When You Got, Flaunt It

The Producers

Remarkably BrightSide Theatre has done it again! Naperville’s only live professional theatre brings its 14th season of magical main stage productions to a close with a musical comedy classic by Mel Brooks. And if you’ve never treated yourself to an evening at BrightSide Theatre, this hilarious show would be the perfect production with which to begin and see what you’ve been missing. Following BrightSide’s recent delightful production of PRIVATE LIVES, producing Artistic Director Jeffrey Cass has followed it up with this beautifully embellished almost intimate, slightly scaled-down production of THE PRODUCERS. But Cass’ production is an absolute gut buster and, with respect to lavish sets and special effects, illustrates the old adage that “Less is More.” And you know what they always say—and as Ulla sings in Act I—“When You Got It, Flaunt It!”

Heavenly Voices

Nunsense

Oh, dear Lord, in Heaven, help me! The Little Sisters of Hoboken have a huge problem on their hands. It seems that the convent cook, Sister Julia, Child of God, accidentally poisoned 52 of the nuns with her tainted vichyssoise! The Mother Superior and the remaining nuns, all of whom were out of town when the incident took place, have buried all but four of the deceased sisters. These poor nuns have been temporarily laid to rest in the kitchen freezer…for now, at least. 

Fangtastic Fun

Untitled Vampire Play

Have you ever met a vampire? Well, you might have and not known it because, despite the way these creatures are depicted in novels, horror films and television shows, vampires look much different today. The 21st century undead don’t resemble the bloodthirsty vamps in fictional works, such as “Nosferatu,” “Twilight,” “Interview With a Vampire,” “True Blood,” “What We Do in the Shadows” and the upcoming sitcom, “Eternally Yours.” The vampires who have been the subject of popular theatrical  plays and musicals, such as DRACULA, DANCE OF THE VAMPIRES, LESTAT, and the current broadway hit musical and Tony Award-winner, THE LOST BOYS, are always easy to identify by the way they look. But Kevin Douglas, the talented Chicago playwright and Lookingglass Theatre ensemble member, paints a much different, more contemporary portrait of today’s vampires who blend in with everyone else, and are apparently living among us in every big city…like Chicago.

A Fascinating Fulfillment

Catch As Catch Can

Trying to do the best you can with whatever resources, opportunities or methods are available to you can be challenging. Often this will result in a kind of improvised or disorganized process. Another way of putting it is attempting to do as much as you’re able while trying to get everything else finished. That’s the gist of the idiom, “Catch as catch can.” And the phrase seems to be Mia Chung’s inspiration for or theme of her comic drama, now having its Chicago premiere. The play concludes Steppenwolf’s 50th Anniversary Season. The result is certainly a fascinating fulfillment of that idea, but an often confusing evening of theatre.

A Sweeping Epic

Leopoldstadt

Before his death, theatre critic Dominic Cavendish called the late playwright Sir Tom Stoppard, “Britain’s greatest living dramatist.” He burst onto the theatre scene in 1966 with his daring and hilarious spin-off of HAMLET, entitled ROSENCRANTZ AND GUILDENSTERN ARE DEAD. Known for his razor-sharp wit, deep intellectual curiosity and playful exploration of language, Stoppard went on to write for film, radio, television as well as for the theatre. 

Over his lifetime Tom Stoppard penned more than 30 tragicomedies. They include TRAVESTIES, THE INVENTION OF LOVE,  JUMPERS, THE REAL THING, ARCADIA, ROCK N’ ROLL and THE COAST OF UTOPIA. Reviewing LEOPOLDSTADT, his last play, Greg Evans called Stoppard’s final work “a late career masterpiece.” He went on to wisely comment about this sweeping epic that “any summary of the scenes and timeline descriptions of LEOPOLDSTADT can’t begin to convey the richness of Stoppard’s work.” And I absolutely agree. 

LEOPOLDSTADT premiered in 2020 in London’s West End, but was forced to close due to the Covid pandemic. It returned again when the theaters were reopened, and then transferred to Broadway two years later. In New York, Stoppard’s three-hour masterpiece won four Tony Awards, including Best Play. However, the presentation at Writers Theatre features a few cuts and script revisions made by Stoppard and his frequent collaborator and friend, Carey Perloff, who also brilliantly directed this production. There could not have been a more perfect choice as guest director. The Glencoe theatre’s incredibly intimate presentation marks the largest production in the theatre’s history, as well as a beautiful rendition of the final play by one of our greatest playwrights.

