Shows On Our Radar: Rick Stone the Blues Man at Black Ensemble Theater Through August 26th, 2018

Chi IL Live Shows On Our Radar:

BLACK ENSEMBLE THEATER CONTINUES 2018 SEASON WITH

RICK STONE THE BLUES MAN

WRITTEN AND DIRECTED BY JACKIE TAYLOR

(from left) (obscured – Theo Huff) Rick Stone, Dwight Neal, Lamont ‘Harmonica Man’ Harris, Cynthia Carter and Rhonda Preston

Photo credit for all: Alan Davis

July 14 – August 26, 2018 

The summer's been flying by, and sadly I was already booked and had to miss the press opening last Sunday for Rick Stone the Blues Man. I adore the blues and I'm hoping to catch this soon. It's always a treat to see productions Jackie Taylor has written and directed. In the meantime, here are the details. This blues based original is only in town through August 26th, so don't miss this.

Black Ensemble Theater continues its 2018 Season (Movers and Shakers) with Rick Stone the Blues Man written and directed by Black Ensemble Theater Founder and CEO Jackie Taylor. Rick Stone the Blues Man will be performed at the Black Ensemble Theater Cultural Center, 4450 N. Clark Street in Chicago, July 14 – August 26, 2018. 

 (foreground) Theo Huff  (2nd line, from left) Dwight Neal, Cynthia Carter, Rick Stone, Rhonda Preston (musicians, from left) Adam Sherrod, Robert Reddrick, Mark Miller, Gary Baker

(from left) Theo Huff and Rick Stone

If you love the blues then you're going to love Rick Stone the Blues Man! Step on in to Ricky's Place, where the drinks are flowing, the dance floor is full and the band never stops. This is Ricky's Place and there is no other Blues Club like it on the planet! Join Ricky and his regulars Dwight Neal, Theo Huff, Rhonda Preston, Cynthia Carter, Kelvin Davis and Lamont 'Harmonic Man' Harris as they tear the house down singing the blues made famous by the greatest blues artists of all time like B.B. King, Bobby Blue Bland, KoKo Taylor, Johnnie Taylor, Etta James, Taj Mahal, Fleetwood Mac and Buddy Guy just to name a few. Of course Ricky and Dwight will perform their famous Muddy Waters and Howlin Wolf song battle and there's always a surprise guest who will take the stage. This is a true blues lover's smorgasbord. Come on down to 4450 N. Clark Street at the Black Ensemble Theater and step into Ricky's Place, a blues lover's paradise!

 (from left) Adam Sherrod and Lamont ‘Harmonica Man’ Harris

 (from left) Adam Sherrod, Lamont ‘Harmonica Man’ Harris, Music Director - Robert Reddrick, Mark Miller, Gary Baker

(from left) – Theo Huff, Lamont ‘Harmonica Man’ Harris, Rhonda Preston, Rick Stone

The cast includes Rick Stone, Dwight Neal, Theo Huff, Rhonda Preston, Cynthia Carter, Kelvin Davis, and Lamont ‘Harmonica Man’ Harris.

The creative team includes Daryl Brooks (Production Manager), Jessica Moore (Stage Manager), Denise Karczewski (co-lighting design), Rachel West (co-lighting design), David Samba (sound), Kylah Frye (choreography), Jackie Taylor (costumes), and Evelyn Danner (wardrobe assistant).

As with all Black Ensemble Theater productions, Rick Stone the Blues Man features live musicians led by musical director/arranger Robert Reddrick (drums). Musicians include Mark Miller (base), Gary Baker (guitar) and Adam Sherrod (piano).

(from left) Rick Stone, Lamont ‘Harmonica Man’ Harris, Cynthia Carter, Rhonda Preston

Tickets are available at the Black Ensemble Box Office located at 4450 N. Clark St in Chicago, or online at www.blackensemble.org, or by phone at (773) 769-4451. Tickets are $45 for previews (July 14, 15, 20 and 21); $55 (Thursdays and Saturday matinees) and $65 (Fridays, Saturday evenings and Sunday matinees). A 10% discount is available for students, seniors, and groups.

  (from left) Theo huff, Rick Stone, Lamont ‘Harmonica Man’ Harris, Cynthia Carter, Rhonda Preston

  (from left) Lamont ‘Harmonica Man’ Harris, Rick Stone, Rhonda Preston, Dwight Neal, Cynthia Carter

The Black Ensemble Theater is also selling the Five Play Card which allows the holder to see all 5 plays of the 2018 Season or bring five friends to one play or any combination of 5. The Five Play Card is a great deal at $225 which represents a significant savings of $20.00 per full price ticket. For more details or to purchase a Five Play Card contact the box office at 773-769-4451. 

 (from left) Theo Huff, Lamont ‘Harmonica Man’ Harris, Rick Stone, Cynthia Carter, Rhonda Preston

(from left) Kelvin Davis, Cynthia Carter

Dates: 

July 14 – August 26, 2018

Previews: July 14, 15, 20 and 21, 2018

Press Performance: Sunday, July 22 at 3pm

Schedule:

Thursdays: 7:30 pm

Fridays: 8:00 pm

Saturdays: 3:00 pm and 8:00 pm

Sundays: 3:00 pm

Location: 

Black Ensemble Theater Cultural Center, 4450 N. Clark Street, Chicago

Valet parking is available.

