Chicago Stage Review

One Flew Over the Cuckoo’s Nest

In an Oregon mental hospital, Nurse Ratched runs a perfectly disciplined ward. The patients follow her every rule and keep no secrets. Enter Randall P. McMurphy, just transferred from prison, with a love for gambling, sex, and confrontation. McMurphy bets his new friends that he can unravel Ratched in one week. Told through the foggy haze of Chief Bromden’s hallucinations, the play raises the need to question authority and to attack the subtle institutional dulling of the human spirit. The novel, written in 1962, was one of the first steps taken in a life full of rebellion, by its Merry Prankster author, Ken Kesey. Ensemble member John Kelly Connolly makes his directorial debut.

Thru - May 9, 2010

@ The Gift Theatre

4802 N. Milwaukee Ave, Chicago

Show Type: Drama

Box Office: 773-283-7071

The Gift Theatre Company

By J. Scott Hill

Why is the variety show a dead form on television? Being from Chicagoland, being of a certain age, my understanding of what counts as entertainment was formed by Bozo’s Circus.  Bob Bell, Ned Locke, Marshall Brodien, and especially the great Roy Brown introduced me and countless other Midwestern kids to the old pie-in-the-face routine, The Grand Prize Game, The Stone of Zanzibar, and the slow burn (poor Cookie).  Alongside these influential performances was an endless parade of variety acts: magicians, acrobats, wire walkers, unicyclists, singers, jugglers, and what seemed like a new plate spinner every single day.  Even now, I can’t have lunch without hearing “Sabre Dance” in my head.

Variety may be dead on TV, but live cabaret still thrives in Chicago.  Barely a mile away from 2501 West Bradley Place, from where Bozo’s Circus was on the air, PROP THTR plays home to the Beast Women and the 2010 Spring Series of their all-female cabaret.

Beastmistresses Michelle Power and Jill Erickson have assembled an eclectic clowder of whip-smart kittens. Michelle Power continued her role as emcee with confidence and guile, explaining the Beast Women concept with warmth and wit, managing the flow of the evening, and rousing the late-night rabble.  The opening night lineup was a delight.

Singer-songwriter Annah London performed her own brand of Alanis Morissette-influenced folk rock with a hint of Kristy MacColl.  Jen St. Stjärna brought a Carole King-meets-Tori Amos vibe with tracks from her forthcoming album Horizon. St. Stjärna’s “Harry Houdini” seems destined for immediate airplay and a wide audience; you can give “Harry Houdini” a test-listen at:

http://www.reverbnation.com/play_now/song_3533523

Not to be outdone by those lyricists, poetry slam-type spoken word performers Angela Oliver and Kay Kron each gave breathtaking performances, full of complex structure and dizzying internal rhyme schemes.  Thankfully, they were not pitted against one another in verbal combat, lest the tippling crowd be sobered by the dueling fierce wisdoms.

Not all of the Beast Women were out to appeal predominantly to the ear.   Deb Webb, with her impossibly long hair, performed a cabaret act that served up the tease without the strip.  Belly dancer Mahira displayed amazing, sometimes baffling, muscular control.  Sarah Lowry provided one of the show’s highlights with an extremely unique Burlesque: a reverse-striptease with a bizarre twist that thrilled the crowd.

At one point in the show, the audience was herded outside for Jessica Bonomo’s fire hoop act. (see top image) Bonomo worked a hula-hoop that had firepots jutting out of it at five of six equidistant points around its outside circumference.  In the chill of that March night, the audience could feel the heat from every revolution of flames, as well as the absence of that heat when the blank spot on the hoop came around. This was great fun.

Original Beast Woman Jillian Erickson kept the audience’s full, rapt attention with a monologue about insomnia, sleep aids, and dreams.  No one captures innocence and menace simultaneously with such a palpable and palatable texture as Jillian Erickson.  She plays both sides of contradictions, building art in that no-man’s land in-between.

