOMMENDED

Tony Award nominated ‘They’re Playing Our Song,’ now a Brown Paper Box production at Rivendell Theater, is a boy meets girl, boy and girl fall in love, have problems, split and get back-together-again story with a celebrity twist.

Dan Gold (Vernon) and Carmen Risi (Sonia) and company in "They're Playing Our Song." A Brown Paper Box Co. photo — Dan Gold (Vernon) and Carmen Risi (Sonia) and company in “They’re Playing Our Song.”
A Brown Paper Box Co. photo

With book by Neil Simon, music by Marvin Hamlisch and lyrics by Carole Bayer Sager, the show is a witty, entertaining musical with such easy listening songs as “If He Really Knew Me,” “When You’re in My Arms,” “I Still Believe in Love,” and “They’re Playing Our Song.”

What oldsters may remember from when the show opened on Broadway in 1979 with Robert Klein and Lucie Arnaz, is that it is somewhat autobiographical about Hamlisch and Sager’s 1970’s relationship.

The show is about New York Grammy and Oscar award-winning pop music composer Vernon Gersch connecting with lyricist Sonia Walsk because he is looking for a collaborator.

They start off with problems because Sonia is bubbly but has trouble keeping appointments anywhere near on time and is very busy trying to break up with a long-time boyfriend, and Vernon is sarcastic, uptight and somewhat aloof.

They start to bond when on a “non date” proposed by Sonia they dance and hear the band play songs they wrote.

Problems Sonia has with ex boyfriend Leon eventually comes between them when she appears very late for a recording session and Vernon says he can’t take it any longer.

That they still have feelings for each other becomes evident when they reconnect in LA.

On the cute side, Sonia wears dresses used in shows given her by a stage friend. On the witty side, they are both neurotic so Simon has Vernon saying “She’s a flake, I’m a flake. Two flakes make a snowstorm.”

She is in awe of his composing talent but he is in awe of her bubbly personality. He remarks that if a power outage causes a blackout in New York the only light seen would be coming from her.

Sonia is perfectly portrayed by Carmen Risi who has acted in Oil Lamp and Citadel productions in the Chicago area and in Four Seasons productions in Madison, WI.

Dan Gold who is often in Mercury, Apollo, Porchlight and Light Opera Works productions, is very believable as Vernon.

The two leads are totally convincing in their angst and attraction to each other.

My problem watching the show was with the Greek chorus of three females who are supposed to be in Sonia’s head and the three mails from Vernon’s head.

Even though they were talented singers and dancers, I found them distracting and sometimes annoying.

However, the leads are good enough and the show witty enough to make it a delightful evening out. To learn more about Carole Bayer Sager, see her 2016 book, “They’re Playing Our song: A Memoir (Simon & Schuster).

“They’re Playing Our Song” will be at Rivendell Theater, a small store front space at 5779 N. Ridge Ave., Chicago, now through Aug. 20, 2017. For tickets and other information visit Brown Paper Box.

Cirque du Soleil turns its magical talents into a Mexican dream

HIGHLY RECOMMENDED

Luzia – a combination of two Spanish words for light, “luz,” and rain, “lluvia,” is the backdrop for a unique performance that unites traditional Cirque du Soleil elements with scenes and characters from Mexico.

In “Luzia – A Waking Dream of Mexico,” acrobatic performances, beautiful costumes and music will not disappoint, even if they are somewhat expected in a Cirque du Soleil production.

Luzia: A Waking Dream of Mexico, is under the Big top next to the United Center now through sept. 3, 2017. Photo courtesy of Cirque du Soleil. — Luzia: A Waking Dream of Mexico is under the Big top next to the United Center now through Sept. 3, 2017. Photo courtesy of Cirque du Soleil.

The show opens with a traveler parachuting on to the stage. He will guide the audience on a magical and comedic journey through time and space.

After landing, he turns a large key and the show slowly begins to unveil the beauty of Mexico with a woman (Shelli Epstein) playing the role of the Monarch butterfly.

Although the beginning may start off slowly, hoop-diving acrobats dressed in hummingbird costumes bring it back to life in the second scene as they go through their routines on moving treadmills. With each leap, the acrobats perform a series of moves with increasing difficulty and grace.

