OPENING: BUYER & CELLAR Featuring Scott Gryder at Pride Films and Plays April 11 – May 19

ChiIL Live Shows on our radar

BUYER & CELLAR 

By Jonathan Tolins

Featuring Scott Gryder

Directed by Donterrio Johnson

April 11 – May 19

I'll be out for the Press Opening April 15th so check back soon for my full review. 

**NOTE: BUYER & CELLAR Performance Schedule Update

Sunday matinees moved up to a 2:00 pm curtain time to enable a PFP “Double Feature” with AFTERGLOW

All Sunday matinees for Pride Films and Plays’ production of Jonathan Tolins’s BUYER & CELLAR have been rescheduled to a 2 pm curtain, an hour-and-one half earlier than previously announced.  The change was made to make it possible for patrons to attend on a single afternoon both plays that will be playing at the two-stage Pride Arts Center in April and May. BUYER & CELLAR, which will start performances on April 11 in the 85-seat Broadway Theatre at 4139 N. Broadway, will begin its Sunday matinees at 2 pm and let out shortly after 3:30 pm. This will allow a 25-30-minute break before the 4 pm Sunday matinees of AFTERGLOW, performed in the 44-seat Buena Theatre at 4147 N. Broadway. AFTERGLOW, which opened on March 27,  has a running time of approximately 80 minutes with no intermission, and lets out at approximately 5:20 pm. Separate tickets are required for the two plays.

Emmy Award winner and Chicago Musical Theatre and Cabaret performer Scott Gryder will star in Pride Films and Plays’ upcoming production of Jonathan Tolins’s one-man comedy BUYER & CELLAR, directed by Donterrio Johnson. Gryder will play all the characters in Tolin’s comedy, but most notably, the role of Alex More - a struggling actor who takes a job managing a make-believe shopping mall in the basement of Barbra Streisand’s Malibu home.

Gryder’s Chicago stage credits include JESUS CHRIST SUPERSTAR (Lyric Opera) and THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE (Drury Lane Water Tower), THE GOLDEN GIRLS – THE LOST EPISODES (Hell in a Handbag), AMOUR (Black Button Eyes), and SOUTH PACIFIC (Light Opera Works). He has performed in cabarets at such venues as Davenport's, Victory Gardens Theater, and Auditorium Theatre's Katten-Landau Studio. Gryder has a B.A. in Theater from Texas Tech University. MeTV’s GREEN SCREEN ADVENTURES earned him three National Daytime Emmy Awards for Outstanding Achievement in Makeup.

BUYER & CELLAR was a 2013 off-Broadway hit, running for 13 months at the Barrow Street Theatre immediately after its sold-out world premiere at the Rattlestick Theatre. A national tour starring Michael Urie played Chicago for six weeks in 2014. It has been performed in many countries around the world since then. This will be the play’s first Chicago production since the tour’s engagement here.

Tolins, whose other playwriting credits include the gay-themed comedies LAST SUNDAY IN JUNE and THE TWILIGHT OF THE GOLDS, was inspired to write BUYER & CELLAR after reading about Streisand’s real-life faux mall in her book, MY PASSION FOR DESIGN. Tolins’s comedy begins with the truth of the mall – a showcase for her collectibles like dolls and antique clothing – and imagines what it might be like to be the custodian of such a place for such a celebrity. BUYER & CELLAR is an outrageous comedy about the price of fame, the cost of things, and the oddest of odd jobs.

BUYER & CELLAR will be performed in the 85-seat Broadway Theatre of the Pride Arts Center. It will open to the press on Monday, April 15 following previews from Thursday, April 11; and will play through Sunday, May 19, 2019. BUYER & CELLAR joins the schedule of shows previously announced for spring at Pride Arts Center, including the musical SOUTHERN COMFORT, opening to the press on March 4; the drama AFTERGLOW, opening on March 27; and the world premiere of DESIRE IN A TINIER HOUSE on June 3. 

BIOS
Scott Gryder (Alex More) has been seen throughout Chicagoland, with appearances including JESUS CHRIST SUPERSTAR (Lyric Opera Chicago), THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE (Drury Lane Theatre at Water Tower Place), and SOUTH PACIFIC (Light Opera Works). He has performed in cabarets at such venues as Davenport's, Victory Gardens Theater, and Auditorium Theatre's Katten-Landau Studio. Gryder has a B.A. in Theater from Texas Tech University. MeTV’s GREEN SCREEN ADVENTURES earned him three National Daytime Emmy Awards for Outstanding Achievement in Makeup. For more info, visit www.thescottgryder.com

Donterrio Johnson (Director) is excited to be back at home with Pride Films and Plays - this time behind the table directing this new exciting production of BUYER AND CELLAR by Jonathan Tolins. With a keen eye for detail and a knack for intricate storytelling that is thought-provoking and modernistic, Donterrio Johnson has created some incredible art as both actor and director over the past 15 years. He was a Jeff Award-winner for his Judas Iscariot in JESUS CHRIST SUPERSTAR with Theo Ubique and has earned raves for his Dan in NEXT TO NORMAL and his Caldwell B. Cladwell in  URINETOWN, both with BoHo Theatre. He has also appeared in the Chicago cast of SPAMILTON and as Leading Player in PIPPIN at Mercury Theater and recently  returned from a year-long stint in the National Tour of WAITRESS. Johnson’s notable directing credits include: THE COLORED MUSEUM, 101 DALMATIANS , EMPEROR’S NEW CLOTHES WILLY WONKA, LAST FIVE YEARS, LITTLE SHOP OF HORRORS  AND THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE. Donterrio has worked with companies such as Pulse Theatre Company, Prisco Center, and The REPA Center.

Previews Thursday, April 11 through Saturday April 13 at 7:30 pm, Sunday April 14 at 3:30 pm,

Thursdays – Saturdays at 7:30 pm, Sundays at 2:00 pm through May 19
Premium seats $40, general admission seats $30, student/senior/military $25 (not valid Saturdays)

AFTERGLOW
The Chicago Premiere of AFTERGLOW, an off-Broadway hit from 2017 exploring the emotional, intellectual, and physical connections between three men and the broader implications within their relationships, opened in the Buena Theatre of the Pride Arts Center on March 27. David G. Zak, the company’s Executive Director, directed. The cast includes Rich Holton (SEX WITH STRANGERS at Citadel Theatre) and Jacob Barnes  (URINETOWN at Red Barn Summer Playhouse and A COMEDY OF TENORS with Actors Theatre of Indiana), who play Josh and Alex, a gay male married couple in an open relationship. The two invite another man, Darius, (Jesse Montoya of HURRICANE DAMAGE at Pride Films and Plays) to share their bed one night.  When a new intimate connection begins to form, all three men must come to terms with their individual definitions of love, loyalty, and trust as futures are questioned, relationships are shaken, and commitments are challenged.

AFTERGLOW is performed in the 44-seat Buena Theatre of the Pride Arts Center. It opened to the press on Wednesday, March 27 and will play through Sunday, May 5, 2019.


Flex Passes available for $144 are good for six reserved seats with priority seating for the patron’s choice of shows.
Pride Arts Center – the Broadway, 4139 N. Broadway, Chicago
Tickets available by phone at 866-811-4111 or 773-857-0222 or online at www.pridefilmsandplays.com

ABOUT PRIDE FILMS AND PLAYS
Pride Films and Plays is working to produce year-round theater and film projects that change lives through the generation of diverse new work (or work that is new to Chicago) with LGBTQ+ characters or themes that are essential viewing for all audiences. The company produces a five-play season of full productions, shoots one short film each year, and continues our famed play developmental projects. PFP is the principal tenant in Pride Arts Center. 

