Somewhat recommended**

While it might be authentic in parts as to what it takes to create a musical, this is around 100 minutes of what these writers did to create a show that made it. If this is a show that made it, then I would love to see what the competition was. The four actors that bring this hsow to life, directed by Peter Amster on the near bare stage of Northlight, with musical direction by Doug Peck ( one of the shining moments in the 100 moments we sat) are strong singers with some solid talent, but, to be fair the show itself is not worthy of the talent they bring to the stage-

The two writers are played by Stephen Schellhardt ( Jeff) and Matthew Crowle( Hunter). They both have solid voices and work hard to make this story have meaning to the audience. The women they bring into the show are the delightful Christine Sherrill ( Heidi) who has a powerful voice and McKinley Carter ( one of my favorites, whether it be The Marriott,Goodman Theatre or Shakespeare) as Susan. These ladies, base don the script really never had a chance, but they are fun to watch onstage and both are terrific singers.

There is no set to speak of and the lighting(Christine A. Binder) is perfect for hwta they do as are the simple costumes(Rachel Laritz). Victorio Delorio’s sound is perfect as we hear every word, and while this is based on an actual story about the writers of the play, who entered a contest with a play about two writers who enter a play and write a musical about two writers who write a play- A wonderful concept with some songs that will make you tap your feet, but to be honest, not up to the standards that Northlight has set over the years.

Tonight’s audience was made up of mostly couples with an average age of 60 or so. Many of them did not “get it”, but most laughed at the right places an dthe man behind me fell in love with Chritine Sherrill when she sang “A Way Back To Then” ( I may have done so as well). I found most of the music fairly weak ( that song really hit a chord) , but the show has some entertainment value as it gives us an inside look at what the determination of a writer can be and of the actresses who sign on and want to see success.

The role of Larry, the piano player is handled by Musical director Doug Peck, who is one of the best and although he is only allowed to speak when the “union” says it is okay, he makes the piano sound like a band and the melodies feel good and when he does speak, he is funny!

“(title of show)” will continue at Northlight Theatre located at 9501 N. Skokie blvd, in Skokie through June 10th with performances as follows:

Tuesdays, (May 29th only), Wednesdays and Thursdays at 7:30 p.m.,Fridays and Saturdays  at 8 p.m. and Sundays at 7 p.m. ( except 5/13.5/20 and 6/10)

Matinees and afternoon performances are: Wednesdays at 1 p.m. ( except  5/23), Saturdays at 2:30 p.m. and Sundays at 2:30 p.m. (except 5/20 and 6/10)

Tickets range in price from $25-$65 and those under 25 can buty a ticket for $10 ( subject to availability)

The box office is located at 9501 N. Skokie Blvd in Skokie ( just south of Golf Road) near Old Orchard with plenty of free parking. To order your tickets visit the box office, call 847-673-6300 or visit www.northlight.org.

to see more on this show, visit the review roundup at www.theatreinchicago.com and click title of show.

The set(Brian Sidney Bembridge,U.S.A.) is unique ( as are most of the sets at TimeLine) in that with its levels it can be many locations with very little added. It is a police station, many different kitchens, an interrogation room, a conference room and a court of law as well as a prison cell and a fire escape. Bembridge has designed a set that fits all these and never leaves us questioning where we are. Bowlings’ direction has these rooms/areas being used by different people as different areas as we go from scene to scene and the smoothness of the transitions adds to the mystic of the production.

Otha is on death row for the murder of three people, which he claims he did not commit. He has been in jail for many years and now an attorney, Robert Morales ( deftly handled by Derek Garza) comes to advise him that he is going to see if he can get a new trial, but first they must have a hearing, as rumors of torture to prisoners have been exploding in the city. Otha, who is sure that the system will beat him and he will die. What Conroy does is explore the events that took place, intertwining the officers who made the arrest and questioned him ( Dan Breen ( a strong character played by David Parkes) and George Dawson (the always reliable A.C. Smith) who was more background at the south side station house.

We learn through Otha’s retelling of the events of that night a great deal about not only these officers, but the prosecutor ( Maggie Kettering) and Otha’s parents, Rita ( as always, a powerful performance by Ora Jones) and estranged father Albert, a police officer himself ( Trinity P. Murdock). as we learn of the night in question and watch how the events change the lives of all the parties concerned. This is a strong drama that takes the scandals we have read about and heard on the news to a different level, live, on the stage, it seems more real and is somewhat more human, as is the young man who has been tortured and awaits his death. His family has been destroyed emotionally and as the story progresses, we see the effects of these revelations on those who thought they were helping the people of Chicago.

