Chicago Stage Review

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

AMERICA’S CULTURAL AMBASSADOR TO THE WORLD,

ALVIN AILEY^® AMERICAN DANCE THEATER

CELEBRATES JUDITH JAMISON’S 20TH ANNIVERSARY AS

ARTISTIC DIRECTOR WITH PERFORMANCES AT THE

AUDITORIUM THEATRE OF ROOSEVELT UNIVERSITY MARCH 24 – 28

Program for exclusive Chicago engagement features an exciting mix of classic and new works by

Alvin Ailey, Judith Jamison, Robert Battle, Ronald K. Brown, Rennie Harris and Matthew Rushing

CHICAGO — The Auditorium Theatre of Roosevelt University (50 E. Congress Parkway) proudly presents the exclusive Chicago engagement of the world-renowned Alvin AileyAmerican Dance Theater for six public performance and two student matinees, Wednesday, March 24 through Sunday, March 28, 2010. Tickets are now on sale at ticketmaster.com/auditorium.

Recognized by U.S. Congressional resolution as a vital “American Cultural Ambassador to the World,” Alvin Ailey American Dance Theater is proud to bring African American artistic expression and the American modern dance tradition to the world’s stages.

The legacy of founder Alvin Ailey lives on today through the extraordinary talents and artistry of the world-renowned Ailey dancers and the remarkable vision of 2009 TIME Magazine 100 Honoree Judith Jamison, who celebrates her 20th anniversary as the company’s artistic director in this season of dance.

Since 1969, Alvin Ailey American Dance Theater has performed a total of 134 times on the Auditorium Theatre’s stage. The company’s Spring 2009 engagement at the Auditorium Theatre broke ticket revenue and attendance records for all prior Ailey engagements in Chicago.

Ailey’s Chicago engagement is generously supported by Blackwell Consulting Services, Inc. J.P. Morgan is the “Art of Learning” Sponsor for Alvin Ailey American Dance Theater.

performance schedule

Wednesday, March 24 at 7:30 p.m. – “Uptown,” “Dancing Spirit” and “Revelations”

Thursday, March 25 at 11 a.m. – “Uptown” (excerpt) and “Revelations” (Student Matinee Series Performance ‡)

Thursday, March 25 at 7:30 p.m. – “Best of 20 Years” and “Revelations”

Friday, March 26 at 11 a.m. – “Uptown” (excerpt) and “Revelations” (Student Matinee Series Performance ‡)

Friday, March 26 at 7:30 p.m. – “Love Stories,” “Among Us (Private Places: Public Spaces)” and “Revelations”

Saturday, March 27 at 2 p.m. – “Uptown,” “Dancing Spirit” and “Revelations”

Saturday, March 27 at 8 p.m. – “Best of 20 Years” and “Revelations”

Sunday, March 28 at 3 p.m. – “Uptown,” “Dancing Spirit” and “Revelations”

‡ The student matinees are available only to elementary through high school student groups of 10 or more people.

Alvin Ailey American Dance Theater 2010 Chicago Program

“Uptown,” a new ballet choreographed by 18-year AAADT Company veteran Matthew Rushing, takes the audience on a vibrant tour through the Harlem Renaissance era in all its boisterous, swinging glory. Legends like Langston Hughes, Zora Neale Hurston, Josephine Baker and their contemporaries come alive to the music of Fats Waller, Nat “King” Cole and more.

“Dancing Spirit,” a new work by choreographer Ronald K. Brown, pays tribute to Judith Jamison’s profound influence to the world of dance. Set to music by Duke Ellington, Wynton Marsalis and War, Brown’s evocative choreography utilizes movement from Cuba, Brazil and the United States to conjure dancing spirits who embody Jamison’s elegance, vision, dignity and generosity.

The “Best Of 20 Years” program features highlights from popular ballets Judith Jamison has brought to or revived in the Ailey repertory, representing a wide range of styles and voices that have contributed to the Ailey canon. The program includes selections from Talley Beatty’s “The Stack-Up” (1982); Ronald K. Brown’s “Grace” (1999); Lar Lubovitch’s “North Star” (1987); Alonzo King’s “Following the Subtle Current Upstream” (2000), Jawole Willa Jo Zollar’s “Shelter” (1992); Ulysses Dove’s “Bad Blood” (1984); Donald McKayle’s “Rainbow Round My Shoulder” (1959); Garth Fagan’s “Jukebox for Alvin” (1993); Redha’s “Lettres d’Amour” (1998); Hans van Manen’s “Polish Pieces” (1996); Billy Wilson’s “The Winter in Lisbon” (1992) and Donald Byrd’s “Dance at the Gym” (1991).

“Love Stories,” is Judith Jamison’s dynamic collaboration with hip-hop pioneer Rennie Harris and modern dance maverick Robert Battle. The piece was inspired by the Akan word “Sankofa,” which means “go back” (Sanko) and “take” (fa).

