Review: The Winter Wolf (Otherworld Theatre)

The Winter Wolf

Written by Joseph Zettelmaier
Otherworld Theatre, 3914 N. Clark (map)
thru Jan 6 | tix: $20 (suggested) | more info

Check for half-price tickets

Sweet and wistful world premiere

Review by Lauren Emily Whalen

At a certain age, one starts to realize that their loved ones won’t be around forever. It’s a hard pill to swallow, and a lesson you can’t un-learn. But how does one stop time? Can we keep the holidays perfect, frozen in time, a virtual snow globe? Otherworld Theatre is a relatively new Chicago company, focusing on science fiction and fantasy-focused storytelling. The Winter Wolf is their holiday world premiere, an intimate female-driven fairy tale about granddaughters, grandfathers and the quest to keep Christmas wonderful. Directed by artistic associate Lauren N. Fields, Joseph Zettelmaier‘s script is a bit slow at times, and the puppetry slightly underwhelming. Overall, however, The Winter Wolf is a pleasant and touching world premiere for those craving something new.

Cora (Molly Southgate) is a precocious preteen – are there any other kind in pop culture? – who is very close to her grandfather (Mike Rogalski). Sadly, dear old grandpa’s health is failing and the end seems nigh. When Grandpa tells Cora a story from his childhood of a powerful, magical Winter Wolf (Shariba Rivers), Cora sees an opportunity to keep her favorite family member around forever. But what is the price of stopping time?

At its core, Zettelmaier’s script has the dark-yet-uplifting predictability of all fairy tales – but come holidays, that’s not a bad thing. Why do people stream Hallmark Original Movies, make yearly pilgrimages to The Nutcracker and A Christmas Carol? At the holidays, we want routine and a happy ending. We crave it. Sure, a little sadness and tragedy is acceptable, but especially as the world around us grows more chaotic, we count on satisfying and hopeful resolutions wrapped in a pretty bow. The Winter Wolf delivers this: when stepping into the theater, audience members are greeted by the fresh scent of pine needles, and Cora’s mother (Katy Crow) and father (Nathan Pease), who cheerfully offer cookies and hot cocoa while bedecked in Christmas sweaters. The atmosphere is lovely and welcoming, setting the tone for the short, family-friendly parable ahead, and Fields engineers it to the hilt, while maintaining the script’s genuine feel.

Though the play clocks in at only 70 minutes, the second half – where Cora gets her wish and then has to live with the consequences – drags, and could benefit from quicker pacing. Though most of The Winter Wolf‘s effects are thoughtful and lovely, especially lighting that lovingly recalls fire by the hearth, ominous power outages and sweet shadowboxes, the wolf puppet itself isn’t much to write home about. Rivers is an incredible wolf, with a rich speaking voice that projects both intimidation and compassion, but Janie Killips‘ puppet projects none of this and appears as a glorified stuffed animal. The Winter Wolf is presumably meant to be suitable for children, but even the smallest kids can handle a bit more fright.

Fields has cast four capable actors, and the three adults project warmth and compassion, especially Rogalski as Cora’s snappy but kind grandfather. As the child Cora, Southgate is polished and adorable – and has worked with Otherworld previously – but struggles with Cora’s more emotional moments. Could be opening-night nerves, but Cora’s realization that her wish to stop time has negatively affected everyone around her, felt more put-upon than natural. Perhaps this will come with time. Despite these flaws, The Winter Wolf never feels forced or manipulative. Instead, the original story, beautifully directed, designed and acted, has the potential to be a holiday tradition for Otherworld in the years ahead. Step right up.

