Aba Chicago: the rooftop patio is open (and warm)on February 20, 2020 at 5:09 pm

A Bite of Chicago

Aba Chicago: the rooftop patio is open (and warm)

Tired of waiting for summer?

Why wait?

The snow may be lingering outside but that hasn’t stopped Aba from opening up their spectacular outdoor patio.

Look up and you’ll see the heating elements above, Photo: Carole Kuhrt-Brewer

We stopped by, the popular Fulton Market hotspot on the final Sunday of Chicago Restaurant Week to sample their CRW brunch menu.
The “outdoor” patio, that is partially-enclosed for winter, was beckoning.
I stepped “outside,” with tables adjacent the snow. Surprisingly the temperature felt quite comfortable due to the blazing fire pits, heating elements in the ceiling and blankets in baskets nearby–just in case.
Let it snow! We were perfectly comfortable at our table adjacent the snow. Photo: Carole Kuhrt-Brewer

It was literally a breath of fresh air.

Without hesitation, I chose to sit “outside.” My dining companion agreed. Although the wind was blowing beyond the patio and the outside temperatures were in the ‘20s–we were perfectly comfortable–no blankets required.

We even took off our coats. We weren’t crazy and we weren’t alone as the patio was crowded and most were coatless.

“Outside” at Aba. Photo: Carole Kuhrt-Brewer

The Menu

Aba’s menu pays homage to Chef CJ Jacobson’s roots in California, incorporating a lighter style of cooking with influences from the Mediterranean including Israel, Lebanon, Turkey and Greece.

Signature dishes include Crispy Short Rib Hummus, Muhammara, Jerusalem Bagel with Labneh, Char-Grilled Lamb Chops, and Skirt Steak Shawarma.

Brunch

As I mentioned we went for CRW which ended February 9. The good thing is that the CRW items are all available on the regular brunch menu.

Besides being way too much for one person to eat (unless you just finished a marathon), I have no complaints. The $24 brunch menu offered a choice of two starters and a main entree–all could be easily sharable–as the portions were quite large.

With two of us we were able to order four starters which we shared. We each ordered our own entree. For starters we selected the whipped feta which turned out to be the perfect “dip” for the hot pita bread that is complimentary at brunch. We also ordered the Village Salad ($9.95 on the regular menu)–a fresh salad with mighty vine cherry tomatoes, persian cucumber, red onion, feta and greek vinaigrette. The Falafel was a bit of a disappointment–a little chewy and not terribly flavorful.

The highlight of the four starters was a surprise. The Dark Chocolate Babka ($7.95) which I had to be talked into ordering was outstanding. Babka comes from the Slavic word babcia, which means grandmother. Aba’s Babka is a sweet yeast dough baked in layers filled with dark chocolate, cinnamon, cardamom and raisins. Not only is it good–it is a looker–making it perfect Instagram feed. Feel free to repost my photo.

Starters. Photo: Carole Kuhrt-Brewer

For entrees we both ordered the Kefta & Eggs ($15.95) with lamb & beef kefta; fried eggs, tzatziki, lemon dill rice. The presentation was colorful, very California, and delicious.

The Vibe

There’s a hipster buzz to the space where Chef CJ’s California roots are evident not just in the menu but in the decor. The “sun-filled” atmosphere offers year around summer–no matter what’s happening outside.

A taste of California in Chicago. Photo: Carole Kuhrt-Brewer

The Bar Program

The bar program, crafted by Lead Mixologist Liz Pearce showcases rare Mediterranean-inspired wines and creative crafted spirits with a California accent.

Small Bites of Chicago

Upcoming Restaurant Weeks

Not unlike the Jimmy Buffet song, “It’s Five O’Clock Somewhere,” it seems, especially in the winter, “it’s restaurant week somewhere” in Chicago.

This week (February 21 to March 1) it’s Andersonville’s turn with participating restaurants offering $10, $20, and $30 menu specials and prix fixe offers throughout the 10 day “week”. There’s a great lineup of restaurants participating some including, Big Jones, offering Mardi Gras favorites.

Starting February 28, head north to Lake Forest and Lake Bluff for their Restaurant Week.

Restaurant Week returns to the Village of Rosemont March 1 through March 7. Visitors are invited to take advantage of special prix fixe, three-course lunch and dinner menus at a wide variety of participating Rosemont restaurants.

Fat Tuesday
February 25
Paczki Day

Time is winding done to indulge before lent. Especially in Chicago, paczki, a Polish pastry is a given, especially for Fat Tuesday (February 25). Some of the city’s best paczki can be found at Delightful Pastries but you have to get your order (minimum of a dozen) in by February 21.

Want to learn more about paczki, check out the 10 secrets of Delightful Pastries to the best paczki here.

