Matthew-Lee Erlbach’s THE DOPPELGANGER (AN INTERNATIONAL FARCE), now in its world premiere at Steppenwolf Theatre Company, is a wild, swift-moving, and hilarious ride. As indicated by the numerous doors on Todd Rosenthal’s opulent set, Erlbach’s play employs many of the hallmarks of classic farce. And under the direction of Steppenwolf ensemble member Tina Landau, the production’s first-rate and comically expert cast take Erlbach’s combination of zippy one-liners and absurd physical antics and run (sometimes literally).
Boo Killebrew’s world premiere play LETTIE is profoundly heartbreaking and brilliantly conceived. Under the direction of Artistic Director Chay Yew, the production devastatingly unfolds the narrative of the titular working class ex-convict Lettie. Both Killebrew’s masterful, raw writing and Yew’s superlative ensemble—with Caroline Neff in the title role and doing some of the best work so far of her career—bring immense pathos and a swirl of shifting emotions upon the audience.
Firebrand Theatre’s production of 9 TO 5 THE MUSICAL makes a good deal of sense for the company to stage, especially as it’s the first show directed by Artistic Director Harmony France. This outsized, comical musical focuses on three women navigating office politics in 1979 as they plot revenge against their company’s sexist and outlandish CEO. With songs by Dolly Parton and a book by Patricia Resnick, 9 TO 5 is a fun romp of a musical with a bluegrass twinge and tons of laughs.
Sheila Callaghan’s WOMEN LAUGHING ALONE WITH SALAD, now in a Chicago premiere at Theater Wit, opens with just that: Three women (Echaka Agba, Jennifer Engstrom, and Daniella Pereira) sit on a park bench, eating from large bowls of lettuce in complete silence. The silent salad consumption becomes more intense as the scene continues, but the energy completely changes when Guy (Japhet Balaban) emerges on the scene. Suddenly, all three salad-eating actors become more interested in attracting his attention. In this initial scene, Callaghan launches us into the hilarious and absurd world of her play—a world which director Devon de Mayo’s superlative cast fully embraces.
I was unsure exactly what to expect going into PRETTY WOMAN THE MUSICAL, but I knew that I was excited to see Samantha Barks make her Chicago theater debut in this pre-Broadway try out. I was not disappointed. Barks’s performance as Hollywood Boulevard street walker Vivian Ward, made famous by Julia Roberts in the 1990 film, exudes radiance and effortless command. Barks has a thrillingly magnetic presence as Vivian. She nails the character’s signature charm and candor, and Barks elevates those qualities further with her winsome delivery. Of course, she is also an outstanding vocalist and milks many of PRETTY WOMAN’S mostly bland lyrics for all they are worth. If you’re a fan of the original film and are looking to see a star turn, PRETTY WOMAN THE MUSICAL has those areas covered in spades. Barks’s performance is by far the most compelling reason to see this entertaining—though uneven—new musical.
Watching Artistic Director Robert Falls’ production of Henrik Ibsen’s play AN ENEMY OF THE PEOPLE is an eerily prescient experience. Though Ibsen wrote ENEMY in 1882, much of the dialogue (adapted by Falls from a translation by Eleanor Marx-Aveling) feels like it is purely 2018 parlance. And, of course, the issue at the play’s heart (really, the only issue in the piece) is a bitter battle between Dr. Thomas Stockmann, who discovers the town’s water is poisonous, and his brother Mayor Peter Stockmann, who wishes to hide that truth at all costs. ENEMY’s script is undeniably pointed—among others, the phrase “fake facts” is used. Yet that seems to be precisely the argument that Falls is making: this is an on the nose production for an equally pointed moment in time.
Yesterday American Theater Company announced that it was shutting its doors after 33 years. Under the direction of late Artistic Director PJ Paparelli, American Theater Company made its name as one of the most groundbreaking and well-regard storefront theaters in Chicago. Among other productions, ATC staged the world premieres of Ayad Akhtar’s Pulitzer Prize winner DISGRACED and Stephen Karam’s THE HUMANS.In ATC’s most recent era, Artistic Director Will Davis staged innovative pieces with a clear and unique vision.I have many fond memories of seeing productions at ATC, and below are some of my favorites. Farewell, American Theater Company. Chicago will miss you dearly.
Under the taut direction of David Schwimmer, Kevin Douglas’s new comedy PLANTATION! succeeds in making audiences both laugh out loud and cringe. In PLANTATION!, Douglas explores one wealthy white woman’s attempt to make reparations for the benefits her family reaped from slavery. Douglas does so by posing the question: Does making amends actually work? And for whom does making amends actually benefit? The twist in PLANTATION!, however, is that these serious questions are explored almost entirely through the lens of broad, dramatic, zinger-filled satire. The all-female cast succeeds in landing each and every joke in this production, which brings the broadly comic nature of Douglas’s writing to the forefront.
With her Pulitzer Prize finalist THE WOLVES, young playwright Sarah DeLappe has beautifully, movingly, and realistically captured the tenuousness that comes with being a teenage girl navigating the thorny terrain of high school. DeLappe has captured so precisely the agony and nuances of high school female friendship. In this 90-minute play about an indoor high school girls’ soccer team, DeLappe presents the achingly real challenges of life as a teenage girl in suburban America. While the nine members of the eponymous Wolves are fierce soccer players on the field, these three-dimensional characters have much more to contend with once they step off.
Based on the title alone, Antoinette Nwandu’s “BREACH: a manifesto on race in america through the eyes of a black girl recovering from self-hate” does not sound like a comedy. And yet in BREACH, Nwandu has written a laugh-out-loud satirical piece that also has a real beating heart in its exploration of race and identity in modern-day America. Nwandu’s characters are intentionally broadly drawn and the play has many outsized comedic moments, but BREACH also has humanity running through it.