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 Il Trovatore

By Giuseppe Verdi

Lyric Opera of Chicago

By Lori Dana

American opera fans that are yet unaware of the Patrick G. and Shirley W. Ryan Opera Center’s tremendous contributions to the art form need look no further than Lyric Opera of Chicago’s Il Trovatore for confirmation.  The Ryan Opera Center, Lyric’s professional development program, is celebrating it’s 40th year. Two distinguished alumni of this remarkable institution within the Lyric, Amber Wagner and Quinn Kelsey, are featured characters in Verdi’s classic tale of mistaken identity and revenge, and the quality of their performances leaves no doubt that the Ryan Center is an incubator for world class opera singers.

In a production brimming with laudable aspects: a subtly ominous revolving set by Charles Edwards, the insightful lighting of Jennifer Tipton, wonderfully witty choreography–with contemporary sensibilities–by director Leah Hausman, and superlative performances by the Lyric Opera Orchestra and Chorus; Il Trovatore is most definitely all about the singing. The casting here is sheer perfection. From the opening strains of Andrea Silvestrelli’s glowing basso narrative to Stephanie Blythe’s final dramatic declaration of revenge, the audience is captivated by a group of thoroughly developed characters. The excellent acting extends even to the chorus in the crowd scenes. None of these roles are just the route to the next aria; marvelous singing actors who bring each personality into sharp emotional and physical focus inhabit them.


As the story’s narrators, Silvestrelli and Blythe provide opposing perspectives on the sad story of Count di Luna (Quinn Kelsey). Silvestrelli (as Ferrando, di Luna’s captain of the guard) opens the first act with the haunting tale of an aristocrat who believes his infant brother was kidnapped and murdered by a gypsy (Blythe as Azucena) to avenge the death of her mother, who was burned as a witch by the Count’s father. For her part, Ms. Blythe who has excelled in over-the-top, menacing roles in recent years (Ulrica/Un Ballo in Maschera, Amneris/Aida), shares the story of her mother’s death with her own son, the revolutionary Manrico (Korean-born tenor, Yonghoon Lee). After throwing the baby into the funeral pyre, Azucena turned to find not her own baby, but the child she had kidnapped. Having failed to avenge her mother’s death, the gypsy took in the kidnapped child as her own.

Fast forward to the present. The dashing and handsome Manrico has fallen in love with the Queen’s lady-in-waiting, the lovely Leonora (Amber Wagner). This Ryan Opera Center alum’s enviable range and evocative delivery are a pure pleasure to hear, and voices supremely matched make Wagner’s duets with Lee achingly romantic. (Also outstanding is current Ryan Center member Janai Bridges as Leonora’s servant, Inez.)

Leonora knows nothing of Manrico. She has fallen in love with an unknown knight who has taken to serenading her, troubadour-style, outside the castle walls in the evening. She is also being pursued by the young Count di Luna and, despite her indifference to his affections, he is not taking no for an answer. The audience knows, of course, that Manrico and the Count are brothers in love with the same woman. Once the Count discovers that his romantic rival is also his political nemesis, and further that Manrico’s mother is the gypsy responsible for the “death” of his brother, Count di Luna’s tragic path is set.


Baritone Quinn Kelsey’s portrayal of Count di Luna makes him the break out star of Lyric’s Il Trovatore. This Ryan Opera Center alum’s perfect synthesis of fine singing and acting takes what could have been a one-dimensional villain and imbues him with great humanity. Verdi’s tragedy is made deeply real to the audience by this sympathetic portrayal of a good man robbed of his family, a man who sees history about to repeat itself. Kelsey’s Count di Luna is not so much the unintentional villain, as the unintentional victim of a cruel fate. This subtlety of performance, staging and direction is indicative of the creative path our “new” Lyric Opera is taking, to realize greater levels of perfection and transformative power. Bravo.


(“Il Trovatore,” presented by Lyric Opera of Chicago, runs through November 29th at the Civic Opera House, 20 N. Wacker Drive. 312-827-5600)

Lyric Opera of Chicago

Il Trovatore production photos by Michael Brosilow and Robert Kusel. 



