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PicksInSix Review: ROYKO: The Toughest Man in Chicago

 
 

ROYKO: “Always, always say it now.”

PicksInSix® Review | Ed Tracy

In his exceptional one-man show “ROYKO: The Toughest Man in Chicago” that opened Friday in a limited run at the Chopin Theater, writer/actor Mitchell Bisschop brings the life and career of Mike Royko into sharp focus. Using Royko’s own words, the show is culled from nearly eight thousand columns spanning four decades that were syndicated nationally at a time when everything was not a click away. It is a remarkable historical archive—epic in nature—on topics ranging from Chicago politics and personalities to Picasso and pizza from the early 50s to his untimely passing in 1997.

Much of what Royko has written is still available thanks to his own foresight to reprint much of his writing in numerous books, the committed nature of his family to preserve his work in print and online, and to the publications themselves who have made them publicly accessible. Ask anyone over fifty living in Chicago about Royko’s work and you will understand the enormous impact that he had on daily readers through the years.

Bisschop and director Steve Scott deliver a compelling, and at times, deeply moving portrait of the man who was by his own account equally beloved and despised but never pulled a punch on a point he believed in. Whether it was the 1960s Daley political machine or recollections of Jackie Robinson’s first day at Wrigley, the stories flow effortlessly.  Scott’s influence can be seen all over this work, in Bisschop’s superbly-paced delivery and the sequential transitions of the storyline aided by the timing, placement and impact of Smooch Medina’s projections and stylized musical underscoring by Christopher Kriz.

In the center of it all is Bisschop weaving together a tapestry of Royko’s early career, not so much in a linear sense, but through the varied topics of his columns—Frank Sinatra’s city sponsored security detail, his mother’s dry cleaning and tailoring store, Chicago’s diverse neighborhoods, RibFest—each punctuated with personal details and wry commentary.  There are frequent trips to the Billy Goat Tavern, which stands as a living testament to Royko’s roots.

For the record, I was a Royko neophyte when I first moved to Chicago in 2002. What I could not gather from many of the references at the time, others helped fill in the gaps. With so much material to choose from, Bisschop wisely concentrated his efforts on a balance between the serious and sublime, equally framed in the brazen insight and searing satire that Royko used to highlight public injustice. The sensitive, emotionally-charged choices are evidence of the appeal that drove readers to his column first whether in the Chicago Daily News, the Chicago Sun Times or the Chicago Tribune.  Royko’s touching tribute following the unexpected passing of his first wife Carol is one of the night’s most powerful moments. There are tributes to Martin Luther King and John Belushi. And Royko’s passionate struggle with the Chicago Cubs plays out here as well.

“Royko: The Toughest Man in Chicago” will serve to introduce a new generation to this remarkable life. There is a helpful historical timeline in the show’s program and a note where Bisschop states that he is trying to “allow people to feel the same magic that I felt when I read Mike for the first time.” Take a look for yourself and you will certainly agree that it is a staggering accomplishment. See this show and you will know that only a gifted actor of Bisschop’s unique skills and rarified commitment to the source material could succeed so well.  

PHOTO|Sarah Larson

Toughest Man Productions
presents
ROYKO: The toughest Man in Chicago
Chopin Theater
through September 29, 2024

WEBSITE

TICKETS

For more reviews, visit: Theatre In Chicago

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PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: Little Bear Ridge Road - Steppenwolf Theatre Company

 
 

METCALF IN MESMERIZING RETURN AT STEPPENWOLF
PicksInSix® Review | Ed Tracy

Samuel D. Hunter’s brilliant new play “Little Bear Ridge Road” now enjoying an extended world premiere run at Steppenwolf’s Downstairs Theater might not have ever happened if Tony Award winning director Joe Mantello and iconic Steppenwolf Ensemble member Laurie Metcalf had not approached Hunter to develop a project for Metcalf.  

That was a little more than a year ago and the resulting work traces the reemerging relationship between Metcalf’s irascible character Sarah and her gay nephew Ethan (Micah Stock), the last surviving members of the Fernsby family who are navigating the aftermath of the death of Ethan’s estranged father. Ethan has arrived on Sarah’s doorstep near Moscow, Idaho with little more than a writing degree and the wherewithal to rent a hotel room for a few days let alone the weeks he would need to settle his father’s estate. Sarah lives a private, secluded life alone on Little Bear Ridge Road, her 40 year nursing career shrinking to three shifts a week and is not at all excited that Ethan may now be her house guest for an undetermined period of time.

Things move quickly in conversations between the two, exposing Sarah’s unbridled opinions and hilariously mundane lifestyle, Ethan’s conflicted relationship with his father in the years prior to his death and his own disheveled personal life and uncertain future. The combination of Metcalf and Stock, with Mantello’s expertly paced direction, allow the series of crisp early scenes of Hunter’s script to seamlessly define both characters.  As time passes, Ethan ventures out to a bar and hooks up with James (a rock solid performance by John Drea), who sees some potential in a relationship, but wants to slow things down at first. As that relationship takes shape, James finds himself in a revealing conversation with Sarah. Details about Sarah’s health challenges emerge, which have the two-fold effect of bringing the two men closer together and shifting the dynamics of the drama in Sarah’s direction.

Hunter’s writing is clever, succinct and punctuated by Metcalf’s marvelous presence on stage. Even as we revel in the robust early comic interaction of the play, it is the dramatic turn of the piece that elevates this drama, exemplifies Hunter’s exceptional storytelling ability and exposes the emotional core of the piece.

The elegant, stylized stage design by Scott Pask is set with a home theater seating unit that revolves to suggest alternate scenes. There is a lone ceiling fan above and an expansive, circular stage floor all enhanced by Heather Gilbert’s lighting design and Mikhail Fiksel’s sound design. The look of this show is clean, simple and amazingly effective.

Over the course of ninety minutes, Metcalf is a mesmerizing force on stage and a joy to watch, her flawless, wide range of comic timing and dramatic sensibilities on full display. Stock plays Ethan with a fragile, measured intensity that emerges in a definitive scene with Drea and then becomes unhinged in a stunning definitive confrontation with Metcalf. And when Meighan Gerachis appears in a brief but powerful and satisfying coda to the drama, we are left to ponder the importance of making choices that look forward with hope rather than backward with regret.

PHOTO|Michael Brosilow

STEPPENWOLF THEATRE COMPANY

Presents

WORLD PREMIERE

LITTLE BEAR BRIDGE ROAD
Downstairs Theater
1650 N. Halsted
Extended
through August 4, 2024

WEBSITE
TICKETS

For more reviews, visit: Theatre In Chicago

ARCHIVE

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