LEOPOLDSTADT is Stoppard’s most personal, elaborate and semi-biographical play. It follows the lives of four generations of a large Jewish family. The story is set in the luxurious drawing room of their family home in Vienna, Austria. The clan’s complicated history spans from 1899 to 1955. In two-acts, Stoppard’s saga recounts the intricate journey of an affluent, assimilated family as their enjoyment of prosperity is taken for granted, and until the family’s good fortune descends into  the perils of the Great War and the ravaging realities of the Holocaust. Stoppard based many of the characters in this play on the stories he remembered about his family relatives. As the epic narrative continues, the playwright comes to explore the painful and lingering guilt of those few family members who survived.

It’s imperative that every theatergoer has a printed program in his hands throughout the performance, in order to follow along and thoroughly understand the relationships of each character. The  characters are featured in three ways. There’s a nicely illustrated family tree, and the clan is also listed by the various eras. Then there are the headshot photos of the entire cast, so that the audience can match faces to the character names.

Although there are many newcomers treading the boards in this production, the cast is led by some of Chicago’s finest, best-known and well-loved actors. They include Barbara E. Robertson, (THE DETECTIVE’S WIFE, Writers Theatre), Kate Fry (WIFE OF A SALESMAN, Writers Theatre), Emma Rosenthal (THE FLYING LOVERS OF VITEBSK, at Northlight), Hannah Dworkin (PICNIC, Writers Theatre), Jessie Fisher (EVERY BRILLIANT THING, Writers Theatre), Sarah Coakley Price (EURYDICE, Writers Theatre), Ian Barford (Salieri in Steppenwolf’s AMADEUS), Sean Fortunato (Malvolio in TWELFTH NIGHT, Writers Theatre), Joey Slotnick (AMADEUS, Steppenwolf), Erik Hellman (TRANSLATIONS, Writers Theatre) and Andrew Mueller (TRANSLATIONS, Writers Theatre). The actors range in ages, from children to adult. Many are making their Writers Theatre and/or professional debut. They include Justin Albinder, Sam Bell-Gurwitz, Ella Boparai, Levi Charnay, Asha Dale Hopman, Rachel J Jones, Theo Clark Leber, Morgan Medina, Grainne Ortlieb, Adeline Rosenthal, Sebastian Rus, Caleb Scherr and Brenann Stacker. An award for Best Ensemble was created for such a talented, multi-generational cast as this!

In addition to a large, gifted cast and the brilliant guidance and staging by director Carey Perloff, a few members of the artistic technical team must be acknowledged for their superlative contributions to production. Ken MacDonald’s gorgeous and detailed scenic design is absolutely jaw-dropping. Keith Parham’s exquisite lighting design adds color, depth and mood to each chapter of the story. The sumptuous, multi-piece costume design by Alex Jaeger spans an amazing 56 years of political and cultural change in Vienna, and must be seen to be fully appreciated. The period look for each character is further enhanced by Tom Watson’s excellent hair, wig and makeup design. And Jane Shaw’s spot-on sound design and original music gives an additional layer of realism to this magnificent production. With this breathtaking, must-see presentation of Tom Stoppard’s sweeping epic tragicomedy, Writers Theatre once again shows why it’s consistently regarded as one of the brightest jewels in Chicago’s theatrical crown.       

Highly Recommended

Reviewed by Colin Douglas

Presented June 4-August 9 by Writers Theatre, 325 Tudor Court, Glencoe, Illinois.

Tickets are available in person at the box office, by calling 847-242-6000 or by going to www.writerstheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com. 

Photos by Michael Brosilow

The High Price for Art

Southern Rapture

Tin Drum Theatre is a relatively young Chicago company who, I predict, is about to have a huge hit on their hands. Their mission statement perfectly prepares the audience for the play they’re about to enjoy. It states that the company “exists to disrupt complacency and reassert theatre’s civic purpose.” It goes on to tell us that in “moving beyond comfort to provoke conversation and critical engagement,” the company believes that “community begins where audience and ideas collide, and dramatic disturbances are created.” It’s as if their goal was directly inspired from Tin Drum’s latest production. The somewhat familiar plot of Eric Coble’s comedy, SOUTHERN RAPTURE, is unfortunately based upon true events. Through razor-sharp dialogue, fast-paced biting humor and scathing archetype character portrayals, the company demonstrates to the audience that, quite often, there’s a high price for art.

