Fri 5 Feb, 2010
(“Minna” runs through February 13 at Trap Door Theatre, 1655 W. Cortland Ave. 773-384-0494.)
Mon 1 Feb, 2010
By Venus Zarris
TUTA is a theatre company that is so gifted, you can recognize the remarkable talent the minute that you step foot into the theater. The reality of their plays is visually rendered to perfection and the psychological atmosphere is present as soon as the production begins. TUTA is both an intellectually impressive and emotionally evocative theatrical force.
TUTA is also a company that takes chances, expands the parameters of the work that they produce. Oftentimes this proves to be uniquely rewarding. Although their production of The Wedding is signature TUTA, filled with elements that are extraordinary in their own right, the deviation from the original material takes the weight and wind out of Bertolt Brecht’s sociopolitical polemic.
The Wedding is an amalgam of dysfunction. Guests converge on the home of a newlywed couple to celebrate the nuptials and their actions rival, if not surpass, any family breakdowns that can be found at such events. Pointlessly longwinded diatribes by the aging family patriarch, wine cellar depleting over intoxications, inappropriate flirtations that escalate to dry-humping and overall sophomoric pettiness suspend this gathering in a purgatorial nightmare of crass conduct.
Jesse Terril’s original music infuses The Wedding with its most entertaining moments. Since nothing is too unusual for this gathering of absurd characters, musical numbers are natural to the unnatural order of things. It highlights their self-absorption. It illustrates their disregard for propriety and their decent into hedonism. There is little to no challenge for the audience to believe that these folks could spontaneously break out into song and dance, fully orchestrating their own instrumental accompaniment. The challenge for the audience, however, comes in caring about anyone at the party or gleaning any significance to their unapologetic naughtiness.
There are barely any indicators of whom these characters represent and what standards they are making a mockery of. The satire and parody are lost, leaving only people behaving badly, very badly.
Still there is salvation to the experience. The ensemble is so talented and invested in the chaos that, despite our lack of connection to them, we can’t help but be amused by the spectacle they so completely create. They are working overtime at a dead-end proposition and the efforts strangely pay off.
The entire cast delivers shining moments of interest in the dark abyss of this shallow, albeit lively, conceptualization but it is Andy Hagar that stands out as particularly captivating. Hagar’s physical comedy is classic. He fluctuates effortlessly between bravado and foolishness. His characterization is confidently and precisely idiotic. His performance of a seemingly one-dimensional party guest is textured with preposterously enthusiastic nuance, balls-out badness and subtle sweetness.
Marin Andrew’s set design makes remarkable and wonderfully stylized use of the basement space at the Chopin. Keith Parham’s lighting design is exceptional. Natasha Vuchurovich Djukic’s costume design is lovely and Ben Harris’s musical direction is inspired.
Director Zeljko Djukic has created a marvel of impressive theatrics that lead to nowhere. When a company that is this gifted produces an interpretation of a script that is this stingy on connection to the subversive commentary of the text, you feel that you are watching a trial run of the real thing. Nonetheless, the stunning and sophisticated imagination behind this show, on and off stage, is fascinating. Mercifully running at just over an hour, TUTA’s The Wedding is a beautifully crafted theatrical experiment that comes to no conclusion but provides a good time in the process.
(“The Wedding” runs through February 14, at the Chopin Studio Theatre, 1543 W. Division St. 847-217-0691)
Sat 23 Jan, 2010
CLOSING WEEKEND - DON’T MISS!
By Venus Zarris
There are reasons why certain shows become classics. They possess something that strikes a cord, transcends the ordinary and charms the socks right off of your feet. Annie opened on Broadway in April of 1977. That same summer it won seven Tony Awards. Over three decades later; the story, characters, music and charm still ring through as much, if not more so, than with most new musicals.
I was lucky enough to see the first production of Annie that came to Chicago at the Shubert Theatre over thirty years ago. I was completely in love with this delightful musical. From the opening notes of the overture at the production now playing at the Auditorium Theatre, I was transported back to that magical first night and reminded of just how beguiling this classic truly is. Annie remains a goose bump inducing treat for both young and old alike!
