OPENING: BABES WITH BLADES' RICHARD III, AUGUST 25 – OCTOBER 15th AT THE EDGE THEATER

 COME SLAY WITH US: 

 BABES WITH BLADES THEATRE COMPANY ANNOUNCES CAST AND CREATIVE TEAM FOR RICHARD III, AUGUST 25 – OCTOBER 15, 

AT THE EDGE THEATER

Directed By Richard Costes, Babes With Blades Theatre Company’s Shakespeare Features Non-Traditional Casting and is Informed by a Collaboration with the University Of Illinois Chicago and their incubators for Disability Arts and Culture

Babes With Blades Theatre Company (BWBTC) returns to live performances with its 2022 season and its presentation of William Shakespeare’s Richard III, in partnership with the University of Illinois Chicago’s Disability Cultural Center and directed by Richard Costes, August 25 – October 15, at The Edge Theater, 5451 N. Broadway Ave., with select performances being live streamed. Previews are Thursday, Aug. 25 – Saturday, Aug. 27 at 8 p.m. and Sunday, Aug. 28 at 3 p.m., Thursday, Sept. 1 and Friday, Sept. 2 at 8 p.m. I'll be out for the press opening Sept. 3rd so check back shortly after for my full review. The regular performance schedule is Thursdays – Saturdays at 8 p.m. and Sundays at 3 p.m. All performances are presented with open captioning and select performances will be live streamed. Tickets are $20-35 available HERE.

Babes With Blades Theatre Company brings the tale of Shakespeare’s most complex, cruel and fascinating protagonist to life this summer in a new version that accounts for previously disregarded perspectives.  BWBTC Shakespeare’s Richard III tells the story of Richard of Gloucester, who uses intelligence, deception and political manipulation towards his ultimate goal: England’s crown. Babes With Blades’ production is a partnership with a project called “Making Inclusive Theatre: Richard III as Disability Art,” a collaboration with the University of Illinois Chicago’s Disability Cultural Center, the UIC Department of Theatre and Bodies of Work, a network of disability arts and culture. BWBTC Shakespeare’s production of Richard III adds a new layer to the complex tale by making it more inclusive in order to further explore othering and disability culture.  

“This production represents so many aspects that are priorities for BWBTC: focusing on marginalized stories, telling complicated tales of flawed humans and our signature of stage combat as a storytelling tool,” states Artistic Director Hayley Rice. “This team is ready to tell Richard III’s story in the manner it should be told, with the artists who should be telling it, but are so often left out of the conversation completely.”

The ensemble cast of 13 artists features Kristen Alesia,  (she/her/hers/they/them/theirs; Lady Anne/Lord Hastings), Aszkara Gilchrist, (she/her/hers; Richard III); Madison Hill, (they/them/theirs; Ratcliffe/Duke of York); Leah Huskey, (she/her/hers; Lord Grey/Duchess of York); Kayla Marie Klammer, (she/her/hers; Lord Lovell/Archbishop of Canterbury); Lauren Paige, (she/her/hers; Queen Elizabeth); Pat Roache, (they/them/theirs; Queen Margaret/Brackenbury); Genesis Sanchez, (she/her/hers/they/them/theirs; Earl of Richmond); Symmone Sill, (she/her/hers; Marquis of Dorset/Prince Edward); Marianna Gallegos, (she/her/hers; understudy for Margaret/Brackenbury, Ratcliffe/York, Catesby); Jo Hoch, (she/her/hers, understudy Richard III); Alison Kertz, (she/her/hers, understudy Queen Elizabeth/Richmond, Grey/Duchess of York); Emma Norville, (she/her/hers, understudy Clarence/Stanley/Lord Mayor, Anne/Hastings); Elizabeth Quilter, (she/her/hers, understudy Lovell/Archbishop, Buckingham) and Xela Rosas, (she/her/hers, understudy Rivers/Bishop of Ely/Messenger, Dorset/Prince Edward, King Edward IV) along with BWBTC ensemble members Kim Fukawa, (she/her/hers, Catesby/King Edward IV); Jillian Leff, (she/her/hers; Duke of Buckingham); Jennifer L. Mickleson, (she/her/hers; Duke of Clarence/Lord Stanley/Lord Mayor); Izis Mollinedo, (they/them/theirs/she/her/hers; Rivers/Bishop of Ely/Messenger).  

The production team includes Richard Costes, (he/him/his; director); Claire Alston, (she/her/hers; dramaturg); Esau Andaleon, (he/him/his; assistant stage manager); Dr. Margaret Fink, (she/her/hers; director of Disability Cultural Center, UIC); Bianca C. Frazer, PhD (she/her/hers; UIC Disability Culture Advisory Team) Rose Hamill, (she/her/hers; production manager); Carrie Hardin, (she/her/hers; text coach); Jesse D. Irwin, (he/him/his; sound design); Matt Lauterbach, (he/him/his; accessibility coordinator); Sydney Lynne, (she/her/hers; scenic design); Clare McKellaston (she/her/hers; costume design), Tab Mocherman (they/them/theirs; COVID compliance officer); AJ Morley (he/him/his; props design); Gabrielle Owens, (she/her/hers/they/them/theirs; stage manager); Kat Pleviak, (she/her/hers; puppet design); Keyana Robinson, (she/her/hers); UIC videographer); Carrie Sandahl, (she/her/hers, PhD, professor of Department of Disability and Human Development; UIC Disability Culture Advisory Team), Rachelle Tsachor, (she/her/hers; UIC Disability Culture Advisory Team), Becca Veneable, (she/her/hers; lighting design) and BWBTC Ensemble Members Maureen Yasko, (she/her/hers; fight/intimacy design) and Jillian Leff, (she/her/hers; assistant fight/intimacy design). 