One might call this a chance for people to examine the amazing history of what took place during these times and how some young mis-guided police officers, under the direction of their leader, tried to do what they felt would be best for the community- get the bad guys off the street. What “My Kind Of Town ” does is allow the audience to get an in depth look at what we only know on the surface by bringing it to life; the situation and the people and of great importance to look at today’s culture in regards to law and order.

In the final scenes of the story, we are shocked to learn that our young Otha, may or may not be guilty of the crime accused of. In fact, we never really know for sure, but the point of the story is not if he did or did not light the fire that caused three people to die, but rather, did the police, for whatever reason, have the right to do what they did to him. Did his torture and ultimate confession save anyone else from being harmed? Did what they did do any good for anyone at all? In fact, many lives were destroyed or disrupted or changed because of the events on that particular night and as we have learned over the years, many an innocent man endured the torture that is shown in this production, for no reason at all.

This is a finely tuned cast bringing these characters to life. In addition to the above mentioned, Danica Monroe as Ann Breen, and Carolyn Hoerdemann as her sister. Gardner is a standout in his portrayal of Otha with great energy, but the entire cast makes this production one that should be seen! I will say that the storyline and the language may not be suitable for younger children, but high schoolers ( mature) will learn a great deal form the words of Conroy. The costumes by Alex Wren Meadows,, Nic Jones’ lighting,original music ( perfect in every way) and sound by Mikhail Fiksel,U.S.A. and the projections by Mike Tutaj alone with the vast array of props handled by D.J. Reed are just the icing on a cake that is perfection. If you love history, if you love mystery, if you love cop stories, you will love this show. I know that I did!

“My Kind Of Town” will continue at TimeLine Theatre located at  615 Wellington ( just west of Broadway) through July 29th with performances as follows:

Wednesdays and Thursdays at 7:30 p.m., Fridays at 8 p.m.,Saturdays at 4 and 8 p.m., and Sundays at 2 p.m. ( no performance on June 24th)

To purchase tickets call TimeLine at 773-281-8463 or visit www.timelinetheatre.com

Tickets range from $32-$42 and students receive $10 off ( with valid ID).

TimeLine has post show discussions following shows on 5/16,5/20,5/24,5/27,6/6,6/14.6/17,6/20,6/28 and 7/8.

On Sunday, June 10th, the Sunday Scholars Series there will be a one hour panel discussion with experts on the themes and issues and on 7/1 another with company members.

to learn more, visit www.timelinetheatre.com

Parking for the theater, at a discount is available at the LAZ parking lot, 3012 N. Broadway ($62.5 for 3-5 hours); Standard Parking at Broadway Center , 2846 N. Broadway is available ( with validation) for $8 up to 6 hours. There is also some limited free street parking ( watch the signs) and of course some metered. Running time 2 hours 10 minutes ( with one intermission)

The story takes lace at the turn of the century ( 1800′s to 1900′s) in Sweden. Fredrik Egerman ( played exquistely by Jonathan Weir, who truly shows his vocal range in this show) an attorney has married a very young girl, Anne (an adorable interpretation by Kristen French) but in his heart longs for a lost love of his past- Desiree Armfeldt ( a glorious portrayal by Shannon Cochran), a famous actress, who is desired by most men. When he takes Anne to the theater, his eyes meet Desiree’s and the sparks of yesterday begin to rekindle.

Meanwhile Desiree has her own lover, one Count Carl-Magnus Malcom ( Chicago favorite Brandon Dahlquist, who clearly understand Sondheim’s works). The Count of course is a married man ( Tiffany Scott deftly handles this role). When Desiree asks her mother Madame Armfeldt ( Deanna Dunagan owns the stage when she is on it) to invite the Eggermans to her estate for the week-end, to keep the fire lit, The Countess decides to bring the Count as well, in order to make him see the light.There are other little stories that make this a slick comedy, as Fredrik has a young son ( a bit older than his new wife) who is studying to be in the ministry (Royen Kent) who finds himself attracted to all women, but in particular , his step-mother.

This grand “Week-end In The Country” becomes the leveling off place for all of the love birds in this story as we watch them play a cat and mouse game with each other. What happens during this week-end is that each of the lovers finds the right love and all “live happily ever after”. The ensemble is a uniquely strong one, made up of fine singers/actors; J. Michael Finley, Brianna Borger( who plays the “wench” to perfection) and Cory Goodrich ( always fun to watch). The last character is Desiree’s daughter, Fredrika, who has been raised by Madame Armfeldt. Once you hear her name, you will know that, as Paul Harvey used to say, there is a “rest of the story”. Shannon Corey makes her professional debut in this role and she couldn’t pick a better opportunity that this.