As the show progresses from one scene to the next, the performers display their unique talents – balancing on one hand, flying from a trapeze and using aerial straps to move in ways you don’t expect.

However, it was the water and light show that generated some of the loudest applause. There is an impressive, controlled wall of rain with gorgeous pictures projected on it.

Everyone expects to be amazed, perplexed and amused by a Cirque du Soleil show. It’s a rarity to be made mildly queasy, but intentionally or not they pull it off with the most memorable and discomfiting positions of male contortionist Aleksei Goloborodko.

Throughout the show, the traveler, Eric Fool Koller, ensures the youngest members of the audience will leave with big smiles on their faces as he takes turns playing the narrator and the more traditional, bumbling circus clown.

Skillfully directed by Daniele Finzi Pasca, I highly recommend the show for both returning Cirque du Soleil fans and anyone who has never experienced the beauty and athletic abilities of this type of performance.

Cirque du Soleil’s “Luzia, A Waking Dream of Mexico” will be playing at the United Center (Parking Lot K) now through Sept. 3, 2017. For tickets and other information visit Cirque du Soleil Luzia.

– Sheri Jacobs

Kiss and Hamilton and Shakespeare, really?

OK, so a famous rock and roll group, a mega-hit musical and a play that has inspired musicals and operas may or may not appeal to different audiences. But they all are Chicago performance news.

Romeo and Juliet reenact their love story in Chicago parks

Chicago Shakespeare Theatre is back in Chicago parks this summer with free ;performances. Chicago Shakespeare photo productions

The internationally renowned Chicago Shakespeare Theatre is returning for a sixth year to put on a free show in Chicago’s city parks. This year, the production is a 75 minute version of “Romeo and Juliet,” William Shakespeare’s famous tragedy of two young lovers from feuding families.

Starting off at the just completed Polk Bros Park at the entrance to Navy Pier, performances will be at 7 p.m. July 26-28.. From there it will move to 17 Chicago neighborhoods through Aug. 27, 2017.

Shakespeare in the Parks has been the basis for 1,300 free Chicago ark District’s “Night Out in the Parks” summer events.

The free Shakespeare shows is possible through a partnership of Chicago Shakespeare Theater, the City of Chicago, Chicago Park District, Boeing and BMO Harris Bank.

For a list of parks and dates visit Chicagoshakes.

Hamilton cast news

Hamilton Company at Private Bank Theatre Photo by Joan Marcus

“Memphis Tony nominee and Drama Desk Award winner Montego Glover will be taking the part of Angelica Schuyler in the Chicago company of “Hamilton” in early September, according to producer Jeffrey Seller. In addition, Broadway cast member Gregory Treco is moving to the Chicago company to play Aaron Burr Sept. 8.

“Hamilton,” the mujlti-Tony Award winning musical by Lin-Manuel Miranda, is at The PrivateBank Theatre, 18 W. Monroe St., Chicago. A touring company will open in LA at at the Pantages Theatre Aug. 8, 2017.

Historian Ron Chernow’s “Alexander Hamilton” a biography about the West Indies immigrant who instrumental in the Revolutionary War and became the first US Secretary of the Treasury.

For information visit Hamilton.

KISS is coming

Aurora’s RiverEdge Park hosts 2014 Rock and Roll Hall of fame Kiss for a spectacular “Shout it Out Loud” concert. 8 p.m. Aug. 20, 2017.

General admission is $70. A VIP Meet and Greet packageof perks is $1,250 and a less expensive VIP package is $325 (fees extra).

RiverEdge Park is at 360 N. Broadway, Aurora. For tickets and other information call (630) 896-6666 and visit RiverEdgeAurora.

A sweet Shakespearean romantic comedy under the stars

RECOMMENDED

One of summer’s finest pursuits is viewing a William Shakespeare play while reposing under the stars and sipping a smooth wine.

First Folio Theatre affords that experience with a first-rate production of the Bard of Avon’s “As You Like It” on the grounds of the historic Mayslake Peabody Estate in Oak Brook.

Leslie Ann Sheppard (Rosalind), Courtney Abbott (Touchstone) and Vahishta Vafadari (Celia) is 'As You Like It' at First Folio. Maia Rosenfeld Photography — Leslie Ann Sheppard (Rosalind), Courtney Abbott (Touchstone) and Vahishta Vafadari (Celia) is ‘As You Like It’ at First Folio. Maia Rosenfeld Photography

The gently rolling hillside forms a natural amphitheater for the two-story wooden stage and for audiences to spread their blankets and pop their picnic baskets.