Pride Arts Center produces events complementing the PFP vision, including dance, cabaret, film, and more. Events can be one-night or limited run productions or feature national treasures like Charles Busch.  PAC occupies The Broadway at 4139 N. Broadway, which has 85 seats, and The Buena, which has 50 seats at 4147 N Broadway.

Pride Films and Plays is supported by The MacArthur Fund for Arts & Culture at The Richard Driehaus Foundation, The Illinois Arts Council, City of Chicago’s City Arts Fund, the Elliott Fredland Charitable Trust, Proud to Run, The Pauls Foundation, The Heath Fund, The Service Club of Chicago, the AmazonSmile Foundation, Arts and Business Foundation, Tap Root Foundation, Arts and Business Council, and Alphawood Foundation. 

PFP is a member of the Smart Growth Program of the Chicago Community Trust. Pride Films and Plays is a member of the LGBT Chamber of Commerce of Illinois, Northhalsted Business Association, Uptown United, and The League of Chicago Theatres.

SUMMER 2019 THEATRICAL PRESENTATIONS ANNOUNCED FOR NORTH SHORE CENTER FOR THE PERFORMING ARTS IN SKOKIE

ChiIL Live Shows on our radar

NORTH SHORE CENTER 

FOR THE PERFORMING ARTS 

IN SKOKIE 

ANNOUNCES SUMMER 2019 

THEATRICAL PRESENTATIONS

Critically-Acclaimed Summer Presentations Include “Wiesenthal,” “Hitler’s Tasters” and Renée Taylor’s “My Life on a Diet”

Michael Pauken, General Manager of the North Shore Center for the Performing Arts in Skokie, announced today that this summer three critically hailed Off-Broadway hits will come to the venue’s Northlight Theatre space.  Productions include “Wiesenthal,”  a gripping one-person retelling of the story of the legendary Nazi-hunter, Simon Wiesenthal; “Hitler’s Tasters,” the story of a group of young women who were enlisted to sample the Nazi Führer’s meals to ensure they are not poisoned and Renée Taylor’s “My Life on a Diet,” an autobiographical look at her many memorable roles, replete with juicy anecdotes about – and weight loss tips from – Hollywood legends.

“Our summer offerings feature three plays that are both moving and entertaining, sometimes in unexpected ways,” said Pauken.  “Both ‘Wiesenthal’ and ‘Hitler’s Tasters’ powerfully address the most difficult era of the 20th century in gripping and fascinating ways but also deftly employ moments of humor as they recount their protagonist’s stories. ‘My Life on a Diet’ is hilarious and revealing, yet also unexpectedly tender thanks to Ms. Taylor’s tremendous talent.” 

“Wiesenthal”
A Play about Nazi-Hunter, Simon Wiesenthal
Written by and starring Tom Dugan
Directed by Jenny Sullivan
Wednesday, June 26 - Sunday, June 30, 2019
Wed.-Thu. 7:30 p.m.; Fri. 8 p.m.; Sat. 2 p.m. & 8 p.m.; Sun. 2 p.m.
Ticket Range: $40-$60

Kicking-off the summer series will be a return engagement of “Wiesenthal,” a one-person play about Simon Wiesenthal, the tenacious holocaust survivor who was responsible for bringing more than 1,100 Nazi war criminals to justice.  Written and starring Tom Dugan, the play was hailed by The New York Times as “moving…Wiesenthal’s persistence and hard-won humor are well conveyed” while the Huffington Post called it “heartfelt, deeply moving and compelling; (Dugan) makes history come alive.” “Wiesenthal” gives equal weight to its subject’s wisdom and wit, as he recounts stories from his long and purposeful life, including locating Adolf Eichmann (who oversaw the mass deportation of Jews to ghettos and extermination camps) and Karl Silberbauer, who found and arrested Anne Frank and her family. The production played two performances at the North Shore Center in October 2018 and is returning due to audience acclaim and demand.



“Hitler’s Tasters”
Written by Michelle Kholos Brooks
Directed by Sarah Norris
Friday, July 5 - Sunday, July 14, 2019
Tue.-Thu. 7:30 p.m.; Fri. 8 p.m.; Sat. 2 p.m. & 8 p.m.; Sun. 2 p.m.
Ticket Range: $32-$46

Three times a day, every day, a group of young women had the opportunity to die for their country. They were Adolph Hitler's food tasters. Based on true historical events, “Hitler’s Tasters” is a dark comedy about the young women who were forced to sample food to be sure it was safe to eat before it was presented to the Nazi Führer. What do girls discuss as they wait to see if they will live through another meal? Like all girls, they gossip and dream, they question and dance; they want to love, laugh, and above all, they want to survive.

Michelle Kholos Brooks’ script, which will be presented at the prestigious Edinburgh Fringe Festival following its Skokie engagement, was greeted with critical accolades upon its New York engagement.  American Theatre Magazine called it “a great essay on the banality of evil and how people sign up to do evil as long as it serves their purpose. And I also found myself to be extremely entertained."  New York Theatre Review called it “nothing short of breathtaking,” and Tony Award-winning director Susan Stroman hailed it as “one of the best evenings I’ve spent in the theater in a long time. It was interesting, entertaining, upsetting and made you think.”



“My Life on a Diet”
Written by Renée Taylor & Joseph Bologna
Originally directed by Joe Bologna.
Tuesday, July 16 – Sunday, August 4, 2019
Tue.-Thu. 7:30 p.m.; Fri. 8 p.m.; Sat. 2 p.m. & 8 p.m.; Sun. 2 p.m.
Ticket Range: $45-$92

Rounding out the summer series will be Renée Taylor’s autobiographical “My Life on a Diet.”  The Academy Award-nominated and Emmy Award-winning actress looks back on a life full of memorable roles in Hollywood and on Broadway and just as many fad diets. A self-described “diet junkie,” Taylor dishes out juicy anecdotes about—and weight loss tips from—Hollywood legends such as Joan Crawford, Marilyn Monroe, Barbra Streisand, Marlon Brando and Cary Grant. By sharing her highs and lows—on and off the scale—as only she could, Taylor proves how the ability to laugh will get you through it all.

Reviewing the recent Off-Broadway run, The New York Times called “My Life on a Diet” a “lighthearted look at Taylor’s self-image and her quest for love…is a fascinating evocation of a woman with a weak body image and a strong sense of humor. A veritable depository of old-fashioned zingers…one-liners and well-timed pauses.” New York Stage Review awarded the show four stars, raving “You say you want a good laugh. If you’re truly serious about laughing heartily, you’ll get to Taylor recounting ‘My Life on a Diet’ real fast. It’s LOL funny.”