 Cynthia Carter

Dwight Neal

Ticket prices: 
$45 Previews
$55 on Thursdays and Saturday matinees;
$65 on Fridays, Saturday evenings and Sunday matinees
A 10% discount is available for students, seniors, and groups.
Box Office: Buy online at www.blackensemble.org or call (773) 769-4451



The Black Ensemble Theater
Founded in 1976, by the phenomenal producer, playwright and actress Jackie Taylor, Black Ensemble Theater is the only African American theater located in the culturally, racially and ethnically diverse north side Uptown community. Through its Five Play Season of Excellence, The Black Ensemble Theater dazzles audiences locally, nationally and internationally with outstanding original musicals that are entertaining, educational and uplifting. The Black Ensemble Theater has produced more than 100 productions and employed over 5,000 artists.

The mission of the Black Ensemble Theater Company is to eradicate racism and its devastating effects upon society through the theater arts.  For more information on the Black Ensemble Theater Company, visit www.BlackEnsembleTheater.org or call 773-769-4451.

SAVE THE DATES: 2018/19 Season Announced Interrobang Theatre Project

Chi IL Live Shows On Our Radar:

Interrobang Theatre Project 

Announces Ninth Season: Identity/Crisis

Now in Residence at Rivendell Theatre!

THE GOAT, OR WHO IS SYLVIA?

By Edward Albee 

Directed by Co-Artistic Director James Yost 

Chicago Premiere!

I CALL MY BROTHERS

By Jonas Hassen Khemiri 

Translated by Rachel Willson-Broyles

Directed by Abhi Shrestha 

Midwest Premiere!

UTILITY

By Emily Schwend

Directed by Co-Artistic Director Georgette Verdin 

Chicago Premiere!

WHITE RABBIT RED RABBIT

By Nassim Soleimanpour

Interrobang Theatre Project is pleased to announce its ninth season, featuring three knockout dramas presented at its new resident home, Rivendell Theatre, 5779 N. Ridge Ave. in Chicago’s Edgewater neighborhood. This season, Interrobang explores “identity/crisis,” with three plays featuring characters on the edge of something new, battling old demons and making room for fresh starts.

Interrobang’s 2018/19 season kicks off this fall with THE GOAT, OR WHO IS SYLVIA?, Edward Albee’s provocative portrait of a marriage in flux, directed by Co-Artistic Director James Yost. In winter 2019, guest director Abhi Shrestha stages the Chicago premiere of Jonas Hassen Khemiri's I CALL MY BROTHERS, a day in the life of an Arab-Swedish man who must dodge suspicion after a car bomb rattles Stockholm. ITP’s ninth season concludes in spring 2019 with Co-Artistic Director Georgette Verdin helming the Midwest premiere of Emily Schwend's UTILITY, an intimate look at an East Texas woman's struggle to make ends meet. Season subscriptions are currently on sale at www.interrobangtheatreproject.org.  

Also this fall, join Interrobang for a one-of-a-kind theatrical experience. One actor. No rehearsal. A different show every week. The Chicago premiere of Nassim Soleimanpour's acclaimed solo show WHITE RABBIT RED RABBIT challenges the notion of performance with an experimental tour de force you have to see to believe. Join Interrobang at The Den Theatre (1331 N. Milwaukee Ave., Chicago) on Monday nights for this unforgettable artistic experiment.

“This season we landed on the unifying theme of ‘identity/crisis,’” comments Co-Artistic Director Georgette Verdin. “Across three plays and one special event we will tackle the elusive nature of self-definition. The characters in these dramas are desperately trying to discover who they are in a world that has already decided who they ought to be. What happens when this conflict is pushed to the breaking point, and how do we return to sanity once the dust settles?” 

Interrobang is also pleased to welcome Joe Lino as its newest Artistic Associate. Lino recently appeared in ITP’s production of Grace. In Chicago, he has worked with Steppenwolf, Goodman, Victory Gardens, Teatro Vista, Drury Lane, The New Colony, The Cuckoos Theater Project and The Agency Theatre Collective, where he can be seen next in the world premiere of Tres Bandidos. Regionally, he has credits with Actors Theatre of Louisville in shows such as Dracula, A Christmas Carol and That High Lonesome Sound, which premiered at the Humana Festival. He has also performed Off-Broadway at the BAM Harvey Theatre in Charles Mee’s world premiere of The Glory of the World. He is a proud alumni of Ball State University where he received a BFA in Acting. 

Finally, ITP announces THE PLAYWRITING INITIATIVE, in association with DePaul University. Each season, local playwrights will be invited to participate in an immersive and supportive partnership, including one graduate selected from DePaul's prestigious BFA Playwriting program. Each collaboration will be tailored to meet the needs of the individual playwright as the Interrobang Artistic staff aids in the development of the artist’s dramatic vocabulary and theatrical voice, culminating in a public reading of each playwright’s work.

Interrobang Theatre Project’s 2018/19 Season includes:

September 7 – October 7, 2018
THE GOAT, OR WHO IS SYLVIA?
By Edward Albee 
Directed by Co-Artistic Director James Yost
Press opening: Tuesday, September 11, 2018 at 8 pm

Martin is an accomplished architect living the American dream. He has a loving wife, a devoted son and an acclaimed career. But an explosive revelation threatens to destroy everything he has built, and forces Martin to reconcile the man the world has come to know with the man he has always been inside. Shocking theatregoers when it first premiered, The Goat deftly lambastes liberal acceptance, fidelity and family as one man painfully traverses the ultimate taboo.

