Rachel Weinberg - Page 12

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.

LAST NIGHT AND THE NIGHT BEFORE explores the in-between, the murkiness of transitioning life stages and fraught family relationships.

It’s only fitting that for his swan song at Goodman Theatre Artistic Director Robert Falls has adapted and directed Anton Chekhov’s THE CHERRY ORCHARD, a play that’s also very much a swan song. With this staging, Falls has completed the cycle of directing all four of Chekov’s full-length plays for the Goodman stage. Fall’s take on THE CHERRY ORCHARD is surprisingly comedic and strips the play of the more obscure Russian references (though it’s still a period piece), which also demonstrates an artful understanding of the text and how 2023 audiences are best primed to receive it. THE CHERRY ORCHARD’s central character, estate owner Lyubov Ranevskaya, desperately clings to her glamorized version of the past even as the world around her moves inexorably forward. It’s a farewell, indeed, and a lesson in learning when to hold on and when to let go.

A SOLDIER’S PLAY is a solid and well-structured play from Charles Fuller that explores the deep-seated roots of American racism. Centered on a Black regiment in 1944 Fort Neal, Louisiana, the play takes the form of a murder investigation when Captain Richard Davenport arrives on the scene following the death of Sergeant Vernon C. Waters. While Fuller’s 1981 play is no doubt an indictment of the racist systems embedded in the American military—and the country as a whole—the piece now feels prescient, rather than revelatory. I imagine that it must have been quite radical when it debuted over forty years ago, but now it reads like a reinforcement of the truth. It’s an effective one, and audiences who enjoy the procedural format will appreciate the play’s series of interviews and flashbacks. Director Kenny Leon’s production keeps it moving at a brisk pace, but neither material nor staging are groundbreaking.

I was curious about the changes to Trey Parker, Robert Lopez, and Matt Stone’s THE BOOK OF MORMON, which underwent revisions before its post-pandemic return to Broadway in 2021. I imagined a substantial overhaul of the material, along with input from co-director/choreographer Casey Nicholaw (Parker also co-directed). After seeing the show, I can state the changes are minimal. All of the musical numbers are the same, and some of the dialogue may have been altered. But I don’t buy that the Ugandan characters have been given more agency or power.

Chicago Shakespeare Theater Artistic Director Barbara Gaines cleverly marries play and production concept in THE COMEDY OF ERRORS for her final production.

Martin Yousif Zebari’s LAYALINA is a heartwarming multigenerational family play that spans from Baghdad to Skokie. While Zebari doesn’t shy away from portraying the family’s trauma and the challenges of their immigrant experiences, LAYALINA is the opposite of many other family plays. It’s about how the central family tries to reconnect and find commonalities, despite their generational and cultural differences.

Rajiv Joseph’s DESCRIBE THE NIGHT, now in its Chicago premiere at Steppenwolf Theatre Company, is a sprawling exploration of the blurring of fiction and fact, censorship, and the quest to preserve truth.

What did our critic think of TONI STONE at Goodman Theatre? TONI STONE is a memory play-in more ways than one. Lydia R. Diamond's play is indeed structured in non-linear (and yet, still mostly chronological order) as the titular Toni Stone recounts her memories as the first woman to regularly play professional baseball. It's also a memory play in the sense that it captures a moment in history that many audiences may not know before they see the work. In real life, Toni Stone played for the Indianapolis Clowns, a Negro League team, in 1953. The play itself never references that year-or any dates in Toni's timeline-outright (the program merely lists the setting as '1920's-1940's USA.') Instead, Toni weaves between different moments in her life, diving in and out of them-much like she might dive to catch a ball in the outfield (although she played second base).

What did our critic think of LADY DAY AT EMERSON’S BAR AND GRILL at Mercury Theater Chicago? To say Alexis J. Roston's performance as Billie Holiday in LADY DAY AT EMERSON'S BAR AND GRILL is a masterclass in acting and singing is no exaggeration. Roston gives the kind of lived-in, seamless performance that only comes from knowing the material intimately well, and indeed, it's a role she's played many times before.

In the ripple, the wave that carried me home, protagonist Janice must metaphorically reckon with her homecoming and her childhood in the fictional Beacon, Kansas.

What did our critic think of CABARET at Porchlight Music Theatre? Porchlight invites audiences into the glittering, gritty world of early 1930s Berlin with John Kander and Fred Ebb’s iconic musical CABARET. Under the direction of Porchlight Artistic Director Michael Weber and with associate direction and choreography by Brenda Didier, this production largely belongs to Erica Stephan in the role of Sally Bowles. As the seductive and desperate nightclub singer, Sally, Stephan is an absolute dream. She not only plays the character’s arc beautifully, moving from artful seduction to total desperation and panic by the show’s end, but she showcases her powerful belt and vocal control in each of Sally’s solo numbers. In this way, Porchlight’s production mirrors Sally’s character arc; as the other characters in the show are awakened to the realities of the Nazi party’s rise to power, they must contend with the fact that life is not, in fact, a cabaret.

What did our critic think of BALD SISTERS at Steppenwolf Theatre Company? Steppenwolf presents a new twist on the well-trod territory of the dysfunctional family drama with Vichet Chum’s BALD SISTERS. As far as dysfunctional families go, too, the family in BALD SISTERS doesn’t have the most baggage. That said, Chum’s characters still have plenty to contend with as sisters Him and Sophea mourn the loss of their mother. The play is a meditation on the circle of life, but I appreciate that BALD SISTERS is an exercise in subtlety as far as family dramas go. As a result, some of Chum’s scenes meander and don’t seem to have a purpose within the context of the play, but I like that BALD SISTERS has themes that wash over audiences rather than hit them over the head.

Porchlight Music Theatre invited audiences to take another bite of musical theater history with Jerry Bock and Sheldon Harnick’s THE APPLE TREE. The musical, composed of three one-acts centered on the theme of temptation, was the season opener for the Porchlight Revisits series. As usual, Porchight Artistic Director Michael Weber introduced the show with a brief educational talk on THE APPLE TREE’s history.