REVIEWS BY

Hammett’s last novel tells the story of Nick Charles (William Bullion), a droll heavy drinking retired private detective unwillingly drawn into solving a murder in 1932 (Prohibition Era) Manhattan

Miller presents a complex tale that unfolds as a haunting exploration of business ethics as well as a story about responsibility to one’s family verses the moral imperative to the larger society. Brilliantly, Miller coats the story with layers truth and ambiguity.

The folks at Theo Ubique, in their slightly expanded stage at No Exit Cafe in Rogers Park, have ventured in producing Shakespeare’s comedy–The Taming of the Shrew using the hilarious antics and techniques of classic Commedia D’ elle Arte forms including slap-stick, prat falls, sound effects, stock characters and physical comedy. This show is a hoot!

This cast, among the finest non-Equity players in Chicago, under Paul S. Holmquist’s tight and inventive direction, did far more than merely ‘voices’ as this energetic ensemble vividly presented–acted-out really- each of the scenes of Thomas’ ambitious play.

Married Alive! is a series of sketches mostly sung through that moves from the wedding to empty nest, to old age in a light-hearted and often funny spoof of marriage in contemporary times.

Moving from the Kit Kat Klub, a Berlin sleaze night club back and forth to the Belin boarding house–we are greeted by the Emcee (Patrick Andrews) who charms and sets the sexy tone of escapism predominant in Berlin of 1930 in a most memorable version of “Willkommen.”

These three one-acts need to be re-thought and the last one (Midnight Vultures) sure could a major cutting and re-focus since the valid thought gets lost in all the rhetoric. It is never wise to rush theatre pieces into production.

Nick Sandys gives a “perfect performance” as the star of the “perfect musical.”
I am happy to report that Rudy Hogenmiller’s current production, now in a short run at Cahn Auditorium in Evenston, is a first-class show with a fine cast of new faces in the principal roles with Roger L. Bingaman’s 28 piece full orchestra deftly rendering Loewe’s original orchestration

Sad Cafe’s 1963 adaptation by Albee contains loads of his signature piercing dialogue in rich southern drawls. This story is billed as answering the question: is it better to be the loved , or the beloved