January 5 – February 2, 2019
I CALL MY BROTHERS – Chicago Premiere!
By Jonas Hassen Khemiri
Translated by Rachel Willson-Broyles
Directed by Abhi Shrestha 
Press opening: Monday, January 7, 2019 at 8 pm

Stockholm, Sweden. An explosion rocks the peaceful city and the authorities need someone to blame. Amor is scared and confused, but he’s got places to be. Knowing that he could be targeted at any moment, he must cautiously navigate the city he calls home if he’s going to make it through the day in one piece. Balancing paranoia, humor and 21st century woes, Khemiri's nuanced account dares us to question our own perceptions and prejudices, while offering a singular and harrowing take on the Labyrinth of global identity politics.

April 5 – May 4, 2019
UTILITY – Midwest Premiere!
By Emily Schwend 
Directed by Co-Artistic Director Georgette Verdin
Press opening: Monday, April 8, 2019 at 8 pm

Amber is doing everything she can to keep her head above water, but no matter how hard she tries, it never seems to be enough. Money is tight, her marriage is in turmoil and she’s juggling two jobs just to make ends meet. As she struggles to plan her eight-year-old daughter’s birthday party, Amber begins to unravel in the face of tragic uncertainty. Meticulous and heartbreaking, Utility offers a glimpse into the American working class through empathic realism.   

Special Event:

September 24 – November 12, 2018
WHITE RABBIT RED RABBIT
by Nassim Soleimanpour
Mondays at 8 pm at The Den Theatre, 1331 N. Milwaukee Ave., Chicago

What happens when you put one artist on a stage and hand them a script they’ve never read before? Pure theatrical magic. This acclaimed solo show creates an intimate exchange between actor and audience in a one-of-a-kind dramatic experience. No rehearsal. A new performer every night. An artistic experiment like you've never seen, and won’t soon forget.

About the Playwrights

Edward Albee (The Goat, Or Who is Sylvia?) was born on March 12, 1928 and began writing plays thirty years later. His plays include The Zoo Story (1958), The American Dream (1960), Who’s Afraid of Virginia Woolf? (1961-1962, Tony Award), Tiny Alice (1964), A Delicate Balance (1966, Pulitzer Prize; 1996, Tony Award), All Over (1971), Seascape (1974, Pulitzer Prize), The Lady From Dubuque (1977-1978), The Man Who Had Three Arms (1981), Finding the Sun (1982), Marriage Play (1986-1987), Three Tall Women (1991, Pulitzer Prize), Fragments (1993), The Play About the Baby (1997), The Goat, Or Who is Sylvia? (2000, 2002 Tony Award) and Occupant (2001). He was a member of the Dramatists Guild Council and president of The Edward F. Albee Foundation. Mr. Albee was awarded the Gold Medal in Drama from the American Academy and Institute of Arts and Letters in 1980, and in 1996 received the Kennedy Center Honors and the National Medal of Arts. Mr. Albee died September 16, 2016.

Jonas Hassen Khemiri (I Call My Brothers) is a celebrated author and playwright based in Stockholm. His novels have been translated into over 20 languages and his plays have been performed by over a hundred international companies on stages from Stockholm to Berlin to New York to London. Khemiri was awarded a Village Voice Obie Award for his first play Invasion!, which premiered in New York in 2011. His second play God Times Five toured Sweden and his third play The Hundred We Are received the Hedda Award for best play in Norway. Khemiri’s play ≈ [Almost Equal To] premiered at Dramaten in Stockholm in October 2014 to rave reviews and has been performed in Germany, Norway, Iceland and the U.S. His play I Call My Brothers began as an essay published in Dagens Nyheter in December 2010, one week after a suicide bombing in central Stockholm that shook the nation. The book was published to great acclaim and later became a lauded play that toured Sweden with Riksteatern in 2013 (directed by Farnaz Arbabi) and premiered in New York in January 2014. It has also been performed in Norway, Denmark, Germany (multiple theatres), Australia, San Francisco, France, Spain, Belgium, Switzerland, Finland and at the Gate Theatre in London, UK.

Emily Schwend (Utility) Emily Schwend's plays include Utility (The Amoralists in New York City, Orange Tree Theatre in London, 2016 Yale Drama Series Award, 2017 IT Award for Outstanding Premiere Production of a Play), The Other Thing (Second Stage Theatre Uptown), Take Me Back (Walkerspace), South of Settling (Steppenwolf's Next Up Rep) and Splinters (CUDC Source Festival). She was a 2016-2017 Radcliffe Institute Fellow at Harvard University and the inaugural 2014 Tow Foundation playwright-in-residence at Second Stage Theatre. Her work has been developed at The New Group, Roundabout Theatre Company, ACT Theatre, Marin Theatre Company, Partial Comfort Productions, Ars Nova, the Alliance Theatre, PlayPenn and the O’Neill National Playwrights Conference, among others. She is a frequent contributor to Christine Jones’s Theatre for One booth. She is the recipient of a Bogliasco Fellowship, a MacDowell Fellowship, the ACT New Play Award, the David Calicchio Emerging American Playwrights Prize, the Lecomte du Nouy Prize, and the Heideman Prize. Her work has been commissioned by the Studio Theatre in D.C., the Ensemble Studio Theatre through the Alfred P. Sloan Foundation and the Old Vic in London. She is a proud alumna of the playwriting programs at Juilliard and Tisch.

