Showing posts with label USA. Show all posts
Showing posts with label USA. Show all posts

Saturday, June 28, 2014

Playing Catch Up

It's been way too long since I posted here, so sorry to all that visited since my last post.

I will try to do better... It's been quite a busy time... had some invasive surgery which set my travel plans back a bit, but I'm back on track. Since my last post I've been on a few trips, I'm listing the plays I've seen here as a reminder to myself and will get back to them one by one.

In December 2013 London was the target, saw some beautiful things there:

The Next Room or the Vibrator Play (St James)
12 Angry Men (Garrick)
Mojo (Harold Pinter Theater)
Henry V (Noel Coward)
and Protest Song (NT shed)


Protest Song - Rhys Ifans

Caught Coriolanus in the NT Live broadcast in between trips

Next up was a combination trip to Chicago and Los Angeles in March 2014, wonderful stuff:

Chicago:
Gypsy (CST)
Seminar (theater Wit)
The How and the Why (Timeline)
Russian Transport (Steppenwolf)
Buzzer (Goodman)


LA:
Slowgirl (Geffen)
A Steady Rain (Odyssee)
The Pianist of Willesden Lane (Geffen)
Vanya Sonia Masha & Spike (Mark Taper Forum)


Daytrip to the Ruhrfestspiele in Germany, they do great work at that festival, many visiting companies, this time they included a Beckett combination of Eh Joe (with Michael Gambon) and I'll Go On (with Barry McGovern).... pinnacle of Beckett right there in a little theater in Marl.
I'll Go On - Barry McGovern
Back to London in May, the main reason I for this trip was to attend the RAW wine festival (organic wines, all the good stuff without the headaches!) but while there, why not catch some great work?!

King Lear (NT)
Handbagged (Vaudeville)
Good People(Noel Coward)
Other Desert Cities (Old Vic)
Let the Right One In (Apollo)


and last but not least, back to London again to attend a conference for work... perfect combination of work and pleasure:

Skylight (Wyndhams)
Fathers and Sons (Donmar)
Clarence Darrow (Old Vic)


There it is, many plays to catch up on in reviews in this Blog... real life has to go on as well, paychecks need to be earned to do more traveling, so it will probably be a while before I do get caught up.

Sunday, September 22, 2013

The Pianist of Willesden Lane - Chicago July 2013 part 9

my trip was slowly coming to an end, time for another double feature.

I was too late to get tickets for the quickly sold out Simpatico at Red Orchid Theatre, as much as I'd have loved to have seen that play, for me it had a terrific silver lining, it opened up my afternoon to see a play that was not planned but came highly recommended by friends and critics: The Pianist of Willesden Lane, performed at the Royal George Theatre.

I was very fortunate that this play had extended a few times, so it magically fit my trip timeframe.

The play is a one woman show, it tells the true story of the performers mother who was a young Jewish girl, dreaming to become a concert pianist in Vienna, a dream rudely interrupted by World War II.

Mona Golabek is a gifted pianist herself, as she tells us her mothers (Lisa Jura) story through monologue and soliloquy, interspersed with beautiful classical piano performances she takes us the audience on a tour through the devastating events of the late 30's Vienna, where Jewish people were slowly stripped of their rights and the horrible truth of what 'The Anschluss" would mean for many people. Lisa's dream of making her concert debut at the revered Musikverein is shattered as her professor is no longer allowed to 'teach the Jews'.

Lisa's father manages to get one ticket for the kinder transport, an escape route offered in which the UK is allowing a limited amount of jewish children in the country. He only manages one ticket, the family has three children so now the parents have to decide which child to send to safety, they decide on Lisa and send her to family in London so she can continue her piano lessons there, follow her dream and fulfill her parents hopes for her. Lisa arrives in London only to find the uncle unwilling to take care of her and she is sent by the kinder transport organization to work 'in service' at a mansion in the country.

This is where the story starts to evolve solely around Lisa, her journey through heart-ship and pain but with great determination to fulfill the dream to become a concert pianist, not just because it was her dream, but even more so because it was what made her parents decide she would be the one sent to the UK on that one kindertransport ticket.

It is a very moving story, and Mona Golabek delivers it with such true emotion we are taken by the hand and are living her story to a certain degree. The stage is set bare, with a big Steinway piano and Mona Golabek dressed in all black. Behind her there are huge portrait frames where at the appropriate moments in her story we see family portraits and footage of the war. It's a much used prop in plays, but works very good in this show, at times suddenly this is no longer a one woman show but we see her family and friends on stage. Very impressive.




Lisa survives all the tribulations of course (since her daughter is right before us telling her story) but what of her family? her parents who sent her to London, her sisters who had to stay behind in Vienna? 

after the story is told, and the entire audience is on their feet giving a massive standing ovation, we get an epilogue on what happened... we sit down, listen and watch for another few minutes only to rise to our feet again for another standing ovation when the play is really over and Mona has to give many curtain calls... I'll not spoil the ending, but I can tell you there was not a dry eye in the audience.