The Winter Wolf continues through January 6th at Otherworld Theatre, 3914 N. Clark (map), with performances Wednesday-Saturdays at 7:30pm, Sundays 2:30pm. Tickets are pay-what-you-can ($20 suggested), and are available by phone (773-857-2116) or online through eventbrite.com (check for availability of half-price tickets). More information at OtherworldTheatre.org. (Running time: 70 minutes without intermission)

Photos by Steven Townshend

artists

cast

Molly Southgate (Cora), Mike Rogalski (Grandfather), Nathan Pease (Father), Katy Crow (Mother), Shariba Rivers (The Winter Wolf), Mary Kate Arnold (The Winter Wolf understudy)

behind the scenes

Lauren N. Fields (director), Sara Robinson (production stage manager), Janie Killips (scenic, puppet and props design), Tiffany Keane Schaefer (sound design), Bryce Fields (technical director), Steven Townshend (photos)

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Tags: 18-1215, Bryce Fields, Chicago Theater, Janie Killips, Joseph Zettelmaier, Katy Crow, Lauren Emily Whalen, Lauren N. Fields, Mary-Kate Arnold, Mike Rogalski, Molly Southgate, Nathan Pease, Otherworld Theatre, post, Sara Robinson, Shariba Rivers, Steven Townshend, Tiffany Keane Schaefer

Category: 2018 Reviews, Holiday Show, Lauren Emily Whalen, New Work, Otherworld Theatre, Puppetry, World Premier

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Review: Fantastic Mr. Fox (Emerald City Theatre)

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

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.

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)

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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

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

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

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.

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)

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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

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Review: Evil Dead the Musical (Black Button Eyes Productions)

Evil Dead the Musical

Book and Lyrics by George Reinblatt
Music by Christopher Bond, Frank Cipolla,
Melissa Morris and George Reinblatt
at Pride Arts Center, 4139 N. Broadway (map)
thru Feb 16 | tix: $30 | more info

Check for half-price tickets

A bloody fun time, from first note to last splash of blood

Review by Lauren Emily Whalen

Parody is a tricky beast and requires appealing to two audiences: those who know the original material and those who don’t.

If last Sunday’s matinee of Evil Dead the Musical was any indication, this parody succeeds. Those familiar with the Sam Raimi cult horror movies guffawed at certain lines, but the general atmosphere was one of hilarity and delight, from the first note to the last splash of blood. (And there were many, many splashes of blood.) Though the musical’s score is a bit all over the place and the book is decidedly imperfect, Black Button Eyes Productions’ storefront revival is pure goofy, gory fun for the diehard fan to the completely unfamiliar.

Ash (Jordan Dell Harris) is a college student and proud employee of S-Mart, who needs a little break. He sets off with his girlfriend Linda (Kirby Gibson), buzzkill sister Cheryl (Caitlin Jackson), best friend Scott (Josh Kemper) and Scott’s bimbo girlfriend Shelly (Stevie Love) for a week of fun in an isolated cabin they’re going to break into. As the excited quintet trills in the opening number, what could possibly go wrong? But when the friends discover a cadre of weapons, a mysterious tome and evil trees that talk, spring break quickly turns…graphic.

George Reinblatt‘s book and lyrics are snarky and snappy, capturing the nutty camp of the films while successfully adapting them for the stage (also a challenge with parody shows). Evil Dead the Musical requires a strong sense of fun as well as a willingness to get dirty, for both cast and audience – one section of the Pride Arts Center Broadway space is christened the “splash zone”, with ponchos for the lucky audience members. You’ll see exactly why in the musical’s second act. Director Ed Rutherford has chosen the ideal place for the gritty reboot: the Broadway is only just bigger than a black box, with actors using every entrance and aisle, sometimes growling in the faces of willing spectators. Rutherford heightens the schlock with every opportunity, using the high energy of his cast to the fullest as they use axes and chainsaws, pop up from doors in the floor and (in the case of Love) rip off clothing to make outfits smaller and smaller. The result is hilariously, and deliberately, sloppy – exactly as Raimi and iconic star Bruce Campbell would want.

The only hiccups in this strong production lie in its writing. While Reinblatt’s book and lyrics are mostly spot-on, there are multiple contemporary references to The Bachelorette, Netflix and CSI: Miami. Though the Amazon Prime series Ash vs. Evil Dead premiered in 2015 and had three seasons, the first Evil Dead film came out in 1981, and the musical appears to be set in that universe. Though the references may seem inconsequential, they take the audience out of the moment – a lot. Only one lands: a winking reference to the Spider-Man films and director Sam Raimi. Also, though the musical’s score is enjoyable, it was penned by four different composers (including Reinblatt) and it shows: the songs are well-performed but lack overall cohesion.