If a Beast Women show were a competition, the night’s winner would have been Roberta Miles.  Roberta is well established around Chicago as a jazz singer, but at Beast Women she is a monologist.  As she takes the stage, she gives off that classy air one might expect from a jazz singer or a classicist or an ethnographer about to regale the audience with tales from the field.  When I have seen Roberta Miles perform, invariably her subject matter has been sexual misadventure, her own sexual misadventures.  If the disparity between her poise and her sexual abandon does not grab you, the thoughtfulness of her self-effacing writing will.  She covered a lot of ground: her naïve attempt in her youth to straighten a gay friend with her bed artistry, a spoiled three-way fueled by pot cookies, the truth about fellatio, and a list of sexual regrets that was both unique and unapologetic. Roberta Miles is not some trampy broad bragging about her many exploits; she is an articulate libido and a beguiling conscience.  I laughed, I winced, I shook my head, and I laughed again.

Beast Women 2010 Spring Series brings together a true variety of variety acts.  There wasn’t a plate spinner and “Sabre Dance” was not among the musical selections, but the love of pure entertainment — instilled in me and so many others by Bozo’s Circus in our younger days — is metamorphosed into its adult form and honored well.  If all this talk about Bozo has you jonesing for a clown, you are in luck: most of the remaining performances of Beast Women 2010 Spring Series feature a clown act.  With the rotating lineup, every performance is different.  With the rollicking entertainment provided by the Beast Women 2010 Spring Series, you may find that on Saturdays at 10:30 your TV is dead to you.

3 ½ STARS

(“Beast Women 2010 Spring Series” runs Saturdays at 10:30 PM, through April 17 at PROP THTR, 3502 N. Elston Ave. Chicago. $15 (at the door), for information and lineups, call 773-278-1212)

www.beastwomenproductions.com

Beast Women photos by Hunter Matthews.

BOZO photo (from artwork @ Navy Pier) by Venus Zarris.

The Blue Shadow

A Native American girl named Shadow feels blue because she knows nothing of her heritage. When she brings together four of her neighbors to share their friendship and storytelling traditions, Shadow learns to embrace who she is, and to celebrate the beauty of all cultures. Explore a whole world of mythology in this new musical filled with folklore, laughter, and multi-lingual song, by award-winning playwright Nambi E. Kelley.

Mar 13 - May 2, 2010

@ Lifeline Theatre

6912 North Glenwood, Chicago

Show Type: Childrens

Box Office: 773-761-4477

Lifeline Theatre :: The Blue Shadow

Trust

Ensemble Member David Schwimmer directs the World Premiere of his visceral new script about how a seemingly innocent encounter threatens to unravel the fabric of a normal American household. Lookingglass examines how families navigate today’s uncharted technological landscape. When children have the freedom to interact with complete strangers online, where is the line that parents must draw between fostering independence and protecting from harm?

Previews: Mar 3 - Mar 12, 2010

Regular Run: Mar 13 - Apr 25, 2010

@ Lookingglass Theatre

821 N Michigan Ave, Chicago

Show Type: Drama

Box Office: 312-337-0665

Lookingglass Theatre Company

A Chorus Line

A Chorus Line revolutionized the standards of Broadway musicals with its unique story amd structure. Zach and Larry are ready to cast for their next upcoming Broadway production, but Zach decides to change up things at the audition. He asks the dancers to introduce themselves. As each one hopes to become part of a singular group, they all tell their individual life stories that make them all very different. This musical shows how unity is made more beautiful by the individuality we cherish.

Previews: Mar 11 - Mar 12, 2010

Regular Run: Mar 13 - Apr 18, 2010

@ Village Players Performing Art Center

1010 Madison, Oak Park

Show Type: Musical

Box Office: 708-524-1892

Village Players Theatre, Oak Park, Illinois

J.B.

As darkness descends upon the circus world, two spirited vendors reenact the story of Job. In this play- within-a-play, a wealthy banker goes from prosperity to hopelessness and despair before eventually turning to love as the only solace for his suffering. In our own lives often filled with disappointment, we can find comfort in MacLeish’s gripping drama where one man’s faith is put to the ultimate test. This production is influenced by circus style movement and Apache dance (fight dance with roots in early 20th century Parisian street culture) and uses physical movement to enhance the high emotional stakes.

Presented by Chicago Fusion Theatre

Thru - Apr 18, 2010

@ Oracle Theatre

3809 N. Broadway, Chicago

Show Type: Drama

Box Office: 773-244-2980

Chicago Fusion News - info about upcoming shows, fundraisers and more.”>Home

By Venus Zarris

Silk Road Theatre Project takes us on a trip through the double helix of ancestry and identity in their compelling production of The DNA Trail. Artistic Director Jamil Khoury ingeniously conceived this unique ‘From Swab to Stage’ program consisting of the works of seven playwrights, himself included, as they examine the relationship that genealogy has to self-understanding.