In “Among Us (Private Spaces: Public Places),” characters from all walks of life come together in Judith Jamison’s new collection of vignettes examining the joys and complications of human relationships. Original jazz compositions by musical iconoclast Eric Lewis and costumes by award-winning designer Paul Tazewell were inspired by a series of Jamison’s own drawings that depict these characters’ ordinary and sometimes extraordinary lives.

The finale of each program is “Revelations,” Alvin Ailey’s most significant cultural masterpiece.Ailey’s inspiration for creating “Revelations” came from a variety of sources: memories of attending Baptist services in Texas as a child, interest in Brueghal’s paintings, Oriental Theater and his acquaintances with James Baldwin and Langston Hughes. Using African American traditional spirituals, this suite fervently explores the places of deepest grief and holiest joy in the soul. Since its premiere in 1960, more people around the world have seen this modern dance classic than any other work.

ticket information

Alvin Ailey American Dance Theater tickets are now on sale, and range in price from $30 - $85. 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.

The two student matinee performances of Alvin Ailey American Dance Theater are available for elementary through high school student groups of ten or more people, and can be booked by calling (312) 431-2357.  Tickets are $12.  The Auditorium Theatre’s Student Matinee Series is generously sponsored by The PrivateBank and The Robert Thomas Bobins Foundation.

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.

Alvin Ailey American Dance Theater

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

Alvin Ailey American Dance Theater photos by Nan Melville and Paul Kolnik.

(painting by George Berlin)

Photo Essay by Venus Zarris

Art informs Art. That said; it is no wonder why the theater in Chicago casts a net of conceptual diversity that could cover an ocean. Between the music, dance, puppets, performance, photography, painting, sculpture, architecture and other various forms of visual and performing art that permeates seemingly every nook and cranny of this city; theater has an endless sea of inspiration and influences to draw from.

Just as it is critically important for theater artists to see as much stage work as they can, it is also vital that they take advantage of the other art forms around them. The more connections to creativity that artists expose themselves to, the more their minds will expand and open up to limitless possibilities. Likewise, their work will benefit from a broadened creative consciousness.

This past weekend the Flat Iron Arts Building, that houses an incomparable collective of visual artists working in various mediums, hosted the Second Annual Spring smART show. It provided visitors a chance to see the work of these gifted artists, talk with the artists about their work and purchase art that ranges from the ridiculous to the sublime and from established artists to up-and-coming talent.

Gallery 203, located on the second floor of the Flat Iron Building, has been a brilliant anchor of this remarkable location since 1994. It represents a collective of exceptional artists that bring a broad range of visual perspective to this small but powerfully impressive gallery. It also hosts visiting artists and has been a supporter and participator in the Around the Coyote group for over ten years.

Gallery 203 includes the works of:

Mary Anne Cataldi: Mary Anne Cataldi

Miki Katz: Miki Katz

Andrea Ginsburg: Andrea Ginsburg

George Berlin: George Berlin: Art, Illustration and Animation (see also top image)

And the photography of Jim Lucas who’s work can be found here Jim Lukas.

Along with Gallery 203, the Flat Iron Building is filled with brilliant artists in other galleries and lining the hallways. This labyrinth of artistic expression offers adventures into unique artwork that are sure to excite and inspire. Keep a keen eye open because you never know what kind of surprises are in store!

If you missed the smArt show don’t fret. The First Fridays of every month the Flat Iron Arts Building is open from 6pm - 10 pm for gallery showings, celebrations and live entertainment. The collective of artists in the Flat Iron Building represent another amazing example of the thriving diversity of art that can be experienced here in Chicago and also offers endless possibilities for an artistic exchange of ideas that benefits everyone.

For more info check out these links! …

First Fridays - Fine Arts Building - Flatiron Artists Association - FlatIronArtists.com - The Flatiron Project .com - Gallery 203

By J. Scott Hill

If you have seen Peter Bogdanovich’s critically unacclaimed film adaptation of Noises Off, starring Carol Burnett and Michael Caine, you may actively avoid going to see live productions of Noises Off.  Be assured that the film is not the play.  The play’s the thing.

Since its premiere on the London stage in 1982, Noises Off has become a favorite of professional and amateur theatre companies alike.  Michael Frayn’s oft-tweaked script has a foolproof trick: it is a metafarce, a farce about a farcically conducted production of a farce called Nothing On – a play within a play – replete with a playbill for the fictional Nothing On inserted into the playbill for Noises Off.  Bad acting, flubbed lines and entrances, and cardboard sets are not necessarily a liability to any given performance of Noises Off.  Thankfully, Theater at the Center’s current staging of Noises Off does not rely on Frayn’s clever failsafe.

