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PICKSINSIX - THIS WEEK!

April 05, 2018  /  Ed Tracy

Firebrand Theatre's 9 TO 5 THE MUSICAL is on the short list of six picks in and around Chicago this week, and we are just getting started. Much more to come in the De Usuris Blog, but be sure to make a date to see these shows before it's too late.

THE ELAINE DAME TRIO - WINTER'S JAZZ CLUB Start the weekend off right with the Elaine Dame Trio at Winter's Jazz Club, Thursday, April 5th. Shows at 7:30 and 9:30. We had a memorable conversation on March 31, 2017 at Winter's with Elaine, one of Chicago's most gifted jazz singers and vocal coaches, about her musical influences and career. HEAR THE PODCAST  WINTER's SCHEDULE 

AN ENEMY OF THE PEOPLE - GOODMAN THEATRE The superb Philip Earl Johnson leads a powerhouse cast, but it is the razer-sharp, searingly-electric confrontations that have him under siege and at odds with his evil brother - a commanding performance by Scott Jacek - that delivers the explosive conflict between truth and deception. Robert Fall's stirring adaptation of the Ibsen classic is currently playing at the Goodman Theatre. PICKSINSIX REVIEW  TICKETS Through April 15th PHOTO|LIZ LAUREN

GUESS WHO'S COMING TO DINNER - COURT THEATRE Despite how we feel personally about bias and prejudice, facing up to it in our own lives is another matter. This play fits well into our national dialogue, an inspired choice for Court's season, and further proof that even in this very entertaining and fast-paced comedy, the underlying issues of race in America are profoundly real. PICKSINSIX REVIEW  TICKETS Through April 15th

Guess Who's Coming to Dinner at Court Theatre (l-r Sydney Charles, Bryce Gangel, Michael Aaron Pogue) PHOTO|MICHAEL BROSILOW

THE BEAUTY QUEEN OF LEENANE - NORTHLIGHT - This dark comedy of deceit, deception and the ravages of mental illness, written by Martin McDonagh and directed by BJ Jones, is manifested in the riveting performances of Wendy Robie and Kate Frye. Resentment mixed with fear shrinks Robie’s demanding mother Mag in the face of the mounting frustration and anger of Frye’s Maureen. A powerful and moving experience that will stay with you. TICKETS Through April 22nd PHOTO|MICHAEL BROSILOW

LETTERS HOME|GHOSTS OF WAR - THE DEN THEATRE LETTERS HOME returns in repertory with Artistic Director William Massolia’s new production, GHOSTS OF WAR, based on the true story of Ryan Smithson, who joined the Army Reserve at 17 and was deployed to Iraq two years later as an Army Engineer. PODCAST TICKETS April 6th through May 6th  

9 TO 5 THE MUSICAL - FIREBRAND THEATRE -THE DEN THEATRE The 2nd production of Firebrand Theatre's inaugural season is 9 TO 5 THE MUSICAL featuring music and lyrics by Dolly Parton, book by Patricia Resnick, directed by Firebrand's Artistic Director Harmony France with music director Andra Velis-Simon and choreographer Kasey Alfonso. TICKETS 
April 7th through May 20th

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PICKSINSIX Review: GUESS WHO'S COMING TO DINNER

March 26, 2018  /  Ed Tracy

RIGHT THERE IN BLACK AND WHITE

Meet Matilda “Tillie” Banks … There is quite a bit of Tillie in all of us. In fact, the world might be a whole lot better if we could bottle up her special mix of irreverence, humanity and infectious charm and spread it around when we think that everything is fine just the way it is. You see Tillie’s point of view of the eyebrow-raising revelations unfolding at the Drayton’s San Francisco hilltop home – served up in all its splendidly-stylish 1960’s glory in the superb new Court Theatre production of Todd Kreidler’s Guess Who’s Coming to Dinner directed by Marti Lyons with Associate Director Wardell Julius Clark – is a spot-on reflection of what we believe is our point of view. That’s why we relate so strongly to her, even as the two families involved –  one white and one black – struggle with essentially the same bias and prejudice toward one another. Don’t get too comfortable or be fooled by all of this.  Our prejudices are still very much intact, 50 years later, and they are hard to miss in the intimate confines of the Abelson Auditorium. It’s all right there in black and white.