In 1996, the Charlotte Repertory Theater of North Carolina was fortunate to be one of only six American performing companies to be granted the production rights to present Tony Kushner’s ANGELS IN AMERICA. This epic play, which is subtitled “A Gay Fantasia on National Themes,” is presented in two parts. The critically acclaimed drama had earned every major accolade that existed, including both the 1993 and 1994 Tony Awards for Best Play, the Pulitzer Prize for Drama, the Drama Desk, and many others.

Kushner’s intense look at homosexuality and the 1980’s AIDS epidemic is an unflinching examination of how America faced this devastating disease, nicknamed “the gay plague.” The play primarily focuses on two couples, one straight and one gay. It features a mixture of real people, historical figures and a number of fictional characters, including supernatural beings like ghosts, dream characters and an angel. Many of the eight cast members play multiple roles, much as they do in this play. ANGELS IN AMERICA, which earned seven Jeff Awards for Chicago’s Invictus Theatre’s recent production, is widely regarded as one of the greatest plays of the 20th century. So for this reason, and many others, what happens in SOUTHERN RAPTURE isn’t just farcical and funny, it’s also deeply heartbreaking.

Beautifully directed with sensitivity by Jason Palmer, Tin Drum’s cofounder and co-artistic director, his talent and vast experience is put to the test. And, I must say, he definitely succeeds. Eric Coble’s comedy is given a sharp, energized production that emphasizes strong characterizations, wickedly dark satire and the narrow-minded censorship and prejudice that we continually see resurfacing even today. The controversy in SOUTHERN RAPTURE erupts when the local theatre produces a production of a play modeled after ANGELS IN AMERICA, which Eric Coble has retitled “Rapture in America.” The citizens objecting to the play have a threefold complaint. They disapprove because they claim that the play is all about gay men having sex; they protest that it contains an abundance of disgusting profanity; and—even worse—the play features full-frontal male nudity. Oh, my goodness!

Mr. Palmer stages and guides an incredibly gifted and versatile Chicago cast, particularly the four actors who play multiple roles. The three leading actors who hold the entire play together do so through their strong performances and contagious chemistry. As Majorie Winthrop, lovely Shannon Leigh Webber (INCOGNITO, Tin Drum; BOTTLE FLY, Red Twist) is a dynamo, a tower of strength filled with determination and imaginative ingenuity. She portrays the theatre’s producing artistic director who, years ago, left her hometown with her brother, when he was tormented for being gay. Now Marjorie’s returned home to take charge of the town’s theatre and to direct “Rapture in America.” In doing so, Marjorie is not only supporting freedom of speech, guaranteed by the Constitution, but she’s taking a stand to validate her brother’s lifestyle.

Talented Teddy Boone (WINTER GARDEN; INCOGNITO, Tin Drum), in playing conservative town Mayor Winston Paxton, he walks a thin line between honest characterization and cartoonish caricature. With high political aspirations that include luring the upcoming Olympics to his city, Paxton is planning to get reelected as Mayor, but he may also run for state Governor, or state Senator and possibly eventually President. Watching

Mr. Boone’s Mayor waffling between his support of every constituent and quashing the theatre’s controversial production, is like viewing a frenzied tennis match. The nickname “Wishy-washy” constantly comes to mind.

Michael Stejskal is the third actor portraying a single character with special panache. Making his Tin Drum debut as theatrical producer, Donald Sherman, he creates an edgy young divorced dad who’s saddled with child support obligations and dental distress. The talented actor, who plays Majorie’s flamboyant right-hand man, is nothing if not aggressively animated. He was seen in THE WINTER’S TALE at Invictus Theatre and in FOUR PLACES at Four Chairs Theatre. Sherman’s catty relationship with Jordan Gleaves, in the role of Simon Larisher, the wonderfully sleazy and gossiping theatre critic, is pretty hilarious. And the manner in which he interacts with the gifted Mr. Gleaves playing insecure actor Emmett Whipple, is pure genius. Jordan Gleaves, I might add, is one of the most versatile and charming actors in this production. He’s also spot-on playing Franklin McManus, the theatre’s lawyer, who continually spouts confusing mixed metaphors; and he also digs deep down into his James Earl Jones lower register to portray the Host of television’s Nightline.