Based on the newspaper comic strip Little Orphan Annie, Annie tells the rags-to-riches story of a determined and destitute little redheaded orphan that is ultimately adopted by one of the countries richest men, Oliver Warbucks.
While this current production is not a completely triumphant return of America’s little Depression Era darling, it is entertaining enough to win the hearts of new fans and warm the hearts of devotees. The production values are lovely, with painted backdrops that are often as impressive as three-dimensional constructs. The orchestra is right on the money. Song after song, it is an exceptional tribute to the magic that made Annie such a huge hit. But the timing and the energy of the show are a bit off. It has the feel of a play that has been radio dispatched, rather than directed. The cast is solid, but uneven.
Still, there are some dazzling performances. Lynn Andrews creates a Miss Hannigan that is wackier and less menacing than the original characterization but her interpretation works well in this rendition and her voice is wonderful. Traci Bair delivers a perfectly graceful Grace Ferrell, secretary to Daddy Warbucks. Kelly Goyette delivers several of the peripheral characters with exceptional talent. Mikey the dog stops the show with each brief but endearing entrance as Sandy, Annie’s canine companion. But it is Mackenzie Aladjem who steels the show as Molly, the youngest orphan in the gang of gifted hard-knockers. Aladjem subtly captures the original childlike awe, wonder and innocence of this play.
While this touring production lacks some of the chemistry and charisma needed to fully realize the entire nuance and dazzle of this heartwarming classic, it still proves to be an engaging and exciting treat. If you have never seen Annie before, you will fall in love. If you are already a fan, you won’t be disappointed.
(“Annie” runs through January 24th at the Auditorium Theatre, 50 E. Congress Parkway. 800-775-2000.)
CLOSING WEEKEND - DON’T MISS!
Annie Trivia: The dog that became Sandy in the original production of Annie was found at a pound, cost $8, and was a day away from being put to sleep!
Annie production photos by Peter Coombs and Phil Martin.
Thu 21 Jan, 2010
By Robert Andersen
Who says a woman cannot protect a man? Who says a Princess cannot save a Prince? Who says the Dragon has to eat you? You will find the answers to these and many more questions during the latest installment in Lifeline Theatre’s KidSeries, The Last of the Dragons.
If you have never been to one of these events you really should go and if you’re still reluctant because you don’t have kids borrow one for the afternoon, you won’t be sorry. Lifeline Theatre’s reputation for outstanding adaptations of children’s stories is well deserved and this World Premiere is no exception. In this case they have taken a classic story by Edith Nesbit and not only brought it to the stage but made it a musical as well.
As the story begins, we meet Princess Andromeda, played by Anne Sears, an independent woman of a new age that questions tradition while respecting her family. Oh yes, she’s pretty good with a sword and not afraid of a fight. She’s engaged with her father the King, played by Mike Ooi, in some friendly fencing as he tells her that it is time for her to be engaged in marriage. The King and his trusted advisor, the talking parrot D’Artagnan, have discussed the Princely prospects and pondered their proposals of married prosperity but there’s just one hitch. In order to marry the Princess, the Prince must slay the dragon and while one prince is strong and brave he also appears crude and brutish. The second Prince, on the other hand, is smart and well educated but not very courageous. Although the King decides on the surety of his daughter’s rescue from the dragon he is undone by his advisor who instead delivers the invitation to the bookworm Prince Stanley of Tuscany, played by Scott Allen Luke; with hopes of a better life after the rescue … if he lives. The plot is now set in motion with twists and angst worthy of the Bard himself and a little Rogers and Hammerstein thrown in.
From an adult point of view I find the theatrical image wanting. Wanting what; just a little more. While it is nice to see this children’s show has the whole Lifeline space to itself, the set still looks like it was made to fit into the trunk of a Buick for afternoon assemblies at school. The lighting is adequate. The costumes are a quick fit. The walk-in gown for the Princess is clever. The King should be a little more regal though and the Prince a little geekier. Even the parrot costume is not quite what I expect from Lifeline.