It is amazing that we are able to watch this wonderful musical with very little “glitz” and yet not lose any of the story. In fact, with the simple sets ( Kevin Depinet) and great lighting (Jesse Klug) along with sound (Andrew Hanson) that fills the room, we, the audience, have a better opportunity to absorb the content of the story and hear the words of the greatest wordsmith in “Musical Theater”, Stephen Sondheim. Rachel Anne Healy’s costumes are sheer perfection and the work of musical director Valerie Maze and music supervision by Roberta Duchak truly shows in the musical numbers. Songs like “Remember”, “A Weekend In The Country” and others add to the story, but the song that everyone is familiar with from this show, “Send In The Clowns” truly makes sense, as a song, after seeing where it fits in this musical. Special kudos to Nick Heggestad for his great props ( some looked very antique) and John Tunick for his orchestrations.

Writers’ Theatre is a wonderful company that continues to bring solid productions to the North Shore, bot at Tudor and at their smaller space in the back of the Books On Vernon shop in “downtown” Glencoe. If you have never been to one of their productions, this might be the perfect opportunity for you to spread your wings and take the trip- Glencoe is easy to get to and Writer’s makes it worth the trip.

“Night Music” will continue through July 8th with performances as follows:

Tuesdays and Wednesdays ( except July 4th) 7:30 p.m., Thursdays and Fridays at 8 p.m. , Saturdays at 4 and 8 p.m. and Sundays 2 p.m. and 6 p.m. ( no show May 20th or July 1st).

Tickets range from $45-$65 and are available at the box office located at 376 Park Avenue ( the aforementioned Book store), by phone at 847-242-600 or online at www.writerstheatre.org where you can also get info on trains, are dining and future shows.

For other views, visit the A Little Night Music page at www.theatreinchicago.com

This gentle clash of ideas, dealing with  the existence of God, love, sex an dthe meaning of life ( suggested by the book “The Question of God” by Dr. Armand M. Nicholi, Jr.) may all be fiction, but could be what a meeting between these scholars could have been. In this extraordinary production, we have two fine actors bringing us real men in a meeting where Sinclair  thought he was being called “on the carpet” for satirizing Freud, but soon finds out that this is not the intent of this brilliant psychoanalyst. They debate all the issues that man has faced for years ( and will continue to) in a manner that is filled with humor as well a sthought provoking issues. Freud, faced with death by the cancer that ha splagued him, tells Lewis that he rady to die and would rather do so sooner than later. This is one of the more meaningful discussions between the two men who sort of play a chess game throughout the 100 minutes ( no intermission), each trying to outdo the other when it comes to ideology on these topics.           

As strong as I felt the original production was, I found this to be far better and to be honest, watching Nussbaum on any stage any time is a treat for theater-goers. If you have anyone interested in pursuing a career in theater, make sure they get to see this production. It is like taking a course in acting just to watch him work. Goss is no shirker either. Except for his costume, which was a bit small and became distracting in the beginning, he holds his own with Nussbaum. After awhile, the short tight jacket was lost due to his amazing portrayal of the young voice in the world. The set(Brian Prather) and the lighting(Clifton Taylor) as well as the sound (Beth Lake) and direction(Tyler Marchant) remain as tight as they were in the original production, but it is the cast, two brilliant performers who make this the shortest 100 minutes of theater you will ever see. In fact, there were people in the audience who wanted even more! That says a lot about a production.

You now have until  July 15th to have your chance to see one of the best productions you will see this  year, with performances as follows:

Wednesdays at 2 p.m. and 7:30 p.m.,Thursdays at 7:30 p.m.,Fridays at 8 p.m.,Saturdays at 2 and 8 p.m. and Sundays at 1 and 5 p.m.

Tickets range from $45 to $59 with student tickets available at $22 ( with valid ID) and can be puchased at the theater box office ,3745 N. Southport, by phone at 773-325-1700 or online at www.mercurytheaterchicago.com

Appropriate for ages 13 and up. To learn more, visit www.FreudsLastSession.com

The Mercury Theater has undergone some changes- a luxurious lobby that sports some bathrooms and is now flanked by two restaurants, both with great menus and outdoor dining ( weather permitting) Parking can be a bit tough ( in particular if the Cubbies are in town) but valet parking is available and public transportation is not that far away. Don’t let that get in your way. This is a MUST SEE!

