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Monday, October 2, 2023

INCOMING: FRANKIE AND THE WITCH FINGERS AT BOTTOM LOUNGE TUESDAY, OCTOBER 3rd, 2023


ChiIL Live Shows On Our Radar

FRANKIE AND THE WITCH FINGERS

AT BOTTOM LOUNGE

TUESDAY, OCTOBER 3

Photo Credit: Henry Calvert

We'll be out to shoot Frankie and the Witch Fingers and Wine Lips for ChiIL Live Shows as they perform at Bottom Lounge on Tuesday, October 3rd, so check back soon for our photo filled recap. The Los Angeles psych-rock juggernauts are embarking on an extensive run of headline U.S. tour dates this fall, which include performances at such esteemed venues as Warsaw in Brooklyn and The Troubadour in Los Angeles, in support of their recently released album, Data Doom.


Through six progressively expansive albums, innumerable live dates on an ever-expanding list of continents, and performances with the likes of Thee Oh Sees, Ty Segall, Cheap Trick, ZZ Top and more (to say nothing of their impressive headline dates), Frankie and the Witch Fingers have earned their throngs of global fans with their ecstatically wild live shows and layered, visionary recordings. With Data Doom, the band is poised to welcome even more uninitiated into the fold – it’s their most eclectic work yet, while remaining undeniably cohesive, and they’re supporting it with the biggest headline shows they’ve ever played. 



WATCH THE “EMPIRE” VIDEO

WATCH THE “FUTUREPHOBIC” VIDEO

WATCH THE “MILD DAVIS” VIDEO

LISTEN TO DATA DOOM

Over the past decade Frankie and the Witch Fingers have operated as an outright force of nature, offering up a revelatory form of psych-rock that hits on both a primal and ecstatically mind-bending level. In the making of their new album Data Doom, the Los Angeles-based four-piece forged a sublimely galvanizing sound informed by their love of Afrobeat and proto-punk—a potent vessel for their frenetic meditations on technological change run rampant, encroaching fascism, and corrosive systems of power. Animated by the explosive energy they’ve brought to the stage in sharing bills with such eclectic acts as Ty Segall and ZZ Top, the result is a major leap forward for one of the most adventurous and forward-thinking bands working today. 


Rooted in the cerebral yet viscerally commanding songwriting of co-founders Dylan Sizemore (vocals, guitar) and Josh Menashe (lead guitar, synth), Data Doom marks the first Frankie and the Witch Fingers album created with bassist Nikki “Pickle” Smith (formerly of Death Valley Girls) and drummer Nick Aguilar (previously a touring drummer for punk legend Mike Watt). In crafting their most rhythmically complex work to date, the band drew heavily from each new member’s distinct sensibilities: Smith tapped into her extensive background in West African drumming (an art form she first discovered thanks to her music-instructor parents), while Aguilar leaned into formative influences like longtime Fela Kuti drummer Tony Allen. Self-produced by the DIY-minded band and recorded direct to tape by Menashe, Data Doom ultimately took shape through countless sessions in their Southeast L.A. rehearsal space, with Frankie and the Witch Fingers allowing themselves unlimited time to explore their most magnificently strange impulses.


Once again showcasing the expansive and fantastically eccentric musicality of past efforts like 2020’s Monsters Eating People Eating Monsters...Data Doom encompasses nine high-wattage songs constructed with both dizzying intricacy and unfettered imagination. On “Mild Davis,” for instance, the band shares a gloriously spaced-out track inspired by a piece from Miles Davis’s early-’70s electric period, cycling through a vast whirlwind of rhythms and textures and wildly spellbinding guitar parts. “We worked on that for two weeks straight, puzzle-piecing together different parts into one very weird and stream-of-consciousness song that’s mostly in a 7/4 time signature,” Menashe recalls. Meanwhile, Sizemore’s lyrics shift between savagely despairing the state of the world and resolutely dreaming of a brighter future. “I wrote the lyrics to ‘Mild Davis' in a moment of feeling pessimistic about what technology is doing to our society, especially as AI is creeping to the forefront more and more,” says Sizemore. “But then the bridge comes from a more optimistic perspective, where it’s questioning whether we could reboot the whole system and start all over.”