On the day I attended with my daughters, age 4 and 11, I made a few notes: “pacing, pacing, pacing; singing dull, characters not big enough, Prince and Princess duet was good but all songs seemed a bit long, Beautiful dragon!! but not animated enough”. As I said earlier this was not originally a musical but with the artful inspiration of Mikhail Fiksel, Lifeline has added another layer to the story. The score is well written and the song subject matter appropriate but at times I found the lyrics hard to follow and that they were overpowered by the volume of the music.
The point that I return to is, “to whom is this production pointed”? To that end I rely on my daughters’ insights. Emma, my oldest, found the story easy to follow and the characters entertaining. She enjoyed the songs but was more excited by the swordplay. (the apple doesn’t fall far from the tree) Like her father, however, she has an eye for the spectacle and admitted that the set and costumes were “okay”.
Evelyn, my 4 year old, is still getting used to the concept of the fourth wall. At the point in the play where the parents come to save their children from the man eating, fire breathing, earth-destroying dragon, Evelyn proceeded to tell them “don’t hurt the dragon, he’s nice, and they’re friends now.” The audience loved it, the actors quietly acknowledged it and my older daughter wanted to crawl under her seat. I thought it a true testament to the success of the actors and production staff that Evelyn was so completely engaged. This is a kid’s show and from what I saw on the faces of the children in the audience, they loved it all. My hat goes off to all theatres that provide plays for younger audiences and especially to Lifeline Theatre for continuing its commitment to evocative and entertaining children’s theatre.
The Last of the Dragons is a wonderfully playful adventure that provides an excellent opportunity to share the magic of theater with children.
(”The Last of the Dragons” runs through February 21 at Lifeline Theatre, 6912 N. Glenwood. 773-761-4477.)
The Last of the Dragons production photos by Suzanne Plunkett.
Sun 10 Jan, 2010
By Venus Zarris
Never at a loss for parameter stretching and boundary challenging material, Tap Door Theatre presents a captivating production of Minna. This American Premier of playwright Howard Barker’s existential examination into the realms of atrocity disguises itself at times as a sexual romp but despite the scripts playful erotic absurdity, the core of Barker’s script displays how self-aggrandizing egotism dismisses empathy for human suffering, thereby paving the way for all manner of violence and malevolence.
Barker’s Minna is just the kind of pot that Trap Door stirs with beguiling results and director Nicole Wiesner brilliantly creates this nightmarish reality with both visual lyricism and explosive whimsy in this haunted house of catastrophic madness. Animated corpses, a parade of weeping mourners and a bipolar madman fluff the crowd with pre-show maniacal minutia.
“Madam, you are intangible.” Minna’s brutal love interest declares early in the script and this line proves a metaphor for the play. The characters and circumstances are an erratic amalgam of eccentric interactions that pinpoint specific instances of romantic frivolity, sexual domination and indicting revelations in the midst of a dreamlike hallucination.
In order to realize such an obscure reality, the cast must be completely present in the chaos and Wiesner’s ensemble is as determined to plunge off this cliff as a slice of lemmings. Any hesitation on the part of the performers would create a rip in the alternate dimension but no tears are evident. The madness is complete.
Exceptional incarnations of these bizarre characters are rendered by Sadie Rogers, as Francisca 1, Carl Wisniewski, as Just, and Derek Ryan, as the Landlord. Rogers captures the heart and honesty of Barker’s bleak script. Wisniewski’s frenetic performance delivers Barker’s biting intellect at breakneck speed and Ryan’s comic timing shines through the absurdity of his character’s obsession. Kinga Modjeska, as Francisca 3, also adds a lovely softness to the harsh wonders of this nightmare. Kevin Cox brings underlying complexity to the infamously brutal Tellheim and John Gray is bombastically and diabolically hysterical as the incestuous Count Von Bruchsall.