The cast of energetic players, led by Alan Schmuckler as Mark Cohen ( a perfect choice for the character) and Derrick Trumbly as Roger Davis. While Derrick doesn’t have the usual look of Roger, the heart and sould he puts into the character far outweighs his look and vocal range. Alex Agard is the perfect Tom Collins ( what a strong voice!) and Estaban Andres Cruz handles Angel in a different, playful way. Angel has always been more feminine, a true transvestite, but in this production, we know he is a Gay man who dresses as a woman to earn his keep. We do see the spirit of the character in greater depth than in the original. In fact, part of what this production does is take away some of the glitz of the fancy sets and costumes in order to bring us into the souls of these struggling artists- people who are struggling to survive in the late 90′s, just before the Millenium.

There are very few flaws in this challenging production. The band led by Timothy Splain, which has been placed on a makeshift deck above the actors is a little to loud at times, although never losing touch with the music and the meaning of what Larson was trying to accomplish. Only a few actors were miked an dfor the most part, we never lost more than in the opening number Songs like “Seasons of Love” were still as beautiful as ever. In fact, although the voices were not as powerful as most will remember from previous productions seen in Chicago ( or elsewhere), I found that the interpretation made it work. I would have loved Grace Grealey ( a stunning Mimi Marquez) to have been miked only so her lovely tones could have been heard throughout the room,

Lili-Anne Brown (Joanne) and Aileen May ( Maureen) made a lovely couple and the interaction with Mark was just a little more real than in previous interpretations. Tony Santiago plays a mean Benny and the hard working ensemble; Luke Wygodney,Anji White,Steve Tomlitz,Tyler Ravelson,Danielle Plisz,Aaron Neslon and Kara Beard, who play many parts add a great deal to the story and the musical sounds of Larson’s lyrics.

What makes a show like this work is the “togetherness” of the cast ( and crew, as they are a major contributor )- they all work together from start to finish ( 2 hours thirty minutes with a 15 minute intermission). The stage manager ( Helen Laftyak) has to make sure that all the pieces of this puzzle go into the right places as with an open stage area, furniture and set pieces must be moved off the stage while action is going on in another area and costumes (Designed by David Hyman) have to be at just the right spot for the quick changes. Collette pollard’s set is pretty simple, yet each item used as a set piece has importance and property master Katherine Greenleaf does a great job ( and resale store would be excited about the items she has amassed with her staff). Victorio Delorio  and Lindsay Jones( sound) do the best they can under the circumstances making sure that for the most part we do hear it all . This is a large barn-like structure where sound gets lost in the rafters. The Choreography by Jessica Redish is fairly simple as well- this is not a dance show!

“RENT” is a rock version of “Puccini’s “La Boheme” with the story being moved to the 90′s, struggling artists during an economic depression- they are hungry, cold and many had no idea if they would have a place to sleep. They are creative, and yet there is no audience for this creativity. This was also a time when the AIDS epidemic was making news. Many of us are unaware of what these problems really are, only what we read and see on TV and movies ( for the most part) and Larson made us more aware of this. This new production by  ATC and About Face reminds us of what is happening even today, in major cities- many are without jobs ( not just artists) and live from day to day. “RENT” is still happening and even the “RENT” followers who don’t like change will find something new to think about in this production.

“RENT” will continue through June 17th at ATC, 1909 W. Byron Street ( just East of Lincoln Avenue, one block South of Irving Park) with performances as follows:

Wednesdays, Thursdays and Fridays at 8 p.m.,Saturdays at 3 and 8 p.m. and Sundays at 2 p.m.

Tickets range from $45-$50 and can be purchased at the box office, by phone at 773-409-4125 or online at www.atcweb.org

to see more on this production, visit RENT at www.theatreinchicago.com

The title of the play is inspired by the Woody Allen joke ” If you want to make God laugh, tell him your plans” and so we follow this family through the ups and downs of their years after leaving the nest. Jimmy ( the always reliable Craig Spidle) and his Ruthie ( a wonderful and heartwarming performance by Peggy Roeder, are empty nesters, and at each major holiday, their children come home to visit. During these four time periods, 1980, 1990, The Millennium and today we see the many changes that take place in the lives of each child and the parents as well as the times, themselves. The set is the same through all four scenes, their home ( designed with just the right touch for a middle class home in suburbia by Angie Weber-Miller.

Director William Pullinsi, a man who has been through these time periods, is able to bring out the best of what was happening in the world and the changes in people caused by the world around them. The three children are Thomas, a Priest ( marvelously played by Kevin McKillip), Maddie, an actress ( an adorable character played by Erin Noel Grennan with a great comic touch and Richard/Ricky/Rick, who is seeking the greatest return with the least investment ( both in his work an din his life) deftly handled by Joe Foust, who appears to be having as much fun as the audience.

