REVIEW: Steep Summer Shows Continue with Stephens’ Light Falls at Theater Wit Through Aug 14, 2022

ChiIL Live Shows On Our Radar

US Premiere of 

Light Falls

By Simon Stephens

Directed by Robin Witt

Now Playing Through Aug 14, 2022 

Guest Review

by Flo Manolis 

Steep Theater's US Premiere production of Tony Award-winning playwright, Simon Stephens' Light Falls validates the quality of the ensemble we have come to applaud. It was a pleasure to meet the playwright on opening night. This show marks Stephens' fifth production with Steep, with Ensemble Member Robin Witt once again serving as director. Witt has also directed Stephen’s Wastwater, Motortown, Pornography and Harper Regan, Steep’s bestselling production. Simon Stephens remains Steep's Associate Playwright.

All Production Photos by Randall Starr

On opening night, the audience entered the theater to a compelling, multilayered, compartmentalized, stage by set designer, Sotirios Levaditis. Various heavy furniture pieces like a china cabinet and desk were elevated on the walls, with a piano to the left and music sheets suspended on the ceiling, mirroring the weightiness of the action about to occur. 

As the lights dim, a woman, Christine (Kendra Thulin) enters in a blue overcoat and holds our attention with her pensive monologue at the moment she dies. Intricate details pull the audience into this story about family, guilt, love, and death, intertwining five relatives, scattered across the north of England. 

Like an illusion, it rains in the entire country, in spite of a clear blue sky, as she takes her last breath! An impressive vision that mesmerized in wonder…

The characters struggle with their own issues. Jess (Stephane Mattos) needs reassurance as she and Michael (Nate Faust) try to establish their relationship. Bernard (Peter Moore), Christine’s husband,  flirts with two women, Emma (Tina El Gama) and Michaela (Cindy Marker). Steven (Brandon Rivera) is insecure and argues with his lover, Andy (Omer Abbas Salem). 

Ashe (Ashlyn Lozano) a single mom, turns Joe (Debo Balogun) away because he suggests their child to live with his family. Ashe is distraught when she sees her mother Christine, who tells her that it gets easier, leading her to ask Christine if she’s really there or if is she a ghost.

By close of the show, the family gathers for her funeral. Ashe appears wearing her mother’s blue coat, and the family sings “Hymn of the North” for a riveting ending.

OUTSTANDING!! Highly recommended!!

Flo Manolis is a CPS elementary teacher/librarian, hairdresser, and theater/film fanatic who catches hundreds of Chicago shows annually. She volunteers at numerous film venues and theaters.

For one clear moment, rain and light fall from a cloudless sky. For one clear moment, Christine sees the lives of her family, her town, her world stretched before her, beyond her. Simon Stephens’ Light Falls is a haunting tale of resilience, hope, and the impossibly strong bonds of family.

More than two years after beginning work on this play, Steep is excited to resume production of Light Falls after it came to a halt in the spring of 2020. Light Falls will be performed at Theater Wit while the sold-out run of Eboni Booth’s Paris plays at Steep's new home at 1044 West Berwyn through July 23rd. In April, Steep purchased the former Christian Science Reading Room, returning to the Edgewater community it has called home since 2008, and a renovation of the space is planned for the coming year.

We first fell in love with this script in 2019, yet somehow Light Falls fully and exquisitely captures what we've been through and where we are now,' said Artistic Director Peter Moore. "Simon has long been an integral part of Steep's story and I'm grateful that we can share his work in this moment.” 

Light Falls will feature Steep Ensemble Members Debo Balogun, Nate Faust, Cindy Marker, Peter Moore, Brandon Rivera, Omer Abbas Salem, and Kendra Thulin, as well as guest artists Susaan Jamshidi, Ashlyn Lozano, and Stephanie Mattos. August Forman will step into the production beginning July 28th. Forman, Jamshidi, and Mattos make their Steep debuts with this production.

  

WHERE:                

Theater Wit

1229 West Belmont Ave., Chicago, IL 60657

 

WHEN:

July 8 – August 14, 2022

Previews: July 2-7, 2022

Press Opening: Friday, July 8, 7:30pm

 

Schedule:

Thursday, Friday, and Saturday nights at 7:30 pm

Sunday matinees at 3pm

Accessible Performances:

-Audio Description & Touch Tour: July 24

-Open Captioning: July 31

Contact us at access@steeptheatre.com or 773-649-3186 for more information.

Ticket Pricing

General Admission: $30

Reserved Seats: $40

Access Tickets: $10 

(Access tickets are our universal discount available to anyone in need of a discount)

Purchase tickets here: https://steeptheatre.com/lightfalls 

About the Playwright

Simon Stephens’ plays include Fortune, Light Falls, Maria, Fatherland, Rage, Heisenberg, Nuclear War, Song from Far Away; Birdland, Carmen Disruption, Blindsided, Morning, Three Kingdoms, Wastwater, Punk Rock, The Trial of Ubu, Marine Parade, Sea Wall, Harper Regan, Pornography, Motortown, On the Shore of the Wide World, One Minute, Country Music, Christmas, Port, Herons and Bluebird. He has adapted Jose Saramago’s Blindness for the stage and also Mark Haddon's The Curious Incident of the Dog in the Nighttime. He has written English language versions of Jon Fosse’s I Am the Wind; Odon Von Horvath’s Kasimir and Karoline (titled The Funfair); Henrik Ibsen’s A Doll’s House; Anton Chekhov’s The Cherry Orchard and The Seagull and Bertolt Brecht and Kurt Weill’s Threepenny Opera. He has presented four series of the Royal Court Playwright’s Podcast. His book “A Working Diary” is published by Methuen. Simon Stephens has been an Associate at the Royal Court, London and Steep, Chicago and a board member of Paines Plough. He has been an Associate Artist at the Lyric, Hammersmith, a Professor of Scriptwriting at Manchester Metropolitan University and an Associate Professor at the Danish National School of the Performing Arts, Copenhagen. 