By Richard Strauss

Lyric Opera of Chicago

By Lori Dana

Before the music even begins, we know that Lyric Opera of Chicago’s production of Capriccio is going to be something out of the ordinary. The house lights dim, but do not go dark; creating a warm glow that captures the intimate scene revealed by the rising curtain. A drawing room in a grand manor house, where a string sextet (playing first in the orchestra pit and then, just offstage) plays the composer Flamand’s latest ode to his lady love and patron, Countess Madeleine. Two other houseguests are keeping company with Flamand (tenor William Burden) in the drawing room. Olivier (Norwegian baritone Audun Iversen, in his Lyric Opera debut), a writer, scribbles in his notebook while another gentleman reclines in a chair while snoring loudly. The composer and writer strike up a conversation and in doing so, discover that they are both courting the widowed Countess. This introduces the central debate on which the plot of Capriccio revolves: music or poetry, which will she choose? And in the bigger picture, which craft is the more sublime creative pursuit? The voice of reality and reason splutters awake as the sleeping man, revealed to be a renowned theater impresario, La Roche (Peter Rose), joins the conversation. Theater is the greatest of the arts in his opinion, served by both music and the written word. LaRoche is bemoaning the sorry state of material and talent for his current production when the Countess and her brother, a sometime thespian, enter the drawing room. The bombastic and self-important Count is played and sung with great gusto by baritone (and Strauss specialist) Bo Skovhus. At the confluence of so much blustering male ego, Reneé Fleming’s Countess is an island of cultured calm and self-confidence.  One of the finest interpreters of Strauss on the opera scene today, Ms. Fleming not only demonstrates that her maturing vocal range still has mastery of the material, but the music is further enhanced by her deep connection to the character. Superb acting, flawless singing and a completely natural grace on the stage combine to make her performance the dramatic lynchpin that Capriccio demands.

When Fleming sparkles, everyone else on the stage draws energy from the glow. As the members of the house party try to outdo one another to impress the Countess (in one hilarious scene, La Roche has singers and dancers audition for the Countess’ birthday celebration during dinner, and a ballerina puts some saucy moves on the handsome Count) it is decided that Flamand and Olivier will write an opera…about the house party weekend and the creative debate at its center. Enter the production’s second superb soprano, Swedish star Anne Sophie Von Otter as the actress Clairon, who happens to be starring in Olivier’s current play. She agrees to play the lead in the new opera. Appearing on the Lyric stage for the first time since 1990, this popular European diva is a marvelous dramatic foil and delightful vocal contrast to Fleming’s rich, burnished mezzo.

While the story of Capriccio is a fine balance between serious artistic debate and self-deprecating humor, Strauss’ sumptuous, romantic music never lets us forget that at its heart it is a paean to the glory of opera. Lyric’s exceptionally talented cast, skillfully directed by Peter McClintock and strongly supported in the minor roles by several talented members of the Ryan Opera Center; as well as a luscious performance by Sir Andrew Davis and the Lyric Opera Orchestra, make Capriccio more than just a delightful confection. It is a richly layered and thoughtful study on the nature of creativity and a very funny look at the opera.


(“Capriccio,” presented by Lyric Opera of Chicago, runs through October 28th at the Civic Opera House, 20 N. Wacker Drive. 312-827-5600)

Lyric Opera of Chicago


Don Giovanni

By Wolfgang Amadeus Mozart

Lyric Opera of Chicago

By Lori Dana

At the recent opening of its Diamond Anniversary (60th) season, Lyric Opera of Chicago demonstrated in world-class fashion, just how far it has come under the collaborative leadership of General Director Anthony Freud, Board President Kenneth Piggott, and the entire Lyric creative team. A wonderfully reimagined production of Mozart’s take on the myth of Don Juan is kicking off the 2014-15 season and setting yet another performance benchmark for the venerable opera company.


