Review: Who's Afraid of Virginia Woolf

About ten minutes into the play I knew we were in trouble...

"I don't bray," states Martha played by Steppenwolf Theatre Ensemble member Amy Morton in a very matter-of-fact way.

"No. No you don't," I thought. "You don't bray at all. In fact you have a very clear, direct, and well-trained voice."

This discrepancy sums up the trouble with this production of Who's Afraid of Virginia Woolf: Morton has been miscast. She doesn't have the brassy vocal presence to fill out Edward Albee's iconic role making it hard for her to fill out the rest of the role. Lines like "If you (George) existed, I'd divorce you" and "Martha eats chromosomes for breakfast" no longer make sense. George has plenty of existence as compared to Martha and the only thing this Martha is having for breakfast is a bran muffin and maybe a little pomegranate juice.

Morton does still turn in a lovely performance. Some of Martha's more vulnerable moments have never been better, but the void created by her lack of prowess makes Tracy Letts' George look like a bully. And this is a real shame because Letts turns in a masterful performance. Rather than playing him as a spineless punching bag, George becomes the long suffering equal opponent of Martha in their boxing matches - who just happened to be out matched. This is the night that George finally decides he is going to drop the gloves and land a knock-out of his own. If Letts had had an equally matched Martha, this production would have surpassed good to downright terrifying. Letts' only misstep is the throwing of the book at the end of the act. The gesture that is supposed to propel him into the climax of the play, instead is an impotent fling that is easily overlooked without a greater knowledge of the play.

The show is stolen, however, in the moment when Honey finally understands what George is doing and is brought to tears through motherly sympathy. The spot-on performance of Carrie Coon has so perfectly lead up to that moment, that the result is heartbreaking. All her character choices were so meticulously chosen that not a moment, glance, or gesture was wasted by the newcomer. We hope to see good things from Coon in the future.

All this being said, this blogger highly recommends you see this show despite its flaws in casting. One thing that Director Pam MacKinnon and cast do exceptionally well is lead the audience through the games that Albee has written in the script and really let us know what is going on along with the danger lurking underneath. There were a lot of strong choices that really helped clarify what this particular production of a nebulous play is about.

One last detail that cannot escape mention is the costume choice for Martha in Act III. She enters wearing a sweater and what are essentially yoga pants. The specifically modern material of the pants are distracting in what has otherwise been a very detailed production.


Happy Birthday:
Robert Prosky (1930-2008)
Christopher Plummer (b. 1929)

Play of the Week: In the Jungle of Cities

Brecht's one and only play to be set in his idea of Chicago is In the Jungle of Cities. It is a tale of greed and how money ruins both those who have it and those who don't. While you would think that this offering would be more popular among Chicago theaters, Ka-Tet Theatre is currently running the only production this blogger can remember - but that's not to say that I'm wrong. The play's overly complex language and plot makes it one of the less accessible Brechtian plays.

Ka-Tet's ambitious production takes the ideas of alienation to the extreme. Character not only don't alway look at each other when speaking, they often don't even touch each other both in violence and lust. While it is a very interesting concept, director Max Truax does not remain consistent with his choices. This production is an excellent staging of the play, however, the alienation not only alienates us from the actors but the actors from each other. If you are looking for a engaging story, this is not the play for you. But is you are interested in fascinating staging combined with stunningly beautiful design, this is the play for you. It is an intellectual treat.

Review: Happy Days @ the Corn Exchange

Playing at the Project Art Center was Samuel Beckett's Happy Days produced by The Corn Exchange. If you happen to be in or around Dublin right now, do not miss this production - it is exactly what the Beckett play should be. The simplicity and precision of Clara Simpson's performance and Annie Ryan's direction is nothing short of brilliant! Not a gesture is thrown away. Not a moment is rushed. Surrounded by a design that is beautiful in its starkness, the Corn Exchange has taken ownership of this story in a way that is both uplifting, funny, and terrifying all at the same time.

