Dael Orlandersmith in Until the Flood at Rattlestick Playwrights Theater, NY. (Photo by Robert Altman)
HIGHLY RECOMMENDED
Say Ferguson and you are likely to get a reaction on race conflicts and prejudice without even having to identify the place as a suburb of St. Louis
Some people may not even remember that it was the shooting of unarmed, black teenager Michael Brown by police officer Darren Wilson in 2014 that shot Ferguson into the national spotlight.
But to feel the event’s impact on people who live in the area, see playwright, actress Dael Orlandersmith’s stunning ‘Until the Flood.’
A one-person show, Orlandersmith presents with heartfelt-emotions, the reactions of eight characters ranging from teen-aged to middle age and older and from locals to other suburbanites to transplants with different careers and levels of education. Some are black. Others are white.
They are composites of people she interviewed after being commissioned by the Repertory Theatre of St. Louis for a play regarding the event. It premiered there in 2016. BTW, Orlandersmith, a Goodman Artistic Associate and Alice Center Resident Artist, has a composite name. She was born Donna Dael Theresa Orlander Smith Brown.
Now, following its showing at the Milwaukee Repertory Theatre, the production is at the Goodman Theatre’s Owen Theatre space only through May 12. Unfortunately, that is way too short a time given the importance of Orlandersmith’s play and her superb portrayals of different character types.
At the April 29th opening night performance, the playwright certainly put across the different perspectives as the audience zoned in on each portrayal with laughter, gasps and sighs.
Directed by Neel Keller with explanatory projections by Nicholas Hussong, set design by Takeshi Kata and costume design by Kaye Voyce, ‘Until the Flood’ is a remarkable theater experience.
DETAILS: ‘Until the Flood’ is at Goodman Theatre, 170 N. Dearborn St., Chicago through May 12, 2018. Running time: 70 minutes, no intermission. For tickets and other information call (312) 443-3811 and visit Goodman Theatre.
If you attended a theatre performance in the Chicago area last season you thought worthy of special recognition you should check out the Jeff Award nominations.
Jeff Awards are given to outstanding shows and cast and production members in both the equity and non-equity category taking place between April 1 of one year and March 31 of the following year.
First up this year are the 45th Annual Non-Equity nominations that were just announced for shows that occurred from the beginning of April 2017 through the end of March, 2018.
There are 115 nominations in 19 categories so the list is long but here are a few tidbits.
Griffin Theatre Company eceived several Jeff Award nominations this year that included its production of ‘Ragtime.’ (Michael Brosilow photo)
Griffin Theatre Company led the way with 14 nominations followed by Pride Films and Plays (3 with Permoveo Productions) and the Steep Theatre Company with 11 nominations.
Next were BoHo Theatre and Theo Ubique Cabaret Theatre with each garnering 8 nominations. Interroband Theatre Project and Kokandy Productins each received 7 nominations.
Scott Weinstein received best director nominations for “Ragtime” and Violet,” both Griffin Theatre productions.
Nominated for best musical production were “Bonnie & Clyde” (Kokandy), “Marie Christine” (BoHo), “Ragtime” (Griffin), “Sweeney Todd” (Theo Ubique) and “Violet” (Griffin).
The best play production category named ”Foxfinder” (Interrobang), “Ideation” (Jackalope), “The Invisible Hand” (Steep) “Lela & Co.” (Steep) and “The Light” (New Colony).
To see who was nominated in the acting and production categories visit Jeff Non-Equity.
The award announcement and ceremony is June 11, 2018 at the Athenaeum Theatre. Doors open at 6:30 p.m. and the awards begin at 7:30 p.m.. Tickets are $45 in advance and $50 on June 11. For tickets and more information visit Athenaeum. For more Jeff Award info visit JeffAwards.org.
Leryn Turlington and Jonathan Schwart with cast of Grand Hotel. (Evan Hanover photos)
HIGHLY RECOMMENDED
This classic, Tony-Award-nominated musical comes to life in the hands of Kokandy Productions in Theater Wit. The moment you enter, the elegant set creates a warm ambience and violin and percussion sounds welcome you.
Up above and off stage, you hear the sounds of a crowd. Then, once the narrator, the good Colonel Doctor begins, the production takes off like a shot.
With book by Luther Davis, music and lyrics by Robert Wright, George Forrest and Maury Yeston, ‘Grand Hotel’s 1989 Broadway production earned 12 Tony Award nominations and won five.
Based on the 1928 play/novel “Menschen im Hotel” (People in a Hotel) and the 1932 MGM movie, the musical focuses on life and death, success and failure, love and murder all told through music and dance.
