Beginning this week, Time Out Chicago is consolidating all of the site's blogs into a one-stop shop at #Chicago.
If you're used to coming to Unscripted for everything performance-related, from scoops on storefront theater to reviews of dance troupes and sketch groups, you'll find all of that same content alongside restaurant and bar news, the week's best nightlife events and more, all in one convenient location.
Chicago theater gets busy this week with a number of big new shows opening, including the Broadway-bound Big Fish and Quiara Alegría Hudes's follow-up to last year's Pulitzer Prize winner. Here's a guide to five top new plays.
Big Fish Oriental Theatre Opens April 19. On his deathbed, a father tells his son tall tales about his past that may or may not have actually happened. Audiences can decide for themselves at this new Broadway-bound musical adaptation by Andrew Lippa and John August starring two-time Tony winner Norbert Leo Butz.
The Happiest Song Plays Last Goodman Theatre. Opens April 22. Two lost soulmates find each other through the magic of Puerto Rican jíbaro music in this new drama by Pulitzer Prize winner Quiara Alegría Hudes.
Pal Joey Porchlight Music Theatre. Opens April 23. Porchlight Music Theatre artistic director Michael Weber and music director Doug Peck team up for Rodgers and Hart's Chicago-set 1940 musical, featuring such songs as "Bewitched, Bothered and Bewildered" and "Zip." Adrian Aguilar plays the charmingly caddish title role.
Still Alice Lookingglass Theatre Company. Opens April 20. Lisa Genova's novel about a woman living with Alzheimer's disease is brought to the stage by Lookingglass ensemble member Christine Mary Dunford.
Yellow Moon Writers' Theatre. Opens April 24. David Greig (The Strange Undoing of Prudencia Hart) tells the story of two teenage Scottish outlaws through lyrical narration in his 2006 drama.
About Face Theatre, the 17-year-old LGBT-focused theater company, has named Andrew Volkoff to succeed the outgoing Bonnie Metzgar as artistic director.
Volkoff, a Milwaukee native, has served as associate artistic director at Barrington Stage Company in Massachusetts and New York's Genesius Theatre Group. He'll be formally introduced at About Face's annual Wonka Ball benefit April 26. In a statement, he indicated intentions to expand the About Face Youth Theatre program, as well as to find the itinerant company a permanent home.
Metzgar, who's stepping down after five seasons, has said she hopes to remain in Chicago. As her final act as artistic director, she'll stage the Chicago premiere of Alexi Kaye Campbell's The Pride, to run June 6–July 13 at Victory Gardens; Patrick Andrews, John Francisco, Benjamin Sprunger and Jessie Fisher will star.
Bring your passport to Let Them Eat Chaos. In the Second City's 101st Mainstage revue, an ensemble consisting of veteran performers Edgar Blackmon, Holly Laurent, Katie Rich and Steve Waltien and Mainstage newcomers Ross Bryant and Tawny Newsome leaves Chicago behind in favor of a space- and time-bending revue that loops in Vienna circa 1819, the opening of the Panama Canal, the distant future and more. If Grant Achatz attends the show, it will inspire at least a dozen new menu ideas for his restaurant Next.
Let Them Eat Chaos crackles with new ideas and spirited risks. Gone is the musical number that typically opens a Mainstage revue; left in its place is a stripped-down, improvised scene in which the ensemble takes turns playing the same character. It's a simple scene and it'd be easy to call it underwhelming were it not so true to the kinds of openings encouraged by gurus like Del Close, designed to warm up an ensemble and enhance group mind at the beginning of an improv show. The nature of the opening might even change from night to night. You may have to see this show more than once.
Lots of ideas are bandied about. We are living in a very strange time, Newsome's time-traveler proclaims in an early scene. We're also living in a busy one, as demonstrated by a woman so self-absorbed she hits major milestones in life (marriage, sex, childbirth) while so consumed by text messaging she never once looks up from her phone.
It was the scenes set in distant lands that captivated the most, including a sailor answering a siren's call, a telenovela-like exchange between a Central American poet and his illegitimate daughter, and banter between an American and Scottish soldier set against a backdrop of rubble and intermittent explosions in the European Theater of World War II. I'm not sure the Mainstage has ever strayed this far from ubiquitous mayor jokes, relationship scenes between thirtysomethings and impressions of South Siders. It was a welcome departure.