The entire cast creates a compelling spectacle of dramatic lunacy. Geraldine Dulex is visually commanding as Minna and technically accurate but fails to completely render the depth of this intricate and convoluted character. For the production to reach its full potential we should be more drawn in by her idiosyncratic narcissism but she gets lost in the intentional clutter of the play’s chaos. To be fair, this is an exceptionally demanding and difficult part and Dulex’s efforts are impressive but she is Minna and we should never be allowed to forget what that means, to her and to everyone around her.
The characters are picture perfect thanks to the remarkable costume designs of Beata Pilch and Nevena Todorovic. Ewelina Dobiesz’s set design makes full and fantastic use of the Trap Door space and Richard Norwood’s light design accents this strange world with evocatively dramatic effect.
As always, Trap Door offers something that you would be hard pressed to find anywhere else, that is, theater that wormholes its way into other realities. No matter how far off the beaten path they go, they still hold a mirror up to the emotional and psychological struggles of the human condition and this darkly deranged funhouse mirror is well worth a look.
(“Minna” runs through February 13 at Trap Door Theatre, 1655 W. Cortland Ave. 773-384-0494.)
Minna production photos by Beata Pilch.
Minna poster image and graphic design by Michal Janicki.
Thu 31 Dec, 2009
By Venus Zarris
From the opening number that explodes off of the dazzling shadowbox set to the sensational finale; In The Heights is a crowd-pleasing, ear-teasing, heart-squeezing romp. This is not the stuff of Pulitzer Prize winning depth but it is the stuff of entertaining large-scale musical magic. It is part Rent (but SO MUCH better than Rent), part West Side Story, part Latino pop and all Broadway blockbuster.
You’ve heard the story line’s a thousand times; ‘I’ve gotta get out of this place!’, ‘Boy loves girl but her Dad doesn’t approve.’, ‘America is the land of opportunity.’, ‘Stay true to your roots.’ and ‘There’s no place like home.’ What you haven’t heard is these stories told through the underrepresented voices of Latino characters and set to intoxicating Latin rhythms, melodies and harmonies.
It is delightful to see a show where every song aims to please and hits the bull’s-eye right in the middle. You might not leave the theater singing a particular tune, but song after song is candy to the ears.
The story line of In The Heights is so clearly telegraphed that it is borderline insulting. The emotionally manipulative dramatic devices are laughable. (Why do we love theater? The person who dies in the show comes out for a rousing curtain call.) The characters barely make it past stereotypes. Every single musical number ends with an obvious clap-requesting crescendo. I found myself wondering how it was that I enjoyed almost every minute but it is the exceptionally melodic music, energetic enthusiasm and incredibly endearing cast that transcend the superficial trappings.
This is a contemporary rendition of an old-school musical, which is to say it’s just plain good fun! If you love musicals and if you love Latin pop-music, this exceptional touring production of In The Heights should not be missed.
(“In The Heights” runs through January 3 at the Cadillac Palace Theatre, 151 W. Randolph Street. 312-902-1400)
Tue 15 Dec, 2009
By Venus Zarris
Silent Theatre Company creates a dark and delightful spectacle with this cleverly conceptualized creepy carnival creation! This ambitious production transports us to another world from start to finish.
After a being dealt a deadly deception by a devilish trickster, the carnies in this traveling show strike a deal with the powers of darkness. Their immortality comes at the price of regular sacrifices of innocence but does anybody really want to live forever, especially when that costs so much?
Carnival Nocturne is a wonderfully realized atmospheric dream. Conceived and written by Gillian Hastings, it truly captures the experience of silent film. The resplendently haunting musical score, composed by Rob Frye and David Taylor, is brilliantly delivered by Frye, Taylor, Marta Sofia Honer and Jason Wells. This increible ensemble creates an intuitively evocative soundtrack that is as musically powerful as the production is visually intriguing.
