Rachel Weinberg - Page 3

“What makes a man try to fly in a lawn chair?” is 42 BALLOONS most repeated lyric. It’s on the nose — and it’s repeated across six interludes in Jack Godfrey’s new musical. Based on the real-life story of Larry Walters, who in 1982 reached a height of 16,000 feet flying a lawn chair accompanied by 42 leather balloons, the musical is squarely focused on that answer.

I chatted with three-time Tony Award nominee Carolee Carmello about leading the national tour of KIMBERLY AKIMBO and her character development process.

Jordan Harrison’s new play THE ANTIQUITIES asks the question, “What does it mean to be human?” It opens with two museum curators inviting the audience to tour a museum displaying relics from the late human era...with the implication that said place exists in a post-human one. This is the first play I’ve seen that specifically tackles A.I. and technology...and the potential ramifications of letting that go unchecked. 

Zora Howard’s BUST: AN AFROCURRENTIST PLAY opens with a mystery. In Huntsville, Alabama, Retta (Caroline Stefanie Clay) and Reggie (Ray Anthony Thomas) witness an all too familiar interaction between their friend Randy (Keith Randolph Smith) and two police officers — Tomlin (Mark Bedard) and Ramirez (Jorge Luna). But in the wake of Randy’s rage at the officers, something mysterious and surprising happens...keeping him safe from harm. It’s tough to write about the specifics of BUST because to reveal some of the play's secrets is to ruin the mystery for audiences. But Howard’s set-up essentially asks the question: What happens when Black rage is repackaged into a magical force and potentially one to keep the person experiencing it safe? 

Now in its Chicago-area premiere, Joshua Harmon’s Tony-nominated sprawling and ambitious PRAYER FOR THE FRENCH REPUBLIC is a searing and inquisitive look at contemporary Judaism and anti-Semitism.

I usually appreciate when plays show and don’t tell, but THE BOOK OF GRACE really needs more exposition. Directed by Steve H. Broadnax III. Steppenwolf’s production is a new version of Parks’s 2010 play, expanded from its original 100-minute run-time to two and a half hours. Even with the extra run time, playwright Suzan-Lori Parks relies far too heavily on subtext that isn’t revealed to the audience.

Near, far, wherever you are…you need to see TITANIQUE if you love musicals and parody. Porchlight Music Theatre’s production, presented in partnership with Broadway In Chicago, easily passes the Marie Kondo test: This show sparks immense joy.

If you enjoy the music of The Kinks, you’ll enjoy SUNNY AFTERNOON.

FOOL FOR LOVE has peak Steppenwolf energy. I’ve long associated Steppenwolf Theatre Company with gritty, messy, feral family and relationship dramas — Sam Shepard’s one-act fits the bill. It’s also only 65 minutes — that run-time is short, but it’s a logical choice in the TikTok era when attention spans are, too. An hour is still plenty of time for genius Steppenwolf ensemble member Caroline Neff to go toe-to-toe with Nick Gehlfuss (who audiences might recognize from CHICAGO MED) as toxic couple May and Eddie.

Jeanine Tesori and Lisa Kron’s FUN HOME is a musical journey in sketches through the memories of Alison Bechdel. Based on the graphic memoir of the same name — and so called because the Bechdel family business was a funeral home — Porchlight director Stephen Schellhardt’s production brings each scene sharply to life. 

With JAJA’S AFRICAN HAIR BRAIDING, Jocelyn Bioh pulls off a challenging theatrical feat: She makes a slice-of-life play consistently engaging and entertaining. Set in Harlem at a hair salon of the same name, JAJA’S AFRICAN HAIR BRAIDING follows a group of West African immigrant women working there — along with some of their customers. Bioh has populated her play with a cast of big personalities and peppers in just enough of the stylists’ backstories to allow us to learn more about them.

SHUCKED is a corny musical...in the best way possible. Book writer Robert Horn and composer team Brandy Clark and Shane McAnally’s lyrics are chock-full (or should I say husk-full?) of puns, double entendres, and cringey punchlines. I was grinning ear-to-ear (of corn). SHUCKED is joyful, creative, and fun. 

TEATRO ZINZANNI is still kicking it in the indoor Spiegeltent Zazou nestled on the fourteenth floor of the Cambria Hotel in the Loop. It’s still a reliably entertaining variety show, and this particular edition includes many returning performers.

& JULIET is an unserious jukebox musical that’s deeply serious about its commitment to fun.

FALSETTOS, originally written as two-one act musicals set in 1979 and 1981, respectively, feels simultaneously dated and prescient. In this co-production from Court Theatre and TimeLine Theatre Company, director Nick Bowling leads a first-rate ensemble that preserves the musical as a period piece but also makes it feel utterly alive. Lauren Nichols’s set design evokes a 1970s retro roller rink and Theresa Ham’s costume designs also use extremely ‘70s colors (and each character wears a signature color). But many of the show’s central themes hit now as ahead of their time and eerily relevant. In particular, the musical’s reverence for Jewish culture and tradition and its unabashed embrace of queer love are especially moving at a time when anti-Semitism and homophobia seem tragically on the rise in America.

In Ngozi Anyanwu’s LEROY AND LUCY, two strangers meet at a crossroads in Mississippi...and not much happens. Based upon the myth of Robert Johnson, who supposedly sold his soul to the devil to make it as a blues musician, the play finds Leroy (Jon Michael Hill) and Lucy (Brittany Bradford) in a liminal space. And that’s precisely the challenge of this play: Anyanwu’s characters don’t know each other and literally exist on Andrew Boyce’s empty (but pretty) set. It’s a tall order to create high stakes when characters are unknown to each other, and unfortunately, Anyanwu’s play isn’t dynamic enough to sustain its 90-minute run time.

The Second City’s latest e.t.c. revue BEST KEPT SECRET: TELL EVERYONE wants to remind audiences that life is a cabaret, old chum. While some Second City revue themes hang together better than others, BEST KEPT SECRET slyly pays homage to the classic Kander and Ebb musical CABARET and the general idea of cabaret shows.