 

About the Director

Steep Ensemble Member Robin Witt has been at the helm for many of Steep’s most successful UK imports, including Alistair McDowall’s Pomona and Brilliant Adventures; Penelope Skinner’s Linda; Cordelia Lynn’s Lela & Co.; Simon Stephens’ Wastwater, Motortown, Pornography, and Harper Regan; Dennis Kelly’s Love and Money; Jez Butterworth’s Parlour Song; and Laura Wade’s Breathing Corpses. Her Harper Regan is still the best-selling show in Steep history and was named one of the Top Ten shows of 2010 by both the Chicago Tribune and Timeout Chicago; her Lela & Co was named one of the Tribune’s Top Ten Shows of 2017; and her Breathing Corpses was named one of TimeOut’s Top Ten Shows of 2008. In addition to directing numerous productions at Steep, Robin is also an ensemble member of Griffin Theatre Company where her credits include Ferber and Kaufman’s Stage Door, Terrence Rattigan’s Flare Path, Ena Lamont Stewart’s Men Should Weep, John Van Druten’s London Wall, and W. Somerset Maugham’s For Services Rendered. Witt received the 2015, 2016, and 2018 Jeff Awards for Best Director for Men Should Weep, London Wall, and Lela & Co and was nominated in 2014 for Flare Path and 2011 for Stage Door. She has worked at a variety of Chicago area theatres including Northlight, Goodman, Steppenwolf, Writers Theatre, A Red Orchid, and Artistic Home. She is a graduate of NYU Tisch School of the Arts (BFA) and Northwestern University (MFA). Robin is a Professor of Directing at UNC Charlotte.

 

About Steep Theatre

Founded in 2000 by three actors, Steep has grown into a dynamic ensemble of forty-five theatre artists, supported by a dedicated and inspired team of arts administrators and community members.  Described by Chris Jones of the Chicago Tribune as "the most fearless theater in town," Steep creates powerful productions of plays by today's most exciting writers and features the work of Chicago's hottest theatre artists in an intimate, accessible space. Steep is known as a home for hard-hitting, finely tuned ensemble work. With each production, the company has shepherded a growing community of audiences and artists into bold new territories of story and performance. Steep Theatre is committed to creating an inclusive and anti-racist environment for making and watching theatre. To learn more, please visit https://steeptheatre.com/antiracism. 

CAST:

Debo Balogunˆ

Nate Faustˆ

August Forman (July 28 - August 14)

Susaan Jamshidi*

Ashlyn Lozano

Cindy Markerˆ

Stephanie Mattos

Peter Mooreˆ

Brandon Riveraˆ

Omer Abbas Salemˆ (July 8 - July 24)

Kendra Thulinˆ

 

CREATIVE TEAM

Director – Robin Wittˆ

Stage Manager – Lauren Lassusˆ

Scenic Designer – Sotirios Livaditis

Costume Designer – Alison Sipleˆˆ

Lighting Designers – Brandon Wardellˆ

Sound Designer – Daniel Etti-Williams

Composer & Music Director – Thomas Dixonˆ

Intimacy Choreographer - Micah Figueroa

Dialect Coach - Adam Goldstein

Production Manager – Catherine Allenˆ

Production Electrician – Haley Carr

Technical Director – Evan Sposato

Assistant Director –Lisa Harriman

Casting Director – Lucy Carapetyanˆ

Graphic Designer - Stu Kiesow

 

ˆ Steep Company Member

 ˆˆ Steep Artistic Associate

* Appearing through an Agreement between Steep Theatre and Actors' Equity Association, the Union of Professional Actors and Stage Managers in the United States

REVIEW: Artist-In-Residence Luis Carreon, La Bestia at Chicago Magic Lounge Wednesdays Through September 28, 2022.

 ChiIL Live Shows On Our Radar

Chicago Magic Lounge Presents

Luis Carreon, La Bestia

Wednesdays Through September 28, 2022 

Guest Review

by Dugan Kenaz-Mara

Chicago Magic Lounge has once again astounded, mystified, and astonished us with another wonderful magic show by Artist-In-Residence Luis Carreon, La Bestia.

From start to finish, the experience was magical. Even as a returning guest, I enjoyed the lead-in to the main stage area and the history of magic that comes along with it. I could also tell that it was breathtaking for my friend who had never been to the magic lounge before. He was fooled multiple times and was exclaiming about how cool it was the entire way to our seats. 

Once we made it to our places, the staff were incredibly kind and the close-up magicians who came to the tables before the show were also great. The best part is how they were willing to play with us when we engaged them in bits. One table magician, while presenting a deck of cards, told us he was going to perform a card trick. When we responded that calling it a “card trick” was apt and questioned whether he had come up with that himself, he countered by telling us he had a team of writers who came up with it for him. It was fun to joke around with him and better still when it didn’t impede his flawless sleight of hand. 

Then, after already being blown away by the magic lounge’s environment, we were blown even further away by Luis Carreon’s performance. While he has a dramatic flair, his most notable feature is his humor. The show is full of pop culture references and he makes tons of jokes, including ones about his heritage and the stereotypes that come along with it. He engaged the audience throughout the whole show and even played a prank on one volunteer. 