Packed and ready to go … If you are not familiar with the story, you need to know that it is spring 1967, Joanna “Joey” Drayton and Dr. John Prentice are ten days in love and have returned for a very short visit to tell her parents, Matt and Christina, that they are getting married. Christina’s excitement for the news slowly dissolves as she finds out from Joey that in addition to John being a world-renowned research physician, he is also an older, black man. Matt, whose golf game has been suddenly and mysteriously interrupted by a telephone call from Tillie, is equally aghast at the news and decides that he needs time to process. There isn’t much of that around because we learn that the couple is leaving that night and Joey has invited John’s parents over for dinner. This is when it all gets very interesting because we find out that the poised and proper John has not been altogether forthcoming about the situation with his parents at all. In between Tillie stepping in to hold things together and stocking the bar so Monsignor Ryan can make it to the first course, we see all the hilarious and poignant sides of this complex situation play out.

What’s really happening … Despite how we feel personally about bias and prejudice, facing up to it in our own lives is another matter. That is what’s really happening to these families. Tillie and Monsignor Ryan represent the voices of reason, reminding us that the bigotry of the past — embodied early on by Hilary St. George (Rachel Sledd) whose zero-tolerance dismissal is a vitally important event — is still prevalent in every sector of our society. This play fits well into our national dialogue, an inspired choice for Court's season, and further proof that even in this very entertaining and fast-paced comedy, the underlying issues of race in America are profoundly real.

Who stands out … The remarkably talented and balanced ensemble combines Mary Beth Fisher, Tim Hopper, Jacqueline Williams and Dexter Zollicoffer from the houses of Drayton and Prentice. Fisher and Williams bring maturity and sensitivity to their roles, displaying a wide range of patience and empathy for their children, in contrast to the autocratic nature of the fathers, deftly portrayed by Hopper and Zollicoffer, who wrestle openly with their own fears that are squarely based in social perceptions of the time. Hopper gives an impassioned summation that speaks to universal acceptance. Michael Aaron Pogue's considerable talent is on full display when he is defending his right to a life of his choosing and standing with the charming Bryce Gangel (Joanna) to both support and defend their decision. Dan Waller is perfect as the spirited Monsignor Ryan, who actually is spirited throughout. The evening, however, belongs to the marvelous Sydney Charles who wraps herself up in Tillie's subtle and not-so-subtle musings with uproarious delight.

Split-level interior … Scott David has created a 60’s era split-level stark white interior, centered in the shadow of massive scaffolding and bridge abutments in the wings that together with Samantha Jones’ costumes and lighting by Lee Fiskness suggest that this is a snapshot in the rearview mirror of life and not to be confused with anything closer than it appears. Then again ...

Special Film Series … The Court Theatre will be hosting three film screenings  at various locations including the original 1967 film version of Guess Who’s Coming to Dinner directed by Stanley Kramer and starring Sidney Poitier, Spencer Tracy and Katherine Hepburn. The screening will be held on Saturday, April 7th at 3:00 p.m. at the Logan Center for the Arts, 2nd floor. Complimentary admission with reservations at: www.CourtTheatre.org.  

PHOTOS|Michael Brosilow

COURT THEATRE
PRESENTS
GUESS WHO'S COMING TO DINNER
Written by Todd Kreidler
Directed by Marti Lyons
with Associate Director Wardell Julius Clark
through April 15th

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PICKSINSIX Q & A: BUNNY BUNNY

March 23, 2018  /  Ed Tracy

Six Questions for Dana Tretta – BUNNY BUNNY

We liked BUNNY BUNNY: GILDA RADNER, A (Sort Of) Love Story so much that we devoted this week’s PicksInSix to six questions for the enormously talented Dana Tretta, who is now appearing as Gilda at the Mercury Theater Chicago through April 15th. This is a clever, heartfelt and amazingly poignant evening in the theatre that will have you laughing and crying. Tretta brings exuberant charm to her role and that will make you long for just a little more time to savor the creativity and joy of one of our most beloved entertainers. DON'T MISS - Mercury Theater's BUNNY BUNNY! et

CWET: “BUNNY BUNNY” explores the relationship between Gilda Radner and writer Alan Zweibel who meet up at auditions for Saturday Night Live and instantly bond in a relationship that lasted for the rest of her life.