The set design makes these faraway landscapes possible. A curtain, so fiery red it will burn your retinas, is the only attention grabber on an otherwise threadbare stage. But this relatively blank canvas allows director Matt Hovde and his design team to create vivid backdrops that transport the audience from the high seas to deep space to a dream version of Chicago with the push of a button.
There are plenty of moments in which each ensemble member puts his or her best self forward, but to single out one would diminish the rest; that's not how you review an ensemble-based show. Suffice it to say I liked them most when they were given new muscles to flex. In an Act II standout, for example, a group of first graders are pressed with the challenge of drawing pictures based on an audience suggestion (in this instance, popcorn). The scene was one of the evening's biggest gut-busters thanks to the original interpretations each ensemble member produced.
There were also times when the material hewed close to formula. In a musical number, Newsome and Laurent take the NRA's grating and persistent claim that more guns are the solutions to America's problems to its logical extreme. It's joyous but also familiar territory. Ditto a number between Blackmon and Bryant that illustrates the stark differences between a black and white rapper.
If Let Them Eat Chaos falls short anywhere, it's in the lack of anarchy suggested by the revue's title. "Chaos is the nature of the universe," says a character in an early scene. That might not be what the visiting masses want to hear when they visit the Second City, but I'll take it anytime.
Pivot Arts, a recently launched organization with the mission of fostering the arts on Chicago's far North Side, will play host to a multidisciplinary arts festival to take place in a number of nontraditional venues in Uptown and Edgewater in June.
The Pivot Multi-Arts Festival will present a blend of music, dance and theater June 6–22, in such locales as Senn High School, Francesca's Bryn Mawr, the former Essanay Studios building on Argyle Street and the onetime vaudeville theater (and most recently a TCF Bank branch) at 1050 W Wilson Ave. Presenters will include the likes of Molly Shanahan/Mad Shak Dance Company, Mucca Pazza, the Neo-Futurists, Theater Oobleck and Manual Cinema. See pivotarts.org for a full schedule.
Steppenwolf Theatre Company today announced the lineup for this summer's eighth annual First Look Repertory of New Work, to be presented in its Garage theater. They include Edith Freni's family drama Buena Vista, set in an isolated Colorado cabin; Aaron Carter's The Gospel of Franklin, about a devout man who loves to witness to his factory coworkers but needs saving himself; and Janine Nabers's Annie Bosh is Missing, a portrait of a troubled young woman navigating the post-Katrina Gulf Coast in search of her estranged father.
The three plays run in rep July 29–August 25. The lineup will also include free readings of three additional works during Steppenwolf's Professionals' Weekend, August 8–11: Tempo, by Mike Batistick; Your Name Will Follow You Home, by Carlos Murillo; and Barbecue, by Robert O'Hara. Tickets go on sale Friday at 11am.
Lookingglass Theatre Company has announced plans for its 2013–14 season, beginning with a new adaptation of Marguerite Duras's The North China Lover, written and directed by Heidi Stillman (September 25–November 10).
In the winter, David Catlin will direct Rick Cummins and John Scoullar's stage version of Antoine de Saint-Exupéry's The Little Prince (December 4–February 2). The season closes with the world premiere of Sara Gmitter's In the Garden: A Darwinian Love Story, about the romance between Charles Darwin and his future wife, Emma Wedgwood. Jessica Thebus directs (April 16–June 15).
Interrobang Theatre Project, one of Chicago's most promising young theater companies, has announced plans for its fourth season, to be presented entirely at the Athenaeum Theatre. The 2013–14 slate opens with a new production of Mark O'Rowe's Terminus, a collection of interlocking monologues that was previously seen in a 2011 performance by Dublin's Abbey Theatre at the Museum of Contemporary Art. Interrobang's production will star Christina Hall, Michaela Petro and Kevin Barry Crowley (September 12–October 6).
That's followed in the new year by The Pitchfork Disney, the surreal, dark fairy tale by Mercury Fur playwright Philip Ridley that's credited with kickstarting the "in-yer-face" era of British drama. The cast is set to include Andrew Goetten, Aislinn Kerchaer, Mark Lancaster and Josh Salt (February 6–March 2). Both Terminus and The Pitchfork Disney will be directed by Jeffry Stanton. The season closes with a new adaptation of Ibsen's A Doll's House by Chicago playwright Calamity West, directed by James Yost (May 8–June 8); casting remains to be announced.