Still, there’s a lot to love about Evil Dead the Musical, especially its ensemble. Harris perfectly embodies the very specific cadence and energy that made Bruce Campbell a cult hero and is adept at maneuvering a fake chainsaw as a hand. Love is perfectly ditzy as literal babe-in-the-woods Shelly and driven, intelligent Annie, whose unlucky father owns the stolen cabin. As Cheryl, the bookworm who’s the first casualty of the diabolical forest, Jackson turns in a bravura performance: rocking her powerful pipes and cracking nasty jokes with wide, crazy eyes. Evil Dead the Musical is spooky silliness at its finest, a must-see for those who like singing, dancing and plenty of stabbing.

Evil Dead: The Musical continues through February 16th at the Pride Arts Center, 4139 N. Broadway (map), with performances Thursdays-Saturdays at 7:30pm, Sundays 2pm. Tickets are $30, and are available by phone (800-838-3006) or online through BrownPaperTickets.com (check for availability of half-price tickets). More information at BlackButtonEyes.com. (Running time: 2 hours, includes an intermission)

Photos by Evan Hanover

artists

cast

Kirby Gibson (Linda), Jordan Dell Harris (Ash), Caitlin Jackson (Cheryl), Josh Kemper (Scott), David Lipschutz (Fake Shemp), Shane Roberie (Jake), Stevie Love (Shelly, Annie), Robert Quintanilla (Ed, Moose)

Understudies: David Lipschutz, Maiko Terazawa, Peter Ruger

band

Oliver Townsend (keyboard, synthesizer, conductor), Henry Altenberg (guitar), Cali Kasten (drums)

behind the scenes

Ed Rutherford (director), Oliver Townsend (music director), Derek Van Barham (choreographer), Jeremiah Barr (scenic, props and puppets design, technical director), Rachel Sypniewski (costume design), Liz Cooper (lighting design), Robert Hornbostel (sound design), Jon Beal (fight choreography, gore consultant), Kai Young (fight choreography), David Lipschutz (assistant director), Christopher Young (assistant choreographer), Melanie Thompson (assistant props design), Alexa Berkowitz (stage manager), Beth Weinstock (assistant stage manager), Evan Hanover (photos)

19-0117

Tags: 19-0117, Beth Weinstock, Black Button Eyes Productions, Caitlin Jackson, Cali Kasten, Chicago musical theater, Chicago Theater, Christopher Bond, Christopher Young, David Lipschutz, Derek Van Barham, Ed Rutherford, Evan Hanover, Frank Cipolla, George Reinblatt, Henry Altenberg, Jeremiah Barr, Jon Beal, Jordan Dell Harris, Josh Kemper, Kai Young, Kirby Gibson, Lauren Emily Whalen, Liz Cooper, Maiko Terazawa, Melanie Thompson. Alexa Berkowitz, Melissa Morris, musical theater, Oliver Townsend, Peter Ruger, post, Pride Arts Center, Rachel Sypniewski, Robert Hornbostel, Robert Quintanilla, Shane Roberie, Stevie Love

Category: 2019 Reviews, Black Button Eyes Productions, Musical, Parody, Pride Arts Center

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CHICAGO, IL – MARCH 19: Fans cheer as Artemi Panarin #72 of the Chicago Blackhawks celebrates a third period goal against the Colorado Avalanche at the United Center on March 19, 2017 in Chicago, Illinois. The Blackhawks defeated the Avalanche 6-3. (Photo by Jonathan Daniel/Getty Images)

2020 NBA All Star Game: Chicago was sweet home for new format by Tim Healey

Chicago Bears: New playoff format would really help team by Vincent Parise

The Chicago Blackhawks are welcoming in an old friend as Artemi Panarin makes his first return to the United Center as a member of the New York Rangers.

