Must See

This is an idea play that will have you debating it long after leaving the theatre. David Hare effectively argues both Tom’s and Kyra’s point of views. Each character’s point of view convinces us until we hear the other’s rebuttal. Ultimately trust decides things but only after a riveting evening of conflicted desires, aspirations, and ideologies. Hare’s brilliant writing is equalized by the expert work by Matt Farabe, Laura Rook, and especially Philip Earl Johnson.

Director Rachel Rockwell’s production of the 1957 classic ode to the folks of Iowa is in good hands . Featuring fabulous 1912 costumes (design by Melissa Torchia), terrific choreography and smooth dancing, The Music Man unfolds as a toe-tapping, family friendly musical comedy. At only $46.90 for the best ticket, audiences will get a full Equity acted and full orchestrated Broadsword musical- at half the price of a Loop tour. The beautiful Paramount Theatre, which seats 1880, allows theatre patrons in the Far Western suburbs to enjoy fine musicals.

We also see how Patricia is torn between her passion for Kyle and her duty as a wife to the vulnerable Teddy. What will she do as Kyle arrives to take her away? While all wait for the airmen to return from their bombing mission, the fear and tension permeates. Director Robin Witt has her dedicated cast fully engaged. Darci Nalepa is wonder as the conflicted soul; while Joe deBettencourt is terrific as the fun-living dashing pilot.

The BoHo Theatre and Stage Left Theatre jointly present a most engaging and fully authentic production of Shaw’s 1913 work – Pygmalion. Shaw’s most popular play became the great musical My Fair Lady that used much of the original Shaw script including much of the dialogue in the songs. Pygmalion, in its initial script, had a different ending that many producers and Shaw himself changed several times. This production used Shaw’s original ending which may be a surprise to My Fair Lady and fans of the 1930’s film of Pygmalion. Kudos to BoHo and Stage Left for sticking to the initial ending.

The Motherf**ker With The Hat is , indeed, about addiction on many levels that ultimately shows us how we keep fooling ourselves as we use our addictions or habits to keep ourselves from taking responsibility for our lives. This play contains lessons on how we use our habits or addictions to mask our self-delusional behavior. It has much to say and it says it with humor and profanity. I think this is Stephen Adly Guirgis’ finest play. Jimmy Smits and John Ortiz are particularly outstanding here.

. I have seen several fine productions of Faith Healer, but Si Osborne, Lisa D. Mortensen and Brad Armacost set the standard for this densely difficult work. Don’t let this play, as Teddy would call it: “Fan-tast-ic” escape without experience it. The power of live theatre to weave a complex story is skillfully presented. Don’t miss this show!

Oliver! is Lionel Bart’s 1963 masterpiece adaptation of Dickens stinging attack on child abuse, urban decay and indifferent social institutions. Bart takes a lighter treatment than Dickens yet the cruelty come through

The look, the movement, and the personality of Joey (and others) marvelously came to life. Since theatre is about the audience’s use of imagination, these puppets easily came to life on stage. We love Joey and we cheer for him throughout.

Playwright David Ives sure knows how to take the 17th Century classic French farce, The Misanthrope, and bring it up to date from 1666 to modern times by using a mixture of rhyming couplets. Ives blends Moliere’s wordy comedy of manners style with contemporary colloquialisms with casual vulgarity and scatological humor that could offend some. Yet, the zaniness of the classic characters together with the witty couplets played for extreme comic effect, makes for a belly laughing theatrical feast.