Theater

The Other Cinderella – Black Ensemble Theater – December 22, 2019

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My favorite cast member in this incarnation of the Black Ensemble Theater’s annual production of The Other Cinderella was Stewart Romeo, who played the Page. According to his bio in the program, Romeo is a trained singer, actor and carpenter (and he’s funny and can dance). When I saw the carpenter credential, I wondered, given the family atmosphere of the theater, whether Romeo had been enlisted to build any sets. Sure enough, he’s listed in the program under set construction. It reminded me of Harrison Ford, who was a carpenter between early acting roles, and Alexander Godunov, who also danced a little during his career, showing off their carpentry skills while nailing their parts in the barn-raising scene in the movie Witness.

The theater’s family atmosphere continued after the show when the actors went into the lobby and formed a receiving line for the patrons. It was like being at Cinderella and the Prince’s wedding, though, disappointingly, there wasn’t any cake. I was a little embarrassed because I didn’t bring a gift (you have a year, right?), but I didn’t bring one to Tony and Tina’s wedding either.

Also embarrassingly, this was my first time at the theater’s current location – they moved into it in 2011. It’s a nice building, but some things haven’t changed. The indefatigable Jackie Taylor is still running it all as the CEO, and, in addition to having written The Other Cinderella, including many of the songs, over 40 years ago, she’s listed as the producer, director, costume designer, and, why not, understudy for this production.

Though the plot is essentially the same, this isn’t Disney’s or the Grimm Brothers’ Cinderella, or Strabo’s Rhodopis. No brothers from the hood there. And Taylor keeps it updated. I’m pretty sure the original production didn’t include references to Idris Elba, Michael B. Jordan, and social media.

Burning Bluebeard – Porchlight Music Theatre – December 15, 2019

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Remember the scene in Animal House when John Belushi grabs the guitar out of the hands of the guy playing on the stairs and smashes it against the wall. I wanted to grab the entire cast of the Ruffians’ production of Burning Bluebeard, a show about the tragic December 30, 1903 Iroquois Theater fire, and smash them against the wall, gently of course, as I’m not a violent person.

On the other hand, a ruffian is defined as a violent person, especially one involved in crime, which seems fair, because, as far as I’m concerned, this play is a crime. But, just as no one was ever convicted in connection with the Iroquois fire, Burning Bluebeard has received great reviews over the years in which it has become a December tradition, and, based on the applause, was found innocent by many of those in attendance the night I saw it, in a clear case of audience nullification (see jury nullification if you haven’t watched enough Law and Order).

The Ruffians say that they use a “multi-disciplined creative process [that] fuses acrobatics, story-telling, and pop culture styling into a joyful anarchy that gives voice to the eerily beautiful harmonic hum of magical-realism.” I would agree with all of that, except the joyful part.

I’m not a big fan of avant-garde theater, the closest I have come to liking it before being the time I saw a production of Austin Pendleton’s Orson’s Shadow about Welles’s production of Ionesco’s Rhinoceros. But, if avant-garde is your thing, then knock yourself out, as opposed to the cast, and see this production. Just don’t sit in the front rows, or the fog, representing smoke, may knock you out.

The play is informative. But, personally, I would recommend, instead, reading the Smithsonian Magazine article about the fire and the reforms that resulted from it.

Q Brothers Christmas Carol – Chicago Shakespeare Theater – December 14, 2019

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Charles Dickens’ A Christmas Carol was first published in 1843. Though the underlying spirit (or spirits, if you will) remains the same, the Q Brothers have made more than a few changes. Bless them, everyone.

This makes six years in a row I’ve seen the Q Brothers ply their trade in this must-see show. I’d call it a tradition, but that implies a handing down between generations. I can’t even get most of my same-generation friends to go because they’re afraid of hip-hop, as if it were some kind of communicable disease. Bah, humbug, Those who have gone, thank me.

Since I’ve written about the show the last two years, there’s not much left to say, except to wonder when the cast will get too old to dance around the stage, and when that happens, will they allow a younger set of performers to replace them in the tradition of some road-weary 60s rock band that has reached its limit and sold their name (see Blood, Sweat, and Tears).

