We meet through a series of counterpoint monologues, Alma (Deanna K. Reed) – a large-sized dark-skinned Africian-American women thought to be ugly mainly due to dark skin by the Gullah community and her counter-point – Eugene (J. Isreal Greene) a “high-yellow” (light-skinned) Africian-American man who is perceived as higher and more beautiful due to his light skin tone in the Gullah culture.
Why the title “Farragut North”? The words are only mentioned once – and yet they are haunting. Farragut North is a “nowheresville”— a mere metro stop in Washington DC — the end of the road where failures whose reach far exceeds their grimy grasp ultimately must depart the train. This tale of winners and losers leaves the audience to decide who actually is which.
John Hiatt is a well-known and accomplished songwriter. He’s written songs for just about everyone under the sun, and a number of them have been hits – at least on the country charts.
This 90 minute one-act blends humor, realism and pathos into a moving portrait of love, loss and temptation as we see Melody move from a flake into a strong women. She deals with the hostile demanding Hope (herself dealing with the loss of her husband and now her son) and she conquers advances form Craig’s young assistant Brad (Christian Blackburn). This work is an honest attempt to depict two women as they deal with a tragic situation
Hall’s script is indeed an in depth theses on the nature of art and the power of individual expression. We come to realize that the meaning of an art piece lies in the eye of the observer and that ultimately there are no rules to art, that technique is easily over shaded by personal expression.
Act Two presents a debate as to the problems raising a child in a two female home – especially when Nate/Margot and Leigh (with a commitment from Jacob) decide to “co-parent” between the two couples with visits from Jacob. Darcy uses those obvious problems to sabotage the desired pregnancy of Leigh with Jacob. But she is unaware of changed circumstances that further complicate things. The plot lines here are plausible and probable.
Clifford Odets’ 1935 revolutionary work first produced by the Group Theatre using “agit-prop” theatre techniques. The play was theatre as propaganda at its emotional zenith. This work utilizes actor plants in the audience to arouse responses and to break the ‘fourth walk.’ While a tad dated, Waiting For Lefty is still a classic warning to big corporations not to continue to oppress the American working class.
The stage chemistry was winning and the duets soared as the Sondheim song fest thrilled us with style, sophistication, and truthful performances. This revue is a major triumph! If you want to see a classy flawless musical revue, get to Theater Wit to be amazed by the craftsmanship and artistry of Chicago’s talents. Porchlight Musical Theatre continues to mount fine shows.
Thit is not a straightforward retelling of the tales: rather, the play takes place through Carroll’s perspective, how he told the stories through his eyes, and includes interludes of his personal letters and notes. This lends an interesting twist to otherwise very familiar territory.
Adaptation and direction & fight choreography by Matt Hawkins Original Music by Kevin O’Donnell Lyrics by Shawn Pfautsch and Matt Hawkins Produced by The House Theatre of Chicago At Chopin Theatre, Chicago Adaptation: not quite a face-lift but more than a nose job PANACHE! Here’s a word that playwright Edmond Rostand introduced into the English … Read more