Directed by renowned theatrical innovator Robert Falls, Lyric’s Don Giovanni is set against contrasting backdrops of classic facades, modern signage, and dramatically oversized set pieces. The outsized props set at steep angles to the stage create a kind of surreal world where the visual scale matches the outsized libido of the story’s main character. Dashing Polish baritone Mariusz Kwiecien´ portrays Giovanni as a Jazz Age lothario, with Lyric favorite Kyle Ketelsen in the role of his beleaguered sidekick Leporello. Ketelson’s velvety recitative and insightful interpretation have made Leporello one of the American bass’ signature roles. Leporello’s alternately world-weary and outraged attitude is the perfect foil for Giovanni’s lascivious bravado. Kwiecien´ and Ketelson are also well matched vocally. With the addition of well-loved Italian basso Andrea Silvestrelli in the role of the Commendatore, we are provided with a veritable feast of manly singing. Not to be outdone, the female roles also feature an enviable depth of talent. With last season’s break out star Marina Rebeka as the vengeful Donna Anna and a dazzling Ana Maria Martinez in a hilarious turn as Donna Elvira, one has no trouble understanding Don Giovanni’s attraction to these two exciting ladies. Ryan Opera Center alumna and rising star Andriana Chuchman rounds out the cast of main characters as the saucy bride Zerlina, yet another of Giovanni’s tempting conquests. Tenor Antonio Poli and bass-baritone Michael Sumuel provide ample dramatic and vocal support in the roles of Don Ottavio and Masetto.


In Mozart’s version of this classic tale, the voracious lover of the title role has finally pushed the limits of his romantic bravado too far. We get a rather more graphic glimpse of his escapades with Donna Anna behind her lace curtained balcony door than we might have in a more traditional production (as well as in a later choreographed scene with two ladies of the evening). Outraged, Anna chases Giovanni out into the street, demanding his arrest. He is then confronted by Donna Anna’s father the Commendatore, and in the course of a struggle, kills him. Thus begins Anna’s quest for revenge. Don Giovanni gets his final comeuppance as Donna Anna and her beloved Don Ottavio, jilted lover Donna Elvira, and Zerlina’s outraged in-laws all descend upon the slippery scoundrel at once.


The sterling quality of this opening production extends far beyond its top-flight director and stars. As has been more often the case in the last couple of seasons, the production values at Lyric have been more than keeping pace with the company’s extraordinary musical standards. The wonderfully graphic sets by Walt Spangler, the witty and evocative costuming of Ana Kuzmanic and the always dynamic lighting design of Duane Schuler help elevate this production, creating new relevance for contemporary audiences. Laying the musical groundwork are the spectacular Lyric Opera Orchestra and Chorus, led by music director Sir Andrew Davis and chorus master Michael Black, respectively.


Now is an exciting time to be a fan of opera in Chicago. Lyric Opera is setting new standards and breaking down barriers. We hope and expect that the new season’s offerings will be as visually compelling and musically satisfying as Don Giovanni.


(“Don Giovanni,” presented by Lyric Opera of Chicago, runs through October 29th at the Civic Opera House, 20 N. Wacker Drive. 312-827-5600)

Lyric Opera of Chicago

Don Giovanni production photos by Todd Rosenberg and Michael Brosilow.

2  500x72By J. Scott Hill

The first thought I had after seeing Writer’s Theatre’s production of Days Like Today was: who has a four-season vacation home on Martha’s Vineyard?  I don’t doubt the possibility, just the probability.  So many other plays and films and television shows and books depict profoundly wealthy people closing up their Martha’s Vineyard escapes in the fall.  Many of the hotels, shops, restaurants, and other businesses on Martha’s Vineyard completely shut down for the winter.  As the action of Days Like Today hurdles mundane months from scene to scene, the principal characters all just happen to land at the Martha’s Vineyard getaway house on New Year’s Eve.

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Days Like Today is a little farfetched, and a bit pretentious.  Still, Laura Eason’s adaptation is far less farfetched and pretentious than its inspiration, the plays of  Charles Mee (particularly Summertime), and Days Like Today is more engaging.