The vivid costumes, designed by Barb Staples, whimsically define the eccentric characters. The lighting, sets, and videography, complete the illusion. Tonika Todorova directs an impressively gifted cast through this macabre world. The performances range from exceptional to extraodinary.
Sadly though, the story drags at times within its own minutia. It is dark but needs to be more menacing. It is engaging but lacks a powerful enough nonverbal narrative to completely piece together the fragmented concepts in a way that fully delivers the potential impact of the eerie tale. The dramatic build is incomplete and so the twisted climax, although clever, is less than satisfying.
Still, this is staged creativity to an impressive, fascinating and entertaining end. Although not quite the dark and dreadful delight that it could be, Carnival Nocturne is a delight nonetheless and a splendid theatrical undertaking from a uniquely daring theater company that should not be missed.
(“Carnival Nocturne” runs through December 20 at the Storefront Theater, 66 E. Randolph St. 312-742-8497.)
Thu 3 Dec, 2009
By Venus Zarris
At one point in the first act of Cirque du Soleil’s frenetic Banana Shpeel a character introduces an act with the disclaimer, “Rising from the ashes of a dysfunctional artistic relationship …” This line struck me as perhaps an inadvertent description of this disjointed, albeit extremely entertaining, World Premiere.
Over the years Cirque du Soleil has taken the gold standard for unique, circus act filled, conceptually remarkable productions and polished the standard to platinum. By comparison, their newest creation can only be authenticated as sterling silver. It is shiny and there are enough thrills and delights to classify it as valuable but the chaos of Banana Shpeel’s can’t-make-up-its-mind structure prevents the show from being the complete triumph of previous Cirque offerings.
The Costume Design, by Dominique Lemieux, is dazzling! Patricia Ruel’s Set Design and Bruno Rafie’s Lighting Desing are visually intoxicating. Colors explode off of the stage like a fireworks display. Cirque du Soleil seems to have struck a deal with the devil to magically illuminate the most striking aspects of the color spectrum. It is color saturation on steroids. The color is not simply there, like looking at a painting, but it is radiating, like looking at the screen of a computer. The vibrancy of the costumes and sets create the illusion of colored light, rather than lit color.
The brilliantly fantastic choreography, by Jared Grimes, resembles a combination of Fosse, meets Flappers, meets Tap, with some Busby Berkley thrown in for good measure. The dancer’s boundless enthusiasm is contagious. They are playfully beguiling, truly incredible and electrify the theater with every number.
Banana Shpeel’s original music, composed by Jean-Francois Cote and Scott Price is outstanding. Price’s Musical Direction is world class and the musicians of Banana Shpeel’s live orchestra are outstanding.
The individual circus acts are wonderful. Although not quite the best-on-the-planet quality of other Cirque du Soleil productions, they thrill and amaze. The exception is Dima Shine. His hand balancing is the most otherworldly example of remarkable physical control and strength you will ever witness!
The clowning is great fun but the shtick lags behind the show’s more captivating features. When Shpeel is part of the title, it better work but despite the Herculean efforts of Daniel Passer and Wayne Wilson, the main character threads and chief clowning shpeelers, the comedy of Banana Shpeel seldom exceeds slapstick silly, obvious and immature. Passer and Wilson are profoundly gifted performers. They carry the focus but the well-animated humor is mostly two-dimensional, like theater for young children with adult themes and a few dirty words tossed in.
Cirque du Soleil’s story lines normally range from conceptually nebulous to simplistically strange but Banana Shpeel seems, at first, to attempt a more comprehensive narrative. It opens with auditions of new acts for the show. Although this yields a few laughs it is superfluous fluff. The excitement really starts with the opening song and dance number. This should open the show. This is the magical stuff that the TV commercial spots are made of. This redeems the lackluster shpeel.
Retooling Banana Shpeel with more song and dance, as this is as good as it gets, more unique acts and less goofball shtick might deplete the show’s already weak narrative concept but it could take the show from extremely entertaining to a staged marvel. As it stands, Banana Shpeel is a whole lot of fun but a little lame.
