Galileo revisited

 

Recommended

Trap Door Theatre’s presentation of “Galileo” stays close to the heart of Bertolt Brecht’s script but is a challenging and thought-provoking interpretation.

Fragments of the original dialogue featuring a translation by Charles Laughton are there, but the production has been reshaped and reimagined by director Max Truax into a postmodern, avant-garde style.

The storyline is ostensibly about the struggle of the famed 17th Century mathematician and scientist Galileo Galilei who championed the then controversial notion that the Sun rather than the Earth was the center of our known universe. He employed the new invention of the telescope to prove his hypothesis.

For these heretical observations he was threatened with torture and ultimately sentenced to house arrest and forbidden to continue his research.

In reality, this is a story of unchecked centralized political and religious power repressing new ideas in order to keep the general populace ignorant and under control.

Brecht realized his version of “Galileo” in the midst of WWII which was largely precipitated by a rise in fascism throughout Europe. Echoes of intolerance continued to reverberate during the anti-communist movements of the late 1940s and 50s.

In the United States, the Red Scare and McCarthyism were on the rise making it no accident that Charles Laughton, a champion of modernist cinema and left-leaning causes would be attracted to the message of Brecht’s play. He successfully introduced it to a Los Angeles audience to reflect what was happening in the cultural climate of the day.

Interestingly, this current version of the play is much about the director’s vision. It’s notable that Truax graduated from Oberlin College where he studied visual art, performance art and choreography as this production could be a master’s thesis in the application of these art forms.

David Lovejoy as Galileo is literally the person around whom this entire production revolves. The blocking in this modernist staging has the players often moving in elliptical orbits around each other and most notably around Galileo himself as he is the central force.

Lovejoy is naked on stage at the beginning wearing only a flesh-colored dance belt for modesty. He is bathed in light looking not unlike the Sun itself. It soon becomes evident that, in essence, he as Galileo has exposed himself before the world. Any subsequent use of clothing is in direct relation to the degree of practical concessions he makes to the powers that be.

Joan Nahid is the blindfolded Inquisitor who ironically is the one keeping the most watchful eye on Galileo. Clothed in black and seemingly everywhere, she is “the void,” the chief tattletale and the very essence of ignorance. Andrea played by Shail Modi is Galileo’s young protégé and the foil for presenting his ideas to the audience. He is the future. 

Galileo’s daughter Virginia (Genevieve Corkery) is a devoted Catholic. At least she is devoted to early morning visits to church and devoted to maintaining the status quo. Dressed in a floral blue dress and sporting blue eye shadow, she represents the Earth. She has little interest in scientific thought but she, like all of the planets, is caught within her father’s gravitational force and reflects his light.

Virginia’s suitor Ludovico (Caleb Lee Jenkins), is shallow as is she. But like a meteor, he is a potentially destructive force in the lives of father and daughter.

Fulganzio (Amber Washington) is a monk who sees the light and is at least intrigued by the teachings of Galileo.

Likewise, Cardinal Barberini (Gus Thomas) who later became Pope Urban VIII, was also educated in mathematics with a genuine interest in science. But he has to navigate and reconcile his scientific insights with the Church’s position on the new concept of heliocentrism. If the Earth was not the center of the Universe how will this affect the teachings of The Church and where might it lead?

Dan Cobbler has an important role as the Curator and other businessmen. He is a kind of one-man Greek chorus who fills many roles that would have been performed by multiple actors in a more traditional performance.

He is the voice of commerce who see the practical applications of new ideas but who also must avoid harm, being careful not to get too close to the sun. Cobbler’s performance has a comical element that offers some respite from what could become a most oppressive topic.

Largely done in contemporary attire (or lack of) with costumes by Rachel Sypniewski, Truax also uses several black and white vintage television sets that display only static. People with influence carry them about to communicate their thoughts to those in power.

Integration of multi-media is a feature of the modern epic theater movement as is social or political commentary. The same goes for breaking the fourth wall by speaking directly to the audience, done here very effectively.

Alluded to earlier, this production exploits highly choreographed movements. The players are very nearly always in motion, not unlike the  motion of the planets. That gives this an almost music-less ballet quality.

