Theatre Reviews

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.

As the protagonist. Psmith comes to New York in 1910 from Cambridge, edits a newspaper, fights organized crime and loses his straw hat in this wacky wordy comedy of manners. Psmith states: ““the work is not light. Sometimes the cry goes round, ‘Can Psmith get through it all? Will his strength support his unquenchable spirit?’ But I stagger on. I do not repine.” The P that begins his name is silent (“as in pshrimp,” he helpfully points out), but he himself is not. He is wittily eloquent in any situation, always confident that, as he puts it, “with the aid of the Diplomatic Smile and the Honeyed Word I may manage to pull through.”

If avant-garde, absurdist-cum-intellectual theatre with socio-political spice doesn’t sound like your fantasy of choice, I would encourage you to reconsider: having once been suspicious of “avant-garde” theatre, and being none too impressed by the typical fare of Chicago theatres’ socio-political commentary, I write with confidence that Trap Door offers something truly fresh and interesting in their curious productions. And while maybe not their strongest production to date, Fantasy Island for Dummies is still more exciting, exploratory, and entertaining than most — so long as you’re willing to dive into the oddly fantastical.

Under the fine direction of Paul Stroili, the large Chicago cast of 23 is
terrific — capturing all the nuances of a family gathering, complete with
vulgarities and squabbles. Stroili was a member of the Original Chicago
Company. Vinnie (Brian Noonan) is a very believable restaurateur, hosting
the gathering, touting its virtues as he tries to promote future business,
and emceeing the various entertainers. A good time was had by all.