Renée Taylor, the play’s star and co-author, wrote 22 plays, four films and nine TV movies and series with her late husband Joseph Bologna. The two appeared together on Broadway in their plays “Lovers and Other Strangers” (1968), “It Had to Be You” (1981) and “If You Ever Leave Me … I’m Going with You!” (2001); and Off-Broadway in “Bermuda Avenue Triangle” (Promenade Theatre, 1997). For film, the couple received an Academy Award-nomination for the 1970 film adaptation of “Lovers and Other Strangers.”  Known for her Emmy nominated role of Sylvia Fine in “The Nanny,” her other notable TV acting credits include “Daddy Dearest,” “Dream On” and recurring roles in “How I Met Your Mother,” “Bob’s Burgers,” “Happily Divorced” and currently Amazon’s “Gown and Out in Beverly Hills.” Her many film credits also include: Jerry Lewis’ “The Errand Boy,” Mel Brooks’ “The Producers,” Elaine May’s “A New Leaf,” Neil Simon’s “Last of the Red Hot Lovers,” “Lovesick,” “White Palace,” “Life During Wartime,” Tyler Perry’s “Temptation: Confessions of a Marriage Counselor,” and more recently, “The Do-Over” and “How To Be a Latin Lover.” She last appeared at the North Shore Center with her late husband Joseph Bologna in 2005 in their Broadway play “It Had to Be You.”

Tickets go on sale Friday, March 22 at 10 a.m. at NorthShoreCenter.org/SummerAtTheCenter or by calling 847-673-6300. Two and three-show discounted packages are also available for purchase. Groups can book tickets by calling Group Theater Tix at (312) 423-6612.

About The North Shore Center
The North Shore Center for the Performing Arts in Skokie is a dynamic two-theater complex designed by Boston architect Graham Gund and opened in November 1996. The North Shore Center is managed by Professional Facilities Management, Inc. and operates as part of the Village of Skokie’s plan to provide cultural, literary and educational programs to benefit the citizens of Skokie and Chicago’s North Shore. The facility features an 867-seat main theater, and a convertible 318-seat theater, which serves as the home to Northlight Theatre. In addition, there is a 6,000 square foot grand lobby, rehearsal hall and conference rooms. The North Shore Center presents a Feature Series and the curriculum-based Youtheatre program, which has provided supplemental arts education to over a million Chicago area students since its launch in 1980. Located 30 minutes from Chicago’s Loop and conveniently across from Westfield Old Orchard Mall, the Center is in close proximity to many excellent dining, shopping and hotel options. Free parking is also abundantly available. For more information or tickets to its diverse programming, please visit NorthShoreCenter.org.

ADULT NIGHT OUT: FOUR CHORDS AND A GUN, The Story of Phil Spector and The Ramones

ChiIL Live Shows on our radar

CHICAGO PREMIERE OF

FOUR CHORDS AND A GUN

TO PLAY BROADWAY IN CHICAGO’S

BROADWAY PLAYHOUSE AT WATER TOWER PLACE

PERFORMANCES BEGIN MAY 18, 2019

I spent my early adulthood adoring The Ramones and when I had kids of my own, the Ramones were in heavy rotation. Our anthem for getting two, stubborn, pint sized punks out of the house was “Hey Ho Let’s Go!”.  They could both spell "R-A-M-O-N-E-S... Ramones", right on key, before their own names. I even got summoned to see the teacher when my preschool age daughter was belting out inappropriate Ramones lyrics like "...beat on the brat with a baseball bat. Oh yeah." Can't wait to catch this Chicago premiere on tour. Theatre has tackled the hell out of the Elvis era, Jersey Boys, Motown, and even 80's metal hair bands, so it's about time the early roots of punk got a boot in the spotlights. Don't miss the stage version of the drama-filled 1979 recording session that led to The Ramones album, End of the Century, produced by Phil Spector.

Broadway In Chicago and Starvox Touring, Inc. are pleased to announce FOUR CHORDS AND A GUN will play at Broadway In Chicago’s Broadway Playhouse at Water Tower Place (175 E. Chestnut) beginning May 18, 2019. Individual tickets will go on sale to the public March 20, 2019.

Debuting in Toronto, FOUR CHORDS AND A GUN written by actor John Ross Bowie (The Big Bang Theory, Speechless) reveals the drama-filled 1979 recording session that led to The Ramones album, End of the Century, produced by Phil Spector.

Based on Bowie’s exhaustive research, the script delves into the personal tensions between the punk band members as well as their often-violent struggles with Spector. It’s a powerful story both funny and touching - which explores the Ramones, Linda Daniele (the woman who loved two of them) and the charismatic, destructive Spector.

“Hey Ho Let’s Go!” to a play about the Ramones followed by a concert. Not a f***ing musical.

TICKET INFORMATION
Individual tickets will go on-sale to the public on Wednesday, March 20, 2019 and range in price from $39.95 - $69.95 with a select number of premium tickets available. Tickets are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing GroupSales@BroadwayInChicago.com. For more information, visit www.BroadwayInChicago.com. 

ABOUT BROADWAY IN CHICAGO
Broadway In Chicago was created in July 2000 and over the past 19 years has grown to be one of the largest commercial touring homes in the country.  A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining more than 1.7 million people annually in five theatres.  Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago’s Loop including CIBC Theatre, James M. Nederlander Theatre, Cadillac Palace Theatre, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place and presenting Broadway shows at the Auditorium Theatre. Broadway In Chicago proudly celebrates 2019 as the Year of Chicago Theatre. For more information, visit www.BroadwayInChicago.com.

Facebook @BroadwayInChicago ● Twitter @broadwaychicago ● Instagram @broadwayinchicago ● #broadwayinchicago

Shows On Our Radar: HERLAND Rolling World Premiere at Redtwist Through April 14th

ChiIL Live Shows on our radar

HERLAND

A queer coming of age comedy with a Bruce Springsteen

Rock n’ Roll soul.

After graduating from high school, Natalie gets a summer internship working for Jean, her elderly neighbor, on a special project: creating a DIY retirement home for Jean and her two best friends. They set up shop inside Jean's garage, the former home of Jean’s ex-husband’s Bruce Springsteen cover band, and plan for the next chapter of their lives. Herland is a comedy about women growing up, growing old, and rocking out to the beat of their own drums.

Previews $15: Mar 13-15, 7:30pm
Opens Sat Mar 16, 3pm
Runs thru April 14, 2019
(no evening show on Mar 16)
Thu, Fri, Sat, 7:30pm; Sun, 3pm
Tickets: $35-40
(seniors/students: $5 off)

Top row: Valerie Gorman, Simi Bal, Kathleen Ruhl

Bottom row: Deanalis Resto, marssie Mencotti.

Photos by Gracie Meier

CAST (in alphabetical order)
Simran Bal (Natalie), Valerie Gorman (Terry), marssie Mencotti (Louise), Deanalís Resto (Becca), and Kathleen Ruhl (Jean)
Barbara Button (Jean U/S), Mishell Livio (Becca U/S), Julie Mitre (Louise U/S), Esme Perez (Natalie U/S), and Patricia Tinsley (Terry U/S)
Understudy Show Tuesday April 9, 7:30pm

STAFF 
Grace McLeod (Playwright), James Fleming (Director), Bex Ehrmann (Assistant Director), Kate Cuellar (Dramaturg), Julia Skeggs (Casting Director), Evan Sposato (Technical Director), Alyssa Mohn (Scenic Designer), Shelbi Ardnt (Lighting Designer), Joe Palermo and Stephen Severn (Sound Designers), Elle Erickson (Costume Designer), Erin Gautille (Props Designer), Tara Huffman (Scenic Charge), Zachary Payne (Fight and Intimacy Choreographer), Megan Chaney (Stage Manager) Ari Craven (Graphic Designer), Gracie Meier (Photographer), Jan Ellen Graves (Marketing), Brennan T. Jones (Producer)



Redtwist is located at 1044 W Bryn Mawr, 2 blks W of LSD, 2 blks E of the Red Line EL station. 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. Limited FREE street parking is available on side streets. There is metered street parking via ParkChicago.com app or 3-hour Paybox on Bryn Mawr Av and 2-hour Paybox on side streets. Free on Sundays, and after 10pm Mon thru Sat. Parking & Policies

Redtwist Theatre, 1044 W. Bryn Mawr, Chicago, 773-728-7529, www.redtwist.org

OPENING: NEW She the People: The Resistance Continues at Second City

ChiIL Live Shows on our radar

Revamped She the People Re-Conquers UP Comedy Club at The Second City

I'll be ChiILin' with Chi, IL's infamous Second City for the relaunch of The Second City's She The People: The Resistance Continues on March 14th, so check back soon for my full review. She The People is one of my favorite Second City shows to date and I can't wait to see the new material they've added. The women of She the People are breaking ceilings and taking names. If you've heard the old cliche that feminists are humorless, you'll never believe it again. This show is fierce, funny and unapologetically feminist. You'll never look at advertising, pop culture, and dating quite the same way again. Don't miss this! 