Galileo is often stationary at which times he might strike a quite stylized pose, notably a time where Lovejoy in his nakedness is bent at a ninety-degree angle looking quite like Atlas carrying the weight of the world (or a Rodin sculpture).

The backdrop for this performance designed by Merje Veski is a multitude of sheets of black paper filled with notations, no doubt representing the many thoughts of the scientific master. Likewise, there is mathematical and scientific graffiti on the floor eliciting the effect of being surrounded, indeed engulfed within the mind of this genius.

DETAILS: “Galileo” is presented by Trap Door Theatre, 1655 W. Cortland, Chicago, through June 14, 2025. Running time is 90 minutes with no intermission. Tickets and information can be had at trapdoortheatre.com or call (773) 384-0494.

Reviewer Reno Lovison reports that he appeared in a production of this play, traditionally staged, at the Goodman School of Drama, many years ago and was pleased to see this adaptation.

For more reviews visit https://www.theatreinchicago.com/reviewlistings.php

 

A picture of friendship

 

Chad Bay and Justin Albinder. (Photo by Nomee Photography.)

Highly Recommended

Long term friendships can be complicated and messy. Honesty can be dangerous and revealing. Are you willing to take a chance? What are your motivations? Can your friendship survive?

A fourteen-year friendship between three friends explodes over the purchase of an expensive, modernist painting in ART, presented by Remy Bumppo at Theater Wit in Chicago.

This smart and very funny piece of theater by Yasmina Reza, expertly translated by Christopher Hampton, is directed by Marti Lyons.  

Originally written in French, it retains certain European overtones, not simply in the character names and the fact that the painting in question was purchased for 200,000 francs but also in the intellectualism of the writing.

That is to say that Europeans have a way of broadcasting their intellectual thoughts and ideas openly. They seem to revel in philosophical debate. Whereas I believe Americans generally see intellectual expression as over -complicated and ostentatious.

Therein lies the essence of the conflict. Reza through these characters is poking fun at the very ostentatiousness that is so prevalent and alive in European discourse> However, Hampton has translated this into a very real Americanized version.

My  impression is that this seemed like an extended “Seinfeld” episode, artfully combining the esoteric and mundane and featuring a fair amount of absurdity.

Serge (Chad Bay) an apparently successful dermatologist, excitedly reveals his purchase of a large, monochromatic painting to his longtime friend, Marc (Justin Albinder), who is unable to hide his negative reaction by laughingly calls the painting “shit” and criticizes Serge for buying it.

Offended, Serge defends himself by saying that Marc simply does not have the depth of understanding and knowledge needed to fully comprehend the significance of the artist’s work.

Marc insists that Serge is simply buying into a sort of bourgeoise display of affluence and furthermore has lost his perspective and the sense of humor he once had which would have allowed him to see how outrageously absurd this is.

Seeking an ally, Marc visits their mutual friend, Yvan (Eduardo Curley) who is about to be married, to tell him of Serge’s new acquisition and lost sense of humor.

Yvan visits Serge and instead of siding with Marc, tells him that he appreciates the artist’s attempt and sees why the painting appeals to him.

Later when the three unite, Marc is horrified that Yvan has seemingly sided with Serge. But Yvan admits that he doesn’t really like the painting, he was just trying to avoid conflict and keep peace between the friends.

His attempt to play both sides backfires as Marc and Serge join forces accusing him of being an indecisive, untrustworthy friend.

What begins as a disagreement over art quickly escalates into a heated exchange about values, perception and loyalty, ultimately threatening to unravel their long-standing friendship.

The tension between Serge, Marc, and Yvan is a reflection of how personal taste, societal pressures, and human insecurities intertwine. The painting itself is a catalyst for deeper resentment and philosophical disagreements about identity and relationships.

Marc seems to see the painting as a symbol of Serge’s pretentiousness, while Serge views Marc’s reaction as a lack of intellectual depth. Yvan—caught between them— is just trying to smooth things over but ends up being criticized for his neutrality.

There is a hysterical, roughly three-minute monologue by Yvan that is a diatribe. It revolves around his fiancé’s step-mother and his step-mother and who is on the wedding invitation.

It results in  his birth mother declaring she will not have her name on the invitation if the step-mother’s name is there. This rant gives us insight into Yvan’s inner struggles and frustrations.