To order, visit DelightfulPastries.com or call 773 545 7215.

Where to eat on Fridays during Lent

River Roast’s Fish Fry returns on Ash Wednesday (2/26) and every Friday during lent (2/28 – 4/10). The feast includes battered and fried cod, malt vinegar fries, house pickles, coleslaw, and remoulade ($20 – 8 oz; $39 – 16 oz).

Fat Rice puts an interesting spin on Fish Fridays. Even though cod is not native to the coasts of Portugal, the fish has been a staple of Portuguese cooking since the 14th century. Bacalhau refers to dried and salted cod, a dish treasured across Portugal. Throughout the years, Bacalhau evolved into the main dish served during holiday dinners, from Christmas to Easter, and its popularity surged in the predominantly-Catholic country during Lent — a time when meat is considered forbidden.

At Fat Rice, the Bacalhau da vovó (Grandma’s Cod), is served as a spread with house-made bread, black olive, chilli, and mint. “The Bacalhau has been on our menu since Day 1 — it’s Chef Abe’s great-grandmothers recipe,” says Co-Owner Adrienne Lo. “It is light, creamy, and in our opinion, one of the best ways to eat salt cod. It’s been a staple on our menu for 7 years, and will always be on our menu for everyone to enjoy.”

St. Paddy’s Day

Is it too early to start thinking about St. Paddy’s Day? Never!

In Chicago, St. Paddy’s Day is more than a day. Many celebrations last all month. Here’s just a couple to get you started with more to come on Chicago Eats and Show Me Chicago.

City Winery at the Riverwalk will be opening for the St. Patrick’s Day Parade and dyeing of the River on Saturday, March 14, at 9:00 a.m.

Gallagher Way in the shadow of Wrigley Field will be celebrating the day on Sunday, March 15, from 11 a.m. – 3 p.m. CST. Festivities will include live dance performances by the Trinity Irish Dancers, Irish dance lessons and a 12-piece band from the Old Town School of Folk Music. Guests will be able to watch a special performance by the Shannon Rovers Irish Bagpipe Band at noon, and partake in other activities including lawn games, face painting and family friendly crafts

Filed under:
al fresco dining, Chicago restaurants

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Review: Familiar (Steppenwolf Theatre)on November 29, 2018 at 7:34 pm

Review: Familiar (Steppenwolf Theatre)

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November 29, 2018

Familiar

Written by Danai Gurira
Steppenwolf Theatre, 1650 N. Halsted (map)
thru Jan 13 | tix: $20-$109 | more info

Check for half-price tickets

A must-see testament to the complex beauty of family

Steppenwolf Theatre Company presents

Familiar

Review by Lauren Emily Whalen

There’s no other word to describe Familiar, but warm.

The family comedy from Danai Gurira (yes, the same Danai Gurira who regularly kicks butt on The Walking Dead and in Marvel films – as if these weren’t enough, she’s also an accomplished playwright) radiates a gentle spirit of welcome, even when its characters are challenged most. And challenged they are, by cultural and religious differences, sibling squabbles and a devastating family secret. When Familiar‘s happy ending arrives, it’s earned by every individual. Taking place in a single night before a Minnesota winter wedding, Familiar inspires loud laughter and noisy tears, and Steppenwolf’s Chicago premiere hits all the right notes in between.

Like Gurira herself, the family at the play’s center are from Zimbabwe, but now live in America. Both daughters grew up here and have the accents to prove it, though younger daughter Nyasha (Celeste M. Cooper) has just returned from a trip to the homeland and is newly inspired by her roots. She’s visiting for the wedding of her sister Tendi (Lanise Antoine Shelley), who has left her family’s Lutheran church for a more evangelical Christianity. (Nyasha speculates there’s only one reason Tendi is getting married in Minnesota in the winter, and it’s not the beautiful snow.) Parents Marvelous (Ora Jones) and Donald (Cedric Young) are proud of Tendi and her white fiance Chris (Erik Hellman), but when a surprise guest arrives from Zimbabwe, the normally boisterous but loving family is thrown into chaos.

I recently reviewed another of Gurira’s plays, Eclipsed, presented by Pegasus Theatre Chicago. Unlike that play, a searing drama about the women affected by Liberia’s civil war in the early aughts, Familiar has cozier surroundings. Scenic designer Kristen Robinson has constructed a palace of a Minnesota home, a refuge for matriarch Marvelous from the conflict-driven environment she once knew, and a golden opportunity for fun entrances and exits up and down the palatial staircase and in and out of many doors. Ntokozo Fuzunina Kunene‘s costumes incorporate the colorful Zimbabwean garb of auntie Anne (Cheryl Lynn Bruce) with Tendi and Marvelous’s clean lines and muted tones, and Nyasha’s home-for-the-holidays sweats. Composer Somi‘s score is evocative and vibrant, an appropriately cinematic soundtrack for a tale that’s both intimate and epic.