Brandon Springman (Curly) and Jennie Sophia (Laurey) imagine riding on a surrey driven by snow-white horses in ‘Oklahoma’ at Marriott Theatre. (Photos by Liz Lauren)
Of course audiences going to Marriott Theatre’s ‘Oklahoma’ will hear and love Rogers and Hammerstein’s highly singable “Oh, What a Beautiful Mornin,” “Kansas City,” “I Can’t Say No,” “People Will Say We’re in Love” and “Oklahoma.”
Some folks were singing those popular, ingrained –in-American-culture songs as they left the theatre Wednesday night after the show’s official opening.
Hershey Felder in his one-man show ‘Our Great Tchaikovsky’ at the upstairs Steppenwolf Theatre through May 13, 2018. Photos by Hershey Felder Presents.
Can people display numerous professions, some of which merge into one outstanding career, producing the most wonderful theatrical productions?
Not many. But there is one person who is currently in Chicago, pianist, actor, playwright, composer, producer and director Hershey Felder. He is performing his fabulous play,‘Our Great Tchaikovsky’ upstairs in the Steppenwolf Theatre.
After creating highly regarded stage productions about Gershwin, Chopin, Beethoven, Bernstein, Berlin and others, Felder is now garnering some of his best reviews for ‘Our Great Tchaikovsky.’
Beautifully directed by Trevor Hay, the play is a one-man performance in which Felder shares Tchaikovsky’s life through his own acting, writing, and musical talents.
Cast of Doppelganger at Steppenwolf. Photos by Michael Brosilow.
You know when you see a stage set with multiple doors that the play will likely be a farce. Steppenwolf Theatre Company’s set of ‘Doppelgänger,’ a world premiere with the sub title of ‘an international farce,’ has all the elements needed to keep audiences laughing, including 11 doors and another entrance.
Erlbach’s presentation of global political, economic and social issues of today works superbly well as a farce.
Clever lines come so quickly and author Matthew-Lee Erlbach’s obvious love of words so mesh in rhymes and tongue twisters that the first two hours speed by quickly.
No stereotype is spared from a hawkish general and a skinny, uptight female British politician to an exiled African nation’s former brutal president, a bisexual Arab prince and a buxom, Brazilian money launderer.
Terrific songs, cast and staging should take ‘Pretty Woman: The Musical’ all the way to Broadway
HIGHLY RECOMMENDED
If you loved the 1990 romantic comedy movie starring Richard Gere and Julia Roberts, directed and choreographed by Garry Marshall, you won’t be disappointed in the show turned into a musical. Pretty Woman: the Musical opened its world premiere at Broadway in Chicago’s Oriental Theatre, March 28, complete with red carpet, flashing lights and New York and LA industry VIPS.
But it was the magic on stage wrought by Samantha Barks as Vivian, a Hollywood Blvd. upwardly-mobile-dreaming prostitute who knows cars, Steve Kazee as Edward, a heartless take-over mogul, Orfeh as Vivian’s friend Kit and Eric Anderson as Mr. Thompson the friendly hotel manager of the Regent Beverly Wilshire Hotel (also plays Happy Man, a Hollywood Blvd. denizen) that captured the audience’s attention and got a well-deserved standing ovation.
Samantha Barks (Vivian) and Steve Kazee (Edward) and Company in Pretty Woman: The Musical at the Oriental Theatre in Chicago Photo by Matthew Murphy, 2018
Directed by Jerry Mitchell, the musical moves seamlessly through memorable film scenes from bathtub singing to Rodeo Drive shopping.
Blessed with a book by Garry Marshall and the movie’s screenwriter, J. F. Lawton, it closely follows the film, aping similar although not always the same lines. Continue reading “Another hit show debuts in Chicago”
Courtney Wolfson (Joan Smith), Libby Servais (Connie Olsen), Marissa Rosen (Dottie O’Farrell) and Linedy Genao (Agnes Crookshank) in A Taste of Things to Come at the Broadway Playhouse. Photos by Brett Beiner
The musical, ‘A Taste of Things to Come,’ written by Debra Barsha and Hollye Levin, starts out in 1957 with four women living in Winnetka who meet once a week to prepare for an upcoming Betty Crocker cooking contest that they hope to win.
Sharing recipes is how their gatherings begin. While they chop, mix, and measure ingredients, they also read current articles in popular magazines, many of which lead their conversations down a non-culinary path of female frustrations, shared worries, and confidential secrets.