Honestly I was so very happy to have seen this play, I shed many tears, it's definitely not a very uplifting play, but it was so very good and we need to be reminded of the truth of the horrible history of this world every now and then. When I left the theatre I wandered around the area for a while, trying to get my emotions to cool down a bit, it was an unsettling afternoon, but one I will never forget.




 photo's by Michael Lamont

Play overview from Broadwayworld.com

Set in Vienna in 1938 and in London during the Blitzkrieg, THE PIANIST OF WILLESDEN LANE tells the true story of Mona Golabek's mother, noted pianist and author Lisa Jura. A young Jewish pianist, Lisa dreams of a concert debut at the storied Musikverein concert hall. When Lisa is sent on the kinder transport to London to protect her from the Nazi regime, everything about her life is upended except her love of music and her pursuit of her dream. Golabek performs some of the world's most beloved piano music in this poignant true story of her mother's experience in wartime Europe. Adapted and directed by local favorite Hershey Felder, THE PIANIST OF WILLESDEN LANE is a riveting tale of hope that is a powerful testament to how music helps us survive through our darkest times.
"This beautiful tale told by Mona Golabek herself is performed in the style of musical storytelling that Chicago audiences have come to know from me," said adapter/director Hershey Felder, creator and performer of audience favorites including George Gershwin Aloneand Maestro: Leonard Bernstein. "Being able to work with her to present this piece has been an incredible joy both because her skill as a musician enables the evening to showcase some of the world's most beautiful and enduring piano music ever composed, and also because no one else could tell this story the way she can."
American concert pianist Mona Golabek has appeared at the Hollywood Bowl, the Kennedy Center and the Royal Festival Hall alongside major orchestras worldwide. A Grammy nominee, she has been the recipient of numerous awards including the Avery Fisher Prize, and has been the subject of several PBS television documentaries. Golabek is the creator and voice of The Romantic Hours, a syndicated radio program which combines classical music with readings of poetry, letters, and stories, and can be heard on 80 stations and XM Satellite Radio. Golabek and her family are founders of the non-profit Hold On To Your Music, which spreads the message of the power of the arts, especially music, to embolden the human spirit. In addition, Golabek and Lee Cohen are award-winning authors of The Children of Willesden Lane, the book upon which THE PIANIST OF WILLESDEN LANE is based.
Hershey Felder (Adaptation/Director)
Broadway, London's West End: George Gershwin Alone (Helen Hayes Theatre, Duchess Theatre). Regional and international appearances of "Composers Sonata" (1999-2013) - George Gershwin Alone, Monsieur Chopin, Beethoven, As I Knew Him, and Maestro: Leonard Bernstein - include Old Globe TheatreArizona Theatre Company,Geffen PlayhouseLaguna Playhouse, Ford's Theatre, Cleveland PlayhousePasadena PlayhouseAmerican Repertory Theater, Hartford Stage, Ravinia Festival, Chicago's Royal George Theatre, Asolo Repertory Theatre,Prince Music Theater, The Gilmore International Keyboard Festival, Uijeongbu Theater Festival (South Korea) and many others, as well as a command performance of Monsieur Chopin for the Polish Ambassador to the United States, Polish Embassy, Washington. Winner of 2007 Los Angeles Ovation Awards, Best Musical and Best Actor forGeorge Gershwin Alone. Compositions include Aliyah, Concerto for Piano and Orchestra; Fairytale, a musical; Les Anges de Paris, Suite for Violin and Piano; Song Settings, poetry by Vachel Lindsay; Saltimbanques for Piano and Orchestra; Etudes Thematiques for Piano; An American Story for Actor and Orchestra. Recordings include Love Songs of the Yiddish Theatre, Back from Broadway, George Gershwin Alone and Monsieur Chopin for the WFMT Radio Network Recordings label;Beethoven, As I Knew Him and An American Story for the Eighty Eight Entertainment label. Worldwide live broadcasts, George Gershwin Alone, July 2005 and May 2011. Current projects include a new musical, An American Story, recorded with Chicago's Ars Viva Symphony conducted by Alan Heatherington. Mr. Felder has been a Scholar in Residence at Harvard University's Department of Music and is married to Kim Campbell, former Prime Minister of Canada.
The artistic team for THE PIANIST OF WILLESDEN LANE is led by Director Hershey Felder with Associate Direction by Trevor Hay. Scenic Design is by David Buess and Trevor Hay , Sound Design is by Erik Carstensen, Lighting Design is by Chris Rynne, Projection Design is by Greg Sowizdrzal and Andrew Wilder, and Scenic Construction is by Christian Thorsen and David Buess. Erik Carstensen serves as Production Manager and the Production Stage Manager is Brett Taylor.
The performance schedule for THE PIANIST OF WILLESDEN LANE is now through Sunday, July 7th. Performance times are: Wednesdays & Thursdays at 7:30 p.m., Fridays at 8 p.m. Saturdays at 2 p.m & 8 p.m. and Sundays at 3 p.m. Tickets are $44 on Wednesdays and Thursdays, and $49 on Fridays, Saturdays and Sundays. Tickets are now on sale at The Royal George Theatre and may be purchased by calling 312.988.9000. Box office hours are 10 a.m. - 6 p.m. Tuesday through Saturday. Tickets may also be purchased online atwww.theroyalgeorgetheatre.com.

review blurbs:

Chicago Tribune - Highly Recommended
"...In many ways, the simple act of Golabek sitting down at the Steinway piano that occupies the stage of the Royal George Theatre is a perfect statement of the play's main themes and enough to make your mouth fall open with a certain wonder at the way of the world. In watching this middle-aged woman's hands move in service of the creation of beautiful music, the sacrifices of her grandparents are made manifest. The Nazis succeeded neither in wiping out this family nor its accomplished artistry, here passed down to the next generation. The Nazis are gone. The piano playing goes on. It's all laid out before you in the most immediate, theatrical way."
Read Full Review
Chris Jones