Nassim Soleimanpour (White Rabbit Red Rabbit) is an independent multidisciplinary theatre maker from Tehran, Iran. His plays have been translated into more than 20 languages. Best known for his play White Rabbit Red Rabbit, written to travel the world when he couldn’t, his work has been awarded the Dublin Fringe Festival Best New Performance, Summerworks Outstanding New Performance Text Award and The Arches Brick Award (Edinburgh Fringe), as well as picking up nominations for a Total Theatre and Brighton Fringe Pick of Edinburgh Award. By the time Nassim was permitted to travel for the first time in early 2013, his play White Rabbit Red Rabbit had been performed over 200 times in 15 languages. Since then, Nassim has facilitated workshops and panels in different countries including World Theatre Festival (Brisbane), Tolhuistuin (Amsterdam), SESC Vila Mariana (Sao Paulo), Schauspielhaus (Vienna), DPAC (Kuala Lampur), Theatretreffen (Berlin), British Council (London), Asia House (London) and University of Bremen (Germany). Nassim’s second play Blind Hamlet for the London based Actors Touring Company premiered at the 2014 Edinburgh Festival Fringe and has since toured extensively around the UK and was received well in Bucharest and Copenhagen. Blank, his third play, recently premiered in Amsterdam and has been performed in Utrecht, Edinburgh and London. Nassim now lives in Berlin with his wife Shirin.

About the Directors

James Yost (The Goat, Or Who Is Sylvia?) is a Joseph Jefferson Award-nominated director and the Co-Artistic Director of Interrobang Theatre Project. He previously served as the producing Artistic Director for BareBones Theatre Group, a company he co-founded in 1998. Selected credits include: Mr. Marmalade, Psycho Beach Party, Debbie Does Dallas: The Musical, Skylight, The Graduate, The Play About the Baby, A Midsummer Night’s Dream, Drift, bash; the latter-day plays, Squirrels, The Wizard of Oz, Lend Me A Tenor, Orson's Shadow, Glengarry Glen Ross, The Pitchfork Disney and Noises Off. For ITP, credits include Orange Flower Water (Jeff nomination for Best Supporting Actor, Joseph Wiens), Ibsen is Dead, The North Pool (Jeff nominated for Best Production and Best Director), Falling (Jeff nominated actors Justin Tsatsa and Amy Johnson) and the critically acclaimed REALLY REALLY (named one of the best shows of 2015 by the Chicago Tribune). Other credits include True West by Sam Shepard for Shattered Globe. This summer, he will direct Boeing Boeing for Davidson College. He teaches acting, directing, production design and film at the high school and collegiate level. He is published in Teaching Theatre Journal, a publication of Dramatics Magazine.

Abhi Shrestha (I Call My Brothers) Abhi Shrestha is a Chicago based director, movement dramaturge and educator originally from Kathmandu, Nepal. Working at the intersections of decolonization and queer brown narratives, they are the Literary Manager and Director of Public Programming for Haven Theatre, the Resident Dramaturg and Community Organizer for the Chicago Inclusion Project and a content curator for Rescripted. They are currently working on exploring a personal history of the world as told by brown grandmas, in a performance installation called The Brown Grandma Project (working title). 

Georgette Verdin (Utility) has been working with ITP since 2014 and has served as Co-Artistic Director since 2015. She is also a freelance director, theater and speech educator and arts integration specialist. She was the founding theater teacher at Polaris Charter Academy, an Expeditionary Learning School in West Humboldt Park, where she taught full-time for eight years. For Interrobang, Georgette directed last season's Jeff Recommended production of Grace by Craig Wright, season seven's production of the 2013 Yale Drama Series Winner Still by Jen Silverman, as well as season six’s Katrina: Mother-In-Law of ‘Em All by Rob Florence and the Jeff Recommended Recent Tragic Events, also by Craig Wright. Other recent directing credits include Jeff Recommended 20,000 Leagues Under The Seas (Assistant Director, Lookingglass Theatre Company) Time Stands Still (AstonRep), a staged reading of Launch Day by Michael J. Higgins (Chicago Dramatists) and Tennessee Williams’ Talk To Me Like the Rain and Let Me Listen as part of AstonRep’s FOUR BY TENN festival. Georgette holds a Bachelor of Arts in theatre performance from McNeese State University in Lake Charles, LA and a Master in Directing from the Chicago College of Performing Arts at Roosevelt University.

About Interrobang Theatre Project

Now in its ninth season, Interrobang Theatre Project, under the artistic leadership of Georgette Verdin and James Yost, has been hailed by the Chicago Tribune as a “company to watch” and by Time Out Chicago as “one of Chicago’s most promising young theatre companies.” Chris Jones called Foxfinder, which kicked off Interrobang’s 2017-18 season, “...a ripping good yarn,” earning it 3.5 stars from the Chicago Tribune. Foxfinder also garnered seven non-Equity Jeff Awards nominations including Best Director and Production of a Play, and took home two awards for Best Original Music and Set Design. The company also earned seven non-Equity Jeff Nominations for their seventh season, including Best Director, Production of a Play, Solo Performance and acting nominations for Lead Actor, Actress (win) and Actor in a Supporting Role (win). Productions have included the world premiere of Calamity West’s Ibsen is Dead (Jeff Recommended), the Jeff Recommended The Pitchfork Disney, Orange Flower Water, Recent Tragic Events, The North Pool, The Amish Project, Falling and Grace. Director James Yost’s critically-acclaimed Really Really was one of six shows chosen for Chicago Tribune’s “Best of 2015 in Chicago Fringe Theater.”

