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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

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TICKETS

For more reviews, visit: Theatre In Chicago

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

PicksInSix Review: Ernest Shackleton Loves Me - Porchlight Music Theatre

 
 

Awakening Adventure Awaits If You Frigidaire.
PicksInSix® Review | Guest Contributor | Scott Gryder

The chilling atmospheric wind sounds and shadowy aquas across the stage of the Ruth Page Center for the Arts were all too familiar to Chicago audiences at Porchlight Music Theatre’s opening night performance of “Ernest Shackleton Loves Me.” The ship of a set, ice-locked within a bleak Brooklynite kitchen, quickly let us know that a 90 minute quest for adventure and danger was soon to begin.

The dream-like hallucination that is “Ernest Shackleton” combines the mundane struggles of out-of-work electronic music composer Kat with the over-the-top epic tale of 20th century Antarctic explorer Ernest Shackleton. Like two chaotic glaciers passing in the night, their stories collide at paralleling pivotal points of survival for each. While Kat’s circumstance might not be so life-threatening, the unlikely pair team up to face life’s unexpected trials to the tune of Kat’s music. Driven by her unique blend of stylings, Ernest and Kat venture forth to battle physical and emotional odds, conquering their fears, facing their losses and finding themselves along the way.

Seemingly most challenging for a production like “Ernest Shackleton” would be the casting. The sheer scope of talent required to meet the musical demands of playing a multitude of complex instruments and map through unmelodious music was most likely as nearly insurmountable as the “impenetrable” mountains that Shackleton’s crew had to face. But Porchlight’s Michael Unger and Eric Svejcar have done just that. Elisa Carlson’s Kat is spunky and full of defiance, with a musical mood to match that of pop superstar P!nk. Carlson has the punk-rock edge of a stereotypical 90’s New York avant-garde artist layered with the scratchy vocals of Miley Cyrus. Marry that airy tone with the crispness of Andrew Mueller’s tenor and the quality is full and moving. Together, they vocally sail toward their destination with a keen optimism. But it’s Mueller’s shining acting chops that deliver the emotional strength within the scenes. Not only does he delight when dabbling in and out of dating app characters, but his presence as Ernest Shackleton is grounded in awareness, personality and honest discovery, a discovery that is somewhat lacking in Carlson. Mueller brings us a Shackleton with profound optimism and a thirst for adventure comparable only to that of the fabled Don Quixote.

“Ernest Shackleton” is not your typical musical theater musical. Brendan Milburn’s music is baked in synthetic sound, looping tools, and echoes. Along with this less than traditional style, Val Vigoda presents more patter-based, organic lyrics, versus something more strongly singable. Not that the music and lyrics detract from the storytelling, they simply take a few beats to adjust to. The piece’s pacing, filled with the vigorous wit of Joe DiPietro’s book, rides this hurricanic cutting electronic edge, weaving through the mosaic plot. The essence of “Ernest Shackleton” is reminiscent of a Second City sketch, with its blizzard of puns and predictable situational comedy; however, the full scope of the show is quite charming.

Scott Davis’s scenic sails standing at full mast are serene and captivating, boldly bearing Smooch Medina’s wash of location projections and G. Max Maxin IV’s aurora borealis lighting, amidst his unnervingly cluttered hybrid home/studio made up of trunks and toys, instruments, and instrumentation. The use of the large screen TV in Kat’s kitchen was a bit jarring, but it provided an entertaining canvas for Mueller’s many momentary comedic characters and stunning actual film clips of Shackleton’s expedition. The most monumental creative feat was audio engineer Lynsy Folckomer’s maestro-like balance between the massive waves of electronic sound and amplified gabby lyrics.

The refreshing message delivered throughout the expeditions of “Ernest Shackleton” is the constant reminder to never lose our sense of adventure nor to forget the power of hope, even as we grow up. “Ernest Shackleton is a playful romp, pushing the envelope of musical stylings and overflowing with talent. If you’re looking for adventure, catch this show soon, for “Ernest Shackleton Love Me” is forced to leave port on June 1st.

GUEST CONTRIBUTOR | SCOTT GRYDER received a Non-Equity Jeff Award for his performance in the one-man show BUYER & CELLAR. www.thescottgryder.com

PHOTO|Liz Lauren  

PORCHLIGHT MUSIC THEATRE
presents
ERNEST SHACKLETON LOVES ME
Ruth Page Center for the Arts
through June 1, 2023


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TICKETS

HEALTH & SAFETY

DIGITAL PROGRAM

For more reviews, visit: Theatre In Chicago

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