Prolific playwright Terrence McNally sure has a thumb on the pulse of gay men in America as no one else captures their essence like he can. His honest presentation of the fabric of gay life including all the foibles, eccentricities, and fears are effectively presented in his 2006 drama, Some Men. In its Chicago premiere under the direction of David Zak and Derek Van Barham, Some Men unfolds in a series of vignettes scattered throughout the last 70 years of gay history in America.
The three live in a world devoid of reality as each interact to fuel each others delusions. Peter talks up a storm and Stan bellows at him as Vivian acts as peacemaker and facilitator to both. As Peter plays out his dream of giving seminars at hotels, Vivian and Stan keep their fantasy game going now with Peter’s aspirations in play. The result is funny and poignant look at how life’s obsessions and self delusions can over come reality
I must say that the production was innovative, ambitious, as the cast worked hard to land the material. Too bad it mostly fell flat. Tone problems, poor lighting, over-the-top camp interruptions lost any resemblance to fantasy.
Fiddler on the Roof is a classic Broadway musical with a special look and feel that is irresistible to audiences. The melodic songs resonate in the soul and the fate of the Jews of Anatevka foreshadows the Holocaust to come forty years later. The lessons in tolerance still apply today and the strength of tradition is still a vital part of the social order. Fiddler on the Roof gave humanity to these noble ideals. I can enjoy Fiddler every few years; it never fails to move me. Alex Honzen’s empathetic Tevye anchored this brilliant production. The tradition is, indeed, upheld.
Mike and Seth have a life-long non-sexual love affair that finds them in a special relationship of trust that allows them to share their most intimate personal thoughts. As Mike is on a drinking binge the night before his wedding, he questions, cavorts, rage-on and bears his soul to the only person he totally trusts: Seth. Seth, in turn, expresses his worries and fears to Mike as the two have a chemistry that is truthfully played by Garza and Manocchio. This exchange comes from two trust-fund guys who have never had to worry about sustenance as privilege has been granted to each by birthright.
In it’s Chicago premiere, Christine Whitley’s Miles Away takes its cues from the classic pool hustling films: The Hustler and The Color of Money. Set in a seedy motel somewhere, we meet Sissy (Isabel Ellison) and Ron (Josh Odor) two pool hustlers holed up trying to arrange pool games in a dwindling gambling market since the Internet is killing their action. It seems that word is out that Sissy is an unbeatable pool player. The are broke and desperate as they play a continuing game of love-hate as they struggle with each other and their demons.
Creating and performing a one person show is a daunting task but when the subject is Winston Churchill (1974 – 1965), the task becomes near impossible! But in the hands of veteran actor/director/playwright Ronald Keaton it is not only doable but amazingly effective. Not only does Keaton bare a resemblance to Churchill and he has his vocal style, accent and speech patterns down pat. He also has his movements, gestures and mannerisms reflecting accurately including the cigar and bowler hat that he seemed to be channeling Churchill on stage! This is a “must see,” tour de force performance magnificently performed by one of the finest, under appreciated actors working in Chicago.
The result is a energetic performance art piece. Once the audience adjusts to the nudity, we quickly become engrossed in the themes expressed. No sexual action (including erections, etc) could be seen, rather, Living Canvas RX is amazingly devoid of any suggestion of pornography. being nude is the cast’s way of celebrating the inherent beauty of all sorts of human forms.
With Geezers, Graves and Johnston recreate their magic in a wonderful, honest and heartfelt drama. This ambitious work is both a ‘coming-of-age’ drama and a nostalgic trip back for the ‘geezers’ living in a retirement home. One of playwright Johnston’s strengths is his ability to create well-rounded empathetic characters then put them in believable situations. He sprinkles honesty with humor, even gallows humor, together with smart, witty dialogue without resorting to sentimentality.
In short, although none of the repertoire here was completely first-rate (the Mozart overture excepted), and despite my reservations about Joshua Bell’s playing, this was a highly engaging evening of music, and the performance of the Dvořák was beyond reproach. James Conlon clearly has an exceptional rapport with this ensemble and often brings out its best; I, for one, would gladly welcome him as a frequent guest during the regular CSO season at Orchestra Hall.