By Paul Slade Smith

Directed by Alison C. Vesely

At First Folie Theatre, OakBrook

Wacky, manic and fun farce will produce belly laughs

Written by Paul Slade Smith, a 14 year Chicago actor now on tour with Wicked, Unnecessary Farce finally after 6 years makes its Chicago debut. Under Alison C. Vesely superb casting and tight direction, Unnecessary Farce is a whip-smart comic farce that produces enough laughs to get anyone through winter.

Two inept cops, three crooks, a zany mayor, a hopeless guard, two hotel rooms and eight doors equals a classic facial framework.  Farce:

“In theatre, a farce is a comedy which aims at entertaining the audience by means of unlikely, extravagant, and improbable situations, disguise and mistaken identity, verbal humor of varying degrees of sophistication, which may include word play, and a fast-paced plot whose speed usually increases, culminating in an ending which often involves an elaborate chase scene. Farce is also characterized by physical humor, the use of deliberate absurdity or nonsense, and broadly stylized performances.”

Paul Slade Smith incorporates all the above elements in Unnecessary Farce.  Get ready to laugh your heart out.

Kevin McKillip  (Officer Sheridan0 and Erin Noel Grennan (Officer Dwyer) set up a sting to get a seemingly crocked Mayor (the always funny Dale Benson) when he meets with Karen Brown (Molly Glynn) the city’s account at a motel. The plan is solid unless everything that can does go wrong which, of course, does happen. Using matching a-joining hotel rooms (nice set design by Angela Miller), Unnecessary Farce is filled with perfectly timed door slamming, clothes flying about, back pipes bleating, misidentifications,  and clever plot twists  all in an attempt to arrest a corrupt politician.  This wildly manic comedy features over-the-top action filled with mix-ups and mayhem that gets us laughing throughout. Seldom have I witness such an exquisite, well-executed farce. So  much split-second timing both verbal and physical keeps us silly and riveted.

The ensemble performances are a marvel to witness. McKillip and Grennan are fabulous as the daft cops while Dale Benson steals his scenes as he has for decades on Chicago stages. Molly Glynn is both funny and sexy as the account. Raymond Fox is a hoot as the security man with a heart. Jeannie Affelder effectively delivers a surprise twist that complicates the farce. But the amazing work by Joe Foust as the Scottish hit man Todd gets the loudest laughs of the evening. Foust, ever the master comic, using his physical and impressive verbal skills to give his thick Scottish accent a hilarious turn.

It is impossible for me say much more about the events from Unnecessary Farce but just get out to Mayslake Peabody Estate in Oakbrook to see an impressive and hilarious evening of comic farce. Spend two hours laughing at the absurd antics of seven of the funniest comic players expertly delivering Paul Slade Smith wonderful play. You’ll leave the theatre reinvigorated and thoroughly entertained.  Kudos to First Folio Theatre for snagging Unnecessary Farce.

Highly Recommended

Tom Williams

Talk Theatre in Chicago podcast

Jeff Recommended

Date Reviewed: February 4, 2012

Fro more info checkout the Unnecessary Farce page at theatreinchicago.com

At First Folio Theatre, Rt. 31 & Rt 83 at the Mayslake Peabody Estate, Oakbrook, IL, www.firstfolio.org, call 630-986-8067, tickets $30 – $37, Wednesdays, Fridays & Saturdays at 8 pm, Sundays at 3 pm, running time is 2 hours, with intermission, through March 4, 2012

By Ayad Akhtar

Directed by Kimberly Senior

Produced by ATC and

The Araca Group

At ATC, Chicago

Powerful, well-written drama works on many levels

American Theater Company (ATC) in a special arrangement with The Araca Group presents the world premiere of Disgraced by Ayda Akhtar.  I can’t remember when I’ve witnessed a tighter, succinctly written 80 minutes play than Akhtar has presented. Much is covered on several levels in this powerfully shocking drama.

Islamic culture continues to be a mystery that produces apprehension, mistrust and fear in most Americans since 911. We live an unspoken distrust of anyone from the Muslin culture these days.

