Ms. Blakk for President

(l to r) Tarell Alvin McCraney and Patrick Andrews in ‘Ms. Blakk For President.’
(Photo: Michael Brosilow)

“Younger audience members who’ve come of age in the era of RuPaul’s Drag Race may not immediately recognize Ms. Blakk’s public political crusades as the daring acts of civil disobedience that they were in 1992. To help provide context, the production makes liberal use of historical video footage displayed on old-fashioned tube TVs hung from the Steppenwolf’s Downstairs Theatre ceiling. We are still two years away from President Bill Clinton’s abominable “Don’t Ask, Don’t Tell” military service policy, and four years out from the Defense of Marriage Act (DOMA). The AIDS crisis is in full swing and people are dying.

As the candidate representing Queer Nation just four years after Ronald Reagan left the White House, Ms. Blakk and her support team have one real ambition: to get on the floor of the Democratic National Convention, hosted that year in New York City. In a pre-Internet media landscape, global television cameras trained on a man in a dress had the potential to draw significant attention to a modest agenda. In full makeup, tall and dignified, Ms. Blakk goes to New York with a message. The right to life and liberty guaranteed by the American Constitution applies to LGBTQ citizens, too. Those promises have been betrayed by hate, violence and a listless approach to combatting an AIDS epidemic that has legions of America’s finest young men lying in hospital beds.

But no one said important work can’t also be fun. Pulling double duty as writer and lead performer, Tarrell Alvin McCraney has created for himself the role of a lifetime with a semi-fictionalized Ms. Joan Jett Blakk – ‘Two Ts, two Ks.’ Strong, introspective, gifted with song, dance and preternatural stiletto poise, Ms. Blakk’s public bravado is an effective cover for Mr. Smith’s private insecurity, poverty and loss.”

Read the full review at The Broadway Blog.

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A Doll’s House, Part 2

Sandra Marquez and Yasen Peyankov in ‘A Doll’s House, Part 2.’ (Photo: Michael Brosilow)

“Henrik Ibsen’s 1879 play, A Doll’s House, was a prescient work ahead of its time. Nora’s abandonment of her husband Torvald and their family at the conclusion of Ibsen’s infamous script left a number of open questions that linger into 2019. Into this void steps playwright Lucas Hnath and the renowned Steppenwolf Theatre with the Chicago premiere of A Doll’s House, Part 2. (The 2017 Broadway production received raves by critics. Its leading lady and Steppenwolf member, Laurie Metcalf, won a Tony Award for her performance.)

So whatever became of the Helmer children? Did Torval learn anything from Nora’s departure or did he simply remarry and move on with his life? And most urgently, what did Nora do to sustain herself after she fled? Was she happy, fulfilled, or did she come to regret her choices? Ibsen’s vibrant, bold work is heavy on intrigue, light on closure.

A Doll’s House, Part 2 presents a vision of the Hellmer family’s fourth act that dares to imagine Nora as a Jackie Collins or Danielle Steele for the 19th century, successful, wealthy and most of all, unrepentant. She may be writing under a pseudonym but Nora is definitely not hiding. She is signing contracts, taking lovers and purchasing property like the empowered, now-single woman she believes herself to be.”

Read the full post at The Broadway Blog.

The Curious Incident of the Dog in the Night-Time

(l to r) Scott Allen Luke, Eunice Woods, Caroline Neff, Terry Bell, Christopher M. Walsh and Meg Thalke in Steppenwolf for Young Adults’ ‘The Curious Incident of the Dog in the Night-Time.’
(Photo: Michael Brosilow)

“Steppenwolf’s production, helmed by Director Jonathan Barry, keeps what is great about the original staging mostly intact. For example, the work is no musical, but it definitely has rhythm. Movement Consultant Dan Plehal turns ensemble cast members into fulcrums and pulleys, deployed effectively to lift Christopher into the air in concert with manic descriptions of his dreams and wishes. For example, in Act I, Mr. Bell is balanced on an actor’s feet as Christopher describes the weightlessness and pleasant solitude he might enjoy as an astronaut. In these scenes, the audience is reminded that Christopher is a complex genius, but also still very much a child. Even the most literal of young minds still has a capacity for fancy.