A fast-paced, hilarious conversational farce, the action takes place on a one room monochromatic set by Lauren M. Nichols with cream-colored walls and sofa.

In the center, is a single panel that changes to display another piece of artwork that indicates whose apartment we are in. Serge’s apartment is blank and neutral. Marc’s place features a realist scene of a medieval castle in the country.  Yvan’s wall displays a vase full of colorful flowers.

If you’re lucky enough to have one or more long friendships you will no doubt recognize the frustration of having to navigate what you love about a person combined with the small irritations that can drive you crazy at times. Also, that the freedom to speak openly based on years of trust can be a minefield.

Finally, there is coming to terms with occasions when you may not be sure if the investment in time justifies preserving a relationship that may simply have changed too much and is not what it once was.

DETAILS: Art, presented by Remy Bumppo Theatre Company is at the Wit Theater, 1229 W. Belmont, Chicago through June 1, 2025. Running time is about 80 minutes with no intermission. For information go to RemyBumppo.org or visit the theater box office.

Reno Lovison

Visit Theatre in Chicago for more reviews

Sex and drugs and rocking chairs

 

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

HighlyRrecommended

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

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

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

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

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

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

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

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

Jodie Jacobs

For more shows visit Theatre in Chicago

A political horror story

 

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Highly recommended

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Reno Lovison
For more reviews visit TheatreInChicago

Titanic the Musical

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

Stingingly familiar peek at organizational leadership

The Whole Seamus Thing

Highly Recommended

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

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

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

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

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

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

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

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

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

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

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

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

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

Reno Lovison

A very Sunny Afternoon

 

“Sunny Afternoon” brings The Kinks greatest hits to The Yard at Chicago Shakespeare Theater. (Photo credit: Carol Rosegg)

HIGHLY RECOMMENDED

The Shakespeare Theater at Navy Pier seems an appropriate site for a retrospective British invasion of Chicago.

This energetic jukebox musical, “Sunny Afternoon,” enjoying its North American premiere here in Chicago, is based on the story of the Kinks as told by lead singer and songster Ray Davies, filtered through the adept hand of playwright Joe Penhall.

Following on the heels of the success of The Beatles and Rolling Stones, another group of working-class lads from the outskirts of London called The Kinks made their mark on the history of Rock and Roll.

Their first big splash on both sides of the pond was “You Really Got Me” featuring an iconic fuzzy five chord guitar riff.

The fifteen-member cast of talented actor/singer/dancer/musicians, directed by Edward Hall, move seamlessly onstage and around the theater, through twenty-five musical numbers often playing multiple roles while switching instruments as necessary to provide the very appreciative audience with virtually nonstop entertainment.

The beginning of the second act is punctuated with an impressive solo by Kieran McCabe as drummer Mick Avory.

Danny Horn perfectly embodies the pivotal role of the depressive Ray Davies, plagued by his feverish mind and manic need to create.

Oliver Hoare plays Ray’s uninhibited and rambunctious brother Dave Davies a/k/a “Dave the Rave” whose sometimes comical and often boisterous antics take their toll on those around him.

Horn and Hoare are both imports from the popular West End production of the show.

The roughly seven-year storyline covering the rise of the group, their egregious record deal and arduous touring schedule, combined with strained personal relationships, is not much different from the experience of many rock and roll bands of the era, but it is enough to supply the narrative necessary to create an excuse to move from song to song.

“A Well Respected Man” is used cleverly to introduce the band’s self-described Torrey managers Larry Page (Sean Fortunato) and Grenville Collins (Will Leonard) whose uptight characters provide much of the comic moments in the show. “He’s a well-respected man about town – – Doing the best things so conservatively.”

Horn sings a beautifully harmonious duet of “This Strange Effect” with Anna Margaret Marcu as Ray’s girlfriend and soon to be wife Rasa.

The show’s title song “Sunny Afternoon” is inspired by the idea that after the tax man has gotten his share of the money and his girlfriend has left, at least he can enjoy the freedom of a summertime sunny afternoon.

The grand finale reprises a medley of the Kink’s most memorable songs, “All Day and All of the Night”, “You Really Got Me”, and “Lola.”

They “really got me.”