What follows during these ten year periods is the reshaping of the lives of each child as we witness them trying to express their dreams and desires to each other as well as satisfy their mother Ruthie, who is from the “old school” when it comes to living life. We get to watch as each child adapts to changes in their lives, and the tensions that arise with their mother over these changes. There are many unresolved issues that are bought to light early in the play, but that do not get reolved until the final scene- a scene that will have you laughing but will, at the end, bring a tear to your eyes. Guaranteed!

While some might find this play a bit “hokey”, the type that you would have anticipated back in the old days at a Shady Lane Playhouse in Marnego or one of the other smaller summer theaters, the hokiness is just our own way of covering up the true emotions that this play will evoke form almost all of us. Many of us have problems with our parental relationships ( or did) and also with our siblings. You may also see a lot of the people that compose your own family in these characters and that is okay, a sit will make you think about your own life and allow you to recall some of the happy memories that you have somehow misplaced.

An evening of theater should be an escape from the problems of your everyday life and the situations you face every day. If it makes you laugh and acts as a diversion form your problems and fears, it has done its job, even if only for the two hours you enjoy the play or even the extra thurty minutes as you drive home thinking about what you saw and how it relates to your own life.If it does this, it has done its job! But to be honest, “making God Laugh” does a great deal more. It explores choices we make! It explores relationships with family and in some cases, others! It explores how we often give in to what other people expect instead of taking a stand, but in the end, this production promised to allow you to use the full extent of the emotional feelings you have. You will laugh and you will think and of greatest importance you will feel!

This cast is dynamite! Each actor brings a human touch to their characters-and while they are all solid and intense, Ms Roeder, who in my opinion is one of Chicago’s top comic actresses, has great timing and pulls off the comedy that Grennan has written, but due to the story content in her last years ( when her mind becomes one of lost memories) is able to bring the emotion to a another level, which brings those tears to our eyes as they take the last family photo for us> What a moment!

As you all know, the actors, story and director are of great importance, sort of like the master chef creating the perfect meal, but to make it perfect, we need to make sure that all the proper ingredients are in place. Theatre at The Center has put together the staff to get this done; Brenda Winstead’s costumes appear to follow the proper decades, Geoffrey Bushor’s lighting works perfectly, Barry g. Funderburg’s sound is jst right and the incidental music, with one exception, ideal. Due toe the number of decades involved, I would have to say that Prop Master Libby Fandrei, probably had one of the hardest of tasks- finding a “brick” phone, 8 track tapes and assorted other odd items, but handle it she did- Bravo!

In a “sit-com” type of stage presentation, many will be quick to call it just that- a situation comedy on a stage, live!. But “making God Laugh” is far more than that. It is a story about family and about love for each other, even when they don’t like each other. Yes, we often have feelings like that, not understanding why family or firends make the choices they do, but despite all, still care and love them, for who they are. This is a deeply human and touching story with lots of laughs that might be just right for a family outing. The play will continue at Theatre at The Center, located at 1040 Ridge Road in Munster  through June 10th with performances as follows:

Fridays and Saturdays  at 8 p.m.,,Sundays at 2:30  p.m. and Wednesday and Thursday afternoons at 2 p.m. There are also some Thursday evenings and Saturday matinees which will be shown at www.TheatreAtTheCenter.com, website for the theater

Tickets range from $38-$42 ( a very affordable price for theater of this quality) and you can subscribe to the series for as low as $136

To purchase tickets you can visit the box office, call 219-836-3255 or Tickets.com at 800-511-1552

Enjoy!

To see more on this production visit the  MakingGodLaugh page at www.theatreinchicago.com

In 1991, Larson write a little rock monologue called “30/90″ which was later renamed “Boho Days” and then, became “tick,tick…Boom” now on the stage at Stage 773, as  the finest production I have seen- I saw it in New York, and then a slick production at Pegasus years later. I then was able to get a very intimate view of the show at Berger Park three summers ago, but in no way did any of the previous productions hold a candle to the masterful production that Porchlight puts on its stage. “the Thrust” at Stage 773, an intimate stage area that allows us a certain closeness to the action on stage.

After Larson’s death, playwright David Auburn reworked the show from a one man musical tale of a young composer on the brink of turning 30 with no success, into the script we see on stage now- adding his best friend and his girlfriend who have moved on, making the story a little more complete and adding a more realistic look at Larson’s own life. Adam Pelty, who many of us know as a quality actor himself directs this marvelous 90 minutes of musical theater with musical direction by Diana Lawrence. Based on the performances that are given by the three actors in this production, one would have to think that they all honored what Larson stood for and his glorious works. The heart and soul of Larson himself appears in every movement, song and word by Adrian Aguilar , who keeps showing Chicago audiences how strong a performer he can be( dance, song, acting, music- he is a special performer and is as solid as they come).