Danya Taymor makes a triumphant return to Steppenwolf after directing 2017’s Pass Over, which was filmed by Spike Lee and premiered at the 2018 Sundance Film Festival. Taymor has a keen eye for the quirks that make a family tick, from a husband-and-wife’s silent disagreement on wall hangings, to the dynamics between overachieving lawyer Tendi and Nyasha, who is still finding her place in life (with not-so-secret financial help from her father). Both Gurira and Taymor understand families, immigrants and first-generation offspring on a powerful level, nailing every detail and dynamic with razor-sharp precision. Every scene rings true, from the heartbreaking act two revelation to a romantic comedy-esque exchange between Nyasha and Brad (Luigi Sottile), Chris’s clueless but charming ex-military younger brother.

Familiar is all about ritual: the Zimbabwean pre-marriage exchange between the groom and the bride’s family, the TV football game that leaves them cheering, the traditional musical instrument Nyasha brings home. Even a snowstorm feels sacred in the world of Familiar. As is typical of Steppenwolf, the entire cast delivers down-to-earth, achingly realistic performances. Ensemble members Jones and Cooper create a nuanced mother-daughter relationship, and Chicago favorite Shelley embodies Tendi’s stubborn intelligence and complacency that is rocked to its core. Familiar is a must-see, a testament to the power of family in all its complex, grounded glory.

Rating: ????

Familiar continues through January 13th at Steppenwolf Theatre, 1650 N. Halsted (map). Tickets are $20-$109, and are available by phone (312-335-1650) or online through their website (check for availability of half-price tickets). More information at Steppenwolf.org. (Running time: 2 hours 10 minutes, includes an intermission)

Photos by Michael Brosilow

artists

cast

Celeste M. Cooper (Nyasha), Ora Jones (Marvelous Chinyaramwira), Cheryl Lynn Bruce (Anne), Erik Hellman (Chris), Lanise Antoine Shelley (Tendikayi), Luigi Sottile (Brad), Jacqueline Williams (Margaret Munyewa), Cedric Young (Donald Chinyaramwira), Renee Lockett, Sam Pearson, Joseph Primes, Eunice Woods, Celeste Williams (understudies)

behind the scenes

Danya Taymor (director), Kristen Robinson (scenic design), Ntokozo Fuzunina Kunene (costume design), Marcus Doshi (lighting design), Justin Ellington (sound design, musical direction), Gigi Buffington (company voice and text coach), Somi (composer), Michelle Lopez-Rios (dialect coach), Sasha Smith (intimacy consultant), Malcolm Ewen (production stage manager), Mary Hungerford (assistant stage manager), JC Clementz (casting director), Hallie Gordon (artistic producer), Kathryn Takabvirwa (Shona cultural consultant), Katelynn Barker (design assistant), Regina Victor (assistant director), Lydia Hanchett (additional properties), Penny Lane Studios (wig design), Tom Pearl (director of production), Dana Nestrick (crafts artisan), Hanna Wisner (additional wardrobe), Nakia Shalice Avila (stage management apprentice), May Treuhaft-Ali (research associate), Avo Randruut (Mbira instructor), Michael Brosilow (photos)

18-1144

Tags: 18-1144, Avo Randruut, Cedric Young, Celeste M. Cooper, Celeste Williams, Cheryl Lynn Bruce, Chicago Theater, Chicago theater review, Dana Nestrick, Danai Gurira, Danya Taymor, Erik Hellman, Eunice Woods, Gigi Buffington, Hallie Gordon, Hanna Wisner, Jacqueline Williams, JC Clementz, Joseph Primes, Justin Ellington, Katelynn Barker, Kathryn Takabvirwa, Kristen Robinson, Lanise Antoine Shelley, Lauren Emily Whalen, Luigi Sottile, Lydia Hanchett, Malcolm Ewen, Marcus Doshi, Mary Hungerford, May Treuhaft-Ali, Michael Brosilow, Michelle Lopez-Rios, Nakia Shalice Avila, Ntokozo Fuzunina, Ora Jones, Pegasus Theatre, Pegasus Theatre Chicago, Penny Lane Studios, post, Regina Victor, Renee Lockett, Sam Pearson, Sasha Smith, Somi, Steppenwolf Theatre, Tom Pearl

Category: 2018 Reviews, Lauren Emily Whalen, Steppenwolf

Review: Familiar (Steppenwolf Theatre)on November 29, 2018 at 7:34 pm Read More »

Review: The Nutcracker (Joffrey Ballet, 2018)on December 6, 2018 at 10:23 pm

Review: The Nutcracker (Joffrey Ballet, 2018)

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December 6, 2018

The Nutcracker

Music by Peter Ilyich Tchaikovsky
Choregraphed by Christopher Wheeldon
Auditorium Theatre, 50 E. Congress (map)
thru Dec 30 | tix: $35-$109 | more info

Check for half-price tickets

Familiar holiday classic bursting with Chicago-centric charm, beauty

Joffrey Ballet Chicago presents

The Nutcracker

Review by Lauren Emily Whalen

The Nutcracker: a phrase that means many things to many people.

