Tom Williams …the new version I saw at Victory Gardens Biograph was a heartfelt, charming, intimate two-hander musical that the opening night audience enjoyed. By the end, there was hardly a dry eye. The Story of My Life is beautiful operetta filled with smart, witty lyrics and soothing music (both by Neil Bartram) that garnered empathy from Brian Hill’s fine book.
Set in a Greenwich Village bar on Valentine’s Day, 1974, we meet five somber souls lost in their thoughts while imbibing. They seem paralyzed and isolated as they are drawn into an urban bar while reminiscing on their personal histories shaped by the events of the 1960’s.
It asks the question: “Where were you on November 22, 1963?”
The thick and authentic British accents made the lyrics hard to understand at times. The predictable boasts quickly became cliched and tedious. But the singing style and the weak to adequate voices together with the bland music made for a long 90 minutes for me. I must state that I’ve never been a fan of pop/rock singing so my sensitivities should be ignored if you like the current pop songs.
Meet Charles Lang (Cody Proctor), a individual scientist who has invented an engine that runs on water. His engine would revolutionize industry and render our dependence on fossil fuels mute. The naivete scientists desires to patent his invention so he contacts a lawyer out of the phone book. That starts his trouble as the lawyer and his associates attempt to terrorize him into selling his invention, its prototype and its plans
The Gift Theatre Company, the jewel of an Equity company on the Northwest side of Chicago, has once again proves that they do the best Irish plays in Chicago. The troupe is made up of several Irish-American descendants that recognize Irish brogues and old country idioms. Together with dialect coach Brigid Duffy, director Sheldon Patinkin has cast a wonderfully talented group of actors at home with both the West Irish accent and the idiosyncrasies of the rural Irish. They exude all the dark humor and pathos of living in a rural lonely existence
They spin, twist, run, jump, do back-flips combining dance movements with acrobatic elements that include dangerous routines on two vertical bars and jumping through hoops. Many of the gravity-defying routines are fresh, urban and inventive. The seven have skills like folk singing and guitar playing – from Florian Zumkehr’s; Chinese acrobatics from Xia Zhengqi; and balancing on each other’s heads by several cast members
Kudos to the cast for a spirited and moving performances. Joan McGrath’s Irma and Dylan Parkes’ Chief of Police were particularly effective. The Balcony is a seldom mounted yet important play that needs to be experienced every few years to give the next generation a glimpse into the genius of Jean Genet. This production is a terrific off-night show.
Rice has selected a disturbing work, Anthony Neilson’s 1997 play – The Censor. Neilson is one of the bad guys of the British “in-yer-face” theatrical movement that includes Sarah Kane and Mark Ravenhill. These writers use vulgar, shocking and confrontational material and theatricality to reach their audiences. The effect is evident in Neilson’s The Censor.
I’m happy to report that Craig Spidle plays Paul with a sincere admiration and tolerance for Julia. Spidle, one of Chicago’s best actors, has a nice mixture of subtle humor and genuine love for Julia. Karen Janes Woditsch has the shrill voiced Julia down as she combines Julia’s self-deprecating humor and physical gawkiness with her dogged determination and passion for cooking. W0ditsch shows us Julia’s charm, wit and drive. The chemistry between Spidle and Woditsch is enchanting.
While playfully dark and aptly using aerial arts with child-like humor, this adult Peter Pan is filled with action, simultaneous sensations of amazement, fear and nightmares. Peter Pan is a hollow fellow who doesn’t fully make the case for his credo: “I’ll never grow up.” There is sexual tension from Wendy that confuses Peter Pan that never gets resolved.