Wonder and amazement through secrecy, surprise, and trickery are difficult to pull off these days. We may not know how a magic trick works, but we comprehend enough about how magicians dupe us not to be surprised by another version of sawing a lady in half or the cups and balls.
As a woman, telling your emotional story in a male dominated society is hard. This story is even harder to tell when you are a woman working in the US Army in Vietnam, and there are people dying all around you.
American Blues Theater’s triumphant LITTLE SHOP OF HORRORS will have Chicago audiences clamoring to head downtown to Skid Row. This intimately staged production has a full sound (with music director Austin Cook leading a four-piece band, you can feel the vibrations of the bass in the floor) and provides an all-encompassing, fully entertaining spectacle.
In the spirit of non-illusory theater (The Neo-futurists pioneered this genre in 1988), I’d like to submit a meta-assessment. MIKE MOTHER weaves in and out of the present moment and current reality, leaving in its wake open wounds, left gaping so they can be pointed at and acknowledged that they gape on purpose by their poetic author, all of it charged by the electricity coming off of a very energetic opening night crowd. The Neos’ community knows best about the strength and vulnerability required for their brand of immediacy.
For musical theater die-hards (like myself), Porchlight Music Theatre’s concert reading of CHESS—a three-night-only engagement as part of the Porchlight Revisits series—is simply delightful.
Memories are beautiful moments that awake our purpose for living. It is not easy to memorialize the story of the Mirabal sisters and the volatile history of the Dominican people during the dictatorship of Rafael Trujillo. However, Caridad Svich writes a symphonic liberation of Julia Álvarez’s renowned novel IN THE TIME OF THE BUTTERFLIES.