Finding Your Inner Zulu, by Elizabeth Wong, starts out with two sisters after and important high school basketball game. Emma, the cheerleader, is psyched about the win. Cricket, the vertically challenged star player, is despondent over being rejected by recruiters because of her height. Playwright Wong then takes the girls on a rapid transit trip through their genetic codes, “Google has an App for everything.”

Finding Your Inner Zulu is a silly start to this production that playfully demonstrates the interconnected universality of our DNA.

Mother Road, by Velina Hasu Houston, dramatically changes the tone. Perpetua seeks her long-lost sister in the desert. Aided by Luna, a Dust Bowl throwback Goddess of sorts, she confronts the bitterness of older sister Eva and her own fear of abandonment by their dying mother. Although acted well, the message of this interesting piece gets muddled in too much melodrama and dramatic cliché.

That Could Be You, by Lina Patel, presents the challenges faced when an adopting couple tries to get valuable genetic information about their future child. A narrator/scientist provides the framework with technical stats and observations while two couples struggle to communicate. Smoothly switching from presentational to representational, That Could Be You entertainingly posses the question, ‘Are you who you think you are or is there a molecule out there that knows better?’

WASP: White Arab Slovak Pole, by Jamil Khoury, hysterically examines misconceptions based on name and skin color. Khoury fearlessly presents an autobiographical look at his climb out of the many pigeonholes that being a White Arab Slovak Pole creates. This finely polished gem is proof positive that the ability to articulate your predicament is a brilliant tool for defusing confusion. It is a witty, personal, confident, self-effacing and delightful detraction of the notion of ‘guilt by pigmentation.’

Bolt from the Blue, by Shishir Kurup, presents the levels of closeness and connection that modern technology instantly affords and the limitations of this connection when faced with a distant crisis. Kurup paints a beautiful portrait of family. His brush strokes are cell phone conversations and e-mails and his canvas is the globe. Continental separation creates the tension in his composition that resonates with warmth and honesty.

A Very DNA Reunion, by Henry Hwang, is a look at how popular DNA testing reshapes a young man’s vision of himself. Basking in the playful joy of imaginary visits from Cleopatra, Genghis Khan and a ninja; Bob’s internalized view of his newfound infamously fantastic family fires him up to battle with his pestering parents. Hwang’s cartoonishly clever and hilariously absurd script plays like a wonderfully witty sketch comedy piece with an unusual twist.

Child is Father to Man, by Philip Kan Gotanda, closes the production with a beautifully melancholy and reflectively evocative farewell from a son to his father. Examining the meanings of childhood and parenthood, expectations and disappointments, emotional detachment and connection; Gotanda creates a lyrically gripping homage to familial bonds.

Such a multifaceted production would be impossible to successfully execute without a gifted cast and this brilliant ensemble brings the stories to life with staggering talent and dedication. Melissa Kong and Jennifer Shin open the show with great charm, humor and presence that they carry through their various roles. Anthony Peeples brings excellent comic timing and insight to his characters. Cora Vander Broek’s performances are fascinating and exhibit remarkable dramatic range. Fawzia Mirza displays uncanny intelligence that stands out as dazzling in every role. Clayton Stamper is confident, compelling and explosively funny and Khurram Mozaffar brings exceptionally evocative depth and subtly to his performances.

This is an acting dream team that travels effortlessly through the conceptual, realistic, presentational, representational, humorous and dramatic aspects of these captivating scripts. Rebecca A. Barrett and Lee Keenan create wonderfully stylized set and lighting design that proves perfect for these diverse plays and Mikhail Fiksel’s sound design is superb.

Funny, poignant, absurd, and thought-provoking; The DNA Trail highlights the work of gifted playwrights and represents a shining example of Silk Road Theatre Project’s dedication to presenting diverse perspectives through the creation of extraordinary theater. Don’t miss this wonderfully entertaining ride through genetic coding, self-examination and human interaction.

3 ½ STARS

(”The DNA Trail” runs through April 4 at the Chicago Temple, 77 W. Washington. 312-857-1234 x201.)