What’s an interrobang?
An interrobang is the combination of a question mark and an exclamation point, joining the Latin for “question” (interro) with a proofreading term for “exclamation” (bang). Through the plays we produce, Interrobang Theatre Project aims to pose worthwhile and exciting questions which challenge our understanding and assumptions of who we are and the world in which we live. 

For more information, please visit www.interrobangtheatreproject.org.

Jazz Shows On Our Radar: Shawn Maxwell’s New Tomorrow Residency at Jazz Showcase Thursday, July 26-Sunday, July 29th

Chi IL Live Shows On Our Radar:

SHAWN MAXWELL’S NEW TOMORROW

JULY 26, 2018 

8PM & 10PM

$20/$35 VIP PREFERRED SEATING

Shawn Maxwell’s New Tomorrow will be doing a residency at Jazz Showcase, Thursday, July 26-Sunday, July 29. Check the calendar HERE for specifics.

ALL NIGHTS:

SHAWN MAXWELL – ALTO SAX, FLUTE, CLARINET,VIJAY TELLIS NAYAK – PIANO/RHODES

JUNIUS PAUL – BASS & PHIL BEALE – DRUMS

SPECIAL GUESTS

THU JULY 26 – TRUMPETER VICTOR GARCIA

FRI JULY 27 – VOCALIST DEE ALEXANDER & TRUMPETER CHAD MCCULLOUGH

SAT JULY 28 – TRUMPETER COREY WILKES & VIBRAPHONIST STEPHEN LYNERD

SUN JULY 29 – TRUMPETER CHAD MCCULLOUGH

SHAWN MAXWELL’S NEW TOMORROW IS A QUINTET MADE UP OF FIVE OF CHICAGO’S FINEST MUSICIANS. PERFORMING ALL ORIGINAL MATERIAL, THEY SPECIALIZE IN A STYLE OF JAZZ THAT IS HEAVILY INFLUENCED AND BLENDED WITH SEVERAL OTHER MODERN GENRES. FOCUSING ON COMPOSITION JUST AS MUCH AS IMPROVISATION, THEY REVEAL STUNNING MELODIES HIDDEN WITHIN COMPLEX TIME SIGNATURES. THIS NEW APPROACH IN MAXWELL’S WRITING BRINGS A PERFECT BLEND OF COMPOSITION AND IMPROVISATION FOR A NEW DIRECTION IN JAZZ.

The band will be playing in support of their new album, Music in My Mind, which is now streaming. Check out Shawn Maxwell’s site for further information.

REVIEW: Victims of Duty at A Red Orchid Theatre With Michael Shannon

Chi IL Live Shows On Our Radar:

Victims of Duty by Eugene Ionesco 

at A Red Orchid Theatre

1531 N. Wells Ave. Chicago, IL 60610

Review
By Catherine Hellmann, Guest Critic

Remember the old commercial for grape jelly that suggested: “With a name like Smuckers, it has to be good”? Well, I was reminded of this when watching Victims of Duty, “With a name like Ionesco, it’s got to be weird.” Absurdist theater makes me whimper, and to admit such a thing is like saying the Emperor has no clothes, or I am tragically unhip (which my teens can attest to anyway…)

PHOTO CREDIT FOR ALL PRODUCTION SHOTS: fadeout foto

Karen Aldridge (Madeleine), Michael Shannon (The Detective), and Guy Van Swearingen (Choubert)

cast

Ionesco’s play begins with a quiet couple onstage. The husband, Choubert, is reading the newspaper; the wife, Madeleine, is sewing. They chat about dog poop on the sidewalk in the neighborhood, how the government is encouraging citizens to be detached to conquer problems, and opinions on theater. The husband, played by Ensemble Member Guy Van Swearingen, bemoans how nothing new ever happens in theater; everything is a “thriller.” (Cue: a visitor who will shake things up in this tranquil home.) Oh, and there is a clawfoot bathtub, half-filled with water, between them. Oh, and a now-famous movie star is in the production, which is really why anyone, myself included, wants to see it.

Aldridge, Van Swearingen, Shannon

With Michael Shannon from the Academy-Award winning movie The Shape of Water in the role of The Detective, A Red Orchid Theatre has a hit show that sold out its entire run in minutes. Both Van Swearingen and Shannon were in the original production at A Red Orchid in 1995, along with director Shira Piven; ticket sales then involved some begging. The space is small and intimate, which adds to the thrill of being there. A Red Orchid could realistically sell “safe” versus “unsafe seats” if the audience doesn’t mind getting wet from the pool of water onstage which the actors swish around in. (I wondered if the actors have an alternate set of clothing for their second show later that evening.)

Rich Cotovsky (Nicolas D’eu)

cast

Shannon

The Detective is searching for “Mallot with a t” who lived in their building. The sedate couple is intrigued and invite the seemingly timid but soon-aggressive Detective into their home. The biggest laugh came when the couple referred to the “sweet face” of the Detective. His interrogation involves force-feeding Choubert bread and having him submerge in the pool, as our memories can be fleeting like liquid. (I had sympathy for the stage crew and the splashing they will have to clean up after every performance.)