If you are not in Dublin, take a moment too to peruse their website. Their ideas about the execution of theater through Commedia del'Arte is something that any actor or director should spend some time reflecting on. Ms. Ryan's views on theater are quite strong.


An for that special Chicago connection it is interesting to note that Ms. Ryan is originally from Chicago having spent time working with and training at the Piven Workshop before moving to Dublin and forming her own company.


Happy Birthday:
George S. Kaufman (1889-1961)
Paula Vogel (b. 1951)

Play of the Week: John Gabriel Borkman @ The Abbey Theatre

Ghostlight has just returned from a trip to Dublin Ireland where we took in a production of a little known Ibsen play at the Abbey Theatre. John Gabriel Borkman is a play about a man who after having his life destroyed by greed and ambition is given a second chance, but still consumed by his ruling passions and is unable to make the changes to save himself.

The Abbey Theatre's production featured the outstanding performances of Alan Rickman as Borkman and Fiona Shaw as his wife. But the show was dominated by Lindsay Duncan as Ella Rentheim; her performance was the emotional center of the play.

Also worth mentioning was the stunning scenic design. Both epic and modern at the same time the scene shifted from vast interiors to the wind-swept plains of Norway.

Thank you to the Abbey Theatre for breathing life into a play that is still relevant today and for taking a fresh new approach to an author whose work is usually middled in translation.


Happy Birthday:
November 12: Wallace Shawn (b. 1943), Anne Hathaway (b. 1982), Megan Mullaly (b. 1958)
November 13: Edwin Booth (1833-1893), Neil Flynn (b. 1960)

Responses: The Legend of Sleepy Hollow

"Murray and Pastor find a nice galloping momentum..."
Zac Thompson - Chicago Reader


On CenterStage Chicago's Must See List!



"City Lit brings to full life with an impassioned solo performance by co-adaptor Brian Pastor."
Lawrence Bommer - Chicago Theatre Blog


Happy Birthday
October 30: Richard Sheridan (1751-1816) & Zoe Akins (1886-1958)

Play of the Week: Late: a Cowboy Play

Last week Piven closed a production of one of Sarah Ruhl's earlier plays. While it is clear that this blogger has a preference toward Ms. Ruhl's work, this was not one of the better plays in her cannon. That, however, did not spoil the night as Piven's show was well played and particularly well acted.

The cast was lead by Polly Noonan, a good friend of Ruhl's and perhaps the best actor of her texts out there. This was not my first experience with Noonan (I saw her in both Eurydice and Dead Man's Cell Phone) but this was one of her best performances. Noonan is able to transcend the difficult text, maintain a breathy naiveté, and make the words sound like normal speech; no easy feat. While she always has had a strong command of the language, this time she perfected it.

While not one of her best. This play is definitely worth the read. It provides some nice context to Ruhl both as a person and to the rest of her work.


Happy Birthday:
Caryl Churchill (b. 1938)
Helen Wagner (1918-2010)
Sally Benson (1897-1972)

Play of the Week: Trust

No this isn't the Trust that Lookingglass produced this past season. This is the Trust by Paul Weitz that is currently running Off-Broadway at the 2nd Stage Theatre. Ghostlight just traveled to New York this past weekend to see the show and while we have moved away from writing about productions and reviewing them, we do want to put this play on everyone's radar. The production is quite good as it stars Northwestern alum Zach Braff along with Sutton Foster, Bobby Cavandale, and Ari Graynor. Performances all around are strong and the scenic design is stellar.

The play is very good too. A 30-something man has lost the meaning in his life after creating a hugely successful internet company and selling it off to become a millionaire. There are so many delightful and honest twists in this larger-than-life dark comedy that we do not want to give too much away, but encourage you to seek out the script when it eventually is published.

I know that I will see it out, especially as there is some anticipated script development after the Off-Broadway run. But the play is definitely a good little skit and should do well in Chicago when it is ready. Oh, and if you can't tell from the picture, Sutton Foster plays a dominatrix.





