“Out with the old, in with the new,” is one of the many well-intentioned platitudes you hear frequently this time of year. Personally, I find that type of sharp-turn resolution a bit difficult to manage. As I see it, change is fluid; the past informs the present and portends the future. Newness grows organically out of the well-tilled soil of history. This also happens to be the way I think about Chicago’s arts community. The open terrain currently being transformed by our promising young upstarts would not exist had the heavy lifters of previous years not worked to cultivate it. And so it is in this space that we honor both parties by highlighting the artists who have served as great beacons and those whose stars are just beginning to rise. What follows is the current crop of our city’s fifty most moving, most shaking, most dream-making Players in theater, dance, comedy and opera. Make a resolution you actually want to keep: check them out! (Kevin Greene)
Players was written by Zach Freeman, Kevin Greene, Sharon Hoyer, Aaron Hunt and Loy Webb
Photos by Joe Mazza/Brave Lux Read the rest of this entry »
GQ/Photo: Michael Brosilow
‘Tis the season for tradition and “A Q Brothers’ Christmas Carol,” now in its third year at Chicago Shakespeare Theater, is easily on its way to becoming just that. Mining the Dickens classic for parody, the show still manages to let some of the original’s sentimentality flow such that when Ebenezer Scrooge has his anticipated change of heart toward the play’s end, the audience lights up with the emotional payoff that comes from witnessing redemption.
Up until that point, viewers are sure to be tickled by the novelty of seeing such a familiar tale transformed into a modern hip-hop mash-up. Jacob Marley is damned to a hell of reggae music. Scrooge’s nephew is obsessed with “three words, four syllables… CHARADES ALL NIGHT!” while his nephew’s boyfriend uses hashtags like ubiquitous prefixes. Read the rest of this entry »
Kholby Wardell (center)/Photo: Liz Lauren
To be a teenager is to be a creature of extremity. Not only your body but your emotions and ideas and opinions are expanding with the rush and fury of a newborn universe—your own private big bang. In telling the stories of six Canadian teenagers whose lives ended with absurd abruptness aboard a rickety wooden roller coaster, “Ride the Cyclone” also embodies their joyfully frantic mid-pubescent energy. Written by Jacob Richmond and Brooke Maxwell, the show is a modern cult classic in Canada. This beautiful, effusive production from Rachel Rockwell marks its very welcome U.S. premiere. Read the rest of this entry »
Nate Dendy, Larry Yando and Eva Louise Balistrieri (levitating)/Photo: Liz Lauren
With all the magic in Shakespeare’s plays, “The Tempest” still stands out for its wizardry, with the magician Prospero using supernatural forces to both seek revenge and achieve closure for past wrongs done to him. So it makes a piquant kind of sense for world-renowned magician Teller (the silent half of the Penn & Teller duo) to choose to co-adapt/direct (along with Aaron Posner) this particular show by the bard. Read the rest of this entry »
You know what they say: Every time a mime speaks a Dickensian orphan gets sucked into a jet turbine and blasted out the other side as just a scream. However, it is that cozy time of year when the hopes and dreams of summer die and we artists start making people go into weird rooms and watch us do and say things. Not every show can be the immersive interactive ever-changing theatrical wonderland tour de force that my show is. Newcity theater editor Zach Freeman has provided a fine fall stage preview. However, I feel I can offer a few tips—or rather “things”—to do to spice things up on a chilly fall evening at the theater (elaborate hand gesture).