The Chicago Blackhawks traded Artemi Panarin to the Columbus Blue Jackets a few seasons ago now. They got back Brandon Saad in return and Saad is a very good player. He is, however, not as good as Panarin and it really isn’t even close. Panarin has developed into one of the very best players in the NHL since his departure from Chicago. Anybody who thought Panarin was only good because of Kane looks very wrong now.

He has returned to United Center as a member of the Columbus Blue Jackets but this will be his first time as a member of the New York Rangers where he signed a lucrative deal over this past summer. He is so far, worth every penny of his 11.6 million dollar cap hit. If the Rangers were a little bit closer to playoff contention, Panarin would be in the conversation for the Hart Trophy.

With that said, there is still a hockey game to be played. The Blackhawks are finally back at home after a five-game Western Canadian road trip where they were awful. Their 1-4 run out west has made the playoffs look very bleak. This might be their last chance for management to see a reason not to be complete sellers this trade deadline.

The Rangers have a lot of great players having good years outside of Panarin. They are probably not going to the playoffs, but they have an extremely bright future ahead of them. With forwards like Mika Zibanejad, Ryan Strome, and Chris Kreider to help Panarin, there is no doubt they can score some goals. They also have a great defense with guys like Jacob Trouba, Adam Fox, and Brady Skjei. Their goaltending is also a solid group, as they use three goalies on their roster which is a bit unusual.

Related Story: Trade ideas for Chicago and Edmonton

As a nationally televised game, it is important for Chicago to get off to a good start in this one. If the players want to make one last showcase to the management team before some big decisions are made, this is the time to do it. It won’t be easy against a pesky team like the Rangers.

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Chicago Bulls (Photo by Kevin Mazur/Getty Images)

Chicago Bears Free Agency: 4 players that require caution by Ryan Heckman

Chicago Blackhawks: Artemi Panarin returns to Chicago with NYR by Vincent Parise

The Chicago Bulls didn’t place a player in the 2020 NBA All-Star Game, but no matter, as basketball fans everywhere ended up entertained.

While the Chicago Bulls sat at home or in the stands and watched with the rest of us, a fairly run-of-the-mill all-star game, which was light on defense, as usual, turned into the best vs. the best duking it out for charity in the fourth quarter.

Like many folks, I’ve often dismissed the NBA and NHL all-star games because of their lack of defense. That doesn’t mean I don’t understand it – teams, especially playoff contenders, don’t want their players getting hurt in an exhibition game; and the relaxed defense allows the most talented athletes to show off offensive moves/take shots that they couldn’t or wouldn’t in a regular-season contest. The problem is that the offensive fireworks get boring after a while.

This year, the scoring format was changed. Instead of normal scoring, the score would reset after each quarter. However, the cumulative score would still be tallied. Then, 24 points would be added to the lead team’s score as a target number, and the game clock would be turned off, although the shot clock would remain in effect. Whichever team reached the target first would be the winner.

The number 24 was chosen in honor of the late Kobe Bryant, who along with his daughter Gianna and several others, perished in a helicopter crash in January. The fourth quarter would also run commercial-free.

So, as the NBA said in a press release, if, for example, the cumulative score was 100-95 entering the fourth, the target would be 124, and the team that had 100 points would need just 24 points to win, while the trailing team would need 29.

The 2020 NBA All-Star Game had a target of 157 points.

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Team LeBron and Team Giannis – the teams were selected by LeBron James and Giannis Antetokounmpo – switched gears from a game of dunks and lightly contested shots to one of actual defense in the fourth. Players started showing the same intensity of a regular-season game, and actually expressed anger at foul calls. Yes, there were suddenly foul calls in an all-star game.

It came down to an Anthony Davis free-throw, which he sunk to give Team LeBron a 157-155 victory. But the real winner was the NBA – the new format gave viewers a reason to stick around for the fourth quarter, instead of bailing as soon as they were tired of the dunks.