By the end of the play, Christopher has physically and emotionally stretched himself in new directions that none in his circle could have rightly anticipated. He enacts change within his family circle, community, and his own formerly very rigid and linear worldview. To be spoiler-free in this review, it’s enough to say that his fractious parents Ed (Cedric Mays) and Judy (Rebecca Spence) find themselves outwitted by Christopher, leading them toward better versions of themselves and allowing them to serve as more persuasive behavioral models for their son.”

Read the full post at The Broadway Blog.

Downstate

 

(l to r) Francis Guinan, Glenn Davis, Celilia Noble, Eddie Torres and K. Todd Freeman in ‘Downstate.’ (Photo: Michael Brosilow)

“Featuring a top-drawer ensemble cast, the four men attempting to engage society with a red “P” (for pedophile) permanently attached to them by the sex offender registry are Gio (Glenn Davis), a young man with corporate ambitions previously convicted of statutory rape; Dee, (K. Todd Freeman) a gay man and self-styled group home mother hen found guilty of repeatedly assaulting a 14-year-old boy; Fred, (Francis Guinan) a gifted pianist who served years in prison for exploiting his students; and Felix, (Eddie Torres) the quietest and perhaps most reviled member of the household. In addition to the horrendous crime of pedophilia, Felix is guilty of incest perpetrated on his young teenage daughter.

This is all disgusting, right? Mr. Norris’ unrelenting script won’t make it that easy on us. Gio, Dee, Fred and Felix are all men facing different challenges with differing levels of self-awareness and remorse factoring into their respective ambitions for social acceptance. Trying to navigate this complex terrain and manage the men’s parole restrictions is Ivy (Cecilia Noble), a weary, tough but empathetic officer balancing the protection of neighborhood children with even a criminal’s basic need for dignity. Her job is unenviable.

The cast, featuring Steppenwolf ensemble members Mr. Davis, Mr. Freeman, Mr. Hopper and Mr. Guinan, is beyond reproach, even if many of their characters are not. The actors and their prodigious talents are part of an exclusive artistic ensemble known all over the world with good reason. Because these players have performed together so many times, their offstage familiarity and chemistry lend an additional wow factor to the acting. An ability to make the heinous look, feel and sound organic is no small achievement.”

Read the full post at The Broadway Blog.

Guards at the Taj

Guards-1
(l to r) Omar Metwally and Arian Moayed in Steppenwolf’s ‘Guards at the Taj.’
(Photo: Michael Brosilow)

 

“Almost 10 years into a theater criticism career on the Windy City beat, I experienced a first after the proverbial curtain dropped on Guards at the Taj, the haunting new production from Steppenwolf Theatre Company. Before I could find the way to Halsted Street to catch a ride home with my husband, I needed a few minutes to regroup in the restroom. I’m not talking a couple solitary tears. It was a full-on ugly cry. It’s not often that one encounters a work that makes such an immediate, visceral and I suspect, long-lasting impression on the psyche.

The play by 2010 Pulitzer Prize finalist Rajiv Joseph is so many things at once: a wry comedy, a beautiful story of friendship, a timeless examination of cultural stigmas, the burdens of duty and the limited choices that confront the poor and powerless each day. The work is a brilliant, linguistic joy, as well as incredibly difficult to watch. Neither Joseph nor director (and Steppenwolf ensemble member) Amy Morton allow the audience to retreat from the conflicting tensions baked into this amazing, one-act piece.”

Read the full post at The Broadway Blog.

You Got Older

(l to r) Francis Guinan and Caroline Neff in Steppenwolf’s ‘You Got Older.’ (Photo: Michael Brosilow)

“The show, as it were, belongs to Guinan, as it frequently does when one finds him in the Playbill. Francis Guinan joined the Steppenwolf Theatre Company in 1979, the same year as his friend and collaborator John Mahoney. The two also shared screen time during Mahoney’s long run on Frasier.

There is a scene toward the end of the second act where an increasingly frail Dad sheds a few subtle tears while discussing the trajectory of his life with Mae. There is no doubt that Guinan’s prodigious talent and emotional range includes the ability to weep on demand. But Wednesday’s night’s performance had something else that the actor was willing to share with his audience. The vulnerability of a man grieving the loss of a friend, dead of the very same disease that afflicts Dad. Guinan did not weep alone. The muffled sobs of hardened theatergoers were audible in the scene’s moments of quiet.