What do you think it is that first attracts the two of them? Was it love at first sight?

DT: “Our brilliant director, Warner Crocker, described their relationship best with four words: sexual, platonic, romantic, creative. I believe from their first interaction, they recognized all four of these possibilities with each other, which intensely attracted them to one another like magnets. If you’re lucky enough to meet someone where there’s an immediate spark with several layers of connection, don’t let them out of your sight!”

CWET: Although everyone comes in with a different perception of Gilda from their own experience, your performance has been universally praised for its warmth, sincerity and charm. What are a few of the choices you made in recreating the offstage character of Gilda?

DT: “After I read the script, I was thrilled that the play wasn’t a parade of Gilda’s sketches, because there’s only one Gilda, and to even attempt to be 'her' would be futile. In conversations with my director, we both agreed the goal of my portrayal would be to find the 'essence' of Gilda. From there, I dug into the script to find what Zweibel wanted to entrust about Gilda to the audience, and he doesn’t hold back. He shares her innate kindness, her love for laughter, her creativity, her insecurities, her demons, and her extreme longing and appreciation for a soulmate. I’m the lucky gal who gets to play in that sandbox with Jackson and Jason.” 

CWET: There is an unique chemistry between you, the hilarious Jackson Peter Evans and the amazing Jason Grimm, who plays “Everyone Else” in this show. How bizarre was the rehearsal process and is the show still evolving?

DT: “The rehearsal process was fast and furious, so we had no choice but to hit the ground running! Thankfully, we had a director who loved the show, had wonderful ideas and opinions about the show, and was extremely positive and caring towards his three actors who very often left rehearsal feeling like we were hit by a truck.  I’ll confess that after our first rehearsal, I walked to my car with an enormous smile on my face and butterflies in my stomach because the chemistry in the room was infectious and so very exciting. Once we got through tech and previews, the three of us agreed that the show is very malleable, and it’s like jumping on a moving train at the top, trying very hard not to fall off for the remainder of the show, but if we stuck together, we’d be OK.  Now, in our 8th week of the run, I think we’re still white-knuckling that train, but thankfully, have been evolving, listening, stripping away, strengthening, and growing together.  It’s a rush every night.”

CWET: With the passage of time, some have said that the show is even more relevant now than when it was first produced Off-Broadway in 1997. Do you agree, and, if so, what do you think has changed?

DT: “Personally, I think the show may be more relevant now for one reason: cancer.  It’s almost 30 years since Gilda passed, and that monster is still ravaging our world. I palpably feel from every audience the affect it has had on their lives. And like Gilda, who decided to write a book about her experiences to possibly help others, I hope this play reminds people that we can never give up the fight, we can never stop supporting each other, and we can never stop laughing.”

CWET: Can you discuss any surprises that have happened during the run or perhaps a moment when you felt particularly inspired or emotionally connected to the character?

DT: “I’ve felt connected to Gilda since I was a little girl. I’ll never forget seeing “Haunted Honeymoon”, and there was this actress, who didn’t look or act like the usual actresses that headlined movies, and that’s exactly why I loved her immediately. I was drawn to her “otherness”. This show has only cemented my love and connection to her. We share some darknesses. We have the same fears. We both use humor to get through the madness. I only hope I find my own Zweibel someday. That being said, I’m blessed to portray an idol of mine alongside Jackson, who challenges and allows the deepest of connections every single show.”

CWET: The play covers a specific period of Gilda’s career, a sort of backstage view through the eyes of someone who cared deeply for her. Can you point to a few aspects of her legacy that have a deeper meaning to you now as a result of playing this role?

