Summer Music Festival in Rosemont

The Stars Align and Shine for Goodman’s “Iceman”

By Lazlo Collins
So where does one begin when talking about “The Iceman Cometh”?
Do you start with author Eugene O’Neill’s career of dramatic Pulitzer prized classics? Do you talk about the Goodman’s long standing relationship with O’Neill’s plays? Or perhaps you mention the relevance of O’Neill’s work even today?
What most people talk about when you mention “The Iceman Cometh” is its length. At a running time of four hours and forty-five minutes, it comes in as one of the longest plays on record. A question I got asked a lot was, “Will you stay for the whole play?”
And the answer was “Yes”!
The Goodman’s Theatre’s production of “The Iceman Cometh” was compelling, brilliantly cast, and kept me enthralled to the end.
The 18 member cast was a powerhouse of dramatic chops. Even before the curtain rose, you knew that this “Iceman” would be one to remember.
The story of these men and woman assembled together at the last stop on their lives. From here they will go nowhere; no ambition to change; only pipe dreams sustain them. When we first see the characters appear through the dim morning light, you can almost smell the stale booze and cigarettes left over from all their dreams deferred. I snake pit of broken camaraderie to pacify everyone’s ego; with just enough empathy to stay inert.
This is “Harry Hope’s” (Stephen Quimette) flop house for all. Mr. Guimette was outstanding as the saloon owner. The caliber of his work, although expected at this level, was magnificent. His rage against the loss of his wife, and the contempt for himself as well as his companions could not have been better. Mr. Quimette’s performance was so memorable.
Brian Dennehy, as patron” Larry Slade”, commanded his role with ease. He is no stranger to the stage; portraying the down and out man of the hour. His stage credits are illustrious in this dramatic genre. With a Tony Award to his credit, and strong background in O’Neill experience; he hits the mark again with his strong and subtle cadence as the skeptic and ultimately the clearest of the group.
If there were a pinnacle of acting treasures, then Nathan Lane’s portrayal of “Theodore Hickman” is one of those that should not be missed. Lane’s “Hickey”, after much anticipation from the ensemble, comes on to the scene with all guns armed and loaded. His favorite among his rock bottom peers, but this time it is different. His work of self-discovery has passed, and his recruitment of all pipe-dreams dashed has begun. Mr. Lane is so good. His good natured camaraderie is genuine; while he insults and cajoles without flinching. His forced exploration into his revelations by his crowd is tense, but his final descent into his own revelations in the fourth act was heartbreakingly well done. Primarily known for his comedic work and funny guy shtick, Mr. Lane digs deep, and leaves the audience breathless in his portrayal of a self-delusional friend with the kind face you thought you knew well.
As “Hickey” slowly changes and challenges the flop house residents, each of the actors comes face to face with their own reality. And each of the actors comes to table with their best acting chops. Not a weak actor in sight among the cast of “Iceman Cometh”. The players moves along as one ship, making stops to allow the characters to time to explain themselves to the audience, and to try to make sense of the journey they are on. The strength of this “Iceman” cast was brilliant. I enjoyed everyone.
Salvatore Inzerillo was simply on the mark, with his portrayal of bartender “Rocky Pioggi”. Mr. Inzerillo’s sharp portrayal of a man who seemed to keep his patrons well placed in reality was superb, despite his friend “Hickey’s” pressure.
Other acting standouts include Patrick Andrews as the intense” Don Parritt”, John Hodgenakker as the heartbreaking “Willie Oban”, John Reeger as the cautious “Ceil Lewis”, John Douglas Thompson as the proud “Joe Mot”t, and James Harms as the sad “Jimmy Tomorrow”. Lee Wilkof as “Hugo Kalamar” was also picture perfect as the more tension breaking role.
With Nathan Lane, Brian Denehy, and Stephen Quimette clearly at the helm, the other actors were of no less important, and move to hold their own throughout the show. The strong leads and ensemble of actors is what makes the version of the “The Iceman Cometh” such a strong submission in its history of production.
The direction by Robert Falls, shows that this was not his first trip to the saloon. He deftly moves his characters through the passes without dragging things out, or intentionally teaching the audience a lesson. He lets the actors bring us into the story and let the audience experience their suffering. His experience with actors and source material shows in this production.
I appreciated the set design, especially for a long show such as this one. Masterfully created by Kevin Depinet, the first act has an almost claustrophobic setting; moving through the acts, to a more open air treatment. Then the final act is dark and tomblike to match the depths of the characters and their obvious choices.
“The Iceman Cometh” is a theatrical endeavor that few try. The Goodman has triumphed over such a difficult and consuming project. With this extraordinary cast in place, the stars have thus aligned again for Eugene O’Neill’s most personal play. He would have been honored by such a production. It was a chance of a lifetime to see this play that makes all of us explore our dreams deferred.
“The Iceman Cometh” runs at the Goodman Theatre, 170 North Dearborn through 17 June 2012. 312-443-3800 or goodmantheatre.org