Karen Aldridge is wonderful as the wife who is initially darning socks mildly, then playfully changes into a sexy dress to entice the Detective. When he asks her for a cup of coffee, she willingly obliges by frantically bringing out cup after cup after cup, lining them up along the edge of the stage. (Reminding me of “The Love Song of J. Alfred Prufrock,” where T.S. Elliott observed: “I have measured out my life with coffee spoons.”)

Mierka Gierten (The Lady)

Van Swearingen, Gierten,

In a time when the real/fake news is mind-boggling and our commander-in-chief is a former reality-tv star-Narcissist, do we need entertainment to be more absurd? As Ms. Piven writes in her Director’s Notes: “Now there is also a social/political resonance that we can’t escape, as much as we might want to. Themes of torture, blind compliance to authority and the absurdity (not to mention the insidiousness) of every aspect of our current political morass” was present in their rehearsals.

Aldridge, Van Swearingen

Shannon, Van Swearingen, Aldridge

Perhaps Ionesco was warning us to be citizens who are not detached by society’s problems, for innocent bystanders who are unaffected by turmoil around them are not helping.


Victims of Duty is running through August 5. Good luck scoring a ticket.

CLICK HERE for full show details and ChiIL Live Shows' past Victims of Duty coverage. 

Van Swearingen, Aldridge

Shannon, Gierten, Van Swearingen, Aldridge

Check www.aredorchidtheatre.org for last minute tickets, as some do become available. If you miss those, show up in person and try their standby lines. They are sometimes even able to get everyone in!

Ensemble Members Michael Shannon (The Detective) and Guy Van Swearingen (Choubert), as well as Karen Aldridge (Madeleine), Rich Cotovsky (Nicolas D’eu), and Ensemble Member Mierka Gierten (The Lady).

Title: Victims of Duty
Written By: Eugene Ionesco
Directed by: Shira Piven

Creative Team: Danila Korogodsky (Production Design), Ensemble Member Mike Durst (Lighting Design), and Brando Triantafilou (Sound Design)

Dates:
Regular Run: July 17 – August 5, 2018
Tuesday, July 17 at 7:30 p.m.
Thursday, July 19 at 7:30 p.m.
Friday, July 20 at 7:30 p.m.
Saturday, July 21 at 3:00 p.m. and 7:30 p.m.
Sunday, July 22 at 3:00 p.m.
Wednesday, July 25 at 7:30 p.m.
Thursday, July 26 at 7:30 p.m.
Saturday, July 28 at 3:00 p.m. and 7:30 p.m.
Sunday, July 29 at 3:00 p.m. and 7:30 p.m.
Tuesday, July 31 at 7:30 p.m.
Wednesday, August 1 at 7:30 p.m.
Friday, August 3 at 7:30 p.m.
Saturday, August 4 at 3:00 p.m. and 7:30 p.m.
Sunday, August 5 at 3:00 p.m.

Schedule: Tuesdays: 7:30 p.m. (July 17 & 31)
Wednesdays: 7:30 p.m. (July 11 & 25)
Thursdays: 7:30 p.m. (July 12, 19 & 26)
Fridays: 7:30 p.m. (July 13 & 20 and August 3)
Saturdays: 3:00 p.m. (July 21 & 28 and August 4)
and 7:30p.m. (July 14, 21 & 28 and August 4) 
Sundays: 3:00 p.m. (July 22, 29 and August 5)

Location: A Red Orchid Theatre, 1531 N. Wells Ave.
Tickets: $50

Box Office:Located at 1531 N. Wells Ave, Chicago, (312) 943-8722; or online www.aredorchidtheatre.org 

SAVE THE DATES: Jackalope Theatre SEASON 11

Chi IL Live Shows On Our Radar:

SEASON 11 IS HERE!

We're coming at you in 2018/2019 with the fresh and exciting work you've come to expect from Jackalope Theatre. Don't miss a minute of it with our Season Pass. This year is going to blow you away.

Welcome to Jackalope's 11th Season.

See it. Believe it.

In The Canyon
by Calamity West
directed by Elly Green
In The Canyon is a new American saga by Calamity West spanning 2007 to 2067. In an exploration on the present attack on abortion, a time in which Roe v. Wade is overturned, this world-premiere imagines a broken society rapidly declining into a future world set in the rocks and walls of a canyon, where a story of resistance is birthed.
(World Premiere)
October 16 – November 24, 2018

Dutch Masters
by Greg Keller
directed by Wardell Julius Clark
New York City, 1992. Summer. In NYC's hazy pre-Giuliani, pre-cellphone, pre-Metrocard days, a black kid and a white kid meet in a chance encounter on an uptown D train. Over the course of one afternoon, fear, guilt, and longing allow one kid to take the other to a place neither even imagined possible. 
(Midwest Premiere)
February 25 – May 6, 2019



Life On Paper
by Kenneth Lin
directed by Jackalope Artistic Director, Gus Menary
After his proof for the Riemanm Hypothesis (one of the world's last great math puzzles) disastrously flames out, Mitch Bloom, a brilliant mathematician finds himself working as a consultant using complex algorithms to set the value of human lives in wrongful death cases. His knack for devaluing lives has made him the darling of the insurance companies, but what will he do when the wrongful death of a billionaire philanthropist crosses his desk, and the future of a small town hangs in the balance?
(World Premiere)
May 13 – June 22, 2019

In addition to the Mainstage Season at Broadway Armory Park, Jackalope will present a fully curated season of work in The Frontier, 1106 W Thorndale. Slated for The Frontier during the 2018/19 Season is a the Circle Up! Reading Series in collaboration with The Chicago Inclusion Project, the launch of Jackalope’s GroundWorks Series for new work, and The 10th Annual Living Newspapers Festival.