After opening on the epic majesty of “Empire,” Data Doom launches into the first song the band’s new lineup wrote together: “Burn Me Down,” an irresistibly jittery track that perfectly encapsulates the album’s transcendent collision of blistering riffs and polyrhythmic grooves. On “Electricide,” Frankie and the Witch Fingers unleash the LP’s most unabashedly punk offering, a bombastic rallying cry built on Aguilar’s breakneck drumming. One of several songs featuring Menashe on sax, “Syster System” slips into a hypnotically fluid tempo as Frankie and the Witch Fingers muse on the possibilities of partnership culture (a concept introduced by futurist Riane Eisler in her seminal book The Chalice and the Blade). “Riane Eisler talks about how our society has a very masculine energy that manifests as the need to exert power, which she refers to as dominator culture,” Sizemore explains. “The alternative to that is partnership culture, which has a feminine energy that’s more symbiotic with nature. The idea behind ‘Syster System’ is that if we could bring that energy into technology, it could help make everything more harmonious.” And on “Political Cannibalism,” Data Doom closes out with a dance-ready anti-anthem stacked with so many loopy details, such as a warped and otherworldly guitar part Menashe spontaneously composed in an attic in France.


To create the cover art for Data Doom (a co-release from Greenway Records and the Reverberation Appreciation Society), Frankie and the Witch Fingers reached out to Italian illustrator Carlo Schievano and UK-based graphic designer Jordan Warren, who then joined forces in assembling an elaborate mixed-media piece complete with its own language system and accompanying decoder. “It was really fascinating to see two different artistic voices working together to make something so unique, with all these hidden elements for people to figure out,” says Smith. Not only an echo of the album’s endlessly immersive quality, Data Doom’s visual component reflects the band’s devotion to unbridled collaboration in all aspects of the creative process. “There was no pressure and no real time constraint for this record, and because of that the creativity flowed in a very free way that probably wouldn’t have happened if we’d been on the clock in a studio,” says Sizemore. “It showed us that the more we take the time to communicate and share our ideas with each other, the more it feeds our creative energy and helps us to make something we’re all really excited about.”


CONNECT WITH FRANKIE AND THE WITCH FINGERS:

Rough House relocates House of the Exquisite Corpse III to Steppenwolf’s Merle Reskin Garage Space Opening Friday the 13th

 ChiIL Live Shows On Our Radar

Rough House relocates House of the Exquisite Corpse III to Steppenwolf’s Merle Reskin Garage Space

The scaring begins Friday the 13th for 
Chicago’s only immersive puppet haunted house 

This production is recommended for audiences ages 14 and over. 
Rough House Theater's House of the Exquisite Corpse III features 
puppets by Pablo Monterrubio-Benet (artist and photo credit).


Here at ChiIL Live Shows, we adore Rough House Theater of Chicago and have been covering their shows for years, and their House of the Exquisite Corpse since it's inception. Before this immersive puppet haunted house was a thing, I never realized how many people are truly terrified of puppets, even when they're not trying to be scary. If you're ready for the dark side of puppetry, bring your big kids and adult friends and check out this visually stunning, macabre production!

Rough House Theater of Chicago is relocating its annual Halloween seasonal haunt House of the Exquisite Corpse III to Steppenwolf's Merle Reskin Garage Space, 1624 N. Halsted St. in Lincoln Park.

Chicago’s one and only immersive puppet haunted house is moving to a new location with an all-new program of immersive acts of puppet horror, guaranteed to shock, scare, astonish and delight. 

Friday the 13th (Friday, October 13) is Opening Night for House of the Exquisite Corpse III

Ticketed entries are scheduled every 15 minutes from 7 p.m. to 9:30 p.m. Performances continue through October 29 on Thursdays, Fridays and Saturdays, 7 p.m. to 10:30 p.m., with special Halloween Night closing performances on Tuesday, October 31.

Tickets for timed entries into House of the Exquisite Corpse III are on sale now at RoughHouseTheater.com. Tickets are $21-$46. Rough House also offers several Pay What You Want options. 

House of the Exquisite Corpse III was originally scheduled to run October 6-31 at Chopin Theatre. Anyone who already purchased tickets is being contacted individually to alert them of the new location, which offers better proximity to public transit, increased access for persons with disabilities and a wide open space to host Rough House’s puppet haunted house homage. 


