Chicago Theater and Arts – Page 88 – What's happening on the arts scene – on stage, in museums and at fairs and festivals

Personal Stories Take Wing at The Moth StorySLAM

RECOMMENDED

If you have the ability to turn sound into images in your mind, spoken word performances can be great theater.

Moth StorySLAM events are open mic storytelling competitions held in several large cities around the U.S.

The event I attended this week took place at The Promontory in Hyde Park at 53rd and Lake Park, an attractive modern glass and steel second floor facility in what was previously a Barnes & Noble Bookstore.

A speaker tells about his discovery during a recent Moth session.

It seats over 100 people, has a large well lighted stage and a full cash bar in the back. The venue is used mainly for music although there is a nice, full-service restaurant on the first floor.

Be prepared for a considerable number of stairs to the performance area. They claim to have handicap access but it is an awkward service elevator accessed from the restaurant.

Moth StorySLAMs are held in this location the second Tuesday of every month. Tickets are $10 and available online at The Moth.

Ten volunteer storytellers are chosen at random to tell a true story without using notes. Each story is five to six-minutes long. Then, they are scored on a scale of one to ten based on how well the story is crafted as well as presentation and entertainment value.

Winners have an opportunity to advance to The Moth GrandSLAM. Selected stories recorded at the various venues can be heard on the The Moth Radio Hour. In Chicago listen Thursday evenings on NPR Station 91.5 FM.

Each event has a topic upon which to base the stories. When I went it was DISCOVERY.

The first fellow spoke about what he discovered about his deceased parents through an interaction with a man who had been his father’s best friend and his mother’s first husband.

Another woman spoke about what she had discovered about childhood friendship the summer she and her friends rode a mattress down an infrequently used stairway at a major department store in St. Louis.

The winner incorporated a good deal of humor. His discovery related to his determination to hang on to his childhood dream of owning a monkey.

My friend, Robert, a frequent public speaker, talked about discovering that true winners help others to succeed.

There were other stories dealing with the discovery of love, romance and personal pain.

Some speakers are professionals while others may be making their first public speaking appearance which provides for great entertainment with an element of danger.

Though I have been something of a devotee of the radio show, I would say in this case I discovered a great new venue and an enjoyable event that I would easily recommend. Perfect if you enjoy exploring the diversity of the human experience.

Other MothSLAMs are held on Chicago’s Northside and in Evanston.

Visit themoth.org to learn more.

Reno Lovison

Holocaust and modern heroes featured in Take A Stand exhibition

Imagine being able to ask questions of Holocaust survivors not just now while many are in their 80’s, but 10 and 20 years from now after they have died.

Or think about what can happen when no one speaks out against discrimination and injustice.

The new Survivor Stories Theater at the Illinois Holocaust Museum, Skokie.

The folks at the Illinois Holocaust Museum & Education Center in Skokie have done more than merely ponder those possibilities and issues.

On Oct. 29, 2017, Take a Stand Center, the museum’s new, three-part permanent exhibition opens to the public.

Visitors can hear 13 Holocaust stories and ask questions of the speakers through holographic, interactive technology in the Center’s Abe & Ida Cooper Survivor Stories Experience.

In the Goodman Upstanders Gallery, they can listen to the stories of 40 modern heroes who were willing to take a stand for social justice.

Then, inspired by these stories and examples, guests learn how to follow through based on their own convictions at the Take a Stand Lab.

After explaining that survivors telling their stories through holograms grew out of an idea from board member Jim Goodman, Illinois Holocaust Museum CEO Susan Abrams noted that the Shoah Foundation at the University of Southern California had been thinking along the same lines.

Working with Shoah and adding more technical experts, the recording time of each of the survivors in the exhibit was extended to include replies to questions viewers would likely have. So that after hearing a story the listener is asked, “What do you want to know.”

“The experience is very strong. Custom voice recognition software prompts the answers,” Abrams said. “One of the things we’re doing is helping survivors communicate for generations to come.”