Chicago Sun Times - Highly Recommended
"...'The Pianist of Willesden Lane," Mona Golabek's exquisitely rendered musical memoir - now in a limited engagement at the Royal George Theatre - begins, fittingly enough, with an exhilarating description of her mother, Lisa Jura, as she boards a trolley in Vienna and heads off to the highlight of her week - a piano lesson. She is 14 years old."
Read Full Review
Hedy Weiss

Chicago Reader - Somewhat Recommended
"...Golabek is a marvelous pianist--bright, strong, agile, and emotive. But as an actress, she's, well, a marvelous pianist. Physically and vocally unsophisticated, she lacks the chops to handle a character who ages from 13 to about 20 in the course of the story. What's more, the story itself isn't that remarkable in the lore of the Holocaust. All Golabek has to say is "Jewish," "Vienna," and "1938," and we've pretty much got the gist. Her obvious urge to valorize her mother doesn't help, either. Ironically, Golabek seems to have a much more intriguing story in the romance and marriage of her parents--but she only gets to that toward the end and leaves a lot of questions unanswered."
Read Full Review
Tony Adler

ChicagoCritic - Highly Recommended
"...The Pianist of Willesden Lane is a story we need to hear as it begs the question concerning how many other children that didn't survive who had much to contribute to humanity? We are grateful that Lisa Jura did survive and we see how her music became her beacon of hope. First Lisa and now Mona do indeed channel their departed relative through the power of music. When Golabek made her beautiful music, I recalled memories of long-gone relatives and friends. The power of music does catapult memories. Mona Golabek's story stimulates us. That is the power of the live stage, especially when it combines rich narrative and music. Miss Golabek tour de force performance is a treasure not to be missed."
Read Full Review
Tom Williams

Around The Town Chicago - Highly Recommended
"...Based on the book, “The Children of Willesden Lane” by Mona Golabeck and Lee Cohen, this 90 minutes is sheer artistry, by the clever adaptation by Felder and the stunning performance by Golabeck. After all, this is her mother’s story and she tells it with great heart and when she sits at The Steinway, I for one can see the emotions that cross her mind as she tells this story of hope, dreams and survival. She opens the play by introducing us to the portrait of the times- that we begin in Vienna in 1938. Her mother, was one of three daughters, but the only one that had the talent of her mother at the piano. All her life, that was her dream- to be a concert pianist. Her mother’s name was Lisa Jura. Her dream was to play in concert at Musikvere. When Lisa goes to her final lesson, filled with happiness, she is greeted at the door of her teacher by a German soldier, and finds that her teacher can no longer teach her, because she is Jewish."
Read Full Review
Alan Bresloff

Chicago Theatre Review - Recommended
"...This once in a lifetime show is important for many reasons. Not only is the story one that should be told over and over again. All must hear how lives were tossed, like seeds, in all directions; families torn apart and lives lost. It is a story of love of music, and piano that helped a young girl cope in such a difficult time. And finally, as the years move on, a real connection from mother to daughter to audience will be lost. Mona Golabek's beautiful love letter to her mother is moving, and rich with moments that will resonate with all audience members for years to come."
Read Full Review
Lazlo Collins

Chicagoland Theater Reviews - Highly Recommended
"..."The Pianist of Willesden Lane" came to Chicago with little fanfare but it has found an audience (the show has been extended to May 25). Part of its success resides in the humanity of its story and part in the perfect pitch performance by Mona Golabek. It makes for a glowing, heartening evening in the theater."
Read Full Review
Dan Zeff

Monday, September 2, 2013

Death and Harry Houdini - Chicago July 2013 part 8

A play that was not on my list originally but came highly recommended by local theater friends was 'Death and Harry Houdini'  by The House Theatre of Chicago (currently performing at The Chopin Theatre).
Another smallish theater, a very quaint building, not an area of Chicago I've been before but I'll definitely be back there some day. This play is performed on an arena style stage (though not elevated, so actually playing on the floor) with audience on 2 opposite sides of the stage, similar to 'Blood and Gifts' I saw earlier at Timeline Theater (see earlier post) the cast is using the stage and the sides where there is no audience as an extension of the stage. Very good use of the space I thought and giving excellent view to all that is happening to everybody in the audience. 

As the 'stage' is at floor level, those on the front rows needed to tuck in their toes at times because the actors use every square inch of their space. It all adds to the charm of a space and set-up like this.

Not having read anything about this play but going blindly on friends recommendations I did not know what to expect... Harry Houdini, yes I'd heard of him, so I was expecting some sort of magic show but this was so much more!


Dennis Watkins, playing Harry Houdini, knows his magic, he does a fair amount of tricks that even sitting front row and knowing he's tricking you I still found it impossible to figure it out... they do things like cardtricks, walking on glass, the person-switch-in-the-box, the man-sawn-in-half and the famous Houdini escape tricks that are amazing!

Apart from the magic, which would have been perfectly entertaining on itself, there was a story to be told, Houdini's obsession with cheating death, how did he get there? why was he like that? who were the important people in his life and what were some highlighting events in his life... it was all there, neatly wrapped up in a two hour performance that was intense, funny, visually stunning and mind-boggling magical .