Step inside - if you dare - Rough House Theater’s House of the Exquisite Corpse III

Rats by Kendall Buckingham (credit Mike Oleon)

“If you want to move beyond schlock and shock into an elevated horror experience this October, look no further than House of the Exquisite Corpse,” advised the Chicago Reader.

This year, Rough House’s Halloween peep show/puppet theater anthology is inspired by the book “Our Homes and How to Keep Them Healthy,” published in 1883 by Robert Brudenell Carter. 

Top Chicago puppet theater artists have selected different chapters like “The Difficulty of Proof in Cases of Arsenic Poisoning,” “The Dangers of Rebreathed Air” and “Advantages of the Removal of The Sick” to unleash and lay open their darkest creative impulses. 
 
Audiences enter House of the Exquisite Corpse in small groups via timed entries. Once inside, they must brave its dark halls for about an hour, stopping at each room to spy through keyholes, cracks, and hidden doors to witness the horrors within. Through original puppetry, physical performance, soundscape, and illusion, each room terrifies as it enraptures. Collectively, anyone who loves haunted houses or theater of the macabre will feel buyer’s envy after touring the otherworld ills plaguing Rough House Theater’s horrifying domestic spaces. 

For 2023, House of the Exquisite Corpse III stitches together six puppet peep-shows created by Chicago artists who work in multiple disciplines, including Pablo Monterrubio-Benet and Grace NeedlmanTom Lee and Sam LewisCorey SmithClaire BaumanChio Cabrera and Jacky KelseyJustin D’Acci and Sion SilvaKen Buckingham, and Felix Mayes and Kevin Michael Wesson. Process directors are Claire Saxe and Mike Oleon.

“Our Halloween production gives these artists the freedom to follow their own visions, create their own visuals, and be presented as individuals,” said Mike Oleon, Co-Artistic Director of Rough House, who conceived House of the Exquisite Corpse. “They get to work independently, motivated by whatever flavor of horror that freaks that person out the most. Then we all come together to assemble a collaborative anthology that, collectively, blurs the lines between horror, puppetry and theater, beckoning you to gaze into a variety of nightmares you won’t soon forget.”

This puppet (left) by Jacky Kelsey ponders “The Difficulty of Proof in Cases 
of Arsenic Poisoning” by Jacky Kelsey and Chio Cabrera. Photo by Chio Cabrera


Health and Safety

For the health and safety of our audiences and performers, Rough House strongly encourages all audience members to wear masks during the entire performance, regardless of vaccination status. For details, visit RoughHouseTheater.com.

About Rough House Theater Co.

Rough House Theater Co. is on a mission to connect individuals and communities through art that celebrates the weird things that make us unique and the weirder things that bring us together.

Rough House creates theater that captures the heart through the eye. Their shows use puppetry, music, and human performance to tell intimate stories, as strange as they are sincere.

Through performances, presentations of work by fellow artists, and artist training, Rough House aspires to make Chicago a national hub of contemporary puppet theater, comprising a diverse and ever-growing community of audiences and artists. The company’s work has appeared in the National Puppetry Festival, The Chicago International Puppet Theater Festival, punk houses, funeral parlors, a lotion factory, and the woods of Appalachia.

For more information, visit RoughHouseTheater.com and follow the company on Instagram and Facebook.

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Saturday, September 30, 2023

The Rhapsody Theater Announces Second Season of Theatrical Magic Performances

  ChiIL Live Shows On Our Radar

The Rhapsody Theater 

a 200-seat venue in Rogers Park, Chicago 

is unveiling its Second season of theatrical magic performances 

following a highly successful inaugural season that started in June 2023



Here at ChiIL Live Shows, we're huge fans of theatrical magic, and adore the Rhapsody Theater as well as Northwestern professor, Dr. Ricardo Rosenkranz, founder and owner of the Rhapsody Theater, who performs as the Physician Magician. We've been out to cover the grand opening and several shows since, and can attest that it's always a mystifyingly fun time at Rhapsody. In fact, we'll be back again October 8th to cover The Zabrecky Hour. 

Dr. Ricardo Rosenkranz is thrilled to announce the second season of the Rhapsody Theater, the chief inspiration for a new generation of long format theatrical magic productions, as renowned artists from all over the world present brand-new shows created specifically for the venue. Ten full length theatrical magic productions will be presented during the 2023-2024 Season. Six productions are new and created for the Rhapsody Theater, and four are already critically acclaimed and premiered at the Rhapsody Theater Stage in Season One. This season will offer many new shows, and reprise beloved performances, enhanced with new material and magic content.

