This manically paced comedy id fueled by grief and dysfunctional family relations yet it is one of the cleverest and witty comedies in years! Alex Weisman give a tour de force performance as Jason/Tyrone, Who knew that Weisman could manipulate his hand puppet with such spot-on timing and change voices instantly between Jason and Tyrone. Add his deft physicality and we have a fabulous comic performance. Weisman can add comic performer (and puppeteer0 to his resume.
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Sung in English (translation by Hugh MacDonald) with a large video depicting the story with a huge English super titles, The Love Potion works well. Featuring music that sounds like film underscoring rich in piano and string sounds, The Love Potion’s singing makes the story come alive. The 12 person ensemble (a kind of Greek chorus) sounded terrific and the leads led the way.
From tenor Bernard Holcomb’s Tristan to soprano Lani Stait’s Isolde to baritone Nicholas Davis’ King Mark, these featured artists carried the opera with their expressively skilled voices
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This play is so unbelievable, under developed and misguided that I’m thinking that it is really a parody of small town murder mysteries? With so many preposterous plot twists and so many wacky characters (more than I have mentioned here.), What else could it be? As a world premiere, Playwright Alex Lubischer needs to refocus what his play is actually about. As presented, my conclusions could be valid? If he wants to leave audiences with another impression than he needs to make that clearer. As it plays now Bobbie Clearly is confusing.
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Slowly, with many long speeches by Edna reminiscing about past events particularly those involving Andrew, we get hints as to what is the angst Andrew feels toward Edna and his dead father. Communicating, searching for relevant connections and struggling to make peace as time depletes Edna’s life is the play’s focus. The early scenes quickly become tedious as we hear Edna ramble on and on.
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… on September 25 from 1 pm to 7 pm at Navy Pier with Gaines’ second installment of her ode to The Bard’s histories: Tug of War: Civil Strife. I enjoyed this show more than the first one. Maybe because of the music seemed to be more a tad softer, more melancholy or maybe because my three favorite classical actors had major roles : Larry Yando, Kevin Gudahl and Timothy Edward Kane? Whatever the reason, Tug of War: Civil Strife was a thrilling event that I’m glad I was able to cover this. Kudos to Chicago Shakespeare for having the chutzpah to mount two historical marathon dramas in the same season!
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Anchored by old Emile, (fabulous work from Allen Gilmore) who is going into and out from past memories as he battles dementia. He sees his young self (the boxer-built Kamal Angelo Bolden) as he arrives in NYC from St. Thomas to reunite with his estranged mother Emelda (Jacqueline Williams). As Emile and Emelda look for work in NYC, Emile’s ability to make lady’s hats leads him to Howie (Thomas J. Cox), a small hat manufacturer. Once Howie sees how well built Emile is he gets him to become a boxer.
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Set in 1979 Washington, D.C. at a mansion in Georgetown (impressive set design by Tom Burch), we are at the place where through the years, Hester Ferris (Lia D. Mortensen), a Kennedy-liberal from the 60’s, held posh dinner parties. These events definitely help liberals and conservatives, Democrats and Republicans come to agreements and compromises on government policy, political appointments and new legislation. These private parties allowed political adversaries the opportunity to relax, have a drink and civilly reach a consensus. After all, most politicians in that era where to some degree or another friends. Hester hosted many of these parties in the 60’s and 70’s.
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The family used their almost yearly visits to Disneyland as a place of solace and escape as they recover and move on with life. Dawkins deftly plays each of the four sisters and their mother. His rendition of the seven year old was precious. The Happiest Place On Earth is about more than just a retelling one one family’s story. It is a testimony to the resilience of American families, particularly those whose matriarchs keep the family functioning.
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Mary Zimmerman’s genius for staging and set design use grabs audiences from the start catapulting them back to New York’s Greenwich Village in the 1950’s that was an enclave of artists, poets and composers and writers. Using Todd Rosenthals colorfully stunning set design inspired by a graphic illustration by Steven Duncan, Zimmerman ekes all the comedy from Joseph A. Fields and Jerome Chodorov’s book and from Betty Comden and Adolph Green hysterical lyrics with many of those precious little Zimmerman additions that garner laughs. Her staging is manic, fun, and breathtaking!. From the opening ensemble number, we get the feel that Wonderful Town will be funny, heartfelt and hopeful as we experience NYC in the 1950’s. I can’t remember a finer musical comedy opening that sets the audience’s expectations better!
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For Dr. Watson and Sherlock Holmes forged a bond of trust out of both necessity and a mutual curiosity about events. Playwright Walsh weaves all the smart observations by Holmes with the unique observations by Watson that Sir Arthur Conan Doyle would appreciate to establish a fine mystery. Add a Holmes style plot and this new work appeals to mystery lovers. Mush humor emerges as we view all Holmes and Watson’s foibles, Katie McLean Hainsworth’s performance is a winner as she delivers the cleverness and rich humor of the quirky Holmes.
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