 

ABOUT RICHARD COSTES, DIRECTOR OF RICHARD III 

Richard Costes is a deaf artist of color who has also worked as an actor, director, playwright and accessibility consultant. Costes grew up near Youngstown, Ohio where he graduated from Kent State University with a Bachelor of Arts in Theatre Studies. His professional career began in Chicago, where he fell in love with the storefront theater scene and its continued work towards diversity and inclusion. Since 2014, he has performed at Steep Theatre Company, Chicago Shakespeare Theater, Red Tape Theatre, Redtwist Theatre, Broken Nose Theatre, Porchlight Music Theatre, Rasaka Theatre Company and many others.  He is a 2017 recipient of a 3Arts Make a Wave grant. He has presented at Gallaudet University’s symposium on Visual Shakespeare and was a member of the 2019 Deaf Theatre Action Planning Session hosted by HowlRound at Emerson College. 

ABOUT UNIVERSITY OF ILLINOIS CHICAGO DISABILITY CULTURAL CENTER (UIC DCC)

As one of the first Disability Cultural Centers in the country, the UIC DCC is committed to building community around disability experience and anti-ableism. It centers disability issues as social justice issues, exploring intersectional identities, developing disability culture, fostering a sense of belonging, and imagining radically different futures. Most UIC DCC programming is open to everyone--students, staff, faculty, and community members--and nondisabled allies are welcome to join; the Center also hosts intentional spaces for disabled people to find community. The UIC DCC's programs include public lectures, discussion series, arts-based workshops and one-on-one support.

 

ABOUT BWBTC SHAKESPEARE

Aligned with their mission of representing marginalized voices, BWBTC Shakespeare specifically features actors of marginalized genders to provide an opportunity for audiences to perceive these classic stories through a new lens.  For this production, BWBTC has partnered with UIC’s Disability Cultural Center, the department of Theatre, and Bodies of Work to tell the tale of Richard of Gloucester’s rise to power. Casting both disabled and non-disabled actors and exploring disability beyond the role of Richard III, this production will not only examine stage combat as a storytelling tool, but also interrogate the barriers that the theatre industry often creates when it comes to accessibility for actors.

ABOUT BABES WITH BLADES THEATRE COMPANY

Babes With Blades Theatre Company – over the past 20 years and moving into the future – strives to develop and present scripts focused on complex, dynamic (often combative) characters who continue to be underrepresented on theatre stages based on gender. Babes With Blades Theatre Company uses (and will continue to use) stage combat to tell stories that elevate the voices of underrepresented communities and dismantle the patriarchy.

In each element of their programming, they embrace two key concepts:

1)     Folks of marginalized genders and underrepresented communities are central to the story, driving the action rather than responding or submitting to it.

2)     Everyone is capable of a full emotional and physical engagement, up to and including violence and its consequences.

The company offers participants and patrons alike an unparalleled opportunity to experience every person as heroes and villains; rescuers and rescues; right, wrong and everywhere in between: exciting, vivid, dynamic PEOPLE. It’s as simple and as subversive as that.

This production of Richard III is supported by a UIC Creative Activity Award for a project called "Making Inclusive Theatre: Richard III as Disability Art." 

BWBTC’s 2022 programming is partially made possible by the kind support of The Gaylord & Dorothy Donnelley Foundation, a grant from The Illinois Arts Council Agency, a CityArts Grant from the City of Chicago Department of Cultural Affairs & Special Events (DCASE), and the support of the Small Business Alliance Shuttered Venue Operators (SVOG) grant program.

LAND ACKNOWLEDGEMENT STATEMENT:

Babes With Blades Theatre Company produces theatre in venues located on the traditional homelands of the Council of the Three Fires: the Ojibwe, Odawa, and Potawatomi Nations. Many other tribes such as the Miami, Ho-Chunk, Menominee, Sac, and Fox also called this area home. This region that we now commonly refer to as “The Chicagoland Area”, has long been a center for Indigenous people to gather, trade, and maintain kinship ties. Today, one of the largest urban Native American communities in the United States resides in Chicago. Members of this community continue to contribute to the life of this city and to celebrate their heritage, practice traditions and care for the land and waterways.