Magic Castle Stage Magician of the Year, Zabrecky will hold the coveted October Residency at the Rhapsody Theater with his show The Zabrecky Hour. The production is a perfect autumn night out featuring the bizarre, wonderfully strange, and oddly beautiful magic of one of the most sought-after magicians of our day. Performances are from September 28th- October 31st.  Shows are Thursdays through Sunday at 7:30pm and Sundays at 2pm. Ticket prices range from $20 to $80.

Dr. Ricardo Rosenkranz will perform the critically acclaimed Physician Magician show throughout the year multiple select performances every month.

November brings renowned British Magician Andi Gladwin and his brand new, made for Rhapsody Theater production: Shuffled. A Close up show for forty audience members with a very special seating arrangement and never-seen-before magic. Andi is one of the most respected and beloved magicians in the world. Performances from November 9th – November 19th. Shows are Thursdays through Sunday at 7:30pm and Sundays at 2pm. Ticket prices range from $20 to $80.

Jamie Allan, known to Chicago Audiences as the iMagician who last sold out the Harris Theatre in 2018, returns to Chicago for the holiday season from Thanksgiving through early January. Amaze, Jamie’s new production exclusive to Rhapsody Theater, is entirely different. At once intimate, personal, and interactive, Amaze will delight audiences of all ages at Rhapsody Theater during the holiday season. Performances are from November 24th – January 7th.

January kicks off with Kayla Drescher in In Your Head. Kayla, a Champion of Magic, and highly respected leader in the magic community premier’s a brand new, Rhapsody Theater production. Kayla comedically explores expectation, coincidence, and what’s really going on in our heads (‘cause you’re all thinking it, she’s just saying it). Performances from January 11th – February 11th. Performances from November 9th – November 19th. Shows are Thursdays through Sunday at 7:30pm and Sundays at 2pm. Ticket prices range from $20 to $80.

In February, Award winning French magician Alexandra Duvivier stars in Extraordinaire. A brand new, Rhapsody Theater produced show designed by Alexandra and featuring original magic created by her. These are Alexandra’s first full length shows in the United States. Audiences will see why Alexandra is one Europe’s greatest magical performers. Performances from February 22th – March 10th.

In April, Joshua Jay returns to the Rhapsody Theater with Look Closer, the show he premiered at Rhapsody theater to great acclaim in April 2023. The 2024 installment will include new illusions created by Joshua for this next installment. Performances from April 4th – April 28th.

Beloved and highly admired magician David Williamson will premier his new show created for Rhapsody Theater called Ridiculous. David has toured with the Illusionists and Circus 1903 and brings his brilliance to Rhapsody Theater with a show centered on one word: Ridiculous! Performances from May 17th – June 30th.

In addition, Ross Johnson will reprise his masterful mind reading show “A funny thing happened… tomorrow” with various dates every month and Larry Hass will return with Magical Life for selected dates in the Winter of 2024.

The second annual McBride’s Magic Festival will occur from May 30th-June 2nd, 2024, and feature multiple shows and lectures for magicians and magic afficionados alike.

Season Subscriptions available:

In Season Two: Subscription packages will be available for multiple shows with special perks and discounts.

More Surprises to come:

Chef’s Table Séance. In Mid-October, Rhapsody Theater will begin presenting séance dinners. Rhapsody Theater will offer a unique experience for ten guests that includes dinner from award winning chefs and a private séance created bespoke for the Rhapsody Theater. Tickets are $150 per person including dinner.

 

More magic, more live music:

In coming weeks Rhapsody Theater will announce many new musical events and more magical performances as well. 

Dr Rosenkranz added, “We are so proud of what we have achieved in our first year of operations. Audiences have loved our space, our performances, and our staff. We are delighted to give life to this “Jewel of a Theater” (as characterized by the Chicago Tribune) that sits in beautiful Rogers Park. Bringing the performing arts and musical culture to the neighborhoods of Chicago is in our DNA. We can’t wait to share Season Two with everyone. Let’s make wonderful magic and music Two-gether! In Season One, The Rhapsody Theater in Chicago quickly established itself as the one of the best venues for theatrical magic in the world and the only venue providing the commitment, infrastructure, and support for multiple long format theatrical magic. Some of the World’s best magicians performed in Season One, achieving rave reviews from audiences and critics alike. The proof of concept complete, The Rhapsody Theater is becoming the buzz of the magic world, and some of the world’s best are eager to create shows exclusive to Rhapsody Theater”.