The latest Steppenwolf production of You Got Older would be a terrific success without the ghost of John Mahoney floating around the edges. It’s stripped down, raw human experience across the psychological spectrum. And the material is in the hands of a wildly capable cast and crew. But Mahoney is there, and his creative presence adds an additional layer of urgency. This is one to see.”

Read the full post at The Broadway Blog.

The Crucible

Most of us who paid attention and did our reading in high school English Literature classes have come across “The Crucible.” I went on to earn a B.A. in the discipline in 2000, followed by an M.A. from Northeastern Illinois University in 2007.

Throughout the years of study and into my tenure as a Chicago theater critic with EDGE Media Network, the work of playwright Arthur Miller, and in particular, this allegory of 1950s era McCarthyism in the United States, has been a ubiquitous creative presence.

This past weekend as I took my seat for Director Jonathan Berry’s production of “The Crucible,” the kickoff to Steppenwolf Theatre’s 2017-2018 Steppenwolf for Young Adults (SYA) season, I thought there was nothing new to learn about Miller’s oft-produced work. I was wrong.

The story, per press materials, is well known: “The people of Salem are whipped into a bloodthirsty frenzy by a series of misinterpretations after a group of teenage girls are accused of dancing devilishly in the woods. Fearing retribution, the girls begin a chain of finger-pointing until neighbor turns against neighbor, whispers become testimony, fabrications become facts, and a once powerless teenage girl suddenly has the ability to decide the fate of all those around her.”

The synopsis is familiar, but Berry’s execution is all new. Arnel Sanciano’s spartan set design conveys the barren, cold, passionless external excesses of early American Protestant communities, while leaving literal room to demonstrate the complicated natures of Arthur Miller’s human subjects.

It’s a drab catwalk runway setup surrounded by chairs in which cast members rotate through the scenes as both subject and spectator. The device is spectacularly effective in delivering an ecosystem in which eyes are always watching, in which characters are present even when they’re not involved in a particular dialogue exchange.

Naima Hebrail Kidjo, a Steppenwolf Theatre Company newcomer, also brings fresh perspective to Abigail Williams, the lovestruck, scorned minister’s niece whom community members of all genders, age and religious devotion learn to fear. Her performance is well matched by Travis A. Knight, another Steppenwolf rookie, who conveys a flawed John Proctor’s moral conflict and steadfast determination to save his community from itself. Kidjo and Knight display an electric chemistry that does more than hint at the fleeting, mutual passion that once existed between the characters.

And this is a must if an audience is to believe to the lengths to which both Abigail and John will go to achieve their ends. Abigail is nakedly ambitious to become the second Mrs. Proctor, and manipulates the weaknesses of Salem residents into furthering her goal. These weaknesses are personified by supporting characters who could be accused of existing in one-dimension without the nuanced performances of the talented cast.

Cynical greed, thy name is Reverend Parris (Peter Moore). Ann Putnam (Stephanie Shum) is desperate to find a reason for the death and illness of eight consecutive children, and witchcraft will do. The saintly Rebecca Nurse (Millie Hurley) is willing to die for her conviction that Abigail’s accusations are the real evil at work.

In previous encounters with “The Crucible” text, the relationship between John Proctor and his betrayed wife Elizabeth (Kristina Valada-Viars) is an incidental bore. In the text as written, Elizabeth is merely a cipher for her spouse’s guilt and self-recrimination, a virtuous, suffering foil to Abigail’s id-driven Jezebel.

In Berry’s production, and animated by Valada-Viars prodigious gifts, this Abigail is afraid, angry, resigned, hopeful, loving and bitter in equal portions — exactly what an audience would expect from a woman forced pay for her husband’s transgressions publicly and privately. Because of this authenticity, the audience can more easily accept Proctor’s about-face rejection of Abigail and subsequent risk of his own life to restore Elizabeth’s honor.

The production runs two hours and 45 minutes, with a short intermission, a worthwhile investment of time. From the vantage point of late 2017, “The Crucible” may remind audience members of events more current than the 1950s congressional communist witch hunt. Berry’s interpretation is a civics lesson — past and present — in addition to engaging entertainment.

“The Crucible” runs through October 21 at the Steppenwolf Downstairs Theatre, 1650 N Halsted Street, Chicago, IL. For information or tickets, call 312-335-1650 or visit www.steppenwolf.org