Silk Road Theatre Project

The DNA Trail production photos by Michael Brosilow.

Legion

Legion is the bestselling sequel to Blatty’s “The Exorcist.” More than a decade after the death of Father Karras, Lieutenant Kinderman is faced with a series of grisly murders resembling the work of a dead serial killer. Kinderman’s investigation brings him face to face with the essence of true evil, and its origin. This terrifying supernatural thriller continues WildClaw theatre’s quest of bringing intelligent and imaginative horror to the Chicago stage.

Presented by WildClaw Theatre

Previews: Mar 13 - Mar 14, 2010

Regular Run: Mar 15 - Apr 18, 2010

@ The Viaduct

3111 N. Western Avenue, Chicago

Show Type: Drama

Tickets availabe here - Welcome to TicketWeb!

WildClaw Theatre - Bringing Horror and the Supernatural to the Chicago Stage

2010 Spectacle Lunatique

Join Redmoon as we celebrate 20 years of engineering wonder!

ONE NIGHT ONLY!

Get ready for uproarious music, striking pageantry, and strange ephemera that will only be the beginning of your experience at this Redmoon Gala. Relive a glorious 20 years of unique history and groundbreaking spectacle, and get an insider’s view at Redmoon’s future plans to fill Chicago’s streets, schools, and landmarks with the muscle and poetry of spectacle art-making. Sip on classic Lunatinis, enjoy heaps of food and cake, and dance with strangers and friends… after you attend, your life simply will never be the same…

Check out the cutting-edge chefs, local eateries, dessert specialists and fine wine & spirits donors that will be partnering with Redmoon to make the event unforgettable: http://www.facebook.com/album.php?aid=150338&id=656219731&l=93adde4b5a

For more info regarding this event, contact: skaplan@redmoon.org
To purchase tickets go to http://redmoon.org/support/lunatique/ or call 312.850.8440 x111

Start Time: Friday, March 12, 2010 at 7:00pm
End Time: Saturday, March 13, 2010 at 1:00am
Location: Redmoon Central - 1463 W Hubbard St, Chicago IL, 60642

Redmoon Theater » Spectacle Lunatique

AUDITORIUM THEATRE OF ROOSEVELT UNIVERSITY AND RAVINIA FESTIVAL CO-PRESENT THE WORLD-RENOWNEDBALLET FOLKLÓRICO DE MÉXICO DE AMALIA HERNÁNDEZ IN CHICAGO MARCH 13 – 14, 2010

Vibrant Celebration of Mexican Culture Features Elaborate Dances, Live Traditional Music and Ornate Costumes

CHICAGO — The Auditorium Theatre of Roosevelt University (ATRU) and Ravinia Festival proudly co-present the internationally acclaimed Ballet Folklórico de México de Amalia Hernández.  This vibrant celebration of Mexican culture plays the Auditorium Theatre, 50 E. Congress Parkway, for two performances, Saturday March 13 at 7:30 p.m. and Sunday, March 14 at 3 p.m. Tickets are $30 - $65, available by calling (800) 982-2787 or online at ticketmaster.com/auditorium.

“The Auditorium Theatre is delighted to partner with Ravinia Festival to bring the remarkable, authentic and original Ballet Folklórico back to Chicago,” said ATRU Board Chairman Mel Katten, who was instrumental in making this partnership occur.  “The Auditorium Theatre is the oldest theater in Chicago, and we are very proud to co-present such an elaborate, festive and colorful experience with Ravinia Festival, the oldest outdoor music festival in North America.”

“The collaboration with the Auditorium, like our Harris Theater collaborations, is exciting for both institutions, especially as we are co-presenting what will no doubt be one of the highlights of 2010, a year that celebrates two important anniversaries, the 200^th anniversary of independence and the 100^th anniversary of the Republic of Mexico,” said Ravinia President and CEO Welz Kauffman.

In 1952, dancer and choreographer Amalia Hernández created Ballet Folklórico de México to “share the beauty of the universe in motion” through Mexican dances from the Pre-Colombian era through the Hispanic Viceroy period and the Revolutionary years.  The New York Times declared that the company offers “a fast-paced, entertaining show that can make viewers want to rush right off to Mexico.”  Ballet Folklórico de México is currently under the artistic direction of Hernández’s daughter Norma Lopez, and has been distinguished with more than 200 awards recognizing its artistic merits.