As best friend, from childhood,Michael, Bear Bellinger shines, and when he take son small “other” personalities, he pulls it off without us ever asking what is he doing?. It all moves flawlessly. Jenny Guse, the wonderful, Jenny Guse gives Susan ( and Karessa) something very special and what a voice she has- great range in both characters as she fills the room with tones of perfection. Thirteen songs make up the score for this 90 minute production and while none of them have the impact that some of  the “RENT” numbers do, I truly enjoyed many of the songs. One in particular, “Sunday” which is about Jon’s part time job as a waiter in a restaurant, is in fact a homage to Stephen Soundheim’s “Sunday in The Park with George” following the style and some of the subtle notes and I am sure Sondheim loved every minute of it! In many of the songs, if you listen close you can hear a bit of “Rent”, which is often the case with composers. After all, how many notes can we really segregate from the rest without something sounding familiar?

To bring a production like this to its greatest potential ( which they have truly done at Porchlight) you need more than just the words and music and actors, or even the director/choreographer( Pelty’s dad would be very proud), or even the brilliant musical director! You need a workable set, one that does not detract for the action ( Ann Davis- great job), good sound as provided by Joseph Fosco, great lighting ( Greg Hofmann), costumes that fit the characters ( Jesus Perez , once again, brilliant). The projections are a wonderful touch to making this production reach the heights that it does ( Anna Henson and Rasean Davonte Johnson) and of course lots of props ( handled by Adrian Juarez) and musicians who shine and follow the spirit and energy of the actors, the music and Larson himself-Diana Lawrence, conductor/keyboard,Jim Barclay on drums,Mike Przygoda on guitar,Jake Saleh on bass and Nicholas Davio ( keyboard Alternative/Conductor)!

This production, which runs through June 10th is a MUST SEE production. You should find a way to alter your schedule to make sure that you are witness to the sterling work of Porchlight. The schedule is as follows:

Fridays at 7:30 p.m.,Saturdays at 8 p.m. and Sundays at 2 p.m.

Tickets are $38 ( open seating/General admission) and can be purchased at the box office located at 1225 W. Belmont, by phone at 773-327-5252 or online at www.porchlightmusictheatre.org

There is also a special performance on Friday, June 1st at 10 p.m. for you late nighters and as a tribute to Mr. Larson, Porchlight is please to be a part of a series of intimate concerts during the run featuring some of Chicago’s fine new talents:

Saturday, May 12th  9:45 Diana Lawrence ( musical director) in the lobby- NO CHARGE

Friday, May 18th at 9:25, The Lauren Wolf Band  $5.00 ( if you do not attend the show, you can partake of the after show for $8.00)

Saturday, May 19th, Diana and the Dishes, again in the lobby

Monday, May 28th at 8 p.m. ON THE SET, The Lincoln Squares present the music of Michael Mahler and Alan Schmuckler ( truly great young talents)

Saturday,June 2nd at 9:45

Jess Godwin will delight you with pop melodies  and lyrics that will stay with you forever.     

To see what the others have to say, visit www.theatreinchicago.com , got to review roundup

While much of this story is based on some actual history, letters, articles, speeches and memoirs of the women involved, as always, writers add their own touches and personal experiences that may be related, in fact, or hearsay to the actual events, which in many cases are more stimulating than the actual stories. This is a story about the problem of equal rights for women, one that has existed for eons and while things are far better in modern times, we still hear of the “equal job-equal pay” strikes and picketing today!. I must tell you that I was impressed by the set designed by Andrew Hildner to make the best use of the “THE BOX” theater at Stage 773. The majority of the set is the prison where the women were placed and abused when they demonstrated. The levels and doors and even the stairways made for a very realistic prison. Yet, with a curtain and a few pieces of furniture, voila, we are a gentlemen’s club, or a senate hearing room, with the action outweighing the set at all times. Hats off to Vivian Knouse for assembling a lot of props that were the icing on the cake for bringing reality to the stage. The music before the play and during several scene changes adds to the mystery of where the story is headed and with no program note, I will have to give credit to the sound man Christopher Kriz.

Charles Jolls lighting worked to perfection and Lindsay Schmelling’s costumes were of great and fitting design, but limited in numbers ( it seems that even the women of prosperity had only one outfit that was worn every day for weeks and weeks. I guess I should be less picky, but it was very noticeable with our principle , Celia Cane ( deftly handled by the strong Linda Reiter). Her husband, William, who has turned to drink to offset his missing wife is played to perfection by Tim Newell and Celia’s love interest, Eve is handled by the lovely Sheila O’Connor.