Only the Ill Mannered Would Miss This “Pride and Prejudice”

By Lazlo Collins
Lifeline Theatre’s “Pride and Prejudice” is a thrilling and wholly satisfying evening at the theater. I really didn’t want it to end! This adaptation by Lifeline Ensemble Member Christina Calvit is right on the money. Its pace is breezy and free thanks to the direction of another Lifeline Ensemble Member Elise Kauzlaric. It never takes is self too seriously. The story of the perceived impertinence of one Elizabeth Bennet, as she navigates between her parents, sisters, friends and suitors, is a winning one. I grinned from ear to ear during this lovely and wistful production.
As the action moves through the life and times of the Bennet’s and those that surround them, the ensemble comes together to deliver a beautiful lesson of manners, impressions, and hopes of love.
In the center of all story is Elizabeth Bennet (Laura McClain). With her mother’s mad dash to have all her daughters married, Elizabeth has a lot to say to her parents. (As well as keeping the audience in her confidence) Ms. McClain’s sweet and smart portrayal of a woman discovering herself and her feelings of one Mr. Darcy (Dennis Grimes) is amazing. And speaking of the dashing Darcy, Mr. Grimes is smashing. He not only looks and acts the part, but will melt your heart with his contemplation of good deeds and ultimately love. McClain and Grimes have a great onstage chemistry.
Mr. and Mrs. Bennet is another pair with great theatrical flair. Mrs. Bennet (Cameron Feagin) plays the part of the meddling mother and mostly hysterical antics that keep the family rolling their eyes. Ms. Feagin is outstanding and just reaches the edge of “over the top”, but safely pulls her character back just in time to move on to her next victim to listen to. Mr. Bennet (Don Bender) is the opposite as the quiet, removed parent who has time for the foolishness of his daughters; except one, his favorite, Elizabeth. Mr. Bender’s love of his family and yet contempt at the same time are evident and well crafted.
Phil Timberlake as the puzzling Mr. Collins was outstanding. His subtle timing and gentle demeanor was spot on throughout the show. He was a joy to watch.
As stand outs among the proper and precocious cast is Amanda Drinnkal, as the calm oldest daughter, Jane Bennet, the prickly Lady Catherine played by Jan Sodaro, and as the dashing Mr. Wickham, James Gasber. All three had some outstanding moments moving this entertaining story along.
A gentlemanly bow and huzzahs to the original music and sound designer Christopher Kriz for his outstanding work. It helped bring the audience into the action and moved the scenes along.
The set design at Lifeline is always top notch and this set design was no exception. Melania Lancy used the space well for the varied scenes, while creating a pleasing period palate for the audience.
Anyone who is loves Jane Austen should see this pleasing show. Anyone who doesn’t know the work of Jane Austen, and may have a high brow perception of her writing, should come to Lifeline. Let yourself be taken away to the engaging world of Jane Austen’s “Pride and Prejudice”. It will bring a smile to your face and make you believe in love again.
“Pride and Prejudice” runs through 10 June 2012 at Lifeline Theatre. Call 773-761-4477 or visit www.lifelinetheatre.com

Have you written the worst ten minute play? Read on.