She added, “There is no substitute for human interaction to develop empathy.”

Note: Survivor stories are timed and recommended for ages 11 and older. Click here for reservation.

The Upstander Gallery in the new Take A Stand Center at the Illinois Holocaust Museum.

When moving to modern tales in the internationally-filled Upstanders section, visitors will come across such local heroes as Peace Builder Henry Cervantes at the Chicago-based Peace Exchange that teaches young community leaders to advocate for nonviolence, Syrian American Medical Society Past President Zaher Sahloul, MD., and Syrian Community Network Founder and Executive Director Suzanne Akras Sahloul.

At the end of another museum exhibit is the sad, important phrase, “Never Again.”

“You’ve heard “Never Again, but never again has not been a reality,” Abrams said.

In the Take a Stand Center is the Take a Stand Lab to help people become engaged. “The third section has tools for change so that an individual, a school an organization can learn to advocate,” she said.

Pointing out that people often ask what one person could do, Abrams said, “This section answers that question, what can you do.”

Tools include how to learn about legislation or petitions and how write to a legislator and how else to act on an issue whether it’s civil rights, social rights or economic rights.

Visitors can take an action tool kit home. To learn more visit tools.

To prove that reaching out and doing something can make a difference, the Lab includes examples of success.

“We want the exhibition to move people from knowledge and inspiration to taking action,” Abrams said.

With a nod to a recent resurgence in activism, she said, “The exhibit is timeless and very timely.”

DETAILS: The Illinois Holocaust Museum & Education Center is at 9603 Woods Dr., Skokie, just west of the Old Orchard shopping center. For more information call (847) 967-4800 and visit IL Holocaust Museum.

‘It Don’t Mean a Thing if It Ain’t Got That Swing’

RECOMMENDED

Ladies in sparkly gowns and men in tuxes croon such tunes as “Satin Doll,” “Prelude to a Kiss” and “In My Solitude” in “Duke Ellington’s Greatest Hits,” a Music Theater Works production.

Ellington tribute at Music Theater Works. (Photo by Brett Beiner)

The show includes songs popularized, written or arranged by one of the greatest jazz musicians of the 20th Century. Ellington defined sophisticated elegance and cool.

The performers have fun with the exotic melodies of “Caravan” and “Perdido,” and pick-up the rhythm with jazz classics “Take the A Train,” “Sophisticated Lady,” and “It Don’t Mean a Thing,” as well as the sultry “Mood Indigo.”

Singers Justin Adair, Dawn Bless, Jar’Davion Brown, Caitlyn Glennon, Amanda Horvath, Evan Tyrone Martin, and Martin L. Woods move seamlessly from song to song delivering a steady stream of familiar hits.

Adair who performed Older Patrick in Music Theater Works’ recent production of “Mame,” surprised the audience by accompanying the ensemble on the guitar playing “In a Mellow Tone,” showing yet another of his many talents.

The three piece band with Christian Dillingham (bass) and Phillip Fornett (drums) is energetically directed by Joey Zymonas (piano).

This is an entertaining 90 minutes or so that celebrates the legacy of this great composer and entertainer but “Ain’t got” enough “swing.”

DETAILS: “Duke Ellington’s Greatest Hits” is at Music Theater Works (formerly Light Opera Works) at Nichols Concert Hall, 1490 Chicago Ave., Evanston, through Oct. 15, 2017. For tickets and other information call (847) 920-5360 and visit MusicTheaterWorks.

Reno Lovison

(Guest reviewer Reno Lovison is married to pianist Julie Lovison who is proud to say she kissed Duke Ellington on the cheek after one of his performances.)

Dazzling voices seduce Lyric audience

HIGHLY RECOMMENDED

Bitterness, love, seduction, revenge and sorrow seldom have sounded so magnificent as they did Saturday during Lyric Opera’s opening night of “Rigoletto.”

With baritone Quinn Kelsey as jester Rigoletto, tenor Matthew Polenzani as Duke of Mantua and soprano Rosa Feola as Rigoletto’s daughter, Gilda, the only thing that could match the memorable experience is to have a recording to play their performances over and over.