Bonnie Kenaz-Mara (AKA: ChiIL Mama) and Chicago artist, Kathy Blankley Roman, ChiILin' at the press opening of Chi, IL's She The People, January 2018.

The Second City’s knockout show She the People: The Resistance Continues is electrifying UP Comedy Club with a refreshed name, updated material, new cast members, and all of its signature witty, empowering bite. The all-female, all-funny show directed by Carly Heffernan welcomes Mary Catherine Curran, Sayjal Joshi, and Kaye Winks who join original cast members Carisa Barreca, Alex Bellisle, and Katie Caussin.

“The Second City has never been lacking for new material, and just like entertainment juggernaut Blue Man Group or the most recent tour of Miss Saigon, art must evolve to stay true and relevant and inspiring to its audience,” said Second City CEO and Executive Producer Andrew Alexander. “People coming back to She the People for the second or third time will be delighted to see that about half of the show is brand new.”

"Our goal is, and always has been, to satirize the woes of being a woman in this wild world while also empowering the audience to take a stand and make real change. The show bounces around everything our writing team knows are hot button topics these days--dating, body positivity, motherhood, and what might prove to be the most important election of our lifetime. It's a call to action bundled up inside a party, and we're all proud to be part of it." says director and head writer Carly Heffernan.

She the People first hit The Second City in September 2017. After its smash run in UP Comedy Club, the show brought its tour-de-female-force to Woolly Mammoth Theatre Company in Washington, DC, where it earned a Helen Hayes award nomination and became the highest grossing show in the theatre’s history. “It’s a fast-paced, wild ride of a show that throws off sparks,” said MD Theatre Guide. DC Metro called the show “a dip into the often hilariously unbelievable or absurd situations that women– queer women, women of color, plus-sized women– find themselves in on a daily basis, and it does so not just playfully, but with a deep intelligence and purpose that never veers into the pedantic.”

She the People was originally written by Carisa Barreca, Alex Bellisle, Marla Caceres, Katie Caussin, Carly Heffernan, Maria Randazzo, Rashawn Nadine Scott, Tien Tran, Kimberly Michelle Vaughn, and Lauren Walker. Additional material for the re-launched production was written by Carisa Barreca, Alex Bellisle, Katie Caussin, Mary Catherine Curran, Carly Heffernan, Alexis J. Roston, and Kaye Winks.  Other team members include Mary Mahoney (Music Director/Original Music/Sound Designer), Abby Beggs (Lighting Designer), and Jaci Entwisle (Stage Manager).

She the People plays in The Second City’s UP Comedy Club (230 West North Avenue). Tickets start at $31.00 and are available by phone at 312-337-3992 or online at www.secondcity.com. 

The show schedule is as follows:

Thursdays @ 8:00pm
Fridays @ 8:00pm
Saturdays @ 8:00pm
Sundays @ 7:00pm

About the Artists
CARISA BARRECA (Ensemble/Assistant Director/Choreographer) is thrilled to be a part of She the People. She is an alumna of The Second City's e.t.c. stage, where she wrote and performed in three critically acclaimed revues. She has had the honor of performing at Lyric Opera of Chicago
with Sir Patrick Stewart and Renée Fleming in The Second City's Guide to the Opera, at Goodman Theatre and the Kennedy Center with Twist Your Dickens and wrote and performed in Hubbard Street Dance Chicago and The Second City's collaboration The Art of Falling. Follow her @Cinderisa.

ALEX BELLISLE (Ensemble) is thrilled to be working on She the People! A Chicago-based actress and comedian, Alex is one-half of the improv and sketch duo Girlish, which has performed its self-titled show around the country, including at the New York International Fringe Festival. Other credits include The Best of The Second City, Feminine Wilds, PANTS!, No Selfie Control and Just Being Honest. Alex can be seen performing with various improv groups around Chicago, including Gone Gone at The iO Theater.

KATIE CAUSSIN (Ensemble) is originally from Springfield, VA, and received her degree in Theater from Radford University. She has been an actor in Chicago for over 20 years, many of them with The Second City as part of their Touring Company and Theatricals shows. Most recently, she returned from a month-long run of She the People at the Woolly Mammoth Theater in Washington, D.C.  Previously, she appeared as Mrs. Cratchit in Twist Your Dickens at Goodman Theater and toured around the US in The Realish Housewives of (Your City Here). Katie has also performed with Second City for the USO in the Balkans and at both the iO and Annoyance theaters in Chicago. On camera, Katie has appeared in an episode of Chicago Justice on NBC and has been featured on the Onion Network’s Special Report webseries.

MARY CATHERINE CURRAN (Ensemble) is so excited to join this cast of badass women! MC studied Theatre Performance at the University of Maryland and trained at The Second City Conservatory and iO Theater in Chicago. She has improvised, written, performed, and directed shows all over Chicago, at the Annoyance (Steamworks, Bite Size Broadway, Burlesque is More) and iO (Virgin Daiquiri, Lil' Tooties, One Woman Space Jam). MC just finished the debut run of The Second City's Love Factually at the Kennedy Center in Washington, DC. Follow @itismarycatherine on Insta and @yomarycatherine on Twitter for great content.

SAYJAL JOSHI (Ensemble) hails from North Carolina where she earned her BA in theater from the University of North Carolina at Greensboro and co-founded Greensboro’s first improv comedy club, The Idiot Box. For sixteen years, she has been writing, performing, and teaching theater, sketch, improv, film, guitar comedy, and stand-up all over the universe. Credits include The Second City e.t.c., the Kennedy Center, Goodman Theatre, Woolly Mammoth Theatre Company, Cincinnati Playhouse in the Park, Zanie’s Comedy Club, The Laugh Factory, The Second City Touring Company, The Annoyance Theater, iO (formally Improv Olympic), ComedySportz, Laugh Out Loud Theater, and the critically acclaimed Asian-American sketch ensemble Stir-Friday Night. Follow her @SayjalJoshi.

KAYE WINKS (Ensemble) is #blessed to be alongside the fabulous ladles of She the People! Kaye trained with the Moscow Art Theater. She recently performed her hit solo show TOKEN to sold-out audiences at The Second City Training Center and toured it to UCB LA, Out of Bounds Comedy Festival, and United Solo Theater Fest In NYC. She is proudly repped by Shirley Hamilton and NV Talent.

