This weekend ends the performances runs of....

Shrek the Musical by Broadway in Chicago at the Cadillac Palace

The Philadelphia Story at Circle Theatre

Equus at Redtwist Theatre

Back to school for the kids.  Back to theatre for Chicago!  September has a plethora of choices for theatre goers.  With so much good stuff going up, I'm setting out on a marathon paced month with 25 shows.  First up this holiday weekend....

09.01.10   Jailbait at Profiles Theatre

09.02.10  Billy Elliot the Musical by Broadway in Chicago at Ford Oriental Theatre (repeater)

09.03.10  Under America by Mortar Theatre at Athenaeum Theatre

09.04.10  Hideous Progeny by LiveWire Theatre at DCA Theatre

09.05.10  Memory of Two Mondays by Eclipse Theatre at Greenhouse Theatre  

Seanachai Theatre Company presents

THE WEIR

At The Irish American Heritage Center

4626 N. Knox, Chicago

Written by Conor McPherson

Directed by Matt Miller

Thru October 3^rd

Buy Tickets

Running Time:  95 minutes with no intermission

Reviewed by Katy Walsh

Your man and his eejit seanachais cod with a blow-in for a bit of craic over a small one and a fag or two.  Irish to English Translation:  a group of storytelling friends share tales with a newcomer for a bit of fun over shots of Jameson and cigarettes.  Seanachi Theatre Company presents THE WEIR by award-winning playwright Conor McPherson.  Set in 1997, THE WEIR takes place entirely in a rural pub in Ireland.  'The weir' is the river used to generate power for the village.  The play's setting is the watering hole that has been the influential source of community for generations of townsfolk.  To entertain a young woman visiting from Dublin, the pub regulars spin yarns of unexplained knockings and apparitions.  Drinking white wine in a male and whiskey dominated bar isn't the only oddity about the city gal.  Revealing her own recent brush with the supernatural, she easily surpasses the local fairy and ghost folklore with a shiver-inducing story.  THE WEIR is being 'a-blow-in-on-the-wall' to the hilarious drinking rituals of a small Irish town.  The experience will leave you yearning for a trip to Ireland, a pint of Guinness, and the strong friendships to share both with.

Under the direction of Matt Miller and dialect coaching of Barbara Zahora, THE WEIR ensemble is authentic in pub talk, walk and gawk.  To impress the feminine stranger, the conversations between Brad Armacost (Jack) and Kevin Theis (Finnbar) is a healthy pour of boast with a shot of swagger.   Armacost is outstanding as the charismatic Irish drunk that hold courts with his nightly tavern rehashing of the past.   Theis is hilarious as he competes with Jack's overshadowing presence.  By bragging, he continually sets himself up as the arse of Jack's joke.   Meanwhile, the gawkers, Brad Smith (Brendan) and Jeff Christian (Jim) are delightful as the awkwardly entranced barflies with the lady company.  Smith's  bashful bartender, debating over joining in a libation, is understated charming.  Christian is a perfect social misfit that bumbles into the limelight with a graveyard remembrance.  The chemistry between the guys is like good Irish whiskey.  It goes down smooth with a bit of a bite and lingering giddy affects.    Holding her own with the tavern buddies, Sarah Wellington (Valerie) is equal parts frivolous and poignant.  She flirts with tease expertise and then halts the playful banter with a haunting narrative.   

The set, designed by Robert Groth and Jenniffer Thusing, is a picture-perfect illustration of the inside of a village pub in Ireland.  Attached to a home, it's simplistic and inviting.  It has a fireplace, cozy chairs, and bar stools.  The walls are covered with framed photographs and beer signs.  The welcoming ambiance immediately beckons the theatre goer to pull a seat closer to the fire for a chat.  All together gorgeous!  Hailing from the Walsh clan with a family motto of 'transfixed but not dead', I loved this play about drinkable and audible spirits. THE WEIR is like good Irish music.   Whether it's being crass or maudlin, it provokes laughter and tears.  And it's always grand!   

With strong Irish roots, Maureen describes the show with "brings me back to County Clare."

"The Weir" production photography courtesy of Eileen Molony.