Happy Birthday - August 28th
Johann Wolfgang von Goethe (1794-1832)
Robertson Davies (1913-1995)

Closing Weekend for Spring Awakening

"No, it's not the fired up Broadway musical currently touring the big rooms. But Stephen F. Murray rejuvenates Frank Wedekind's 1891 sociodrama with a number of stylish flourishes to render it every bit as immediate."
-Mary Shen Barnidge, Windy City Times

"The actors read the dialogue with a convincing naturalism...Nick Lake gives us a complex, thoughtful Melchior...Melchior's friend Mortiz...is played sensitively by Tyler Rich...supporting cast members are all effective."
-John Olson, Talkin' Broadway

"The compassionate story of a group of teenagers coping with academic pressure and burgeoning sexuality, "Spring Awakening" comes to life under Stephen Murray's insightful direction. Like the musical version now on Broadway, this adaptation uses masks to blur the identities of the inaccessible adults, thereby turning the focus on the children, each of whom, like a canary in a coal mine, manifests society's flaws."
-Sarah Terez Rosenblum, Centerstage Chicago

"Director and adapter Stephan F. Murray has mounted an emotionally rich production of the 1891 coming of age tale of German youth... This show is fine theatre."
-Tom Williams, Chicago Critic.com

"As advertised, this "Spring Awakening" takes "an unflinching look at the struggles of youth against the immense pressure put on them by adult society in all its hypocrisy and thundering ignorance." It's not always easy to experience this show, even if you think you know what is coming. But it is oh, so relevant, 119 years after this script first emerged."
-Paul W. Thompson, Broadway World

"In Wedekind's play, by contrast, the human cost of ignorance, brutality, and despair come through with heartbreaking clarity."
-Kerry Reid, Chicago Reader

Reflection on "A Day in the Life of Junebug Jenkins"

Commentary by guest writer Dave Murray

“A Day in the Life of Junebug Jenkins” won’t be showing off-Broadway anytime soon. You won’t see it anywhere unless you are serving time at Kinross Correctional Facility in Kincheloe, Michigan.

“Don’t critique us too hard,” said one of the men in the play. “If we were better actors, we wouldn’t be here.”

The costumes were pretty much the same for all the actors, all males of course. One actor, the lead, was allowed a little change of costume; he took his blue shirt with orange stripes on the shoulders and ubiquitous stenciled number on back off. Of course, the audience was dressed the same as well. Probably something to do with wanting to relate to the celebrities on stage. The more affluent hoi polloi were not in attendance this opening night.

The stage within the gray cinder-blocked auditorium was non-descript, purposely. Prison is like that. Not only the things and buildings but the general population is also non-descript. Uniformity, conformity is the norm. Obviously, prison does not reflect the real world. Is it ironic that uniformity and conformity is imprisoning? A means of punishment? The only differences are in the stenciling where the numbers are arranged differently for each person. Props were identified by hand-written sheets of paper attached: Hot Water, Inmate Toilet, Sink.

“A Day in the Life of Junebug Jenkins,” written by Troy Chapman, serving a 60 to 80 year sentence for second degree manslaughter, is in part a morality play (although Troy himself might object to that designation), and part promotion for the group called The Ethics Project, which Chapman started in 2006. The story reveals an individual’s plight of making a choice amidst a series of unconnected irritating events: am I a victim or can I choose to be someone, i.e. myself? The lead character, Junebug Jenkins, awakes one morning, wearing a sign that says “Victim,” and encounters a number of seemingly unrelated frustrations: someone jumps into the shower before he does, someone rips off his shower gear, the hot water for coffee is used up, the sink is dirty. When he’s at his wits end, he becomes conscious of the movie crew around. When he asks who they are, the director orders the stage crew to take a break and then sits down with Junebug to explain what is happening.