Rigoletto (Quinn Kelsey) center, Duke of Mantana (Matthew Polenzani) right of Rigoletto and couriers in )Lyric Opera production of Verdi's Rigoletto. (Todd Rosenberg photo) — Rigoletto (Quinn Kelsey) center, Duke of Mantana (Matthew Polenzani) right of Rigoletto and couriers in Lyric Opera production of Verdi’s Rigoletto. (Todd Rosenberg photo)

However, opening night, Oct. 7, was on radio (for anyone to record) and there still are seven more performances through Nov. 3, 2017.

The opening night audience didn’t wait for the famed “La donna è mobile” sung by the Duke or the beautiful “Caro nome” by Gilda to yell an emphatic “Bravo.” Enthusiastic applause followed all arias of these virtuoso performers and at the quartet near the end.

Written by Giuseppe Verdi in the mid 1800’s, “Rigoletto’s’ music and drama has been appealing to opera lovers since its premiere in Venice in 1851. Melodrama might be a better description but then, many operatic themes fit that category.

To quickly recap, Rigoletto, with a libretto by Francesco Mavia Piave, is based on Victor Hugo’s somewhat scandalous “Le roi s’amuse.” Verdi substituted a licentious duke for the king.

The character Rigoletto is a bitter, hunchbacked jester who dislikes his position, makes fun of the Duke’s courtiers he is supposed to entertain and is disliked in return.

His only love is for his daughter, Gilda whom he tries to keep from harm by not allowing her out except for church. Because she had fallen in love with the Duke when seeing him stare at her in church, she is happy he comes to the house where her father has been keeping her.

Gilda is abducted by the couriers who mistakenly believe she is Rigoletto’s mistress and she is brought to the court where it is assumed the Duke ravishes her.

Her distraught father plots revenge using Sparafucile (Alexander Tsymbalyuk), an assassin he met earlier. Gilda who is supposed to dress like a boy and meet up with her father in Verona, overhears the assassin’s plan to stab the Duke.

Even though she felt betrayed by the Duke who fell for the assassin’s seductive sister, Maddalena (Zanda Svede), Gilda still loved him and deliberately stepped into Sparafucile’s house to be murdered instead. She had heard Sparafucile agree to kill the next person who walked in because he needed a body and Maddalena had pleaded for the Duke’s life.

The tragedy is blamed on a curse by Count Monterone (Todd Thomas) who had cursed the Duke and Rigoletto after his own daughter had been seduced by the Duke, encouraged by Rigoletto.

Directed by E. Loren Meeker, conducted by Mario Armiliato with stylisticly simple but dramatic back drops by Michael Yeargan, this new-to Lyric production should match opera aficionados’ expectations and attract new opera goers.

DETAILS: “Rigoletto” is at the Lyric Opera House (also called the Civic Opera House), 20 N. Wacker Dr., Chicago, now through Nov. 3, 2017. Running time is 2 hours, 33 minutes including one intermission. For tickets and more information call (312) 827.-5600 and visit Lyric Opera Rigoletto. For Lyric season visit Lyric.

Home is more than fun

HIGHLY RECOMMENDED

A plethora of emotional family issues from parent/child relationships and sibling interactions to growing up, coming out, and leaving one’s family on several level, sets the stage for ‘Fun Home’ at the Victory Gardens Theater.

McKinley Carter, left, Preetish Chakraborty, Stella Rose Hoyt, Leo Gonzalez and Rob Lindley in 'Fun Home' at Victory Garden Theater. (Liz Lauren photo) — McKinley Carter, left, Preetish Chakraborty, Stella Rose Hoyt, Leo Gonzalez and Rob Lindley in ‘Fun Home’ at Victory Garden Theater. (Liz Lauren photo)

A musical adaptation of Alison Bechdel’s 2006 personal graphic novel of the same name, the show has music by Jeanine Tesori and book and lyrics by Lisa Kron.

