Clifford Odets’ revolutionary work first produced by the Group Theatre using “agit-prop” theatre techniques. This work utilizes actor surrounding 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. In the 1930′s the play was a huge success and it was mounted all over the country even in union halls. It ignited a strong reaction and it aided union recruiting.
Read MoreThat said, there’s still plenty here to entertain, including a charismatic performance from its lead (wo)man Lanning. Funny, committed and likable, even if Lanning doesn’t set about to reinvent the wheel, he at the very least shows himself a master craftsman. There’s still some work needed (from director and talent alike) in cleaning up Hedwig’s emotional transitions. But Lauren Paris as Hedwig’s “Man Friday through Thursday” Yitzhak comes equipped with some powerful singing chops, helping give Haven’s production a much-needed rock edge. And the four-piece rock band, led by musical director Kory Danielson, sounds electric (even as they occasionally drown out the voices).
Read MoreWe meet a woman with raccoon-like eyes who is in a sealed shelter filled with survival items. This woman rambles on and on about “The End is Coming!” and how we need to be prepared. While the hard working Karie Miller tries to engage us with audience involvement that includes throwing a large beach ball back and forth with the audience, we never get fully engaged since Miller comes off as a wound-too-tight nut job. Add the fact that shelves full of survival items continues to crash to the ground that Miller seems to ignore and we wonder if we are in a surreal dream scape?
Read MoreWhat makes Beaten so compelling are the terrific performances by the cast. Conor McCahill, once he slows down and stops mumbling in several of his monologues, is most empathetic. Kristin Collins and Kathryn Ascota were excellent in the troubled mother-daughter dynamic. Kathy Scambiatterra is a hoot as the tough, foul-mouthed pot-smoking grandmother. We empathize with the characters and we see the flaws within each as we try to decide what and who is best for Chloe. You’ll be surprised at how it all plays out. Beaten is a worthy play.
Read MoreIt’s not especially out of the ordinary in the theater for there to be bouts of nervous laughter. But usually, it’s unintentional—the awkward byproduct of jokes gone awry, actors gone off-key or whole plays gone sadly off the rails. Rare is the play which demands nervous laughter. Insists upon it. Nay, even feeds off of it.
Read MoreThe Jungle Book is a major new work that contains am amazing range of artistry. From the innovative musical arrangements by Doug Peck wherein he using jazz and Indian musicians with trumpets, clarinets, trombones, saxophones with Sitar, veena, carnatic violin and tablas to create a unique music; to the outstanding costumes by Mara Blumenfeld; to the sharp lighting by T.J. Gerckens to the imaginative staging by director Mary Zimmerman, we experience a delightful story filled with jubilant sangs and dances and populated by spirited characters led by the outstanding performance by young Akash Chopra. The Jungle Book is stylized, refreshing new musical that is amazingly polished and near finished and ready for Broadway. I’m begging that Chicago will export another hit show to NYC with The Jungle Book. This family friendly show will please all with its honesty and its polished stage craft.
Read MoreThe magic tricks — dazzling as they may be (palming cards, disappearing/reappearing objects, walking on glass, and the like) — are balanced by this exploration of a man who wanted to defy death and who — if not immortal, was at the very least invincible in his craft. It is a life story retold through the magician’s most famous tricks and escapes. Allen’s skillfully paced story of Houdini’s struggles gathers intensity until it ultimately touches the heart as well as the imagination.
Read MoreSet in Chicago’s highly affluent Hyde Park/Kenwood neighborhood, there is something terrifyingly relevant about the evangelist Tartuffe’s efforts to dispossess Orgon of his property, ensnare his daughter in abject bondage, and ultimately cuckold Orgon before finally sending him off to be incarcerated for crimes against the state. The racial undertones of Newell’s production, featuring a black man threatened with prison, leaving his wife and two children to fend for themselves, is a narrative sadly all too familiar to modern American audiences.
Read MoreWe meet two old-time Chicago detectives, Getz (Danny Goldring) and his wound-too-tight partner Bass Podaris (Phillip R. Smith) both use extreme methods to solve cases. Bass has troubles: his partner is a knucklehead, his boss is a hard-nose and his cases are being overturned and his bimbo wife is cheating on him, To make things worse, he’s chasing a prep who has a screwdriver stuck in his head! His world also has an assortment of shady folks: cruupt corners, a TV-personality doctor, and, of course, a femme fatale.
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