Narrated and framed by Southern blues played deftly by Kelvyn Bell (Guitar Man) and sung soulfully by Alexis J. Rogers, Spunk unfolds as a funny yet poignant adaptation (by George C. Wolfe) of three short stories by Zora Neale Hurston – “Sweet,” “Story in Harlem Slang,” and “The Guilded Six-Bits.”
Read MoreWhen they were told that inadvertently they sold their home to a Black family, Russ staunchly refused to listen to the racist rationalizations from Karl (Cliff Chamberlain) a neighborhood organizer bent on keeping the neighborhood white. Act One exposes the white racism clouded by stability issues that shatter the peacefulness of the 1950’s.
Read MoreThe lavish sets, gorgeous score, witty lyrics, fine period costumes and the spirited performances makes Paramount Theatre’s inaugural Broadway musical a high standard affair that instantly gives Paramount credibility. We need a western suburban theatre such as the 1800 seat large proscenium stage Paramount Theatre to succeed so that large-scale classic musical can be offered outside of downtown Chicago with our home-grown talents
Read MoreWe meet through a series of counterpoint monologues, Alma (Deanna K. Reed) – a large-sized dark-skinned Africian-American women thought to be ugly mainly due to dark skin by the Gullah community and her counter-point – Eugene (J. Isreal Greene) a “high-yellow” (light-skinned) Africian-American man who is perceived as higher and more beautiful due to his light skin tone in the Gullah culture.
Read MoreWhy the title “Farragut North”? The words are only mentioned once – and yet they are haunting. Farragut North is a “nowheresville”— a mere metro stop in Washington DC — the end of the road where failures whose reach far exceeds their grimy grasp ultimately must depart the train. This tale of winners and losers leaves the audience to decide who actually is which.
Read MoreThis 90 minute one-act blends humor, realism and pathos into a moving portrait of love, loss and temptation as we see Melody move from a flake into a strong women. She deals with the hostile demanding Hope (herself dealing with the loss of her husband and now her son) and she conquers advances form Craig’s young assistant Brad (Christian Blackburn). This work is an honest attempt to depict two women as they deal with a tragic situation
Read MoreHall’s script is indeed an in depth theses on the nature of art and the power of individual expression. We come to realize that the meaning of an art piece lies in the eye of the observer and that ultimately there are no rules to art, that technique is easily over shaded by personal expression.
Read MoreAct Two presents a debate as to the problems raising a child in a two female home – especially when Nate/Margot and Leigh (with a commitment from Jacob) decide to “co-parent” between the two couples with visits from Jacob. Darcy uses those obvious problems to sabotage the desired pregnancy of Leigh with Jacob. But she is unaware of changed circumstances that further complicate things. The plot lines here are plausible and probable.
Read MoreClifford Odets’ 1935 revolutionary work first produced by the Group Theatre using “agit-prop” theatre techniques. The play was theatre as propaganda at its emotional zenith. This work utilizes actor plants in the audience to arouse responses and to break the ‘fourth walk.’ While a tad dated, Waiting For Lefty is still a classic warning to big corporations not to continue to oppress the American working class.
Read MoreThe stage chemistry was winning and the duets soared as the Sondheim song fest thrilled us with style, sophistication, and truthful performances. This revue is a major triumph! If you want to see a classy flawless musical revue, get to Theater Wit to be amazed by the craftsmanship and artistry of Chicago’s talents. Porchlight Musical Theatre continues to mount fine shows.
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