Chicago audiences may remember when the show played at the Oriental Theatre with a full complement of scenery and props in November, 2016, early in the Broadway Tour.

The Victory Garden production, directed by Gary Griffin, is presented on a sparse stage that encourages the audience to focus on the family’s characters.

The music, directed by Doug Peck, begins with songs that introduce the Bechdel family of parents Bruce and Helen and the three young Bechdel children, Alison, Christopher and John. “Home” is the family’s Bechdel Funeral Home.

Alison Bechdel (Danni Smith) works on her memoir in the present day as she recalls two past periods in her life where Small Alison, a child of about 10 (Stella Rose Hoyt rotating with Sage Elliott Harper) and Medium Alison, a college freshman (Hannah Starr), often appear simultaneously on stage with Adult Alison.

Hannahn Starr, L, Danielle Davis and Danni Smith in 'Fun Home' at Victory Gardens Theater. (Liz Lauren photo) — Hannahn Starr, L, Danielle Davis and Danni Smith in ‘Fun Home’ at Victory Gardens Theater. (Liz Lauren photo)

Audiences tune in early to the humor of living in a funeral home when the children hide in a casket while their father, Bruce (Rob Lindley) talks to a client.

When the client leaves, the children emerge from the coffin and perform an imaginary advertisement for the funeral home by dancing and singing “Come to the Fun Home.”

As the play continues, Medium Alison goes off to college and tries to discover her own sexuality. She begins to wonder if she’s asexual until she meets Joan, a classmate and self-confident lesbian.

Alison’s attraction to Joan comes out in her song, “Changing My Major.” And when she writes a letter to her parents revealing her sexual identity she is shocked when her mother, Helen (McKinley Carter), reveals that Alison’s father has had homosexual relationships with men and underage boys.

When Alison comes home from college on a break with Joan her mother describes the devastation she experienced in her unfulfilling marriage with Bruce and sings the haunting “Days and Days.” But, before Alison and Joan leave they all have a pleasant evening with Bruce around the piano.

Adult Alison and her father go for a drive in his car, breaking down the barriers of their pasts. They work hard to express themselves to each other through the song, “Telephone Wire.”

Bruce understands his daughter’s coming out, yet tries and fails to find a way to hold himself together. Regarding his own life, he makes a statement that rings true: “It’s harder when you’re older to begin.” As he faces his demise, he sings “Edges of the World.”

Resigned to her own past and its connection to her father’s, Alison states that she remembers “a rare moment of perfect balance, when I soared above him . . .”

Over the years, she played the physical airplane game with her father and she reminisces about the two “other” Alisons.

The finale, “Flying Away, ” brought the audience to its feet.

Along with the beautiful music and talented dancing and singing, the acting is marvelous.

All of the Alisons are terrific and believable. Lindley commands the stage with his dual portrayals of Bruce’s open present and secret past.

Carter dutifully carries on her multiple roles of wife and mother while rising above her concealed unhappiness.

The rest of the actors: Preetish Chakraborty, Danielle Davis, Leo Gonzalez and Joe Lino, round out the stellar cast.

After years of performances off-Broadway, the original Broadway production of ‘Fun Home’ premiered in 2015. It was nominated for twelve Tony Awards, winning five, including Best Musical. A national tour began in October 2016.

So, sing and dance your way over to Victory Gardens to see this outstanding award-winning musical play!

DETAILS: ‘Fun Home’ is at Victory Gardens Theater, 2433 N. Lincoln Ave., through Nov.12, 2017. Running time: About 100 minutes, no intermission. For tickets and more information call the box office at (773) 871-3000 or visit Victory Gardens.

For other theatre reviews visit TheatreInChicago

-Francine Pappadis Friedman

Quixote tilts at apathy

RECOMMENDED

If you believe that Don Quixote embodies any hopes to be able to right at least some of the world’s wrongs and if you agree that apathy is generally a societal problem, you will love ‘Quixote: On the Conquest of Self,’ now at Writers Theatre.