The ensemble works hard to make this play really work and while there are many fine moments, I for one found that two and a half hours was far to long to tell this lovely little love story. This is a small theater and so, noticing several “sleepers” or dozers causes others to lose concentration and focus on a historical story about “freedom”. Not just the freedom to vote or the freedom to work, but the freedom to make choices- choices of your won. Freedom to have a love interest that is not what society wants or expects you to have, so while I liked the concept, I would have found it a bit more intriguing to get to the heart of the matter and to bring these characters lives to completeness in the end. This is a story that offers history and some intrigue about the people of the time- those shackled by their lives, both on the inside and outside.

“Her Naked Skin” will continue at Stage 773 ( formerly The Theatre Building)located at 1225 West Belmont, through June 3rd, with performances as follows:                                                      

Thursdays and Fridays at 8 p.m. ,Saturdays at 3 and 8 p.m. and Sundays at 3 p.m.

Tickets range from $18-34 and are available at the box office, by phone at 773-327-5252 or online at either www.stage773.com or www.shatteredglobe.org

The theater is easy to get to using public transportation and parking is fairly easy to find ( on street, some metered, some not) and if you care to dine before or grab just a drink ( pre or post), there is free parking at Cooper’s ( across the street ( the brisket and pulled pork are memorable dishes and they have some of the best fries I have ever tasted). There is also valet parking at the door.

Highly Recommended*****

To set the story, without giving away some of the little pieces that make the puzzle complete, the four act play takes place in New York, during the early 1900′s. The establishment where the action takes place is Harry Hope’s Saloon and Boarding House, run by a man that has become a sort of hermit, never leaving the building since his wife’s death some 20 years earlier. Harry is flawlessly played by Stephen Ouimette). The residents of this Boarding house are all misfits, who for one reason or another have also taken to drink but each has a dream that one day they will get back to their lives as they were, respectable jobs, families etc- Joe Mott(John Douglas Thompson) will one day re-open his all Nego gambling house; Ed Mosher ( Harry’s brother-in-law deftly played by Larry Neumann, Jr.) will once again be back with the circus;Piet Wetjoen ( well played by John Judd) will be back in the military as will Cecil Lewis ( the always reliable local favorite John Reeger), but they were on different sides;Hugo Kalmar, a one time editor of a periodical ( played with just the right comic touch by Lee Wilkof) will once again get his views published ;Willie Oban ( another Chicago favorite John Hoogenakker) will once again become a lawyer,James Cameron ( Jimmy Tomorrow) a war correspondent played byJames Harms who shows he can do more than musicals are the male residents along with Larry Slade ( Dennehy at his best) another war correspondent. A new visitor has arrived looking for Larry, Don Parritt ( charmingly played by Patrick Andrews) and his story is one to pay close attention to.

These are the male residents along with the two bartenders, Chuck ( Marc Grapey ) and Rocky ( Salvatore Inzerillo) who pretty much keep Harry’s place working although it is never clear as to how these losers can pay for their drinks. Oh, yes, there are some ladies as well. Ladies that are the “stable” for Rocky;Pearl(Tara Sissom),Margie(Lee Stark) and Cora ( deftly handled by Kate Arrington) who is the main female character as she is also having a love relationship with Chuck. The other character , the main character is Theodore Hickman, known as Hickey, a smooth talking traveling salesman who makes an annual trip to New York to buy drinks and entertain his “friends” at Harry Hope’s. This glib, suave, smooth talker is played by Nathan Lane, an incredible bit of work. In fact in the fourth act, he has a monologue that lasts about 34 minutes where he opens his heart and soul to the others as an explanation of why he has done what he has done on this particular birthday celebration. The fact is, when he arrives, he tells everyone he is a changed man, no more booze and attempts to convert each one of these misfits from their ways so they can reach the goals they have been dreaming about for all these years.

What we witness during this period is transformations on the part of nearly all of the residents, where it appears, during these series of events that Hickey has met the challenge he has given himself and has won his war. But, being O’Neill, we know this is not the case and that each of these people continue to have their dreams. Only Larry, who never follows the lead of Hickey, finds that a part of his life has changed at the end ( which I will not give away). One of the things about a play like this, one that looks deeply into the mentality of man, is that each audience member will see it in a different light. Many of us know people who are “dreamers” or who have lost a great deal and wallowed in their own self-pity waiting for something to happen that will reverse the order, but deep down knowing that they will only survive, if even that.