REVIEW: Failure: A Love Story at Oil Lamp Theater in Glenview, On Stage Through September 4, 2022

ChiIL Live Shows On Our Radar

Failure: A Love Story 

at Oil Lamp Theater in Glenview

Review

By Catherine Hellmann, Guest Critic 

“Cool space!” we noted upon our arrival at the Oil Lamp Theater in Glenview. The front lobby has a nice bar, and complementary cookies are provided for patrons during every performance. Tucked away near the library and the Glenview House Restaurant, (where we had a lovely meal served by a young man with fabulous hair who reminded me of Patrick Swayze), this is the only Professional Theatre in Glenview. 

Photo Credit for all Production Shots, Gosia Photography

I was not acquainted with Failure: A Love Story, which may have detracted from my enjoyment. The script was kind of hard to follow for those of us unfamiliar with the storyline. Having one actress play the three sisters, and their mother, (Kendal Romero) was confusing. Some of the action, especially of the Snake character on the floor, (yes, there are Pet characters. Weird.) was difficult to see. The staging needs to be considered, as the sightlines were tough to overcome for the Short of Stature. 

The Fail Family “got rid of their ‘Bottoms”” at Ellis Island when their name was shortened from “Failbotton” to just “Fail.” Owning a clock company, “A ‘Fail Clock’ is a working clock,” provides for the family. (All the clocks on the walls, and the actors mimicking clocks, reminded me of my childhood home because my Mom loved clocks.) When the parents die, the sisters take over the family business downtown. 

The cast was very energetic and enthused. I liked the chorus parts played by Jasmine Robertson, Jordan Zelvin, and Philip J. Macaluso. The Chicago storyline was cool, opening with references to the Eastland disaster of 1915 which killed 844 people, including nearly two dozen entire families. The setting was all in Chicago, and the parents perish the day of the worst shipwreck on the Great Lakes. The entire show focuses on loss and death. The Mom loses a baby in 1910 and is never the same. One of the daughters dies accidentally on her wedding day. Another sister tries to swim Lake Michigan from Chicago to Indiana (wouldn’t it be Michigan?) but disappears in the process. (“Have you ever smelled Indiana?” asks one of the characters.) 

Failure: A Love Story reminds us how “it is better to have loved and lost than to never have loved at all.” (Thank you, Alfred Lord Tennyson). 

Catherine Hellmann teaches teens by day and attends theater by night. She thinks sleeping until noon on Saturday is an accomplishment. 

FAILURE: A LOVE STORY

By Philip Dawkins

Directed by Xavier Custodio

Oil Lamp Theater's 10th Anniversary season rolls on with this whimsical romp exploring life and death in the Roaring '20s. 

PLOT: The year is 1928 and we meet the Fail sisters: Nelly, Jenny June, and Gerty. Born in that order. The sisters were bubbly, determined, and brittle. Also in that order. Set in the family home and clock shop near the Chicago River, this magical, musical fable follows the Fail sisters’ triumphs and tragedies. As with so many things in life such as blunt objects, disappearances and consumption, the Fail sisters never saw death coming. Happily ever after can’t last forever. But in this upbeat look at life’s ups and downs, we learn you can either be a grump about death, or you can live, love, and sing some catchy songs along the way.

CAST:

Trevor Earley: Mortimer Mortimer

Van Ferro: John N.

Philip J. Macaluso: Chorus Member

Kendal Romero: Gertie, Jenny June, Nelly Fail

Jasmine Robertson: Chorus Member

Jordan Zelvin: Chorus Member

Esther Fishbein: Gertie, Jenny June, Nelly Fail (U/S)

Rae Hamilton-Vargo: John & Chorus (U/S)

Katie Luchtenburg: Chorus Member (U/S)

Brooks Whitlock: Mortimer Mortimer (U/S)

CREW:

Director: Xavier M. Custodio

Rochelle Hovde: Stage Manager

Philip Dawkins: Playwright

Greg Korak: Technical Director / Carpenter

Hannah Wien: Lighting Designer

Elizabeth Monti: Costume Designer

Ellen Markus - Co-Set Designer & Prop Designer

Jay Pastucha - Co-Set Designer

SHOWTIMES:

Thursday, 8pm

Friday, 8pm

Saturday, 3pm & 8pm

Sunday, 3pm

PRICE:

$35 - Previews July 21, 22, 23 (3pm)

$45 - Run July 23 (8pm) - Sept. 4

For tickets and more: https://oillamptheater.org

ABOUT THE DIRECTOR

Xavier M. Custodio is one of the Co-Founders and Artistic Director of Visión Latino Theatre Company. He feels honored to be directing Failure: A Love Story, and getting the opportunity to work with Oil Lamp Theater to bring this fun story to life. Xavier’s directing credits includes: Y Tu Abuela, Where is She?, Baskerville: A Sherklock Holmes Mystery, Stories of Us, Fame, In The Heights, Yellow Eyes, Revolt, and Parachute Man (Assistant Director). He has been in the following productions: The Scarecrow (Minster Dodge), Rent (Benny), Godspell (John the Baptist), Man of La Mancha (Juan), Nine Lives: A Musical Web Series (BFPS Manger), Evita, Ragtime, and The Wiz.

COVID-19 POLICY

Oil Lamp Theater recommends wearing masks when not actively eating or drinking.

Masks will be required for our Saturday 3pm matinees.