I also loved his ability to improvise with what the audience gave him. Some audience members didn’t play along with his jokes and were contrarian, which he was able to turn into more bits to entertain the rest of the audience. On the other hand, there was an audience member who gave him a small heart-shaped chocolate, which he incorporated into his act alongside other heart-shaped props. 

The use of props was also really intriguing to me. He had some of the obvious magician things, like coins and decks of cards, but he also made use of random objects including a house key from a mesh bag of keys, a cardboard box, a stuffed animal with a sombrero, a picture frame, and a piñata. 

Overall, I would count this experience as a good one and would recommend it to anyone who has an interest in magic or is looking for a fun night of entertainment. 

Dugan is an actor, designer, and photographer studying theatre and psychology at Northwestern University. This summer you can find him on cast at Bristol Renaissance Fair for the 4th season, dancing, singing, performing street theatre, and juggling knives. Contrary to popular belief, he is not a time traveler.

Chicago Magic Lounge, Chicago’s home for close-up magic, continues its Artist-In-Residence series with Luis Carreon, La Bestia, Wednesdays at 7:00pm, July 6 – September 28, 2022. A Chicago Magic Lounge favorite, Carreon showcases his unparalleled skill and mischievous sense of humor in this brand new, Spanish-infused show. Tickets for all Chicago Magic Lounge shows are available at the box office, (312) 366-4500 or online at chicagomagiclounge.com..

 

What you see is not always what you get. Beneath Luis Carreon's suave and debonair exterior lies La Bestia (The Beast). In his one-man show, Luis combines his jaw-dropping magical skills, his Latin heritage, and off-the-wall comedy to share his real-life experiences, poking fun at stereotypes, cultural differences, and himself. 

 

Luis Carreon is a highly sought-after entertainer, performing magic across the country – from New York City's Monday Night Magic to House of Cards in Nashville to the World Famous Magic Castle in Hollywood, California. An award-winning and well-respected magician, Luis regularly travels the country teaching other magicians about the art of magic. He is also a regular performer, fan favorite, and co-founding company member of the Chicago Magic Lounge. 

 

Carreon has made numerous television appearances, domestically and internationally. He has been featured on the Univision Evening News and was a semi-finalist on Tengo Talento, Mucho Talento, the Spanish language equivalent of America's Got Talent.

Luis Carreon, La Bestia will be presented on Wednesdays at 7:00pm, July 6 – September 28, 2022. Tickets are priced $45 (Main Floor) and $50 (Front Row). 

Also Happening at Chicago Magic Lounge

Music & Magic

Mondays at 7:00pm

Tickets: General Admission $25

The Showcase

Tuesdays at 7:00pm

Tickets: Standard: $35; Front Row: $40

Artist-in-Residence Series

Wednesdays at 7:00pm

Sean Masterson’s Message in a Bottle, Now through June 29, 2022

Tickets: Standard: $45; Front Row: $50

The discovery of a message in a bottle makes the past present in Sean Masterson’s very visual and highly deceptive show. Sleight-of-hand magic is seamlessly woven into the true tale of the 19th century battle to decide America’s #1 magician.

In 1912 theatrical impresario Michael B. Leavitt published his 700-page memoir dishing the untold story of this jealousy-fueled battle between his clients, the magic greats Alexander Herrmann and Harry Kellar. Recently, Sean Masterson procured a signed edition of Leavitt’s memoir at auction and together with his research of Harry Houdini’s original archives at the Library of Congress in D.C., he has found the thread that nearly tells the whole tale. All Masterson needs now is a message in a bottle.

The Signature Show

Thursdays-Sundays at 7:00pm, Fridays and Sundays at 10pm

Tickets: Front Row $80, Premium Main Floor (main floor banquette and main floor cabaret) $70, Standard (rail and elevated banquette) $60, Mezzanine $50 

The Signature Show was conceived in 2015 as an homage to the historic, Chicago magic bar scene. Experience close-up magic right at your table during the cocktail hour, followed by an hour of stage magic featuring masters of their craft performing feats of prestidigitation and sleight of hand. Guests who purchase Premium tickets (Front Row, Main Floor Cabaret, Main Floor Banquette) are invited to an exclusive performance of close-up magic directly after the main stage show in our 43-seat close-up gallery, The 654 Club.

Tickets for all Chicago Magic Lounge performances are available at the box office, (312) 366-4500 or online at chicagomagiclounge.com. Chicago Magic Lounge is a 21+ venue. Ages 16+ allowed to ticketed shows with a legal guardian. 

For the health and safety of our staff, guests and community, you must be fully vaccinated to enter the premises. Ticket holders will be asked to present proof of vaccination status upon arrival.

For a complete schedule of performances and more information about Chicago Magic Lounge, resident and guest performers, and more, please visit chicagomagiclounge.com.

REVIEW: Collected Stories Via Redtwist Theatre Now Playing Through June 5, 2022

 ChiIL Live Shows on our radar 

R E D T W I S T  T H E A T R E  P R E S E N T S

Collected Stories

by Donald Margulies

Directed by Ted Hoerl

Gossip is a neglected art form.

Guest Review

By Catherine Hellmann

I felt like I was at Windy City Playhouse and was looking for the cheese curls, popcorn, and spray cheese can snacks. The set is Professor Ruth Steiner’s apartment, and the audience members are the eavesdroppers in her living room lined against the walls. For a play about sharing secrets and subsequent indiscretion, the intimacy is perfect. 