While it’s not a given that the new format will provide this type of drama every year, it’s probably more likely that teams will have to slug it out, creating a chance for fans to watch what happens when the league’s best players are actually trying, as opposed to running what’s essentially a lay-up line.

Yes, if one team has a huge lead in cumulative scoring after three quarters, the drama will be sucked out a bit. For example – a 120-90 score would take the edge off, as it’s likelier that the team with 120 points is getting to 144 quicker than the one that would need 54 before the other guys scored 24.

And even a tied game could go sideways if one team got on a quick run.

Still, there’s more chance for drama than not. And tacking the target onto the lead score gives both teams an incentive to work to keep it close through three. Certainly just asking teams to be the first to 24 would be silly, since it would make the first three quarters irrelevant.

Next: Jimmy Butler open to a return?

Chicago has seen great basketball over the years, and not just from the Bulls. The 1988 NBA All-Star Game is still remembered for its dunk contest. So it’s fitting that over 30 years later, the 2020 NBA All-Star Game, taking place just across the street, created memories of its own.

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Chicago Bears: New playoff format would really help team by Vincent Parise

Chicago Bears News: Insider suggests nightmare scenario at QB position by Patrick Sheldon

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Chicago Bears (Photo by Jonathan Daniel/Getty Images)

Without a pick in the first or third round this year, would the Chicago Bears even entertain trading one of their second-rounders?

Before you laugh or look away, let’s get real honest with ourselves. We do remember who the general manager of the Chicago Bears is, right?

Ryan Pace is notorious for making deals, especially come draft day. He can’t get enough of them, and funny enough, some of the big ones have involved second-round picks. Just look at a couple of the notable trades Pace has pulled off.

In the 2018 NFL Draft, the Bears traded up to select Anthony Miller at pick no. 51 in the second round. Chicago sent the New England Patriots their 2019 second-round pick to go along with the 105th pick in the 2018 draft.

Then, later in 2018, it was the blockbuster deal for Khalil Mack which had fans in a joyful ruckus. In that deal, Pace managed to net an extra second-round pick which saw Chicago trade two first-round picks to Oakland along with a couple other pick exchanges.

Somehow, some way, I think Pace strikes a deal once again this year. I wouldn’t be shocked, in the least, if the Bears traded one of their second-round picks.

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I understand the pushback on this. The Bears hardly have any cap room and don’t possess draft picks in two of the first three rounds. I get it. But, I also understand that Pace is a risk-taking general manager.

So, if the Bears end up dealing one of their second-round picks (and maybe more), which players or prospects would be worth it? Off the top of my head, there are three key names which come to mind.

Next: Player No. 1

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Chicago Bears (Photo by Stacy Revere/Getty Images)

Chicago Blackhawks: Artemi Panarin returns to Chicago with NYR by Vincent Parise

Chicago Bears: 3 players worthy of trading 2nd Round pick by Ryan Heckman

If the NFL is actually changing the playoff format starting in 2020, the Chicago Bears would really benefit from the change.

The Chicago Bears went 8-8 in an incredibly disappointing season that had Super Bowl or bust expectations going into it. They were one of the first teams out of the playoffs in 2019 with their .500 schedule. They need many improvements to their team, but the NFL might have just given them another boost that could really help them get in the 2020-21 NFL Playoffs.

ESPN’s top football insider, Adam Schefter, is reporting that the new proposed CBA has there being seven teams making the playoffs from each conference. He is reporting that this would go into effect this upcoming season. It would have each conference with one team on a bye week. The new CBA would still need to be approved over the next few weeks.

This structure would certainly keep the Bears in the race a lot longer next season. They still need to iron out the quarterback situation, the offensive line, and a tight end. With that said, having an extra team from the NFC in the playoffs would significantly increase their chances in 2020. If the structure was that way in 2019, the Los Angeles Rams would have been the seventh team and the Bears would have been the first team out.

That means that if they make some of those needed moves, they could absolutely be in the playoffs in 2020. It would at the very least, give the Bears a chance to be in the race all the way through to the end of the season. It would also make it much more entertaining for pretty much every team in the NFL as more teams would be in the race longer.