Set, Sound and Costume design deserve special mention here, 'Death' had a big part in this play and both costume, sound effects and set contributed to Death having an amazing presence on stage without scaring the kids in the audience but still undoubtedly Death.

Truly one of the Highlights of this trip... it's run is over now, but this was already a remount of this show so maybe you will get lucky and see it some day in the future, if you have a chance GO SEE IT, you will not be disappointed.

I saw this play on a friday, and discovered at the theater that every friday night, after the play, Dennis Watkins (playing Houdini) rushes off to another venue in town to do a late night Magic Show. Very impressive, as Houdini is a very physical play, especially for the lead character... hat off to you mr Watkins.

The Prologue
Cast & Crew Information:
Abu Ansari: Mayer Weiss, Ensemble
Johnny Arena: The Ringmaster
Carolyn Defrin: Bess
Marika Mashburn: Cecilia Weiss
Shawn Pfautsch: Theo, Dr Lynn
Tommy Rapley: Death, Hilmar, Ensemble
Trista Smith: Hilmar's Assistant, Ensemble
Dennis Watkins, Harry Houdini

Director/Playwright: Nathan Allen
Scenic Designer: Collette Pollard
Costume Designer: Lee Keenan
Lighting Designer: Ben Wilhelm
Composer/Co-Sound Designer: Kevin O'Donnell
Co-Sound Designer: Harrison Adams
Stage Manager: Brian Desgranges
Assistant Stage Manager: Sarah Hoeferlin
Wardrobe Supervisor: Bridgid Danahy
Master Electrician: Will Dean
Properties Master: Rachel Finn
Costume Manager: Amy Hilber
Assistant Lighting Designer: William C. Kirkham
Assistant Sound Designer: Jeff Kelley
Sound Engineer: Jenna Moran
Flight Choreographer: Justin Verstraete
Assistant Scenic Designer: Sally Weiss

Trailer
from the official website:

June 21st, 2013 to August 18th, 2013
Marvel with us as Houdini battles Death once more
Written and Directed by Nathan Allen
Magic by Dennis Watkins
Run time: 2 hours, 15 minutes with an intermission.
NOW EXTENDED! Our complete cast adds 7 more performances!


LOCATION: The Chopin Theatre
1543 W. Division St., Chicago, IL
See details and directions
PRICE: $40 for Regular Run (through Aug 11), $49 for Extension (Aug 13-18)
TIMES: Performances are Wednesdays, Thursdays, Fridays at 7:30; Saturdays and Sundays at 4:00pm and 8:00pmPlease see the calendar for a complete list of times.

Buy a Membership and save!

AGE LEVEL: Designed for adults, Death and Harry Houdini is suitable for kids that enjoy being a little scared by a story, and can sit comfortably through two 55 minute acts. We call it rated PG-13 for a couple of curse words and a very scary Death figure. Check out this awesome review by a (then) 7 year old. Or READ OURPARENT’S GUIDE.

A ringmaster leads us through the events of Harry’s life, all told through stunning magic, poignant dialogue and original music. We travel from the untimely passing of his father, through his first tent shows with his younger brother Theo, meeting his wife Bess, and beginning a journey towards fame on the vaudeville circuit. All the while, Harry feels Death close on his heels and he won’t rest until he’s conquered him once and for all. Harry will walk on broken glass, swallow razor blades and risk his life in the Water Torture Cell, but will he pull off an escape from Death?

There will be NO LATE SEATING FOR ANYPERFORMANCE.

If you are not present at the starting time of your performance you will either be sat at intermission or have to reschedule your performance for a later date (pending ticket availability) with the Box Office attendant – no exceptions. So please attempt to arrive 30 minutes prior to curtain to ensure you have enough time to get your seats.
REVIEWS and AWARDS
Equity Joseph Jefferson Awards:
Winner for Artistic Specialization – Magic Design to Member Dennis Watkins
Nominations: Best Production – Play Midsize, Best Direction, Best Lighting Design – Midsize, Best Costume Design – Midsize, Best Sound Design – Midsize, Original Incidental Music


Review blurbs
4 out of 4 Stars!
“A highly polished and visually thrilling show … strikingly well-designed and well-executed … MAGIC OF THE VERYHIGHEST ORDER!” – Chris Jones, Chicago Tribune

“…high energy and lack of artifice in a loose, buzzy blend of traditional storytelling, music and spectacle… ATHRILLING RIDE” – Kris Vire, Time Out Chicago

“‘Death and Harry Houdini’ soars on Dennis Watkins’ brilliance as a genuine magician and fearless stuntman…INGENIOUSLY WRITTEN AND DIRECTED by Nathan Allen.” – Hedy Weiss, Chicago Sun-Times

“The folks at the House Theatre of Chicago are celebrating their tenth anniversary by remounting their first show—and IT MAKES FOR A HELLUVA PARTY…Dennis Watkins is simply magnificent as Houdini.” – Kerry Ried, Chicago Reader

Sunday, September 1, 2013

In the Company of Men - Chicago July 2013 part 7

next up: In the Company of Men at Profiles Theatre.

In the Company of Men is written by Neil LaBute, revised from earlier productions and a Movie script, Profiles got the World Premiere.