Days Like Today is the story of a young woman, Tessa, left at the altar for no particularly compelling reason. Tessa’s father, Frank, is a classics professor who is gay and dating a much younger man, a former student of his named Edmund.  Tessa’s mother, Maria, is a cougar who is sexually adventurous and dating a younger man, a former dance instructor of her daughter’s named Francois. (Get it?  Her husband is named Frank and her boyfriend is named Francois and they are both teachers.  Really!?) Tessa’s misery is further complicated by a pizza delivery guy, James, who falls in love with her at first sight, and who just happens to have a Ph.D. in classics, just like her dear old dad.  By the time everybody shows up at the Martha’s Vineyard house on New Year’s Eve, most of them are surprised to find that Tessa has not left there since her wedding day disaster.

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Either Tessa’s job — translating the photo captions of a single Italian coffee table book into English and French — pays extremely well and in advance, or she has a duffel bag full of small unmarked bills, because if she were getting any money from either of her parents they would have known that she was still at the vacation house.  Such inconsistencies, annoyances, and first-world problems are prevalent enough to make even a Glencoe audience raise a skeptical eyebrow.  Laura Eason has done a fine job of rhinoplasty on the upturned nose of Charles Mee’s plays, but a rewrite would make the characters more organic and thereby more sympathetic.

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Luckily, Laura Eason’s book is paired with Alan Schmuckler’s amazing songs.  Tuneful and catchy, poetic and profound,  from “10,000 Times” to “Tuscany” to “Quartet,” Schmuckler’s music and lyrics carry this story into our hearts.  Some of the credit for the wonderment in the music goes to the musicians, particularly the complementary playing of Paul von Mertens on woodwinds and Carmen Kassinger on violin/viola.  Like nearly every piano played in a theatre pit band at any time anywhere, the piano played by Austin Cook should be turned around with the harp facing the wall, and a mattress placed between the piano and the wall to muffle the sound; from a seat in the audience of any reasonably acoustically designed theatre, a piano onstage almost always sounds too loud.

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Days Like Today is graced with a phenomenal cast of singer/actors. The jilting groom Arnaud is played by Jarrod Zimmerman, who is fine in the role, but justifiably doesn’t have a lot to do.  Tessa’s new suitor James is played to charming effect by Will Mobley. Jonathan Weir as Frank, Susie McMonagle as Maria, Stephen Schelhardt as Edmund, and Jeff Parker as Francois could each deftly carry Days Like Today, if the narrative were told from a different angle. Emily Berman’s subtle performance as the emotionally overwhelmed Tessa is only surpassed by her extraordinary alto.

Days Like Today is an unconventional love story full of actors and songs you will likely adore, actors and songs that are able to largely make up for residual pretentiousness in the characters and story that adapting playwright Laura Eason did not quite delouse from the original Charles Mee source material.




(“Days Like Today runs through July 27 at Writer’s Theatre, 325 Tudor Ct., Glencoe. 847-242-6000.)

Writer’s Theatre

Days Like Today production photos by Michael Brosilow.

* Visit Theatre In Chicago for more information on this show. Days Like Today – Writer’s Theatre – Play Detail – Theatre In Chicago


The Second City Etc's performance of "Apes of Wrath"By J. Scott Hill

I suspect that the funniest, edgiest writing done nowadays for The Second City e.t.c. is being done by women.  Not that I find anything in particular about the content or delivery of recent revues that overtly indicates a woman’s touch. The Second City e.t.c.’s last revue, A Clown Car Named Desire, was the funniest, edgiest Second City revue by any cast in recent memory, and  e.t.c.’s new revue, Apes of Wrath, maintains A Clown Car‘s high standards while it so happens to keep the same three female writer/performers — Carisa Barreca, Brooke Breit, and Punam Patel.

Sketches cover such topics as the inanity of the new media outlets that have sucked the viability out of newspapers, anti-vaccinationists, purity balls, artificial intelligence, that old acquaintance one occasionally runs into who is still living in the long-gone glory days of high school, and an apology from a Christian apologist on behalf of the rest of the faith.  This wonderfully acerbic show bares its fangs and claws at our ridiculous modern world and tears away at the juiciest morsels for our delighted consumption.

