Chicago theater boasts no shortage of pop cultural parody shows, but Hell in a Handbag’s production of THE DIVINE SISTER rises above this description. In the grand camp tradition, playwright Charles Busch’s witty and raunchy send-up celebrates the peculiar fascination Hollywood held with nuns in the 1960s. And what better subjects could there be for female impersonation? Cloisters of chaste, devout, dramatic, beautiful characters ripe for fictional scandal. Busch’s script takes advantage of every nun cliche in the canon—visions from God, desperate campaigns to build a new school for the children (the children!) and of course, sexual liaisons between the sisters.
Delightfully quirky and darkly comic, BAT BOY: THE MUSICAL makes its Chicago premiere in this Griffin Theatre production with direction by Scott Weinstein. The Den Theatre proves an ideal venue for this strange and wonderful musical with music and lyrics by Laurence O’Keefe and book by Keythe Farley and Brian Flemming. And Griffin Theatre’s ensemble delivers with vocal expertise and keen acting, milking the show’s material for maximum comedic value and audience delight.
Connor Burke is a man overcome with regret, clutching at the scraps of life that remain after catastrophe tears apart his world like a tortuous riptide.
Do you remember what it was like to see your world as a game? I picture myself as a child, a small flame-haired thing, running around heavily-wooded Defiance, Missouri, thinking my little universe is but an ever-stretching scene of discovery. An oddly shaped stone, a lost pen cap, the first summer firefly– everything in sight was a clue to unraveling the wonder of the everyday. I was happy to catch a glimpse of that feeling again this weekend with SHERLOCK HOLMES AND THE MYSTERY OF PORTAGE PARK, watching merrily on as adults and children alike take delight in the seemingly ordinary world around them.
In a time when most storefronts have little faith in their audience to make it through 90 minutes without looking at their phone, Prowess flies through it’s 2+ hour run time.
At the House, they take great care of their audience. I usually shrink down in my seat at the thought of audience participation, but under Nathan Allen’s direction and Watkins’ mastery, to participate feels like we might be in on the trick.
Richard Bean’s ONE MAN, TWO GUVNORS—based on the 18th-century commedia dell’arte play The Servent of Two Masters by Carlo Goldoni—is a laugh-out-loud, silly, whip-crack smart comedy, and probably the most fun I’ve had at the theater in a long time.
There is quite a bit of harmony in DISCORD, Northlight’ 41st season closer: an intellectual discourse between three historical giants while they dissect theological and philosophical ideas accompanied by a dynamic mixture of highbrow and lowbrow humor.
Men with big dreams, women fighting for visibility and love at the same time, while ignorance and bigotry divide people; though this sounds like the ingredients to contemporary mayhem, its roots are found in a play set in the 1960s.