Neil LaBute is a hit or miss with me, I liked what he did with The Taming of the Shrew a while back at Chicago Shakespeare Theater but saw another play of his some time ago in London and absolutely hated it. I generally enjoy the productions at Profiles Theatre though and it got great reviews and it was directed by Rick Snyder... plenty of reasons to add LaBute's newest play to the schedule. This one I liked very much, not top of the list but close.

‘Let’s hurt someone... really mess them up.”

I won't give away the story, but it's brutal, there are 3 lead actors, all three were great, though I thought the girl playing the deaf woman was not always consistent in her manner of speaking, but that's really nitpicking.

I had not seen the movie before coming to this play, did not know much about the story so sat back and enjoyed... it took a while to get sympathy for the lead male characters, they come across as egotistical men (especially Chad), slowly we see a more sensitive side and I kind of got swept away by the story... only to discover how much we were all fooled... all in all an excellent play, I sympathized with all characters at some point, I hated all characters at some point and in the end sat back and thought about how I missed the clues (if there even were any) of the big lie. 

great cast, great space... I think even that abominable play I saw in London could improve much by this Company.

Why is it not top of my list? well, mostly because I have seen an amazing array of fantastic work this trip so it was a huge fight for the top of the list... but also because no matter how much I liked the play, I did not like the end, it was a bit to much for me and could have done without that last scene.






from the official website:

In the Company of Men
World Premiere
by Resident Artist Neil LaBute
Directed by Resident Artist Rick Snyder

May 16 - July 28, 2013

Profiles Theatre presents the World premiere of Resident Artist Neil LaBute’s revised stage version of In the Company of Men, now playing at The Main Stage, 4139 N. Broadway. Directed by Profiles Resident Artist and Steppenwolf ensemble member Rick Snyder, the production is now playing and has been extended through July 28, 2013.

Profiles Theatre presents the professional debut production of Neil LaBute’s revised stage play, In the Company of Men. The script, performed in various incarnations as a play at earlier stages of LaBute’s writing career as both a student and otherwise, was eventually made into the acclaimed film released in 1997 launching the careers of star Aaron Eckhart and Neil LaBute as a filmmaker and playwright. When it premiered at the Sundance Film Festival, In the Company of Men created a firestorm of controversy with wildly divergent yet passionate opinions. It received the Independent Spirit Award for Best First Screenplay, the Filmmaker's Trophy at the 1997 Sundance Film Festival and The New York Film Critics Award for Best First Feature.

Two frustrated young executives vent their pent-up rage via a childish prank and end up paying a price in the psychological dark comedy, In the Company of Men. Former college buddies Chad and Howard, now in their late 20s, work for the same company. When the two begin expressing their mutual frustration regarding their lack of rapid advancement at work and their recent bad luck with women, they hatch a nasty scheme: Find a vulnerable young woman to court, slather with affection, and then callously dump. They choose a lovely, hearing-impaired typist named Christine, but soon their scheme creates escalating tension and psychological games not only with hapless Christine, but also with each other.

Resident Artist and Steppenwolf ensemble member Rick Snyder directs the World premiere production of the revised script of In the Company of Men following his acclaimed Profiles productions of A Behanding in Spokane, reasons to be pretty and the Jeff Award-winning Killer Joe (Production, Director, Principal Actor). Guest Artists for In the Company of Men include Jordan Brown as Chad, Brennan Roche as Howard and Jessica Carleton as Christine. Appearing in ensemble roles are Dennis Bisto, Alex Fisher, Kroydell Galima, Shelby Garrett, Poppy Golland, Sarah Herndon, Joseph W. Moore III and Laura Leonardo Ownby.

"I'm so excited to be putting this early work of mine into the hands of my trusted collaborators over at Profiles Theatre,” says playwright Neil LaBute. “The film was a fantastic experience for me personally, but I've always hoped that the script would make its way back to the stage. I've truly enjoyed the creative process of adapting the original play for the screen and now turning it back into a play again. I think it's in perfect hands with Joe, Darrell and Rick. I feel that these characters will still resonate with audiences and I know that Profiles will take In the Company of Men for the ride that it deserves--they never pull punches at Profiles and I love the artistic relationship that we have fostered together over the past few seasons. I consider myself a lucky man to still get work done regularly in Chicago and I believe I have a genuine home for that work at Profiles."

The stage version of In The Company of Men is produced by special arrangement with LaBute’s longtime collaborator and one of the film’s original producers, Stephen Pevner of Stephen Pevner, Inc and Company One Productions. 

Review Blurbs:

“Highly Recommended! Profiles Theatre knows how to nail the juicy plays of Neil LaBute. Aside from his mordant wit and whip-fast pace, the director Rick Snyder's great strength here is in the way that he fleshes out the cubicle Satan and his sidekick, focusing on the moments when the faintest glimpse of compassion or complexity flicker across their brows. Jessica Carleton avoids the traps of sentimentalism but also breaks down with a level of realism so intense that it's kind of shocking. LaBute certainly has made this into a viable and wickedly amusing stage piece!”
-Chris Jones, CHICAGO TRIBUNE


“Highly Recommended! Rick Snyder has assembled an ideal cast. Jordan Brown is chilling for the full force with which he plunges into his reprehensible character and Brennan Roche is a fine mix of nerdy, bright and real. Jessica Carleton is utterly beguiling as a woman whose every vulnerability is played on, and whose exhilaration at suddenly being desired leads her to make bad decisions and an ensemble of eight actors creates just the right sense of office politics!”
-Hedy Weiss, CHICAGO SUN-TIMES