About OLT

Mission Statement

Oil Lamp Theater is a professional not-for-profit theater organization that is dedicated to the presentation of traditional theater in a unique, inviting and intimate venue. Its mission is not only to stimulate interest in the performing arts but also to promote a sense of, and provide a service to, the community.

OPENING: Miss Holmes Returns at Lifeline Theatre August 26–October 16th, 2022

 ChiIL Live Shows On Our Radar

Lifeline Theatre Kicks Off 40th Anniversary Season with

Highly Anticipated 

Miss Holmes Returns

Performances with Open Captioning on September 17 and October 7

Performance with Touch Tour and Audio Description on October 2

The production runs approximately 2 hours with an intermission. The novel will be on sale in the lobby. 

Attached image caption: (L to R): Katie McLean Hainsworth as Sherlock Holmes and Mandy Walsh as Dr. Dorothy Watson; in Lifeline Theatre’s “Miss Holmes Returns.” Photography by Suzanne Plunkett

Lifeline Theatre presents Miss Holmes Returns, written by ensemble member Christopher M. Walsh and directed by Lifeline ensemble member Elise Kauzlaric.  Ensemble member Christopher M. Walsh, adaptor of 2016’s Miss Holmes, teams up with ensemble member Elise Kauzlaric (Northanger Abbey [2017 Non-Equity Jeff Award: New Work-Musical], Emma, A Wrinkle in Time) in a return to the Holmes universe with the next iteration of his invigorating update to one of literature’s favorite detectives.  Miss Sherlock Holmes and Dr. Dorothy Watson are back on the case! After a string of successes in assisting Scotland Yard, a seemingly clear-cut murder case finds itself at the detective’s feet. The powers that be know for certain the murderer was a young woman of immigrant heritage, but Holmes and Watson aren’t as sure. Can they find the truth before the authorities catch and convict their suspect? The game is afoot in this provocative Midwest premiere sequel to the hit play Miss Holmes, based on familiar characters from the works of Sir Arthur Conan Doyle. I'll be out for the press opening on September 4th, so check back shortly after for my full review.

Miss Holmes Returns runs August 26–October 16 at Lifeline Theatre, 6912 N. Glenwood Ave. (free parking and shuttle; see below.) Opening night is Tuesday, Sept. 6 at 7:30 p.m. (Previews are Fridays, Aug. 26 and Sept. 2 at 7:30 p.m.; Saturdays, Aug. 27 and Sept. 3 at 7:30 p.m.; and Sunday, Aug.28 at 2:30 p.m.).  Regular performance times (September 9 – October 16) are Fridays at 7:30 p.m., Saturdays at 2:30 and 7:30 p.m., and Sundays at 2:30 p.m.

Ticket prices are $45 for regular single tickets, $25 for previews, $35 for seniors and active/retired military personnel (with ID), $15 for students (with ID), with group rates for 8 or more available upon request. Tickets may be purchased visiting www.lifelinetheatre.com or at the Lifeline Theatre Box Office, 773.761.4477. 

Accessible Performances: The Saturday, September 17, 2:30 p.m. performance and the Friday, October 7, 7:30 p.m. performances will feature open captioning for patrons who are deaf or hard-of-hearing. The Sunday, October 2, 2:30 p.m. performance will feature a pre-show touch tour of the set at 1:00 p.m. and live audio description for patrons who are blind or have low vision. For more information about Lifeline’s accessibility services, please contact our Accessibility Coordinator at 773.761.4477 x703 or at access@lifelinetheatre.com.

The complete cast and production team for Miss Holmes Returns includes:

CAST:  Lifeline ensemble members Katie McLean Hainsworth (Sherlock Holmes) & Chris Hainsworth (Mycroft Holmes/Dock Worker); with guest artists Linsey Falls (Inspector Geoffrey Lestrade), Tommy Malouf (Adam Worthington/Daniel Burke), Julie Partyka (Josephine Butler), Vinithra Rajagopalan (Priya Singh), Annie Slivinski (Mrs. Hudson/Mrs. Wiggins), Mandy Walsh (Dr. Dorothy Watson), & Hilary Williams (Olive McGann); with understudies Daniel Dauphin, Laura Fudacz, Alex Hultman, Jean Marie Koon, & Elise Soeder

PRODUCTION TEAM: Lifeline ensemble members Alan Donahue (Scenic & Properties Designer), Diane Fairchild (Lighting Designer), Elise Kauzlaric (Director & Dialect Coach), Maren Robinson (Dramaturg) & Christopher M. Walsh (Adaptor); with guest artists Amelia Ablan (Production Manager), Olivia Ash (Asst. Stage Manager/COVID Compliance Officer), Eric Backus (Sound Designer), Morgan Gire (Stage Manager), Christina Gorman (Violence Designer), Emily McConnell (Costume Designer), & Harrison Ornelas (Technical Director)

Celebrating its 40th season, Lifeline Theatre continues to explore, interpret, and reimagine books and other literary works to create stories that move us beyond the margins of our own lives. Lifeline Theatre – Big Stories, Up Close.