The 2018/19 Season Pass is available for purchase via www.jackalopetheatre.org, which gives patrons access to the Mainstage Season in Broadway Armory Park, discounted access to the lineup of programming in The Frontier, and invitations to opening nights and special events..

OPENING: Chicago Debut of Manual Cinema's The End of TV at Chopin Theatre

Chi IL Live Shows On Our Radar:

Manual Cinema is self-presenting the Chicago debut of The End of TV for a three-week summer run July 19-August 5 at Chopin Theatre in Wicker Park.

 “The End of TV’s artistry is awesome. Its impact is profound, unique, indescribable.”

- Christopher Arnott, Hartford Courant 

”a fascinating theatergoing experience blending live music, old TV video clips and shadow puppetry”

- E. Kyle Minor, New Haven Register 

“the audience gets to experience…a moment of live artistic creation, playing out on the stage in front of them, with little to hide and lots to show” 

- Thomas Breen, New Haven Independent 

Photo Credit for all: Judy Sirota Rosenthal

I'll be ChiILin' at Chi, IL's Chopin Theatre this Friday for the press opening of Manual Cinema's Chicago debut of The End of TV. We've reviewed many of Manual Cinema's productions over the years and love their quirky multimedia story telling style that combines live action and projection. We're eager to catch their latest. Check back soon for my full review.



The End of TV - an art pop song cycle with live visuals set in post-industrial Rust Belt America - melds vintage overhead projectors, multiple screens, puppets, actors, live feed cameras, multi-channel sound design and a live music ensemble. 

Through its tale of two women who become unlikely friends as one approaches the end of her life, while the other is reinventing a new one, The End of TV becomes an unforgettable, multimedia, theatrical meditation on late 20th century advertising, TV culture and the pre-internet American imagination. 

Manual Cinema has announced a three-week summer run of The End of TV, July 19- August 5 at the Chopin Theatre, 1543 W. Division, in Chicago’s Wicker Park neighborhood.

A critical and box office hit when it debuted last summer at The International Festival of Arts and Ideas in New Haven, CT, Manual Cinema’s summer run at Chopin marks the Chicago premiere of The End of TV.

The End of TV has one preview, Thursday, July 19 at 7 p.m. Performances continue through August 5: Thursday, Friday and Saturday at 7 p.m., and Sunday at 3 p.m. Run time is 70 minutes. Tickets are $30; $20 for students and seniors. Tickets are on sale now and can be purchased at manualcinema.com/cal.





Manual Cinema was founded in 2010 by Drew Dir, Sarah Fornace, Ben Kauffman, Julia Miller, and Kyle Vegter, all close collaborators on The End of TV. Manual Cinema has turned heads in Chicago ever since, combining handmade shadow puppetry, cinematic techniques, and innovative sound and music to create immersive visual stories for stage and screen. Using vintage overhead projectors, multiple screens, puppets, actors, live feed cameras, multi-channel sound design, and a live music ensemble, Manual Cinema transforms the experience of attending the cinema and imbues it with liveness, ingenuity, and theatricality.


Manual Cinema-The End of TV (Official Trailer) from Manual Cinema on Vimeo.

The End of TV premiered in June, 2017 at the The International Festival of Arts and Ideas in New Haven, CT, and was met with substantial critical acclaim: 

Set in a post-industrial Rust Belt city in the 1990s and told through a collection of original 70’s R&B-inspired art pop songs, The End of TV explores the quest to find meaning amongst the increasingly constant barrage of commercial images and advertising white-noise. Two sides of the American Dream — its technicolor promise as delivered through TV ads, and its failure, witnessed in the dark reality of industrial decline — are staged in cinematic shadow puppetry and lo-fi live video feeds with flat paper renderings of commercial products. The show is driven by a sweeping chamber art pop song cycle performed live by a seven-piece band.

The End of TV depicts the rise and fall of the American rust belt through the stories of Flo and Louise, both residents of a fictional Midwestern city. Flo is an elderly white woman, once a supervisor at the thriving local auto plant. Now succumbing to dementia, the memories of her life are tangled with television commercials and the “call now” demands of the QVC home shopping network. Louise, a young black woman laid off from her job when the same local auto plant closes, meets Flo when she takes a job as a Meals-on-Wheels driver. An unlikely relationship grows as Flo approaches the end of her life and Louise prepares for the invention of a new one. Their story is intercut with commercials and TV programs, the constant background of their environment.

