Reviews

Pastor’s timely interpretation is timely indeed — if one sets one’s time by 20th century Italian history. Set over three periods of Italian political and social unrest, Pastor’s Prokofiev’s Shakespeare’s Romeo & Juliet becomes the 1930’s Capulet militaristic Fascists versus the Montague liberal low and middle classes; then, in the second act, the 1950’s Capulet Red Brigade political terrorists versus the Montague peace-loving liberal low and middle classes (?); and then, finally in the third act, the 1990s . . . we’re more or less back to plain-ol’ Romeo and Juliet — but in Berlusconi-led Italy of “increasing social divisions!” And for those of us who cannot imagine what these periods of Italian history must have looked like — any more than what Shakespeare’s time did look like — there are projections of Italian pedestrians milling about their ravaged country — which projections are not at all as helpful in focusing the story as they might sound.

One of the main reasons to see Pirandello’s Henry IV is to enjoy the fantastic work by Mark L. Montgomery as the possibly mad Italian nobleman. Montgomery is one of the most skilled actors working on Chicago stages. His ability to articulate and dominate the stage leaving much doubt if his character is cured from his insanity or still mad or possibly playing games with his enablers? With Pirandello there is always doubt as to where fantasy and reality end. Questions of identify, truth and psychology receive unique treatment by Pirandello

Apartment 3A features a female liberal PBS TV station on air fund raiser in a Midwest town, Annie (Eleni Pappageorge) who is having a bad time. She catches her lover having sex with another woman that makes her leave in rage. She quickly find an apartment in a questionable part of town – Apartment 3A. She takes the place and she immediately meets her neighbor in 2A, Donald (Daniel Smith), a well dressed man who immediately tells Annie not to fall in love with him since he is happily married. Annie has weird attraction to the quirky man who is a landscape painter who loves to cook eggs.

A Red Orchid Theatre’s production of Pinter’s The Room is, I’d say, recommended for an audience with a mature and sophisticated appreciation for theatre. Not that it’s pretentious or elitist, but, if one is not willing to follow its absurd and esoteric progression thoughtfully, one will likely be frustrated and confused by its conclusion (though perhaps still entertained by its menace and occasional comedy). For it is a sobering production that demands something of you, and you will only get something out of it to the degree to which you give in to it.

Continuing its 40th Anniversary Season’s playlist of greatest hits, Black Ensemble Theater opened Jackie Taylor’s I Am Who I Am this week, yet another musical homage to one of America’s legendary Soul singers, this time Teddy Pendergrass. Featuring some very fine vocal performances accompanied by the Black Ensemble Band, the production takes us through Pendergrass’ musical career, from his time with Harold Melvin & the Blue Notes in the early ‘70s all the way up through his “Teddy 25” performance in 2007. Shining the blinding light of grace and gratitude, the play side-shuffles the dark side of Pendergrass’ personal tragedies, making it a consummate feel-good tribute that will delight long-time fans and likely entertain newcomers with an appreciation for or openness to Soul music.