DT: “Gilda has taught me the following: Always be kind - to everyone. Try to exude confidence even when you are afraid, but allow yourself to be scared. Open your heart and mind to others. Laugh as much as you possibly can. Never stop fighting for what you believe in.”

PHOTOS|Brett A. Beiner

BUNNY BUNNY: GILDA RADNER, A (Sort Of) Love Story
Written by Allan Zweibel
Directed by Warner Crocker
through April 15th

Mercury Theater Chicago
3745 N Southport Ave
Chicago, IL ‎60613
773 325-1700

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PICKSINSIX Review: AN ENEMY OF THE PEOPLE

March 21, 2018  /  Ed Tracy

"BETTER A LUNATIC THAN A COWARD."

Compelling new adaptation … Goodman Theatre’s Artistic Director Robert Falls has crafted, and directs, a compelling new adaptation of Henrik Ibsen’s An Enemy of the People based on a translation by Eleanor Marx-Aveling, a work that reflects the desperate and fractured time in which we live with such raw energy and emotion that it is hard at times to separate the superb dramatic styling from our everyday lives. All sides of our fractured national conversation are weaved within Falls' take on Ibsen's epic struggle of one man’s quest for truth at all costs.

Rightful purpose ... it is not always clear that the rightful purpose of bold, truthful action will justify the means to an end, particularly when that end may result in mass hysteria, conspiracy theories, financial ruin, and, ultimately, the collapse of our common understanding of liberty, freedom and democracy. There is also an insightful element of the flawed family dynamic between family members who each are competing for recognition, approval and self-interests. If this all sounds like the current social climate in America, imagine what Ibsen was feeling in 1882 when he wrote about a community in crisis and whose very existence depends on the healing nature of its luxury spa, which is now contaminated. To reasonable people, then and now, there is no choice when confronting the moral dilemma to cure a health crisis. Unfortunately, there are few reasonable people around so legislating an opposing position becomes surprisingly easy and pretty much guarantees that this may not end well.

At the heart of the story … Dr. Tom Stockmann (Philip Earl Johnson) has confirmed his theory that a local tannery along with others have polluted the pristine waters with harmful toxins. The public dissemination of his findings are at the heart of the story. Running up against stiff opposition, he decides his best option is to hold a public hearing and let the people decide. To the community, firmly under the autocratic rule of his brother, Mayor Peter Stockmann (Scott Jacek), exposing the truth becomes a weapon. As a wave of personal and professional retaliation mounts, all unite in a lock-step revolt, fueled by deception, greed and stupidity. Lots of stupidity, according to Tom.

A powerhouse cast ... the superb Philip Earl Johnson leads a powerhouse cast, his delirious and impassioned frustration finally boiling over in rage as he wrestles the frenzied mob poised against him. But it is the razer-sharp, searingly-electric confrontations that have him under siege and at odds with his evil brother, a commanding performance by Scott Jacek, that delivers the explosive conflict between truth and deception. As a collaborative voice – a sort of Greek chorus – the characters of Billing (Jesse Bhamrah), Hovstad (Aubrey Deeker Hernandez) and Aslaksen (Allen Gilmore) descend rapidly from the moral high ground to frame the populus point of view. Only Tom's wife Katherine (sensitively played by Lanise Antione Shelley) and his ardent daughter Petra (a fine turn for Rebecca Hurd) consistently bring compassion to Stockmann's plight. The accomplished talents of David Darlow (Morton Kiil) and Larry Neumann, Jr. (The Drunk) add depth in featured roles.

Artistic impressions ... the extraordinary artistic impressions of costume designer Ana Kuzmanic’s are on full display in the two-story renderings that complement Todd Rosenthal’s industrial cantalever truss design - with lighting by Robert Wierzel - that frames the Stockmann home, the print shop and the public meeting space, which is mysteriously populated and an altogether visually stunning tableau. 