Noises Off is a farce in three acts, each act taking the audience through the first act of the horrible fictional farce Nothing On at a different point in its ten-week tour.  Act I of Noises Off is the final dress-rehearsal of the hastily mounted Nothing On, with half of the cast thinking it is only the technical run-through for setting the lighting and sound cues.  Act II flips the entire set around, and the formal audience gets to see a mid-run performance from backstage with infighting among cast and crew already in full swing.  For Act III, the set is flipped back around, and the audience is shown a performance from near the end of the tour, as the relationships among several people involved with the production of Nothing On have deteriorated into open hostility.

Director William Pullinsi made a safe and surefire, but ultimately successful, choice in mounting Noises Off. The excellent ensemble makes this production an enjoyable evening at the theatre.

Will Clinger, longtime host of WTTW-11’s Wild Chicago, shines as director Lloyd Dallas. Lloyd’s eyes are already off of the dreadfully lame Nothing On before its run even begins, and onto his next project, Richard III.  As Lloyd, Clinger transforms British reserve into outrage-by-way-of-apathy.

The questionable competence of washed-up, frumpy actress Dotty Otley is played by Marilynn Bogetich with aplomb.  In Act I, her frustration and ineptitude with the stage-business regarding several plates of sardines was palpable and priceless.

Dale Benson.  After half a century of consistent excellence on the stage, is it even necessary to say in a review that Dale Benson is wonderful?  Dale Benson is wonderful.  At the performance I saw, Mr. Benson was not miked properly (proper sound levels being a consistent problem at Theatre at the Center), yet he overcame this with his professionalism and craft.  As the haggard, cantankerous veteran actor and inveterate alcoholic Selsdon, Benson sets the flow of every scene he appears in.  His comic timing is impeccable, as is his ability to lend focus to his fellow actors.

This production of Noises Off contains a delightful Easter Egg for regular attendees of Theatre at the Center productions: Jason R. Wroblewski plays Nothing On’s Stage Manager Tim Allgood.  Wroblewski has been involved in one capacity or another in the last sixteen productions at Theatre at the Center, often making the most of a small but never lesser role onstage in addition to his duties as Assistant Stage Manager or Stage Manager. How wonderful to see this talented young performer step into such a pivotal part and excel.  As Tim, Wroblewski exudes the frantic calm and exasperated diligence of all good stage managers.  Where other actors might play Tim panicky for laughs, Wroblewski gets things done, reversing on a dime when needed, radiating the fatalistic industry necessary to mollycoddle the neurotic cast of Nothing On through a ruin of a show to the final curtain.

Noises Off is a classic farce well executed by a strong ensemble under the direction of William Pullinsi.  Especially strong performances by Will Clinger, Marilynn Bogetich, Dale Benson, and Jason R. Wroblewski carry three ever-worsening takes on Act I of the play-within-a-play to the audience, resulting in glorious uproar.  The laughs still come fast and easy thirty-three years after playwright Michael Frayn first penned the one-act Exits that grew into this light delight.

3 STARS

(“Noises Off” runs through March 21 at Theatre at the Center, 1040 Ridge Rd., Munster, IN.  219-836-3255.)

Theatre at the Center (Munster,IN)

Noises Off production photos by Michael Brosilow.

Chess

Chess is a Cold War musical, first premiering in the 1980s, with lyrics by Tim Rice and music by former ABBA members, Bjorn Ulvaeus and Benny Andersson. Among the notable hit songs from the cult musical are One Night in Bangkok and I Know Him So Well.

Presented by Theo Ubique Cabaret Theatre

Previews: Mar 5 - Mar 6, 2010

Regular Run: Mar 7 - Apr 25, 2010

@ No Exit Cafe

6970 N. Glenwood, Chicago

Show Type: Musical

Box Office: 800-595-4849

Home « Theo Ubique Cabaret Theatre

Number of People

Diagnosed with Alzheimer’s and grappling with the challenges of aging, a Holocaust survivor bears witness to his past in this beautiful exploration on the elusive nature of memory. This moving one-man show is written and directed by Emilie Beck, who returns to Piven after her 2008 award-winning production, Because They Have No Words. The piece was written specifically for the playwright’s father, Piven Ensemble Member Bernard Beck.

Previews: Mar 6 - Mar 7, 2010

Regular Run: Mar 8 - Apr 11, 2010

@ Piven Theatre

927 Noyes Street, Evanston

Show Type: Drama

Box Office: 847-866-8049

Tickets available here: http://boxoffice.printtixusa.com/piven/eventcalendar

Piven Theatre Workshop

Lower Debt

Set in the uncertain economic climate at the beginning of the 21st century, “Lower Debt” tells the story of an everyman who leaves his white-collar existence, and ends up in a tent city among residents who are all looking for another way to live. This ensemble-based multimedia play explores the themes of community, ownership, loss and hope while asking the question, “How did we end up here?”

Presented by LiveWire Chicago Theatre

Regular Run: Mar 6 - Apr 4, 2010

@ The Viaduct Theater

3111 N. Western Avenue, Chicago

Show Type: Drama

Home of LiveWire Chicago Theatre