Jacqueline Grandt (Ruth) and Jillian Warden (Lisa)

“Write what you know” is the oft-repeated piece of advice to aspiring authors about writing. In Collected Stories by Donald Margulies, Lisa Morrison is a young, ambitious yet uncertain grad student meeting her idol/teacher Dr. Steiner for the first time. Lisa is writing about what she knows in her autobiographical selections that eventually culminate in her first published book, Eating Between Meals. She adores Dr. Steiner from her reputation as an author. Lisa fawns so much initially over her prof that it is cringey. Dr. Steiner is very no-nonsense, a little abrupt, blunt, and describes herself as “Thelma Ritter would play me in the movie.” (I love that line!) 

The first time that Lisa is published, Ruth’s surprise and tinge of jealousy is palpable. She wants her student to succeed, but as a fellow artist, Ruth may not truly want her protege to surpass her. (That Artist Ego is hard to shake.) We see Lisa expand her repertoire as a writer while Ruth’s health declines. But Lisa’s first novel is not a tale she experienced firsthand. Is it still fair game to share with the world?

The book in question is obviously inspired by Ruth’s affair decades ago with a well-known poet many years her senior. Ruth reveals this precious memory of her past when pressed by Lisa. Lisa uses it as a springboard for her novel a few years later. Ruth, understandably, feels betrayed. 

All along, Ruth has stressed that “writers are all rummagers.” Lisa reminds Ruth that she herself taught Lisa to be “ruthless.” But Ruth feels her favorite student has “turned into a spy.” Ruth confesses that watching Lisa’s star ascend reminds Ruth of her own mortality. 

The two actresses are fantastic. Redtwist Company Member Jacqueline Grandt is wonderful in every role. The part of Ruth Steiner is perfect for her. Making her Redtwist debut is Jillian Warden as Lisa. She holds her own next to Ms. Grandt. 

On their first meeting, Ruth is surprised to discover Lisa is not who she thinks she is. “My students match their stories.” Lisa’s first story is too serious, and her personality is just too earnest. For these two writers, they shouldn’t judge a book by its cover.    

Catherine Hellmann is a teacher, mom of teachers, daughter of a teacher…and a self-professed Theater Whore. 

Prominent author Ruth takes her fiction student Lisa under her wing – until Lisa’s success comes in the form of a story that’s much too familiar to Ruth. When her protege publishes a salacious story that can only be traced back to her mentor, their relationship is challenged. Spanning six years, this play takes a searching look at the lives of a pair of writers and the tangled connections between creativity and ideology.

THE CAST

Jacqueline Grandt* (Ruth Steiner), Jillian Warden (Lisa Morrison) Understudies: Jean Marie Koon (Ruth Steiner), Meghann Tabor (Lisa Morrison) THE STAFF

E. Malcolm Martinez (Box Office Manager), Karen Epton, Johnny Garcia & Amanda Grissom (Box Office Associates), Charlie

Marie McGrath (Producing Artistic Director)

*indicates Redtwist staff or company members

THE SCHEDULE

Opens: Sun, May 1, 3pm

Showtimes: Thu, Fri, Sat, 7:30pm; Sun, 3pm

Closes: Sun, Feb 13, 3pm

Previews: $15; Thu, Fri, Sat, Apr 28, 29, 30 at 7:30pm.

Runtime: 2 hours, with one intermission

Tickets: Thursdays, $35; Fridays, Saturdays, Sundays, $40 (seniors & students $5 off)

RESERVATIONS

Website/Tickets: www.redtwisttheatre.org Call: 773-728-7529

LOCATION/PARKING

Redtwist is located at 1044 W Bryn Mawr, 2 blocks W of LSD, 2 blocks E of the Red Line EL station. Please be aware of the ongoing construction on the Red and Purple lines, which cause delays. Valet parking for Redtwist is available across the street in front of Francesca’s Bryn Mawr for most performances—hours vary. Dining is not required. Parking is also available at Edgewater Mexican Café, with notification of restaurant staff. Dining is not required. Limited FREE street parking is available on side streets. There is paybox street parking via ParkChicago.com app. The paybox is 3-hours on the Redtwist block of Bryn Mawr, and 2-hours on side streets. Paybox parking is free on Sundays, and after 10pm Mon thru Sat.

The safety of our artists and audiences are important to us. During this unprecedented time, we hope to reduce the risk in the theatre-going experience as much as possible. To that end, we are instituting the following policies, effective immediately:

 Masks will be required for audiences inside the theatre.

 Patrons must be able to show proof that they are fully vaccinated via a physical copy of their vaccination card, a clear photo of their full card, or a link to their pharmacy's confirmation of vaccination or vaccination confirmation via their app.

 "Fully vaccinated" means that either 14 days have passed since receiving either the final dose of FDA or WHO authorized vaccines.

 Redtwist will offer exemptions for those unable to be vaccinated, such as children under 5, people with certain medical conditions preventing vaccination, or those with closely held religious beliefs that prevent vaccination. These patrons must provide proof of a negative COVID-19 test—within the last 48 hours—before performance start time.

PLEASE NOTE THAT REDTWIST RESERVES THE RIGHT TO REFUSE ENTRY TO THOSE WHO ARE UNABLE TO MEET THE ABOVE REQUIREMENTS. THE BOX OFFICE WILL BE HAPPY TO RESCHEDULE TICKETS WHEN POSSIBLE IN THAT EVENT.

Thank you for helping us to keep our friends and artists and your fellow patrons as safe as possible during our upcoming season.

