Tom Williams

Democracy tries hard to work as a farce-within-a-farce moving from satire to high drama. Basically, Democracy delivers the troubled style from Linney due to the skills of the cast

Veteran Chicago comic Will Clinger’s promising new one man show–Dr. Harlon’s Key to Better Living, now in an entertaining world premiere at the Royal George Theatre, is a clever, funny spoof of those late night TV self-help guru/infomercial celebrity Dr. Harlon Stewar

With whimsical staging by director Richard Cotovsky and a cast of players sporting mostly authentic middle class contemporary British accents, How to Disappear Completely and Never be Found unfolds as a searing indictment of the foibles of modern society so filled with dehumanizing rituals, long working hours and electronic devices that render personal communication obsolete.

As presented at The Batey Urbano Theater, Cuba and His Teddy Bear is an explosive worked peopled with unsavory low-life urban drug dealers and junkies. We meet Cuba (Madrid St. Angelo) the intense father trying too hard to be a mentor/friend and father to his gentle, sensitive artistic teenage son, Teddy (Christian Blackburn).

Christine narrates with the fervor of as aspiring writer throwing in tidbits of writing technique as she humorously channels her obsession with Ingrid. Christine’s determination motivates Ingrid in unique ways that seem to unclog Ingrid’s writing block

The sisters learn through various trials and tribulations that love and acceptance within the family is superior to material wealth. And that helping others is virtue. We witness little squabbles and tragedies that could easily destroy a family make the March clan stronger as they persevere in a blindly optemistic belief that ‘things will workout just fine.’

Billy’s procrastinating about studying for his Bar Mitzvah and his nagging, at times mean mother Essie (Rengin Altay) mixes large doses of threats and Jewish mother’s guilt at her son. Billy fights her all the way.

Set in Paris in 1923 on an exquisite set (designed by Keith Pitts), we enter the bohemian life of international star Isadora Duncan (Jennifer Engstrom in a emotional wrenching performance). We see her lavish lifestyle complete with extensive sexual activity with her drunken Russian poet husband, Sergei Esenin

Brooks’ structured Young Frankenstein in the best Broadway traditions leaning heavily on vaudevillian Borscht-Belt elements. Brooks proves that he is a terrific song writer mixing tune-full melodies, many parodies of other Broadway shows, with witty, often satirical show specific lyrics.