“Highly Recommended! Directed to chilling impact by Rick Snyder for Profiles Theatre, the 90-minute piece peels back the facade on entitled, violent, men who are driven by fear and rage. The production is grounded in reliably well-wrought performances. Jordan Brown crafts a portrait of a young man who embodies the male gaze at its most malignant and Jessica Carleton manages the meltdown with a believability that brings that LaBute's psychosexual parable of white male privilege to a wrenching end!”
-Catey Sullivan, CHICAGO MAGAZINE


“Recommended! LaBute's main target is the false equivalency perceived by the broken-hearted between pain felt and pain intended, a concept explored in Rick Snyder's level and often bitingly funny production. Jordan Brown gives a virtuosic comic douchebag performance as LaBute's black comedy evolves into a nuanced satire of misrepresentations of strength and the privileged class!”
-Dan Jakes, TIMEOUT CHICAGO


“Highly Recommended! In ninety chilling minutes, Rick Snyder’s kinetic staging crackles along with LaBute’s pulverizing dialogue. Jessica Honor Carleton makes Christine’s sudden loss of innocence and trust as palpable and shocking as an earthquake while Jordan Brown’s smooth-faced duplicity comes straight from hell. This show is definitely a must-see!”
-Lawrence Bommer, CHICAGO THEATER BEAT


“Highly Recommended! Rick Snyder expertly directs this talented ensemble and Thad Hallstein’s high tech, chrome-accented set is stunning. Jessica Honor Carleton is sweetly earnest and heartrending as Christine and Brennan Roche is a sadly likable, easily-manipulated Howard, but it’s Jordan Brown’s charming, cruel, immoral anti-hero Chad who stands out, haunting you long after the final blackout!”
-Colin Douglas, CENTERSTAGE


"Highly Recommended! LaBute’s revised version of IN THE COMPANY OF MEN is a fascinating study of pervasive malevolence. This show is a piece of work, charged by director Rick Snyder with the tension of a murder mystery and raised off the page into palpable life by three skilled actors!"
-Lawrence Johnson, CHICAGO ON THE AISLE


"Highly Recommended! Director Rick Snyder has guided IN THE COMPANY OF MEN's return to its stage roots immaculately with great performances all around in the company. A brilliant and deliberately nasty piece of work!"
-Scott C. Morgan, WINDY CITY TIMES


“Highly Recommended! The revised stage version of IN THE COMPANY OF MEN comes wonderfully off the screen once again at Profiles Theatre under the direction of Rick Snyder. Jordan Brown delivers Chad’s narcissistic rants and raves with such wit and humor you actually find yourself liking the guy and Brennan Roche gives Howard a heart, a brain and a backbone. Jessica Carleton did a wonderful job of the rounding out the character to more than just a hapless victim!”
-Joseph Hillenmeyer, SHOWBIZ CHICAGO


“Highly Recommended! IN THE COMPANY OF MEN haunts after our viewing of this black comedy is over. We're drawn to Christine, and much credit for that is due to Jessica Carleton's beautiful performance, making us feel empathy for her situation, but not pity. Director Rick Snyder gives the 95-minute intermissionless piece crisp direction—with the action moving briskly and cinematically between scenes!”
-John Olson, TALKIN’ BROADWAY


“Highly Recommended! This deliciously mean-spirited dramedy is still boldly unapologetic. Neil LaBute’s play IN THE COMPANY OF MEN is newly revised in a relentless and gutsy production at Profiles Theatre. Jordan Brown perfectly captures Chad’s ruthless ambition to win and as an effective counterweight, Jessica Honor Carleton gives a pitch-perfect performance as the deaf Christine. Brennan Roche succeeds in reflecting the audience’s own sense of rage-filled frustrations while remaining still charming!”
-Anthony J. Mangini, CHICAGOCRITIC.COM


“Recommended! As a portrait of malice at its most devious and relentless, the play carves out its own niche in modern American drama. Jordan Brown is a perfect physical choice to play the manipulating Chad and Brennan Roche is an effective Howard. Jessica Honor Carleton is the latest in a continuous stream of young little known actresses that Profiles casts in leading roles with bulls-eye accuracy. The entire audience will depart knowing its been taken on an engrossing if perverse ride!”
-Dan Zeff, CHICAGOLAND THEATER REVIEWS


“Highly Recommended! The World premiere of IN THE COMPANY OF MEN gives an imaginative and twisted look into the ladder climbing employee world. And for good measure, it's peppered with a thriller plot set to a love triangle. Jordan Brown is in fine form as the brash Chad, Brennan Roche is even better as Howard, and Christine is captured quite nicely by Jessica Carleton!”
-Phil Potempa, NORTHWEST INDIANA TIMES

Saturday, August 31, 2013

Boeing Boeing - Chicago july 2013 part 6

Sunday I had a double feature planned: the Steppenwolf matinee of Slowgirl (see earlier post on that - and the reason I was there again) which had a perfect scheduled time to run over to Oakbrook and see the farce Boeing Boeing at Drury Lane Theatre which had a curtain of 6 pm.

Normally Chicago's suburbs are outside my theater scope on trips like this, lots of things to choose from in the City itself and getting there on public transport is often a hassle. But I was lucky to get a ride from friends who were willing to pick me up from Steppenwolf Theater with roaring engines to make it in time to Drury Lane Theatre.