Directed by Skyler Schrempp, this delightful tale meanders among a tangle of storylines and a large cast. The plot weaves family feuds, banishments, mistaken identities, forgiveness and love triangles.

Most everyone finds themselves exiled in the lush Forest of Arden. That is, until truths are revealed and couples happily pair up in marriage like they typically do in Shakespearean rom-coms.

The highly polished cast numbers nearly two dozen, many of them First Folio returnees and almost all with previous Shakespearean credits on their resumes.

Leslie Ann Sheppard shows great flexibility in her dual-gendered role as Rosalind. At the onset, she is a favored and stylish family member of the royal court. After she is banished, she heads to the forest and adopts a male persona for safety reasons.

She is accompanied by her cousin and best friend Celia, played adroitly by Vahishta Vafadari who takes on the guise of a peasant. The young women venture a convoluted path to find their loves.

Courtney Abbott is charming and comedic as the mohawk-crowned, androgynous jester Touchstone.

Tempering the frolic is Kevin McKillip as Jacque, a melancholic lord. With great gravitas he delivers one of Shakespeare’s most well-known soliloquies, the one that begins with “All the world’s a stage, and all the men and women merely players.”

Costume designer Mieka van der Ploeg advances the setting as ambiguously modern-day, yet-far-away with attire that borrows from vintage, punk and club-kid cultures.

Throw in a couple of fascinators, a pair of black-and-white wingtips, and a few dirndl skirts, and you get the feeling you’re somewhere else.

A summer evening at First Folio Theatre is as idyllic as the Forest of Arden. Arrive early to enjoy the natural landscape. The staff sets out citronella candles, but bring mosquito repellent.

DETAILS: “As You Like It” is at First Folio Theatre, Mayslake Peabody Estate, 1717 W. 31st St., Oak Brook, through Aug. 20. For tickets and other information, call 630-986-8067 or visit First Folio.

— Pamela Dittmer McKuen

Ravinia Festival still draws the crowds

With such top drawing festivals and names as Pitchfork, Windy City Smokeout and Jimmy Buffett (among several others) filling parks and fields all over Chicago this past weekend, you might think that a north suburban music outpost would not be jammed.

Yet Ravinia Festival in Highland Park packed them in for James Arthur, Fitz & The Tantrums and OneRepbulic, Saturday, and its Tchaikovsky Spectacular played by the CSO, Sunday.

Ravinia Festival was jammed an hour before the Tchaikovsky Spectacular Sunday. Jodie Jacobs photos — Ravinia Festival was jammed an hour before the Tchaikovsky Spectacular, Sunday. Jodie Jacobs photos

“Every inch of space and lawn was filled,” said a One Republic fan describing the Saturday scene.

If understandable for the pop rock genre, it might have come as a surprise to classical music lovers that the same was true on Sunday as visitors kept filing in and looking for even a few inches to sit and picnic.

The luckier folks, or make that those in the know, staked out their space two hours ahead of Sunday’s early, 5 p.m. concert start.

Spread out with a yummy-looking picnic under the trees before the crowds descended were The Nelson family who came from Chesterton and West Lafayette, IN and from Evanston.

“We all came last year,” said Wendy Nelson, Evanston. The rest chimed in with “We enjoyed it so much wanted to do it again,” said Laura Nelson, West Lafayette; “You know, Purdue University,” husband Jeffrey said. They were there with parents Eileen and Roger Nelson, Chesterton. “I’m the patriarch,” said Roger.

The Nelson family, Jeffrey, Laura, Eileen, Wendy and Roger, arrived at Ravinia early to chat and find a choice picnic spot, Sunday.

By 4 p.m. the lawn was a sea of humanity. After the Romeo and Juliet Fantasy Overture, a sterling piano performance of Concerto No. 1 by Simon Trpceskiand and the Francesca da Rimini fantasy, came the 1812 Overture with real cannons in a roped off area.

When the smoke faded and the last note played, some people left to catch the Union Pacific North Line train but that didn’t make much of a dent in the crowd that still enjoyed getting together and picnicking on the lawn.