“Everything that happened is a response to the role you chose for yourself this morning,” the director said. “Your first thought was ‘Another day in this stink hole,’ and so we gave you a dirty sink. And then, ‘I hate this place. I have to get ahead of these scumbags,’ and someone else beat you to the shower.

“You are free to choose the role you want.”

Then, the movie crew placed several paper bags in front of Junebug with various labels: loser, winner, creator, peace-maker, convict, etc.

Junebug thinks for a moment. “If I choose to be a free man can I walk out of prison?”

“Not so fast Einstein,” the director replies. “Getting out of prison does not make you a free man. Freedom comes from within, from letting go of your addictions, your attitudes. You have to choose.”

Junebug now faces a dilemma. He’s been playing the role of a victim so long, he doesn’t know anything else. “Can you help me with this?”

A group of consultants are called in. They explore some options. Junebug is given another opportunity. He can go back to bed and reawake to his new choices.

Junebug does just that. When he reappears on stage he is still wearing his victim sign. “I’ve been miserable so long; it goes against everything I believe in to change.”

Story ends.


Following the production, a panel of men involved in the Ethics Project sit on stage to discuss with the audience the ideas and plot of the play. Grant Glover, a lifer, is the moderator and opens the discussion with, “Why ethics? Ask yourself: do you deserve better treatment at your own hands? We decide our own fate. Are you ready for a change? It’s free.”

The Q & A goes on for about 45 minutes. References are made about other prisoners who changed the world around them by their choices, men like Nelson Mandela or Adolph Hitler.

“Ethics is about doing what increases wholeness in yourself and in the world,” Glover said. “This isn’t about an easy life, but a meaningful life.”


The Ethics Project meets each week to discuss wholeness; right relationships; about relationships with one’s self, nature, others, and the Transcendent; about making choices in daily living; about cultivating reverence, good will and justice; it talks about simple things like saying thank you to others, listening to others, picking up trash, keeping units clean, providing services to others or sharing your skills with others to help them grow. While the Ethic Project is basically a 12-week program, it is an ongoing conversation as the men involved are urged to talk with the fellow prisoners in the yard and at the dinner tables.

But it is not proselytizing or evangelizing. Rather, the chief goal is to encourage and enable each man to make their own choice, to choose from their perspective a holistic path, that each man must come to their own conclusion and cannot be coerced into freedom.

The project has been recognized by the Michigan Department of Corrections as an approved project for use in the prisons. The project is also seeking funding to train men in conflict resolution and community mediation skills.

You can read more of Troy Chapman’s writing and thoughts at www.sacredmatters.blogspot.com.

Wind in the Willows

I had the pleasure of seeing City Lit’s production of Wind in the Willows last week. The production is quite strong and features one of the more talented and well-balanced musical theatre ensembles I’ve seen in Chicago Storefront. The play is a revival of a script that City Lit used as their holiday show in the 80’s. For the most part the story plays well, but in the end it is really more suited to a children’s theatre audience than a straight-up adult production.

The greatest delight of watching this particular performance was seeing the three or four year-old boy bouncing up and down in his first-row seat. His giggles of delight made the rest of the audience engage in the performance that much more for we all began to see the show through his eyes. It suddenly became harder to separate actors for characters. Acting moments (especially the bigger, funnier ones) became more enjoyable and believable. I think it sparked the actors into finding moments and energies they hadn’t realized before. The show started to work the way it was intended to.

American Buffalo

Steppenwolf Theatre's production of David Mamet's American Buffalo once again that this play is an excellent vehicle for strong performances. Tracy Letts performance as Teach is superb and is the driving force of this show.

While the script is beloved as one of Mamet's best, I have a hard time relating to the story. Sure there is a intense moment that has an emotional impact towards the end of the play, but what do we really learn as an audience. What is the journey that we are taken on through the whole story that leaves us better or changed at the end of the play. The whole cathartic moment, if you can call you that, is simply a case of paranoia and misunderstanding and peoples shops and potentially lives are wrecked from it. That may be the answer I am looking for, but Mamet's characters are so far from being real that I have a hard time relating to them and empathizing with their situations. The whole final effect seems somehow manipulative.