CARLY HEFFERNAN (Director/Head Writer) is an award-winning alumna of The Second City
Toronto, where she wrote and performed in four Mainstage revues. She recently co-wrote the hit show The Second City Guide to the Symphony and toured with it across Canada and the United States. She directed the critically acclaimed Second City Toronto Mainstage revue Come What Mayhem!, as well as for The Second City Touring Company and several Norwegian Cruise Line shows. Carly currently writes for Second Jen (City TV), The Irrelevant Show (CBC Radio) and Air Farce Canada 150 special (CBC).

MARY MAHONEY (Music Director/Original Music/Sound Design) is thrilled to be working with the talented women of She the People. Mary has worked as a Musical Director for sketch and improv comedy all over the continent while touring with Second City Theatricals aboard the Norwegian Dawn and with The Second City Touring Company. A former music faculty member of Western Washington University, she is now a proud faculty member at The Second City Training Center.

ABBY BEGGS (Lighting Design) is excited to be joining The Second City on this show. When she's not in the booth at The Second City, she can be found stage managing, directing, and composing music for theater around town. Stage management credits include: L’enfant et les Sortilèges, L’incoronazione di Poppea (Roosevelt University), The Out of Tooners (Off-Color Theatre Company}, Gallo (Guerilla Opera), Blue Window (Brown Box Theatre Project), The Scene, Good People, and Barefoot in the Park (Dorset Theatre Festival), among others.

JACI ENTWISLE (Stage Manager) is excited to return to Second City for She the People, having
previously worked on #DateMe in UP Comedy Club, as well as on stage management teams in
Sonoma (Transcendence Theatre Company), Philadelphia (Quintessence Theatre Group) and
Chicago (Goodman Theatre, Remy Bumppo Theatre Company, A Red Orchid Theatre, American Blues Theater).




About The Second City
The Second City is the leading brand in improv-based sketch comedy. With theatres and training centers in Chicago, Toronto and Hollywood, 11 full time touring ensembles, thriving corporate communications and theatricals divisions as well as television and film operations, The Second City has been called "A Comedy Empire" by The New York Times. The Second City has a current student body of 3,500 per week and is the largest school of improvisation and sketch comedy in the world.

REVIEW: Lyric Opera’s Ariodante by Handel Now Playing at Lyric Opera of Chicago Through March 17, 2019

ChiIL Live Shows on our radar

ARIODANTE 

Now Playing at Lyric Opera of Chicago

Through March 17

by George Frideric Handel

Sung in Italian with projected English translations

Guest Review
By Catherine Hellmann

At first, I thought there was a mistake in the program, or my eyes are bad (which they are, but I doubted the Lyric had a misprint…). George Frideric Handel’s Ariodante was first performed at Covent Garden in London on January 8, 1735 and “First performed by Lyric Opera of Chicago on March 2, 2019.” 1735? 2019? Huh?? How did it take 284 years (I had to do the subtracting on a calculator...I teach English, not math…) for the Lyric to present this glorious music? What a treasure has been neglected! Well, at last it is here in our beloved city, so “treat yo’self” (thanks, Tom Haverford and Donna on Parks and Rec!) by going to see it while it lasts. (and we hope it won’t be another nearly three centuries to return.)

The plot is a little kooky and quite like Shakespeare. I am going to save myself the mental gymnastics by quoting the Lyric press release which summarizes the storyline beautifully:

“The original plot of Ariodante is full of Shakespearean twists, disguises, mistaken identities, wrenching misunderstandings, and eventual reconciliation (not unlike Much Ado About Nothing). Ginevra and Ariodante love each other and are about to be wed with the blessing of her father, the King of Scotland. Polinesso covets Ginevra and uses her lady-in-waiting, Dalinda (who loves Polinesso), to trick Ariodante into believing Ginevra is unfaithful and provoke his apparent suicide. Ariodante’s brother Lurcanio, meanwhile, loves and is shunned by Dalinda, and blames Ginevra for his sibling’s seeming demise. Eventually Ariodante turns up alive, Polinesso is vanquished, and the “right” couples are united.”

My first reaction was, ”So they both love each other, and her father APPROVES? What is the problem here?” Ha ha ha. Oh, silly me. Enter the super-creepy Polinesso, played by astounding British countertenor Iestyn Davies, to stir up trouble. (In a previous review for ChiIL Live Shows on The Scarlet Ibis for Chicago Opera Theater, I referred to countertenors as “unicorns.” You swear you are hearing a woman singing a “trouser role” dressed as a man...which in this opera is the case with the equally amazing Alice Coote, as future-husband-to-Ginerva, Ariodante. But it is a guy with a super-high voice. It’s a little freaky.) Polinesso is dressed in a priest’s black cassock with a biker look of jeans, a denim jacket, and sporting tattoos underneath his “holiness.” It is an icky transition, especially when witnessing how he abuses Dalinda; I couldn’t help cringing thinking of the priest abuse scandals. Blek. (One really hilarious highlight of the evening is that Davies received “boos” and hisses from the audience at curtain call, not for his performance being poor, but quite the opposite, because he rocked playing a chilling villain. I loved the Lyric audience in that moment!)

My teenagers have to keep me educated of the latest terms on sexual identity (I swear this ties into my review…) like “cis-gender,”  “trans,” and foreign concepts like “preferred pronouns.” But think about the gender fluid-ness of Handel’s opera from 1735. The counter-tenor is a man who sings like a woman, and the title character is a woman dressed as a guy (who looks like a lesbian in this production). When the opera premiered, there were still castrati around, a horrifying procedure performed deliberately before puberty to keep the boys’ voices high. Talk about sacrifice for one’s art! Wow. Radical.

Part of Polinesso’s evil plan is to plant “evidence” of nude male drawings in Ginerva’s bedroom, like she was sketching her new paramour. I don’t know of any straight woman when confronted with that kind of virility who would waste her time drawing...and if he is hung like that, I mused, how does he sing so high??

The most “manly” character is the handsome Kyle Ketelsen as the King of Scotland who is Ginerva’s father. It takes great strength to look that good in a kilt while singing so sweetly mourning the supposed death of his future son-in-law.

Also deserving special recognition is American soprano Heidi Stober as the what-the-hell-is-she-thinking-liking-that-asshole-Polinesso? Dalinda. We have all known friends who like someone who is no good for them, and she is delusional about Polinesso’s sinister feelings for her. Girlfriend, run away from him while you still can! She looks devastated after he tricks her, but she still sings beautifully about how she likes him anyway. Wtf…

At nearly four hours long, this opera is not for the faint-hearted. However, the singing is so superb, and I love harpsichord with recitative; the opera does not feel as long as other operas that are shorter. Handel could have easily cut the singing down by an hour if he left out the impressive vocal theatrics. Eric Ferring as Ariodante’s brother Lurcanio has a musical passage where one word lasts about ten bars of music; I counted thirty-six quick notes for one syllable. But the singers are vocal athletes in fine form, and the arias are just a joy to hear. The virtuosity of the singers is half the fun.  

The modernized staging sets the opera in the 1970’s era of bad fashion. The chorus members wear ghastly sweaters and a mismash of clothing taken from my sister’s high school yearbook. It was ugly then and does not need a revival. Another overhaul was to drop the ballet dances as intended in the original production and substitute with puppets representing the lovebirds. The puppets are mesmerizing and predict the futures of the characters. When the marriage is anticipated, Ariodante and Ginerva are seen getting married and climbing into bed. (Puppet sex! Is this Avenue Q?) Four babies soon follow, which elicited chuckles from the audience. When Ginerva is believed to have been unfaithful, her puppet is portrayed as a common whore, stripped down, dressed in a plastic bag with high red heels, walking the strip and dancing on a pole. The effect is eerily powerful to show her fall from grace.