Henry Godinez as Don Quixote at Writers Theatre. (Michael Brosilow photo)

I liked Henry Godinez’s soliloquy as Don Quixote that comes in the first third of the production.

Costumed in found objects such as car license plates, what looks like a beer can sleeve, buttons and other possibly tossed in the trash items, Godinez tells the audience what chapters and pages he doesn’t like because they either are physically painful or come across as a misunderstood character assessment by Miguel de Cervantes.

He espouses these ideas in acrobatic positions and while doing forward or backwards somersaults that emphasize how he and his life are tossed around by Cervantes.

However, not as helpful in conveying his object lesson of do or say something before it’s too late is the second part of the production. This part breaks the fourth wall as Godinez pulls in audience members not just for his story, but for other stories by Cervantes.

I can’t go into the third part without a spoiler alert so, suffice it to know that apathy versus righting wrongs becomes crucial. Unfortunately, it has overtones of Peter Pan’s plea for Tinker Bell’s life with do-you-believe-in-fairies type proposals.

Written by Monica Hoth and Claudio Valdéz Kuri and translated by Georgina Escobar, the Writers Theatre production is directed by Kuri, a noted Mexican director.

The acting is superb and the show’s minimalist staging is perfect for Writers’ small Gillian Theatre. An argument could be made that the show is also perfect for a high school audience where discussions on the conquest of self and apathy could take place.

‘Quixote: On the Conquest of Self’ is at Writers Theatre,325 Tudor Court, Glencoe, through Dec. 17, 2017. Running time: 90 minutes, no intermission. For tickets and other information call (847) 242-6011 and visit Writers Theatre.

For other theatre reviews visit TheatreInChicago

Grinning scarecrows and pumpkins are out and about

Instead of looking for them in farmers’ fields, look for scarecrows and pumpkins at three fun-for-all-ages festivals where you can make or carve an inspired personality. The festivals are happening Oct. 6-8, 2017.

Highwood, a North Shore town, is holding its now nationally famous Great Highwood Pumpkin Festival. St. Charles, west of Chicago, has its 32nd Annual Scarecrow Fest. The Chalet Nursery, a fun place to find holiday items and indoor/outdoor décor pieces near Edens Expressway, is doing its annual scarecrow-making festival.

Great Highwood Pumpkin Festival

You’ll never see as many pumpkins and different pumpkin faces as in Highwood, IL this weekend. The tiny (little over a square mile) city tucked between Highland Park and Lake Forest, has been trying to break the Guiness World record of 30,851 carved pumpkins for the past few years. The streets on the east side of METRA’s Union Pacific North Line tracks are edged with tall, metal pumpkin stands where lit pumpkins cunningly grin at visitors at night. Festival doings day and night range from pie eating and costume contests to hay, pony and camel rides. There is also a Super Hero walk-run to honor a Make-A Wish child plus pumpkin carving, entertainment, food, tricks and treats.

A $3 per day or $5 for the weekend admission charge benefits the Make A Wish Foundation. Last year the festival raised $60,000. But also go just because the event is fun.

Some events need registering. For the Fun Walk/Run click here. For the entertainment and full event times and other registrations visit schedule. Hours are Friday 4 to 10, Sat. 9 a.m Fun Walk/Run and general opening 11 a.m. to 10 p.m. and Sun. 11 a.m. to 9 p.m, 847-668-1213

Best plan is take the train because parking will be scarce. Or go north to Old Elm Road then east to Sheridan road and back south to Hotel Moraine at 700 Sheridan Road where a shuttle will take visitors to the festival.

St. Charles Scarecrow Fest

More than 100 scarecrows will populate St. Charles Oct. 6 through Oct. 8.

The event also includes, Arts & Crafts show, vintage autos, entertainment, pumpkin displays, make-you-own scarecrow stations, pumpkin carving and food. Most events are free. The festival is divided into sponsored activity zones along Main Street (Hwy 64) between Fifth and Third Streets east of the Fox River and just south of Main Street across the river.