In the midst of a 35th anniversary year that's seen performances of Mats Ek’s brilliant Casi-Casa, Alejandro Cerrudo’s monumental One Thousand Pieces, and the one-of-a-kind collaboration between HSDC and Alonzo King’s LINES Ballet this spring, Hubbard Street has announced its 2013–14 lineup. The focus for season 36: Hubbard Street’s international Fab Five, with additional surprises in the mix.
October 10–13, former HSDC dancer and rising choreographer Robyn Mineko Williams presents a new work for the company, along with Ek’s Casi-Casa and Ohad Naharin’s Passomezzo. Rounding out the programs is the “Compass” quintet from Alonzo King’s AZIMUTH.
The winter program, December 12–15, features an encore presentation of Cerrudo’s deftly crafted One Thousand Pieces, the company’s first evening-length work, set to music by Philip Glass and using members of the main company and dancers from Hubbard Street 2.
March 13–16, it’s all about two-time Prix Benois de la Danse–winner Jirí Kylián. The bill includes two premieres for HSDC: Sarabande—set for an all-male ensemble—and Falling Angels for an all-female cast of eight. Returning fare: the enigmatic 27'52'' and the sensuous audience-favorite Petite Mort.
Season 36 concludes June 5–8, with Nacho Duato’s Gnawa, created for the company in 2005, and William Forsythe’s daring Quintett. Capping things off is a world premiere from resident choreographer Alejandro Cerrudo, his 13th for the company.
As usual, all performances happen at the Harris Theater for Music and Dance (205 E Randolph Dr).
Subscriptions to season 36 are available beginning April 9. Single-ticket availability will be announced at a later date. For more info, contact the Hubbard Street Box Office at 312-850-9774, or visit hubbardstreetdance.com/36.
Gnit, the last play I saw Sunday afternoon at the 37th Humana Festival, is classic Will Eno. By that, I mean I was thrilled by it, but another critic seated in front of me loudly declared it "shit" before walking out at intermission. The premiere is helmed by Actors Theatre of Louisville artistic director Les Waters, who directed Eno's similarly divisive Middletown at Steppenwolf in 2011. Eno's latest is a loose comic adaptation of Ibsen's unwieldy Peer Gynt, itself based on Norwegian folklore. Ibsen's Peer is the son of a man ruined by his indulgences, who rather than face his own reality and responsibilities travels the world aimlessly in search of meaning. Eno's Peter Gnit (Dan Waller) is similarly abdicative; he explains the origin of his surname as being a typo the family just came to accept.
The final weekend of the 37th Humana Festival here at Actors Theatre of Louisville coincides with Louisville's appearance in the Final Four—"the men's and the women's teams," a charming local theater supporter pressed upon me at a Thursday night cocktail party held to welcome the visiting industry professionals and press. She lamented (jokingly, I think) that I'd likely be seeing a play when the Cardinals face off against the Wichita State Shockers tonight.
Yet downtown Louisville seems nearly as proud of its theater this weekend as its college basketball teams. "Enjoy the Humana Festival," a security guard at my hotel said Friday upon noticing my red lanyard. And the energy created by the mixing of industry types and eager locals is enjoyable indeed, even if my first day's offerings were decidedly mixed.
I've just touched down in Louisville, Kentucky, for the final weekend of Actors Theatre of Louisville's 37th annual Humana Festival of New American Plays, which I'll be reporting back on here.
It's the first year of the festival under ATL's new artistic director, Les Waters, whose most recent work in Chicago was the 2011 premiere of Will Eno's Middletown at Steppenwolf, in a production that found a spot on my top-ten list for that year. Waters and Eno reunite at Humana for Gnit, with a cast that features Chicago actors Dan Waller and Linda Kimbrough.