However, that is my problem with the script in general. This play, however, seems to attract wonderful performances. Every time I have seen this in live performance, I come away thoroughly enjoying the show despite the problems with the script. Steppenwolf's production is no exception. Amy Morton's excellent direction kept up the pace of the extremely difficult dialogue and for the first time I never got bogged down in how "talky" the play is. Francis Guinan and Patrick Andrews turn in admirable performances, but the whole even truly revolved around Letts. He worked so hard to make the dialogue and monologues seem effortless that for this particular production, Teach seemed to become the main character, where that isn't always the case.

This is one of the best productions this review has seen this year. If you are looking for a gift for a theatre-loving friend of your, I would highly suggest sending them to the Steppenwolf for this wonderful performance.


Happy Birthday: George Furth (1932-2008)

Review: Banana Shpeel, by Cirque du Soleil

In all fairness, I must disclose all the facts before beginning my review: I left at intermission. And while that breaks about every code of honor in the reviewing world, I can honestly say that after an hour and a half I had seen enough.

The Cirque Du Soleil name has become synonymous with ingenious innovation, captivating design, and breathtaking circus acts. People come to expect that when purchasing tickets to see one of their productions. This show, however, is none of that. I have unspeakable love for Cirque's body of work and feel terrible that this review is unfolding this way, but I cannot help but feel cheated by the performance that I saw. Who knows, perhaps the second act was stunning and it is my loss for leaving when I did, but if a production makes no effort to keep me in my seat, I feel no reason to stay.

The show opens with a too long series of comic vaudeville bits that runs entirely too long and that was poorly written. Within five minute of the beginning of the performance, you could already feel the audience growing uncomfortable - the actors were doing a good job with what they had and the audience knew when they were supposed to laugh, but the writing was just not funny. What this production needed was a giant canen to appear from the wings and sweep all the acts from the stage; it would have fit the vaudeville nature of the show and given the audience a break.

The show had excellent choreography and performance in the two dance numbers in the first half. However, if I was to choose to see a show for it's dancing, Cirque wouldn't be at the top of my list. Then there were the circus arts. Only two acts appear in the first act - a hat juggler who is quite excellent, but the idea of juggling hats seems a little tame for my idea of cirque - and a couple of hand to hand acrobats. They too were good at what they did, but their routine only had about five or six throws or flips and too much dance. I've seen more acrobatics from the cheerleaders at a Big Ten football game.

I'm not trying to trash this production. For what it was, it was a good show. I'm simply disappointed because I've come to expect certain things from a Cirque Du Soleil show and this one definitely didn't deliver. I am more worried for those people who are having their first experience with Cirque Du Soleil with this production - they are not being given a fair representation of how truly amazing these performers can be.

500 Clown Strikes Again

On Monday night 500 Clown presented their production of Frankenstein while serving their audience franks and steins of beer in the lobby. The event was well attended in the Galaxie art gallery on Barry Avenue where the performance troupe also has its resident offices. The troupe has returned to its roots of performing in small and intimate spaces so they can be more present with their audiences. The choice is certainly paying off.

Once again the clowns distill the story down to its essential element of "the other" and do a wonderful job of affecting their audience through physical play. They start off with a little bit of comedy then comes the physical daring as the do acrobatics and other physical acts on a massive wooden table (they even pull the Charlie Chaplin falling house move with the table). Finally they get to the essential human emotion as one clown becomes the monster and is isolated, derided, and abused by the other two. The audience and the monster realize that it isn't a game any more like it was in the beginning and the performance takes a darker twist to its ultimate conclusion.

