While both pieces, in their own way, were interesting. well sung and staged, The Clever One was more ambitious yet The Emperor of Atlantis was darker and more powerful. These seldom performed works are worthy of an audience as they are both historical as well as creative modern fairy tales rich in satire.
Everything this production has to offer can be derived by reading Saltzman’s bio and by listening to his recordings. On top of his meek performance, the production was peppered with video projections, which only seemed to function as a means for cheap laughs and a multi-media edge. The production wouldn’t have been nearly as disappointing if it hadn’t been based on an aggressive promise to present new music and profound ideas
Lifeboat is a tragic story with an uplifting resolve. The production’s playful nature and captivating characters make it best suited for a younger audience (8-12). With its ability to entertain, the play serves as an opportunity to introduce children to some WWII history. I recommend taking your children to see this show, at your discretion. Be sure to give them some context before viewing and be prepared to answer questions afterward. I do not recommend the play to someone seeking a deep and more involved WWII drama.
Schmuckler marvelously weaves his hauntingly melodic music upon his smart, witty and often poignant lyrics that presents each character’s emotional quirks. The voices were splendid and the multi-part harmonies were soaring. The arrangements by Doug Peck deftly played by Austin Cook and his seven member chamber orchestra created as marvelous sound that underscored and enhanced the romantic atmosphere of the piece.
After all, it is titled One Hit Wonders because it contains a fine assortment of past hits that includes blues ballads, catchy R & B with strong anthems. The tunes are the stars here with some terrific voices. Songs like “I Will Survive,” the haunting “Get Here,” “it’s Raining Men,” ‘To be Real,” “Total Eclipse of the Heart,” ‘What would You do For Love?” and “Hey There Lonely Girl” were featured by a terrific cast.
At only 75 minute long, the play is short and sweet, which gives you little excuse to miss this joyful production. Joy is an element that is often times absent from art, choosing instead to smother us with pretension, spectacle, or cynicism. The director made the theatre our humble home, leaving us with new ideas and warmth in our hearts. I recommend taking the time to bring some joy into your life and walk away with a better understanding of yourself and others.
Told with inquire movement, interspersing lighting and Oriental motifs with terrific puppets and elaborate choreography with Asian infused original music (by Andre Pluess) featuring a chamber orchestra with a cello, strings/percussion and flute, The White Snake creates the charming and quaint atmosphere of ancient China ripe for mythical storytelling
The Redtwist Theatre space allowed the audience to become guests in the already cramped apartment, beautifully designed by Joe Schermoly. I can’t imagine this play being nearly as effective in a proscenium auditorium. If you’ve ever wanted to see this show, now is the time to do so. To sincerely experience the brutal realism, it needs to be seen in a small theatre.
David Henry Hwang’s M. Butterfly, is gem of a play. It is a layered love story that covers themes like East verses West culture, men verses women and fantasy love verses reality. Loosely following Madama Butterfly and an actual French case of a diplomat being convicted of falling in love with a Chinese opera star who was a spy, M. Butterfly is a stunning piece of dramatic theatre that has elements of spectacle and sprinklings comedy.
After doing exhaustive research about gilded age social activist Emma Goldman (1869-1940), Roslyn Alexander, the “Grand Dame of Chicago Theatre” returns to the stage to perform a one person show based on her study. Alexander deftly presents The Passion of Emma Goldman in a 90 minute engaging performance wherein she brings Goldman’s life to us.