In Akhtar’s poignant drama, we see from within how a non-practicing Muslim-American lawyer, Amir Kapoor (Usman Ally) is living the fruits of the American Dream – wonderful high-paying job, wonderful wife, and exquisite condo (set design by Jack Magaw) in Manhattan. Amir is an aggressive corporate attorney who has achieved many of his life-long ambitions. He has it all until he falls victim to professional and personal betrayals. These lead to his betrayal of himself.

In only 80 minutes, playwright Ayad Akhtar tightly weaves  not only a detail characterization of Amir-the power attorney who can afford$600 dress shirts but a man in denial of his cultural  upbringing. Amir is a sophisticated, American born, whose family is from the Asian subcontinent. Except in name, Amir is the poster boy for success in American life.

In an early scene, Amir is visited by his nephew, Abe (Behzad Dabu) who begins Amir to help defend a Muslim cleric from federal anti-terror charges. Amir expounds how he is no longer a practicing Muslim and that he is not a public defender anymore and that the cleric’s problem means nothing to him. But his actions at the court give fuel to his enemies.

Amir’s white American wife, Emily (Lee Stark) is a painter in the Muslim tradition. She tries to move Amir back to his childhood religion. The couple has a dinner engagement with Jory (Alana Arenass) – Amir’s attorney colleague and her husband, Isaac (Bemin Foster)- who runs an art gallery that is going to display Lee’s Muslim-inspired paintings.

During dinner and drinks the four debate and examine the beliefs from the Koran. Amir and Jory attack the militantly violent portions of the Koran while Issac and Lee depend the prayer-book.  Drinks flow and Amir senses problems both at work an in his family life.

Arguments ensue with Issac, then with Jory and ultimately with Lee as Amir’s name, looks, abilities, persona, and beliefs come into question from all sides. His firms distrusts him and his  personal relations  deteriorate leading to betrayals. It seems that Amir is trapped between his identity as a Muslim American  and his personal identity as simply  American. The collusion of these identities are dramatically played out in Disgraced.

Usman Ally’s strong nuanced and highly-charged emotional performance as Amir anchors this wonderful scary work. Disgraced speaks to the unspoken tensions when fear of a group or religion manifests itself in professional and personal relations. We empathize with Amir as he reacts to the actions of those around him. I’ll not say more so not to spoil the plot that will enrage and shock you. Both the writing and the acting blend together to  present a story that needs to be seen. Disgraced is a cautionary tale and an indictment of our latent fears of misunderstood cultures. The play forces us to re-examine our views of Muslim Americans. Theatre allows us to come together to explore such exlposive topics. This is an impressive drama, don’t miss it.

Highly Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: January 30, 2012

Jeff Recommended

For more info checkout the Disgraced page on  theatreinchicago.com

At ATC, 1909 W. Byron, Chicago, IL, call 773-409-4125, www.atcweb.org, tickets $35 – $40, Thursdays * Fridays at 8 pm, Saturdays at 3 & 8 pm, Sundays at 3 pm, running time is 80 minutes without an intermission, through February 26, 2012

Written and Directed By Nathan Allen

Magic by Dennis Watkins

Produced by The House Theatre of Chicago

At Chopin Theatre

Death is dead. Long live Death!  

The best magic isn’t just about spectacle, it’s about the story. The illusions become metaphors for our shared human experience, and the mystery of existence. That lesson is not lost in The House Theatre of Chicago’s revival production of Death and Harry Houdini, the show that put them on the map ten years ago. It’s a true wonder of Chicago theatre—mingling vaudeville with magic, prose with poetry. Illusionist and escape artist extrardinaire Harry Houdini’s struggle with death’s reality, which looks like a danse macabre, becomes the launching point for a spectacle of sublime proportions.