Oh What a Night

Jersey Boys
Broadway in Chicago

The current open-ended run in Chicago tells the story of the Four Seasons and Frankie Valli. While many of these musicals that pose as a cover band for famous music group this production combines great music with an interesting story line. The play covers the formation and rise to fame of the group including their crime ridden beginning that kept members going in and out of jail. The first act plays a little like small time mafia movie. The second act turns to a more human story as the original group breaks up and we follow the career of Valli.

Dominic Scaglione Jr. soars as Valli and fills every note with gusto. His voice is excellent and can carry all of the the difficult songs. Shonn Wiley also stands out in an endearing performance as Bob Guardio.

While not an earth-shattering piece of art, it doesn't have to be. The music takes everyone back to a previous era. And whether-or-not your are reliving your own memories or calling to mind stories told to you by your parents, the story is delightful and cannot help but make you have a good time. Everyone walking out of the theatre seemed to be smiling.


Happy Birthday: Caryl Churchill (b. 1938), Helen Wagner (1918-2010) & Sally Benson (1897-1972)

Reflection: A Month of Development

Steadstyle Chicago
by Alan Bresloff

Chicago is indeed becoming THE Theater town to reckon with. With all that we have going on right now, we are no longer "the Second City" when it comes to culture and live theater. One of the wonderful projects that Mayor Daley and his staff have taken on is the Storefront Theatre and the Chicago DCA ( Department of Cultural Affairs) Theater. Many shows are brought to these stages by local troupes in their infancy and beyond. Audiences get to witness these productions, often at a very low cost ( sometimes free). What a wonderful city Chicago is!

One of the new theater companies, Promethean Theatre Ensemble just spent a month using the DCA to incubate some new plays they have created- to hone their craft and get audience opinion as well as to offer some new concepts and ideas to a live audience. This troupe believes that a production should rely more on the words the author has written and the actors interpretation than the fancy sets and costumes and lighting. In other words, they want to sell the steak, not the sizzle. Tonight I witnessed three short pieces they have been developing this month- a special night of free theater and discussion in the Studio Theater located at The Chicago Cultural Center at 77 Eats Randolph Street.

These were short and sweet productions that are works in progress and have the ability to be expanded:

The first was a delightful little comedy called "Over Insurance", a love story of sorts about a young couple who loved each other so much, and were so concerned about how they could ever live without each other that the decided to purchase insurance so that in the event, one died before the other, the remaining spouse would at least be able to grieve well off. They opted for putting 9/10ths of their income into insurance and as they survived on almost food, their love dwindled along with their weight. They also had a bird they loved and so insured him as well. When he died, they used the money they were given to buy a large bird, to eat and upon doing so, they each decided that eating was of greater importance than their love and each puts poison in the coffee of the other expecting to be the survivor. As one might suspect, they both die and the 11 minute play ends.

The second play is a mystery called "The Moonstone" written by Wilkie Collins, alleged to be the first full length detective novel. In this adaptation for the stage by Brian Pastor, in about 13 minutes, I felt that Pastor had far to much narrative and not enough play. I had the feeling that Nick Lake and Thad Anzur could have done more had their been more actual dialog and less narrative.

The third and final play, adapted from the works of L. Frank Baum by Edward Rutherford ( who also did the adaptation of John Collier in "Over Insurance") is titled "The Peculiar Case of Dorothy Gale" and takes us on a different "trip" with the famous heroine ( from "The Wizard of Oz"). What really happened during the "twister"? Where did Dorothy really go? How did Toto come into the lives of the Gale family? Who is Glinda? These are some of the questions Rutherford poses in this 28 minute "readers theater" production with standout performances by Devon Candura as Dorothy ( I must say, she was also dynamic as one of the "chorus/postmen" in the first production and Paul Miller as Glinda ( also a delight as one of the postmen. Tom McGrath, Nicole Hand,Annie Hogan and Fred Ubele are the others in this cast and Ms. Hogan and Mr. Uebele the lovers in "Insurance".