WAITING FOR THE SHOW

The Irish American Heritage Center is northwest of the city at Wilson and Knox.  It is the weir of the Chicago Irish community.  Besides the show, the halls were festive with a 50^th birthday celebration and a fundraiser in memory of Kevin Dennis.  Hundreds of Irish-folk were drinking and dancing.  General merriment was in abundance.   In addition, the building houses the Fifth Province Pub on the main floor.  Not quite the Groth-Thusing scene, it's still a lively atmosphere with friendly bartenders.  It's a perfect place for 'a small one' post play.  Unfortunately, there aren't any colorful regulars spinning yarns to charm the ladies.  So, these blow-ins head home!    

Final weekend to see four summer hits...

Late: A Cowboy Song at Piven Theatre

Cherrywood at Mary Arrchie Theatre

F#cking Men at Bailiwick Chicago

Parallelogram at Steppenwolf Theatre

Timeline Theatre Company presents

FROST/NIXON

At 615 W. Wellington Avenue

Written by Peter Morgan

Directed by Louis Contey

Buy Tickets

Thru October 10^th

Running Time:  One hour and fifty minutes with no intermission

Reviewed by Katy Walsh

Timeline Theatre Company's tagline is yesterday's stories, today's topic.  In the wake of the Rod Blagojevich's first trial, the timing of their current production couldn't be more topical.  Timeline Theatre Company presents the Chicago premiere of Peter Morgan's FROST/NIXON.  In 1977, David Frost, a talk show host interviews a disgraced President Nixon.  Frost's objectives are to get Nixon to admit wrongdoing and to apologize to the American public.  Nixon's ongoing shtick is to use the four interview series to reminiscence about his non-Watergate presidential moments.  Network sponsors, political journalists, financial backers are all barriers to Frost's endgame.   Either Frost hits the target or multiple careers connected to the project implode.  It would be like the Chicago Tribune backing WGN's Dean Richards in soliciting a confession and contrition from Rod Blagojevich.  Everybody knows the truth.  Get the guy to admit it!  Timeline's FROST/NIXON is a behind the scenes 'cascade of candor' of what went wrong and really wrong before everything went right.   

Under the direction of Louis Contey, this drama is paced to perfection.  Even knowing the historical outcome to this famous David and Goliath story, the tension is still palpable.  In the leads, Andrew Carter (Frost) and Terry Hamilton (Nixon) are outstandingly authentic.  Timeline effectively uses cameras and visual projections (designer Mike Tutaj) to show the television influence in capturing the moment.  Off-camera, Carter's   public persona of carefree, D-List celebrity status mixes in with private glimpses of vulnerability.  On-camera, Carter's face is frosted-over-fear when Nixon effectively controls the interview with a litany of ramblings.  Hamilton's portrayal of Nixon is complex.  Is he crazy or funny?  Is Nixon's pre-air focus on shoes and fornicating deliberate manipulation?  Or the uncensored humor of a defeated man? Hamilton's performance elicits questions about Nixon's state of mind in his post-Watergate years.  Hamilton's headshot captured on-camera gives Nixon an overly sad and human quality.  Matthew Brumlow (Jim Reston) brings a lively energy serving as narrator and Anti-Nixon historian.   In 'interviewing practice', Don Bender (Bob Zelnick) does a hilarious imitation of Nixon.  The entire supporting cast, clad in groovy 70's garb (designer Alex Wren Meadows), provide the perfect backdrop for the interview centerstage.

Media has changed the political scene.   Not just the Farnsworth invention, but social media and a new generation of 'reporters' without journalistic credentials are announcing missteps by our chosen leaders.   It's an age of political disenchantment firmly rooted in Watergate.  In my short stint as a republican, I wore a "Re-Elect Nixon" button.  In 1973, my belief system was shaken to learn people in power lie.  That ten year old's realization is followed by 35+ years of continued deceit at the hands of 'civil servants.'   Timeline's FROST/NIXON is the origin of Media-gate.

Joining the ranks of Media-gate, Theater Bob reports his findings on FROST/NIXON at Chicago Theatre Addict.