As written and directed by Nathan Allen, the production wisely avoids becoming a biopic. Choosing instead to briskly touch at Houdini’s major life events where he brushed with death (an imposing, wordless visage that escorts his victims off stage with a gentlemanly tip of his hat). It begins with his father’s passing, and his vow to become a master of death. Under the tutelage of carnival magician Dr. Lynn, Houdini (Dennis Watkins) learns not just the craft of the stage and illusion, but that death is not the end of life, “just the absence of.” He meets his lovely wife and assistant Bess (Carolyn Defrin), works with his craftsman brother Theo (Shawn Pfautsch) and cares for his ailing mother (Marika Mashburn). All the while his skill and fame (and distance to those around him) grows exponentially, but he continues to goad death at every turn with increasingly daring stunts that bring him to the brink just so he can thumb his nose at it. It seems he has a death wish, but what he really has is a life wish.

The production moves deftly between ballads, a cappella, video, humor, pathos, and of course, magic with the supreme verve of its cast. They’re having fun and it’s infectious. It’d be a shame for anyone to reveal what the tricks are just as learning how the trick works takes away some of the fun. It behooves anyone, however, to note the fearlessness of Watkins when he recreates Houdini’s most famous escape: the Chinese Water Torture Cell. It’s mesmerizing, and one wonders at not only his ability to look like Houdini, but to bring what one imagines is the same magnetic presence to the stage.

While anyone can (and should) enjoy this, it is not for the faint of heart. Some of the illusions are genuinely frightening (keep the very young ones and the sensitive at home, or just be prepared to cover their eyes), and the closeness of the staging makes it all the more visceral. The set pieces are sparse but evoke just the right tone, matched only by the costuming which adds yet another level of spectacle.

Houdini’s death was random and ignoble for such a monument of a man. A blow to the stomach as a demonstration of core strength ruptured his appendix, leading to peritonitis. The real Houdini debunked spiritualists who said there was a life after death, but had a special code he would give Bess in a séance just in case. Magicians still gather around the world to try and communicate with Houdini in the afterlife (such was the power of his legacy). As imagined by Allen, Houdini promises Death if there is a way to escape the afterlife, he will find the way out. Exiting Death and Harry Houdini, it’s easy to imagine if anyone could, he would.

Music by Giuseppe Verdi

Libretto by Antonio Ghidlanzoni

Conductor Renato Palumbo

Director Matthew Lata

Choreographer Kenneth Von Heidecke

At the Lyric Opera Chicago

Dazzling spectacle with exotic dance inhabits Verdi’s  masterpiece

I have only seen Aida once many years ago and I must say that the production now playing at the Lyric Opera of Chicago not only sings great and sounds terrific but it contains fabulous dancing (choreographed by Kenneth Von Heidecke).  Verdi was commissioned by the Egyptian King to write an opera that premiered at the Cairo opera house in 1871.  Contrary to popular belief, the opera was not written to celebrate the opening of the Suez Canal in 1869.

Aida is an amazing spectacle containing a long victorious scene complete with lavish colorful costumes, exotic dances and a haunting march. But as much as Aida is spectacle it also is an intimate four characters  opera focusing on Aida (Sondra Radvanovsky) – an Ethiopian slave and her father Amonasro (Gordon Hawkins) – the King of Ethopia and a prisoner of war; Amneris (Jill Grove) – the daughter of the Egyptian King and Radames (Marcello Giordan) – an Egyptian warrior.  Verdi uses melodious duets to tell the story of forbidden love, heartache and betrayal. The result is a evening of grandeur, eye-popping visuals and grand performances.

Besides Verdi brilliant score,  the voices sing with passionate emotions. Tenor Marcello Giordani commands the stage and soars to the heavens while Sondra Radvanovsky – a Chicago native- raises to the demanding role of Aida. She triumphs in her first time as Aida at the Lyric Opera of Chicago. The audience cheered her performance!  Jill Grove’s mezzo effectively demonstrated Amneris’ heartache and Gordon Hwkins strong baritone rules his scenes.

Add the sensually vivid  dance and the splendid chorus work and the Lyric Opera’s Aida becomes an overwhelming thrilling evening of opera. I’ll have to move up Aida on to my list of all-time favorites. See this stunning production and you’ll agree.