The three playlets are short and simple and probably will be developed into something larger based on audience reaction. The opener and closer were the strongest of the three with "Moonstone" needing the most work. The troupe however, did accomplish what they set out to do- provide entertainment to an audience without the glitz and glamor- just strong acting and meaningful words allowing the audience to search within their own imaginations so they could interpret what they saw for themselves. They are new and growing- to learn more about them and what they will be doing in the future check out www.prometheantheatre.org ( "The Last Unicorn" opens in October, "The Fantasticks" in February and "Spring Awakening" on April.

To learn more about what DCA has in store for you- good theater at affordable prices check out www.dcatheater.org

Review: Spring Awakening: the Musical

Spring Awakening: the MusicalBroadway in Chicago

American pop-culture is obsessed with teen sex. Look at the inane pop stars and the shows they star in: Gossip Girl, 90210, and Lindsey Lohan are a few that bounce to mind. It is sad to see a classic play that tackles the issues of teenagers being confronted by their awakening sexuality be turned into a rock-musical about teen sex. The Broadway tour that arrived last night in Chicago is all angst and no substance.

When Frank Wedekind wrote the play in 1891 all of the subject matter was not just controversial, but taboo: teen sex, abortion, homosexuality, and suicide headline the play along with parental roles, society's unwillingness to acknowledge sex as normal, and fear that masquerades as morals. The play lives on in infamy because of the scandals it caused upon its release. The play was heavily censored by governments, European and American, until well into the 1950's.

The musical seeks to capitalize on the shock value but not the story. They put sex, partial nudity, and offensive lyrics on stage as a way to assault the audience. Touting themselves as radical they forget the great debt they owe to theatrical tradition: Hair, Angels in America, [sic] Rent, High School Musical, and the original Spring Awakening.

Particularly offensive is a scene in the second act where there is a scene that centers around a shared homosexual kiss. In the musical it is a horrible comic moment with the two boys both awkwardly fumbling and aggressively taking what should be a tender moment. In the play it is this scene that shows us the only two characters who come away happy; which is especially poignant given society's understanding and acceptance of homosexuality in the 1890's. To reduce it to a comic scene degrades not only the integrity of the play, but is offensive as well.

In the end, Spring Awakening: the Musical defaults to what ever other musical does - it gives us a happy ending. That's not to say that the play doesn't offer hope, but it does so through the incredible complex character of the Masked Man. Not understanding the character, he is simply written out of the play and replaced by the ghost of the heroine who comes to comfort our young hero.

It is sad to have to criticize the production so heavily when there are many things that succeeded. All of the performance given by the actors were strong and featured an entire ensemble of incredibly talented vocalists. The score of the piece was quite good. The trick of characters pulling hand held microphones out of their pockets as they went into "monologue" mode was quite effective. But when there is no story to hang it on, it doesn't matter how talented your cast is; there simply isn't much to take home from the theatre.

Review: Arabian Nights

Arabian Nights
Lookingglass Theatre

Lookingglass returns to one of its classic productions adapted and directed by Mary Zimmerman. The piece premiered in 1992 shortly after the conclusion of the Gulf War. The whole play is an homage to the beautiful culture and stories of Baghdad weaving tales of love, folly, loss and all other human emotions.

The production stages the stories of One Thousand and Ones Nights. After executing his wife for adultery, the king of a far off land marries a new bride every night and kills here at dawn so that she may never be unfaithful. Enter Scheherazade: beautiful, clever, and an expert storyteller. She tells the king the most amazing bedtime story that just so happens to leave a very well timed cliffhanger moment as the sun first peeks over the horizon. Wanting to hear the conclusion of the tale, the king spares her life until the next night. The cycle goes on for 1,001 nights until the king decides to relent and lover her as a proper queen.