Devlyn Camp Chicago Theatre Reviewer adds production assistant to his credits

STREET TEMPO THEATRE ANNOUNCES

THE SECOND PRODUCTION OF THEIR INAUGURAL SEASON: LITTLE SHOP OF HORRORS AT STAGE 773 APRIL 9 – MAY 13

Street Tempo Theatre Presents a New Twist on the Classic Production

CHICAGO –Street Tempo Theatre announces Little Shop of Horrors as the second production for the newly launched musical theatre company. Street Tempo Theatre is committed to creating raw, intimate, thought-provoking musical theatre in Chicago and opened their first season with the 1970’s cult classic Let My People Come. The Company’s production of Little Shop of Horrors is Co-Directed by Street Tempo Theatre Artistic Director Brian Posen and Music Director Kory Danielson. Previews for Little Shop of Horrors are Monday, April 9 and Tuesday, April 10 at 8 p.m. Preview tickets are $15. Opening/Press night is Wednesday, April 11 at 8 p.m. The production runs through Sunday, May 13 with regular performances Thursdays – Saturdays at 8 p.m. and Sundays at 3 p.m. Tickets are $38 and may be purchased at www.stage773.com, by phone at 773.327.5252 or in person at the Stage 773 box office.  Senior, student and group discounts are available. For more information on Street Tempo Theatre visit www.streettempotheatre.com.

Street Tempo Theatre’s Little Shop of Horrors will take the audience on a journey through the streets of Skid Row to a struggling flower shop where a blood-thirsty plant from another world is anxiously awaiting her next victim. Seductive, tragic, and full of twisted humor, this darkly re-imagined production of Little Shop of Horrors is an onstage homage to b-movie cult films of the 1960’s.

“Street Tempo Theatre’s production of Little Shop of Horrors will prove to be a refreshing take on a musical theatre classic. The company’s mission is to showcase work that has never, or rarely, been seen in Chicago and put a fresh spin on old classics – and this production will do just that!,” said Artistic Director Brian Posen and founder of Street Tempo Theatre.

The complete cast and production team for Little Shop of Horrors includes:

Little Shop of Horrors is the second production of Street Tempo Theatre. Previews for are Monday, April 9 and Tuesday, April 10 at 8 p.m. Preview tickets are $15. Opening/Press night is Wednesday, April 11 at 8 p.m. The production runs through Sunday, May 13 with regular performances Thursdays – Saturdays at 8 p.m and Sundays at 3 p.m. Tickets are $38 and may be purchased at www.stage773.com, by phone at 773.327.5252 or in person at the Stage 773 box office.  Senior, student and group discounts are available. For more information on Street Tempo Theatre visit www.streettempotheatre.com.

Loretta Lynn to perform at Drury Lane Oakbrook

OAKBROOK TERRACE, Ill.— Grammy Lifetime Achievement Award-winning country star Loretta Lynn will perform three concerts from June 22 through 24 at Drury Lane Theatre, 100 Drury Lane. For over 50 years, Lynn has remained one of the most artistically and commercially successful country singer-songwriters in the world.

Lynn’s critically acclaimed music has confronted many of the major social issues of her time and has drawn from her compelling journey from the poverty of the Kentucky hills to Nashville superstardom. Lynn has had ten #1 albums and sixteen #1 singles on the country charts and

is the winner of four Grammy Awards, seven American Music Awards, eightBroadcast Music Incorporated awards, twelve Academy of Country Music, eight Country Music Association and twenty-six fan-voted Music City News awards. She was also the first woman in country music to receive a certified gold album, for 1967’s Don’t Come Home A’ Drinkin’ (With Lovin’ on Your Mind) and was the first woman honored as “Entertainer of the Year” by the Country Music Association in 1972. She was named “Artist of the Decade” for the 1970s by the Academy of Country Music, and was the first female country artist to receive a star on the Hollywood Walk of Fame in 1977. In 1976, Coal Miner’s Daughter, her autobiography (written with journalist George Vescey) became a New York Times Bestseller; in 1980 the book was made into an Academy Award-winning film starring Sissy Spacek and Tommy Lee Jones.

