Rachel Weinberg - Page 2

I interviewed Peloton cycling instructor Sam Yo about his return to the stage and how he balanced performing in the production with teaching at Peloton.

World premiere musical A WONDERFUL WORLD has a wonderful lead in James Monrie Iglehart as Louis Armstrong. Iglehart embodies the acclaimed vocalist and trumpeter completely; he nails Armstrong’s signature raspy voice and vocals and larger-than-life presence, but he’s also a master at embodying the role’s emotions. He’s a joy to watch in every moment he’s onstage, even as Aurin Squire’s book charts both Armstrong’s successes and his more human mistakes. In terms of framework, A WONDERFUL WORLD surprisingly reminded me of Toby Marlow and Lucy Moss’s SIX. The musical starts and ends with Armstrong’s four wives: Daisy Parker (Khalifa White), Lil Hardin (Jennie Harney Fleming), Alpha Smith (Brennyn Lark), and Lucille Wilson (Ta’rea Campbell). Each of the musical’s four parts is centered around one of Armstrong’s wives. While the musical piqued my interest in Armstrong’s biography as a whole, I think this framework meant the timeline on his route to fame was incredibly condensed. And the musical certainly conveys that Armstrong was quite the philanderer; Squire’s book and Christopher Renshaw’s direction and conception don’t shy away at all from the fact that Armstrong cheated on each of his past wives with the next one.

Although the title may be bold, Brett Neveu’s world premiere REVOLUTION is a true “slice of life” play.

Kokandy Productions’ Chicago premiere of AMERICAN PSYCHO: The Musical is a delectable, campy romp. Producing Artistic Director Derek Van Barham’s production is a mainly bloodless vision for the bloody tale of serial killer finance bro Patrick Bateman — and it’s an approach that works incredibly well for the material. I know that AMERICAN PSYCHO: The Musical was short-lived on Broadway and that that production was a literal bloodbath. The fact that Kokandy’s production substitutes red confetti for stage blood is a microcosm of how well this scrappy interpretation of the musical works: By making the show more camp, less horror story, audiences are then free to indulge in the satire and fun.

THE LEHMAN TRILOGY is a sweeping play that covers 164 years of history as it weaves together fact and fiction to chart the rise and fall of Lehman Brothers. The play’s title mirrors the ambition of the piece: It has a run-time of over three hours that unfolds in three acts — all performed by only three actors. The trilogy in the title is thus a literal reflection of the play’s structure and the roles, but it’s also suggestive of the piece’s mythical nature. Likewise, playwright Stefano Massani’s script (adapted by Ben Power) has a rhythmic storytelling style; the actors often narrate their own stories and actions in a chamber theater type of presentation. Although the run time is long, the fact that THE LEHMAN TRILOGY covers so much ground means it remains interesting throughout — although I found I was ultimately more intellectually than emotionally stimulated.

It seems fitting that Goodman Theatre opens new Artistic Director Susan V. Booth’s inaugural season with THE NACIREMA SOCIETY, a play that’s about coming out to society. This Chicago premiere marks a continuation of Booth’s long-standing relationship with celebrated Black playwright Pearl Cleage. THE NACIREMA SOCIETY takes the form of an extended farce, following the incredibly wealthy Dunbar family in 1964 Montgomery, Alabama. In this light-hearted (if not always legitimately laugh-out-loud) comedic play, Cleage draws heavily from classic farce conventions. As the centennial event of matriarch Grace Dubose Dunbar’s beloved Nacirema Society, Montgomery’s organization for Black young women, dawns — and she awaits her own granddaughter Grace’s coming out — the antics become more and more heightened as family secrets come to light.

What did our critic think of SANCTUARY CITY at Steppenwolf Theatre Company? In Martyna Majok’s SANCTUARY CITY, two teenagers in Newark, New Jersey — named only B and G (presumably standing for Boy and Girl) — must contemplate the complexity of their simultaneous youthfulness and the need to make grown-up decisions well beyond their years. Both B and G are migrants in the United States; they emigrated from unnamed countries as young children, and now as they approach high school graduation, must grapple with what it means to live illegally in the United States. When G becomes a naturalized citizen, she offers B a bold proposition so that he, too, might be able to stay. Majok’s play beautifully threads this needle between youthful impulsiveness and the immense pressure on the protagonists to make weighty adult decisions.

Here’s some excerpts from my conversation with Porchlight Music Theatre Executive Director Jeannie Lukow about what audiences can expect from this year’s ICONS event, what’s coming up next season for Porchlight, and her hopes for the company’s future.

