Month: March 2017

Will Davis Casts An Imaginative, Modern Lens on William Inge’s PICNIC

Will Davis Casts An Imaginative, Modern Lens on William Inge’s PICNIC

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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10 OUT OF 12 Takes Audiences Into Technical Rehearsal with Raw, Exacting Detail

10 OUT OF 12 Takes Audiences Into Technical Rehearsal with Raw, Exacting Detail

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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At SPAMILTON, The Laughs Are Non-Stop

At SPAMILTON, The Laughs Are Non-Stop

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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Ease On Down to Kokandy’s Joyous THE WIZ

Ease On Down to Kokandy’s Joyous THE WIZ

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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Porchlight’s LITTLE ME Leaves a Big Impression

Porchlight’s LITTLE ME Leaves a Big Impression

Porchlight Music Theatre’s three-night-only concert staging of the 1962 Broadway musical LITTLE ME as part of its Porchlight Revisits series is every bit as effervescent as a glass of champagne—and it’s certainly an evening of theater worth toasting. With a classic Broadway score by Cy Coleman, lyrics by Carolyn Leigh, and a charmingly nonsensical book by Neil Simon, LITTLE ME provides ample laughs and Porchlight’s talented ensemble embraces every single moment of this improbable and exaggerated musical. And while the acting may be comically heightened as befits the show, the ensemble takes the vocals quite seriously and they nail every note. With direction from Porchlight Artistic Director Michael Weber, this is a night of pure Broadway showtune pleasure, and I could not have asked for a better way to spend a rainy Tuesday night. Craig V. Miller’s choreography (with Jane Lanier’s guest choreography for “Rich Kids Rag” delightfully performed by students from Roosevelt University) is icing on this delicious confection of a staged concert.

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