For ballet dancers, it’s a yearly ritual, one they’ve been performing since they were old enough to know the difference between first and fifth positions, an annual routine that often keeps them away from their families at Christmas but also keeps their ballet companies running. For families, it’s an opportunity for holiday bonding, however enthusiastic or reluctant different family members may be. For young audience members, this could be the beginning of a passion, perhaps a career. For some, The Nutcracker may be the only ballet they ever see.

How to reconcile all of this?

In 2016, Joffrey Ballet debuted a new version of the Tchaikovsky classic: choreographed by ballet demigod Christopher Wheeldon, this Nutcracker isn’t set in a large mansion full of wealthy people. Instead, it’s both humble – the Christmas party is a potluck of simply dressed immigrants who bring a small tree and plenty of good cheer – and Chicago-centric, set in the months before the 1893 World’s Fair. Mysterious family member Drosselmeyer is now the Great Impresario, a character loosely based on Daniel Burnham, who (among many other accomplishments) is responsible for Chicago having an open and accessible lakefront. Instead of a privileged little girl who receives a nutcracker as yet one more gift, the central character is Marie, the daughter of a sculptress of modest means, who loves her mother and younger brother and is thrilled to receive a special present from the Great Impresario himself.

This Nutcracker, now in its third year with Joffrey Ballet, remains the same in terms of dreamy scenery, candy-colored costumes, Tchaikovsky’s iconic score and the warm glow of love. Two years after its world premiere, the Joffrey Nutcracker is still an emotional journey, full of surprises and delights around every corner, and the enduring power of innocence.

Along with the Burnham-like figure presiding over the magic, Chicago and the World’s Fair are lovingly illustrated in every aspect of this Nutcracker. The ballet’s second half is famously Marie’s dream, the Land of the Sweets and dancing confections in pastel tulle with the Sugar Plum Fairy its benevolent leader. In the Chicago-centric Joffrey adaptation, Marie dreams of the Fair itself. The Waltz of the Flowers is a glorious gathering of excited fairgoers in dashing top hats and spring frocks, eagerly pointing out the wonders around them. Arabian Coffee is still sensual and contortion-like, Spanish Hot Chocolate brisk yet romantic, but the Russian dance is now Buffalo Bill’s Wild West, a lasso-wielding cowboy and his saloon girls. With every new twist, Wheeldon injects fresh whimsy into an old chestnut (pun intended).

The Joffrey dancers, energetic and athletic, only add to the magic. Though the cast rotates, every track is beautifully rendered no matter who is dancing. Opening day’s Marie was Anais Bueno, her wide eyes and glowing smile just as lovely as her precise technique. Dylan Gutierrez‘s Great Impresario was a perfect blend of imposing and kind, and his pas de deux with Jeraldine Mendoza‘s Columbia (this Nutcracker‘s equivalent of the Sugar Plum Fairy, and Gutierrez’s real-life romantic partner) breathtaking at every turn. As always, Rory Hohenstein‘s Buffalo Bill didn’t disappoint, full of down-home swagger and impressive lasso-twirling. Joffrey’s The Nutcracker is bursting with charm: there’s something for everyone, wrapped in an exquisite package of dance, history and family. Nostalgia never looked so good!

Rating: ????

The Nutcracker continues through December 30th at Auditorium Theatre, 50 E. Congress (map). Tickets are $35-$109, and are available by phone (312.386.8905) or online through their website (check for availability of half-price tickets). More information at Joffrey.org. (Running time: 2 hours, includes an intermission)