 FROST/NIXON production photographs courtesy of Lara Goetsch.

WAITING FOR THE SHOW

Nowhere near Timeline Theatre but still a good brunch option is Green Zebra, 1460 W. Chicago.  Dick had a Group-on.  The Green Zebra is an upscale, hip, all vegetarian menu.  We were served complimentary Madeline cookies with a cinnamon butter and strawberry jam.  Freshly out of the oven, they were melt-in- your-mouth fantastic.  My vegetarian monte cristo was tasty with grilled asparagus and oversize egg bread.  If I were to be completely honest, I'd have to say Angry Brad's biscuits and gravy were much better than my entrée.  The gravy was a savory mushroom concoction that was delicious.  We went splitzie on a walnut sticky roll.  The food presentation and service were outstanding.  The only downside of our experience was revealed post- scandal.  The server apparently charged my debit card for the balance after the Group-on... correct.  He also charged it for the full amount of the bill... scam!  Zebra-gate!  I've become a little disenchanted with the vegetarian community.

Provision Theatre presents

GODSPELL

At 1001 W. Roosevelt

Music and lyrics by Stephen Schwartz

Book by John-Michael Tebelak

Music directed by Alaric Rokko Jans

Directed by Tim Gregory

Buy Tickets

Thru September 26^th

Running Time:  Two hours and five minutes includes a fifteen minute intermission

Reviewed by Katy Walsh

It's a dark and stormy night.  A group of young people have taken refuge in a deserted warehouse.  And suddenly... Jesus Christ!  Not an expletive, it's actually Jesus is in the (ware)house!  Provision Theatre presents GODSPELL, the 1977 Tony-Award winning musical.  Jesus Christ appears to a group of twenty-somethings to preach lessons of love, kindness and forgiveness.   'Gospel' is derived from the Anglo Saxon word 'godspell,' which means 'good word.'  So, GODSPELL is the Gospel according to Matthew with a little Luke thrown in.  Familiar parables, like the good Samaritan and prodigal son, are re-told by Jesus to a new generation of recruits.  Later, the final days of Christ are re-illustrated by these contemporary disciples' betrayals.  GODSPELL is sixteen years of Catholic education squashed into two hours of vibrant and energetic song and dance.  Provision's GODSPELL is the greatest story ever told heightened to biblical proportions.

The 2000 year old biographical tale of Jesus had a 70's facelift producing a modern chronicle in the original production of GODSPELL.  In this current version, Facebook statuses, Japanese movies' parody and rapping songs interject shots of Botox to freshen its youthful appearance.  Under the combined influences   of Director Tim Gregory and Choreographer Amber Mak, the lively cast bounces on and off stage with limitless vigor.  Alaric Rokko Jones orchestrates poignant harmony in some stand-out numbers, including "Day by Day" and "By My Side."  Playing God, Syler Thomas (Jesus) balances the humanity and divinity with a WWJD portrayal.  The entire cast plays hard as a tight and colorful ensemble.  They seem to be genuinely having fun together just hanging out which makes solo moments of song bursts that much more powerful.

GODSPELL is all about a crash course in Christianity. Not surprisingly, it's heavy duty preachy.  Puppets, a live band, flashy costumes make the Sunday school lesson a little less stuffy.   Other than a cultish moment of kool-aid sharing at intermission People's Temple style, GODSPELL is an entertaining Jesus 101 course with memorable music to help See thee more clearly, Love thee more dearly, Follow thee more nearly, day by day...

Also a bi-product of Catholic school upbringing, Bill describes the show with 'long live God.'

WAITING FOR THE SHOW

We choose to prepare ye the way of the Lord with a pre-show nibble in neighboring Pilsen.  Simone's, 960 W. 18^th Street, is an eclectic bar with cozy booths and artistic recyclable furnishings.  The ambiance is fun and unique.  The televisions above the bar are showing a black and white version of the movie "Lost Boys." The menu is upscale bar food and I order up the honey mustard chicken on a pretzel roll... thank you Jesus!  Tasty!  Bill opts for the blue cheese stuffed burger which seems more 'on top' than 'within'.  Simone's boasts an environmentally friendly venue from solar panels to the featured wine of the month that hails from an organically committed vineyard.   Doing our eco-part, we order the Cotes du Rhone.  Our baptism experience converts us to Simone's followers and puts us in the perfect frame of mind to receive the good word.