When I told a friend a few days before I would see Slowgirl on Sunday, he invited me to get together after the show, I had to decline because I had plans to see Boeing Boeing after he looked at me thinking he heard wrong... "you are seeing two shows back to back?"... LOL yes! I love theater, what can I say...

One of the main reasons I went all the way out to Oakbrook though was because my good friend Dennis Zacek directed Boeing Boeing and we were going to see it together. I've never had so much fun at a Farce before... it's not a favorite type of theater for me, but I go on occasion, and sitting next to the person that directed it was a wonderful bonus.

The show itself was very funny, a bit dated of course since the main plot relies on fixed airline schedules in a time that apparently airlines made their time slots much better than they did now. Uncomplicated light and fluffy was nice for a change. The cast was excellent, well tuned to each other and obviously comfortable in their roles. Drury Lane Theater is huge (they often host the big musicals) and for a performance with an awkward curtain time of 6 pm there were a lot of people there, close to sold out!  Judging from reactions around me all had a great time.

"you know that you will see a Farce when you enter a theater and the set has many doors" 

this is so true, and as the genre is mostly predictable in storyline, the production has to make up for that in cast performances and the odd surprising (subtle) added touch. This production had it all, thanks my dear friends for coming with me (and making sure we made it in time) and thanks D for the added dimension...




The Three Fiancees for our convenience in blue, yellow and red.


 Photos: Brett Beiner


from the Broadwayworld announcement:

Drury Lane Theatre, 100 Drury Lane, presents the Tony Award-winning 2008 Broadway revival version of the hit comedy BOEING-BOEING, previewing June 13, opening Thursday, June 20 at 8 p.m., and running through August 4, 2013. BOEING-BOEING stars Saturday Night Live alum Nora Dunn as"Berthe" (Dunn was Meryl Streep's co-star in the Nancy Meyers film It's Complicated; her TV credits include Curb Your Enthusiasm, Entourage, Private Practice, Psych and Franklin & Bash; and she recently starred in Nora Ephron and Delia Ephron's play Love, Loss and What I Wore at the Broadway Playhouse in Chicago).

The cast also features Jeff Award winner Stef Tovar as "Bernard" (Ragtime and Sugar at Drury Lane Theatre, South Pacific at Marriott Theatre, A Twist of Water at Mercury Theater Chicago, and the Steven Soderbergh filmContagion); Daniel Cantor as "Robert" (National Tour of Picasso at the Lapin Agile, Fish Men and Rabbit Hole at Goodman Theatre, and The Comedy of Errors at Chicago Shakespeare Theatre); Jeff Award nominee Dina DiCostanzo as "Gabriella" (Hairspray at Drury Lane Theatre and My One and Only at Marriott Theatre); Jeff Award nominee Katherine Keberlein as "Gretchen" (Fifty Words at Profiles Theatre) and Kara Zediker as "Gloria" (A Summer Remembered at Steppenwolf Theater, the Steven Soderbergh film Contagion, and the John Hughes film Uncle Buck). Dennis Zacek (former Artistic Director at Victory Gardens Theater and recipient of the 2001 Tony Award for Outstanding Regional Theatre) will direct the production.

BOEING-BOEING was hailed as "Pure pleasure and unconditional bliss!" by The New York Times; named one of "The funniest plays to hit Broadway in ages!" by The Wall Street Journal and called "The funniest show on the London stage!" by The Daily Telegraph. The production, written by French playwright Marc Camoletti and adapted by Beverley Cross, originally opened in London in 1962, followed by the Broadway premiere in 1965. In 1991, BOEING-BOEING was included in the Guinness Book of World Records as the most performed French play throughout the world. There has since been a London revival in 2007, a successful seven-year run in the West End, and a Tony Award-winning Broadway revival in 2008, which was adapted by Francis Evans.

Set in Paris in the 1960's, this comedy follows the the flighty tale of Bernard, a jet-setting architect who is juggling three flight attendant fiancées with the help of his reluctant housekeeper. When his old pal, Robert, arrives at his swanky bachelor pad, Bernard proudly unveils his ingenious scheme. Despite his clever arrangement, Bernard's life starts to unravel when a new turbo-charged Boeing is introduced. In a hysterical whirlwind of mayhem, Bernard finds out that one woman is all he can handle.

The lavish set, featuring an opulent Parisian ballroom, is designed by Sam Ball (Professor Emeritus at Northwestern University whose credits include the Broadway premiere of Ride the Winds; more than 100 productions at venues including the Lyric Opera, The Seattle Repertory Theatre and The Orlando Shakespeare Festival; and the American premiere of Sir Michael Tippet's opera, The Knot Garden). The City of Light is brought to vibrant life by Jeff Award-winning Lighting Designer Jesse Klug (Gypsy, The Sound of Music, Sweeney Todd and Spamalot at Drury Lane Theatre and The Screwtape Letters National Tour). Chic retro costumes are by Christine Pascual (The Elaborate Entrance of Chad Deity at Victory Gardens Theater). Sound Design is by Lindsay Jones (Drama Desk nomination for Wild With Happy at The Public Theatre). Props Design is by Nick Heggestad, Resident Properties Designer at Drury Lane Productions.