Brenda Rae, making her Lyric debut as Ginerva, gets to show off her acting and singing talents; she excels at both. Ginerva begins the opera by considering how she can make her “sparkling and seductive charm more appealing to her beloved.” Hmmm...feminist icon, she is not. But by the end, the wrongful accusations from her betrothed and her self-righteous father send her on a different path. Ginerva doesn’t need a man. She’s got a Handel on this. ;-)

Catherine Hellmann is a feminist who loves lipstick, likes gardening but lives in a condo, and hates the cold but adores Chicago. But there are no contradictions in her complete love for theater, books, and her children. 

**This production includes mature themes**

Provocative Baroque drama about abuse and complicity

in a bold, updated staging 

New coproduction and Lyric premiere of Handel’s masterpiece

The Lyric Opera of Chicago premiere of George Frideric Handel’s Baroque masterpiece Ariodante opens Saturday, March 2 at 7:30pm in a provocative new coproduction. There are six performances March 2 through March 17 at the Lyric Opera House, 20 N. Wacker Dr., Chicago. Tickets start at $39, and are available now at lyricopera.org/Ariodante or at 312-827-5600. 

VILLAINOUS POLINESSO LUSTS AFTER GINEVRA, BUT SHE LOVES NOBLE ARIODANTE, WHO LOVES HER IN RETURN.

Sometimes opera takes you to completely unexpected, dramatically powerful places.

That’s certainly the case with the Lyric premiere of Handel’s Ariodante, on multiple levels. Some of its thrilling arias might be familiar from concerts or recordings, but the full Baroque masterpiece is terra incognita for many (even though it was wildly popular when Handel, the German expat living in London, was composing multiple Italian operas). Still, there is inviting familiarity in the bouncing beat and virtuoso vocal writing in this new-to-Lyric opera.

The original plot of Ariodante is full of Shakespearean twists, disguises, mistaken identities, wrenching misunderstandings, and eventual reconciliation (not unlike Much Ado About Nothing). Ginevra and Ariodante love each other and are about to be wed with the blessing of her father, the King of Scotland. Polinesso covets Ginevra and uses her lady-in-waiting, Dalinda (who loves Polinesso), to trick Ariodante into believing Ginevra is unfaithful and provoke his apparent suicide. Ariodante’s brother Lurcanio, meanwhile, loves and is shunned by Dalinda, and blames Ginevra for his sibling’s seeming demise. Eventually Ariodante turns up alive, Polinesso is vanquished, and the “right” couples are united. 



Richard Jones’s production moves the story from medieval times to an isolated, religiously fundamentalist Scottish island in the 1970s. Polinesso is an outsider from the mainland who penetrates this closed community in preacher’s clothes, wreaking terrible havoc on several relationships and the fabric of the village itself through acts of abuse and manipulation. Rather than ending with the reconciliation and redemption traditional in 18th-century opera, this production of Ariodante takes an intriguing detour that will resonate with contemporary audiences.

Puppets representing Ginevra and Ariodante pantomime scenes that reflect the community’s expectations and misperceptions of the central couple in this production, replacing ballet sequences used to close each act in the original opera.

Baroque opera “is radical theater,” says Anthony Freud. “Ariodante deals with abuse and complicity.” Lyric’s general director calls this production of Ariodante “a clear, immediate, powerful telling of the story that will defy preconceptions about Handel’s Baroque formality. Our production reflects many contemporary issues. Handel’s masterpiece may be over 280 years old, but is startling in its topicality and intensity.”

The creative team drew inspiration for this production of Ariodante from the dark indie film Breaking the Waves, and also the plays of Strindberg and Ibsen. There are similarities to Carlisle Floyd’s Susannah, in which an innocent young woman in Appalachia is seduced by an itinerant preacher. There are also traces of Benjamin Britten’s Peter Grimes in the community turning against one of its own. 

Lyric’s splendid cast inhabits the complex characters while singing the daunting score to great effect. Mezzo-soprano Alice Coote takes on the title role, with soprano Brenda Rae (Lyric debut) as Ariodante’s betrothed, Ginevra. Soprano Heidi Stober portrays the vulnerable Dalinda, manipulated by the evil Polinesso, played by countertenor Iestyn Davies. Bass-baritone Kyle Ketelsen is the King of Scotland. Tenor Eric Ferring portrays Lurcanio.  and tenor Josh Lovell portrays Odoardo (the latter two are Ryan Opera Center artists). 

Acclaimed Baroque specialist Harry Bicket conducts, and Benjamin Davis (Lyric debut) is revival director. The production is designed by ULTZ (Lyric debut), with lighting by Mimi Jordan Sherin. Michael Black is chorus master, Lucy Burge is choreographer, Finn Caldwell is puppetry director and designer, and Nick Barnes is puppetry designer (the latter three are Lyric debuts).  

Don't miss your chance to experience this critically-acclaimed premiere — view the trailer here and find out for yourself why critics are praising its "tight, compelling story and rich, well-developed characters" (Chicago Sun-Times).

ARIODANTE IS "QUITE MOVING" (CHICAGO TRIBUNE)

In a small town rife with rumors, who can you trust? The highly anticipated U.S. premiere co-production of Handel's Ariodante opened Saturday night and critics are raving. With only five more performances, Ariodante must close March 17. See what people are saying about this Lyric premiere:

"Vocally, visually and dramatically arresting"

"Clarity and rhythmic verve from the Lyric Opera Orchestra and Chorus"

"An opera penned nearly three centuries ago can resonate profoundly with modern times, when staged as tellingly as this"

"★ ★ ★ ★" (out of four) 

–Chicago Tribune

"Unexpected and intriguing"

"The casting for this production could hardly have been better"

"Many vocal high points"

"★ ★ ★ ½" (out of four)

–Chicago Sun-Times

"Dazzling vocal pyrotechnics"

"A daunting tour de force"

–Stage and Cinema

What happens when someone your town trusts is actually the villain? For Ginevra and her beloved Ariodante, things may never be the same. Lyric is proud to produce the company premiere of this important Baroque masterpiece from the composer of Messiah which marries stunning vocalism and riveting drama. 

Making its U.S. debut, this critically-acclaimed Lyric coproduction from Director Richard Jones updates the story to 1970s Scotland, where a close-knit, fundamentalist community provides the thought-provoking backdrop. The Toronto Globe and Mail says, "The decisions Jones has made to update and deepen the resonances of the opera work beautifully both to preserve the integrity of the original and add to it touches and textures that only a modern audience can appreciate…If you needed one example to demonstrate why modern staging and perfectly realized music from the past need each other, this was it." 

Don't miss this highly anticipated Lyric premiere that critics are calling "dramatically complex... deliciously interesting" – (The Toronto Star). 

5 REASONS YOU CAN'T MISS ARIODANTE
Handel’s Baroque masterpiece is currently playing Lyric, and there are so many reasons you can’t miss it. Here are just a few: 

1. It’s a Lyric premiere. Believe it or not, this rare gem by the composer of the beloved Messiah has never been performed on Lyric’s stage.

2. The cast is truly world-class. Our dream team of opera superstars have voices ideally suited to bring Ariodante to life.

3. It's the U.S. premiere of a production that earned rave reviews. TheToronto Star called it "deliciously interesting" and the National Post praised its "inspired and meticulous staging."