To purchase tickets or for additional information, visit https://rhapsodytheater.com or call the box office at (888) 495-9001.

Thursday, September 28, 2023

One Night Only: Chicago Opera Theater’s 50th Anniversary season opener Soldier Songs Thursday, October 5, 2023

 ChiIL Live Shows On Our Radar

David Adam Moore steps into role of The Soldier for 

Chicago Opera Theater’s 50th Anniversary season opener 

Soldier Songs


 

Chicago Opera Theater announces a casting change for its upcoming 50th Anniversary Season opening concert of David T. Little’s one-man theatrical cantata Soldier Songs. World-renowned baritone David Adam Moore joins the production one week before the performance, filling in for previously announced baritone Nathan Gunn who has withdrawn due to a family emergency. I'll be out to cover this performance for ChiIL Live Shows, so check back soon for my full review.


Moore has sung Soldier Songs with multiple companies across the country. He also sang The Soldier for the 2013 critically acclaimed commercial recording of the work, released by Innova Recordings. Currently working at the Metropolitan Opera at the house premiere production of Jake Heggie’s Dead Man Walking, Moore has obtained special permission from the Met to come to perform in Chicago. He will arrive on October 4, a little over 24 hours before the performance.

 

 

“I'm very sorry that Nathan Gunn will be unable to join us next week in Chicago, but grateful that the Metropolitan Opera has released David Adam Moore to step into the role,” said composer David T. Little. “David is among the leading interpreters of my music. His countless performances of Soldier Songs, beginning in 2008, show him to be a singer of remarkable depth, intelligence, and skill. He knows the role better than anyone, and I'm excited for the COT community to hear him bring it to life.

 

Edlis Neeson General Director Lawrence Edelson added, “Nathan and his family are in our thoughts at this difficult time. While it is always disappointing when a beloved artist must withdraw from a performance, we are truly fortunate that David Adam Moore is able to join us to help launch COT’s 50th Anniversary Season.”

 

GRAMMY-nominated Soldier Songs is a haunting, heavy-metal infused work about the psychological impact of war. Serving as both composer and librettist, David T. Little drew on the experiences of veterans of five different wars from his family and circle of friends to craft Soldier Songs. Little’s recorded conversations with these veterans serve not only as a basis for the work’s libretto but are also featured in the electronic components of the score. Presented in three stages of a soldier’s life- Youth, Warrior, and Elder- the result is a bold examination of the trauma of war, the exploitation of innocence, and the difficulty many veterans experience in talking about their service. COT Elizabeth Morse and Genius Music Director Lidiya Yankovskaya conducts.

 

Performance schedule and tickets

 

Chicago Opera Theater’s Soldier Songs is one night only, Thursday, October 5 at 7:00 PM at Epiphany Center for the Arts, 201 S Ashland Ave. General admission tickets are $60 and VIP tickets are $175 and are available for purchase at chciagooperatheater.org. VIP tickets include reserved cabaret style seating and exclusive access to a post-show reception with David Adam Moore and David T. Little. The proceeds from VIP ticket sales directly support COT’s mission of presenting new opera. Discounted tickets are available for season subscribers as well as active military personnel. A limited number of free tickets are available to veterans through Vet Tix

 

Soldier Songs is a 60-minute production presented without intermission. It is sung in English with English supertitles.

 

About The Artist

 

David Adam Moore performs as a leading baritone with major opera houses and orchestras worldwide, including the Metropolitan Opera, Royal Opera House Covent Garden, Teatro alla Scala, Lyric Opera of Chicago, Salzburg Festival, Carnegie Hall, Teatro Colón Buenos Aires, Théâtre du Châtelet, Bunkamura (Tokyo), Grand Théâtre de Genève, Israeli Opera, LA Opera, New York City Opera, Netherlands Radio Philharmonic, BBC Symphony, LA Philharmonic, Orchestra of St. Luke's, American Symphony Orchestra, and many others. His performances have been broadcast on BBC, Arte television, NPR, Radio France, RAI, ORF, and Radio Netherlands, and recorded by Erato, BMG, GPR, and Innova records.

