No matter what one does, the appeal of Greek tragedy in contemporary theatre is rather narrow. The-hypocrites’ current production of Oedipus, pared down to a 50-minute one-act and directed by whiz-kid artistic director Sean Graney, is no exception…
The scene is set for the framing tale: how Scheherazade (Louise Lamson) prevents her husband, King Shahryar (Ryan Artzburger) from killing her with the dawn of each new day, staying her execution for 1001 days, by telling him compelling stories that pique and continue his interest.
Tom Williams discusses the following stage plays with Carl Amari: The Who’s Tommy at Circle Theatre; The Walls by Rivendell Theatre at Steppenwolf Garage Theatre and Love Person at Victory Gardens Biograph Theatre. May 30, 2009
Fairey is a welcomed new voice whose ability to tell a worthy, dramatic story with ample dose of very funny lines engages us from the start. Her humor emerges from her quirky, memorable characters and from their situations. Yet the humor in Graceland never diminishes the dramatic power of her play.
The most interesting part of Love Person was the outstanding acting from Liz Tannebaum who demonstrates how strong a deaf person can convey emotions and truth without words. The use of signing never distracted like all the projected text messaging
Tom Williams discusses the following stage plays with Carl Amari: Buried Child by Shattered Globe Theatre at the Greenhouse Theatre; The Piano Lesson at Court Theatre; and The 25th Annual Putnan County Spelling Bee at Marriott Theatre. May 23, 2009 [audio:https://chicagocritic.com/newsite/audio/tom may 23.mp3]
Lisa Dillman’s play parallels two stories: one covers a series of three incarcerations of women in mental asylums dating from 1886, 1920’s and the late 1930’s while the other story features Carrie (Lacy Katherine Campbell) who is researching women in asylums.
This well sung show was highlighted by the strong vocals form Eric Lindahl and Tom McGunn. For me the dancers made this show a treat. Kevin Bellie gets the pop/rock score to move with energy
No es fácil imaginar sacar humor de la obra de Arthur Miller, Death of a Salesman, pero milagrosamente y con el espíritu latino indominable, eso es lo que hace la dramaturga Teresa Dovalpage con esta obra muy original. Se trata de una familia Cubana de la clase media-alta de Miami y sus dificultades
This weird play is told from the perspective of the couple and their xenophobic victims. We’re never sure what happens during the two day journey.