Tag: Theatre in Chicago

Recommended

MadKap Productions live up to their name in Stephen Sondheim’s ridiculous musical “A Funny Thing Happened on the Way to the Forum” directed by Wayne Mell.

The story ostensibly takes place in ancient Rome spoofing the absurdities of life, particularly romance and sex (then and now).

Using broad humor, slapstick shtick and endless innuendo, this is very much like an extended skit with music that might have been performed at a Catskill’s resort.

Hero (Tyler Lord) is the son of Senex (Mark Anderson) and Domina (Erin Renee Baumrucker). He is in love with Philia (Emily Lewis) a virgin courtesan in the house of Marcus Lycus (Daniel Leahy).

Hero’s slave, Pseudolous (Ed Rutherford), convinces Hero that in exchange for freedom he can arrange a liaison between Hero and Philia. The one complication is that Philia is owned by Marcus Lycus who has contracted to sell her to “the great Roman captain” Miles Gloriosus.

A further complication is that as part of the ruse Hero’s father comes to believe that Philia is a maid in his house and he has romantic designs on the girl as well.

During the ensuing madness and subterfuge, the remaining courtesans from the house of Marcus Lycus (Abby Glaws, Beth Fine, Jubilee Tai, Raymond Cam Truong, Anna Rose Steinmeyer, Katie Kotila) are paraded about to display their many talents.

Swept up in the plot are next door neighbor Erronius (Gayle Starr) and Hysterium (Andrew Buel), chief slave in the household of Senex.

Adding to the pandemonium are The Proteans (Aidan Espinosa, Owen Espinosa, Mitchell Shaw) a trio of hilarious characters who switch between playing eunuchs in the house of Marcus Lycus and soldiers under the command of Miles Gloriosus.

Reminiscent of wisecracking actor comedians like Mel Brooks or Zero Mostel, Rutherford as Pseudolous acts as ringmaster of ceremonies to this circus absurdum. On stage ninety percent of the time, he breaks the fourth wall describing the action and he is central in the plot and much of the cornball humor. Rutherford though, brings his own winsome personality and unique comedic sensibility to the role.

Lord as Hero who recently appeared in MadKap’s equally outlandish production of “Romeo and Bernadette,” reprises his portrayal of the confused and innocent lovelorn youth.

Back in drag on the Skokie Theatre stage, this time with a veil, is Andrew Buel who very convincingly plays the tormented household slave Hysterium entrusted with looking after Hero while his parents are away. Buel was seen recently as the coconut bra wearing dancer Luther Billis in South Pacific. His lanky form and expressive visage lend an additional comical dimension to his performance.

The obvious sexuality of the courtesans might be seen by some individuals with contemporary sensibilities as gratuitously sexualizing women. Likewise, Leahy’s swishy physicality as Marcus Lycus is rather stereotypical. But it all plays well in the context of this retro vibe script of Shevelove and Gelbart. After all B.C. was not very P.C. and neither was 1962 when this play was written.

The Geminae courtesan dance of Tai and Truong with choreography by Abby Glaws was a standout in the otherwise somewhat lackluster delicatae. They might ham it up more and enjoy the opportunity to be a bit campier in future performances.

We missed seeing the very capable Jeremy Ramey who is credited here with music design and orchestration of what appeared to be a prerecorded backtrack for the vocals.

The one fail of opening night was a poor sound mix that at times overpowered the performers and was complicated by some inconsistent mic issues. Presumably this will be addressed in future performances.

Costumes by Dame Erickson were spot on especially Gloriosus and the soldiers as well as the trio of pink gowns meant to add to the confusion of ACT II.

The simple set design works well but may benefit from an element that ties the three set pieces together in some unified fashion. Perhaps a Roman arch? Pat Henderson’s lighting seemed a bit hot to me and might have been dimmed a bit to keep everything from looking too flat.

As is usual for MadKap the performers’ singing is exceptional. The baritone of Perkel as Gloriosus in “Bring Me My Bride” was perfectly commanding. Sondheim’s use of wordplay in the lyrics is quite evident in this work though aside from the classic “Comedy Tonight” there are not any other really memorable tunes.

Overall, I heard a number of positive comments from the audience as they filed out. This is indeed madcap humor and a lot of good old fashioned nonsensical fun. Sometimes that’s just perfect for a summer theater experience.

Details: “A Funny Thing Happened on the Way to the Forum” by MadKap Productions is at the Skokie Theatre, 7924 N. Lincoln Ave., Skokie, IL through August 3, 2025. For tickets visit SkokieTheatre.org or call 847-677-7761.

Reviewer: Reno Lovison

For more reviews visit Theatre in Chicago

Highly Recommended

“Tom & Eliza” is a fairly brilliant example of absurdist theater. Beautifully performed by Clifton Frei as Tom and Seoyoung Park as Eliza, it is written by Celine Song and expertly directed by Aileen Wen McGroddy. 

