Latest from Chicago Critic

My other problem with In The Heights is in its story that has for its central problem–will Nina go back to Stanford (why not just get student loans?) and will Vanessa get her Bronx apartment and how will Abuela Claudia spend her $96,000 lotto winnings? The closest In The Heights gets to conflict is the racism from Nina’s family toward the African-American Benny. This is a sugar-coated, idealized and sanitary depiction of the modern big city barrio that plays as fantasy and becomes a parody of Latino barrio life.

Jack helps rescue children lost in the woods, escapes from bully goats, and aids the three bears among other adventures Jack encounters on his fast-paced 55 minute journey toward finding his way and helping his parents become “normal” again. Jack restores the traditional ending that becomes “Happily Ever After” for his parents, himself and everyone.

You’ll need to stretch your imagination and exude much empathy to fully appreciate this strange work. The multilayer performances by Goeden and Keberlein make seeing this show worth the time. The folks at Oracle Productions don’t charge for tickets depending on donations from audiences after the performance. They bank on you enjoying their shows. Ironmistress’ acting makes this show jell. If you’re an adventurous theatre patron and want to see something different-catch Ironmistress and then make a suitable donation.

The Addams Family features a marvelous score and witty/funny lyrics by Andrew Lippa whose score has everything from vaudeville, to power ballads, to tango/fandango, to patter songs, to a pop/rock pastiches that deftly tell the story and enrich the characters. Lippa score is the vehicle that drives this show–it has humor, panache and loads of heart. There are hummable take-home songs here such as the opening “When You’re an Addams” and dance tune “Just Around the Corner.”

From the opening number that was changed and poorly danced by the six boys (instead of the mixed gender 13 from the 1983 original), we quickly realize that this crude production is a mere parody of the lush heart-felt original that was ground-braking in 1983-84 since it featured a male-male relationship. In this production, no one will ever believe that George Hamilton and Chris Sieber have been lovers for more that 20 years

This is all by means of saying that this play bears incredible intellectual fruit. It is, like Beckett, like Brecht, deep in meaning and rich in metaphor. But, also like Beckett and Brecht, it is incredibly hard to stage successfully. And Steppenwolf falls short…And the play itself, I say again, I find fascinating and highly worthy of both praise and production. But, sadly, this particular one falls short. Perhaps in a few years – maybe with some Irish help – the right people will come together and create magic with this piece.