Loretta Lynn was inducted into the Country Music Hall of Fame, Country Gospel Music Hall of Fame, and the Songwriters Hall of Fame. In 2001, her most well-known song, Coal Miner’s Daughter, was selected as one of NPR‘s “100 Most Significant Songs of the 20th Century” and in 2003 she received Kennedy Center Honors. In 2010, Lynn received the Grammy Lifetime Achievement Award for her prolific 50 years in country music. ^{Produced by Jack White of The White Stripes, Lynn’s critically acclaimed most recent release, Van Lear Rose, features stunning arrangements and intimate songwriting and has earned Lynn a new generation of fans.}

The performance schedule is as follows: Friday, June 22 at 8 p.m., Saturday, June 23 at 8 p.m. and Sunday, June 24 at 2 p.m. A 6 p.m. Dinner is available for an additional $19 on Friday, June 22 and Saturday, June 23. On Sunday, June 24 Lunch is available at noon for an additional $19. Concert tickets are $65. Group discounts are available. For reservations, call theDrury Lane Theatre box office at 630.530.0111, or TicketMaster at 800.745.3000. For more information visit www.drurylaneoakbrook.com.

The Laughter Will Make You MEGAthink.

From the moment we enter the theater space at A Red Orchid Theatre, we begin to notice a world that could be from our future or maybe it is somewhere vaguely familiar? It turns out for this world premiere of “MEGACOSM” it is both.
The two principal actors have already been on the stage, even before the house lights are dimmed; both already creating a sense of tension and unease for the audience. With a quaking explosion and flickering monitors, the story begins in a world of unrest and suspicion.
Chris, played by impressively skilled Larry Grimm, is here for an appointment. He is here at this office to meet with Britt, played amazingly by Danny McCarthy. How did he get in to see him? Who sent him? What does he have to show Britt that would warrant such a meeting in these hours of unrest? These questions are all answered with great surprise and twists that no one can see coming.
We find out that this is just a small room of a manufacturing company that is at a point of immediate unrest. With explosions, power surges, and a rioting faction of “childlike” workers, the actors create a wonderful sense of urgency and danger.
Oh, and did I mention this is a comedy?
Mr. Grimm’s portrayal of “Chris” is subtle, and always at just the right amount of pathos for this unwitting victim of wrong place, wrong time, right idea. As his up-up- up tight interviewer, ”Britt”, Mr. McCarthy’s immersion into a paranoid self-saving frenzy is delightful. Both actors’ comedic timing and delivery of confusing complex repartee is nothing short of thrilling. They are fun to watch and they make the audience confident as they pull them on this journey as they both grasp for the biggest straw.
As the story unfolds, we are introduced to two other characters during the mayhem that is “MEGACOSM”. “Sam” (David Steiger) is a long time worker the company with some special identity issues. Maybe he has been at the company too long? He is Britt’s minion, and not the perfect work relationship. I will leave it at that. Mr. Steiger’s portrayal of a broken man who keeps you guessing is excellent. “Carol” is played by 9 year old Eden Strong. Ms. Strong’s character is a little less than happy about her working conditions at the factory. She takes on some of the more uncomfortable moments with great ease and strength.
Written by Brett Neveu, the quick dialogue and the layer by layer revelations of the characters makes for some excellent theater. I can imagine what fun he had writing some of the more surprising moments in the show. It is at times laugh out loud comedy, but making you think about the horror of how these characters got here in the first place.
With Dado’s direction at the helm, the show moves quickly and there is never a dull moment. A deceptively complex piece with the movement on stage, the tech and sound aspects, and creating a sense of suspenseful excitement is a tall order. All have been accomplished with Dado’s creative eye.
Not mentioning the scenic, light, sound, and media designs would be truly amiss. These elements were so important to the feel of the play and moving the story forward. And without giving anything away, provided another venue for a whole new characters to unfold.
MEGACOSM is a not only a story of about a company that is not so far off the beam in today’s society; but of characters we are afraid we could become given the same set of company circumstances. Go see MEGACOSM and enjoy the laughs, but the food for thought will stay with you for a while.
MEGACOSM runs at A Red Orchid Theatre, 1531 N Wells Ave. through 26 Feb. 2012. Box office 312-943-8722 or online at www.aredorchidtheatre.org

