In putting together American Theater Company’s current production of William Inge’s classic play PICNIC, Artistic Director Will Davis said he wanted his cast “to reflect the playwright and the powerful forces in his own psyche that kept him from happiness and fulfillment.” Indeed, the actors Davis has cast certainly unlock a great deal of humanity in PICNIC’s characters. As outsider Hal, Molly Brennan delivers a particularly inspired performance and bestows an immense depth of feeling into her role. While this is the first time I’ve seen a staging of PICNIC, I imagine that Hal is often played more broadly and more stereotypically typecast as a “macho” man—aggressive and assertive. In Brennan’s Hal, however, there is a beautiful earnestness and genuine desire for acceptance and belonging. This also makes Hal’s desire for Madge (Malic White) a more powerful longing for human connection. Alongside Brennan, White’s Madge also has a similar desire for understanding—though the role could be played more desperate still. White’s self-assured take on the character does not allow Madge to emit as much desperation as she might.
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Theater Wit’s Chicago premiere production of Anne Washburn’s 10 OUT OF 12 presents a novel concept: audience members don headsets as they dive into tech rehearsal for a fictional theatrical production. As the play unfolds, so does tech—warts and all. Under the guidance of the Stage Manager (Dado), we are invited to observe a 10-hour day (though the actual run-time is 2 hours and 40 minutes) in the theater as the company painstakingly works to integrate the design elements into the final staged production. Because this involves some pre-recorded bits literally in the audience’s ears, director Jeremy Wechsler has incorporated some fun cameos for Chicago audiences: Martha Lavey as Lights, John Mahoney as Electrics, and Peter Sagal as Sound, among others.
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Though tickets are certainly hard to come by for the Chicago engagement of Lin-Manuel Miranda’s musical theater juggernaut HAMILTON, the laughs come easily at its hammier (pardon the pun) parody counterpart SPAMILTON at the Royal George. The latest in the line of Broadway parodies from FORBIDDEN BROADWAY creator Gerard Alessandrini (who also directs), SPAMILTON pays loving and playful homage to Miranda’s masterwork. The resulting show is witty, endlessly entertaining, and genuinely had me in stitches.
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Under the direction of Lili-Anne Brown, Kokandy Productions’ staging of THE WIZ radiates joy, and at the performance I saw Saturday night, the audience was soaking up every single joyful moment. From my vantage point, I can say that the audience reaction comes from the satisfaction of watching a solid musical theater production that leans into the musical numbers and embraces this all-black version of the classic THE WIZARD OF OZ to milk it for every possible ounce of delight and vibrancy. All of the ensemble members onstage seem to be truly enjoying themselves, and that energy is undeniably infectious.
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