Theatre Reviews

Squeeze My Cans

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Schenkelberg is a former Scientologist, and in a show that is as hilarious as it is sad, she details her whole journey into and away from the religion, minus eight hundred thousand dollars and all of her personal relationships.

Twelfth Night (Chicago Shakespeare in the Parks)

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After a few changes to the script and re-staging for a park environment, Kirsten Kelly and Chicago Shakespeare have revived their short version of Twelfth Night for this summer’s city-sponsored Shakespeare in the Parks program. Featuring some of the same cast members as the production that played earlier this year in Chicago schools, Kelly’s Twelfth Night is endearing, funny, and light-hearted with just the right amount of intelligence.

Chops

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Chops is a winner on many levels. It is a nostalgic remembrance of the Rush Street night club era as well as a clever con plot to gain cash. The Randy Steinmeyer and Daniel Patrick Sullivan have terrific stage rivalry with Larry Neumann, Jr. contributing passive stability. These outstanding actors under Richard Shavzin’s tight direction make this 88 minute one-act zing along. You’ll be engrossed into the world of jazz and conmen as the glimpse into a lost era finds these guys trapped into to who they are. This show is a treat.

Catch Me if You Can

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“Catch Me if You Can” is quite simply the classiest and splashiest community theatre production I have enjoyed in ages. Don’t be fooled by the venue. You may be walking into the Buffalo Grove Park District, but Big Deal Productions’ 2016 summer extravaganza matches and occasionally exceeds some Chicago Equity productions with ambition and the kind of scale rarely seen on any stage these days. Producer Lindsay Grandt and Director Ken Preuss have marshaled together an extraordinary company of volunteers who have committed themselves heart and soul to exploring a classic cat and mouse game in which the traditional roles of good guy and bad guy get turned upside down.

Tomorrow Morning

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For people who old enough to have been married, or are in their late twenties and considering it, the show has obvious emotional resonance. In its current staging under the direction of John Glover, it also is surprisingly theatrical for that’s basically just two conversations.

Kin Folk

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The New Colony, under the direction of Evan Linder, puts their attention to where it truly matters: into a very strong cast. And though the story is sometimes confusing and, to me, ambiguous as to its meaning, it too raises some curious questions as to what it means to be human and how sometimes the gap between who we are and who we want to be cannot be bridged.

A Midsummer Night’s Dream (First Folio)

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Few Shakespeare plays are better suited to outdoor performance than the seasonally appropriate fantasy romance A Midsummer Night’s Dream. Now at the Mayslake Peabody Estate, First Folio’s production, directed by Haley Rice, is an amusing romp through the woods, with a talented group of actors who are mostly new to the company.

David Carl’s Celebrity One-Man Hamlet

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Why do a show about a possibly brain-damaged actor interpreting every role in Hamlet with the aid of puppets, projections, facial spasms, and acronyms? The answer, “Busey” says, is to prove that he can. And for a hilarious seventy-five minutes, we can watch a slow-rolling disaster interlaced with occasional flashes of genius as Carl pars down Shakespeare’s longest play into a rapid-fire series of commentaries, deluded sidetracks, and high tragedy.

My Son the Waiter: A Jewish Tragedy

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Last February, as I sat reviewing a one-man play in a Florida theater, an immediate thought hit me: “This is a perfect show for Skokie!”

I was right! Brad Zimmerman’s My Son the Waiter: A Jewish Tragedy just opened at the North Shore Center for the Performing Arts for a 4- week run, and it is a perfect match — just as funny and delightful the second time around as it was originally.

Wastwater

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By Simon Stephens

Directed by Robin Witt

Produced by Steep Theatre, Chicago

A Little Bit of the Lake District Brought to Heathrow

While Hamilton is dominating the coverage of the upcoming Broadway in Chicago tours, another hotly-anticipated event later in the year is British playwright Simon Stephens’ stage adaptation of Mark Haddon’s novel The Curious Incident of the Dog in the Nighttime. Followers of Steep Theatre Company are already familiar with Stephens, since three of his works have enjoyed American or Midwestern debuts there. His works have gained a following in some circles, but also gained contempt in others, because they are often episodic and feature seedy characters in mysterious situations. Wastwater is another one of those, and in Steep’s production, is directed by Robin Witt to deliver the atmosphere Stephens fans expect.

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