(“Banana Shpeel” runs through January 3, 2010, at the Chicago Theatre, 175 N. State Street. 312-462-6300)
Banana Shpeel production photos by Kristie Kahns.
Chicago Theatre marquee photo by Venus Zarris.
Sat 14 Nov, 2009
By Venus Zarris
Young Frankenstein was the second movie that I ever snuck to see. It was playing at a theater in walking distance from my home and a gang of us decided to see if we could get in. This was after strict instructions that I was NOT allowed to see the film. Why does that always make it so much sweeter?
We loved it! We laughed at the naughty parts, knowing they were the reasons why it was forbidden, even if we didn’t completely understand all of the jokes. We sat through it twice. It was THAT MUCH FUN.
For those who love it, Young Frankenstein, is iconic. I went to the Chicago premiere of the musical with a friend who told me that it was his grandmother’s favorite film. She would scream laugh while watching from start to finish. His father still refers to his ‘abby-normal’ family to this day, an appropriation from one of the film’s classic scenes.
For many, this is sacred territory. Even though the film’s original creator, Mel Brooks, wrote this musical rendition, stepping into the comic shoes of actors like Madeline Kahn, Cloris Leachman, Teri Garr, Marty Feldman, Peter Boyle and Gene Wilder takes some fancy footwork.
So how does The New Mel Brooks Musical Young Frankenstein hold up?
It’s an unquestionable good time and an unquestionable imitation. Taken on its own, The New Mel Brooks Musical Young Frankenstein is visually delightful, fast paced and funny. The music is not overwhelming, but rather formulaic Broadway-show-tune-send-ups of the funnier scenes from the film. The performances are solid and mostly enthusiastic but few capture the brilliance of the original film performances. Half of the time I got the feeling that Brooks was lazily relying on the familiarity of the material and the other half I felt he was cleverly mocking the very formula that he was employing for this reanimation.
This is a musical parody of a comic parody of a horror classic. If you can muster a triple suspension of disbelief then you will have fun.
Tony Award Winners, Roger Bart and Shuler Hensley reprise their roles from Broadway. They’re funny, not sidesplitting. Bart’s low-key approach to Dr. Fredrick Frankenstein is so casual at times that it feels almost phoned in. Hensley’s monster is one-dimensionally funny. Cory English, as Igor, sells it like his life depends on it and creates a frenetic wave of silliness that reaches the back row. Anne Horak is charming as Inga.
But it is Joanna Glushak that steals the show as Frau Blucher. Her comic timing is brilliant. She manages to take the absurdity of Leachman’s original film character and play her with the broader strokes needed on stage, without loosing the nuance. She hits the mark only alluded to by most of the other actors. That is, acting larger for the stage while keeping the depth and intelligence of the humor in tact.
Robin Wagner’s Scenic Design creates a dazzling touring rendition of the world of Young Frankenstein. William Ivey Long’s Costume Design is terrific. The New Mel Brooks Musical Young Frankenstein is a technical treat, with a few extra whistles and bells that really excite.
No doubt, Mary Shelley was rolling over in her grave when Young Frankenstein was first released. No doubt she is turning over to the other side with The New Mel Brooks Musical Young Frankenstein. But in both cases, the upset in her eternal rest is to our benefit.
The New Mel Brooks Musical Young Frankenstein may not be a brand new creature, but it is a toe-tapping fun ride. This is entertaining schmaltz. If you’re a purist devotee of the original film you won’t be happy. If you’re a forgiving fan of the original then you will enjoy the delightful, albeit cheesy, homage and the fantastically show stopping rendition of “Puttin’ on the Ritz” will knock your socks off!
