Pornography
Stephen’s drama weaves the story of six Londoners each with strong feelings of being objectified and dissociated from society. With an amazing lack of empathy and compassion, these folks demonstrate their disconnect from current events.
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The Trestle at Pope Lick Creek
Naomi Wallace’s The Trestle at Pope Lick Creek is a passionate look at repressed anger, frustration, and sexual appetites that come from boredom and lack of hope that permeates the poor in rural Depression Era America. Wallace’s play has a unique flourish and a lyrical sophistication that dramatizes the struggles by folks to change lives that bear down upon them. This is a hauntingly powerful look at repressed emotions and spoiled hopes
The Adventures of Pinocchio
The adults are pleased and the children are enchanted with twists and turns for every age – from bouncing balls into the audience (to the delight of the little ones) to the more sober moral lessons of love, care, and (above all) honesty as the puppet strives to become a real, human boy.
Chicago Shakespeare Theater’s productions never disappoint. Here, the staging is creative and delightful, with innovative sets, fully fleshed characters, smooth interweaving of puppets and actors, and colorful costuming.
West Side Story
let me state that this National Tour is still a most worthy, even breathtaking theatrical event. Bernstein’s music and the Robbins’ inspired dancing are so exquisite that this production is a terrific show to introduce teens to the magic of classical Broadway musicals. West Side Story certainly captures the angry voice of urban youths in the 1950’s. Much of that angst still resonates today. But in this high energy production – dance and a heart-throbbing score dominate. And that is all that is needed sometimes.
A Beautiful Spell
Setting for 90 minutes in those small uncomfortable wooden chairs in the upstairs studio space at the Royal George Theatre and watching the gruelingly long and tediously repetitious bedroom drama – A Beautiful Spell – made for more an endurance battle than a fun night at the theatre.
The Crowd You’re In With at 16th Street Theater
Rebecca Gilman set her 2009, The Crowd You’re In With in Chicago’s Lakeview neighborhood. She uses a July 4 celebration to put three couples and one stray into an agonizing discussion about married couples always wanting and eventually having children. This tightly trimmed and expertly directed (by Anish Jethmalani) 75 minute show is clear than the original Goodman Theatre production.
The Wiz
When it comes to taking a mediocre or tired shows and giving it new life–director/choreographer Stacey Flaster is the one to call on. She has worked her wonders on the 1975 often misunderstood and often over-hyped African-American version of The Wizard of Oz – Brown & Smalls’ The Wiz. This tuneful show is usually too shrill, too loud and too intense to be cherished. But, with Stacey Flaster’s wizardry it plays with loads of heart; terrific dancing; and with an honesty that gets us to empathize with Dorothy and her three pals.
The Women
Director Jim Schneider’s cast of 18 women had trouble trying to land the acidic comedy from Luce’s stinging dialogue. The fast talking and over-the-top hyper acting by most of the cast made much of the comedy fall flat. The sameness and high-pitched vocals from many of the cast became tedious very quickly. Lack of comic timing lead to funny lines being thrown away.
Stations Lost
With Stations Lost, as the second part of Fitzpatrick’s trilogy (follows last year’s This Train), Fitzpatrick has written a most compelling and thoroughly engaging performance art piece. Adapted and Directed by Ann Filmer, Stations Lost uses the blend of personal storytelling, video art of Fitzpatrick’s unusual covers and illustration art and bluesy/folk songs (sung by Lynne Jordan to John Rice’s guitar) to express Tony’s impressions about his world.
The All New Original Tribute to the Blues Brothers
We all know The Blues Brothers, the classic cult hit from 1980 with SNL members John Belushi and Dan Aykroyd, a film that is dear to many people’s hearts, especially, perhaps, here in Chicago, where the film was set. So tampering with something like this, well, it’s sort of like trying to make a Broadway musical out of Pulp Fiction, or remake Casablanca: Bogart and Bergman defined those roles such that anyone else playing them would just be wrong.