Falls has captured what O’Neill has written on paper and made it real. The four acts take place over a period  of less that 48 hours, so with the production lasting over 4 1/2 hours, we are almost in real time. There was a lot of coffee sold during the three intermissions, but nothing was as eye opening as the words that we heard and the portrayal of these characters on the Goodman stage. The sets by Kevin Depinet never distracted the eye of the viewer from the action. The lighting by Natasha Katz was a little dark in the first act as we were in the “back room” of the saloon. This is an area where during non-service hours, almost like a club, the men could drink while not being at the bar ( off hours) and the mood was being set during a very long and wordy exposition. As we learned about each of the men and the anticipated arrival of Hickey and his wealth, we began to get some direction as to how the story would unfold. The second act takes place in the upstairs dining room area where the birthday party will take place, the third act in the actual saloon and the final act back to the original set, but with a little better lighting. Merrily Murray-Walsh handles the costumes which are very fitting of the times

Tickets , I know, are hard to come by for this one ( and possibly it will get another extension), but if you can find a way to get to see it, this should be on your “MUST SEE” list. Rumor has it, Broadway is the next stop and based on what I saw tonight, that is where this production should go ( do I smell another Tony or two for the Goodman and Chicago?) we will see!

“The Iceman Cometh” will continue at The Goodman Theatre located at 170 N. Dearborn through June 17th with performances as follows:

Tuesdays,Wednesdays and Fridays at 7 p.m.,Thursdays at 1:30 p.m. (5/10,24th and 6/7) and 7 p.m. ( 5/17,31st and 6/14),Saturdays at 1:30 ( JUNE 2nd only) and 7 p.m. and Sundays at 1:30 p.m. ( it is hard to imagine that they can do ths show twice in any one day- I am exhausted just thinking about it)

Tickets range from $61- $175 and are available at the box office, by calling 312-443-3800 or online at www.GoodmanTheatre.org

DAY OF SHOW DISCOUNTS ( subject to availability)10TIX ( student $10) and MEZZTIX ( half price mezzanine)

Be prepared for a long evening of theater 4 hours and forty-five minutes total, but an experience you will cherish.

Highly Recommended****

Timon , in the opening of the second act is on an isolated island off the coastline ( the set for this opening(Kevin Depinet) is outstanding and in fact, garnered the audiences swift approval with great applause as the fog uncovers the island and Timon. Alone, he rants and raves about the inhumanity of those who were his followers and now have thrown him aside. Digging in the sand for nourishment of some kind, he finds bars of gold. Soldiers who come upon him take gold and as word spreads that he has new riches, other betrayers come seeking some of the gold for themselves. At this point Timon has given up on humanity and those who let him down and decides to finance Alcibiades ( (deftly handled by Danforth Comins) in declaring war on Athens and a sit turns out, makes the gold a gift to Flavius as Timon, ordering his story to be told by the writer ( Kevin Gudahl) and the Artists ( Timothy Edward Kane) are instructed to do so. The end is an amazing piece of drama, so I will not give it all away, but it truly shows how money can change the life of a man, any man! And that power is indeed controlled by those who have the money!

As always, CST has some of the finest of Chicago’s actors. In addition to those already mentioned, there are stellar performances by William Dick, Terry Hamilton, Samuel TaylorDavid Lively, Sean Blake,Bruce A. Young,Demetrios Troy and James Newcomb ( who is also the fight director). There is a marvelous dance number in the first act, choreographed brilliantly by Nicilas Blanc and danced by Jen Donohoo,Noelle Kayser,Luke Manley,Bianca L. Sanders and Malachi Squires. Blake also does some singing in this number. The original music and sound by Lindsay Jones is perfect as is the lighting by Robert Wierzel. Costumes by Susan E. Mickey along with the wigs and make-up by Melissa Veal are the icing on the cake. Many of the ensemble members play dual roles and with the make-up and wig changes, they are not recognizable as the previous character. Once again, Mike Tutaj handles the projections of this modern day, high tech version of a Shakespeare play and the prop master is Chelsea Meyers, who has assembled some great pieces.

While McDiarmid is a fantastic actor who brings a great deal to this character who goes through some major life changes, I did hear many say that they had some problems hearing his words as clear as we are used to at this wonderful venue. I am hopeful this is a problem that will take care of itself as his work is to good to be missed and the story relies on the audience knowing all the ins and outs of what happens to this powerful man, who gives up on life.

“Timon of Athens” will continue at CST at Navy Pier through June 10th in the Courtyard Theater. For exact show times and to order tickets online visit www.chicagoshakes.com

Tickets range from $44-$75 and are available online, at the box office or by calling 312-595-5600.

There is discounted parking at Navy Pier. Bring your parking ticket to the theater for validation and save 40%. Navy Pier is also easy to get to via public transportation and there are many dining spots ( of all types) at Navy Pier.