PicksInSix Review: East Texas Hot Links - Court Theatre

Articulate, Impactful ‘East Texas Hot Links’
PicksInSix® Review | Guest Contributor | Ronald Keaton

There is a stellar production of Eugene Lee’s signature play “East Texas Hot Links” playing now at Court Theatre in Chicago through September 29. It is an articulate, impactful play that echoes in one’s mind long after the curtain comes down in its eloquent and painful comment on the remnants of the civil rights movement in America, how it continues to resonate and affect so many of our societal mores.  It bears the unmistakable stamp of the great director Ron OJ Parson, who has a relationship with this piece that forces us, in its sheer professionalism alone, to see an unencumbered view of what Jim Crow has done to our world and continues to do today.

Imagine the mid-1950s in the South—in this case, east Texas—at a small café/saloon back in the “piney woods.”  We are privy to a group of folks who all know each other, whose familiarity is not just palpable, it’s vital for the telling of this story. And this production offers one of the finest presentations of true ensemble acting we will ever see.  The intimate banter, the intuitive approaches in character, the story’s roadmap that is laid out for the cast, enhancing each actor’s planting of their artistic feet by literally grabbing and shaking us. It’s as hard as anything we may have seen in recent seasons at Court.  And it’s all couched in, yes, the love that people can have for each other by pointing out the bad and raising high the good in us.

This cast. The play begins with Kelvin Roston Jr., a Court favorite, as Roy, a man whose checkered past (a trait shared by others here) has made him look at starting over in a more productive way. He’s always had a huge attraction for the owner/bartender Charlesetta (a glowing AnJi White), who keeps him and all the men in the bar constantly at bay. There’s Adolph (Willie B. in a strong portrayal), a blind philosopher of sorts whose gravitas helps steer the conversation. Beside him at his table is Columbus (Alfred H. Wilson is a compelling influence) whose ownership of property gives him a more telling voice.

There’s the formidable AC Smith whose hustler/fortune teller Broochie dominates the story halfway through by a simple reading of the palm of Delmus (a naïve young man given wonderful shrift by David Dowd), a kid with big dreams and plans. Then there’s Buckshot (a dark and yet emotionally delicate performance by Geno Walker) who’s just gotten out of jail and simply trying to find his way.  And there’s Juwan Lockett in a defining portrayal as XL, a man whose instinct for survival overpowers his sense of decency and responsibility to his friends and family.

Little by little, the silence at the beginning of the play—one that is held to observe for a reason—gives way to exchanges between characters that make you listen to the words, other times to their rhythms, all the time to the presence and power of the voices. With the specter of the Klan exerting power all through it, director Parson deftly handles the intensity with the skill of a surgeon. This kind of story telling is indeed his specialty and it’s marvelous to watch.  And it’s a simple, highly effective Jack Magaw set design, this small tavern that offers big story. It’s highly complimented by a soft, layered lighting design from Jason Lynch.

Let us also remember that the setting and locale for “East Texas Hot Links” lives in the wake of Brown vs. Board of Education and Emmitt Till and Rosa Parks and the emergence of MLK in the public eye. This is not just Black history, but American history, no matter any regard for political expedience. These characters are etched so well within these creative walls by Mr. Lee, an August Wilson disciple and accomplished actor/writer in his own right, and expertly guided by Mr. Parson to the ultimate surprise at the end of the play.  Well, unfortunately not a surprise to all, as you will see.  

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.com  Coming soon, his new solo play “Echo Holler.” www.echoholler.com

PHOTO|Michael Brosilow

COURT THEATRE
presents
East Texas Hot Links
5535 S Ellis Ave.
through September 29, 2023

WEBSITE

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PROGRAM

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PicksInSix Review: Fiddler on the Roof - Drury Lane Theatre

Even “Old Ways Were Once New.” 
PicksInSix® Review | Guest Contributor | Kaitlyn Linsner

Drury Lane Theatre winds up its 2023/2024 season with a heartfelt production of the Tony Award-winning classic “Fiddler on the Roof” featuring music by Jerry Bock, lyrics by Sheldon Harnick and book by Joseph Stein. Set in the Pale of Settlement of Imperial Russia in 1905, this cherished musical centers on Tevye (Mark David Kaplan), an endearing milkman with five daughters, facing challenges to his Jewish religion and cultural traditions as change approaches the village of Anatevka. 

Director Elizabeth Margolius describes “Fiddler on the Roof” as a “memory play” and decided to approach the tale completely from Tevye’s memory. In the program notes, Margolius writes: “This new, evocative approach to Fiddler on the Roof puts the focus on the people in hopes of illuminating this story as never before and inspiring us to question who we are and what we will leave behind for future generations.”  

The minimal yet highly effective scenic design by Jack Magaw combined with the beautiful projection design of Mike Tutaj creates a deeply imaginative space for the audience to truly see the depths of the characters and the legacies that shape them. The projected images and video artfully transform the set to Tevye’s dreamscape in the musical number “The Dream” as he convinces Golde (Janna Cardia) that Motel (Michael Kurowski) is the right husband for their daughter Tzeitel (Emma Rosenthal). Kaplan and Cardia are an absolute delight. 