Nonetheless, I’ll mention a few things. Scrooge asking a young girl in the audience whether he’s using the word hashtag correctly. Her hands-up response suggested she didn’t know, which made me feel better. Scrooge’s childhood friend once again going off on a tangent, not one considered by Leibniz or Euclid, but different than last year’s, cracking up not only the other actors and the audience, but also himself, and thereby answering my question as to whether his random departure is part of the show. The Tarik Cohen joke added last year to show currency. The newly-inserted visual marijuana reference to the Illinois law about to take effect. Tiny Tim’s song that matter-of-factly lists all his ailments, none of which, I’m pretty sure, are transmitted by attending a hip-hop show. Just saying.

Porchlight Revisits Call Me Madam – Porchlight Music Theatre – November 20, 2019

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When Irving Berlin first played the counterpoint song You’re Just in Love for Ethel Merman, her reaction was “We’ll never get off the stage.” For those of us who are musically challenged, counterpoint is the relationship between voices that are harmonically interdependent (polyphony) yet independent in rhythm and contour. Whatever the hell that means, Merman was right. It’s a great song.

Donica Lynn, in the Merman role, is the headliner for this three-performance run, and doesn’t disappoint, but Laura Savage stands out for me, as she has done before, this time not only for her acting, singing, and dancing, but also for her gymnastic skills, demonstrated by her forward and backward flips across the stage that earned her a perfect ten from the audience.

The woman behind me, whom I wouldn’t call madam, coughed throughout the show, her emanations unfortunately not blending in like white noise, but rather more like the black plague. At intermission I was going to offer to pay for her ticket if she would leave, but thought better of it out of fear that she might let loose a torrent of invisible fury directly into my face should I confront her.

Michael Weber’s always entertaining Behind The Show Backstory included frequent mention of the show’s authors Russell Crouse and Howard Lindsey, but, surprisingly, didn’t mention, for us trivia buffs, that Crouse named his daughter, the actress we came to know as Lindsey Crouse, after his long-time writing partner. So I was compelled to grab him at intermission to show off my grasp of useless information.

Weber’s half-hour piece, which he flew through without taking a breath, also included mention of George Sanders as General Cosmo Constantine in the movie version, which leads me to remind people that Sanders is not to be confused with his actor-brother Tom Conway, or with actor John Williams, as can easily happen when half-comatose, watching old movies late at night.

Spamalot – Mercury Theater – November 8, 2019

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I was awed by Sara Ramirez when I saw her in her Tony-award winning performance as The Lady of the Lake in the original production of Spamalot, but that didn’t stop me from wanting to see Meghan Murphy, aka Big Red, in the same role. It was my main reason for going to the Mercury Theater production.

Murphy makes the role her own, commanding the stage, not only with her talent, but also with her brash, over-the-top playfulness that the director obviously must have encouraged, to the delight of the audience. Murphy’s scatting during The Diva’s Lament had the audience roaring for more.

There is no clear-cut origin of scatting, though apparently Louis Armstrong’s recording studio misadventure, when he dropped the lyric sheet to Heebie Jeebies and started improvising, led to its popularity.

There’s also no information, at least that I could find, about the origin of the term scatting. It seems like it must relate to scat’s other definition, that is feces, but I couldn’t find anything to suggest that conclusion.

In searching for references, I did, however, find a webpage that cites 11 literary fart jokes, ranging from Dante to Twain to Salinger. And that’s without mention of Judd Apatow, or the Frenchmen’s fart jokes in Spamalot.

I don’t know whether the Frenchmen throwing a cow as a weapon from their castle is supposed to be a continuation of the scatological humor (I wouldn’t doubt it), but it is well-documented that cows have been accused of contributing to climate change, though not, as some think, through farting, but rather, as NASA tells us, through belching.

Not to worry, however, as scientists are hard at work on ways to reduce the methane produced by cows, which should keep the EPA from shutting down future productions of Spamalot, or Gypsy, with its moo cow.