“Great concert,” said a guy from Glen Ellyn on his way to the parking lot.

Well, there are a lot more chances to come to Ravinia, this summer.

Long time Highland Parker Dan Pierce, a former IL State Representative and former Highland Park mayor, strides outside Ravinia's pavilion Sunday. — Long time Highland Parker Dan Pierce, a former IL State Representative and former Highland Park mayor, strides outside Ravinia’s pavilion Sunday.

The CSO returns July 18 with Yefim Bronfman playing Brahm’s Piano Conderto No. 2. The orchestra which makes Ravinia its summer home, will be back for several more concerts including July 20-21 to play Beethoven and Sibelius programs.

BTW, Tony Bennett returns Aug. 4. Hootie & the Blowfish founder Darius Rucker is at Ravinia the next night, Aug. 5.

Santana, the famed guitarist of Latin, rock an jazz fusion, is there Aug. 11-12 and heartland rocker/rock and roll hall-of-famer John Mellencamp is coming for the first time to Ravinia Aug. 26-27.

Ravinia Festival is at 418 Sheridan Rd., Highland Park. For more schedule information, tickets, prices and parking, call (847) 266-5000 and visit Ravinia.

Little Fish Searches for Her Place in the Big Pond

RECOMMENDED

“Little Fish” is a musical adventure of a young woman’s journey to get her life on track as she leaves a bad relationship, gives up smoking and ultimately finds a core group of friends who are willing and able to support each other through life’s challenges.

Nicole Laurenzi and cast of "Little Fish." Michael Brosilow photo — Nicole Laurenzi and cast of “Little Fish.” Michael Brosilow photo

Even though I quit smoking thirty years ago I could still relate. I always tell people I wanted a cigarette for the first five years. So I understand how addiction to nicotine can make you crazy.

The opening musical number grabs your attention and sets the tone immediately. It’s like a roadmap that lets you know where we are heading as the adventure begins.

Nicole Laurenzi takes control of the stage the minute the lights come up and doesn’t let go for the next 90 minutes with no intermission.

She and her voice are perfect for the role of Charlotte, an aspiring writer in New York City who is both vulnerable and determined.

Her mission at first seems simply to quit smoking and to overcome the fact that she is average and ordinary. In the end she does not emerge as a beautiful swan but rather as a content, more confident human being who just wants some peace of mind and feeling of security. This is not a fairy princess story but rather a story the majority of people can relate to.

Charlotte’s two new NYC friends encourage her to try swimming and running to take her mind off her cigarette craving. Her beautiful friend Kathy (Aja Wiltshire who has a gorgeous voice) introduces her to swimming at the YMCA where Charlotte earns the moniker “Little Fish.”

Her gay male friend Marco (Adam Fane) suggests running. Marco gets the title song explaining the need for little fish to “swim in schools” or basically band together for support and for their own protection.

Cinder (Teressa LaGamba) is Charlotte’s first NYC roommate and gets most of the comic relief in this production as she belts out a couple of the most emotionally energetic tunes.

Curtis Bannister, Teressa Gamba and Nicole Laurenzi in Kokany Productions "Little Fish." Michasel Brosilow photo — Curtis Bannister, Teressa Gamba and Nicole Laurenzi in Kokany Productions “Little Fish.” Michasel Brosilow photo

Robert (Jeff Meyer) is the smug know-it-all ex-boyfriend who appears in flashbacks voicing Charlotte’s insecurities and doubts as he reminds her that whatever she does will never be good enough.

The addition of the young Anne Frank (Kyrie Courter) who appears in a dream is a very funny idea.

“Little Fish” is entertaining and might more accurately be termed a modern opera. Bravo to Michael John LaChiusa who not only wrote the book but also the music and lyrics. No small task, which he accomplished brilliantly.

The story, loosely based on Deborah Eisenberg’s short stories “Flotsam” and “Days,” is well conceived and well executed but the star of this overachiever’s trinity is the music, an upbeat mix of jazz and pop rock with strong Latin rhythms.

There is nothing here that will assault the senses or challenge anyone’s musical preferences. It has a kind of “old school” cabaret quality that is easy to listen to with easily articulated lyrics and a few memorable tunes.