The main parts of the action take place not in the palace where the stories are being told, but withing the world of the stories. Each actor is called upon to take up many roles and the ensemble shows it strength and flexibility through out all the many tales. Zimmerman's strength always lies in her ability to create mailable yet beautiful worlds; this production is no different. Imaginative staging and design provide for dozens of delightful moments throughout the evening. All elements, including excellent music and musicians, unite perfectly to tell not only one tale, but the many, many tales that make up this story.


Happy Birthday: John C. McGinley (b. 1959)
August 2: Peter O'Toole (b. 1932)

Response: 7 Plays in 7 Days

On Monday night N.U.F.A.N. held its annual Seven Plays in Seven Days festival. Seven directors had rehearsed seven scripts by Chicago playwrights for seven days and the results were quite lovely. All of the pieces were well acted and well written. For a short play festival in Chicago, the productions was quite good.

N.U.F.A.N.'s commitment to promoting young artists came through in a big way. There were several scripts written by first time writes, several first time actors, and another handful of actors who were performing for the first time on Chicago stages.

More companies need to produce work like this. It is a forum for many actors, directors, and writers to flex their muscles without demanding too much of them. And in the end it exposes a diverse cross section of audience members to a larger range of artists than a normal night at the theatre. And it's a great way for a company to find new talent too.


Happy Birthday: Alan Menkin (b. 1949)

Review: Million Dollar Quartet

Million Dollar Quartet
Apollo Theatre

On December 4, 1956, Johnny Cash, Jerry Lee Lewis Carl Perkins and Elvis Presley played together for the first and only time. Experience the night rock ‘n’ roll came alive in the hit rock ‘n’ roll musical Million Dollar Quartet.

The show's description really says it all. This show is a loosely constructed fantasy of what happened that evening in 1956. There is no real plot, per se, other the anticipation over whether or not Johnny Cash will renew his contract with Sun Records. Sadly, Cash tips his hand about half way through the show and everything unravels from there.

But the plot isn't the focus. The show is built around the music created by the four legends and performed by a talented cast and super talented rhythm section. The experience of the evening is nothing but feel good music that anyone can enjoy. It carries a special nostalgic punch for anyone who grew up during that era and receives the expected response.

The intimate Apollo Theatre makes you feel as though you are right there in the studio with the stars of early rock and roll. And the show is masterfully designed with old-time microphones and a live sound mix that expertly echos the iconic voices and recording styles. If you are looking for a diversion during these upbeat summer months, definitely check out this performance.


Happy Birthday: Tony Kushner (b. 1956) & Corin Redgrave (1939-2010)

Review: Oedipus

Oedipus adapted and directed by Sean Graney
The Hypocrites at The Building Stage

If you are looking for a production that embodies many of the challenges posed by this blog about how to make theatre compete with digital entertainment, this is production more than rises to the occasion. Sean Graney's staging of the classic story of Oedipus inserts the audience directly in the path of the tragedy; literally. Three actors perform all the roles in this story that lasts about an hour, so you have the satisfaction of getting in and getting out while taking something really great with you.

The experience, however, begins the moment you enter the theatre. The design is something of an apocalyptic waste land meets Alice in Wonderland creating both a stark and playground sense at the same time. The audience sits on the set on benches and picnic tables and is invited to play with the cast by hitting balloons to each other.

The curtain speech is perhaps the most thrilling I have ever heard. An actor stands on a table an announces that the audience will be directly in the path of the action. That the actors will be crossing though them and the audience is encouraged to move around to get the view that they want to observe the play from. "We can see that you are here. Please don't pretend as though you are not here." The actors are kind enough to point so as to indicate where they are going with their blocking by which the audience will clear a path for them. The audience was completely willing to go along with the process and never indicated that they were uncomfortable being inserted into the drama. The cast .

If you are looking for a production that really pushes the boundaries and asks challenges the conventions of theatre, this is it. More companies need to be doing this kind of work to create a unique experience for their audience. For any person who has even a remote interest in theatre, you cannot afford to miss this production.


It was on this day in 1613 that Shakespeare's Globe Theatre burned down.