REVIEW: THE GOLDEN GIRLS: The Lost Episodes, Vol. 5 – SEX! Via Hell in a Handbag Productions Through October 23, 2021

ChiIL Live Shows On Our Radar: 

Hell in a Handbag Productions

Opens Its 20th Anniversary Season with

THE GOLDEN GIRLS: The Lost Episodes, Vol. 5 – SEX!

By Artistic Director David Cerda

Directed by Madison Smith

(left to right) Grant Drager, David Cerda and Lori Lee. 

Now Playing Through October 23, 2021 at the Leather Archives & Museum

Running Time: 90min including intermission

 *COVID POLICY: Handbag will require proof of vaccination and masking at all performances. The entire cast and crew is vaccinated.

(left to right) Ryan Oates, Ed Jones, Danne W. Taylor, David Cerda and Grant Drager in Hell in a Handbag Productions’ The Golden Girls: The Lost Episodes, Vol. 5 – SEX! All photos by Rick Aguilar Studios

 Guest Review by 

Catherine Hellmann

A “Thank you for being a friend!” sing-along opens this fun, much-anticipated return to live theater from Hell in a Handbag Productions. And it is like welcoming back an old friend to see our favorites on stage again after a looooong 18 months. The HIAH team did produce a couple streaming shows during the pandemic, but their outrageousness is so much better enjoyed in person. The multi-talented David Cerda and his high-spirited troops have been entertaining us for twenty years, as this is their anniversary season! Two decades of laughter and merriment!   

This latest parody of “Golden Girls” takes place in a beautiful, intimate theater of 160 seats set in the Leather Archives & Museum in Rogers Park where paintings of hunky men with massive packages in their trousers (some contained, some blatantly revealed) look down on us like sexy angels. Tickets to the show include a 30-day membership to the LA&M so you can return another day to gawk at the displays of leather and kinky props. I want to go back! 

In episode one, “The Pleasure Dome,” Rose and her boyfriend Miles need more than a game of “Hungry, Hungry Hippos” to get their game on. So Miles books them a couple’s trip to Miami’s new spicy spot, The Pleasure Dome. Crashing the party are Blanche and Dorothy who accompany them for “moral support.” Sophia has been working some wild hours to make some extra cash…(her costume here is just the funniest gag ever), and the girls discover Sophia is not out delivering for DoorDash. 

In the next act, “Blanche Makes a Deal,” Sophia nearly kicks the bucket in an accident that leaves Blanche so guilt-ridden that she takes a Vow of Chastity! She holds out longer than we suspect she will... but at one point, Blanche describes herself as “uncomfortably horny,” which was my friend’s favorite line in the show. :-) As Blanche finally succumbs to her desires, Sophia refers to Blanche’s moves on the repairman as “the courtship ritual of the ‘Geriatric Skank.’” (my favorite line in the show!)

The script is penned by David Cerda, who plays Dorothy. There are so many wonderful lines, like referring to the tv show from our childhood “Wild Kingdom” and quipping,”Nobody under fifty will understand that reference.” When Blanche asks what she should do when she can’t fall asleep, she’s advised to “go home,” which is followed by a joke that the dialogue was stolen from an original episode. 

In between acts, Cast Member Lori Lee runs a Golden Girls Trivia contest with fun prizes like GG napkins, buttons, and “sensual arousal gel.” (My best friend from college won a “Golden Girls” Trivia Contest in Boston years ago---the prize was tickets to see a Judy Garland impersonator. He described it as “the gayest night of my life.”)  

We loved the jello molds along the walls of the set. There is great eye candy with a hot cop moving the set pieces very deliberately in a provocative manner as if he works at the Pleasure Dome.  

HIAH regulars Cerda and the always-hilarious Ed Jones both received cheers and applause upon their entrances. So wonderful to see them in person again! Also of note is Grant Drager as Blanche. We saw him after the show and praised his performance, and he was so gracious and lovely. We asked about a particular line, and he immediately recited the words with his Southern-drawl Blanche Voice. We were charmed, indeed. 

Treat yourself, be a friend, and support a wonderful Chicago institution by seeing “Golden Girls.” You’ll be glad you did! “Your heart is true, you’re a pal and a confidant.” 

The Golden Girls runs through October 23 at 6418 N. Greenview Ave. 

Be aware that Handbag is requiring proof of vaccination at the door and masking at all performances. The entire cast and crew is vaccinated. 

Cath Hellmann is a teacher, theater lover, and a true friend who once washed her bestie’s bloody sheets after a homebirth. 

(left to right) Max McKune, Grant Drager and Danne W. Taylor 

(left to right) Grant Drager, David Cerda, Ed Jones and Ryan Oates

Hell in a Handbag Productions is pleased to welcome back audiences this fall with the return of Chicago’s favorite drag seniors in its long-running parody The Golden Girls: The Lost Episodes, Vol. 5 – SEX!, written by Artistic Director David Cerda* and directed by Madison Smith. Dorothy, Rose, Blanche, Sophia and their whacky friends and relatives explore their naughty side now playing through October 23, 2021 at the Leather Archives & Museum’s 160-seat auditorium at 6418 N. Greenview Ave. in Chicago’s Rogers Park neighborhood (must be 18+ for entry). Single tickets are currently available at goldengirls5sex.eventbrite.com (includes 30-day membership to Leather Archives & Museum). Season subscriptions are on sale at www.handbagproductions.org. 