Lifeline Theatre’s programs are partially supported by The Bayless Family Foundation; Carol Oppenheim + Jerome Lamet Charitable Fund; Elizabeth F. Cheney Foundation; a CityArts Grant from the City of Chicago Department of Cultural Affairs & Special Events; Gaylord and Dorothy Donnelley Foundation; Lloyd A. Fry Foundation; Illinois Arts Council Agency; MacArthur Fund for Arts and Culture at Prince; The Polk Bros. Foundation; Rogers Park Social; The Saints; S&C Electric Company Fund; The Shubert Foundation; and the annual support of businesses and individuals.

CABARET ZAZOU’s Premier Production Luminaire To Open September 7, 2022

ChiIL Live Shows On Our Radar

CABARET ZAZOU’S INAUGURAL PRODUCTION

LUMINAIRE 

NEW VARIETY SHOW FROM THE PRODUCERS OF SMASH HIT TEATRO ZINZANNI 

TO MAKE WORLDWIDE DEBUT IN CHICAGO’S THEATRE DISTRICT THIS FALL

Directed By Prolific Choreographer Dreya Weber

Featuring Acclaimed Chicago Favorite Performers Frank Ferrante and Liv Warfield, 

Luminaire to Premiere September 7 at Cabaret ZaZou on Randolph

Here at ChiIL Live Shows, we're elated to hear that our friend and favorite MC, Frank Ferrante, will once again be gracing the Spiegeltent in Chicago's Cambria Hotel for a brand new show! We loved Teatro ZinZanni and were lucky to get to review both the original opening and the fabulous post-pandemic remount. The food is fantastic, and having an antique tent indoors makes for a truly magical setting for a world class show. This is not your parents' stodgy dinner theatre fare. My son and daughter studied circus arts from the age of 9, and as a family, we've covered the top touring circus acts in the world from 2008 to the present. Although we're losing some favorite Chicago natives in the new lineup, like Duo Rose Trapeze and Bethany Thomas as Madame Z, I'm eager to see this worldwide debut and I'm sure the acts will be breathtaking.

Randolph Entertainment LLC, producer of the fan favorite Teatro ZinZanni Chicago, announced CABARET ZAZOU’s premier production, Luminaire will open on September 7, 2022. The new, groundbreaking, immersive variety dinner show, will make its worldwide debut in a vintage Spiegeltent on the 14th floor of the Cambria Hotel in the heart of Chicago’s Theatre District. Luminaire is directed by Dreya Weber, and stars critically acclaimed performers Frank Ferrante and Liv Warfield as they lead an international cast of exceptional entertainers. Sassy, sexy, and sultry, Luminaire is designed to dazzle and delight audiences with stunning cirque acts, interactive comedy, captivating vocalists, and a stellar band, complimented by a delicious multi-course meal.

Luminaire will star Frank Ferrante, an award-winning actor, comedian, and director best known for his interactive stage comedy, including The Caesar in Teatro ZinZanni, which earned him a Chicago Tribune nod as a top ten performer of the year in 2019, and his PBS national television program Frank Ferrante’s Groucho. The production will also star singer, songwriter, and producer Liv Warfield. Her achievements include a critically acclaimed hit solo album - The Unexpected, a Soul Train Music Award for Best Contemporary Jazz Performance, and performing as part of Prince’s New Power Generation. Liv Warfield has toured with some of music’s biggest names, bringing her unique voice and style to audiences around the world. Luminaire is directed by Dreya Weber, whose aerial design and choreography credits include Magic Mike Live in addition to aerials for Katy Perry, Taylor Swift, Britney Spears, Rihanna, Madonna, Cher, Michael Jackson, Christina Aguilera, Kylie Minogue, and Pink’s 2010 Grammy Awards performance of “Glitter in the Air”. Dreya brings in her unique death-defying grace to dazzle Cabaret ZaZou audiences.

“Cabaret ZaZou’s extraordinary antique Spiegeltent is a dream environment in which to create a show. Add world-class artists at the absolute top of their games and you have a recipe for a phenomenal entertainment experience. I am thrilled to be shepherding this production,” said Weber.

Luminaire also features an extraordinary cast of performers including Broadway star and Grammy nominee James Harkness from New York City, master juggler Viktor Kee from the Ukraine, thrilling contortionist Ulzii Mergen from Mongolia, and the highly acclaimed Hand to Trapeze Trio Trio Vertex from England. On the bandstand is music director Chuck Webb (bass), Jon Negus (woodwinds), Jose Martinez (drums), and new to the ensemble this fall are Theodis Rodgers (piano) and Phil Seed (guitar).

TICKET INFORMATION

Tickets range from $125 - $210 with special VIP tickets available. “Show Only” tickets are $75. Special preview pricing of $99 available for performances September 7-11. Individual tickets are available by visiting CabaretZaZou.com or by calling 312.488.0900. Tickets are available for groups of 10 or more by calling Broadway in Chicago at 312.977.1710 or emailing GroupSales@BroadwayInChicago.com.