Also among the six plays I'll be seeing this weekend are O Guru Guru Guru, or why I don't want to go to yoga class with you by Mallery Avidon, an artistic associate with Chicago's Pavement Group, and Appropriate by Branden Jacobs-Jenkins, a coproduction with Victory Gardens Theater that will open the fall season at the Biograph. It's directed by Chicago Shakespeare Theater associate artistic director Gary Griffin. The weekend is rounded out by new works from Jeff Augustin and Sam Marks, a collaborative piece by Rinne Groff, Lucas Hnath and Anne Washburn, a slate of ten-minute plays by Sarah Ruhl and others, and discussions and conversations with dozens of industry professionals from across the country. Check back here throughout the weekend for updates.
Today the Auditorium announced its 2013–14 season, noticeably big on dance with spots of music in between. We’re inclined to focus on dance, so we’ll save any suspense: Music includes Israeli singer-songwriter Idan Raichel of Idan Raichel Project on November 9, the annual “Too Hot To Handel: The Jazz-Gospel Messiah," January 18 and 19 (one-hour student matinee on the 17th), and Chick Corea and Béla Fleck on April 5.
Now, on to dance.
Court Theatre, the longstanding professional institution on the University of Chicago's campus, has announced the lineup for its 59th season, beginning with the Chicago premiere of The Mountaintop, Katori Hall's popular two-hander that imagines the last night of Martin Luther King Jr.'s life. Ron OJ Parson will direct (September 5–October 6).
In the season's second slot, Timothy Edward Kane will reprise his 2011 performance in An Iliad, which earned a spot on my top-ten list for that year. The remount will run just four weeks (November 13–December 8). In the new year, Parson will helm Seven Guitars—the only remaining work in August Wilson's ten-play "Century Cycle" he hasn't yet directed (January 9–February 9).
Court follows with the Chicago premiere of Water by the Spoonful, the winner of the 2012 Pulitzer Prize for Drama, directed by Henry Godinez (March 6–April 6). It's the second piece in a trilogy that will run here out of order—the final play, The Happiest Song Plays Last, has its world premiere at the Goodman Theatre this month. (The first play in Hudes's triptych, Elliot, a Soldier's Fugue, was co-produced by Rivendell Theatre Ensemble and Teatro Vista in 2006). The season closes with a new production of David Henry Hwang's M. Butterfly, helmed by Court artistic director Charles Newell (May 8–June 8).
The slating of new works like The Mountaintop and Water by the Spoonful is somewhat unusual for Court Theatre, which has a mission of producing classic texts and isn't often among the contenders for Chicago premieres. "Each show that we choose, the first criteria is always about the quality of the text, the quality of the language, the quality of the writing itself," Newell said in an interview today. "Both of those plays, when I read them I was just blown away. And part of when we think about 'classics' is, what do we think is going to survive the test of time? What will we be wanting to produce in 20 and 40 and 100 years? I think there are timeless, classic themes in both of those plays, in the same way that M. Butterfly has proven itself a modern classic."
Of An Iliad, Newell says, "This is a show that needs more life, that we couldn't figure out a way to make happen when it was playing. Luckily, Tim Kane said, 'Yeah, I want to come back and do it again.'" Revisiting the piece isn't just about meeting audience demand; it will also allow for more fully realized tie-ins to complementary U. of C. programming, Newell says.
M. Butterfly will also play a part in the larger university world, coinciding with "a major exhibit the University of Chicago's going to be doing around visual representation of performance in Chinese opera," Newell says. "This production will be a sort of centerpiece for that art exhibit that is going to be at the Smart Museum. It's a unique opportunity we have here at Court, to integrate into the intellectual firepower here at the university—to make art while scholarship is being made."
With a successful 2012–13 campaign nearly in the rearview (Delfos Danza Contemporanea plays Thursday 4 through Saturday 6), the Dance Center looks ahead to 2013–14 in anticipation of its 40th anniversary. The higher-ups have wasted no time in assembling next season’s lineup of local, national and international sensations.
Is there anything that can't be turned into an arbitrary brackets contest this time of year? Strike another one off the list: On the heels of Vulture's Sitcom Smackdown, now we have a Shakespeare Showdown, courtesy of Chicago Shakespeare Theater.
Chicago Shakes has seeded 64 of the Bard's most iconic characters. (The one seeds? Othello, Falstaff, Juliet and Richard III.) You have until Monday, April 1 to fill out a bracket and e-mail it back to the theater; after that, public voting takes place at CST's Facebook page through April 15. If your chosen winner matches that chosen by the vote, you'll be entered to win four tickets each to the terrific Othello: The Remix and the upcoming Henry VIII.