4. Handel’s music is exhilarating. You will fall in love with a score that exudes both passion and elegance.

5. It's not just great music, it's great theater. This story of true love plagued by obstacles in a small town is just as universal today as it was when the opera first premiered.

Save your seats today for Ariodante, on stage March 2-17, and experience this delightful and innovative production for yourself.

OPENING: Play On! at Oil Lamp Theater March 21 through May 5, 2019

ChiIL Live Shows on our radar

Oil Lamp Theater Announces Upcoming Production of

Play On! 

by Rick Abbot

Directed by Keith Gerth

March 21 through May 5, 2019

Executive and Artistic Director, Keith Gerth and Associate Artistic Director, Stephen Smith of the Oil Lamp Theater in Glenview announce their next production, the uproarious comedy Play On! by Rick Abbot. This production is directed by Keith Gerth and will be performed from March 21st through May 5th 2019 at 1723 Glenview Road in Glenview. 

Play On! takes audiences behind the scenes of a local amateur theater company as it prepares a production of Murder Most Foul, an original murder mystery written by a local playwright.  Abbot’s side-splitting look at the inner workings of amateur theater unfolds in three acts of cascading goofiness. First at a rehearsal less than a week before the show opens, next during the disaster-plagued dress rehearsal, and finally, the show's opening night. 

Geraldine “Gerry” Dunbar (Whitney Minarik) is the long-suffering director who struggles to breathe life into the original script. Her troupe has their work cut out for them. First, the murder mystery script is not very good. And  the set isn’t finished. And the cast is still wobbly on their lines. The good news is that the novice playwright, Phyllis Montague (Nicki Howard), has allowed the company to produce her new play for free. The bad news is that Phyllis keeps changing her script, forcing the cast of amateurs to re-learn their lines over and over again. The biggest mystery of all seems to be whether the company will possibly be able to get this ever-changing production ready in time!

Everyone involved with Murder Most Foul lacks skill and experience, and it shows. As Play On! Opens, the troupe is just four days away opening night. Despite the best efforts of Louise Peary (Jolie LeBell), the company’s omnipresent sound, light and scenic technician, the set is incomplete and technical issues abound. Stage Manager and prompter Aggie Manville (Sarah Myers) has her hands full trying to manage the show’s many sound cues while she stays busy prompting actors who keep forgetting their lines. 

The actors, unsurprisingly, are having their own crises and they are pushing their director and crew to the breaking point. The older married couple and amateur theater veterans, Henry Benish/Lord Dudley (Rob Weinstein) and Polly Benish/Lady Margaret (Suzy Krueckeberg), challenge their director at every turn. Some cast members react to the mounting backstage tension by either by hitting the bottle of getting on each other’s nerves. Saul Watson/Dr. Rex Ford (Travis Monroe Neese), the mystery’s villain, has a special dislike for Polly whom he taunts her with snarky personal insults. Polly -- a bit of a diva herself -- is having none of it and huffs her indignation to everyone within earshot.

Meanwhile, the young ingénues of Murder Most Foul, Billy Carewe/Stephen Sellars (Josh Marshall) and Violet Imbry/Diane Lassiter (Katie O’Neil) are warming to each other in “real life” just as their characters do in the mystery they are rehearsing. They regularly forget to call each other by their scripted character names during rehearsals as their on-stage romance seems increasingly real. Wait… is love blooming right there on stage?

Then of course, there’s Marla “Smitty” Smith (Emrose Seidenberg), the high school student playing Doris the maid. Like everyone else, Smitty worries about keeping her lines and cues straight in the constantly-evolving play, but she has additional concerns that are practical and immediate. Will she ever get tomorrow’s biology homework done? Will her mother be angry if she gets home late because the rehearsal ran over?

Play On!  is a fast-paced frolic that has been called “a love letter to amateur theater.” It affectionately pokes fun at the foibles of a lovable group of thespians who struggle valiantly, and hilariously, toward their big opening night. Their energy and enthusiasm crashes up against looming deadlines, warring egos, missed cues, and an ever-changing script… and the results are both heartwarming and hysterical.



This Oil Lamp Theater production of Play On! will feature Whitney Minarik (Geraldine “Gerry” Dunbar), Nicki Howard (Phyllis Montague), Sarah Myers (Stage Manager Aggie Manville) Jolie LeBell (Sound, Light and Scenic Technician Louise Peary), Rob Weinstein (Henry Benish/Lord Dudley), Suzy Krueckeberg (Polly Benish/Lady Margaret), Travis Monroe Neese (Saul Watson/Doctor Rex Forbes), Katie O’Neil (Violet Imbry/Diana Lassiter), Josh Marshall (Billy Carewe/Stephen Sellers), and Emrose Seidenberg (Marla “Smitty” Smith /Doris the Maid)

Understudies for this production are Grace Hutchings, Gina Phillips and Jared Sheldon.  

Stage Manager for this production is Helen O’Brien

Rick Abbot (Playwright) is one of several pennames used by the prolific playwright Jack Sharkey who was born in Chicago in 1931. Abbot graduated from college with a degree in English with an emphasis on Creative Writing. After serving in the army, Mr. Abbot moved to New York City and began his successful freelance writing career. In 1975 he devoted himself exclusively to writing plays. He wrote and published 83 plays, including thrillers, comedies and musicals – many of which continue to be performed around the world. One of his plays, is Par for the Corpse written under the name Jack Sharkey, has been produced twice on the Oil Lamp Theater stage. He died of cancer in 1992.

Keith Gerth (Executive and Artistic Director) founded Oil Lamp Theater in 2005. Prior to establishing the Theater, which was originally located in the Lakeview neighborhood of Chicago, Keith held a number of positions. After high school, Keith was a carpenter for eight years with Murray Countertops in Streator, Illinois. He left that position in 1989 to obtain a degree in Financial Accounting from Illinois State University. Keith graduated with honors and began working for the global professional services firm of Deloitte in 1991 and became a Certified Public Accountant. He worked at Deloitte for fifteen years in the Audit and Assurance practice, from which he retired in 2005 at the level of Director. Keith was professionally trained in acting at Act One Studios in Chicago, Illinois. Keith has been actively involved in the community and has served on the boards of the Glenview Art League and the Glenview Chamber of Commerce. Keith is married to Carole Flamm. They live in Northbrook.

Performances of Play On! are presented Thursdays through Sundays, with evening performances at 8:00pm and Saturday and Sunday matinees at 3:00pm. Tickets are $40 and include complimentary cookies and soft drinks. Student tickets are available for $25. Oil Lamp Theater is BYOB with complimentary corkage and glasses. The complete performance schedule and tickets are available at 847-834-0738 or online at oillamptheater.org. Group rates are available. 


PARKING/TRANSPORTATION

Oil Lamp Theater is located in downtown Glenview, Illinois, at 1723 Glenview Road. Free parking lots are available immediately west of the theater and across the street. Street parking is also available throughout downtown Glenview. Handicap parking is available adjacent to the theater. 

The theater may be reached by car (approximately one mile west of I-94) or by Metra (three blocks east of Milwaukee District/North – Glenview Station).  For more information on traveling to Oil Lamp Theater, visit oillamptheater.org/plan-visit. 



Dates: First performance and press opening: Thursday, March 21, 2019, 8:00pm
Closing performance: Sunday, May 5, 3:00pm
   
Schedule: Thursdays through Sundays. Evening performances at 8:00pm, Saturday and Sunday matinees
                    at 3:00pm. 