Hours: Friday and Saturday, 10 a.m.-9 p.m., Sunday 10 a.m.-5 p.m. For more activity information download the detailed map pdf by visiting brochure.

Chalet Nursery Scarecrow Festival

The Chalet Nursery and Garden Center has lots of Halloween decor plus visitrs can make their own scarecrow. All that is needed is to bring the scarecrow’s clothes because the Chalet will provide a head and straw. Hours: Oct. 7-8, 11 a.m. to 4 p.m. The Chalet is at 3132 Lake Ave, Wilmette across from Edens Plaza. For more information call (847) 256-0561 and for general Chalet information visit Nursery.

Chicago Shakespeare ‘Shrew’ is glorious theater

HIGHLY RECOMMENDED

Mention “The Taming of the Shrew,” the late 16th century William Shakespeare comedy on how a man (Petruchio) uses different methods to turn a willful woman (Katherina) into an ideal wife, and you might get arguments on how a civil, democratic society would frown on his methods and how the play appears misogynistic.

That is particularly so with the subplot on how Katherina’s younger sister (Bianca) is wooed by several suitors who consider her to be an ideal wife because she is sweet and even-tempered.

Then, think about how the play could be presented. In its original format, the intro to the play is offered within what has been called a framing device. In it a nobleman has the play performed for a drunken tinker named Christopher Sly whom he has tricked into believing that he also is a nobleman.

The brilliant way writer Ron West has worked out the play’s presentation with Chicago Shakespeare Theatre’s famed Barbara Gaines, director of “The Shrew,” is to expand on the framing device so it moves along parallel to the play in the appropriately offsetting, 1900s suffragette movement.

Cast of 'Taming of the Shre' at Chicago Shakespeare. (Liz Lauren photo) — Cast of ‘Taming of the Shrew’ at Chicago Shakespeare. (Liz Lauren photos)

No trickery is needed here because the Columbia Women’s Club members chose “The Shrew” as part of their amateur theater Shakespearean series.

They are rehearsing the show at a member’s mansion, exquisitely done by scenic designer Kevin Depinet, somewhere near Michigan Avenue (likely the Gold Coast neighborhood). They are there because the hall where they would have been had just flooded during a bad storm that is still going on outside.

To add to the comedy, parts of some costumes were ruined in the flood so the women stripped down to their bloomers but added capes and hats to help them stay in character. Susan E. Mickey cleverly mixed typical Shakespearean wear with bloomers.

The rehearsal sticks to Shakespeare’s lines and action but its message is greatly tempered by the actors going in and out of the mansion with their Suffragette signs and reports of what’s happening on Michigan Avenue.

Other Chicago references are made to Northwestern University and the Cubs and personalities such as an Emanuel and a McCormick. But current politics are also referenced such as the line that “Here on earth the popular vote means nothing,” which was said to great applause.

In between rehearsal sessions, the members break into song and the club’s show director speaks to some of the women about their roles and speeches.

The entire cast is excellent so instead of describing individual interpretations here you have who plays which role in the “Shrew” play and in the Women’s Club: E. Faye Butler is Baptista and Dr. Fannie Emmanuel, Lillian Castillo is Biondello and Mrs. Lucinda James, Tina Gluschenko is Hortensio and Mrs. Beatrice Ivey Welles, Cindy Gold is Vincentio and Mrs. Sarah Willoughby, Alexandra Henrikson is Katherine and Mrs. Louise Harrison.

Alexandra Henrikson (Katherine) and Crystal Lucas-Perry (Petruhio) in 'The taming of the Shrew.' — Alexandra Henrikson (Katherine) and Crystal Lucas-Perry (Petruhio) in ‘The taming of the Shrew.’

Also Ann James is Pedant and Mrs. Elizabeth Nicewander, Heidi Kettenring is Tranio and Mrs. Dorothy Mercer, Crystal Lucas-Perry is Petruchio and Mrs. Victoria Van Dyne, Rita Rehn is Grumio and Widow and Mrs. Mildred Sherman.