It's Not All a Drag

By Lazlo Collins

The reception outside the theater from the eight foot drag queen when I arrived was a great surprising touch to what was a would be a night of many illusions.
She continued to banter with the audience from onstage, warming up the crowd for “La Cage Aux Folles”. This romp of mistaken identity, glitz, glamor, and what families do for families, was about to start.
I had seen “La Cage Aux Folles”, with memorable music by Jerry Herman and snappy book by Harvey Fierstein, in its second Broadway revival a few years ago.

This time around the pared down production has fewer “Le Cagelles” and a more focused satisfying set by Tim Shortall.
As the lights came up and George Hamilton (Georges) began to speak, I knew it may not be the smoothest go round with him at the helm. To be fair, Mr. Hamilton has been in show business for over 50 years. He is well loved for his film work and debonair persona in many of his artistic endeavors. The audience recognized him immediately when he came out on stage. All that said, his performance as Georges was a bit uncomfortable. His mechanical line delivery as well as his singing was no match for the rest of this high energy musical. There were actually times I felt for his safety as he twirled about the stage. He is a gentleman of certain age, and his tan and persona are going strong, but just not in this musical. Even towards the end of the evening you could feel his energy waning as well as the audience’s patience. I realize that star recognition sells tickets, and perhaps there is a whole generation that may have not seen the show if he was not in it. But alas, sometimes the work needs to be a bit better than passable.
In sharp contrast to Mr. Hamilton’s unsure performance, Christopher Sieber as Albin was outstanding. He made the character his own. Mr. Seiber’s enchanting parry with audience was nothing short of thrilling. Even the act one closing number “I Am What I Am”, which can sometimes fall into anthem schmaltz, drew the audience right in the palm of his hand. This was a feat of a well-seasoned Broadway performer. His experience on the stage and with a Tony to his name is no surprise. I give him huge credit infusing the scenes with Mr. Hamilton with energy and delight.
Gay fathers (Georges and Albin) who run the female impersonation nightclub “La Cage Aux Folles”, need to make some changes to suit the son’s (Billy Harrigan Tighe) upcoming nuptials. A visit by the conservative fiancés parents (lovely dual cast Bruce Winant and Cathy Newman) turns their beliefs and decorating choices into question. The question of what makes a family, and what do they believe about themselves and others are a central theme.
The ensemble that makes the nightclubs entertaining core, “Les Cagelles”, were all spot on with their dancing, and wise cracking antics to keep the audience entertained throughout the show. They were fresh and fun and gave the show its bounce.
With energy to spare, Gay Marshall as Jacqueline, keeps us on our toes and sends the plot to its conclusion during the always rousing “The Best of Times”. She made me want to sing out loud.
Even with the last slow reveal of everyone in drag, (although I am a bit tired of many musicals these days ending with the audience clapping mega-mix), the show was overall fun to watch. The cast knows there marks and is ready to entertain. Perhaps it will get better with age, or a few B-12 shots.
“La Cage Aux Folles” runs through 1 Jan 2012 at the Bank of America Theatre

Joffrey Opens Promising Season with Delightful Don Quixote

Don Quixote by The Joffrey Ballet

At the Auditorium Theater in Chicago

Runs October 12-23, 2011

Tickets $25-$149; Box Office (800) 982-2787

Highly Recommended

Review by Darcy Rose Coussens

Don Quixote delivers in all aspects

I go to the ballet for many reasons. I love spending a classy night at the Auditorium Theater and accompanied by the Chicago Sinfonietta. I attend the ballet to be told a story in a unique way. I want to be amazed, to gasp and delight in grace, power and control developped beyond normal human capacity. Most of all, I go to the ballet to see something beautiful. The Joffrey’s Don Quixote, one of the most entertaining and stylistically varied ballets, delivers all the humor, stunts, and beauty an audience could desire.