Highly Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: January 25, 2012

For more info checkout the Aida page on theatreinchicago.com

Conceived, Originally Choreographed

& Directed by Michael Bennett

Book by James Kirkwood & Nicholas Dante

Music by Marvin Hamlisch

Lyrics by Edward Kleban

Directed by Mitzi Hamilton

Music Direction by Shawn Stengel

At Paramount Theatre, Aurora

Trues to the original, Hamilton’s A Chorus Line still sizzles

“The show is dedicated to anyone who has ever danced in a chorus or marched in step…anywhere.” –Michael Bennett

Another stunning production featuring 27 actors/dancers with 13 Equity plays and 17 stop-shelf musicians at Paramount Theatre in Aurora. It  still holds audiences with its stunning honesty and emotionally exhilarating heart.  While some of the voices were a tad thin, Paramount Theatre’s remount dances superbly and sounds terrific!  A Chorus Line is so strong a piece that nothing can dent its emotional impact.  Judging by the full house for Wednesday matinee, musicals have found an audience in the Far Western Suburbs.

A Chorus Line is Michael Bennett’s ode to all those unsung heroes of the musical stage—the chorus ensemble dancers. They are the ‘gypsies’ who thanklessly give depth to musicals with their singing and dancing. A Chorus Line involves an audition for dancers for a new Broadway show. The empty stage has only mirrors and is filled with a ‘cattle-call’ of hoofers under the watchful eye of  Zak director (Luis Perez). Zak needs 4 boys and 4 girls from the 17 finalists selected. He wants each to tell him personal stories to give him a glimpse into their personalities since they will have short speaking parts as well as dancing in the new musical.

Besides the awesome dancing in the opening number “I hope I Get It,” A Chorus Line  smartly and deeply gives us a glimpse into  the personality traits of dedicated dancers. The show is an ode to anyone who has the guts to follow their dream despite the odds against success. We see how many escape their demons and their dysfunctional families through the self expression of dance. The fantastic toe-tapping score by Marvin Hamlisch  with Edward Kleban’s apt lyrics allows us to witness outstanding Broadway dances from ballet to tap to modern dance movements. A Chorus Line is not only the finest ‘backstage musical,’ but it is the best dance show ever. Some call it “The Best Musical, Ever.”

Filled with varied musical styles, A Chorus Line’s characters win our hearts with their emotional attachment to their craft. We love these ‘gypsies’ and we wonder who’ll Zak pick as his chorus. From the sexy “Dance: Ten: Looks: Three” (tits & ass) to the marvelous sole dance number “The Music and the Mirror’ (nicely danced and sung by Jessie Lee Goldyn as Zak’s ex Cassie), the power of being who you are and chasing your dreams comes alive. The anthem “What I Did for Love” wonderfully coveys the dancer’s  being free from regret if their not selected. The spectacular “One” is a most memorable show ending dance number performed flawlessly by the entire cast.

 A Chorus Line is a powerful tribute to anyone who dares chase their dream by creating and performing their art. If you have never seen A Chorus Line—take a ride out to the wonderful Paramount Theatre in Aurora and witness a thrilling and heartfelt remount of one of the finest musicals ever. Yes, Paramount Theatre continues the fabulous production values that rivals many of the downtown Chicago touring shows. Jim Corti and Tim Rater are on their way to making terrific art at their wonderful art deco venue.  With a ticket price ranging from $34.90 to $46.90 for a full Equity production you’d be hard pressed to find a better entertainment value.

Highly Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: January25, 2012

For more info checkout the A Chorus Line page on theatreinchicago.com

At Paramount Theatre, 23 East Galena, Aurora, IL, call 630-896-6666, www.paramountaurora.com, tickets $34.90 – $46.90, Wednesdays at 1:30 & 7:30 pm, Thursdays at 7:30 pm, Fridays at 8 pm, Saturdays at 4 & 8 pm, Sundays at 1 & 5 pm, running time is 2 hours, 25 minutes with intermission, through February 5, 2012

By Simon Stephens

Directed by Jonathan Berry

Produced by Griffin Theatre Company

At Theatre Wit, Chicago

Realistic portrait of  the cruelty of adolescents packs a wallop

Don’t let the show’s title fool you. Punk Rock, despite a shattering does of punk rock music and a rhythmic entrance by the cast, is NOT a rock musical like Spring Awakening. Rather in the vain of The History Boys, Punk Rock is a school drama about teens in their last year at high school and the pressures they experience.