Also making her Tin Drum debut is talented Jenny Hoppes, who is a stitch as Pam, the theatre’s no-nonsense stage manager, who is hilariously invisible to everyone else in the play. She doubles as the very funny, Bible-thumping concerned citizen, Laverne Jackson; and she plays a seductive Lady Macbeth-like Clarice Paxton, the Mayor’s conniving wife. Mary Anne Bowman also plays multiple memorable characters well. She portrays Allissa Marquand, the theatre’s most vocal board member and a concerned mother; stalwart District Attorney Julia Overmyer; and Nyla-Jean Geisy, an actress easily given to hysterics, who plays the molting Angel in “Rapture in America.”

And, as Mickey Stedman, the devoted actor who has to appear completely naked in the play-within-the-play, Andrew Bosworth is outstanding. He’s been enjoyed in productions at City Lit, Redtwist, The Factory, and other Chicago theaters. His character has absolutely no qualms about being naked in front of an audience, and he’s in complete support of doing the play, as it was written by fictional playwright, Anton Finewitz, who Mr. Bosworth also plays with relish. Sometimes bordering on cartoonish, Andrew is also the wild, fire-and-brimstone, evangelical preacher, Reverend DuPree, who’s hellbent on shutting down the production.

One of the most impressive aspects of this production is how each of the actors who play numerous characters, not only become completely different personalities in an instant, but also switch costumes so quickly. Kudos to Kasey Wolfgang for creating their 1990’s wardrobe that not only looks appropriate but allows for quick changes. Tech director, Kaitlyn Hettinger’s artistic scenic design is dominated by all kinds of windows, possibly a metaphor indicating that everyone in this town always has his eyes focused on everyone else’s business. And Ellie Fey’s brilliant lighting design plays an important role in this production.

Tin Drum’s Chicago premiere of Eric Coble’s comedy, SOUTHERN RAPTURE, is sure to be a hit with audiences. With its hilarious dialogue, comedic characters, breakneck pacing and seven seconds of full frontal male nudity, both the serious theatre aficionados and the curious will be lining up for tickets to this entertaining and enlightening farce. Get ready for a smart, yet comical portrayal of how we often have to cope with the high price for art in America.

Highly Recommended

Reviewed by Colin Douglas

Presented June 11-28 by Tin Drum Theatre Company at Theater Wit, 1229 W. Belmont Ave.

Tickets are available in person at the box office, by calling 773-975-8150 or by going to www.theaterwit.org.

Additional information about this and other area productions can be found by going to www.theatreinchicago.com

Photos by Lance Sorenson

Always Something There to Remind Me

Going Bacharach: The Songs of an Icon

One of the finest, most polished, sophisticated and magnificently performed musical revues is now playing for a limited time in the Windy City. The beautiful Apollo Theater Chicago presents an extraordinary concert of gorgeous song and instrumental, which has been playing to enthusiastic music lovers for months now. I’m late to the party, and unfortunately the production is coming to a close this Sunday. But please—do yourself a big favor and hurry over to the classy Lincoln Avenue venue near the L tracks, for a truly memorable entertainment event that will evoke fond memories of the past. Because, as GOING BACHARACH proves, “There’s Always Something There to Remind Me.”

It’s a Whole New World

Smiley

Dating has never been easy for anyone. In the old days, we used to meet possible dates in person, whether at school, the library, at church or maybe in the park. You might even strike up a conversation with someone special at a restaurant or bar. But  it’s a whole new world. Nowadays everyone—straight, gay, lesbian, bisexual, transgender—whatever—will search differently for romance. Today, a horny 21st century person will troll the Internet looking for love, or whatever passes for love these days.

The Love That Dare Not Speak Its Name

Brokeback Mountain

The first thing that must be said about this production is that, contrary to rumors, this is not a musical. It’s also not a carbon copy of Ang Lee’s critically acclaimed film from 2005, that starred the late Heath Ledger and Jake Gyllenhaal. It’s a unique, 90-minute one-act play with music. The tiny onstage house band, led by music director, conductor and pianist Jacob Yates, is tucked into a shadowy corner of the playing area, but is always present and in view of the audience. The musical quartet provides a soulful, country-flavored soundtrack that beautifully enhances the mood and atmosphere of the story. Dan Gillespie Sells’ score also features songs that Kat Eggleston performs as the Balladeer. As such, she becomes a kind of one-person Greek chorus, whose poetic commentary resonates as the story unfolds. But there’s no uptempo, over-sung pop hits or a cute chorine chorus tap dancing across the windswept Wyoming prairie. This is a drama, with a few moments of humor, that’s agreeably embellished by a subtle, country/western soundtrack.