Joan Smith (played by Cortney Wolfson) is the weekly hostess to her three friends: Connie Olsen (Libby Servais), Agnes Crookshank (Linedy Genao) and Dottie O’Farrell (Marissa Rosen).
Joan changed her last name to Smith so that her neighbors won’t care about her real religion. Connie is pregnant and worries that her baby might not be born with her husband’s looks—especially when she reveals to her three friends that she had an affair.
Agnes is a single woman who discovers that her background is more diverse than the suburb where she was raised. And Dottie, a mother of many children, is overweight and takes numerous pills—before and after eating everything in sight—to try to shed pounds.
When Joan introduces them to a different piece of writing, the Kinsey report, they interact in more engaging conversations regarding the sexual revolution.
In the first act, rock ’n roll is ever-present with wonderful voices and fabulous dancing by the four friends to the production’s live music provided by a talented all-female orchestra.
Joan states that “lots of things bubble up in the kitchen.” That comment comes to life when racial, political, and other issues begin to surface as the women try to understand how to address them along with their personal needs.
The second act takes place ten years later in 1967, All but Dottie are hardly recognizable.
Marissa Rosen (Dottie O’Farrell), Cortney Wolfson (Joan Smith), Libby Servais (Connie Olsen) and Linedy Genao (Agnes Crookshank) in A Taste of Things to Come.
Joan, Connie, and Agnes are dressed like models and hippies and have taken on lives and professions of their own. This causes Dottie to feel sad and separated from them.
But when she describes how her “profession” is a mother to all of her children no matter what their ages are along with being president of the school’s PTA, not only do her three friends support her, the audience breaks into wild applause.
‘A Taste of Things to Come,’ directed and choreographed by Lorin Latarro, is a fantastic musical comedy that pays tribute to generations of females who paved the way for the important lives that many women currently embrace, along with the adventuresome and creative journeys that other women are pursuing.
DETAILS: ‘A Taste of Things to Come’ is at the Broadway Playhouse at Water Tower Place, 175 E. Chestnut St., Chicago, through April 29, 2018. Running time: two hours with one intermission. For tickets and other information, cal (800) 775-2000 or visit Broadway in Chicago.
Mauricio Martinez as Emilio Estefan and Christie Prades as Gloria Estefan plus the company of On Your Feet! Matthew Murphy photo
Gloria and Emilio Estefan are Cuban-American singer-songwriters and superstar entertainers who have inspired conga lines worldwide. But the 100 million-plus records sold and dozens of industry awards earned are only part of their story.
“On Your Feet! The Emilio & Gloria Estefan Broadway Musical,” now playing for Broadway in Chicago at the Cadillac Palace Theatre, is a high-spirited, glitzy production that weaves biographical events and global hits. It tracks the couple’s early struggles and discrimination, their rise to global success, the bus crash that nearly took it all away, and their incredible comeback.
If that all sounds familiar, there’s good reason. The musical originated in Chicago in 2015 with its pre-Broadway engagement.
On the national tour, playing the titular roles are Christie Prades as the adult Gloria and Mauricio Martinez as Emilio.
Prades, born in Miami of Cuban parents, has previously played multiple parts in the New York production. The real Gloria Estefan asked Prades to lead the tour. Martinez is a Mexican actor and recording artist making his Broadway debut.
The duo has palpable chemistry, and you find yourself rooting for them and the love connection that drives their music. Prades’ vocals are strong and steady throughout the show. Martinez seems to be more at home with a faster beat, but his rendition of “Don’t Wanna Lose You,” as Gloria recovers from surgery, flows straight from the heart and into the far reaches of the theater. He’s the comedian of the family, and Gloria loves him all the more for it.
Two more actors of note are Nancy Ticotin and Debra Cardona. Ticotin plays Gloria Fajardo, Gloria’s mother, whose own singing career was cut short by grown-up responsibilities and who disapproves of her daughter’s choices. Cardona plays Consuelo, Gloria’s supportive grandmother, who lands several well-placed comedic punches. Happily, both have opportunity to showcase their talents as soloists in this production.
The song-and-dance ensemble numbers, especially the finales, are hand-clapping good fun. At the end of Act I, the audience is engaged in a conga line down the aisles. The Act II finale is a medley of Estefan signatures.
The performers’ moves are amplified by the work of costume designer Emilio Sosa who sure knows how to make a razzle-dazzle party dress.
Based on an original book by Alexander Dinelaris, the musical is directed by Jerry Mitchell and choreographed by Sergio Trujillo. The creative team also includes scenic designer David Rockwell and lighting designer Kenneth Posner.