Is MJ a fun and entertaining musical that treats audiences to many of Michael Jackson’s iconic hits? Yes. Does MJ also demonstrate why bio jukebox musicals are tricky? Yes. In the musical, MJ emphatically tells fictional MTV reporter Rachel that he wants to be remembered for his music. But can the art be separated from the artist, or are the two intertwined in all their messy, complicated ways? I don’t have an answer to that question, but I think MJ struggles with making the struggles and demons of a complex person — the real-life Michael Jackson — seem simplistic.

It’s easy to see why Harold Pinter’s NO MAN’S LAND has been categorized as Theater of the Absurd: The play focuses on four male characters in a nebulous space, debating nothing and everything all at the same time. Les Waters directs a game ensemble of actors who wholeheartedly embrace the true absurdity and existentialism of the text. The production design mirrors the liminal state of the play: Andrew Boyce’s set is a staid, elegant, and sparsely populated living room (chiefly featuring two armchairs and two decidedly less comfortable chairs on each side of the stage). All of the action takes place inside a literal room, with walls flanked by an open blue-gray space. Janice Pytel’s costume designs are likewise timeless: Well-tailored suits that seem oddly formal for just sitting around, talking about nothing. But they fit the production nicely. Mikhail Fiksel’s sound design lends an extra sense of eeriness to the production as well.

ANOTHER MARRIAGE is the most interesting when it does precisely what it sets out to do: Show us scenes from yet another marriage and the other human relationships branching out from it.

Lucy and Charlie are Asian American newlyweds on that “Vigilante Sh*t” (to borrow from Taylor Swift) in Matthew C. Yee’s premiere musical LUCY AND CHARLIE’S HONEYMOON.

The Second City’s 11th Mainstage revue DON’T QUIT YOUR DAYDREAM has a slightly existential air to it as the name suggests. In one of the revue’s most effective sketches, ensemble member Evan Mills breaks into song as he muses about the questions that keep him up at night—they range from the mundane “Why does it take six hours to be assisted at a place called urgent care?” to the more complex “Why are people afraid of men in dresses but not of men with guns?” In keeping with the tradition of Mainstage revues past, the political leanings are definitely liberal (and that resonates just fine with me), and questions like the ones that Mills poses in that sketch are on the clever-funny side.

I’m not exaggerating when I say that WHAT THE CONSTITUTION MEANS TO ME is the kind of play that reminds me why I love theater.

It’s ironic that THE WHISTLEBLOWER begins with a meta pitch of the play’s concept. While the idea is witty, Moses’s concept loses steam in this full-length play. Though it’s billed as a comedy, THE WHISTLEBLOWER is mildly amusing rather than uproariously funny.

I didn't think I'd ever see a singing Antarctic explorer in a musical, but that's exactly what ERNEST SHACKLETON LOVES ME delivers. This quirky but conventionally structured two-hander introduces audiences to Kat, a struggling experimental musician with a newborn baby and a deadbeat, absent boyfriend who's on tour with a Journey cover band, and the eponymous Ernest Shackleton.

“Stop trying to be what everyone else wants you to be, man. Just be you.” Antonio Edwards Suarez recounts that his childhood best friend, Curtis, said to him growing up. This sentiment becomes in many ways the mantra for ANTONIO’S SONG: It’s a deeply human exploration of identity — and specifically Suarez’s identity — and all the elements that make us who we are. In ANTONIO’S SONG, Suarez and co-playwright Dael Orlandersmith share vignettes from Suarez’s upbringing that reflect the complexities of his identity. This is a touching, if not groundbreaking, solo show. Ultimately, theater reflects our humanity, and ANTONIO’S SONG reinforces that we turn to art to better understand ourselves. Structurally and thematically, this is well-trod territory.

Mercury’s production has some fabulous performances, but it doesn’t entirely answer the question of why BIG RIVER needed to be brought out of the archives.

I interviewed Tony Award winner Gavin Creel about his experience as The Wolf/Cinderella’s Prince in the national tour of Stephen Sondheim’s INTO THE WOODS. The production started as a City Center Encores staging and later transferred to Broadway. Now, Chicago audiences can see the tour — with some of the original Broadway company, including Gavin himself— through May 7.

Heidi Blickenstaff speaks about why the role of Mary Jane Healy feels so personal, how it's the biggest challenge of her career, and what it's like to rock out to Alanis's iconic song catalog on stage.