New Faces Sing Broadway 1956 – Porchlight Music Theater, at Arts Club of Chicago – October 30, 2019

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When I saw Angela Ingersoll (who made me a most happy fella as the fair lady hosting New Faces Sing Broadway 1956) as Judy Garland in Porchlight’s production of End of the Rainbow a few years ago, I thought she was great (she won the Jefferson Award for her performance) but I had no idea she was the energizer bunny in disguise, given that the Garland we see in that show is drug addicted and near death.

She didn’t wear a rabbit costume and bang a drum for Porchlight’s New Faces Halloween-adjacent show, but, her monster singing talent aside, Ingersoll’s enthusiasm, energy, and electricity made me think of When Harry Met Sally, as I definitely would like to have what she’s having, and need to add her to my growing list of theater obsessions.

As for the new faces themselves, Porchlight once again pulled off the trick of treating the audience to a frighteningly excellent array of talented artists, none of whom, this time, I had ever seen before. Thus, my impressions were fittingly written on a blank slate, as a couple of the performers will be appearing in an upcoming production of The Mystery of Edwin Drood, put on by the Blank Theater Company, which is only a couple years old, and previously unknown to me, though I was at the comfortable, though fairly bare-bones space they inhabit at The Edge Theater for the Hell in a Handbag production of Poseidon: An Upside Down Musical.

As amazing as the never-ending parade of wonderful singers who grace these Porchlight programs is, there also is new blood to be found behind the scenes. This show marked the directorial debut of Brianna Borger, whom I saw perform in Southern Gothic.  Next up in the series, New Faces Sing Broadway Now and New Faces Sing Broadway 1987.

Sunset Boulevard – Porchlight Music Theatre- October 18, 2019

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You get a taste of Norma Desmond’s storied fictional career by seeing the various posters and pictures projected on the walls of the set during Porchlight’s Sunset Boulevard, but it occurred to me while watching Hollis Resnik inhabit the role of Desmond that she was seemingly born to play, that a collage of posters representing Resnik’s real 12 Jefferson Award-winning parts would be even more impressive.

Resnik’s tour de force performance of As If We Never Said Goodbye in the second act could be the impetus for award number 13. The other second act highlight worth mentioning is the bathing suit entrance of Billy Rude, as Joe Gillis, which evoked a bobby soxer reaction from a young lady in the balcony, causing Rude to ever so slightly, and amusingly, break character by giving an almost imperceptible wink to the audience.

Clearly, Mr. DeMille, Rude was ready for his close-up, which leads me to inform that the line made famous by Gloria Swanson in the original screen version came in at number seven on the American Film Institute’s 2005 list of 100 movie quotes. And her “I am big! It’s the pictures that got small” was number 24, which puts Desmond in a very select company of characters with multiple attributions, equaled by the iconic Dorothy Gale, Scarlett O’Hara, James Bond, Harry Callahan and the Terminator, and bested only by the immortal Rick Blaine.

As with other Porchlight productions, I left impressed with creative touches that enhanced the experience. In particular, although there isn’t a lot of dancing in the show, the choreographed movements of a couple of the group scenes have a silent era, controlled Keystone Kops feel that fits perfectly with Norma’s hunger for those past days of movie-making and stardom. She never says it, but she could have inspired the Terminator’s “I’ll be back.”

Upcoming Events

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Normally I don’t take up my extremely valuable time, which could be better spent working on my hip flexors, publishing information about upcoming events, but the website has been acting up lately, causing several problems, like no one receiving newly published posts.  So, after two days of chatting with my new best friends in two different tech departments in two different countries, I feel the need to test the system to see if it’s working properly again, and what better way than to annoy my subscribers with unnecessary, verbose emails.

So, without revealing too much information about my clandestine movements, here’s some things you might consider attending.

Arts in the Dark Parade at 6:00 pm on October 19 on State Street.  You can dress up like your favorite movie character or just watch from the sidelines and admire the total lack of shame of the participants.