ABOUT RANDOLPH ENTERTAINMENT, LLC

Randolph Entertainment is a partnership of 25 mostly Chicago-based individuals who share in the vision of bringing an extraordinary entertainment experience to Chicago. The partnership is committed to being a good neighbor and contributor to Chicago’s vibrant cultural community. Stanley Feig, a veteran of the entertainment industry with a career spanning several decades, manages the partnership. Randolph Entertainment introduced Chicago to Teatro ZinZanni and is proud to continue with their new spectacle CABARET ZAZOU’s Luminaire.

For more information, visit www.cabaretzazou.com

Facebook @CabaretZaZou ● Instagram @CabaretZaZou

REVIEW: Sister Act at Metropolis Performing Arts Centre On Stage Through August 27th, 2022

ChiIL Live Shows On Our Radar 

Sister Act 

at Metropolis Performing Arts Centre 

in Arlington Heights

Review:

By Guest Critic Catherine Hellmann

“This is a beautiful theater! Everything here looks new,” marveled my sister and burgeoning theater critic. We made the trek to Arlington Heights for a performance of Sister Act. Having been raised in a big Catholic family and attending parochial schools, we knew the topic would be something we could relate to. (Well, ok, beides being a nightclub singer hiding in a convent from her murderous boyfriend…) Natalie “Nat” Renee Savoy has a blast as Deloris Van Cartier, the singer-in-disguise-as-a-nun. She seems more comfortable in the role of Sister Mary Clarence (“patron saint of prisoners!”) than as Deloris, even if she does want to accessorize her black and white habit.  :-) 

Monsignor O’Hara (Christopher Johnson, having fun in the role) convinces Mother Superior (a great Lauren Miller) that Deloris will be joining the order. Mother isn’t thrilled and questions the decision. Father reminds her that she took a Vow of Charity. 

“I take it back!” she yells. 

The women’s choir at the convent is terrible; it’s laughable and impressive how bad their singing is. To describe the atrocious choir, Mother Superior says, “There are no words.” Sister Mary Clarence is given the challenge by Mother Superior of improving the choir; Deloris is to use her talents as a performer to elevate their singing. Under her guidance, the sisters bond, the Church’s finances turn around, the two “bachelors who liked the ‘gothic look’ of the church” and want to buy it end up declining, and an offer is extended to sing for the Pope. Sister Mary Clarence is making her mark. 

The breakout role was Sister Mary Robert played by understudy Athena Kopulos. She was so sweet and charming as the very shy novice who finds her voice and her courage. I love when understudies get a shot and shine. 

We assumed we’d recognize the songs from the Whoopie Goldberg movie. But all the songs were unfamiliar, penned by Alan Menken (“Little Mermaid,” “Little Shop of Horrors,” and “Newsies”) and Glenn Slater. Of course, the songs help with the characterizations and move the plot along. 

The choreography by Jen Cupani was clever and fun. The costumes were perfect by Sara Morrison; I especially liked the sparkled nun costumes at the end of the show. 

Sadly, I also want to address performance etiquette. An audience member next to me asked at intermission if children are allowed into the theaters in Chicago. I said most venues prohibit children under five. It’s very rare to hear a baby in the theater. But there was a toddler who kept making noise during the performance; I kept waiting for parents to remove her, but they never did. Plus, cell phones went off at least three times during the show. Ugh. It is so frustrating and distracting. I admire when the actors are able to continue on without being thrown off. 

The cast looked like they were having such a great time, which adds to the atmosphere. 

After the show, we had a delectable dinner at Carlos & Carlos Restaurant. Lobster ravioli, fresh bread with butter and olive oil, shrimp scampi, generous pours of wine. We enjoyed our lovely day in the ‘burbs. 

Catherine Hellmann loves her family, theater, and a good Chardonnay. 

HIT BROADWAY MUSICAL 

SISTER ACT 

MAKES A JOYFUL NOISE

AT METROPOLIS THIS SUMMER

 

Musical comedy smash Sister Act brings the hit film of the same name to life onstage at Metropolis Performing Arts Centre through August 27, 2022.

 

Based on the hit film, Sister Act is the musical smash that has audiences jumping to their feet. Featuring music by Tony and Oscar winner Alan Menken, this uplifting comedy was nominated for five Tony Awards. When wannabe diva Deloris Van Cartier witnesses a crime, she’s put in protective custody where she won’t be found: a convent! Disguised as a nun, Deloris finds herself at odds with her rigid new lifestyle. On a mission to bring new life into the church, Deloris introduces disco moves and powerhouse singing to the choir. The group’s unexpected popularity attracts newfound attention – blowing her cover. Sister Act brings a unique mix of Motown, soul, funk, and disco to the stage. A sparkling tribute to the power of friendship with glorious music and dazzling dance numbers, Sister Act is a reason to rejoice.

 

COVID Protocols: Metropolis COVID protocols continue to evolve as federal and state mandates relax and conditions improve. For current information on COVID protocols visit Metropolis’ website. Metropolis thanks you in advance for helping to provide the safest environment possible for the return to live indoor entertainment.