The takeaway ... reflecting the embittered discourse of our times, Falls has crafted a magnificent and explosive oratory that is ripe with political commentary, a consistent theme for the Goodman this season. Here brother faces brother, in the shadow of moral decay, where the bully pulpit rules the day against all adversity. There is a powerful score to settle in this startlingly familiar story examining the courage of our convictions, the devastating consequences of our actions, and, whether or not, it is better to be a lunatic than a coward.

PHOTOS|Liz Lauren

GOODMAN THEATRE
Presents
AN ENEMY OF THE PEOPLE
Adapted and Directed by Robert Falls
Based on a translation by Eleanor Marx-Aveling
through April 15th

WEBSITE

ARCHIVE

categories / PicksInSix
tags / Robert Falls, Goodman Theatre, Eleanor Marx-Aveling, Todd Rosenthal, Ana Kuzmanic, Robert Wierzel, Jesse Bhamrah, Lanise Antoine Shelley, Scott Jacek, Aubrey Deeker Hernandez, Philip Earl Johnson, Rebecca Hurd, David Darlow, Allen Gilmore, Larry Neumann, Jr.

PICKSINSIX Review: MERRILY WE ROLL ALONG

February 07, 2018  /  Ed Tracy

"Porchlight ‘Merrily’ Turns Back the Clock"

Reeling in the years... let’s turn back the clock and find out exactly how we got here from there. That’s the premise of Stephen Sondheim’s Merrily We Roll Along, Porchlight Music Theatre’s brilliant new offering at Ruth Page Center for the Arts. There is a lot to unravel and it’s all done with surgical skill by Porchlight Artistic Director Michael Weber and a cast that sings the daylights out of this score.

What it’s about... let’s begin at the ending, shall we? Franklin Shepard (Jim DeSelm) has all the trappings of success, but no one really likes him much, including his old friend, bestselling author, admirer and alcoholic Mary Flynn (Neala Barron), his wife, Gussie (Keely Vasquez) to whom he has been unfaithful and just about everyone else at his Los Angeles pool party. Tick. Tock. Turn back the clock and Frank and Mary’s partner, Charley Kringas (Matt Crowle), frustrated and hurt by Frank’s actions, implodes on national television. Drilling down, we find that Frank’s world is fraught with temptations that ultimately ruin his marriage to his first wife Beth (Aja Wiltshire) and other twists and turns that lead, to where we all truly start out at one time or another – young, reckless and hopeful.

The story of our lives... this is one of the iconic musicals that Sondheim fans savor. It is the story of our lives. In the more than four decades that have passed since its inauspicious Broadway debut, this show continues to technically evolve with every passing year, something Weber has tapped into in an ingenious way, this being 2018 after all. It’s a clever use of media, staging and that all makes for great storytelling, or is it 'un-telling'?

Who stands out... Of the three amigos in the middle — Jim DeSelm, Neala Barron and Matt Crowle — DeSelm gets the difficult assignment of being the heartless, success-at-all-costs riser you need to like and you will. Barron is a powerhouse - charming and vulnerable, with a depth of feeling that is up to everything the versatile Crowle, one of Chicago's most gifted talents, dishes out. Keely Vasquez sizzles as Gussie. And, I’ll wager we will be seeing alot more from the terrific, multi-talented Wiltshire. 

What to watch and wait for... Crowle’s show-stopping ‘Franklin Shepard, Inc.’ and 'Good Thing Going'…’Old Friends’…Wiltshire’s touching ‘Not A Day Goes By”…’It’s A Hit’

What life is all about... Friends like us. Damn few.