Sunset Boulevard just opened at the Porchlight Music Theatre, featuring Chicago legend Hollis Resnik as Norma Desmond.   Having attended an invitational rehearsal, I can tell you that the cast is great and the music is wonderful, but I did catch Resnik smoking in the parking lot during a break, which calls for detention.

The Art Institute is opening its Andy Warhol exhibit for member previews this week, which makes me want to look for clues as to whether he was really an undercover agent spying on extraterrestrial aliens as depicted in Men in Black III.

The Chicago Humanities Festival presents dozens of programs the last week of October.  Just like your insurance company, the festival has been furtively raising prices the last few years, but, unlike your insurer, there’s no competition, so suck it up and treat yourself.

And though I receive no commission for my continuing promotion of her (but should I?), don’t miss Meghan Murphy in Spamalot at the Mercury Theater.

 

 

 

 

 

Midsummer (A Play with Songs) – Greenhouse Theater Center – October 4, 2019

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Two self-destructive people, with nothing in common, and with no apparent redeeming qualities, meet in a bar, provide a few early hope-inducing laughs for the audience, sing a couple mildly amusing but forgettable songs, lament about life, meet a variety of uninteresting characters, and somehow survive to be miserable together for at least another day in a kind of weak Scottish relative of the Scorsese movie After Hours.

Midsummer received a lot of great reviews, which highlighted what a fun, exhilarating show it is. Huh? The best laugh line was provided by a Tickle Me Elmo toy, which was not one of the dozen or so characters portrayed by Chaon Cross and Patrick Mulvey, whose talents were the saving grace of the show, which went on for an hour forty minutes, seemed like two hours, and would have been better at an hour fifteen.

The most profound line of the night was offered, twice, like a lot of other lines in the show, by a parking lot machine, the unrealistic nature of which was brought home by the inability of the machine where I parked my car to operate without human intervention by a disembodied lot attendant.

Apparently other potential audience members were smart enough to look past the reviews, as the theater was practically empty. In that regard I felt sorry for the actors, particularly Cross, whom I have greatly enjoyed in recent sold-out productions of Life Sucks, Macbeth and Photograph 51.

As if the script weren’t enough of a burden, the actors also had to put up with the on-and-off stomping from the theater space above that would have distracted me enough to stop what I was doing, bang on the ceiling, and yell out “we’re trying to work here,” which, by the way, would have been the second best laugh of the evening.

Something Rotten – Marriott Lincolnshire Theatre – October 6, 2019

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Nothing is rotten in Marriott’s Something Rotten. While this experience wasn’t quite the same as when I was lucky enough to see Christian Borle in his Tony-award-winning performance as the show’s original Shakespeare, the Marriott production is great, and its Shakespeare, Adam Jacobs, who played Aladdin on Broadway, has the audience in the palm of his hand, just like he had the genie’s lamp.

The show is sort of Forbidden Broadway meets Mel Brooks, with some Puritans thrown in for good measure, and enough colorful costumes to outfit several Renaissance Halloween parties.

If you’ve never seen another musical and know nothing about Shakespeare’s works, you may miss dozens of references and wonder why everyone around you is laughing, but, if that’s the case, you shouldn’t be out in public anyway.

If you can’t enjoyably groan when Toby reveals himself to be Shakespeare in disguise by saying Toby or not Toby, that is the question, stay home.

The show-stopping song, A Musical, contains references to 20 other musicals that fly by so fast that you wish you had an annotation with you. Well, here are a couple, one provided by Theater Nerds, and the other by, of all places, the Wall Street Journal.

The show features one slightly off-center soothsayer; two playwriting brothers with writer’s block; triple threat performers who sing, dance, and cook(?); and an omelet, which, I can’t help myself, was an eggcelent addition.

The cast is uniformly outstanding, but I’ll single out Cassie Slater as Bea because it gives me an excuse for saying that I saw her perform at Steppenwolf in We Three: Loud Her. Fast Her. Funny Her. with Meghan Murphy, whom I never miss an opportunity for mentioning and whom I will be seeing soon as The Lady of the Lake in Spamalot at the Mercury Theater.