 

Regular Run Performances of Sister Act are July 21 – August 27, 2022. Tickets are $40 and can be purchased online at MetropolisArts.com, via phone at 847.577.2121, or via email at customerservice@metropolisarts.com. The Metropolis Box Office is currently open Monday-Saturday 12:00-4:00pm. On performances Monday through Saturday, the Box Office will remain open from noon through at least the start of the performance. On Sunday performances, the Box Office will open one hour prior to show time.

 

Metropolis’ cast for Sister Act includes Henry Allan (Pablo; Ensemble), Justine Cameron (Sister Mary Robert), Jonathan Cortez (Curtis; Ensemble), Valerie Gorman (Sister Mary Theresa), Natalie Henry (Sister Mary Patrick; Ensemble), Mary Heyl (Sister Mary Martin-Of-Tours; Ensemble), Bob Hussey (Joey), Christopher Johnson (Monsignor O’Hara; Ensemble), Ania Martin (Tina; Nun; Ensemble), Natalie Mattson (Nun; Ensemble), Kedar Miller (Eddie), Lauren Miller (Mother Superior), Amber Parker (Michelle; Nun; Ensemble), Tuesdai B. Perry (Nun; Ensemble), Barb Rieger (Nun; Ensemble), Natalie “Nat” Renee Savoy [they/them] (Deloris Van Cartier), Michelle Tibble (Sister Mary Lazarus; Ensemble), and Brenden Zwiebel (Ernie; Ensemble). Understudies include internal members of the cast, Athena Kopulos and Daniel Rausch.

 

Sister Act has Music by Alan Menken; Lyrics by Glenn Slater; Book by Cheri Steinkellner & Bill Steinkellner; with Additional Book Material by Douglas Carter Beane. Directed by Sade’ May, Assistant Directed by Mikee Parangalan, Music Directed by DeMario Tribett, Choreographed by Jen Cupani. Designers are Jenna Houck (Scenic Designer), Patrick McGuire (Properties Designer), Christopher Moore II (Lighting Designer), David Moreland (Technical Director), and Sara Morrison (Costume Designer). Metropolis Production Manager is Chris Causer.

  

Supporting Show Sponsor for Sister Act is HKM Architects + Planners; Costume Sponsor is Marty Pfister & Maria Bradley; Season Costume Storage Sponsor is Jennifer Burnidge, State Farm, CLU, CHFC; Season Paint Sponsor is Marc Poulos Painting. Metropolis Performing Arts Centre is partially supported by grants from the Illinois Arts Council Agency and Ecolab Foundation.

 

Sister Act is the final show of The Metropolis 2021-2022 subscription series. The 2022-2023 subscription series includes Cabaret (September 15 - October 22, 2022), The Legend of Georgia McBride (January 26 – March 4, 2023), Ragtime (May 4 – June 10, 2023), and Xanadu (July 13 – August 19, 2023).

 

Metropolis is located in the heart of Chicago’s northwest suburbs in downtown Arlington Heights at the intersection of Campbell and Vail Avenue (111 West Campbell Street). Street parking is available. Due to Arlington Alfresco, there is modified street access and parking on West Campbell Street. Please allow extra time for arrival before your show. Free parking is available in the public garage behind the theatre. For more information about Metropolis and a complete performance schedule, visit MetropolisArts.com or call the Box Office at 847.577.2121.

 

Metropolis Performing Arts Centre provides professional entertainment and arts education, enriching our community.

Elizabeth Mazur Levin New Artistic Director For Oil Lamp Theater

Oil Lamp Theater is excited to announce the appointment of Elizabeth Mazur Levin as its Artistic Director. A veteran of the “North Shore’s Hidden Gem” since 2012, Mazur Levin brings a fresh yet experienced perspective to Oil Lamp’s evolving artistic mission. A staple of the Glenview community since 2012, the 60-seat Oil Lamp Theater produces six shows a season, with a strong emphasis on exploring the themes of love and relationships. 

“I am tremendously excited to be stepping into the role of Artistic Director,” said Mazur Levin. “I have worked at many theaters, and what struck me about working at Oil Lamp right from the beginning was its commitment to creating a warm and inviting theatrical experience, not only for the patrons, but the artists as well.”

Mazur Levin is no stranger to Oil Lamp. She acted in the very first production of the theater when it settled down in Glenview. Her directing credits include Now & Then, Bad Dates, Beau Jest, Love, Loss, and What I Wore, It’s a Wonderful Life: A Live Radio Play (2017 & 2020), Motherhood Out Loud, and two seasons of On the Road—Oil Lamp’s touring series. Now she will lead the artistic team in selecting works for its six-show season, as well as strengthening and evolving the artistic identity of Oil Lamp Theater.

"It's funny, while we haven't known each other for more than a few years, it has felt like we've known each other most of our lives,” said Jay Pastucha, Oil Lamp Theater’s Executive Director. “I believe that feeling stems from the trust I have in her, the confidence I have in her artistic vision, and the passion she has for Oil Lamp Theater.”

A Chicago actor herself, Mazur Levin has performed all over the Midwest as well as the East Coast.  She holds degrees in theater from Miami University (B.F.A. and B.A.) and Loyola University Chicago (M.Ed.). 

