Review: Familiar (Steppenwolf Theatre)

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

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.

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

Read More

Review: The Nutcracker (Joffrey Ballet, 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

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!

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

Read More

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)

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

Read More

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)

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

Read More

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)

18-1215

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

Read More

Review: Into the Woods (Music Theater Works)

Into the Woods

Music/Lyrics by Stephen Sondheim
Book by James Lapine
Cahn Auditorium, Evanston (map)
thru Dec 31 | tix: $34-$96 | more info

Check for half-price tickets

An all-star cast makes this a ‘Woods’ to remember

Review by John Olson

Into the Woods, with its easily summarized and broadly appealing concept (well-known fairy tale characters from different stories converge to make a brand-new fairy tale) has long been one of Stephen Sondheim’s most popular musicals. Its all-age-friendly content and large cast have made it a top choice for many a school and community theatre production, but one wonders if the casting demands have made it a daunting choice for professional companies. It’s a true ensemble piece, with at least nine roles that need performers of leading actor abilities and several other key supporting roles that require specially skilled performers. So while opportunities to see Into the Woods on stage are not hard to find, chances to see it with a fully-professional cast are rare. Music Theater Works’ two-weekend, eight-performance run is one of those rare opportunities to see this Sondheim musical performed by a cast that can deliver the goods on both Sondheim’s demanding and beautiful score along with the comedy baked into his lyrics and James Lapine‘s script. Director Rudy Hogenmiller has assembled an all-star cast of Chicago non-Equity players (alongside two Equity members) to provide a fully-satisfying production of this classic that can hold its own against memories of the original Broadway production (preserved on a PBS-produced video) or the 2014 feature film.

The Equity players are Chicago and Music Theater Works favorites James Harms as the fatherly Narrator and Mysterious Man, and Daniel Tatar as the Baker – a character that along with the “Baker’s Wife” is invented for this fractured fairy tale mashup. These roles are central to Lapine’s original fairy tale following the misfortunes of a father who made the mistake of stealing magic beans from the “witch next door,” and these two Equity performers in them are strong anchors for the storytelling. Harms switches from kindly, neutral Narrator to the comical and eccentric “Mysterious Man” with ease. Tatar’s Baker is the show’s emotional center. As the young husband who desperately wants to be a father, he establishes the piece’s stakes firmly in the second act songs “No More,” and “No One is Alone.”

To single out these two, though, would be wrong as the whole cast is a delight – from the arguably starring role of The Witch (originated on Broadway by Bernadette Peters) down to the small but importantly comical roles like The Steward and Cinderella’s Stepmother. Alexis Armstrong is a warm, wise, winning wife for the Baker – a steady rock in contrast to Tatar’s anxious Baker. To this writer’s eye and ear, she’s as good a Baker’s Wife as was Joanna Gleason in her Tony Award-winning performance. Michelle Jasso as the Witch wails beautifully in all her comic witchiness and is always enjoyable to watch. Kelly Britt is an absolutely lovely and touching Cinderella.

Before continuing, I must disclose that I’ve served as a press rep for shows featuring some of the performers I’m about to praise, but I’m certain skeptical readers can find other reviews that will confirm my prejudiced opinions. The appropriately boyish Christopher Ratliff gives Jack (of the Beanstalk) just enough naivete and a big voice to sell the beautiful melodies of “Giants in the Sky.” Cecilia Iole, who’s twice proven her Sondheim chops as Sweeney Todd‘s Johanna, shows her comic and vocal skills as the spunky Little Red Ridinghood. Projecting just the right amount of egotism as Cinderella’s Prince and goofiness as Rapunzel’s Prince are Benjamin Sprunger and Maxwell J. DeTogne, two of Chicago’s leading non-Equity leading men. Both have the vocal chops and comic skills to sell Sondheim’s clever mock-lament “Agony,” that song of love-sick men that betrays their shallowness.

Just as telling of the overall strength of this cast are the performances in supporting roles. Anne Marie Lewis and Sarah Wasserman bring rich soprano voices to their vocals as Jack’s Mother and Rapunzel. Comic treats are offered by Katherine Condit, Caitlyn Glennon and Evelyn Finne as Cinderella’s stepmother and stepsisters Florinda and Lucinda, and a special comic gem is Anthony Whitaker as the officious Steward. This array of performers who each have their moments to shine individually blend perfectly into a singing and dancing ensemble (executing Clayton Cross‘s smart choreography) in the full cast numbers that open and close each of the two acts,

Music Director Roger L. Bingaman conducts a 15-piece orchestra that is, if not-quite Broadway-sized, much larger and fuller than we would normally find in a (mostly) non-Equity production. Sondheim’s clever, philosophical, and densely packed lyrics are delivered with clarity thanks to the cast’s diction and Aaron Quick‘s sound design.

Into the Woods is a longer-than-average musical, but Hogenmiller keeps it moving, though never rushed. He knows where all the show’s beats are and brings them out respectfully. His action plays out on a deceptively simple set by Christopher Rhoton of sliding rows of trees with multi-colored leaves, beautifully lit by Andrew H. Meyers. The show seems a perfect fit for the Cahn Auditorium, with a stage big enough to hold the entire cast of 20 and a pit for full orchestra, but at 1000 seats, intimate enough to share the intricacies of the Sondheim songs and Lapine’s wry book.