Carl Herzog as Mr. Bunder gets his Frank Sinatra groove on very effectively, as Charlotte’s smarmy boss offering a classic NYC vibe.

I can see this as a standalone melody for a number of Sinatra or Harry Connick wannabees

Shout out to Kokandy Production’s six piece band conducted by Kory Danielson. The lack of an overture was a disappointment as I would like to hear more from them and it would have been nice to help us get in the mood.

Arnel Sancianco ‘s minimal set design worked well even though director Allison Hendrix seemed to prefer to avoid using the center of the stage.

The choreography was a miss for me as was the lighting. I realize this is a small space but the movements were cliché and not well executed bordering on comical at times and looking much like a high school production. An exception was the swimming sequences which were quite effective.

The lighting or lack of lighting seemed arbitrary. Memorably, a tableau which might have been an opportunity for the lighting designer Alexander Ridgers to shine, literally left the actors in the dark. These are not deal killers and perhaps will improve over time.

As a side note Kokandy Productions offered an interesting newsprint playbill but it lacked a list of songs and any background information about the creator Michael John LaChiusa which seems a major faux pas.

Chicago’s premiere production of “Little Fish” is entertaining and makes me want to keep an eye out for future offering by LaChiusa. There are no big laughs and no great let downs. Much like Charlotte herself it is a safe and secure evening’s entertainment and ideal for lovers of cabaret style music.

Each performer gets his or her moment and they each do it effectively. This production is in keeping with The Wit’s stated mission to offer “humorous, challenging and intelligent plays that speak with a contemporary theatrical voice.”

Details: “Little Fish” is at Theater Wit, 1229 W. Belmont Avenue in Chicago now through Aug. 20, 2017. For tickets and other information call (773) 975-8150 and visit Kokandy Productions.

Reno Lovison

Rashid Johnson exhibit reflects the times

“Rashid Johnson: Hail We Now Sing Joy” is worth the drive across Illinois’ northern border. Up now through early fall at the Milwaukee Art Museum, the most current works of Johnson are monumental.

Milwaukee Curator of Contemporary Art Margaret Andera and artist Rashid Johnson in front of "Antoine's Organ." Photos by Jodie Jacobs — Milwaukee Curator of Contemporary Art Margaret Andera and artist Rashid Johnson in front of “Antoine’s Organ.” Photos by Jodie Jacobs

More often than not, an exhibit features works large and small. And Johnson, a Chicago native and New York-based artist, has worked with a variety of formats from photography to installations. Many of those works were in a 10-year retrospective at Chicago’s Museum of Contemporary in 2012.

Now, isitors to the MAM show are likely to get the message of how Johnson, a black artist who grew up in Evanston and studied at Columbia College Chicago and the School of the Art Institute, views the world today. They are immediately aware upon entering the exhibit that this time Johnson is thinking large scale.

The first gallery is dominated by a 10-foot high black scaffolding that is overflowing with plants in hand-built ceramic pots, small shea butter sculptures, books, a video, an upright piano and lights.

A gallery is covered with the faces of the "Anxious Audience" pieces made with wax on black soap backed by ceramic tiles. — A gallery is covered with the faces of the “Anxious Audience” pieces made with wax on black soap backed by ceramic tiles.

Titled “Antoine’s Organ,” the piece is Johnson’s nod to the African Diaspora but the work is named for Antoine Baldwin, a pianist and music producer. Musicians will be up in the grid of scaffolding periodically to play the piano.

It doesn’t matter which way visitors continue behind the grid into the next galleries. There are just four rooms. Each has one theme: “Antoine’s Organ,” “Anxious Audience,” “Escape Collage” and “Falling Man.”

Faces, all looking as if they were inspired by Edvard Munch 1893 painting, “The Scream,” look from the walls in the “Anxious Audience” gallery. Made with wax on black soap backed by white ceramic tiles, the faces seem to reflect the racial violence and conflicts in the news.

“Escape Collage” in another gallery, goes in the opposite direction. The

Colorful paintings, all titled "Escape Collage" offer a hopeful view of tropical warmth. — Colorful paintings, all titled “Escape Collage” offer a hopeful view of tropical warmth.

works, made from custom wallpaper appear to have black smudges that may be figures entering a colorful, tropical world of multicolored tiles and paint. Johnson has said he equated palm trees with success because they meant being able to leave a cold climate for a tropical one.