DETAILS: “Sunny Afternoon” is at the Chicago Shakespeare Theater, Navy Pier, through April 27, 2025. Running time is about 2 and a half hours with a 15-minute intermission. For tickets and information visit ChicagoShakes.com

Reno Lovison

For more reviews visit Theatre in Chicago

Nonequity Jeff awards announced

 

(Artwork courtesy of Kokandy Productions)

  Non-equity Jeff award recipients for the 24th season were named during a ceremony at the Harris Theater in Chicago, March 24, 2025. They were chosen from 138 nominees in 25 artistic and technical categories.  The evening featured included acts from several nominated productions.

Kokandy Productions topped the award list with five for its musical production of “Into the Woods” in the Production, Ensemble, Direction, Musical Director for a Musical/Revue and Artistic Specialization for orchestrations categories.

Open Space Arts took four awards for its Short Run Productions (nine – 17 performances) including “Cock” that received awards for Short Run Production and Short Run Supporting Performer plus “Light Switch” that received honors for Short Run Director and Short Run Principal Performer.

The 2024 Non-Equity Award in the Production – Play category went to City Lit Theater Company for August Wilson’s “Seven Guitars.”  It also received an award for Performer in a Supporting Role. (“Seven Guitars” represents the 1940s section of Wilson’s Pittsburgh Cycle.)

For a complete list of award recipients go online in the Non-Equity and News and Events sections of www.jeffawards.org.

Jodie Jacobs

 

Tale mixes remorse and romance

Jennifer Agather and Robert Hunter Bry in “The Winter’s Tale” at Invictus Theatre. Photo by Aaron Reese Boseman Photography.

Highly Recommended

A story of reproach, remorse and reconciliation, William Shakespeare’s “The Winter’s Tale” presented by Invictus Theatre, has something for everyone. It is both tragedy and a romantic comedy with sorrow, absurdity, mirth and fantasy.

The opening act is clear tragedy and might have you wondering what you’ve gotten yourself into.

King Leontes (Michael Stejskal) falsely accuses his wife Hermione (Andrea Uppling) of having an affair with his brother, Polixenes (Raúl Alonso), that has resulted in her pregnancy.

The accusation has tragic consequences for Hermione and the couple’s son and heir, prince Mamillius (Jennifer Agather).

The new born baby girl is sent with Antigonus (Fred A. Wellisch) to the outskirts of the kingdom to be abandoned in the woods.

There are three superb monologues expertly performed. The first is by Uppling as Hermione when she defends herself. Then by Hermione’s good friend Paulina (Amber Dow) who admonishes the King for his actions. And lastly, by Stejskal as Leontes when he realizes what he has done.

These three are the pivotal players who clearly demonstrate the high level of performance within the ranks of the Invictus Theatre company.

Things lighten up considerably in the second act sixteen years later. The baby, who has been named Perdita (Jennifer Agather) has been found and raised by a shepherd (Chuck Munro).

She has grown into a beauty who has caught the eye of prince Florizel (Robert Hunter Bry). Ironically, he is the son of her Uncle Polixenes, the ruler of the neighboring kingdom of Bohemia, a place of bawdy fun and good cheer.

We won’t get into the fact that these two are first cousins. After all, this is a royal romance and it’s important to keep the bloodline in the family.

This act is full of youthful exuberance. It includes a hilarious scene of buffoonery, that would be a great success on any vaudeville stage. The performance involves Autolycus (Sam Nachison) a vagabond trickster who cleverly steals the clothes off the back of the Shepherd’s son (Kyle Quinlivan).

In the end, all the characters are united including Queen Hermione who is momentarily resurrected in the form of a statue erected to her memory by her friend, Paulina.

There are a number of minor roles played brilliantly by various actors which reminds me of the adage, “there are no small roles – – only small actors.”

Directed by Charles Askenaizer, this very capable Invictus company has no small actors. Everyone contributes to the story and their roles are capably performed.

The character of Camillo (Kim Pereria) is a bit of glue that ties Leontes and Polixenes together. In fact, he warns Polixenes of the King’s wrath and escapes with him to safety. Though a comparatively small role he is clearly no small actor. Pereria spoke every line with an easy clarity of meaning that demonstrated his mastery of this art form.

