Broadcast live from Goodman Theatre’s intimate Owen Theatre, THE SOUND INSIDE intrigues because of the twists and turns in Adam Rapp’s script, but also because it combines cinematic-quality streaming with the thrill of live theater. It’s been over a year since I last stepped inside a theater, and now with the first limited run production in its LIVE series, the Goodman has come extremely close to capturing the exhilaration of being live and in the room with theater. Running only for four more performances through Sunday, May 16, THE SOUND INSIDE is indeed a unique and limited-edition experience.Continue reading “Review: THE SOUND INSIDE at Goodman Theatre”
Writers Theatre’s THE LAST MATCH focuses on the interior lives of two world-famous tennis players, Tim Porter (Ryan Hallahan) of the United States and Sergei Sergeyev (Christopher Sheard) of Russia. The concept of interiority central to Anna Ziegler’s play — and the fact that THE LAST MATCH has only four characters — makes it a particularly keen theatrical production to stage for the purpose of streaming at home. Keira Fromm’s direction plays up the narrative elements in Ziegler’s script — Tim and Sergei frequently use direct address to communicate with the audience. Matt Hoffman’s television direction nicely balances close-up shots and wider shots.Continue reading “Review: THE LAST MATCH at Writers Theatre”
Porchlight Music Theatre’s latest virtual installment of their New Faces series (and the first this critic has seen) offers a delightful smorgasbord of musical theater entertainment. With direction by Brianna Borger and filmed at Chicago’s historic Studebaker Theater, NEW FACES SING BROADWAY 1961 offers 75 minutes of charming content. Like some of Porchlight’s other performance series, NEW FACES SING BROADWAY 1961 serves up both entertaining and informative value for audiences. Host Kelvin Roston Jr. guides audiences through the programming, offering up tidbits of context and history for each of the 1961 musicals showcased in the program.Continue reading “Review: Porchlight Music Theatre’s NEW FACES SING BROADWAY 1961”
It seems most fitting that Goodman Theatre’s current encore streaming production of SMOKEFALL exists both in and out of time. Noah Haidle’s whimsical play, beloved by critics and audiences when it originally premiered at the Goodman in 2013 (and remounted in 2014), occupies an achronological space. While the play ostensibly lives in an undefined present in Grand Rapids, Michigan, it also pulls us into the past and propels us into the future. Thematically SMOKEFALL is a meditation on life —and how humanity may find purpose within it — told through the lens of various experimental storytelling methods.Continue reading “Review: Goodman Theatre’s Encore of SMOKEFALL (2013)”
Although I don’t often preface my reviews, I think this particular write-up deserves one. As I reflect on my viewing of Goodman Theatre’s current Encore showing of PEDRO PARÁMO, I find it important to note that I’m writing about a production that took place eight years ago. The Goodman presented Cuban theater company Teatro Buendía’s PEDRO PARÁMO in 2013, in association with the Museum of Contemporary Art. The immense theatricality and experimental nature of Teatro Buendía’s production make clear why this was a fitting co-production between the Goodman, the MCA, and Teatro Buendía. And the Goodman’s decision to allow audiences to revisit (or experience for the first time) an international theater collaboration feels poignant at this time. The chance to see this collaboratively produced piece feels like both a nostalgic exercise and one that reminds us of the hope for such kinds of artistic collaborations in the future.Continue reading “Review: Goodman Theatre’s Encore Streaming of PEDRO PARÁMO (2013)”
Porchlight’s streaming program BROADWAY BY THE DECADE provides some much needed musical theater cheer in this unprecedented and challenging year for Chicago theater. This streaming offering is an enjoyable virtual take on the Porchlight Revisits series, in which the company mounts limited engagements of rarely produced musicals—complete with a pre-show briefing from Artistic Director Michael Weber. Weber now takes on the role as musical theater historian and revue emcee as he traces the history of the American musical from the late 1800s to the present—all in the span of 45 minutes. BROADWAY BY THE DECADE provides viewers with an insightful overview of American musical theater, without bogging down the program with details.Continue reading “Review: Porchlight Music Theatre’s BROADWAY BY THE DECADE”
J. Nicole Brooks’s HER HONOR JANE BYRNE, now in a world premiere production at Lookingglass, is a play deeply rooted in Chicago’s not-too-distant history. Inspired by former Chicago Mayor Jane Byrne (the first woman to serve as mayor here) and her decision to move into Cabrini-Green as a display of her desire to revitalize the city’s housing projects, the play introduces a cast of characters representing different perspectives in the city. Brooks (who also directs) has assembled an intriguing array of characters in HER HONOR JANE BYRNE, and she makes the pivotal choice to prominently feature residents of Cabrini-Green as much as Byrne and some of her fellow Chicago politicians. Yet the play becomes too cluttered in its various storylines and ideas.
In WHAT THE CONSTITUTION MEANS TO ME, playwright Heidi Schreck has pulled off one of the most challenging feats in theater: The seamless blending of the personal and the universal. And the result is remarkable. In the play, Schreck reconstructs the speech she gave at age fifteen about the U.S. Constitution in competitions across the country; she was able to win enough of these contests to pay for her entire college education. The play evolves into an examination of what the Constitution has meant to Schreck at various points in her life, from her initial awe in high school to her present-day questioning of whether this esteemed American document actually protects the rights of all citizens. It’s a blistering examination of our country’s frequent failure to protect the rights of women and minorities (and particularly Native Americans), partly as relayed by Schreck’s inclusion of some haunting stories about the history of the women in her family.
korde arrington tuttle’s graveyard shift, now making its world-premiere following an initial workshop production during Goodman Theatre’s 2018 New Stages Festival, is a haunting and beautiful reflection on police brutality against Black Americans. Inspired by the legacy of 28-year-old Sandra Bland, who was found hanging in her prison cell in 2015 after being arrested for failing to signal a lane change, graveyard shift is also remarkable in its capacity for empathy and its meditation on shared humanity. graveyard shift is an undeniably brutal play, as it should be given its subject matter, but tuttle also writes his dialogue in such a poetic way that I was equally stunned by the play’s beauty.
While Donna Summer may be “Hot Stuff” when it comes to iconic songwriting and singing, SUMMER: THE DONNA SUMMER MUSICAL is a lukewarm entry in the genre of biographical jukebox musicals. The musical features many of Donna Summer’s notable hits—and this national touring cast has the talent to take them all on—but the storyline gave me whiplash. With a book by Colman Domingo and Robert Cary and direction from Des McAnuff, SUMMER careens between the major events of Donna Summer’s life at an often breakneck pace.