Tom Williams All these weird dysfunctional traits lead to some funny moments but mostly become ‘head-scratching’ actions beyond belief. Andrew is an enabler unable to accept his soulmate is a lesbian; Eric is a weak person who has strange sexual practices; while Angel has substance abuse problems due to low self esteem. Eli, thought of as needing constant supervision, is the most ‘normal’ one of the brothers. The mother’s suicide five years earlier had profound effects on all but Eli.
The plot thickens as Cassius sways Brutus, Caius Ligarius (Matt Hawkins) and Caska (Julian Parker) to take the ultimate resolution to stop Caesar from becoming king. The assassination was vividly presented with red lighting and haunting sounds (lighting by Jesse Klug and sound by Rob Milburn and Michael Bodeen). This has been buildup by the discourse between Cassius and Brutus. We do hear the obligatory Et tu, Brute? uttered by a dying Caesar.
Helldrivers of Daytona wants to be a spoof of those corny 60’s rock films but its crude sexy references are neither sexy enough , raw enough or funny enough to raise the level of this show from the gutter. If audiences could understand the Broadway pop-rock singing from the boys, who must shout over the much too loud band, maybe more humor would emerge.
But, by far, this shows major flaw is with the girls. They all talk and sing with a silly squeaky high-pitched ‘chipmunk’ sound that is instantly hard to understand rendering the lyrics and much of the humor unintelligible. Few laughs throughout this production
In their 15th season, The House Theatre of Chicago has a wildly ambitious puppet-filled portrait of a prodigy in peril. This is a hauntingly dark tale of the creation of the legendary Puppets Punch and Judy. Featuring terrific puppet and mask design by Jesse Mooney-Bullock, A Comedical Tragedy For Mister Punch unfolds as a humorous very dark tale of the establishment of puppet shows in 18th Century London. Utilizing The House Theatre of Chicago’s storytelling aesthetic, director Shade Murry and playwright Kara Davidson weave the efforts of Italian puppeteer Pietro (nice work by Adrian Danzig) to bring his street puppet show to London.
Mamma Mia! is an amazing show in that it is immensely popular despite being a pop-rock score by ABBA of mostly forgettable songs. In a curious way, I enjoyed the event more for its charm and its feel-good elements. I was mesmerized by how much audiences enjoyed Mamma Mia! They simply went wild with enthusiasm throughout. Amazing, since it is full of average rock songs and the story is fine but not overwhelming. I guess audiences come to hear ABBA songs performed on nice sets by talented actors. I guess?
This fast-paced two hour revue is a non-stop songfest that has enough well performed classic rock, pop and R & B to please. . Director/choreographer Dodge has the cast doing movement and dance routines that work effectively on stage. The harmonies and the blended vocal arrangements together with the outstanding musical arrangements by Roberta Duchak sounded terrific. These nine performers demonstrate their talents and we get to hear the songbook of two relatively unheralded composers. Jerry Leiber and Mike Stoller’s tunes come alive in this fun revue. Smokey Joe’s Cafe ranks as one of the longest running reviews on Broadway (2,036 performances) and it has had a long run in the city by Theo Ubique a few years ago.
As I left the theatre, i asked myself who is the audience for this show? Jewish theatre patrons? Lovers of solo shows? I Do Today only contains one of the three elements that make solo shows work: a terrific performance by the actor (Carin Silkaitis was terrific and work hard to make the material work.) But, this show lacks the other two essential elements: no celebrity or historical figure and a strong comprehensive script.
Naperville turns into a cable TV original play filled with playwright invented wacky characters who seem to p layout their problems through too much caffeine. Candice want to sail and cut her grass despite her blindness. Howard quits his job in Seattle as he feels he needs to move back to Naperville to help his mother. Howard discovers that Anne is an old high school classmate that he had a crush on; Anne realizes the Howard (fifty pounds lighter) was her class mate. Sparks could fly?
While The Black Slot has a smart premise, problems stretch credulity as the plot unwinds. Further development of Tim and Beth’s relationship and the ending seems unfinished. But the satire of how regional theatres operate and their beliefs systems as to what and why their core audiences want to see on stage hit home for me.
This work sure has possibilities and with some re-writes, it sure could be terrific. As now presented, it sure has many smart moments. Justin Wade Wilson, as Tim and Amy Kasper, as Pam were particularly effective. The Black Slot is worth a look.
These two companion one-acts are riveting, explosive and truthful as simmering racial (and gender) rage explode today as it did in the 1960’s. Both works will upset and get audiences aware of the cancer of racism and gender hatred that eats away at our society. Dramatizing can be the first step toward a solution – hopefully. See these two powerful one-acts.