In addition, Hollis Resnik is Gremio and Miss Judith Smith, Faith Servant is Curtis and Mrs. Barbara Starkey, Kate Marie Smith is Lucentio and Mrs. Olivia Twist and Olivia Washington is Bianca and Mrs. Emily Ingersoll.

It’s OK if you don’t remember their roles (except, of course Kate) so here is a an abbreviated guide: Katherina (Kate) Minola is the “shrew and Petruchio is her suitor. Bianca, Kate’s sister, is pursued by the elderly Gremio, by Lucentio and by Hortensio who is also a friend of Petruchio. Baptista Minola is Katherina and Bianca’s father. There is also the Widow wooed by Hortensio and Vincetio who is Lucentio’s father.

Then there is Grumio who is Petruchio’s manservant and Tranio, Lucentio’s manservant. Also, Biondello is Lucentio’s servant and Curtis is Petruchio’s servant.

When it’s over, you probably won’t care if you kept track of the roles because the play and play within the play offer glorious theater. Even though the Chicago Shakespeare production runs two hours, 45 minutes, it’s so much fun to watch that the time goes quickly.

‘Taming of the Shrew’ is at Chicago Shakespeare, 800 E. Grand Ave. through Nov. 12, 2017. For tickets and other information call (312) 595-5600 and visit ChgoShakes.

A playwright views show business

RECOMMENDED

Audiences don’t have to ask themselves what do playwrights sometimes think about directors, actors and backers. Moss Hart gives his answer in his 1948 spoof, ‘Light Up the Sky.’

L-R Geoff Isaac, Laurie Carter Rose, Robert Frankel, Jordon Golding and Chuck Quinn in 'Light Up the Sky' at Citadel Theatre. (Photos by North Shore Camera Club) — L-R Geoff Isaac, Laurie Carter Rose, Robert Frankel, Jordon Golding and Chuck Quinn in ‘Light Up the Sky’ at Citadel Theatre. (Photos by North Shore Camera Club)

Now at Citadel Theatre, the play offers a behind-the-scenes scenario where a veteran director and actress and a new backer go from fairly confident before the curtain rises, to devastated when they think the show is a failure, to we-have-a-hit exultation when the reviews come in.

Usually co-authoring a play with George S. Kaufman in the 1930s such as ‘You Can’t take it with you’ and Merrily We Roll Along,’ Hart wrote ‘Light Up the Sky alone in the late 1940s. It was first produced in 1948. BTW, Hart moved to writing screenplays in the 1950s.

He already had several successes by this time but in the play, the playwright is portrayed as a newbie who speaks from his gut about the state of the world. The actors and audience aren’t sure what it is about, however the backer feels it is important and a winner.

But on opening night the playwright doesn’t even stay for the curtain. Everyone feels it was a dud and they are ready to close it. The playwright leaves for the airport.

Then, a Shriner at the hotel for a very noisy convention, stops at the room to apologize for this friends and says he would like to back a future play because he wants to be part of the theater business. He brings reviews which show that the critics unanimously love what the playwright is trying to do.

L-R Chuck Dribin, Sarah-Lucy Hill, Robert Frankel and Lauren Miller in 'Light Up the Sky. — L-R Chuck Dribin, Sarah-Lucy Hill, Robert Frankel and Lauren Miller in ‘Light Up the Sky.

Brought back to the hotel from the airport by force upon a request of the backer who has with mob connections, the playwright is venomous in his condemnation of directors, actors, backers and audiences. And yes, he did have a chance to read the reviews at the airport.

Rather than a tribute to show business, the play is more like a comedic, deliberately exaggerated, putdown of the people who populate it. and audiences who don’t understand a show’s message. But it also seems to declare that if play writing is in your blood you learn to put up with others’ foibles and develop a hard shell.

At the end, the playwright is convinced by a seasoned playwright to persevere. So he decides to stay and fix his play for the remaining out-of-town tryouts before going to Broadway.