 

With a repertoire of over 60 principal roles, he is best known for his portrayals of Billy Budd, Don Giovanni, Eugene Onegin, Rossini’s Barbiere, Joseph DeRocher in Dead Man Walking, Stanley Kowalski in A Streetcar Named Desire, Prior Walter in Angels in America, Zurga in Les pêcheurs de perles, Schubert’s Winterreise, Carmina Burana, Count Almaviva in Le Nozze di Figaro and the Soldier in David T. Little’s Soldier Songs, which Moore premiered and recorded. A celebrated interpreter of contemporary music, he has created roles and premiered works for some of today’s most important living composers, including Thomas Adès, Peter Eötvös, David T. Little, Holly Herndon, John Eaton, Ricky Ian Gordon, Conrad Cummings, Martin Hennessey, and Tom Cipullo, while simultaneously garnering critical acclaim for his interpretations of opera, art song, and concert works from the Baroque, Classical, Romantic, and Modern eras. Moore’s Metropolitan Opera debut performance as Colonel Gomez in Thomas Adès’ The Exterminating Angel was broadcast in theaters worldwide and is available on DVD.


 

About Chicago Opera Theater

 

Celebrating its 50th Anniversary season in 2023/24, Chicago Opera Theater is a company laser-focused on living its values: expanding the tradition of opera as a living art form, producing high-quality works new to Chicago audiences, identifying top-tier casts and creative talent at the beginning of grand operatic careers, and following through on commitments to equity and access – behind the scenes, on the stage, and in the audience. Since its founding in 1973, COT has grown from a grassroots community-based company to a national leader in an increasingly vibrant, diverse, and forward-looking art form. COT has staged over 155 operas, including 81 Chicago premieres and 47 operas by American composers. COT is led by Yankovskaya and Edelson who began his tenure as General Director in the summer of 2023.

 

The Vanguard Initiative, founded in 2018 and celebrating its fifth anniversary this Spring, is COT's fully comprehensive program for composers ready to delve into the world of opera. This immersive two-year residency includes participation in all COT productions, sessions with top industry leaders, extensive study of repertoire and vocal writing, and direct insight into administrative and other behind-the-scenes processes, culminating with the development of a full-length opera commissioned by the company. The program is guided and overseen by Elizabeth Morse and Genius Music Director Lidiya Yankovskaya, with Composer Advisors Jake HeggieKamala Sankaram, and Gene Scheer. The program has renewed funding from the Mellon Foundation for the 2023/24 season. The 2023/24 Vanguard Composers are Gillian Rae Perry (second year) and Carlos R. Carrillo (first year).

 

Chicago Opera Theater’s season continues with the Chicago Premiere of The Nose December 8 & 10, the Midwest Premiere of Book of Mountains and Seas January 27 & 28, the Vanguard Initiative concert premiere of The Weight of Light April 27, and the World Premiere tour of Before it All Goes Dark with Music of Remembrance May 25 & 26. Ticket subscriptions are on sale now, single tickets go on sale on September 15.

 

For more information on Chicago Opera Theater productions, visit chicagooperatheater.org/

 

Wednesday, September 27, 2023

REVIEW: The Innocence of Seduction at City Lit Now Playing Through October 8, 2023


ChiIL Live Shows On Our Radar

THE INNOCENCE OF SEDUCTION

Written and directed by Mark Pracht

WORLD PREMIERE

August 25- October 8, 2023




Left to right: Robin Treviño, Sean Harklerode, Paul Chakrin
All Production Photos by Steve Graue


 REVIEW

By Bonnie Kenaz-Mara

Banned book week, October 1-7th, is rapidly approaching and City Lit's world premiere of The Innocence of Seduction is a great way to celebrate. As much as I adore graphic novels, comics, and pop culture, I was largely unaware of this critical slice of history in the culture wars. This play introduces audiences to the 1950s Congressional investigation into the supposed link between comic books and juvenile delinquency. Flash forward over half a century to 2023 where the religious right and the US government are still engaged in endlessly ongoing attempts to censor art and literature from the local to the federal level. Book bans and burnings are ramping up again at an alarming rate, making Prachts piece all too timely. 


