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A Red Orchid Theatre’s production of Pinter’s The Room is, I’d say, recommended for an audience with a mature and sophisticated appreciation for theatre. Not that it’s pretentious or elitist, but, if one is not willing to follow its absurd and esoteric progression thoughtfully, one will likely be frustrated and confused by its conclusion (though perhaps still entertained by its menace and occasional comedy). For it is a sobering production that demands something of you, and you will only get something out of it to the degree to which you give in to it.

Continuing its 40th Anniversary Season’s playlist of greatest hits, Black Ensemble Theater opened Jackie Taylor’s I Am Who I Am this week, yet another musical homage to one of America’s legendary Soul singers, this time Teddy Pendergrass. Featuring some very fine vocal performances accompanied by the Black Ensemble Band, the production takes us through Pendergrass’ musical career, from his time with Harold Melvin & the Blue Notes in the early ‘70s all the way up through his “Teddy 25” performance in 2007. Shining the blinding light of grace and gratitude, the play side-shuffles the dark side of Pendergrass’ personal tragedies, making it a consummate feel-good tribute that will delight long-time fans and likely entertain newcomers with an appreciation for or openness to Soul music.

As the protagonist. Psmith comes to New York in 1910 from Cambridge, edits a newspaper, fights organized crime and loses his straw hat in this wacky wordy comedy of manners. Psmith states: ““the work is not light. Sometimes the cry goes round, ‘Can Psmith get through it all? Will his strength support his unquenchable spirit?’ But I stagger on. I do not repine.” The P that begins his name is silent (“as in pshrimp,” he helpfully points out), but he himself is not. He is wittily eloquent in any situation, always confident that, as he puts it, “with the aid of the Diplomatic Smile and the Honeyed Word I may manage to pull through.”

If avant-garde, absurdist-cum-intellectual theatre with socio-political spice doesn’t sound like your fantasy of choice, I would encourage you to reconsider: having once been suspicious of “avant-garde” theatre, and being none too impressed by the typical fare of Chicago theatres’ socio-political commentary, I write with confidence that Trap Door offers something truly fresh and interesting in their curious productions. And while maybe not their strongest production to date, Fantasy Island for Dummies is still more exciting, exploratory, and entertaining than most — so long as you’re willing to dive into the oddly fantastical.

Under the fine direction of Paul Stroili, the large Chicago cast of 23 is
terrific — capturing all the nuances of a family gathering, complete with
vulgarities and squabbles. Stroili was a member of the Original Chicago
Company. Vinnie (Brian Noonan) is a very believable restaurateur, hosting
the gathering, touting its virtues as he tries to promote future business,
and emceeing the various entertainers. A good time was had by all.

This play is so unbelievable, under developed and misguided that I’m thinking that it is really a parody of small town murder mysteries? With so many preposterous plot twists and so many wacky characters (more than I have mentioned here.), What else could it be? As a world premiere, Playwright Alex Lubischer needs to refocus what his play is actually about. As presented, my conclusions could be valid? If he wants to leave audiences with another impression than he needs to make that clearer. As it plays now Bobbie Clearly is confusing.

I think this show may have a cult following that will find it to be “out of sight”! Me? Not so much. The show is 1 hour and 45 minutes without an intermission and perhaps if there were less dancing spirits and blood soaked costumes it could be shaved down to 80 minutes. I do not recommend that you bring children to this show unless you want to pay for therapy later in life (there should be a minimum age requirement).