Signal Ensemble Theatre presents

THE REAL INSPECTOR HOUND

At 1802 W. Bernice

Written by Tom Stoppard

Directed by Ronan Marra

Thru September 18^th

Buy Tickets

Running Time:  75 minutes no intermission

Reviewed by Katy Walsh

'Where's Chris Jones?'  Chicago Tribune's Nina Metz is undoubtedly asked that question a lot.  Signal Ensemble Theatre presents THE REAL INSPECTOR HOUND, a prophesying 1968 comedy about death and theatre critics and the death of theatre critics.  Moon (aka Metz) is reviewing a play.  The first question from fellow critic, Birdboot (aka Hedy Weiss), is 'where is Higgs (aka Jones)?'  Moon laments about his entire existence hinging on the absence of Higgs.  Simultaneously, Birdboot justifies his long-standing passionate affair with theatre... or more succinctly, his ongoing lustful trysts with actresses.  While these critics critique their personal lives, a who-done-it murder mystery unfolds stageleft in an over-the-top farce.   In between self absorption, the semi-conscious critics predict the action. In a surprising twist, the reviewers engage in the action by becoming characters.  THE REAL INSPECTOR HOUND  is a play within a play being reviewed within this review.

As far as mystery murder satires go, THE REAL INSPECTOR HOUND is an Agatha Christie novel super-sized.  A storm approaches a remote home as a killer is on the loose.   Under the direction of Ronan Marra, the cast exacerbate dramatic pauses and phone slams for murder mockery.  Mary O'Dowd (Mrs. Drudge) is the white-faced, creepy know-it-all maid.  A love triangle is played out hilariously in a card game between Meredith Bell Alvarez (Cynthia), John Blick (Simon) and Katie Genualdi (Felicity).  Defining physical comedy a little sluttier than most, Alvarez goes full-on-skank by making out with most of the cast...with her mouth open.  Blick is animatedly charming as THE handsome stranger/ killer/victim.  Genualdi is amusing feigning agony as the scorned discarded lover.  Playing the pretentious stereotypes of critics, Philip Winston (Moon) and Jon Steinhagen (Birdboot) are droll as bumbling theatre authorities.  Winston is sarcastic wit with a chip on his shoulder and a flask in his pocket.  Steinhagen transforms from unapologetic philanderer to schoolboy crush by climbing out of the box.     Colby Sellers (Magnus) is a hot wheeling mysterious character that rolls over for the big reveal at the end.

Playwright Tom Stoppard penned this murder mystery comedy that imagines theatre reviewers becoming part of the plot.  The silly premise is an absurd nod out to the mystery novel genre mingled with a playwright's dark fantasy.  SPOILER ALERT:  It's the agathized 'then there were none' theatre critics.  In the final scene, the more formal critics have been replaced by casually dressed bloggers who are focused on interpreting the play in between bites of Pringles.  The spoof is a bizarre comedy best suited to theatre lovers of the satirical and theatre haters of the critics. Ultimately, THE REAL INSPECTOR HOUND is definitely more deathly funny to bloggers than theatre critics. 

Picking roles before the show started, I'm the cynical Moon with Chris Jones' envy to Theatre Bob's Gator cheating Birdboot.  Check out his review of the play at Chicago Theatre Addict.

Production photos courtesy of Johnny Knight.      

You don't need to choose between the Irish and Communists.  See both.  Two productions closing this weekend:

Jim Lynch's The Tallest Man at The Artistic Home.

Arthur Miller's "After The Fall" at Eclipse Theatre. 

 

 

 

Theatre critics, hippies, and politicians:  something for everyone in new Chicago theatre productions this August 19th weekend:

THURSDAY:  The Real Inspector Hound at Signal Ensemble

SATURDAY:  Godspell at Provision Theatre

SUNDAY:  Frost/Nixon at Timeline Theatre