Playing in the orchestra are several veterans of the Estefans’ Miami Sound Machine, including the production’s musical director Clay Ostwald.
DETAILS: “On Your Feet! The Emilio & Gloria Estefan Broadway Musical” is at the Cadillac Palace Theatre, 151 W. Randolph St., through April 8. For tickets and other information, call (800) 775-2000 and visit Broadway In Chicago.
Cast of Guess Who’s Coming to Dinner at Court Theatre. Michael Brosilow photos
Twenty-three year old Joanna “Joey” Drayton (Bryce Gangel) returns home from an extended absence anxious to share the news with her parents that she has found the love of her life, and that the two are planning to marry.
The couple’s news will test everyone’s commitment to their own values, revealing their previously acknowledged and unacknowledged prejudices.
The year is 1967, the height of the civil rights era. The Draytons are best described as an affluent liberal white family. Joey’s new boyfriend, Dr. John Prentice (Michael Aaron Pogue), is black.
Dad, Matt Drayton (Tim Hopper) is the publisher of a progressive newspaper while mom, Christina (Mary Beth Fisher) is the owner of an upscale art gallery.
Joey has secretly decided to surprise everyone by inviting the Dr. Prentice’s mother and father (Jacqueline Williams and Dexter Zollicoffer) to a family dinner that includes her dad’s close friend, Monsignor Ryan (Dan Waller).
The meal will be prepared by the Drayton’s long-time African-American domestic helper, Matilda “Tillie” Binks (Sydney Charles). Both the Monsignor and Tillie are considered to be a part of the Drayton’s extended family.
However, Christina’s assistant, Hilary St. George (Rachel Sledd), catches wind of the relationship and immediately goes into action to avoid what she perceives to be a potential scandal that might be bad for business as well as the Draytons’ social standing
“Guess Who’s Coming to Dinner” at the Court Theatre by Todd Kreidler is based on the screenplay by William Rose for the movie of the same title.
Joey Drayton (Bryce Gangel) and Dr. John Prentice (Michael Aaron Pogue) in Guess Who’s Coming to Dinner at Court Theatre.
The movie version featuring Spencer Tracy, Katherine Hepburn and Sidney Poitier, was a turning point in “race relations” in the late 1960s. Tracy’s final soliloquy is often excerpted as an example of racial tolerance as well as an example of fine acting.
In short these current actors have big shoes to fill, ultimately doing a really fine job of finding their own voice and putting their own interpretation on each of their roles.
This production is expertly directed by Marti Lyons who keeps the pace lively and helps the actors adeptly avoid the challenges related to performing this iconic material.
This is a perfect ensemble in which there is no need to draw attention to any one actor except to say that the roles of Tillie and Monsignor Ryan bring much appreciated, occasional comic relief which each of the respective performers do without distracting from the essence of the story-line.
Likewise Bryce Gangel as the ingénue character at the center of the storm perfectly presented bright eyed optimism and youthful exuberance tempered with an undeniable realism.
The monochromatic set by Scott Davis includes white cacti on the patio and unornamented, mid-century furnishings with avant-garde artwork prepared by scenic artists Scott Gerwitz and Julie Ruscitti.
The black and white palette reminds us that we are literally dealing with a black and white issue that have shades of gray with only occasional hopeful bursts of color.
Costume Designer (Samantha Jones) whom I remember from The Court Theatre’s “Belle of Amherst,” really knows how to make exceptional clothing for her women that complements the production.
In this case the colorful artistic outfit for Hilary St. George who appears at the very beginning of the play immediately helps to set the time period and give us some insight into the flamboyant aspect of the character. Christina Drayton’s dinner outfit with shawl is the perfect at-home informal hostess attire, and Joey’s simple cocktail dress with gray tights is exquisitely tailored with a sixties vibe. Both used tone-on-tone fabrics that stay in the monochromatic color range without being simply black and white.
It was fun to be a part of this mixed age group audience for this particular play in the center of Hyde Park, long recognized as a liberal multi-racial and multi-cultural community. The laughs and gasps were more audible and more frequent then I have heard in a while and which I am certain was a result of many of the audience members understanding this material in a more intimate and first hand way, as either participants or witnesses to similar real life stories.
DETAILS: “Guess Who’s Coming to Dinner” is at the Court Theatre (on the campus of the University of Chicago) at 5535 S. Ellis, Chicago, through April 15, 2018. For tickets and other information call (773)753-4472 or visit CourtTheatre.