(“The New Mel Brooks Musical Young Frankenstein” runs through December 13 at the Cadillac Palace Theatre, 151 W. Randolph Street. 800-775-2000)
Wed 11 Nov, 2009
By J. Scott Hill
Revues are always difficult for me to review. Whether comedy, burlesque, magic, poetry slam, performance art, or a hodgepodge of everyone’s party pieces, a revue is still a collection of mostly unconnected shorter performances. The fire-eater may be terrific, but the acrobat may be horrific — neither one has anything to do with the other except being in this particular performance space on this particular evening. For the opening night of the Beast Women 2009 Winter Series, my first temptation was to write twelve fifty-word reviews and loosely frame them with a little narrative - to write a revue of reviews to review this revue. That would just miss the mark.
Every show in the 2009 Winter Series will feature a different lineup and mix of performers. Opening night saw eleven acts: three songstresses, three stand-up comedians, two burlesque dancers, two monologists, and a belly dancer. Co-founder Michelle Power served as Emcee with a fervent earnestness that is lacking and sorely needed by most hosts of WTTW pledge drives: when Power passed the hat at the end of the night, people wanted to donate.
Virginia Marie’s act combined singing, modern dance, a martial arts staff, and the dialect of a Dickensian street urchin: she was intimidating, without being off-putting. Claire Wellin sang two original compositions a cappella — one of which (”Not Necessarily, but True”) could well pass for an old standard.
The standout songstress was Jen Stjarna, who performed an excerpt of the Eagles classic “Desperado” along with her original compositions. Her downtrodden lyrics — about a summer in her aunt’s house where plastic slipcovers shroud everything, or about the elusiveness of everlasting love — make an interesting counterpoint to her upbeat melodies. Tori Amos is an obvious and strong influence here. Breathy, better-than-slogging her way through with an obvious cold, and terrific on the keyboards, Stjarna’s future as a recording artist is full of promise.
Stand-up comedian Leslie Lee gave a Rusty Warren-type performance, focusing almost exclusively on boobs. Janet Kane’s performance style was straight-up old school stand-up.
Bridget Clymore was unusual. Her patter was a bit chattery, and at times she seemed to lose her way in the maze of her tangents and asides, but her material was an adventure in uncharted territory. Spinning dysfunction into blissful yarns about the uncertain paternity of her children, the magical powers of Kahlua, and learning to leverage her most valuable asset, Clymore took the audience on a gleefully bizarre ride through her life and brain.
Belly dancer Mahira demonstrated her muscular control. Fan dancer Lily White Sass, AKA Deb Webb, showed off her flawless figure in scanty showgirl garb.
Burlesque dancer Lola Getz amazed the audience with her glowing red tethered orbs. Somewhere between yo-yo tricks and a ribbon dance, Lola Getz performed dexterous feats of languid neon beauty while simultaneously removing what little clothing she was wearing — both astounding and titillating.
Monologist Roberta Miles reminisced about her promiscuous youth in a style like Jean Shepard writing a letter to “Penthouse Forum.”
The real centerpiece of this show was Co-Founder Jillian Erickson’s monologue as a prostitute contemplating a career change over a glass of wine. Funny and moving, surprising in its depth and unflinching in its honesty, Erickson’s performance was a clarion note of triumph over adversity through sheer force of will.
Jillian Erickson’s performance stands as an overarching metaphor for the Beast Women 2009 Winter Series, and for the Beast Women in general. Over and over again — in the program, on their website, in other publicity materials — Beast Women acknowledges that they are dedicated to “celebrating freedom, sexuality, life oddities, and primal strength found in all women.” This collection of twelve liberated, sexy, bizarre, powerful women in performance holds together as more than just a dozen individual mini-shows. This is a menagerie of Beasties barely contained by the venue. While some of the performers are still gaining confidence and polish, the Beast Women 2009 Winter Series delivers a greatly enjoyable attack by some of the best variety acts in town.
(“Beast Women 2009 Winter Series” runs Saturdays at 10:30 PM, through December 19th at PROP THTR, 3502 N. Elston Ave. Chicago, IL. $15 (at the door), for information and lineups, call 773-278-1212)
Beast Women photos by Hunter Matthews.