We see how the charming and totally honest Theophilus North becomes as both the conscious and the motivator who affects the lives (for the good) of all who come into contact with him. Theophilus finds adventure in everyday life once he realizes that he doesn’t need to travel to exotic places to find enterprise.
The clarity of the Newell-Peck production gives our understanding of the angst and pain of the Gullah community a new richness. We feel Porgy’s pain and Bess weakness. We also appreciate the strength of the Gullah community. After seeing several strong productions of Porgy and Bess (including the amazing Lyric Opera of Chicago production) , I must state that this truthful Court Theatre production is a masterpiece of art. It has the best of opera with the strengths of musical theatre.
When Pip (Tony Bozzuto)- Welker’s best friend and son of Walker’s father’s partner joins the two siblings, old memories kindle trouble. We learn about the complex relationship between the three that was strongly influenced by the father’s partnership. Walker finds a journal left by his father that is filled with hints an a reference to “the three days of rain” back in 1960.
Jack and Peg want to convince Gunner to move to an assisted living facility. Gunner, becoming frustrated with his worsening mental state, has an alternate plan to deal with his condition. Gunner has a quite unorthodox plan to secure both Peg’s and Jack’s future. The play deftly deals with the ramifications and ethical dilemmas as Gunner chooses a final solution that will solve everyone’s need for financial security and his need for peace and dignity.
When the girl-next store pretty blond, Samantha (Simone Roos) arrives from Reno to become the fourth dealer, she has a soothing effect on all the characters. After a meeting, the ‘Aces’ agree to each get to know the new dealer with an eye on trying to determine of she’ll go along and join their scam.
Fifty Words – an exercise in hurt-your-spouse relationship dynamics. The show is a scream-and-holler affair that moves from being sensual seduction to brutal verbal and physical love making that moves into hurtful physicality. It depicts the deep seeded resentments that a marriage can encounter when the bond that unites two people is shallow.
Charles Smith’s riveting examination of how memory can lead to totally different explanations of past events that get tainted over time mainly due to how we process such memories. Smith’s work dramatizes how unreliable personal memories can effect public history. It is 1980 and 50 years have passed since the lynching in Marion, Indiana.
Comedy is rife as he and Alan Schmuckler, (as investigating Officer Marcus Moscowicz) thrust and parry their way to a solution of the crime. And to add to all this, both men are excellent pianists, exchanging and interweaving their musical skill as they swiftly replace each other at the keyboard to underline narrative and interlace songs and dialogue
Jim Manganello has set himself quite the task: adapt Leo Tolstoy’s epic War & Peace into an hour-long piece of dance-theater. On the face, it seems almost comical, absurd. But with theater like this, it forces one to strip everything but the essentials away, and we are left with a very raw, very real piece of theater, that somehow, through it all, remains true to the original text.
The setting is a clock and watch repair shop on Chicago’s North Shore (terrific set designed by Simon Lashford). A middle aged man – Jimmy (Thomas Gebbia) is busy repairing clocks and watches. His daughter Dale (Cathlyn Melvin) – a moody 17 year old announces she is not going to college. She thinks she has little time left on earth. Does she know about mortal clocks – which are physical watches everyone has implanted behind the heart that can tell us precisely the time of our deaths?