The short two-week runs of Music Theater Works, playing in a 1,000-seat theater, are part of a production business model that distinguishes the company from other all or mostly non-Equity companies, allowing them to stage large-scale musicals with a full orchestra. What this Into the Woods suggests, though, is that the company’s short runs can make it possible for MTW to continue to attract the very best of Chicago’s stellar non-Equity talent pool to come together for all-star productions like this in the future.

Into the Woods continues through December 31st at Cahn Auditorium, 600 Emerson, Evanston (map). Tickets are $34-$96 (ages 25 and younger: half-price), and are available by phone (847-920-5360) or online through their website (check for availability of half-price tickets). More information at MusicTheaterWorks.com. (Running time: 2 hours 45 minutes, includes an intermission)

Photos by Brett Beiner

artists

cast

James Harms (Narrator, Mysterious Man), Daniel Tatar (Baker), Alexis Armstrong (Baker’s Wife), Michelle Jasso (Witch), Kelly Britt (Cinderella), Cecilia Iole (Little Red Ridinghood), Christopher Ratliff (Jack), Benjamin Sprunger (Wolf, Cinderella’s Prince), Maxwell J. DeTogne (Rapunzel’s Prince), Anne Marie Lewis (Jack’s Mother), Katherine Condit (Cinderella’s Stepmother), Caitlyn Glennon (Florinda), Evelyn Finne (Lucinda), Bob Sanders ( Cinderella’s Father), Sara Stern (Cinderella’s Mother, Granny), Sarah Wasserman (Rapunzel), Anthony Whitaker (Steward), Rebekah Rawhouser (Giant), Rachel Wagner (Snow White), Teaira Burge (Sleeping Beauty).

behind the scenes

Rudy Hogenmiller (director), Clayton Cross (choreographer), Roger L. Bingaman (conductor), Christopher Rhoton (scenic design), Jane DeBondt, Jesus Perez (costume design), Andrew H. Meyers (lighting design), Aaron Quick (sound design), Alice Salazar (hair and make-up design), Jamie Daras (properties design), Mary Zanger (stage manager), Jim Davis (production manager), Brett Beiner (photos)

18-1227

Tags: 18-1227, Aaron Quick, Alexis Armstrong, Alice Salazar, Andrew H. Meyers, Anne Marie Lewis, Anthony Whitaker, Benjamin Sprunger, Bob Sanders, Brett Beiner, Cahn Auditorium, Caitlyn Glennon, Cecilia Iole, Chicago musical theater, Chicago Theater, Christopher Ratliff, Christopher Rhoton, Clayton Cross, Daniel Tatar, Evelyn Finne, James Harms, James Lapine, Jamie Daras, Jane DeBondt, Jesus Perez, Jim Davis, John Olson, Katherine Condit, Kelly Britt, Mary Zanger, Maxwell J. DeTogne, Michelle Jasso, Music Theater Works, post, Rachel Wagner, Rebekah Rawhouser, Roger L. Bingaman, Rudy Hogenmiller, Sara Stern, Sarah Wasserman, Stephen Sondheim, Teaira Burge

Category: 2018 Reviews, Cahn Auditorium, John Olson, Music Theater Works, Musical, Stephen Sondheim

Read More

Review: La Ruta (Steppenwolf Theatre)

La Ruta

Written by Isaac Gomez
Steppenwolf Theatre, 1650 N. Halsted (map)
thru Jan 27 | tix: $20-$89 | more info

Check for half-price tickets

Heartwrenching world premiere both devastating and glorious

Review by Lauren Emily Whalen

Missing White Woman Syndrome is real.

The aforementioned is a cultural phenomenon in which certain abduction victims – those who are young, white and often wealthy – receive more media attention than those who are, well, not. (Think Elizabeth Smart, Laci Peterson and Jaycee Dugard, among others.) In the meantime, Mexican women just south of the border disappear with alarming frequency. Some are sold into sex trafficking, others vanish as if into thin air, leaving devastated, powerless family and friends behind.

In 2016, playwright Isaac Gomez premiered his solo performance piece, the way she spoke, at Greenhouse Theater Center, about the women of Ciudad, Juarez through the eyes of one gum-chomping wannabe actress whose eyes are opened over the course of 70 heart-wrenching minutes. This piece will receive its off-Broadway premiere in spring 2019, but not before Gomez’s full-length play La Ruta has its stunning world premiere at Steppenwolf Theatre Company. Directed by ensemble member Sandra Marquez and featuring a powerhouse female ensemble, La Ruta is both devastating and glorious in a way that’s difficult to convey in words.