The Second City Etc's performance of "Apes of Wrath"

Plus, at one point in Apes of Wrath, the line “Fuck you, Neil deGrasse Tyson!” is uttered.  Since I will admit to no small amount of hero worship for Pluto’s discoverer, Clyde Tombaugh, “Fuck you, [Pluto denier of all Pluto deniers] Neil deGrasse Tyson!” might very well stand as the high point of my years in the audience.

This entire ensemble is praiseworthy.  Asher Perlman is the show’s metronome: he maintains the pace with his infectious energy.  Eddie Mujica disappears into a wide variety of characters, especially when he is working off the audience as Pepe, an immigrant about to take his United States citizenship test.

Tim Ryder is new to the e.t.c. stage, but a familiar face around Chicago’s improv and sketch comedy scene.  Ryder excels at bringing a warmth to cold and emotionally distant characters — whether he is playing a socially inept chess savant or the (dwarf) planet Pluto.

The Second City Etc's performance of "Apes of Wrath"

The men in this ensemble are terrific, but the best moments in this stellar show mostly come from the three women. Carisa Barreca spends the show subverting the image that the audience likely infers from her sweet Mary-Tyler-Moore smile, and we fall into her trap every time.  Punam Patel is a performer who has always been outstanding, but just keeps getting better — and is one of the sharpest improvisers working in Chicago today.

I am often surprised by which Second City people move on and when; that Brooke Breit has not yet been seduced out to New York or Los Angeles is a blessing for Chicago, but is overdue.  Sitcom or sketch comedy, on camera or in the writers’ room, Brooke Breit’s talent is ripe for an even wider audience.

Razor-sharp Apes of Wrath is a worthy successor to A Clown Car Named Desire on The Second City e.t.c. stage.  A superb ensemble — led by Punam Patel, Carisa Barreca, and the amazing Brooke Breit — are not afraid to cut anyone or anything down to size.


3-1/2 STARS


(“Apes of Wrathis in Open Run at The Second City e.t.c., 1608 N. Wells, Chicago — in Piper’s Alley. 312-337-3992)

The Second City – Performances – Apes of Wrath


Apes of Wrath production photos by Todd Rosenberg.


* Visit Theatre In Chicago for more information on this show. Apes of Wrath – Second City – Play Detail – Theatre In Chicago

BW1 500x72By J. Scott Hill

As Chicago struggles to put this winter of nearly seven feet of snow (and repeated bouts with polar vortices) behind it, the Beast Women come back for their 2014 Spring Series2014 Spring Series marks their second round of shows in their digs at the Den Theatre.  The Den Theatre has a couple of very cool, intimate spaces perfect for the kind of late-night entertainments the Beast Women provide.  Plus, the Den is home to one of the coolest lobby bars in the city. The Beasties are a good fit for this venue, and — for those who dare the ascent up the Aztec pyramid of a stairwell up to the Den — vice versa.

Sassy emcee Michelle Power remarked that Beast Women 2014 Spring Series opening night marked the 175th performance of the all-female cabaret.  It is a credit to the producers of this longstanding variety show that they are still able to find fresh, vital new performers to complement their stable of veterans.  The first act, singer-songwriter Dhaea (DYE-ah), makes catchy, heartfelt music.  Her song “Stairwell” could easily find a home in medium rotation on WXRT right between Death Cab for Cutie and Jason Mraz.  With Dhaea’s smiling voice, and clever hooks like “When morning comes, I’ll say good night,” three chords and the truth have seldom been as gleefully infectious.

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Several of the acts aimed to titillate.  Burlesque beauty Boobs Radley showed the audience nearly all of her country charms to the tune of KD Lang’s “Big-Boned Gal.” Vaudezilla Vixen Zara Estelle teased the crowd in a bright blue coiffure and — eventually — precious little else. Kiss Kiss Cabaret Coquette Camille Leon slunk and slithered across the stage to Skylar Grey’s cover of “Addicted to Love.”

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Beast Women co-producer and performance artist Jillian Erickson shared her madness with an excerpt from her solo show 3:00 a.m.: Slipping Beyond the Boundaries of a Bruised Mind.  Spoken word artist J. Evelyn rendered powerful, poetic images of someone downtrodden and abused.