Set in a British prep school in the library (outstanding set design by Joe Schermoly), we meet the eight  17 year old’s as they get set to write their exams that will determine their college. There is the nerd boy – Chadwick (Ryan Heindl) a math wiz with a gloomy view of the future; Nicholas (Brandon Ruiter) is the athlete; William (Joey deBettencourt) is the lonely troubled boy who appears as a ‘nice guy.’ Bennett (JJ Phillips) is the group’s mean bully to cover his in security and sexual identify.  Cissy (Jess Berry) is the anorexic smart girl in love with Bennett; Tanya (Leah Raidt) is the emotional fat girl, and Lilly (Leah Karpel) is the sexually active new girl that William desires but Nicholas ends up with.

The dynamic of this drama lies in the bickering, sexual advances, mockery and stress each student endures as they struggle for grades, money, acceptance, and some sexual release. Much of this 1 hour and 55 minute play builds the emotional tension nicely as director Jonathan Berry swiftly paces the dramatic tension toward a wrenching conclusion. We see the group’s dislocation from society and the latent violence simmering under their everyday life. Coping with the pressure of adolescence is vividly dramatized in playwright Simon Stephen’s marvelous play.

The young cast sported richly authentic British accents as each nimbly and energetically played teens in angst. JJ Phillips was unnerving as the bully while Ryan Heidl as Chadwick expounded the pessimism of today’s youth. But, by far, the finest performance  of the night belongs to Joey deBettencourt as William. His eerie performance presented William as a lonely, awkward guy smitten by the new girl Lilly.  William tries too hard to lure Lilly into being his girl. We slowly see William disintegrating into a psychological mess.  I’ve not seen a finer performance by a young actor than deBettencourt delivered in Punk Rock. How he unravels and surprises us is both chilling and plausible.

Punk Rock is a well acted, realistic, and truthful glimpse into the psychic of today’s teens. The British adolescences are the same as Americans as both are under tremendous pressure to succeed in a fast-paced society. This work will shock you and get you thinking. Kudos to the fine cast of young actors  for such a moving theatrical experience. Once again, Griffin Theatre Company delivers a gem.

Highly Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: January 22, 2012

Jeff Recommended

At Theater Wit, 1229 W. Belmont Ave., Chicago, IL, call 773-975-8150, www. griffintheatre.com, tickets $34, Thursdays thru Saturdays at 7:30pm, Sundays at 3 pm, running time is 1hour, 55 minutes without intermission, through March 4, 2012

By Michael Healey

Directed by Julie Ritchey

In a co-production between Filament Theatre Ensemble

and The Den Theatre

At The  Den Theatre, Chicago

Bonds of friendship and the healing power of art are movingly presented.

In a co-production between The Den Theatre and Filament Theatre Ensemble, an excellent production of Michael Healey’s 1999 emerges.  The Drawer Boy was inspired by a Canadian legend – actors from Toronto travel to rural Ontario to live with and learn about farm life in order to find a play from their experiences. It is 1972 and the thespians perform their play, The Farm, in  rural barns throughout the Province.

In The Drawer Boy, we meet two friends living and working a farm in 1972 rural Ontario. Angus (Will Kinnear) and his friend Morgan (Nick Polus) who run their farm through a harmonious daily ritual based on Morgan being the farmer and Angus being the cook, housekeeper and account. Tolerance, trust and routine rule their lives. They seem content until a young man-an actor- arrives at the farm asking to learn about farming by living and working with Morgan and Angus.  Miles (Marco Minichielo) is  researching farming for a play that his theatre company is contemplating.

Morgan demands that Miles actually work the farm and Morgan assigns Miles to useless chores like rotating the crops and washing stones. Miles is a naive farmer but a determined researcher who questions and probes Morgan and Angus for their story. The questions are at first innocent but over time they set off all three on a powerful journey as Morgan and Angus relive the story of the events that shaped their lives.