The Golden Girls stars original cast members David Cerda*, Grant Drager*, Ed Jones* and Ryan Oates as the Geriatric Fab Four, joined by Lori Lee*, Max McKune, Michael Rashid* and Danne W. Taylor*. 

 In episode one, “The Pleasure Dome,” Rose and Miles’ relationship needs spicing up and what better way to do that than a trip to the latest Miami hotspot, The Pleasure Dome! Of course, Blanche and Dorothy accompany her to provide “emotional support.” Meanwhile, Sophia has a mysterious part-time job that keeps her out all hours of the night.

 In episode two, “Blanche Makes a Deal,” following a household accident that nearly kills Sophia, Blanche’s guilt drives her to do the unthinkable: take a vow of celibacy! Can Blanche keep her promise to God? Will the truth about what actually happened come out? Will the Smurfs get Rose, or can she outwit them? See for yourself in Chicago’s irreverent long-running parody show.

The production team includes Pamela L. Parker* (scenic design, production manager), Gregory Graham (costume design), Liz Cooper (lighting design), DJ Douglass (sound design), Andrew Milliken (incidental music), Mealah Heidenreich* (props design), Rick Gilbert & Victor Bayona (violence coordinators), Keith Ryan* (wig design), Jack Mink (technical director) and Drew Donnelly* (stage manager).

*Denotes Handbag Ensemble Member

(left to right) Michael Rashid and Ed Jones

(left to right) Ryan Oates and Grant Drager 

PRODUCTION DETAILS:

Cast (in alphabetical order): David Cerda* (Dorothy), Grant Drager* (Blanche), Ed Jones* (Dorothy) Lori Lee* (Host, Emcee), Max McKune (Jeff, Chip), Ryan Oates (Sophia), Michael Rashid* (Miles) and Danne W. Taylor* (Nancy Drew). Understudies: Miles Brindley, Spenser Douglas Clark, Jamie Smith and Nick Strauss.

Location: Leather Archives & Museum, 6418 N. Greenview Ave., Chicago (must be 18+ for entry)

Regular run: Friday, September 24 – October 23, 2021

Curtain Times: Fridays & Saturday at 7:30 pm; Sundays at 3 pm. Please note: there will be an added performances on Thursday, October 21 at 7:30 pm

Tickets: $27 general admission. $35– $45 VIP/reserved seating. Group rates $23 for 10 or more. Tickets are currently available at goldengirls5sex.eventbrite.com (includes 30-day membership to Leather Archives & Museum). Must be 18+ with proof of vaccination.

 

(left to right) Danne W. Taylor, Ed Jones, Ryan Oates, David Cerda and Grant Drager

About the Artists     

David Cerda (Playwright) is a founding member and Artistic Director of Hell in a Handbag Productions. As resident playwright he has written many a Handbag production as well as acted in them. As a Latinx queer individual, he is a proud inductee in the Chicago LGBT Hall of Fame and recipient of a Jeff Award for lifetime achievement for his 25 years (and counting) of work and service to the community. He lives in Chicago with his partner, Christopher.

Madison Smith (Director) is a director and producer who hails from Nebraska. She is also the Artistic Director of the scrappy new-works focused company Death & Pretzels. Besides directing for D&P, Madison has had the pleasure of working with companies such as The House Theatre, RedTwist, Summer Place, Team StarKid and Three Cat Productions, among others, and she’s delighted to be working with Hell in a Handbag once again. Thank you for being a friend!

About Hell in a Handbag Productions

Hell in a Handbag is dedicated to the preservation, exploration, and celebration of works ingrained in the realm of popular culture via theatrical productions through parody, music and homage. Handbag is a 501(c)(3) Not for Profit. For additional information, visit handbagproductions.org.

(left to right) Ed Jones, David Cerda, Grant Drager and Ryan Oates in Hell in a Handbag Productions’ The Golden Girls: The Lost Episodes, Vol. 5 – SEX! Photo by Rick Aguilar Studios.

REVIEW: Chicago's Blue Man Group Takes The Stage For Live Shows Again

ChiIL Live Shows On Our Radar

Back In Blue: 

Chicago's Favorite Indigo Entertainers 

Return to Open Run at 

Briar Street Theatre

Photo by D. Kenaz-Mara

GUEST REVIEW:

By Dugan Kenaz-Mara

The Blue Man Group is back and it’s as wonderful as ever! After 15 or so months off from performing, The Blue Man Group has brought all of their loveable antics back to Briar Street Theater and has reignited the joy of seeing live theater. And they do it all safely too! Everyone was required to wear a mask and any audience member drawn onto the stage was given a face shield before interacting with the Blue Men. 

Photo by D. Kenaz-Mara

Before the show even starts you get a fun experience! From the moment you enter the lobby, you might notice classical paintings lining the walls with a little extra blue thrown in. From there you’ll pass a giant blue face perfect for photo ops, before entering the actual theater bathed in blue light. Then the pre-show looping text helps set the chaotic funny mood for the upcoming show. How many twinkies does a Blue Man eat in his life? What bout the amount of toilet paper used in a day in the US? These questions and more are answered (sarcastically) before the show even starts. 

Photo by D. Kenaz-Mara

When the show begins, the audience is bombarded with spectacle after spectacle. From paint drums to musical pipes to Cap'n Crunch, there’s never a dull moment. I especially loved the design elements that went into making the show. The lighting design brought tons of colors to the black stage and out into the audience, the instruments and props were all super creative takes on normal items, and the set was able to change in an instant using their multitude of screens. In addition to that, all of the actors were fabulous too. The Blue Men were able to effortlessly connect to the audience without using words. From subtle gestures to knowingly blank stares, the Blue Men really tapped into human emotion which the viewers were able to recognize easily. They even brought that energy into their props, breathing life into instrumental pipes and controlling people using their signal light wands. 