Other notable musical numbers include Kurowski’s spirited performance of “Miracle of Miracles” and the celebratory “To Life” by Kaplan, Lazar Wolf (Joel Gelman) and the company of villagers. Yael Chanukov shines as Hodel, and as a whole, the cast sings, moves and dances well together on stage with a warm chemistry. 

Fiddler on the Roof at Drury Lane Theatre Oakbrook through March 24, 2024.

Kaplan plays Tevye with excellent comedic timing and whimsy. He also skillfully portrays a father being tested by the actions of his three oldest daughters. The asks from his daughters become increasingly difficult (“unthinkable!”) as they each seek modern, non-arranged but different marriages. Tevye must grapple with first being asked for permission to marry, then his blessing and lastly only for his acceptance. Where does a father draw the line and what does the good book say about evolving relationships with those you love? 

Embrace these questions and more in this beloved show now playing through March 24, 2024 at the Drury Lane Theatre. 

GUEST CONTRIBUTOR | KAITLYN LINSNER is a Chicago-based attorney practicing construction and surety law.

PHOTO|Brett Beiner

Drury Lane Theatre
presents
Fiddler on the Roof
100 Drury Lane
Oakbrook Terrace
through March 24, 2024

WEBSITE

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PicksInSix Theater Review: The Realistic Joneses

“LOTS OF UNSAID THINGS BETWEEN US.”

There are more than a few words shared in “The Realistic Joneses,” the Shattered Globe Theatre|Theater Wit co-production of Will Eno’s clever and poignant comedy about two couples named Jones playing the hands they are dealt in life. The conversations unfold a bit like a spirited, laugh out loud gin game without the cards, the twists and turns of Eno’s deftly constructed work exposing hilarious observations about the serious side of our lives that have been hiding in plain sight.

Jennifer (Linda Reiter) and Bob (H.B. Ward) are facing Bob’s debilitating condition head on, one of the reasons this set of Joneses moved closer to the best care and treatment possible. The new couple in the neighborhood named Jones – Pony (Cortney McKenna) and John (Joseph Wiens) – have rented a house nearby for the same purpose. In director Jeremy Wechsler’s capable hands, the wry humor and fragility of the situation shines through to make “The Realistic Joneses” an inventively staged, touching and uproariously funny story of aging and endless possibilities.

Bob is a pragmatist, one of those patients who is not fond of spending any amount of time trying to rationalize the future. He chooses to leave the specifics of treatment and the weight of that trying decision to his wife. Through the emotional highs and lows, Jennifer, as caregiver, interprets Bob’s intent and softens his impulsive observations which may or may not be caused by his medication or deteriorating condition. We are never quite sure.

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The ‘other’ Joneses are younger and somewhat freewheelers. Pony sells greeting cards online but no one is buying. John claims to be in the heating and air conditioning business. They appear to be the more normal couple, eager, perhaps too much so to be neighborly. By the time someone says “there are lots of unsaid things between us,” we are already well along the way in knowing that things are not as they appear. It turns out the Joneses have much more in common than living out their beautiful days and nights in the neighborhood.

The cast is loaded with talent. Reiter is superb in the delicate divide of a devoted spouse whose long-term role of facing life as caregiver is mixed with her own uncertainty opposite Ward’s delightfully crotchity, understated performance. McKenna is a bundle of kinetic energy that covers an underlying fear of the unknown while Wiens handles the whip-smart John effortlessly, exuding a confidence tinged with his own brand of mystery and confusion.

Jack Magaw has created an impressively versatile multi-scene design which works well with John Kelly’s lighting and Christopher Kriz nature-filled sounds. A lighting cue rarely gets a nod, but there is a doozy in the middle of this one that, like so much more in this wonderful show, may remind you fondly of your own backyard.

PHOTOS|Evan Hanover

SHATTERED GLOBE THEATRE
and THEATER WIT
Present
THE REALISTIC JONESES
through March 9, 2019

THEATER WIT
1229 W. BELMONT AVE.
(773) 975-8150

WEBSITE
TICKETS

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PICKSINSIX Review: RADIO GOLF

‘RADIO GOLF’ - A Stroke of Genius!
by Kaitlyn Linsner

An inspiring, must-see… A captivated audience rose to their feet on opening night of Court Theatre’s Radio Golf to applaud a powerful cast and resonating performance. The production explores pressing societal issues at the intersections of race, politics, and morality with engaging dialogue, deep humanity, and some hearty laughs. An inspiring, must-see for Chicagoans.   

What it’s about …  ‘Radio Golf’ sets the stage in Pittsburgh’s Hill District during the late 1990s where three determined black real-estate developers Harmond Wilks (Allen Gilmore), his wife Mame Wilks (Ann Joseph) and their partner Roosevelt Hicks (James Vincent Meredith) are on the verge of completing an economic development plan in hopes of restoring the blighted neighborhood and positioning themselves to reach their desired social status. This project could bring great success to all of them, specifically to Harmond Wilks, who grew up in the neighborhood and is now in the midst of his campaign to become the first black mayor of the city. However, over the course of several visits by insightful, long-time community members Elder Joseph Barlow (Alfred H. Wilson) and Sterling Johnson (James T. Alfred), who disagree with the development plan, conflicts arise and play out through the lens of the black experience to offer a complex exploration of change.