Don Quixote kicks off the 2011-2012 subscription series at The Joffrey, aptly entitled “New Generation.” The performance follows the story written by Miguel de Cervantes of a delusional nobleman who believes himself a chivalrous knight in the adventures of his dreams. Choreography by Yuri Possokhov offers a Russian touch to the Spanish story, mixing Bolshoi ballet and festive Spanish dance styles. This ballet appeals to a wider audience than some others because of its humorous storyline. The performance involved some excellent character work in addition to the Joffrey’s exquisite dancing. Several audience members audibly sighed upon the entrance of Victoria Jaiani as Kitri, who stole the show from the beginning until her series of about 30 fouetté turns in the final scene.

The company numbers were each dynamic, fun, and often sassy and coy. At times they were almost soothing– I would get lost in a dance and it would seem unnatural for the dancers to stop moving at the end. Although a few company soloists moved a little stiffly and at times lost their expressions, this company is truly outstanding. The clever use of movement and expression to convey humor kept the audience engaged throughout the evening. The male soloists lived up to the leading lady, although before attempting the most difficult leaps and turning jumps they appeared a little worried, which made me nervous. However, Carlos Quenedit as Basilio was so successful in these attempts that in his final sequence, an audience member behind me cheered “yes!” upon each landing as if she were coaching a gymnast.

The details of the polished set and projected backgrounds set the stage for the dancers’ success. They were dressed in marvelous costumes of red, orange, turquoise, and sparkly gold. The warm, vivid colors of the ruffled dresses, bedazzled tutus and swooshing capes gave the story its Spanish touch, as did the detailed, fans, tambourines, and castanets. The production even featured a giant, puppetted pony for which two dancers provided the legs. The moving projections illustrated the story between and even during scenes. Projections designer Wendall Harrington achieved a creative use of artwork and media to tell this story, while maintaining the integrity of the piece.

Applause fairly rang through the Auditorium Theater on opening night. The audience enthusically supported the company, and they did not disappoint in technique or spectacle. There are only 10 performances, and I have no doubt that each night will be as successful as the first. Don Quixote opens a promising season with the Joffrey, complete with flying, diving, tradition, seduction, and most of all, beauty.

Rodgers & Hart: A Celebration

Rodgers & Hart: A Celebration at Light Opera Works

Light Opera Works Second Stage

1420 Maple Avenue, Evanston IL

Runs October 2-November 6, 2011

Box Office (847) 869-6300; $27-42

Recommended

A classy night of music by Rodgers and Hart

Review by Darcy Rose Coussens

Light Opera Works offers the best of the music of Richard Rodgers and Lorenz Hart in one entertaining review. The six performers covered a whopping 57 songs, mixing it up with selections such as “Blue Moon,” “Sing For Your Supper,” “Bewitched, Bothered and Bewildered,” and “The Lady is a Tramp.” The singers were excellent and the show well planned, with a concept by Richard Lewine and John Fearnley.

Although there were such a large number of songs represented in the review, the performers smoothly transitioned from one to the next. The first act felt a bit long, but the second act picked up with much more energy and the medleys of old favorites were accompanied by props and personality. Director and choreographer Rudy Hogenmiller, also artistic director of Light Opera Works, and music director Linda Slein have polished the works of Rodgers and Hart into a single cohesive show with plenty of variety.

The audience stood at the end for the charming performers, who wore tuxes or black dresses and sparkly jewelry. Altogether, this was a class act. The show is for ages 12 and older, and tickets are half price for guests ages 21 and younger. If you’re a Rodgers and Hart fan, this is absolutely a night you will enjoy.