If you don’t want to do my “things” I can understand. All you have to do is something that is even better. So long as you do something. Because, something must be done. Otherwise you would do nothing. Except maybe drink a box of wine, poke that old bag of mulch laying in bed next to you, and call it a night. (Honeybuns) Read the rest of this entry »
Siobhan Redmond/Photo: Richard Campbell
David Greig’s “Dunsinane” is a play playing three different games at once. The first game is that the play is a kinda-sorta sequel to Shakespeare’s “Macbeth.” The second game is that it is kinda-sorta a parable for the US and UK’s nation-building misadventures in Iraq and Afghanistan. The third game is that “Dunsinane” is most definitely a look inward at the Scottish national character. A ballad for a conquered nation, it trains a sharp critical eye at the motivations of the conquerors and an even sharper one at its own—oftentimes bloody—refusal to be conquered. I can imagine many a production of this play that would not be able to win all three games at once. But the National Theatre of Scotland, in partnership with the Royal Shakespeare Company, delivers one that sweeps the board; and thanks to Chicago Shakespeare Theater’s World’s Stage program it’s doing so at Navy Pier this month. Read the rest of this entry »
Photo: Liz Lauren
Covetousness, fueled by ambition and greed, drives the plot of Shakespeare’s tragedy “Macbeth,” where Scotland’s political system is upended twice, with murder the tool to power, and madness in its wake. Shakespeare’s shortest tragedy, with a potential run-time as long as three hours not counting intervals, has been trimmed to an unstoppable seventy-five-minute banquet of blood by director Kirsten Kelly, and if the speed of this production requires Macbeth to race to madness so quickly that we lose some of his everyman-quality, and if Lady Macbeth is perfectly bonkers from her first entrance, the sheer swiftness of Kelly’s roller-coaster ride is so gripping that we’re happy to wait for a more psychological production next time, when the design isn’t geared for presentation to younger audiences. Princes and henchmen and murderers race up and down the aisles of the theater, swords drawn and battle-cries piercing. Whispered plotting and heralded assassination land in the audience’s lap and violent moments are staged to be as age-friendly as possible. Read the rest of this entry »
The steady expansion of the performing arts in Chicago continues its marvelous pace, with more and better theater, dance, comedy and opera gracing more and better stages each passing year. The upward progression is so steady that epic undertakings—a new campus at Steppenwolf, a bigger chunk of Navy Pier for Chicago Shakes—seem almost business as usual these days. And that is a marvelous thing. This year we again celebrate the lesser-sung heroes offstage who deal with the less glamorous things like building those new stages, and paying those expanding payrolls without which the stars would have nowhere to shine.
Tragedy has been central to theater since the ancient Greeks first staged it, but the last year has brought a disproportionate volume of real-life tragedy to our community. No doubt, the expanding and maturing performing arts universe means that more members of its community will pass on each year, but the number of those struck down long before their expected hour was overwhelming these last twelve months and struck every corner of performing arts, from theater, to dance, to comedy, to opera. Molly Glynn, Jason Chin, Eric Eatherly, Bernie Yvon, Johan Engels, Julia Neary—and others we’ve unintentionally overlooked—we dim our collective marquee for you. (Brian Hieggelke)
Players was written by Zach Freeman and Sharon Hoyer
With additional contributions by Brian Hieggelke, Alex Huntsberger, Aaron Hunt, Hugh Iglarsh and Loy Webb
All photos by Joe Mazza/Brave-Lux, taken on location at Steppenwolf Theatre, Goodman Theatre, Lyric Opera of Chicago and Brave-Lux Studio Read the rest of this entry »
Photo: Lorna Palmer
It’s probably appropriate that a show called “The Table” constantly refers back to the fact that it takes place on, wait for it, a table. The frequent reminders are not only funny, but they are also a grounding force for the show’s fizzy, tip-of-the-tongue wackiness: like a jazz song that returns between solos to its basic refrain. The magic of “The Table” is that it makes no illusions about what it is—a cardboard puppet, three operators and a plain wooden table—while still sustaining the illusion of what we are experiencing: one lonely man’s reckoning with his place in the universe. And also puppet sex jokes.
The story being told is twofold: there’s the story of the last twelve hours of the life of Moses and then there’s the story of the puppet hired to re-enact the last twelve hours of the life of Moses. The thing is that this puppet, also named Moses, isn’t very good at staying on topic. The show is as much an inquiry into his own existence, bound by the edges of, yes, the table, as it is the story of Deuteronomy. And also, lest we forget, puppet sex jokes. Read the rest of this entry »
Photo: Liz Lauren
Whether you are of the camp that considers “Pericles” a Shakespearean romance or a “problem” play (or both), it is impossible to delve into this dynamic story without acknowledging the illogically insistent, magical happenstances that bring the central characters to near-holy redemption by the final scene. Though it is curious that “Pericles” doesn’t appear in “The First Folio,” and queer that there is scholarly speculation that the first half of the play was the work of a fellow scribe, “Pericles” was one of Shakespeare’s most popular plays in his day, and director David H. Bell’s swashbuckling production at Chicago Shakespeare Theater plays with the flash-and-flesh that would thrill the contemporary audience that flocks to see action-hero movies.
A narrating chorus of actors, playing at multiple roles with wildly adaptive temperaments, appearing and disappearing with roaring speed and hanging from rigging-ropes, creates the pirate film anew, spinning this allegorical journey from myth to human pathos. Aided by the scenic design of Scott Davis, the period-shattering, skin-celebrating costumes of Nan Cibula-Jenkins, the fine verse-nursing of Susan Felder, and the mystical, original music of Henry Marsh (intoned or sung in eerie or celebratory beauty by this company of triple-threats), it matters little that the characters themselves may be birthed in the bath of archetype; this glorious fable is greater than the sum of its parables. Read the rest of this entry »