Since Ballet Folklórico’s founding, the company has presented more than 15,000 performances before an aggregate audience in excess of 22 million.  Hernández’s enormous body of work, noted for its brilliant theatricality and passion, was influenced by her deep knowledge and love of traditional folkloric dances. Throughout her life, Hernández regularly refined and renewed her work, a tradition continued today by her family. The result is a recreation of Mexican traditions on stage, preserving the diversity and character found throughout the many regions of Mexico.

Ballet Folklórico de México de Amalia Hernández Chicago Program

“The Gods” is a dance that depicts a dialogue between man and his Gods as a summary of Aztec theology. Sun, moon, war, flowers, myths, life and death are figuratively transformed into music and dance.

“Guerrero” is a depiction of the hero Vicente Guerrero’s warrior-like courage. The dance also portrays “Calandria,” a bird whose song is powerful and beautiful, and “El Gusto,” a Mexican tap dance performed in the towns of Zirandaro and Altamirano.

“Revolution” is a ballet about the Mexican Revolution of 1910. It is dedicated to soldaderas, the women who supported their men and bore arms with them in the fight for Mexico’s liberty. Young, unconcerned European aristocrats dance polkas in a drawing room, and they are broken up by revolutionaries who dance “La Adelita” with the famous capitana Juana Gallo.

“Charreada” includes the traditional “Rope Dance” and “Country Love Dance.”

“Tlacotalpan Festivity” is a dance celebrating the Candelaria Virgin in the town of Tlacotalpan. The celebration is characterized by the use of mojigangas, enormous puppets that symbolize different cultural figures and archetypal human characteristics. The music features the sounds of drums such as congas, which are common in the festive carnival season of the Caribbean.

“The Feather Dance” is a ballet of guelaguetza (offering), inspired by the ancient custom of the Zapotec Indians. The performance showcases great agility and the dancer’s intricate movements, as they perfectly manipulate richly adorned feather headdresses. This is symbolic of the Zapotec Indians’ belief in showing hospitality to guests and respect to governors through the language of music and dance. The ballet also includes a welcoming dance called “Jarabes,” which was originated by the Mixtec people and features light and lyrical steps.

“Wedding in the Huasteca” tells a dramatic story of temptation, celebration and rivalry that ends in total splendor but leaves behind a faint memory of a fight to the death.

“Life Like A Game” is a dance that depicts characters controlled by the devil; he handles them as if they are marionettes and manipulates their destinies. Reality and fantasy interact when the devil uses “cupid” and “death” to perform a tangled love story between a bride, her groom and her lover.

“Deer Dance” is part of a rite organized by the Yaqui people in preparation for a hunt. It is said to bring luck and bountiful profit to those who participate.

The performance concludes with “Jalisco,” a tribute to a state that since the last century has become a symbol of Mexican nationality. The Charros of Jalisco are known for their high spirits and joyous grasping of life. The ballet opens with a Mariachi parade playing lively songs at the start of a fiesta. Throughout the colorful fiesta,  the songs and dances of Jalisco are performed, including “The Snake,” “El Tranchete,” “La Negra,” “El Jarabe Tapatío,” and the famous “Mexican Hat Dance.”

Performance Schedule and Ticket Information

Ballet Folklórico de México de Amalia Hernández plays the Auditorium Theatre, 50 E. Congress Parkway, for two performances, Saturday, March 13 at 7:30 p.m. and Sunday, March 14 at 3 p.m.

Ballet Folklórico de México de Amalia Hernández tickets are now on sale, and range in price from $30 - $65. For tickets, visit the Auditorium Theatre Box Office at 50 E. Congress Parkway; call Ticketmaster at (800) 982-ARTS (2787); or log on to ticketmaster.com/auditorium.

Subscriptions for the Auditorium Theatre’s 2009 – 2010 Season are also available until March 12. Subscribers to three or more shows receive 10% off full ticket prices. Discounted tickets are currently available for groups of 10 or more. For subscription and group ticket information, call (312) 431-2357 or visit auditoriumtheatre.org.

Auditorium Theatre :: Welcome to Auditorium Theatre, Chicago, IL