Photos by Cheryl Mann

artists

Joffrey Ballet company

Derrick Agnoletti, Yoshihisa Arai, Amanda Assucena, Edson Barbosa, Miguel Angel Blanco, Evan Boersma, Anais Bueno, Fabrice Calmels, Valeria Chaykina, Nicole Ciapponi, Lucia Connolly, April Daly, Derek Drilon, Fernando Duarte, Olivia Duryea, Cara Marie Gary, Anna Gerberich, Stefan Goncalvez, Luis Eduardo Gonzalez, Dylan Gutierrez, Rory Hohenstein, Dara Holmes, Yuka Iwai, Victoria Jaiani, Hansol Jeong, Gayeon Jung, Yumi Kanazawa, Brooke Linford, Greig Matthews, Graham Maverick, Jeraldine Mendoza, Xavier Nunez, Princess Reid, Aaron Renteria, Christine Rocas, Alonso Tepetzi, Elivelton Tomazi, Alberto Velazquez, Joanna Wozniak, Valentino Moneglia Zamora, Joan Sebastian Zamora

behind the scenes

Christopher Wheeldon (choreographer), Ljova (Act 1 party scene music arrangement), Brian Selznick (story), Nicolas Blanc, Adam Blyde, Suzanne Lopez (staging), Julian Crouch (set and costume design, mask creation), Natasha Katz (lighting design), Basil Twist (puppetry and effects), 59 Projections (projection design), Jacquelin Barrett (choreographer’s assistant), Suzanne Lopez, Caitlin Meighan, Michael Smith (children’s ballet masters), Frank McCullough (assistant scenic designer), Jon Goldman (assistant lighting designer), Tandem Otter Productions (puppetry and effects built by), Cheryl Mann (photos)

18-1205

Tags: 18-1205, 59 Projections, Aaron Renteria, Adam Blyde, Alberto Velazquez, Alonso Tepetzi, Amanda Assucena, Anais Bueno, Anna Gerberich, April Daly, Auditorium Theatre, Basil Twist, Brian Selznick, Brooke Linford, Caitlin Meighan, Cara Marie Gary, Cheryl Mann, Chicago dance, Chicago dance review, Christine Rocas, Christopher Wheeldon, Daniel Burnham, Dara Holmes, Derek Drilon, Derrick Agnoletti, Dylan Gutierrez, Edson Barbosa, Elivelton Tomazi, Evan Boersma, Fabrice Calmels, Fernando Duarte, Frank McCullough, Gayeon Jung, Graham Maverick, Greig Matthews, Hansol Jeong, holiday show, Jacquelin Barrett, Jeraldine Mendoza, Joan Sebastian Zamora, Joanna Wozniak, Joffrey Ballet, Joffrey Ballet Chicago, Jon Goldman, Julian Crouch, Lauren Emily Whalen, Ljova, Lucia Connolly, Luis Eduardo Gonzalez, Michael Smith, Miguel Angel Blanco, Natasha Katz, Nicolas Blanc, Nicole Ciapponi, Olivia Duryea, Peter Ilyich Tchaikovsky, post, Princess Reid, Rory Hohenstein, Stefan Goncalvez, Suzanne Lopez, Tandem Otter Productions, The Nutcracker, Valentino Moneglia Zamora, Valeria Chaykina, Victoria Jaiani, Xavier Nunez, Yoshihisa Arai, Yuka Iwai, Yumi Kanazawa

Category: 2018 Reviews, Auditorium Theatre, Dance, Holiday Show, Joffrey Ballet, Lauren Emily Whalen

Review: The Nutcracker (Joffrey Ballet, 2018)on December 6, 2018 at 10:23 pm Read More »

Review: Yippee Ki-Yay Merry Christmas! A Die Hard Musical Parody (Yippee Productions)on December 12, 2018 at 11:11 pm

Review: Yippee Ki-Yay Merry Christmas! A Die Hard Musical Parody (Yippee Productions)

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December 12, 2018

Yippee Ki-Yay Christmas!

By Stephanie McCullough (music/lyrics),
Michael Shepherd Jordan, Alex Garday (book/lyrics)
The Den Theatre, 1331 N. Milwaukee (map)
thru Jan 12 | tix: $45 | more info

Check for half-price tickets

Just because you can, doesn’t mean you should

Yippee Productions presents

Yippee Ki-Yay Merry Christmas!
A Die Hard Musical Parody

Review by Lauren Emily Whalen

How does anyone write a Die Hard parody without the air vent?

The 1988 action thriller is full of iconic moments, but perhaps the most of all is when Bruce Willis’ character, NYPD cop John McClane, crawls through an air vent. The moment is so iconic, in fact, it’s now a Christmas ornament. Yet aside from a brief mention at the beginning, no air vents are present in Yippee Ki-Yay Merry Christmas! A Die Hard Musical Parody. A budgetary issue? Perhaps, but the production makes liberal use of low-budget substitutes like remote control police cars, toy assault rifles, and actors who play multiple roles. So why no air vent?