La Ruta is also the name of the bus taken by female workers at U.S.-owned factories in Juarez. Every morning and night, they board the bus, ready for their shifts – only some won’t ever make it home. In the summer of 1998, teenaged Brenda (Cher Alvarez) disappears without a trace, leaving her mother Yoli (Sandra Delgado) scared and confused, but convinced that someday, somehow, her daughter will make it back. Meanwhile, Yoli’s best friend Marisela (Charin Alvarez) has lost her own daughter in the same way and feels a call to action. What really happened to Brenda, and to the women who vanish almost-daily? And does Brenda and Yoli’s friend Ivonne (Karen Rodriguez) know more than she is saying?

Gomez’s script jumps around in time: the days, weeks and years before and after Brenda vanishes. The effect is appropriately jarring: one moment Yoli has a typical teenage daughter, who may work full-time for low wages but still giggles about boys and anguishes over what top to wear, and the next moment, she’s all alone with only her thoughts and the mother of another missing girl. Where, exactly, do the mothers go from here? What about the women who’ve made it home safely another night, with another bullet dodged? And most importantly, what is it going to take for the disappearances to stop? There are no easy answers, and Gomez deftly illustrates this down to the syllable. At times, La Ruta takes the feeling of a dark musical, thanks to the presence of chanteuse Desamaya (Laura Crotte), who appears as a one-woman Greek chorus with songs of mourning and uprising.

Marquez’s flawless direction takes care with the big and small moments in every character’s life, from bonding over mascara on bathroom breaks to pleading with passersby to take a flier with a teenage girl’s photo on it and report back if they know something. Anything. The women move with choreographed precision in the factories, and fly at each other in fits of devastating passion in front of a makeshift graveyard of pink crosses (props to Gaby Labotka for her stunning fight direction). Rasean Davonte Johnson‘s projection design, dominated by real-life photos of missing women, makes for haunting imagery.

Seeing eight Latinx actors onstage together is phenomenal all on its own, but La Ruta‘s cast is particularly gifted, bringing Gomez’s words to life with meticulous thought. Delgado proves once again that she can play any character, from a pissed-off girlfriend in The Motherf*cker with the Hat to a glamorous songstress in La Havana Madrid to La Ruta‘s grieving mother Yoli, with a grace that’s almost otherworldly. Alvarez is incredibly believable as gawky teen Brenda, who gleefully drops out of school and dives headfirst into an adult world she just knows she can handle. But Rodriguez is the true star. The original performer of the way she spoke and now a Steppenwolf ensemble member, she gives Ivonne a grave empathy throughout the character’s dubious choices and all-out calculation. Her charisma is magnetic, her presence stubborn and unapologetic, and if Steppenwolf decides to cast her in every production from here on out, that would be just fine with me. Overall, La Ruta is a brutal and difficult but supremely rewarding take on a little-known but incredibly important story. Just make time for self-care after curtain call.

La Ruta continues through January 27th at Steppenwolf Upstairs Theatre, 1650 N. Halsted (map), with performances Tuesdays at 7:30pm, Wednesdays 2pm & 7:30pm, Thursdays-Fridays 7:30pm, Saturdays 3pm & 7:30pm, Sundays 3pm. Tickets are $20-$89, 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: 95 minutes without intermission)

Photos by Michael Brosilow

artists

cast

Karen Rodriguez (Ivonne), Charin Alvarez (Marisela), Cher Alvarez (Brenda), Laura Crotte (Desamaya), Sandra Delgado (Yoli), Mari Marroquin (Zaide), Alice da Cunha (Woman of Juarez), Isabella Gerasole (Woman of Juarez), Alice da Cunha, Gabriella Diaz, Isabella Gerasole, Amanda Raquel Martinez (understudies)

behind the scenes

Sandra Marquez (director), Regina Garcia (scenic design), Christine Pascual (costume design), Mikhail Fiksel (sound design), Rasean Davonte Johnson (projection design), Zacbe Pichardo (musical direction), Andra Velis Simon (musical direction), Polly Hubbard (dramaturg), Gaby Labotka (fight choreographer), Christine Freeburg (stage manager), Amanda Landis (assistant stage manager), JC Clementz (casting director), Greta Honold, Patrick Zakem (artistic producers), Gigi Buffington (company voice and text coach), Michael Brosilow (photos)

18-1225

Tags: 18-1225, Alice da Cunha, Amanda Landis, Amanda Raquel Martinez, Andra Velis simon, Charin Alvarez, Cher Alvarez, Chicago Theater, Christine Freeburg, Christine Pascual, Gabriella Diaz, Gaby Labotka, Gigi Buffington, Greta Honold, Isaac Gomez, Isabella Gerasole, JC Clementz, Karen Rodriguez, Laura Crotte, Lauren Emily Whalen, Mari Marroquin, Michael Brosilow, Mikhail Fiksel, Patrick Zakem, Polly Hubbard, post, Rasean Davonte Johnson, Regina Garcia, Sandra Delgado, Sandra Marquez, Steppenwolf Theatre, Zacbe Pichardo

Category: 2018 Reviews, Drama, Lauren Emily Whalen, New Work, Steppenwolf, Video, World Premier, YouTube

Read More

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

Read More

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.

RELATED PRODUCT

Tailgate Men’s Chicago Bulls Long Sleeve Tee Red L

Buy Now!

Buy Now!

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.

Load Comments

Read More

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.

Load Comments

Read More