The End of TV is a Manual Cinema production. Credits are: screenplay by Kyle Vegter and Ben Kauffman; direction and storyboards by Julia Miller; adapted for the screen by Lizi Breit, Drew Dir, Sarah Fornace, Julia Miller, Ben Kauffman and Kyle Vegter; music by Ben Kauffman and Kyle Vegter; sound design by Kyle Vegter; puppet design by Lizi Breit; associate puppet designer and storyboard artist Drew Dir; assistant director Sarah Fornace; costumes by Mieka van der Ploeg; lighting design by Claire Chrzan; lighting associate Shelbi Arndt; masks by Julia Miller; stage manager Shelby Glasgow; production manager Mike Usrey; puppet build interns Zofia Lu Ya Zhang and Kathryn Ann Shivak.

The cast is Kara Davidson (Flo/puppeteer), Aneisa Hicks (Louise/puppeteer), Jeffrey Paschal (ensemble/ puppeteer), Vanessa Valliere (ensemble/puppeteer), Shalynn Brown aka RED (drums), Maren Celest (vocals, live sound FX, live video mixing), Deidre Huckabay (flutes, vocals), Ben Kauffman (vocals, guitar, keyboard), Lia Kohl (cello, vocals), Marques Toliver (vocals, violin) and Kyle Vegter (bass).

The End of TV was co-commissioned by The International Festival of Arts & Ideas, New Haven, CT, and made possible in part with funding by the New England Foundation for the Arts’ National Theater Project, with lead funding from The Andrew W. Mellon Foundation.


More about Manual Cinema

“this Chicago troupe is conjuring phantasms to die for…”
-Ben Brantley, The New York Times

Manual Cinema was founded in 2010 by Drew Dir, Sarah Fornace, Ben Kauffman, Julia Miller, and Kyle Vegter. To date the company has created seven original feature length live cinematic shadow puppet shows (Lula Del Ray, ADA/ AVA, Mementos Mori, My Soul’s Shadow, The Magic City, No Blue Memories and The End of TV); a live cinematic contemporary dance show created for family audiences in collaboration with Hubbard Street Dance and the choreographer Robyn Mineko Williams (Mariko’s Magical Mix); an original site-specific installations (La Celestina); an original adaptation of Hansel & Gretel created for the Belgian Royal Opera; music videos for Sony Masterworks, Gabriel Kahane, three time GRAMMY Award-winning eighth blackbird, and New York Times Best Selling author Reif Larson; a live non-fiction piece for Pop-Up Magazine; a self-produced short film (CHICAGOLAND); a museum exhibit created in collaboration with the Chicago History Museum (The Secret Lives of Objects); a collection of cinematic shorts in collaboration with poet Zachary Schomburg and string quartet Chicago Q Ensemble (FJORDS); and live cinematic puppet adaptations of StoryCorps stories (Show & Tell).

Manual Cinema has been presented by, worked in collaboration with, or brought its work to The Metropolitan Museum of Art (NYC), Under the Radar Festival (NYC), The Tehran International Puppet Festival (Iran), La Monnaie-De Munt (Brussels), BAM (NYC), Underbelly (UK), Adelaide Festival (AU), The Kennedy Center (DC), The Kimmel Center (Philadelphia), the Museum of Contemporary Art Chicago, the Noorderzon Festival (Netherlands), The O, Miami Poetry Festival, Davies Symphony Hall (SF), The Ace Hotel Theater (LA), Handmade Worlds Puppet Festival (Minneapolis), The Screenwriters’ Colony in Nantucket, The Detroit Institute of Art, The Future of Storytelling Conference (NYC), the NYC Fringe Festival, The Poetry Foundation (Chicago), the Chicago International Music and Movies Festival, the Puppeteers of America: Puppet Festival (R)evolution, and elsewhere around the world.

Manual Cinema was ensemble-in-residence at the University of Chicago in the Theater and Performance Studies program in the fall of 2012, where they taught as adjunct faculty. In 2013 Manual Cinema held residencies and taught workshops at the School of the Art Institute (Chicago), The Future of Storytelling Conference (NYC), RCAH at Michigan State University, and Puppeteers of America: Puppet Festival (R)evolution (Swarthmore, PA), Southern Illinois University, and the Chicago Parks District. In Spring 2016 Manual Cinema held workshops at Yale University as visiting lecturers in the theater department.

In Fall 2016, they contributed visuals, music, and sound design for an immersive adaptation of Peter Pan with producer Randy Weiner (Sleep No More, The Donkey Show, Queen of the Night) which premiered in Beijing in December 2016. In February 2017, Manual Cinema premiered The Magic City, a new show for children and their families, adapted from a novel by Edith Nesbit, and the inaugural production at the new Chicago Children’s Theatre, The Station. That was followed in September, 2017 by No Blue Memories, about the life and work of poet Gwendolyn Brooks, commissioned by the Poetry Foundation and based on a screenplay by Eve Ewing and Nathaniel Marshall, presented at the Harold Washington Library, and remounted last March in partnership with the Chicago International Puppet Theater Festival and the Poetry Foundation. The company also debuted in Australia, France and Germany in 2017 and returned to the Edinburgh Fringe with Lula del Ray. 

Currently, Manual Cinema is touring its production ADA/AVA in Holland. Following its summer run of The End of TV, Manual Cinema will present its world premiere production of Frankenstein at Court Theatre in Hyde Park, November 1-December 2, 2018, as part of Court Theatre’s 2018-19 season. 

For more, visit manualcinema.com, follow the company on Facebook at facebook.com/manualcinema, on Instagram at instagram.com/manual_cinemaand on Twitter @ManualCinema.