Sadly, this glaring omission is only one symptom of Yippee Ki-Yay‘s inherent laziness. Once a hit at the MCL comedy venue in Lakeview, its bigger-budget expanded version is thoroughly underwhelming. Rather than milk the original film for all it’s worth (and that’s a lot), writing team Michael Shepherd Jordan, Alex Garday and Stephanie McCullough make the show a grab bag of 80’s references, some of which are clearly missed by the show’s millennial target audience. Solid parody is more difficult than it seems, and Yippee Ki-Yay‘s mediocre book and score, coupled with wishy-washy direction and a struggling lead actor, show that just because you can, doesn’t mean you should.

Die Hard the film was groundbreaking in many ways. It launched Bruce Willis, previously a sitcom star, into A-list stardom. It established the career of the late British actor Alan Rickman as the go-to creepy guy – which would pay off handsomely in the early aughts, when he was cast as Severus Snape in the Harry Potter movie franchise. Moreover, Die Hard is held up as the perfect screenplay in at least one how-to guide on writing for movies. The story hits all the right beats and is very tightly-paced. The characterization is clear, and everyone has an objective. It’s led to numerous sequels, a reboot, and well-known quotes like, “welcome to the party, pal!”

So why is Yippee Ki-Yay such a mess?

The aforementioned plethora of 80’s pop culture references is one reason. Naming the beat cop character Carl Winslow (in honor of actor Reginald VelJohnson’s ensuing long-term gig on the sitcom Family Matters) makes sense. Making one or two Nintendo jokes when Japanese boss Nakotomi has to die over 30 times, does as well (though that joke gets repetitive after the first ten utterances). But having a Terminator cameo that, in the spirit of the production, drags on way too long, is simply unnecessary, as is Theo Huxtable as one of the terrorists. Most of the audience when I was present clearly had no idea who Theo Huxtable was. Also, no jokes about the character’s friend bringing a gun to school (one of his main storylines on The Cosby Show). Speaking of which, no Bill Cosby jokes. None. When a character from his show was onstage for most of the 90 minutes.

With the exception of three songs, Yippee Ki-Yay‘s score is so unmemorable that the action grinds to a halt every time the keyboard sounds. No one remembers McClane’s (Bill Gordon) estranged wife, Holly (played here by Caitlyn Cerza), even though her hijacked office holiday party is the reason McClane’s in this mess in the first place. With that in mind, we really don’t need a whole production number about how tough it is to be a “lady in the 80’s”. Only terrorist leader Hans’s (Gary Fields) musical ode to fashion, Officer Winslow’s (Terrance LaMonte Jr.) sexual ballad about Twinkies and the hypermasculine American jam of FBI Johnson (Nate Curlott) are in any way entertaining – and that’s more because the actors sell the heck out of them.

Tiffani Moore Swalley‘s direction is just as confused as the writing. The 90-minute run time feels twice as long, and very few opportunities for creative staging are taken. (One notable exception, an extended wrestling sequence with McClane and a My Buddy doll masquerading as a terrorist, is due to Gordon, who choreographed the fight he performs.)

As well as the doll-fight, several performances stand out. Erin Long‘s turn as dumb terrorist sidekick Klaus is borderline genius, thanks to Long’s perfect balance between comedic timing and reckless physicality (both reminiscent of Amy Poehler, whom Long resembles). Both Curlott’s gung-ho patriotism and LaMonte’s wistful longing for a friend in McClane show that the actors are both intimately familiar with parody and willing to go all the way with it. Fields absolutely steals the show as suit-wearing, debonair Hans, relishing his villainy and taste in terrorist-wear.

These hilarious actors almost (but don’t quite) make up for Gordon’s lackluster interpretation of Willis’s most memorable character. Gordon delivers all his dialogue in a monotone growl, completely disregarding Willis’s very specific, mumbling cadence. A spot-on impersonation isn’t necessary (often in parody it’s downright boring), but I wish Gordon and director Swalley had made a character choice. Some choice. Any choice. Overall, Yippee Ki-Yay isn’t worth your money or time. Just stay home and watch the new Brooklyn Nine-Nine promo ad, which in one minute does a much better job of sending up Die Hard. And it has nothing to do with budget.

Rating: ??

Yippee Ki-Yah Merry Christmas! continues through January 12th at The Den Theatre, 1331 N. Milwaukee (map), with performances Thursdays-Saturdays at 8pm, Sundays 3pm. Tickets are $45, and are available by phone (773-697-3830) or online through their website (check for availability of half-price tickets). More information at YippeeTheMusical.com. (Running time: 90 minutes without intermission)

Photos by Michael Shepherd Jordan

artists

cast

Bill Gordon (Bruce McClane), Gary Fields (Hans Olo), Caitlyn Cerza (Holly Generic), Terrance LaMonte Jr. (Carl Winslow), Erin Long (Terrorist Klaus, Terrorist Tony), Ashley Geron (Deputy Chief Dwayne), Jenna Steege (Willis), Jin Kim (Nakotomi), Jonathan Allsop (Fabrique, Theo), Nate Curlott (FBI Johnson), Alex DiVirgilio (Arnold)