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Shelley Miller, a singer/songwriter clearly influenced by Lucinda Williams, deftly bent her guitar’s strings as she played and sang her bluesy number, “Walk Away.” Comedian Mary Zee dragged the appreciatively guffawing audience through her life, covering topics such as drinking (and not-drinking) challenges, her sister’s baby, and her parents’ first date.  Lauren Lewis and her ukulele charmed the crowd with a witty ditty about dating a zombie.  Kamani Raqs belly-danced with hypnotic levels of control, elegance, and art.

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Singer Sparkle Motion stepped out of her usual house/electronica/R&B vibe to deliver a heartfelt blues dirge a cappella (featuring the glorious cosigning, harmonizing, and ham-boning talents of Medina Perine). With lyrics like “I want my knife to go in your neck until I feel something scrape,” Sparkle Motion turns the tables on such misogynistic blues standards as Louisiana Red’s “Sweet Blood Call” and empowers the hell out of herself.

Beast Women 2014 Spring Series will be a different show each night, so the line up of performers you see may vary considerably from those mentioned here, but the Beast Women have proven themselves over and over again to be the best female variety performers in Chicago, period. So, put on your crampons and invite a sherpa or two to join you in the climb up the Everest-like stairs to the Den Theatre.  You may not find any Yeti, but the Beasties you will see are sure to delight.


3 1/2 STARS

(“Beast Women 2014 Spring Series” runs Saturdays at 10:30 p.m. through June 14 (with the new talent showcase Beast Women Rising on Sunday, June 8, at 7:00 p.m.) at The Den Theatre, 1333 N Milwaukee Ave, Chicago..)

The Den Theatre

Beast Women Productions

Beast Women 2014 Spring Series performance images by Hunter Matthews.


By Venus Zarris

In what can best be described as the ultimate character defining performance, Melissa Lorraine blazes across the stage of Theatre Y’s remarkable production and becomes Medea. Hell hath no fury like a woman scorned and Medea throws open hell’s gates to deliver catastrophic wrath upon her opportunistically philandering husband, Jason. Rage so complete can easily fall into a one-dimensional portrayal, yet Lorraine’s Medea fires on so many emotional and intellectual cylinders that we are taken with her on a mesmerizing descent into well articulated madness.


Poet Robinson Jeffers has penned a beautiful adaptation of Euripides’ horrific tale of betrayal and revenge, made even more lyrically lovely and dramatically bleak by this macabre staged hallucination. Director Kevin V. Smith takes us on a theatrically Dali-esque journey through the text of this classic tale by realizing a stream-of-consciousness dreamscape. The surreal backdrop of fluctuating artistic imagery and dramatic styles jolts the story out of its conventionally classic milieu and blasts the audience into a thought provoking unreality. Smith throws Medea down Alice’s rabbit hole and what emerges through this wild looking-glass is a sometimes inspired, sometimes distracting, yet always fascinating purgatorial suspension of disbelief.

Theatre Y presents a rare artistic collaboration between an artist, Melissa Lorraine, who grounds the story in staggering emotional authenticity and an artist, Kevin V. Smith, who bewilders the text with fantastically stylized kaleidoscopic surrealism.


Just as Katharine Hepburn defined Violet Venable in Suddenly, Last Summer or Patti LuPone defined Eva Peron in Evita or Margaret Hamilton defined the Wicked Witch of the West in The Wizard of Oz, Melissa Lorraine defines Medea. We feel for her anguish, we grasp the gravity of her unrelenting dilemma and we are horrified by who she is transformed into. Lorraine commands the focus; she reveals every intimate devastation and diabolical dreadfulness of Medea. She owns the stage and the completeness of her performance affords Smith the latitude to play as he wishes with all other aspects of the production. There is not another actor in Chicago who could manifest Medea so resplendently atop such whimsical directorial artistic license. You will be hard pressed to find another actor anywhere who could create a Medea as nuanced and as eviscerating.