All the action takes place in the leading lady’s suite at the Ritz in Boston, the town where the play is premiering before possibly heading to Broadway.

The veteran playwright who has worked with the leading lady in his plays, is visiting her in her suite before the show. He calms the young playwright with advice about accepting both the good and frustrating aspects of show-business.

Directed by Pat Murphy, the play is populated by characters with over-the-top personalities such as Carleton Fitzgerald, interpreted as an emoting, emotional director by Geoff Isaac and as Francis Black, played by Sarah-Lucy Hill as a NYC, nasally-sounding, ice-skating, show-girl married to backer Sidney Black.

Surprisingly, Rob Frankel as Sidney who has mob connections, doesn’t sound like a gangster but plays the role with terrific, intelligent, take-charge fortitude. Similarly, Laurie Carter Rose isn’t overly dramatic as the leading lady Irene Livingston but still personifies celebrity.

The sanity foils to the overblown persona in this show are Chuck Quinn, very believable as veteran playwright Owen Turner, Irene Currie who is charming as Livingston’s bio-ghostwriter Miss Lowell, and Jim Heatherly as Shriner William H. Gallagher.

In the hands of Jordan Golding, playwright Peter Sloan shows two sides: quiet and anger.

Added to the mix are the star’s mother, Stella Livingston, a delightful, gin-playing character performed with verve by Lauren Miller, and the star’s husband, Tyler Rayburn, a Wall Street broker, acted with great humor and facial expressions by Chuck Dribin.

Scenery by Eric Luchen and costumes by Paul Kim nicely set the right period and place.

The play offers interesting insight from different perspectives from a playwright who knows what it takes to get to Broadway. But though fun, it doesn’t have to be two and a half hours long. The first act definitely can be shorter. Perhaps one intermission of 15 minutes could replace the two ten minute breaks.

‘Light Up the Sky’ is at Citadel Theatre, 300 S. Waukegan Rd., Lake Forest, through Oct. 29, 2017. For tickets and other information visit Citadel.

Death Notice: Flanagan is dead

SOMEWHAT RECOMMENDED

An irreverent priest, tale weaving drinking buddy, sex starved fiancé and infirm old mother make up some of those attending Flanagan’s Wake now at Chicago Theater Works.

Cast of Flanagan's Wake, an interactive experience at Chicago Theater Works. — Cast of Flanagan’s Wake, an interactive experience at Chicago Theater Works.

Flanagan has sadly passed, and you, along with a small cast of characters and about 50 other mourners are invited to attend his wake.

The room is outfitted much like a church basement community room or banquet hall with a small stage on one side and an open bar complete with bartender, who also happens to be the town’s mayor, on the other. Drinks are available for purchase before and during the proceedings.

When you enter you might be greeted by any of the cast who interact with the audience in character and will craftily weave what information they have learned from you into the performance. They may ask questions such as, “how you happen to know Flanagan” and “what you remember about him.”

This is an interactive improvisational performance so come in a good mood and be ready to participate. It is the type of experience that can be particularly fun with a small group of friends.

The audience is seated at tables of six or eight much like any large social gathering. If you come as a party of two you will likely be seated with four other people. We had a good time at our table of six comprised of three groups of two.

Like any improv experience the humor is sophomoric at times; clever and inspired at others. The cast is capable and it is clear that they are well practiced at their craft.

The highlight for me a was clever ditty composed by the grieving fiancée, Fiona Finn, that was created on the spot based on an idea from an audience member.

This is not high humor or great theater but if you are looking for an alternative to a sports bar, maybe a date night or just some good laughs with a few friends, what can be funnier than attending an Irish wake, at least if it is Flanagan’s Wake.

DETAILS: ‘Flanagan’s Wake’ at Chicago Theater Works, 1113 West Belmont, Chicago, runs through Nov. 9, 2017. For tickets and other information visit Chicago Theater Works.

Guest reviewer Reno Lovison is not Irish but always happy to share a Guinness with some mates.