A table filled with blocks of Shea butter will capture viewers’ attention in the fourth or second gallery depending on which way visitors walk after “Antoine’s Organ.”

Johnson leaves it up to the visitors to interpret the meaning of the butter although Shea is often thought to be soothing and even a balm.

Table with blocks of shea butter surrounded by "Falling Man" art work. — Table with blocks of Shea butter surrounded by “Falling Man” art work.

However, all the works on the walls of this gallery are called “Falling Man.” They are made with red oak flooring, pieces of mirrors, black soap, wax and white ceramic tiles.

Although the figures resemble video game people, the pieces’ titles of “Falling Man” beg other interpretations such as violence or unsuccessful economic ventures.

Viewers should find Johnson’s work relevant now and reflective of the past given that art through the ages has historically reflected the times when created.

“Rashid Johnson: Hail We Now Sing Joy” is at the Milwaukee Art Museum, 700 N. Art Museum Drive, Milwaukee, WI 53202, now through Sept 17, 2017. For admission and hours call (414) 224-3200 and visit MAM.

Absurd dark ‘Hir’ comedy is highly relevant

RECOMMENDED

Amy Morton (Paige) describes the alphabet of gender designations as Francis Guinan (Arnold) holds up the blackboard sign in 'Hir' by taylor Mac at steppenwolf. Photo by Michael Brosilow — Amy Morton (Paige) describes the alphabet of gender designations as Francis Guinan (Arnold) holds up the blackboard sign in ‘Hir’ by Taylor Mac at Steppenwolf. Photo by Michael Brosilow

Not Him, not Her but ‘Hir.’ The title sums up the gender neutral and cross gender designations of the thought processes, actions and reactions in the Taylor Mac play now at Steppenwolf Theatre.

Paige, the mom, perfectly portrayed by Amy Morton as a woman finally liberated from a tyrannical husband and household drudgery, says “I don’t do laundry anymore.” She adds, “We don’t do order.” Paige encourages her daughter to take testosterone shots.

The daughter, Max/Maxine, finely articulated by Em Grosland, well explains the world as seen by Mac, a highly honored playwright who has adopted the gender title of “judy” (yes, lowercase) to describe himself.

Then there is Arnold, Paige’s husband well interpreted by Francis Guinan who, before he had a stroke, expressed his extreme dissatisfaction with a changing, more culturally accepting society by beating up everyone in his family including the dog. Paige is feeding him estrogen hormones and puts him in a dress and wig to emasculate him.

Em Grosland (Max), Amy Morton (Paige), Ty Olwin (Isaac) and Francis Guinan (Arnold) in 'Hir' at Steppenwolf. Photo by Michael Brosilow — Em Grosland (Max), Amy Morton (Paige), Ty Olwin (Isaac) and Francis Guinan (Arnold) in ‘Hir’ at Steppenwolf. Photo by Michael Brosilow

Complicating the scenario is Isaac, the “prodigal” son portrayed by Ty Olwin, a dishonorably discharged marine. He comes home from Afghanistan to find a messy house and a disabled father who is more like a clown than the fierce neighborhood nemesis he had been.

The initial shock of seeing ‘Hir’s’ messy set that opens Act 1 role forward on the stage with a grotesquely made-up, seated clown-like figure, becomes more understandable when Paige declares she is now free to work outside the home and does so and later, when Isaac reminds his dad that he used to beat up the family.

Coming to Chicago shortly after the Pride Parade and court rulings on gender neutral bathrooms, the play is a relevant look at some of the changes taking place while also delving into the anger displayed from some segments of the old guard who still believe in cultural, religious and sexual discrimination.

Directed with great insight by Hallie Gordon, ‘Hir’ is a well-thought-out absurd dark comedy by Mac, a multi-talented New York playwright, actor, director, producer, performance artists who has received, among other honors, the Kennedy Prize, the Helen Merrill Playwriting Award, a NY Drama Critics Award and two Obies.

DETAILS: ‘Hir’ is at Steppenwolf, 1650 N. Halsted St, Chicago, through Aug. 20, 2017. For tickets and other information call (312) 335-1650 and visit Steppenwolf.