Location: Oil Lamp Theater, 1723 Glenview Road, Glenview
Prices: All performances $40 
Group and student rates are available

Box Office: 847-834-0738; oillamptheater.org 



ABOUT OIL LAMP THEATER

Over the past thirteen years, Oil Lamp Theater has been dedicated to the presentation of traditional theater in an immersive, intimate setting. Under the executive and artistic leadership of Keith Gerth, Oil Lamp Theater has welcomed more than 50,000 guests into its unique, inviting venues. In March, 2012, Oil Lamp Theater was incorporated at a not-for-profit theater and established its current 60-seat location in downtown Glenview. The professional company performs plays that present and appeal to core American traditional values relevant to current issues. Oil Lamp Theater welcomes patrons as family, encouraging a personal atmosphere and artist interactions to emphasize human emotional connections. 

In 2017 and 2018 Oil Lamp Theater was awarded the North Shore Choice Award in recognition as the best suburban theater in Chicago.

Find Oil Lamp Theater on Facebook or follow @OilLampTheater on Twitter. For more information, visit oillamptheater.org.

TICKET LOTTERY: $25 Tickets Via Digital Lottery for A Bronx Tale and Rush Ticket Policy

ChiIL Live Shows on our radar 

BROADWAY IN CHICAGO ANNOUNCES DIGITAL LOTTERY AND RUSH

TICKET POLICY FOR A BRONX TALE

Book by CHAZZ PALMINTERI, Music by ALAN MENKEN and Lyrics by GLENN SLATER

Directed by ROBERT DE NIRO and JERRY ZAKS

Choreographed by SERIGO TRUJILLO

JAMES M. NEDERLANDER THEATRE

MARCH 12-24, 2019

Broadway In Chicago is delighted to announce there will be a digital lottery and rush tickets for A BRONX TALE which will play Broadway In Chicagoกฏs James M. Nederlander Theatre (24 W. Randolph) for a limited two-week engagement March 12-24, 2019.

The digital lottery will begin March 11 at 9AM, and 40 tickets will be sold for every performance at $25 each. The lottery will happen online only the day before each performance.  In addition, a limited number of day-of-show rush tickets will be offered for each performance at $39 each. These will be available at all performances of the run for purchase in-person at the James M. Nederlander Theatre box office beginning when the box office opens daily. Seat locations vary per performance for the digital lottery and day-of show tickets.



HOW TO ENTER THE DIGITAL LOTTERY

Follow this link. Click here for details and to enter the lottery.
Click the Enter Now button for the performance you want to attend.
Fill out the entry form including the number of tickets you would like (1 or 2). Patrons will receive a confirmation email once they have validated their email (one time only) and successfully entered the lottery.
After the lottery closes, patrons will be notified via email within minutes as to whether they have won or not.

Winners have 60 minutes from the time the lottery closes to pay online with a credit card.

After payment has been received, patrons can pick up tickets at the James M. Nederlander Theatre (24 W. Randolph) no sooner than 30 minutes before show time with a valid photo ID.

DIGITAL LOTTERY ADDITIONAL RULES
Limit 1 entry per person, per performance. Multiple entries will not be accepted. Patrons must be 18 years old and have a valid, non-expired photo ID that matches the names used to enter. Tickets are non-transferable. All lottery prices include a $3.50 facility fee. Ticket limits and prices displayed are at the sole discretion of the show and are subject to change without notice. Lottery prices are not valid on prior purchases. Lottery ticket offer cannot be combined with any other offers or promotions. All sales final - no refunds or exchanges.  Lottery may be revoked or modified at any time without notice. No purchase necessary to enter or win.  A purchase will not improve your chances of winning.



ABOUT A BRONX TALE
The new musical features a book by Academy Award nominee Chazz Palminteri, music by Oscar, Grammy, and Tony Award winner Alan Menken, and lyrics by Grammy Award winner and Oscar and Tony Award nominee Glenn Slater, directed by two-time Oscar winner Robert De Niro and four-time Tony Award winner Jerry Zaks, with choreography by Tony nominee Sergio Trujillo.

A BRONX TALE premiered at the Tony Award-winning Paper Mill Playhouse to critical and popular acclaim in Spring 2016.

Based on the one-man show that inspired the now classic film, this streetwise musical will take you to the stoops of the Bronx in the 1960s where a young man is caught between the father he loves and the mob boss he'd love to be. Featuring an original doo-wop score, this is a tale about respect, loyalty, love, and above all else: family.

The design team for A BRONX TALE includes Beowulf Boritt, Scenic Design (Tony Award nomination for T. Raquin, Tony Awards for Act One, The Scottsboro Boys); William Ivey Long, Costume Design (six-time Tony Award winner, Rodgers & Hammersteinกฏs Cinderella, Grey Gardens); Howell Binkley, Lighting Design (Tony Award for Jersey Boys, Tony Award nomination for Hamilton); Gareth Owen, Sound Design (Tony Award nominations for A Little Night Music and End of the Rainbow); Paul Huntley, Hair & Wig Design (Tony Award for Excellence in Theatre, Fun Home, The Visit); Anne Ford-Coates, Makeup Design (On Your Feet!, Disaster!); Tara Rubin Casting, Casting (Aladdin, Les Miserables, Jersey Boys); and Robert Westley, Fight Coordinator (Hand to God, Important Hats of the Twentieth Century). Music Supervision and Arrangements are by Ron Melrose (Jersey Boys), Orchestrations are by Doug Besterman (three-time Tony Award winner, It Shoulda Been You, Bullets Over Broadway) and Musical Direction is by Jonathan Smith (Jersey Boys).

A BRONX TALE evolved from the one-man Off-Broadway play, A Bronx Tale, written and performed by Chazz Palminteri in 1989. During the original Off Broadway and subsequent Los Angeles engagements, Robert De Niro came to see the show, and brought the story and star Palminteri to the screen in 1993, making his film directorial debut in the process. Following the success of the film, Palminteri performed the one-man show A Bronx Tale on Broadway in the 2007-2008 Season.

For more information, visit www.ABronxTaleTheMusical.com

Follow A BRONX TALE: @Twitter, Facebook & Instagram

PERFORMANCE SCHEDULE
Tuesdays at 7:30PM
Wednesdays at 2:00PM & 7:30PM (no matinee on March 13)
Thursdays at 7:30PM
Fridays at 7:30PM
Saturdays at 2:00PM & 8:00PM
Sundays at 2:00PM and 7:30PM (no evening performance on March 24)

TICKET INFORMATION
Individual tickets for A BRONX TALE are on-sale now and range in price from $27-$98 with a select number of premium seats available. Tickets are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing GroupSales@BroadwayInChicago.com.  For more information, visit www.BroadwayInChicago.com. 

ABOUT BROADWAY IN CHICAGO
Broadway In Chicago was created in July 2000 and over the past 19 years has grown to be one of the largest commercial touring homes in the country.  A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining more than 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago's Loop including the Cadillac Palace Theatre, CIBC Theatre, James M. Nederlander Theatre, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place and presenting Broadway shows at the Auditorium Theatre.

Broadway In Chicago proudly celebrates 2019 as the Year of Chicago Theatre.

 For more information, visit www.BroadwayInChicago.com.

Facebook @BroadwayInChicago 
Twitter @broadwaychicago 
Instagram @broadwayinchicago 
#broadwayinchicago