One of their specialties is keeping the audience on the edge of their seats. When watching the show you never know when you specifically might be singled out. The pre-show announcements called out specific audience members, and the show stopped to call attention to people arriving late. There were also many points in the show where the Blue Men would venture out into the audience (sometimes via the aisles and sometimes climbing right over people’s heads) to pick an audience member to go on stage and help in the performance. But if you don’t get singled out you’ll still have the chance to participate. There are many moments scattered throughout the show where audience members will get to stand up, dance, scream out, and catch things thrown from the stage.

Photo by D. Kenaz-Mara

In the end, watching Blue Man Group was an exhilarating show and I would recommend it to anyone who loves to have fun and wants to have the experience of a lifetime. 

Dugan Kenaz-Mara is an actor, designer, and photographer studying theatre and psychology at Northwestern University. Contrary to popular belief, he is not a time traveler.

Blue Man Group Chicago. Photo credit Caroline Talbot Photography

Theatrical phenomenon Blue Man Group has made its long-awaited return to Chicago’s Briar Street Theatre! A dynamic combination of art, music, comedy and technology, Blue Man Group encourages audiences to reconnect with their inner (and outer) child in order to see the world through a new perspective.  

“For more than 20 years, Blue Man Group has established itself as one of the top entertainment destinations in Chicago,” said Mary Grisolano, Managing Director of Blue Man Group. “We are absolutely thrilled to return to the stage and welcome new and returning audiences to the Briar Street Theatre.”  

Blue Man Group originally debuted at the Briar Street Theatre in Chicago’s Lakeview neighborhood in 1997. Three bald and blue men explore today’s cultural norms with wonder, poking fun at the audience’s collective quirks and reminding them how much they all have in common. The show is continually refreshed with new music, stories, custom instruments and state-of-the-art technology.   

Blue Man Group Ticket Information

Blue Man Group Chicago ticket prices range from $49 – $89. Tickets can be purchased by visiting www.blueman.com. A full show schedule and pricing can also be found at www.blueman.com.  

Special rates are available for groups of 10 or more, varying from $57 – $70 per person. For groups of 10 or more, email chicagogroups@blueman.com to request information.  

2021 Performance Schedule: 

August  

Thursday, August 26 at 8 p.m. 

Friday, August 27 at 8 p.m. 

Saturday, August 28 at 5 and 8 p.m. 

Sunday, August 29 at 2 and 5 p.m.  

September 

Wednesday, September 1 at 8 p.m. 

Thursday, September 2 at 8 p.m. 

Friday, September 3 at 5 and 8 p.m. 

Saturday, September 4 at 5 and 8 p.m. 

Sunday, September 5 at 5 and 8 p.m. 

Wednesday, September 8 at 8 p.m. 

Thursday, September 9 at 8 p.m. 

Friday, September 10 at 8 p.m. 

Saturday, September 11 at 5 and 8 p.m. 

Sunday, September 12 at 2 p.m. 

Wednesday, September 15 at 8 p.m. 

Thursday, September 16 at 8 p.m. 

Friday, September 17 at 8 p.m. 

Saturday, September 18 at 5 and 8 p.m. 

Sunday, September 19 at 2 p.m. 

Wednesday, September 22 at 8 p.m. 

Thursday, September 23 at 8 p.m. 

Friday, September 24 at 8 p.m. 

Saturday, September 25 at 5 and 8 p.m. 

Sunday, September 26 at 2 p.m. 

Wednesday, September 29 at 8 p.m. 

Thursday, September 30 at 8 p.m. 

  

October 

Friday, October 1 at 8 p.m. 

Saturday, October 2 at 5 and 8 p.m. 

Sunday, October 3 at 2 p.m. 

Additional fall and holiday performances will be announced at a later date. 

  

About Blue Man Group 

Blue Man Group is a global entertainment phenomenon, known for its award-winning theatrical productions, iconic characters and multiple creative explorations. Blue Man Group performances are euphoric celebrations of human connection through art, music, comedy and non-verbal communication. Since debuting at New York’s Astor Place Theatre in 1991, the live show has expanded to additional domestic residencies in Boston, Chicago, and Las Vegas, an international residency in Berlin, and multiple North American and World tours, reaching more than 35 million people worldwide. Blue Man Group is universally appealing to a broad range of age groups and cultural backgrounds, and continually injected with new music, fresh stories, custom instruments and sensory stimulating graphics. Blue Man Group is owned and operated by Cirque du Soleil Entertainment Group. For more information, please visit www.blueman.com.  

REVIEW: Jeeves Saves the Day at First Folio Theatre at the Mayslake Peabody Estate in Oakbrook Through March 1, 2020

ChiIL Live Shows on our radar

FIRST FOLIO THEATRE PRESENTS 

JEEVES SAVES THE DAY 

FEBRUARY 1 – MARCH 1

All photos by Tom McGrath

Guest Review 

By Catherine Hellmann

(Setting: A walk in Rogers Park on a chilly, slushy day.)

Me: Want to see a play with me next weekend?

Emily, my oldest, who is often a theater skeptic: Hmmm...what is it? 
Me: It’s British humor. 
Emily: Okaaayy…
Me: It’s in the ‘burbs. Free parking! (Emily has transitioned to the suburbs and often praises the ample no-cost parking to me.) 
Emily: Hmmm…
Me: It’s in a mansion. 
Emily: All right. 