Rick Cluchey, who co-founded the San Quentin Drama Workshop in 1958 while serving a life sentence in prison and later, after his sentence was commuted, became a friend and protégé of playwright Samuel Beckett, will perform two solo pieces in a brief May run presented by Shattered Globe Theatre.
The evening will pair Beckett's Krapp's Last Tape, in a performance originally directed by the playwright himself, with Cluchey's own Sam and Rick, in which he reminisces about his friendship and working relationship with the Nobel Prize winner. An Evening of Beckett runs May 2–12 at Stage 773; tickets are $28 and go on sale Monday via Stage 773's box office (773-327-5252) or shatteredglobe.org.
Connor Tillman in yellow, shorty-shorts scooting around on roller-skates (not blades but skates) as part of a “talent show” for his family gets the funny rolling in Hello, World – It's Me, Connor!, his new solo show at Chemically Imbalanced Comedy. Part of CIC’s Solo Series – sharing billing with Dan Bazaldua – Tillman’s show is a mix of impersonations (Hugh Jackman as an OBGYN was my favorite) and quirky observations like someone reacting to their first time in the animatronic world known as Rainforest Café.
At-times Hello, World seemed a little disjointed, l wanted to see something tying the sketches together a little more concretely, but Tillman is such a likable performer that this slightly scattered-brained approach doesn’t take away from the laughs and sometimes actually adds to them. With an easy, every-man type quality, Tillman can make even a personified tree who just finds everything “so heavy” into a memorable bit.
“No Sinatra, you’re being a [redacted],” says Dan Bazaldua doing an impersonation of Luciano Pavarotti during karaoke in Bazaldua’s solo show Hollywood Moonlight, the second part of the night. Moonlight is like an old-Hollywood where are they now, the structure being a reporter profiling a man who had small parts in famous movies like Casablanca but who never made it big. Bazaldua’s storytelling is really clever and I liked how he used props and costume changes to embody characters like Jimmy Stewart. As the story unfolds, Balzaldua weaves a narrative that is both funny and touching in the way it comments on friendship and, well, mortality. There is also a musical-loving security guard who happens to be a hand puppet, and that’s always a good time.
CIC's Solo Series with Connor Tillman and Dan Bazaldua runs Fridays at 8PM until April 19th. Tickets are $10, CIC is located at 1422 W Irving Park Road.
The League of Chicago Theatres has announced the finalists for this year's Broadway in Chicago Emerging Theater Award. Those vying for the seventh annual prize, awarded by vote of the League's member theaters to a company between three and ten years old, include:
- 16th Street Theater
- Bailiwick Chicago
- Filament Theatre Ensemble
- Pavement Group
- Sideshow Theatre Company
The winning theater receives $5,000, consultation with Broadway in Chicago staff and a marketing package that in past years has included advertising in the Chicago Tribune and Time Out Chicago. Previous recipients include the House Theatre of Chicago, Silk Road Theatre Project (now Silk Road Rising), the side project, Steep Theatre, the New Colony and Theatre Seven of Chicago. The 2013 award will be presented at the League of Chicago Theatres' annual gala, May 20.
A number of young artists associated with the Chicago-based Internet sensations Team StarKid are branching out with a more traditional theatrical project—with, of course, an online twist.
Producers Julia Albain and Corey Lubowich are launching a Kickstarter campaign dubbed Judas Redux, which purports to let contributors in up close on the process of putting up a show, culminating in a three-week run of Stephen Adly Guirgis's The Last Days of Judas Iscariot to open August 23 at Stage 773. The show's cast will include StarKid stars Lauren Lopez, Joey Richter and Brian Rosenthal. The Kickstarter has a not exactly teensy goal of $36,000; it's set to go live sometime in the next few hours (watch JudasRedux.com for the link).
As for StarKid proper, the group's sketch show Airport for Birds and Other Great Ideas (directed by Lubowich) has one more performance this Sunday at UP Comedy Club. Time Out Chicago was the first local publication to profile the troupe following its relocation to Chicago from its birthplace, the University of Michigan.