Angus, we quickly discover, has instant memory loss that doesn’t allow him to remember things in the present once a new thought or idea is presented to him. But he does remember somethings from his past. He always knows who Morgan is yet he constantly asks who and what is Miles doing at the farm. As the story unfolds, Morgan almost daily sits Angus down to retell him about being in London during World War II when each found their soul mates. But when a Nazi bomb explodes on a London building sending a flying door into Angus’ head injuring him and causing amnesia that results in day-to-day memory problems, Morgan and Angus’ life is altered forever.

We grow to love the gentleness and genuine honesty of Angus and we see the bond that he has with Morgan, the no nonsense farmer. Miles is able to get close to Angus as we witness a moving scene that finds Miles trying to explain the plot of Hamlet to Angus. Once Miles overhears Morgan tell Angus “their” story, he submits that story as his contribution to the farm play in progress. After Morgan and Angus attend the play’s rehearsal, Angus seems sharper yet Morgan is furious feeling that Miles has betrayed the two friends by stirring up old memories.

But the healing power of art manifests itself as old truths and convenient lies are shattered as each of the three are altered by revelation of old secrets. The Drawer Boy is a moving subtle drama that director Julie Richey effectively paces to garner the power of certain scenes without turning the piece into sentimental melodrama. The wonderful understated work by Will Kinnear as Angus anchors the story. Nick Polus subdued guilt as Morgan is nicely performed while Marco Minihiello effectively plays the clueless farm hand- actor.

The Drawer Boy is a touching story about a most empathetic character with whom we quietly cheer for since we see him as a gentle  soul deserving of a happy life. The triumph of the human spirit and the healing power of art, friendship and loyalty rule The Drawer Boy. This uplifting play is flawlessly performed and respectful of Michael Healey’s wonderful writing. The Drawer Boy is yet another excellent work being produced by Filament Theatre Ensmeble. This troupe is becoming a major source of worthy theatre productions. One can home that the daily press will stop by and witness this talented ensemble, the Jeff Committee recommends The Drawer Boy and so will you.

Highly Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: January 22, 2012

Jeff Recommended

For More info checkout The Drawer Boy page on theatreinchicago.com

At The Den Theatre, 1333 N. Milwaukee Ave., Chicago, IL, call 773-270-1660, www.filamenttheatre.org, tickets $22, $17 students, $15 industry, Thursdays thru Saturdays at 7:30 pm, Sundays at 3 pm, running time is 2 hours with intermission, through February 25, 2012

By Frank Higgins

Directed by Steve Scott

At Northlight Theatre, Skokie

Two strong women struggle for success through their common bond – music

Playwright Frank Higgins based Black Pearl Sings on the true historical working together of ethnomucicalcologist John Avery Lomax (1867-1948) and guitarist Huddie “Lead Belly” Leadbetter (1888-1949). Lomax was searching and recording original rural ethnic music that included country, bluegrass, Black spirituals, work songs as well as slave songs. Lomax was commissioned by the Library of Congress to record these unique songs  that he found on farms, churches, prisons and jute-joints through the rural Southern states.

Higgins decided to expand his story  to include women’s struggle in the 1930′s that found the White Ivy League rich woman – Susannah Mullally (Susie McMonagle) – an aggressive ethnomusicologist at a Texas prison interviewing Black women with strong singing voices as she searches for slave and pre-slave songs to be recorded. She encounters the rich-voiced but hostile Alberta “Pearl” Johnson (the fabulous E. Faye Butler). Each women has an agenda–Susannah in finding old ethnic songs to record and Pearl focusing on finding her lost 22 year old daughter.

The early scenes that depict the determination and strength of each women are marvelously played out as each establishes their own rules for the relationship. Pearl will only sing unheard slave and work songs if Susannah works to find Pearl’s daughter. The two eventually unite to allow each to become “successful” on each’s terms. Susannah’s plan includes getting Pearl a parole and taking her to NYC to get Pearl “discovered” during the Harlem Reminiscence in the early 1930′s . Pearl realizes that fame and money will allow her the means to find her lost daughter plus she loves to sing.

