It begs questions that no family wants , but needs to address: how do you stop a violent mind? What should you do when all the warning signs are there that your emotionally troubled and apparently sociopath son may express his internal rage outwardly on society. Can anyone stop him before it is too late? Is his play fiction or does it foretell his plan?
Chicago Shakespeare Theater’s current production, being performed for free throughout the city’s neighborhood parks as part of this summer’s Chicago Shakespeare in the Parks, thankfully fulfills our expectations. This rapid-fire 75-minute adaptation by Jeff Award-winning director David H. Bell eschews too ponderous a conceptual approach in favor of a boisterous and slapstick romp, replete with wild acrobatics, juggling and light-hearted sight gags.
Bedroom Farce is filled with exaggerated and improbable situations, crazy plots and much hilarious physical comedy. Ayckbourn has created an empathetic group of characters who are manically played by an inspired cast Wordplay, clever physical movements, absurdity, and extremely over-played characterizations mark this entertaining farce.
Over the 90 minute one act played out in one week , the unique bond formed by a precocious teen and her middle aged uncle reaches into their souls as each face their realities allowing them to get on with their lives. William Petersen nicely lets Rae Gray command the stage as he patiently waits for her to get her daemons out before reacting.
If anything, the orchestral playing grew even more pointed and lively in the Concerto for Three Pianos, an earlier work which, like so much of Mozart’s earlier output, is disarming in its inspired combination of craftsmanship and charm; if anything, the slow movement is even lovelier than that in the later Paris Symphony, although the finale, written in the tempo of a minuet, is somewhat underwhelming and low-energy for a Mozart finale.
Giving voice to their struggles is Genesis Ensemble, whose bluegrass/rockabilly Uptown Opera—now playing at the Preston Bradley Auditorium (fittingly, in Uptown)—admirably sets itself to the task of weaving together these somewhat forgotten threads of Chicago’s intricate social tapestry. Still, Uptown Opera’s big heart may not be enough to recommend itself, plagued as it is by a weak book and sadly underwhelming performances.
Even as far back as Euripides, the figure of Medea was portrayed as something of a mojada—a derogatory term for ‘wetback.’ Beginning in the late fifth century, for instance, shortly after Euripides’s own stage version of the myth, artists began to accentuate Medea’s role as a foreigner living within Greek society, dressing her in exotic oriental garb rather than the clothing of a traditional Greek woman. The perpetual ‘stranger in a strange land,’ the myth of Medea—scorned and infanticidal—has ever since lent itself to probing considerations of cultural assimilation, gender inequity, and the darker aspects of romantic love.
I was pleasantly surprised at the innovative work from the talented young choreographers assembled by Thodos Dance Chicago under the leadership of Melissa Thodos. I’m discovering that Chicago, indeed, has a thriving dance community and that Thodos Dance sure as a group of creatively gifted dancers and choreographers
Formally speaking, Home/Land brings all of its considerable assets to bear, seamlessly layering traditional sketches, interpretive movement, original music, and extended monologues into a near two hour piece full of more wit, wisdom, and humane compassion than is likely to be found on the floor of any state legislature at the moment. These kids know how severe the stakes are, and Home/Land almost tremors with a kind of raw immediacy, creating an unseen force which almost pushes you out of your seat and to your feet.
Shrek: The Musical—based on the 2001 smash hit film from DreamWorks, in turn based on the picture book by William Steig—is a hot property. Book and lyrics are by Pulitzer-prize winning playwright David Lindsay-Abaire, the adrenalized pop score comes from composer Jeanine Tesori, and taking the realm as director/choreographer is Chicago’s own Rachel Rockwell. The 2008 Broadway premiere clocked in at two and half hours, but Rockwell’s leanly fashioned 75 minute version doesn’t feel rushed, and will serve antsy children and their parents well.