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“Hail Hail, the Gang’s all Here” … The cast is terrific. Each member delivers an impactful performance perhaps most notable being Wilson’s portrayal of his eccentric character with genuine warmth and wisdom. Watch and wait for the gut-wrenching exchanges between the players especially when two commanding performers, Gilmore and Meredith, go head-to-head over purpose and calling.

Brilliant and thoroughly entertaining … While ‘Radio Golf’ takes place nearly twenty years ago, the story could not be more relevant today. It approaches uncomfortable truths about race dynamics and the nuances of human existence in a divisive society unapologetically. We celebrated moments of achievement with those on stage but remain unsure as to who truly wins in the end. We struggled through their conflicts of preservation or gentrification, moving up or selling out, right or wrong. We were ultimately given a brilliant, and thoroughly entertaining, opportunity to self-reflect on the impact we have on a profoundly personal and broader systemic level.

Detailed by design … Jack Magaw’s set design features impressive construction that accurately depicts the seasoned grit and character of a charming, old, unrestored building. An incredible amount of rigor was displayed in the smallest details, from the classic dirty crown molding to the concrete graffiti-ed stairs behind the windows. By not overlooking these details, the scenic elements enhanced by Clair Chrzan’s light design, engulfs the audience and enhances the believability in which this world exists.

Continue the Conversation … Court Theatre’s fine educational outreach programs continue with a panel discussion featuring director of ‘Radio Golf,’ Ron OJ Parson, and neighborhood-focused commercial real estate developer Leon I. Walker on Sunday, September 30 at 4:45 p.m. in the Abelson Auditorium about issues of urban revitalization and neighborhood economic development in Chicago. Admission is free.

PHOTOS|Michael Brosilow

COURT THEATRE
Presents
August Wilson’s
RADIO GOLF
through October 6th
5535 Ellis Avenue
(773) 753-4472

WEBSITE

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PICKSINSIX Review: BURIED CHILD

“PAIN IS PAIN. PURE AND SIMPLE.”

Flawless performance … It’s raining in the Heartland, on a barren, lifeless parcel in East Central Illinois where the irascible Dodge, his petulant wife Halie and their dysfunctional sons are living out their tepid, worthless lives. The rain exasperates Dodge’s declining health which is fueled by Gold Star Sour Mash whiskey, nicotine, depression, anxiety, and guilt. It’s a formidable bag to unpack for Larry Yando, one of Chicago’s revered actors, whose flawless performance brilliantly anchors the Writers Theatre production of Sam Shepard’s 1979 Pulitzer Prize-winning play, Buried Child. This is a disturbingly dark, raw purposeful drama for which Writers Resident Director Kimberly Senior has assembled a top-flight cast and exposes the long-term effects of grief and remorse while delivering a powerful, one-two punch!

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Open wound … Perhaps there were better day’s years ago, when the farm was thriving and productive. Dodge and Halie (Shannon Cochran) raised three sons, Tilden (Mark L. Montgomery) and Bradley (Timothy Edward Kane), who are very much in the picture, and Ansel, who died unexpectedly and is not. The root cause of Dodge’s bitterness and the secret that is an open wound for the fractured family has now allowed their reality to erode completely.  Whatever bounty that once existed outside the ramshackle house is now a wasteland. Tilden, has slinked back from New Mexico, penniless and broken. Bradley, an amputee from an encounter with a chainsaw, is steeped in resentment. And Halie, who has now taken a fancy to Father Dewis (Allen Gilmore), lives in a tortured, twisted reality that almost appears normal compared to everyone else even as she chimes in from the bedroom upstairs, “Pain is pain. Pure and simple.” There is a lot of that to go around.

Gut-wrenching climax … Things take a turn when grandson Vince (Shane Kenyon) and his girlfriend Shelly (Arti Ishak) arrive on their way to see their father in New Mexico when they realize that Tilden has come back home. Nobody seems to recognize him, which is at the heart of the story leading to a gut-wrenching climax that will leave you stunned. 

Commanding presence … Yando’s commanding presence spews forth effortlessly, whether he is alone on stage or amid the chaos that is unfolding around him. Cochran’s manic sensitivity intersects perfectly with the powerhouse supporting performances of Montgomery and Kane. Kenyon deftly navigates a challenging role. Ishak’s unsettling panic is palpable.

Hauntingly bleak … The imposing Jack Magaw set design, with a jutting second story framed with partially opaque exits in all directions, is hauntingly bleak when paired with Heather Gilbert's rich lighting, Mieka van der Ploeg's costumes, and sound design by Mikhail Fiksel. Scott Dickens props crew is working overtime to stay ahead of the mayhem.

The takeaway … considering the title, this is an adventure. It’s like Dodge says: “Much better to not know anything.” You'll certainly be husked.

PHOTOS|MICHAEL BROSILOW
WRITERS THEATRE
Presents
BURIED CHILD
through June 17th
325 Tutor Court
Glencoe, IL
(847)242-6000

WEBSITE

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