  Black Pearl Sings  is a drama with songs, sung as a cappella renditions of rare American folk songs magnificently sung by Susie McMonagle and the golden-voiced E. Faye Butler. Music here is a bonding metaphor for two striking women determined to control their lives on their own terms. The play also reaffirms the grand power of art (music here) to stimulate the human spirit during bleak economic times.  The inspiration  quality of music to soothe folks during turbulent times is captured effectively in Black Pearl Sings.  We witness the special bond of respect that these two women experience when united by a common bond and noble purpose. They are survivors determined to leave their mark on the world.

I can’t remember when I’ve seen a finer two-handed that E. Faye Butler and Susie McMonagle performed and Steve Scott directed. The work is filled with heart, truth and emotional fuel nicely expressed with sharp dialogue and richly underscored by emotionally deep a cappella singing by McMonagle and Butler. This is a gem of a play that will renew your faith in humanity.

Highly Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: January 21, 2012

Jeff Recommended

For more info about Black Pearl Sings, go to theatreinchicago.com

At Northlight Theatre. 9501 N. Skokie Blvd, Skokie, IL, www.northlight.org, tickets $25 – $60, Tuesday thru Thursday at 7:30 pm, Friday and Saturdays at 8 pm,undays at 7 pm,  matinees on Wednesdays at 1 pm, Saturdays and Sundays at 2:30 pm, running time is 2 hours, 10 minutes with intermission, through February 19, 2012

By Brett Neveu

Directed by Dado

At A Red Orchid Theatre, Chicago

Terror and chaos leads to revolts against corporate giants.

From the runway stage (set designed by John Dalton) surrounded by metal drawers and a group of view monitors to the amazing video (by Seth Henrikson) and the effective lighting from Matthew Gawryk together with sound design by Joe Court, the atmosphere emerges into a futuristic corporate world that hints of a Twilight Zone  episode.

Prolific playwright Brett Neveu, a company member of A Red Orchid, presents his sixth world premiere at the intimate Old Town Chicago theatre. Megacosm is an amazingly eerie and totally engrossing cliff-hanger 85 minute one-act comic mystery.

Chris (Larry Grimm) is a nerdy shaggy-haired inventor anxious to make a presentation to Britt (Danny McCarthy) the head of a multinational corporation. The atmosphere around the company’s headquarters is ripe with violent protestors. Britt is nervous about Chris’ creation yet he plays verbal games with the inventor to establish control in the anticipated negotiations to come. The verbal sparing is humorous and tone-setting.

The atmosphere of chaos and revolt is in the air both from outside and internally -especially from Sam (David Steiger) who creeps out Chris when he is introduced by Britt as his assistant. Sam is double crossing Britt.

But Britt is determined to see what Chris has invented. Chris claims that his invention will change the world for good. The presentation of Chris’ invention is vividly and effectively presented utilizing the outstanding video.  Add the  terrifying entrance of nine-year old Eden Strong playing a flawed corporate experiment named Carol. This knife wielding little person is violently attacking Britt blaming him for her defects.

I’ll not give away much more so as not to spoil the eerie plot twists. Megacosm is filled with mind-bending existential terror with mysterious twists, violence mixed into some humorous situations. Megacosm is part dark comedy, part mystery and part cautionary tale about abuses and greed of multinational corporations especially with new product development. This play is a scary reminder of the power of large corporations to rule the world with pure profit-driven policies.

Danny McCarthy give a tour de force performance as the wound-too-tight Britt. Larry Grimm has the nerdy scientist down pat while David Steiger is eerie as the Lurch-type assistant Sam. Eden Strong was scary as the mutant little person- terrific work for a nine0year old.

Terror, chaos and violence rule this intense and unsettling work. Director Dado has staged Neveu’s world with emotionally explosive characters struggling to control a world gone haywire with mass-produced creatures. The power situations, strongly performed make Megacosm a hilarious yet alarming evening of theatre. The sheer strength of live theatre magnifies Neveu’s  script ten-fold.