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This move would expand the regular season to 17 games per team while shortening the preseason to three games. That is another interesting note to consider when evaluating how the Bears will be in 2020. Either way, adding a playoff team would increase the Bears’ chances of being in the playoffs for the foreseeable future.

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Chicago Bears: 3 players worthy of trading 2nd Round pick by Ryan Heckman

Chicago Blackhawks: Trade scenarios and consequences for both goalies by Vincent Parise

According to one Chicago Bears insider, don’t expect big changes at the quarterback position.

The debate over the state of the quarterback position for the Chicago Bears continues to rage on over social media. Each day there are Twitter sparring matches between the “Trubisky Truthers,” and the “Trubisky Haters.” Even those who simply demand more from the quarterback position and want the team to bring in a legitimate option to both challenge Mitchell Trubisky and potentially win the starting role, are labeled “haters.”

In short, the battle rages on, and according to one Bears insider, it does not appear the latter two groups are going to get their wish. However, if you are a fan of Trubisky and still believe he can be a star quarterback in this league, then I have some good news for you. Regardless of how you feel about Trubisky, Biggs outlines what is, in my opinion, the worst-case scenario for the Bears.

On the most recent Bear Download podcast, Chicago Tribune member and Bears’ beat reporter Brad Biggs spoke about what he believes Ryan Pace will do to address the position. Biggs, who is one of the most connected Bears insiders out there had some very interesting thoughts. Now, he did not tie these comments to anything specific he heard, but because of how connected he is, anytime he renders an opinion, fans should take notice.

Biggs said he believed there were a number of fans who are of the belief that the Bears are going to “reboot” the quarterback position this offseason. However, Biggs stated he does not think that is going to happen, adding “I think they’re committed to holding on to hope that Mitch Trubisky can become and evolve and improve and rise to the level of that franchise quarterback.”

If the team isn’t going to bring in a front-line starter to challenge or supplant Mitch, how will they address the position? Biggs thinks they will look to add someone who has a lot of experience playing games, to serve in a true backup role. Because that type of scenario will not be appealing to many of the free-agent quarterbacks, Biggs thinks the Bears may need to ultimately trade for a backup quarterback.

So let me get this straight: 1.) the Bears are not going to bring in legitimate competition, 2.) they are going to risk squandering what little is left on their Super Bowl window, and 3.) they are going to use some of their very limited draft capital to acquire a quarterback to strictly serve as a backup?

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That sounds like the worst possible scenario for the Bears, but also one that is very possible because — well — they’re the Bears, and nothing surprises me anymore with this franchise.

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The Chicago Blackhawks are likely not going to the playoffs. They would be smart to trade both goalies for some future assets.

The Chicago Blackhawks are, in all likelihood, not going to the Stanley Cup Playoffs at the conclusion of the 2019-20 season. It is going to be the third year in a row without a playoff appearance despite some of the best play from the organization’s top players. It is not a good look for this team to be out with this level of talent and they need to do something about it soon. It is time to move on and get some future assets.

The thing is, both goalies on the team are on expiring contracts. Robin Lehner and Corey Crawford have been awesome this year for the Chicago Blackhawks but the rest of the team outside of Patrick Kane, Jonathan Toews, Brandon Saad, and Dominik Kubalik have not been good enough. It would be wise to move both goalies for the Blackhawks because they would be able to get a pretty good return on both of them from teams that need a goalie headed into the playoffs.

With both of them on expiring contracts, it makes sense to get something out of both of them instead of losing them both for nothing. These are two goalies that certain teams might pay a decent price to acquire at the deadline. There are also some good goaltenders that will be on the market in the summer via free agency for the Hawks to try and sign. There is also a chance that they try to bring back one of these two once free agency hits.

Each goalie would bring something different to whichever team acquired him. It would also prove to have some consequence for the Blackhawks for the rest of this season and beyond. It is a shame that it has come to this after having some home a few weeks ago, but this is what it is.

Next: Corey Crawford

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