Reminiscent of Ionesco and Albee, “Tom & Eliza” focuses on ideas of existentialism and exploring the psychology of aging, marriage and sexual relationships with an attitude of absurd surrealism.

On the surface, this is the story of two people whose parents made love, they were born, they had three dates, they made love on their third date, they had children, they lived, loved, made choices, grew apart, came back together, they lived separate existences then faded into their own oblivion.

Playwright Song shows us the arbitrary and bizarre trajectory of life and relationships based on spontaneous often impulsive decisions with little understanding of purpose or potential consequences.

The two share certain commonalities but they are also as different as fire and water. Tom is a seeker of knowledge interested in the evolution of civilization on the banks of four great rivers. Eliza is a destroyer of knowledge with a passion for burning books.

I see this as a spoken word performance akin to a musical duet without music. There is a cadence to the words as Tom and Eliza tell their stories via short clipped phrases with a captivating rhythmic quality.

There are a number of repeated phrases that have the effect of a song’s chorus or hook, reminding us of what we have learned while preparing us for where we are going.

Like an epic poem recited alternately by two people, they are mostly each speaking introspectively to the audience and occasionally to each other. It’s clear that real communication between the characters is superficial. They are on parallel paths that are asynchronous, yet the performance is very much in sync.

As performers Frei and Park have clear well-articulated euphonious voices, pleasant to listen to no matter what they are saying. And that’s important because they are speaking basically nonstop for 70 minutes atop two tall stools but never speaking over each other.

The austere set design of Tatiana Kahvegian augmented with lighting by Keith Parham and sound design of Alex Trinh appears deceptively simple but is fraught with considerable challenges that include a number of surprises. The technical elements come together seamlessly through obvious team work.

Tom & Eliza is a challenging and thought-provoking presentation that may not appeal to a wide audience, in fact the theater only seats about 25 people, but this entire production is an example of elegant stage craft achieved through the effort of the entire crew and company that will be appreciated by those willing to take a risk to enjoy something a little out of the ordinary.

Tom & Eliza is at Tuta Theatre, 4670 N. Manor Ave., Chicago, IL (steps from the Francisco CTA Brown Line station) through Aug. 16, 2025. Running time is 70 minutes with no intermission. For tickets and information visit tutatheatre.org

Review by Reno Lovison

For more shows visit Theatre in Chicago

Anish Jethmalani and Tina Muñoz Pandya in “Dhaba on Devon.”  (Photos by Michael Brosilow)

Recommended

Many cultures have opened stores and restaurants over the years on Devon Avenue, a north-side shopping street that ends at Sheridan Road. Mid last-century when my family lived in Chicago’s Rogers Park area and I attended Sullivan High School, Devon was very Jewish and a perfect place to find good clothing stores, jewelry shops and delis.

That changed. And the reason I mention it is because the play, “Dahba on Devon Avenue ” is about how neighborhoods and customer needs change. 

After moving to the northern suburbs and returning after college, I would go to Devon Avenue with friends to eat and grocery shop for seasonings and specialty items at ethnic restaurants and stores, often those from India and Pakistan such as the Patel group.

That was years ago. I don’t know what Devon Avenue is like today but I can understand how a longtime owner might fight change when his restaurant fails to attract or keep customers.  And why his family tries to get him to adopt to the changing times.

“Dhaba On Devon Avenue”  by Madhuri Shekar, a world premiere by Writers Theatre in Glencoe, co-produced by Timeline Theatre, is about that fight.  The restaurant, Dhaba Canteen, has been a neighborhood spot for years but now can’t refinance after business has fallen off.

Complicating matters, owner and chef Neeraj, preformed with a fine combination of heart and stubbornness by Anish Jethmalni, has Parkinson’s so can’t taste and smell his food the way he used to. He also won’t admit to that problem or accept help until too late from his friend, Jahan, (Adil Jaisinghani) who has a snack empire of Indian cookies.

Daughter Rita (Tina Munoz Pandya, perfectly interpreted as a willing co-worker at the restaurant) and  Sindhu (Arya Daire, sort of an estranged daughter whom Rita has called about their problems) bring the situation to a conclusion.

As a foil to all the kitchen activity and intergenerational drama, is line cook Luz  (well depicted by Isa Arciniegas). 

And in case you’re thinking the place is a large eatery know that“dhaba” can be translated in Hindi for “hole in the wall” and used here to mean a very small restaurant.

Directed by Chay Yew with set design by Lauren M. Nichols and costumes by Christine Pascual, “Dhaba” and cast were surely moved, dishes, aprons and kitchen, from Devon Avenue into Writers Theatre in Glencoe.

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

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