Aaron Lamm and Nicholas Wenz deliver performances that are wise beyond their years as Medea’s children. Simina Contras brings a hypnotic ferocity to the stage with her physically overwhelming and emotionally beguiling performance as Medea’s devoted servant, The Nurse. Kevin V. Smith and Hugo Duhayon’s improvisational work with the Chorus of Corinthian Women bookends the production in a very present and contemporary context of genuine and personally poignant revelation. The exceptional costume, makeup and hair design by Branimira Ivanova and lighting design by Devron Enarson add intriguing visual depth to this unique interpretation.


Once again, Theatre Y creates a production that is as extraordinary in vision and delivery as it is provocative and captivating. You will be challenged and rewarded by this incredible offering. You will be absorbed by the imaginative twists and turns of the staging. You will be haunted by the heart wrenching intensity and creative chaos of this singular Medea.


3 1/2 STARS


(“Medearuns through June 1 (Thursdays-Sundays at 7pm) @ Theatre Y, 2649 N. Francisco Ave. located in St. Luke’s Lutheran Church of Logan Square. 708-209-0183)

Medea production photos by Devron Enarson.

Theatre Y


By Venus Zarris

“Beware this gypsy. She flirts with lunacy!”

Babes with Blades is no stranger to theatrical risk taking. As a matter of fact, their mission statement (“Babes With Blades Theatre Company uses stage combat to place women and their stories center stage…”) is itself a unique and provocative endeavor.

In their current production of L’Imbecile, the Babes deliver deliciously decadent delusions of deviant debauchery and diabolical dilemmas. This fantastical production is as maniacally wild as it is marvelously intoxicating.


Playwright Aaron Adair brilliantly appropriates Verdi’s Rigoletto, subtracting the music and replacing it with madness. Director Wm Bullion amazingly animates Adair’s intricate hallucination with stylized vision and an unwavering ensemble. Each character completely inhabits their unreality as they convince us of this courtly tale of sex, betrayal and revenge. Bullion’s uses of percussive syncopation and Kabuki theatrics create a mesmerizing theatrical spectacle.

The staggeringly delightful cast is comprised of vixens, female and male, most enticing. Maureen Yasko is a wickedly wonderful and completely commanding queen. Amy E. Harmon is both haunting and hysterical in a tour de force performance as Priestess and Gypsy. Kathrynne Wolf grounds this otherworldly phantasm with breathtaking emotional authenticity in the midst of a stylized asylum of chaos.


Babes With Blades go BIG and go BOLD in L’Imbecile and the payoff for their audience is incredible. Do NOT miss this outrageous theatrical triumph!



 (“L’Imbecile “ runs through May 10 at Rivendell Theatre, 5775 N. Ridge Ave. 773-904-0391)

 L’Imbecile images by Steven Townshend and Johnny Knight.

Box Office: 773-904-0391

L’Imbecile ~ Babes With Blades

Brown Paper Tickets ~ L’Imbecile

Depraved New WorldBy J. Scott Hill

As Chicago starts to thaw enough for the dibs chairs to go back into the basement for another year, The Second City offers up its 102nd revue, Depraved New World, now playing on the Mainstage.  Improv legend (and Founder/Artistic Director of the Annoyance Theatre) Mick Napier directs this  talented troupe to take up the arms of satire against a sea of first-world troubles.

Depraved New World confronts a wide range of contemporary issues.  There are sketches about expectant fathers and about gluten intolerance.  Both sides are played against the middle concerning the Affordable Care Act.  Feminist backlash in a post-feminist world is explored.  This may sound like a list of possible topics for a Ph.D. candidate’s dissertation in one of the social sciences, but Depraved New World manages to still be mostly populist while having some smarts — and laughs.

Depraved New World

One of The Second City’s greatest strengths has always been the assembling of the right ensemble, and the ensemble that wrote and perform Depraved New World work together like six fingers on a single, not-quite-normal hand. Steve Waltien, Emily Walker, Tawny Newsome, and Chelsea Devantez all face promising futures in sketch comedy.  John Hartman has the dorky boyish charm of Scotty McCreery with the frenetic physicality of a seven-year-old trying to burn off mega-doses of Hawaiian Punch and birthday cake.