John Blick

The Innocence of Seduction is both written and directed by Chicago playwright, Mark Pracht, and is part of his Four-Color Trilogy, which also include THE MARK OF KANE, which premiered at City Lit in fall 2022, and THE HOUSE OF IDEAS, about the 1960s rise of Marvel.


Left to right: Zach Kunde, Sean Harklerode, Chuck Munro, Charlie Diaz

Astonishingly enough for 1950's America, this production doesn't focus exclusively on white, cis males, but manages a bit of diversity regarding gender, race, and sexual orientation. It's fascinating to see the effect of the investigation on the careers of three persons: William Gaines, the originator of the horror genre of comic books; Matt Baker, a Black closeted gay artist of romance comics; and Janice Valleau, creator of a pioneering comics feature starring a woman detective. The cast does an excellent job bringing humor and humanity to what could be dry subject matter, in what is at once a cautionary tale and an homage to the founding of Mad Magazine. This ensemble showcases the mental and physical toll it takes to fight for a career against ridiculously restrictive regulations, petty bureaucrats, and the righteous indignation of the religious right. Sometimes it takes a creative pivot to do an end run around all that nonsense and thrive creatively and financially. Kudos to all involved for filling in education gaps and bringing this niche history to life for a new generation. Recommended.


Left to right: Andrew Bosworth, Megan Clarke 


  Brian Bradford (lying down), Andrew Bosworth (kneeling)  

Bonnie is a Chicago based writer, theatre critic, photographer, artist, and Mama to 2 amazing adults. She owns two websites where she publishes frequently: ChiILLiveShows.com (adult) & ChiILMama.com (family friendly). 





Regular run Through October 8, 2023

Fridays and Saturdays at 7:30 pm; Sundays at 3 pm; Mondays Sept 25 and Oct 2 at 7:30 pm.

Regular run ticket prices $34.00, seniors $29.00, students and military $12 (all plus applicable fees)

Performances at City Lit Theater, 1020 W. Bryn Mawr Ave. Chicago 60660

Info and tickets at www.citylit.org and by phone at 773-293-3682.

Left to right: Brian Bradford, LaTorious Givens.


Cast and crew for world premiere of Mark Pracht’s THE INNOCENCE OF SEDUCTION

Pracht to direct the second part of his FOUR-COLOR TRILOGY of plays 

about the comic book industry

Left to right: Sean Harklerode, Charlie Diaz

Left to right: Zach Kunde, Chuck Munro, Sean Harklerode, Charlie Diaz, Paul Chakrin

Full casting and production team have been announced for City Lit’s forty-third season opener - the world premiere of THE INNOCENCE OF SEDUCTION by Chicago playwright Mark Pracht. It is the second play in his projected “Four-Color Trilogy” of plays set during the early years of the comic book industry. The first play in the trilogy, THE MARK OF KANE, opened City Lit’s forty-second season. THE INNOCENCE OF SEDUCTION examines the 1950s Congressional investigation into the supposed link between comic books and juvenile delinquency, and the effect of the investigation on the careers of three persons:  William Gaines, the originator of the horror genre of comic books; Matt Baker, a Black closeted gay artist of romance comics; and Janice Valleau, creator of a pioneering comics feature starring a woman detective.  

Left to right: Zach Kunde, Laura Coleman, Sean Harklerode

Leading the cast will be Sean Harklerode (THE MARK OF KANE, The Artistic Home’s REQUIEM FOR A HEAVYWEIGHT) as William Gaines), Brian Bradford (City Lit’s FUENTE OVEJUNA and THE BLOODHOUND LAW) as Matt Baker, and Megan Clarke  as Janice Valleau. Also in the cast are Charlie Diaz (Invictus Theatre’s THE CRUCIBLE) as Al Feldstein, Frank Nall (Invictus Theatre’s THE CRUCIBLE, The Artistic Home’s MALAPERT LOVE) as Dr Frederic Wertham, Zach Kunde (Invictus Theatre’s THE CRUCIBLE) as Lyle Stuart, Artistic Home ensemble member Laura Coleman as Shirley Norris, Ron Quade (Citadel Theatre’s BRIGHTON BEACH MEMOIRS) as Max Gaines, LaTorious Givens (Invictus Theatre’s THE CRUCIBLE) as Connie, John Blick  (Promethean Ensemble Theatre’s BLUE STOCKINGS) as Archer St John and Henry Valleau, Invictus Theatre Company member Chuck Munro as Judge Charles F Murphy and Barry Walsh, Paul Chakrin (THE SAFE HOUSE and many other roles at City Lit) as John L Goldwater and Senator Robert C Hendrickson, Robin Trevino (Invictus Theatre’s WHO’S AFRAID OF VIRGINIA WOOLF) as Everett M "Busy" Arnold and Senator Estes Kefauver, Andrew Bosworth as Frank Guisto, Reed Crandall and Jack Davis, and Jessica Lauren Fisher (Black Button Eyes’ MARY ROSE) as Jessie Gaines and  Gertrude St John.