Review blurbs:

Chicago Tribune- Somewhat Recommended
"...The script is funny, and that's enough for some good summer laughs, and there is an elegant (although weirdly roofed) set from Sam Ball, along with glamorously retro uniforms designed by Christine Pascual. But my, could this show use an injection of ... well, let's see. Paris. Stewardesses. Bedrooms. A handsome playboy. The frolic of the jet-set life in 1962. You don't need to be a fan of "Coffee, Tea or Me" to figure out that the necessary jet fuel here is sexual energy. And that needs everyone in the same room."
Read Full Review 
Chris Jones



Chicago Sun Times- Highly Recommended
"...‘Boeing-Boeing,” now in an aptly zany and breathless revival at Oakbrook’s Drury Lane Theatre, is pure cotton candy — an ideal escapist entertainment for the dog days of summer."
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Hedy Weiss


NewCity Chicago- Somewhat Recommended
"...The acting company deftly manipulates the seven doors at their disposal. Zacek has tightly staged the entrances and exits-the impetus of all farcical conflict, really-so that a door opens just as another one closes, almost never for good as the famous aphorism might suggest. When the wrong-colored bag is left on the settee or the revolving photograph isn't tuned to the right gal, the Drury Lane audience churns with anticipation, but the antics never get people as revved up as they could. Though the spoken sexuality of the script is innocuous, allowing that element to take a backseat to all things sugary is detrimental. The most important tenet to remember in a farce like "Boeing Boeing" is that sex is everyone's problem as well as everyone's solution."
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Johnny Oleksinski


ShowBizChicago- Highly Recommended
"...The Drury Lane production of “Boeing Boeing” proves to live up to its timeless reputation. Set in Paris during the 1960’s, this comedy follows the story of Bernard, who is an American businessman who makes his home in Paris. Bernard has a groovy bachelor pad, a maid, and three flight attendant fiancées who he manages to juggle to satisfy his needs. Bernard seems to have everything under control with his fiancés visits by managing their flight schedules and interchanging their photos on his desk. When the various airlines decide to introduce a new turbo-charged Boeing to improve their service, Bernard’s fool proof plan becomes complicated. This change alters the stewardess’ flight schedules and Bernard’s control. Bernard’s extremely confident, cocky attitude is altered when his excellent arrangement ends up crashing and burning. By today’s standards the plot is very sexist. However, during the 1960’s this story line was exciting and routine. Most men strived to be Bernard. In fact, some men may still like his lifestyle. However, I don’t know many of today’s women who would tolerate being juggled with other women, or any man’s jet-setting behavior or life style."
Read Full Review 
Russell Goeltenbod


ChicagoCritic- Recommended
"...The result is a manic whirlwind of mayhem that produces many laughs and constantly keeps us guessing as to what will happen next. The writing is scrip, smart and clever. The cast is wonderful with their timing as each character exhibits their own peculiar traits that makes them unique and empathetic. We cheer for Bernard as Stef Tovar exudes as a nice-guy even as he is a bit of a rascal. Nora Dunn steals some scenes with her awesome comic timing. Each of the ladies have their moments but this farce is really Daniel Cantor’s show. As the nerdy Robert, Cantor has the tough task of helping cover up and explain away much of the decitiful antics that Bernard’s plans necessitates. He is instrumental in saving Bernard from embarrassment while also gaining some love experiences. He is a hoot in this show! All the players learn lessons from the romp. We enjoy this well-oiled comic machine as the laughs keep coming. Director Dennis Zacek keeps the action tight and the flow brisk. It is delightful to see such a fine cast putting everything them have into the material. The result is a comic treat."
Read Full Review 
Tom Williams


Around The Town Chicago- Highly Recommended
"...Pulling off a “farce” is one of the hardest tasks of any acting company and its director. Over the years, we have been treated to many such comic tales where timing is of course the essential and many doors are used to “work the room” ( so to speak). Drury Lane Theatre, known for its wonderful musicl productions, each year, brings us one comedy, non-musical and for this season’s non-musical, they are reviving the “revival version” of “Boeing-Boeing”, written by Marc Camoletti ( translations by Beverly Cross and Francis Evans) and directed to perfection by Dennis Zacek ( one of our town’s finest)."
Read Full Review 
Alan Bresloff


Chicago Theatre Review- Recommended
"...Dennis Zacek's production moves with the clockwork precision necessary for well-executed farces. In the first act, Zacek carefully introduces his characters, lays out the improbable situation and supplies all the necessary exposition, allowing his audience to learn what they need to know to enjoy the rest of the play. Then he ratchets up the energy and continues launching hell-bent into unavoidable conflicts that become frenzied and provoke unstoppable laughter. But this director understands when it's time to apply the brakes and allow his audience a few quieter moments in which to savor a finale where (unbelievably) all loose ends are tied up and conflicts are happily resolved."
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Colin Douglas


Chicagoland Theater Reviews- Somewhat Recommended
"..."Boeing-Boeing" has been criticized on political correctness grounds, especially in the treatment of the three young women as gullible sexpots easily manipulated by the horny Bernard. But the play has no social agenda. It set itself out to be a slightly risque romp intended to disarm the viewer by the sheer velocity and complexity of its narrative twists and turns. In a perfect theatrical world, that should suffice to send the customers into consistent fits of giggles and belly laughs. But if the show doesn't work as break neck comedy, it has little to fall back on in terms of eloquent language or depth of character. It's all or nothing, and this production regrettably descends too close to nothing."
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Dan Zeff