Depraved New World

The brightest bright spot in Depraved New World was also the brightest bright spot in last year’s A Clown Car Named Desire (still playing at The Second City E.T.C. because it’s just that good), Mike Kosinski.  Whether he is distinguishing himself among other skinny white guys in a satire on diversity, or taking a self-congratulatory group of firefighters beyond the edge of mere celebration, Kosinski is the one all eyes gravitate toward.  Mike Kosinski has It.

Depraved New World is consistently funny.  This solid ensemble, led by the antics of John Hartman and Mike Kosinski, may not be groundbreaking or particularly edgy, but it will surely warm you up with laughter and kick the last of your seasonal affective disorder right in the polar vortex.



(“Depraved New World” is in OPEN RUN at The Second City Mainstage, 1616 North Wells Street. 312-337-3992.)

The Second City


Depraved New World production photos by Todd Rosenberg.

Venus in Fur 500 x 72.DBy J. Scott Hill

For those of us who are old enough to know what we like and don’t like in the romance department, we all have our kinks.  In America, we are so secretive about this that even I — someone who considers himself a freethinking progressive person — just referred to sex as “the romance department.”  Our pent-up Puritanical roots seem to always be showing, gray and scraggly.

In the Goodman Theatre’s current production, Venus in Fur, masochism is explored.  The title Venus in Fur is borrowed from a novel of the same name by Leopold von Sacher-Masoch, for whom masochism is named.  The play begins with Thomas, the adapter/director of a new play based on Masoch’s novel, fed up with auditioning actresses for the lead, Vanda.  Then, who walks in after all other auditioners have long gone but an actress named Vanda who just happens to show up in a bondage-y outfit with a carpetbag full of appropriate costume pieces.  Thomas ends up reading with her.  Hijinx ensue.

Venus in Fur 500 x 72.C

Director Joanie Schultz has taken her hand to masochism in Venus in Fur in much the same careful and non-judgmental way she did to morbid obesity in The Whale last year at Victory Gardens. Schultz is a brilliant young director who has proven herself many times around Chicago and elsewhere. Schultz is that rare young director whose talent is already mature enough that her directorial vision and art are not impeded by the chore of staying true to the script, in both letter and spirit.

Schultz’s labor is surely eased by her talented cast. Rufus Collins, as Thomas, has one of the more daunting tasks that an actor can face: he has to play someone who is not an actor who, at times, is attempting to act.  For any actor to appear convincing in a role in one moment and then to play that character as convincingly inept at playing a role in the next moment is a daunting and continuous chess game; Collins handles this better than many others could.

Venus in Fur 500 x 72.B

Amanda Drinkall, who plays Vanda, is faced with a similarly Herculean labor: to play an actor who is convincing in a difficult part, then to play the same actor when not acting, eventually to play one persona splashing over into the other.  Still, Drinkall demonstrates more than just breathtaking range here. This is one of the most simultaneously subtle and grandiose performances in recent memory, and an early contender for one of the year’s best.

Venus in Fur 500 x 72.A

Venus in Fur is funny and sexy and tame enough to titillate an American audience without scandalizing very many. David Ives’s play makes a big deal out of the difference between “ambivalence” and “ambiguity.” There is a purposeful ambiguity here, and not the ambiguity the audience is fed along the way about whether Vanda is an actor or a persistent fan or maybe even a goddess.  The purposeful, and somewhat vexing, ambiguity here is whether the scene is supposed to be read as real: is the audience watching a play about an audition, or is the audience watching a play about two lovers role-playing an audition?  No doubt most audience members will make up their minds one way or the other, but the lack of definitive resolution on this point detracts somewhat from the pleasure of it all — and pleasure is what Venus in Fur is all about.



(“Venus in Furruns through April 13 at Goodman Theatre, 170 N. Dearborn Street, Chicago. 312-443-3800)

Venus in Fur ~ Goodman Theatre

Venus in Fur production photos by Liz Lauren.

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