And so my daughter agreed to join me for Jeeves Saves the Day by First Folio Theatre at the Mayslake Peabody Estate in Oakbrook. It’s a delightful show with great characters, a beautiful set, and fun costumes. 

Dan Klarer (Egbert), Lucinda Johnston (Aunt Agatha)

There is a funny script by Margaret Raether based on the characters by P.G. Wodehouse. The play opens with Bertie in the dining room, his head down despondently on the table. He has managed to get engaged to a wealthy woman whom he doesn’t love, and now he worries how he will get himself out of this entanglement.  Christian Gray and Jim McCance have these roles down pat from having portrayed Bertie Wooster and Jeeves, respectively, in five productions now. When Bertie hears that his awful Aunt Agatha will be visiting, he wonders aloud why he dreads seeing her. “Experience,” Jeeves explains drily. 

Jim McCance (Jeeves), Sean Sinitski (Sir Roderick), Lucinda Johnston (Aunt Agatha),

Christian Gray (Bertie)

Lucinda Johnston as over-the-top annoying Aunt Agatha is perfectly irritating. She is thrilled about her nephew’s social-climbing engagement. He wants to weasel out of his situation. She tells Bertie that in order for his “spine to hurt, he must possess one.” In a word association game, Bertie refers to his aunt as “my nemesis.” (For “alcohol,”  he promptly answers, ”Always,”)

Jim McCance (Jeeves), Christian Gray (Bertie)

Dan Klarer deserves special recognition as hilarious Cousin Egbert who is on a drawn-out scavenger hunt, continually bringing home odd items. (The best one is a large birdcage with straps that he wears like a backpack.) His physicality and odd movements are very funny and really add to the character’s goofiness.    

The wordplay is clever, as when a character thinks they see “an apprehension” instead of an “apparition,” and someone else refers to the “banana peels of life.” The language is a treat, as is the entire play.

And you get to see a show in a mansion...with free parking! 

Cath Hellmann is an educator and theater junkie living in Chicago. 

Opening Night

From left to right: Natalie Rae, Sean Sinitski, Lydia Hiller, Dan Klarer, Jim McCance, Joe Foust, Almanya Narula, Christian Gray, Lucinda Johnston

To begin the new year with laughs a-plenty, First Folio Theatre (Mayslake Peabody Estate, 31st St & Rt. 83) presents the World Premiere production of JEEVES SAVES THE DAY, by Margaret Raether, to continue its 2019-2020 season. Based on stories by P.G. Wodehouse and directed by Artistic Associate Joe Foust, JEEVES SAVES THE DAY previews January 29-31, opens February 1, and runs through March 1, 2020.

Lucinda Johnston (Aunt Agatha), Jim McCance (Jeeves)

Jim McCance (Jeeves), Christian Gray (Bertie)

The indefatigable Jeeves and his balmy employer Bertie Wooster are back. Once again, Bertie finds himself suffering the slings and arrows of misfortune at the hands of his relatives, caught between the magisterial machinations of his fierce Aunt Agatha and the plaintive pleadings of his cousin Egbert. Throw in the imperious Sir Roderick Glossop and the sexy chanteuse Red Hot Maisie Dawson, and you’ve got another precarious predicament that cannot be overcome…unless one calls upon the redoubtable Jeeves to save the day.

Almanya Narula (Maisie), Jim McCance (Jeeves), Dan Klarer (Egbert), Christian Gray (Bertie)

“We are thrilled to present this humor-filled production of JEEVES SAVES THE DAY to First Folio Theatre audiences this winter,” said Director Joe Foust. “We’ve followed Jeeves and his many adventures since First Folio Theatre began telling the Jeeves tales in 2008, and this new tale is filled with more energy and comedy than ever! Our two leads are reprising their roles of Bertie and Jeeves for the fifth time and their characters will experience a predicament unlike any they have faced before. We know audiences will relish the hilarity, hoping that once again Jeeves can save the day.”

In their fifth foray into the roles of Bertie and Jeeves, JEEVES SAVES THE DAY stars Christian Gray as Bertie Wooster and Jim McCance as Jeeves. The production also features Lucinda Johnston (Aunt Agatha), Dan Klarer (Egbert Bakewell), Sean Sinitski (Sir Roderick Glossop) and Almanya Narula (Red Hot Maisie Dawson). 

Almanya Narula (Red Hot Maisie Dawson)

The production and design crew includes Lydia Hiller (Assistant Director), Angela Weber Miller (Scenic Design), Rachel Lambert (Costume Design), Richard Norwood (Lighting Design), Christopher Kriz (Original Music and Sound Design), Wendy Huber and Margaret Garofalo (Properties Design), Dean Gnadinger (Technical Director), Joe Foust (Movement Designer) and Sarah West (Stage Manager) with Wallace Craig (Production Valet).

Performances take place at the Mayslake Peabody Estate, located at 1717 31st St., off Rt. 83, in Oak Brook. First Folio is easy to get to via the East-West Tollway (I-88) or the Stevenson Expressway (I-55). Free parking is available on the grounds. Preview tickets are $25. Regular priced tickets are $34 Wednesdays and Thursdays (seniors and students are $29), and $44 on Fridays through Sundays (seniors and students are $39). Tickets are on sale now and may be purchased by calling the box office at 630.986.8067 or online at www.firstfolio.org.

Sean Sinitski (Sir Roderick), Jim McCance (Jeeves), Lucinda Johnston (Aunt Agatha),

Christian Gray (Bertie)