If you are unfamiliar or afraid of Shakespeare because you think it might be difficult to understand. Forsooth! Fear thee not, good soul. These most artful players do employ such mastery in their deeds and such clarity of tongue and fair enunciation, that, joined with the noble and skillful quill of the Bard himself, thou shalt have but little toil to grasp the tale and the deeds unfolding afore thine eyes.

Details: The Winter’s Tale by Invictus Theatre Company is at the Windy City Playhouse, 3014 W. Irving Park Rd., Chicago, through April 20, 2025. Running time: about 2 1/1 hours with one intermission. For tickets and more information visit www.invictustheatreco.com

Reno Lovison

For more reviews visit Theatre in Chicago

Guys and Dolls is no gamble

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HIGHLY RECOMMENDED

Music Theater Works production of “Guys and Dolls” at the North Shore Center for the Performing Arts in Skokie is good old fashioned mid-century style, musical theater fun.

The story lampoons the idea of middle class morality, lambasting both the good guys and bad guys for taking themselves so seriously.

Nathan Detroit who runs a floating crap game somewhere around Hell’s Kitchen in Midtown Manhattan needs to raise a thousand dollars in order to secure a location for his upcoming event. To that end Detroit makes a bet with local big-time gambler and playboy Sky Masterson that Masterson cannot persuade “a certain doll” Sarah Brown, leader of the Save A Soul Mission, to accompany Masterson to Cuba. Therein lies the challenge and the conflict to be overcome.

The show itself does not take itself too seriously either. This is a series of vaudeville style song and dance numbers designed primarily to entertain, featuring strong melodies and clever lyrics in the Tin Pan Alley tradition by Frank Loesser. Its heavy misogynistic overtones using two dimensional characters speaking in an exaggerated Damon Runyon inspired vernacular, designed to emphasize perceptions of social class is all very much tongue-in-cheek.

Sky Masterson (Jeffrey Charles) and Sarah Brown (Cecilia Iole) are considered the stars of the show contributing the quieter and more intimate moments such as in the lyrical tune, “I’ll Know.”

However, it’s Nathan Detroit (Callan Roberts) and his long-suffering fiancé Miss Adelaide (Kristin Brintnall) who are the pivotal characters. It’s Detroit’s dilemma that fuels the action and his resistance of Adelaide with her quest for an idealized middle-class life that provides much of the show’s energy.

Kristin Brintnall was perfect on every level. The character of Adelaide has become a coveted role for female musical theater performers looking to demonstrate their comic range by utilizing an over-the-top Brooklyn accent plus a chance to sing “Adelaide’s Lament” and perform, with the Hot Box Girls, the campy burlesque numbers, “A Bushel and a Peck” as well as “Take Back your Mink.”

None of the characters can be described as being deep. The fun of the performances is in their easy to enjoy broad comedy. Nicely-Nicely (Cary Lovett) one of Nathan Detroit’s companions is another iconic role, featured in the racing form song “Fugue for Tinhorns” that opens the play and the show stopping “Sit Down, You’re Rockin’ the Boat” in Act Two.

Other characters like vice-cop Lt. Brannigan (Ian Reed), Sarah’s coworker Arvide Abernathy (Bob Sanders), local gambler Harry the Horse (Adam Raso) and Chicago gangster Big Jule (Andrew Freeland) all have their featured comedic moments.

Presented in the smaller of the two theaters at the NSC, the scale was perfect for this production making the stage seem full but not crowded. The simple set design by Ben Lipinsky strategically used the area above the streetscape for the orchestra against a huge skyline of New York which expanded the horizon, providing a sense of intimacy within a larger context.

This is the 45th Season of Music Theater Works and if this first show is any indication of what is to come it’s going to be great. Every voice was perfection and the eight-piece orchestra lead by Kevin Disch was superb.

Guys and Dolls has been performed by countless schools, community theaters and professional companies over the past fifty-plus years but still seems to resonate with both young and more mature audiences mostly because the music is memorable and the show is fun.

Details: “Guys and Dolls” is presented by Music Theater Works at North Shore Center for the Performing Arts, 9501 Skokie Blvd, Skokie, through March 30, 2025. Running time 2 ½ hours with one intermission. For tickets and information contact Music Theater Works Box Office: (847) 673-6300 or visit their website MusicTheaterWorks.com

 Reno Lovison

For more shows visit Theatre in Chicago