Understudies: Duane Deering, Susan Glynn, Nate Hall, Lauren Kincaid, Josh Morris, Chris Pow, Esh Ryans, Nicole Stull

band

Stephanie McCullough (keyboards), Paul Desman (guitar), Aaron Homard (drums)

behind the scenes

Tiffani Moore Swalley (director), Stephanie McCullough (music director), Sheena Laird (choreographer), Eric Luchen (scenic design), Lindsey Lyddan (lighting design), Brandon Reed (sound design), Katelyn Downing (costume, prop design), Bill Gordon (fight choreographer), Fredo Aguilar (technical director), Sara Savusa (assistant director, dance captain), Daniella Mazzio (stage manager, lighting engineer), Stefan Carlson (assistant stage manager), Warren Jackson (sound engineer), Christopher Wegner (production assistant), Ray Nardelli (sound consultant), Adell Medovoy (graphic designer), Robbie Ellis (copyist & keyboards), Carolyn Cake (sound engineer), Seagull Works (scenic construction, installation), Drew Desantis, Jim Jensen, Mark Michelson (producers), Michael Shepherd Jordan (photos)

18-1209

Tags: 18-1209, Aaron Homard, Adell Medovoy, Alex DiVirgilio, Alex Garday, Ashley Geron, Bill Gordon, Brandon Reed, Bruce Willis, Caitlyn Cerza, Carolyn Cake, Chicago Theater, Chris Pow, Christopher Wegner, Daniella Mazzio, Den Theatre, Die Hard, Drew DeSantis, Duane Deering, Eric Luchen, Erin Long, Esh Ryans, Fredo Aguilar, Gary Fields, holiday show, Jenna Steege, Jim Jensen, Jin Kim, Jonathan Allsop, Josh Morris, Katelyn Downing, Lauren Emily Whalen, Lauren Kincaid, Lindsey Lyddan, Mark Michelson, Michael Shepherd Jordan, Nate Curlott, Nate Hall, Nicole Stull, Paul Desman, post, Ray Nardelli, Robbie Ellis, Sara Savusa, Seagull Works, Sheena Laird, Stefan Carlson, Stephanie McCullough, Susan Glynn, Terrance LaMonte Jr., The Den Theatre, Tiffani Moore Swalley, Warren Jackson, Yippee Productions

Category: 2018 Reviews, Den Theatre, Holiday Show, Lauren Emily Whalen, Musical, Parody

Review: Yippee Ki-Yay Merry Christmas! A Die Hard Musical Parody (Yippee Productions)on December 12, 2018 at 11:11 pm Read More »

Review: Fantastic Mr. Fox (Emerald City Theatre)on December 18, 2018 at 1:44 am

Review: Fantastic Mr. Fox (Emerald City Theatre)

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December 17, 2018

Fantastic Mr. Fox

Adapted by David Wood
from book by Roald Dahl
at Victory Gardens, 2433 N. Lincoln (map)
thru Jan 12 | tix: $20 | more info

Check for half-price tickets

Elegant design and talented cast alleviate frenetic adaptation

Emerald City Theatre presents

Fantastic Mr. Fox

Review by Lauren Emily Whalen

It’s not every performance that begins with two children in a fistfight.

To be fair, this wasn’t part of Emerald City’s Fantastic Mr. Fox – but it was a result of the cast throwing beach balls into the audience (while also running up and down the aisles), resulting in a kerfuffle between the siblings in my row. The minutes before curtain seemed to consist of trying to wind up the little audience members as much as possible before quieting them down as the show began. Energy is lovely, especially the pure innocent energy of a child. Unfortunately, this yelling and screaming was symptomatic of the entire two act, 75-minute adaptation. What began as a simple Roald Dahl book is now, in the hands of writer David Wood and director Jacqueline Stone, an hour-plus Fantastic Mr. Fox that’s too bright, too screechy and simply too much.

Wes Anderson adapted Fantastic Mr. Fox several years ago, using his now-iconic quirk. Director Stone and her production team seem to have emulated the Andersonian vibe with Alison Siple‘s vibrant earth-toned costumes, Michelle Lilly‘s two-level set with strings of twinkling lights and Jamal Howard‘s whimsical choreography. Visually, Emerald City’s Fantastic Mr. Fox is thoughtful and downright elegant. The casting is also spot-on, from Mario Aivazian‘s protective father fox to Brianna Buckley‘s dynamic, wide-eyed narrator to the charming fox children played by Rebecca Keeshin and Adhana Reid.

If only Wood and Stone would have left well enough alone.