Left to right: Andrew Bosworth, Robin Treviño, Megan Clarke

The production team includes G. "Max" Maxin IV (Scenic, Lighting and Projection Design), Beth Laske-Miller (Costume Designer), Petter Wahlbäck (Composer and Sound Design), Alison Dornheggen (Violence and Intimacy Design), Jeff Brain (Props Design), and Zachary Osterman (Stage Manager).

Frank Nall

Single tickets for THE INNOCENCE OF SEDUCTION are priced at $30 for previews and $34 for regular performances and are on sale now at www.citylit.org or by phone at 773-293-3682. Senior prices are $25 for previews and $29 for regular performances. Students and military are $12.00 for all performances. City Lit Season 43 subscriptions are available at $99.00, good for all performances, or $77.00 for preview performances.

 

Left to right: Robin Treviño, Sean Harklerode, Paul Chakrin


HEALTH PRECAUTIONS AT CITY LIT

City Lit requires masks for the Sunday matinee performances. Masks are encouraged but no longer required for Friday, Saturday and our two Monday performances. City Lit staff will continue to mask for all performances. City Lit will of course comply with the full set of whatever official health guidelines are in place at any time.

ABOUT MARK PRACHT 

Mark Pracht (Playwright, Director) has worked as an actor, director and playwright in Chicago since 2001. THE INNOCENCE OF SEDUCTION is part of his Four-Color Trilogy, which also include THE MARK OF KANE, which premiered at City Lit in fall 2022, and THE HOUSE OF IDEAS, about the 1960s rise of Marvel. He has appeared on stage at City Lit in the title role of PROMETHEUS BOUND, as The Creature in FRANKENSTEIN, and as Milt Shanks in THE COPPERHEAD, among other roles. Most recently, he appeared as John Proctor in THE CRUCIBLE with Invictus Theatre Company. He was a company member of the Shelterbelt Theatre in Omaha, where he helped develop and produce seven world premiere productions, including his own full-length play, NEON.He is an ensemble member of The Artistic Home, where he won a Jeff Award for Leading Performer in a Play for REQUIEM FOR A HEAVYWEIGHT.

ABOUT CITY LIT THEATER COMPANY

City Lit is the seventh oldest theatre company in Chicago, behind only Goodman, Court, Northlight, Oak Park Festival, Steppenwolf, and Pegasus theatres.  It was founded in 1979 with $210 pooled by Arnold Aprill, David Dillon, and Lorell Wyatt.  For its current season, its 43rd, it operates with a budget slightly over $260,000.  It was the first theatre in the nation devoted to stage adaptations of literary material.  There were so few theatres in Chicago at the time of its founding that at City Lit’s launch event, the founders were able to read a congratulatory letter they had received from Tennessee Williams.

For four decades and counting, City Lit has explored fiction, non-fiction, poetry, memoirs, songs, essays and drama in performance.  A theatre that specializes in literary work communicates a commitment to certain civilizing influences—tradition imaginatively explored, a life of the mind, trust in an audience’s intelligence—that not every cultural outlet shares.

City Lit is located in the historic Edgewater Presbyterian Church building at 1020 West Bryn Mawr Avenue. Its work is supported in part by the MacArthur Funds for Arts and Culture at the Richard H. Driehaus Foundation, the Gaylord and Dorothy Donnelley Foundation, the Ivanhoe Theater Foundation, the Illinois Arts Council Agency and is sponsored in part by A.R.T. League.  An Illinois not-for-profit corporation and a 501(c)(3) federal tax-exempt organization, City Lit keeps ticket prices below the actual cost of producing plays and depends on the support of those who share its belief in the beauty and power of the spoken written word.


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