Highly Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: January 15, 2012

Jeff Recommended

For more info checkout the Megacosm page on theatreinchicago.com

At A Red Orchid Theatre, 1531 N. Wells, Chicago, IL, call 312-943-8722, www.aredorchidtheatre.org, tickets $25 – $30, Thursdays thru Saturdays at 8 pm, Sundays at 3pm, running time 85 minutes without intermission, through February 26, 2012

Written by Kristoffer Diaz

Directed by Clive Cholerton

What a knockout play!

Reviewers have opportunity to see so much theater that seldom do they feel a pang at missing one particular opening. Now, I regret  not having seen Victory Garden’s 2009 world premiere of The Elaborate Entrance of Chad Deity, and have rectified the omission. What a terrific play! You certainly needn’t be a wrestling fan to enjoy it; you only need be a fan of innovative approach, solid plotting and fine acting.

The play was actually only my second experience of wrestling. At age 26 and in the 8^th month of pregnancy, I scoffed at my over-protective mother-in-law’s warning:  “Don’t sit in the first row. The wrestlers often get tossed out and one may land in your lap.”

“Sure,” I thought. “This woman frets about everything.”

She was right; one combatant came flying over the ropes and barely missed me. We moved several rows back.  While there was no physical danger in the ringside set of Kristoffer Diaz’s brilliant and highly comic drama, plenty of provocative ideas were hurled at us over the ropes:

• The villain controls the winner.
• Wrestling is “the communion of two individuals doing all they can to insure neither gets hurt.”
• Wrestling is essentially a ceremonial ritual of protection.
• The artifice of the ring provides a vivid metaphor
• The reality of the ring is based on the illusions of life.
• The business of managers is to milk and reinforce society’s prejudices.
• The rebellion of stereotypes is short lived
• A loaf of raisin bread can become a symbol of what is important in sport as well as in life (the raisins, of course).

This unorthodox, vibrant satire on sports, business, race, politics and power in the U.S.  is narrated by Puerto Rican wrestler Mace, aka Macedonio  Guerra (Brandon Morris), who has loved wrestling, and played with his brothers and toy action figures since childhood. Video projections continually enhance his narrative. Now, in his adult connection with wrestling, his job is to make himself into a human punching bag so that the other guys look good. As he notes, “In wrestling, you can’t kick a guy’s ass without the help of he guy whose ass you are kicking.” The main person he facilitates is the less skilled but far more charismatic, flamboyant African American Chad Deity (Donte Bonner).

Mace then discovers another charismatic talent in Vigneshwar Paduar (Adam Bashian), an Indian-American rock star who can speak in English, Spanish, Hindi and Urdu, and brings him to the attention of his manager, Everett Olson (Gregg Weiner).  Olson then takes over to create a new wrestling persona garbing him in Muslim robe for his role as an “Islamic terrorist,” with a lethal “Kabbalah-kick.” Ultimately, he will be slated to appear against Chad in a “Pay for View” extravaganza.

Throughout each match – and the wrestlers are amazingly skillful in execution — the audience is involved – encouraged to chant for the winners, and groan at key moments. When Mace says, “The crowd gasps” – the audience is happy to oblige.

The excellent cast is rounded out by Matthew Shaller, a professional wrestler as well as an actor, who played wrestling partners Billy Heartland and Old Glory. Kudos to the fight choreographers (who have also been wrestlers) Pablo Marquez and Dan Ackerman and to the versatile and athletic actors who were able to perform all the necessary gymnastics.

While I might not seek out future wrestling matches, I certainly plan to look for new plays by Diaz. The Elaborate Entrance of Chad Deity was deservedly on the short list of nominees for the 2010 Pulitzer Prize.

Highly Recommended

Beverly Friend

friend@oakton.edu

Caldwell Theater Company at the Count de Hoernle Theatre, 7901 Federal Hwy. Boca Raton, Fl., 33487, www.caldwelltheatre.com,  561-241-7432, tickets, $27-50 (Students $10),  runs Wednesdays through Saturday at 8  pm, Wednesdays, Saturdays and Sundays at 2 m, through Feb 12. Running time is one hour 45 minutes including a 12-minute intermission.