Fantastic Mr. Fox has a simple story: the titular character (Aivazian) and his family just want to live their happy mostly-underground life, but are terrorized by a trio of mean hunters (Aaron Lawson, Isa Arciniegas and Jeffrey Hoge). When Mr. Fox and the kids are forced to go on the run, they find friendship and help through a sympathetic parent-and-child badger team (Buckley and Elleon Dobias). Dahl’s books have stood the test of time for a reason: from Charlie and the Chocolate Factory to Matilda, they believe in the power of the human spirit to overcome the stickiest of obstacles. By itself, Fantastic Mr. Fox is a sweet, family-friendly parable.

Wood’s adaptation (with music by John Kirkpatrick and Peter Parham), however, does its damnedest to scream “we’re quirky!” at every turn. From chaotic and ultimately forgettable production numbers to incessant comedy bits to rhyming dialogue, the script never slows down and takes a moment. Wood seems to be operating on the assumption that young audiences need stimulation every single microsecond, which is not only patronizing but potentially damaging to some. And Stone is along for that ride one hundred percent.

Emerald City has staged gorgeous family-oriented productions in the past: their 2016 Charlie Brown Christmas was a favorite of mine as well as my adult siblings and mother. Their Snowy Day and Junie B. Jones have also struck just the right balance between lively enough for little ones and affirming for the grown-ups accompanying them. Kids are intelligent and thoughtful, and Wood seems to have forgotten that in his Fantastic Mr. Fox, which is so loud and frenetic, the message of family and community is thoroughly overshadowed. I can’t speak for the long-dead Dahl, but I can’t help from wondering whether he’d even recognize this two-act telling.

Rating: ?? 1/2

Fantastic Mr. Fox continues through January 12th at Victory Gardens Theater, 2433 N. Lincoln (map), with daytime and evening performances. Tickets are $20, and are available by phone (773-871-3000) or online through VictoryGardens,org (check for availability of half-price tickets). More information at EmeraldCityTheatre,com. (Running time: 75 minutes, includes an intermission)

Photos by Austin D. Oie

artists

cast

Brianna Buckley (Badger, Narrator), Mario Aivazian (Mr. Fox), Tia Pinson (Mrs. Fox), Aaron Lawson (Boggis), Isa Arciniegas (Bunce), Jeffrey Hoge (Bean, Rat), Jeanne T. Arrigo (Mabel, Ensemble), Rebecca Keeshin (Fox Child 1), Adhana Reid (Fox Child 2), Elleon Dobias (Badger Child; Mabel Understudy), Emma Sheikh (Badger, Mrs. Fox Understudy), Diego Colon (Mr. Fox Understudy), Tim Leuke (Boggis, Bean Understudy), Shea Lee (Bunce, Badger Child Understudy), Sara Geist (Fox Child Understudy)

behind the scenes

Jacqueline Stone (director), Julia Schade Armstrong (music director), Jamal Howard (choreographer), Alejandro Tey (fight director), Eli Newell (assistant director), Michelle Lilly (scenic design), Alison Siple (costume design), Keith Parham (lighting design), Jeffrey Levin (sound design), Joe Craig (props design), Aaron Shapiro (production manager), Marcus Carroll (production stage manager), Charlie Lovejoy (floor manager), Travis Bihn (wardrobe supervisor), Ian Scarlato (audio engineer), Johnny Schleyer (technical director), Honoria Ivankovich (guest assistant director), Austin D. Oie (photos)

18-1220

Tags: 18-1220, Aaron Lawson, Aaron Shapiro, Adhana Reid, Alejandro Tey, Alison Siple, Austin D Oie, Brianna Buckley, Charlie Lovejoy, Chicago Theater, children’s theater, David Wood, Diego Colon, Eli Newell, Elleon Dobias, Emerald City Theatre, Emma Sheikh, Honoria Ivankovich, Ian Scarlato, Isa Arciniegas, Jacqueline Stone, Jamal Howard, Jeanne T. Arrigo, Jeffrey Hoge, Jeffrey Levin, Joe Craig, John Kirkpatrick, Johnny Schleyer, Julia Schade Armstrong, Keith Parham, Lauren Emily Whalen, Marcus Carroll, Mario Aivazian, Michelle Lilly, Peter Pontzen, post, Rebecca Keeshin, Richard Christensen Theater, Roald Dahl, Sara Geist, Shea Lee, Tia Pinson, Tim Leuke, Travis Bihn, Victory Gardens, Wes Anderson

Category: 2018 Reviews, Biograph Theatre, Children’s Theatre, Emerald City Theatre, Lauren Emily Whalen, Musical, Victory Gardens

Review: Fantastic Mr. Fox (Emerald City Theatre)on December 18, 2018 at 1:44 am Read More »

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