Patsy Cline is comfort, love, and heartbreak. Her music charms you, wraps you in a blanket and slips you a little whiskey. In Firebrand Theatre’s production of Always… Patsy Cline, Houstonite Loiuse Seger knows this experience all too well. Louise is drawn to Patsy Cline, and on one fateful night, the two meet and forge a friendship that lasts the rest of Patsy Cline’s life. This is the story of a single incredible night when two women found a bit of themselves in each other and director Brigitte Ditmars invites the audience to find themselves in a country song.
Sunset Boulevard, the famous film turned musical sensation, places the Golden Age of cinema on the stage. This Andrew Lloyd Webber musical, with lyrics and book by Don Black and Christopher Hampton, adapts the film by Billy Wilder into a stirring operetta. This production in particular left me humming the dramatic themes on my way back to the train. Directed by Artistic Director Michael Weber, Porchlight Music Theatre’s Sunset Boulevard features stunning design, an incredibly skilled cast, and a muddled narrative that loses the most memorable line from the film during the final moments of the musical.
Many Americans sitting in the audience for The Great Leap may have a basic knowledge of what happened at Tiananmen Square. Some of them watched the coverage on their televisions. Younger generations have read about the events in their textbooks. Some caught stories about that historic event during its 30th anniversary earlier this year. Almost all Americans have some working understanding, all with the privilege of distance. Lauren Yee closes that distance with her play The Great Leap, where an American college basketball team travels to Beijing for a “friendship” game when relations between the two nations are anything but friendly. The game is scheduled for June 3, 1989, one day before the Tiananmen Square protests come to a violent end. Director Jesca Prudencio taps into the inherent tension of time and place with the kind of dramatic spectacle typically reserved for the stadium. At its heart, The Great Leap is a play about collision: sports and theatre, US and China, protesters and government. The court in Steppenwolf’s Upstairs Theatre is the battlefield and the end of this collision course. Continue reading “‘The Great Leap’ at Steppenwolf Theatre is a Collision of Passion, Sports, and Protest”
I love a good farce. It’s a style of comedy specific to theatre that we don’t get to see a lot of anymore. In my opinion a classic farce contains three key elements: exaggerated characters, stylized performances, and sex. Eclipse Theatre dives into this genre with Christopher Durang’s Beyond Therapy, the second production of their all-Durang season. Director Rachel Lambert choreographs chaos with a hilarious cast, combining all these elements that I’ve come to know and love. The production’s sporadic tempo, however, slows down the momentum necessary to push these outrageous situations to their breaking point. Continue reading “Eclipse Theatre’s ‘Beyond Therapy’ Reminds Me Why I LOVE Farce”
Midsommer Flight features the best combination of elements one can find in the theatre: Free, and Quality. William Shakespeare’s The Tempest marks the company’s eighth summer of free Shakespeare performances as an Arts Partner in Chicago. Many productions of this revenge tale/ comedy can get bogged down in all the alternative readings and academia. Under the clever direction of Beth Wolf, however, Midsommer Flight revels in theatricality and proves that The Tempest has a role in our daily lives. Continue reading “Midsommer Flight Is Bringing the Magic of Shakespeare’s ‘The Tempest’ to a Park Near You”
The Factory Theater is just that, a factory that churns out new plays. The most recent addition to their catalog is the play Prophet$ by company member Anthony Tournis. Set in 1988, Prophet$ is the story of three down on their luck conmen who score big as televangelists. Wm. Bullion directs the world premiere and the play dives headfirst into the era. Everything in this play screams “80s”, from the shoulder pads to the jokes. The self-proclaimed “Stripes-esque” production borrows so much from 1980s comedy that this new production already feels dated. Continue reading “‘Prophet$’ Relies Too Heavily on the Past at The Factory Theater”
Who gets to write the story when our present becomes the past? Does that privilege fall to the global leaders, historians, celebrities, or the revolutionaries? We Are Pussy Riot (or) Everything is P.R. by Barbara Hammond documents this struggle for historical authorship by looking at a recent moment in time. Not too long ago, Pussy Riot went to trial for their public protest of the 2012 Russian election. Everyone seemed to have something to say, and the truth of the matter is still up for debate. Director Kate Hendrickson uses Red Tape Theatre’s intimate space as a communal square where the public record is laid bare in ferocious fashion. We Are Pussy Riot (or) Everything is P.R. is just as raucous, satirical, and tragic as the group itself. Continue reading “Red Tape Theatre Delivers a Raucous History with ‘We Are Pussy Riot (or) Everything is P.R.’”
The Undeniable Sound of Right Now by Laura Eason is not about the present. “Now” in the play’s title refers to Chicago in 1992. Grunge is spreading across the country and House Music shakes nightclubs with its electric tune. Hank’s Bar was the place to be during the 70s wave of Rock n’ Roll, but in 1992 “Now” and “Then” clash within the walls of this cultural relic. BJ Jones directs the Chicago premiere at Raven Theatre and this project on paper promises something worthwhile. The final product, however, is unsatisfying. Continue reading “‘The Undeniable Sound of Right Now’ is a Nostalgia Trip That Doesn’t Reach its Destination”
In 1975, A Chorus Line introduced a show-biz musical with a new perspective to the Broadway theatre canon. Since then it has been a staple in theatre songbooks across the country. Inspired by true stories, A Chorus Line is the day in the life of a Broadway audition where 16 dancers leave it all on the stage for one of eight coveted positions. Public schools, community theaters, and the largest performance halls have all had boxes of golden tuxedos sent through their doors for that one final show-stopping number. Director Brenda Didier is no stranger to the phenomenon. In Porchlight Theatre’s program for their production of A Chorus Line, Didier wrote that “once A Chorus Line has become a part of your life, it stays with you.” I have to agree. Wholeheartedly. Every production of A Chorus Line is both building off and working against that relationship the audience already has with this musical. Porchlight Theatre’s production gets lost somewhere in the middle and is a shadow of that one singular sensation. Continue reading “Porchlight Music Theatre’s ‘A Chorus Line’ Has Some Big Dance Shoes to Fill”
Debate plays are danger zones where the ploy to frame the “very fine people on both sides” can quickly fall flat and leave the audience with nothing else but the same arguments they are already bombarded with daily. Shattered Globe Theatre’s production of Hannah and Martin successfully presents a debate focused script without turning into trench warfare. The remarkable text by playwright Kate Fodor stands on its own two pillars of cerebral philosophizing and visceral desire. In his 24th collaboration with Shattered Globe Theatre, director Louis Contey leans on these two pillars to guide a willing audience into the gray area of a life or death debate. Continue reading “Shattered Globe Theatre’s ‘Hannah and Martin’ is a Winner-Take-All Battle of Wits”