PHOTOS|MICHAEL COURIER

PORCHLIGHT MUSIC THEATRE
MERRILY WE ROLL ALONG
Stephen Sondheim|George Furth
Directed by Michael Weber
through March 11th
RUTH PAGE CENTER
FOR THE ARTS
1016 N Dearborn St.
773-777-9884

WEBSITE
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categories / PicksInSix
tags / Michael Weber, Jim DeSelm, Matt Crowle, Neala Barron, Keely Vasquez, Aja Wiltshire, Stephen Sondheim, George Furth, Ruth Page Center

PICKSINSIX Review: BLIND DATE

February 06, 2018  /  Ed Tracy

'BLIND DATE' "REAL PEOPLE ... WORLDLY VISION"

A turning point... As the clandestine meeting between Ronald Reagan and Mikhail Gorbachev is about to begin at the Geneva Summit, then Secretary of State George Shultz and his counterpart, Soviet Minister of Foreign Affairs Eduard Shevardnadze, share a reflective moment. While looking out at the lakefront, Shultz notices Shevardnadze’s granddaughter scurrying about. It is significant, Shultz remarks, that he brought his granddaughter to such a turning point in international relations. Shevardnadze tells Shultz he is merely babysitting.  Conversations like this one, between real people with a worldly vision, run deep through the Goodman Theatre’s sophisticated and smart world premiere production of Blind Date.

BlindDate_15.jpg

Reagan/Gorbachev legacy... the sweeping epic storyline, written by the award-winning playwright, Rogelio Martinez under the direction of Goodman Theatre Artistic Director Robert Falls, brings East and West together in a fascinating historic reimagining of the first face-to-face meeting of Ronald Reagan and Mikahal Gorbachev. It is an insider’s view of the Reagan/Gorbachev era of hard-nosed diplomacy and line-in-the-sand Cold War rhetoric. And, there is the intrigue - and a fair amount of humor served up diplomatically - surrounding the closed-door meeting of two leaders who clearly understood the impact they would have on their two countries and the world.

A Four-Picture Deal... years after an assassination attempt and with direct involvement from Nancy Reagan, George Shultz and everyone else close to him, Reagan’s cinematic instincts remain keen. A Reagan soundcheck has international implications and there were spiritual forces at work at the time, as we now know. As if on cue, Reagan adeptly turned film references into policy points. Meanwhile, Gorbachev was redefining the Soviet Union’s place in the world order. Lots to ponder and the air crackles with the consequences of failure. “Well…”says Reagan, “The American people gave me a four-picture deal!” So, that means there is plenty of time and lots of stories to tell.

BlindDate_02.jpg

Public jousting... Shultz and Shevardnadze meet to broker a meeting between the two superpowers. Reagan offers up Washington, DC for the first site. Gorbachev refuses. Formal correspondence is exchanged and more public jousting, until the Geneva Summit is approved and scheduled in November 1985 at a time when the stars would be precisely aligned. While Gorbachev is heavily briefed and apparently starts watching American movies, Shultz plants the seed for a private meeting to mix things up and the rest is, well… history, including another clandestine meeting - that between Nancy Reagan and Raisa Grobachev – a delightfully engaging hand of liars poker, tea time style.

Top-flight cast... Rob Riley (Ronald Reagan), William Dick(Gorbachev), Deann Dunagan(Nancy Reagan) and Mary Beth Fisher(Raisa) are all excellent and bring an authoritative air to the piece leading a top-flight cast. Jim Ortlieb (Shultz) and Steve Pickering(Shevardnadze) along with Thomas J. Cox (Reagan biographer, Edmund Morris) combine brilliantly to frame historical context, sharing thoughts and possible outcomes along the way. 

And, well, there’s much more... the massive, revolving conical set design by Riccardo Hernandez, lighting by Aaron Spivey and period perfect costumes by Amy Clark evoke a time of grand purpose and stately respect for two world leaders whose vastly opposing points of view might actually find some common ground in the future.

The takeaway… History happens while babysitting. Let someone take the kids for the night or bring a blind date of your own for this gem now playing at the Goodman Theatre. 

PHOTOS|Liz Lauren

GOODMAN THEATRE
Presents
BLIND DATE
by Rogelio Martinez
Directed by Robert Falls
through February 25, 2018
170 N Dearborn Street
(312)443-3800
WEBSITE
ARCHIVE

categories / PicksInSix
tags / Robert Falls, Rogelio Martinez, Rob Riley, William Dick, Deanna Dunagan, Mary Beth Fisher, Jim Ortlieb, Stve Pickering, Thomas J. Cox

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