When discussing her vision for the future, Mazur Levin was quick to reference Oil Lamp Theater’s unique aesthetic and intimate atmosphere.

“I love walking into our space and providing an excellent artistic experience for both the theater goer and the artist,” she said. “As Artistic Director, I plan to take my years of experience here to meld the past with the future. I am committed to providing a season that not only entertains, but tells stories with, about, and from a variety of viewpoints. We want our audiences to think, engage, and feel in a shared theatrical experience.”

Oil Lamp Theater was originally founded in February 2005, and in March 2012, became a non-profit and established residence at a unique and intimate venue in downtown Glenview. The venue seats 60 and provides a warm and welcoming atmosphere for over 10,000 patrons per year to enjoy professional theater and entertainment. Between its famed complimentary cookies, delicious drinks at our bar, inviting and comfortable lobby, and top-tier productions, an evening at Oil Lamp Theater proves this venue is where theater feels like home.

World Premiere Comedy Chagall In School Via Grippo Stage Company at Theater Wit August 26 - October 8th, 2022

ChiIL Live Shows On Our Radar

GRIPPO STAGE COMPANY PRESENTS A WORLD PREMIERE COMEDY BY PLAYWRIGHT JAMES SHERMAN, 

CHAGALL IN SCHOOL,

AUGUST 26 - OCTOBER 8, AT THEATER WIT

 Left to Right -  John Drea (Marc Chagall) and Warren Duncan (Kazimir Malevich) 

Photo by James Sherman

Directed by Georgette Verdin, this New Comedy is Inspired by the Real Story of Famed Artist Marc Chagall

Previews Begin Friday, Aug. 26

  Pronoun Key: + (he/him/his); * (she/her/hers); ^ (they, them, theirs); = (any with respect)

Grippo Stage Company is proud to present Chagall In School, a world premiere comedy by James Sherman (Beau Jest, The God of Isaac, The Ben Hecht Show) and directed by Georgette Verdin.  The play is inspired by the real story of the famed artist, Marc Chagall. Performances will take place August 26 - October 8, at Theater Wit, 1229 W. Belmont Ave. Preview performances will be Friday, Aug. 26 at 8 p.m. Saturday, Aug. 27 at 8 p.m. Sunday, Aug. 29 at 2 p.m.,Thursday, Sept. 1, Friday, Sept. 2 and Saturday, Sept. 3 at 8 p.m. and Sunday, Sept. 4 at 2 p.m. I'll be catching opening night, Sept. 6th, so check back soon after for my full review. The performance  schedule is Thursdays -  Saturdays at 8 p.m. and Sundays at 2 p.m. Tickets are now on sale  from $38 - $42 and information is available at 773.975.8150 or at www.theatrewit.org.

It’s 1920, a few years after the Bolshevik Revolution in Russia and Marc Chagall is asked to head a school for artists in his Russian hometown of Vitebsk. By gathering together other noted artists of the time including Yuri Pen, Vera Ermolaeva and El Lissitsky and with the support of his loving wife, Berta, Chagall endeavors to realize his dream of a free school for anyone who wishes to explore their artistic aspirations. His goals are quickly complicated by the clash of personalities and differences between these artists, as well as Chagall’s own inherent inability to take on the role of a stern administrator. When the most impressive artist of the time, Kazimir Malevich, arrives to join the faculty, the artistic soul of the school and Chagall’s own future as an artist are contested.

The full cast includes John Drea+, (Marc Chagall); Yourtana Sulaiman*, (Berta Chagall); Fred Wellisch+,(Yuri Pen); Peter Ferneding+, (Alexander Romm); Daniella Rukin*, (Vera Ermolaeva); Myles Schwarz+, (El Lissitzky); David Lipschutz+, (David Yackerson); Warren Duncan+, (Kazimir Malevich); Hannah Green* (U/S Berta & Vera); Levi Smith+, (U/S Alex & Kazimir & David)

 

ABOUT GEORGETTE VERDIN (Director)

Georgette Verdin is a Cuban-American director, arts educator and the 2022 Michael Maggio Directing Fellow at Goodman Theatre. Since 2015, she's served as the managing artistic director of Interrobang Theatre Project, an award-winning storefront theater known for its gutsy productions tackling socially-relevant issues. Select directing credits include: the world premiere of SPAY by Madison Fiedler (Rivendell Theatre Ensemble), This Wide Night by Chloë Moss (Shattered Globe Theatre/Interrobang Theatre Project), Tribes by Nina Raine (Western Michigan University), the U.S. premiere of Out of Love by Elinor CookGrace and Recent Tragic Events by Craig Wright, as well as the 2016 Yale Drama Series winner, Utility by Emily Schwend (Interrobang Theatre Project).

Verdin has also worked with Lookingglass Theatre, Facility Theatre and Chicago Dramatists, among others. She 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. She is a 2021 recipient of a 3Arts Make-A-Wave grant and an associate member of Stage Directors and Choreographers Society. For more, visit georgetteverdin.com.

ABOUT JAMES SHERMAN (Playwright)

James Sherman is a Chicago playwright, whose works include Magic Time, The God of Issac, Mr. 80%, The Escape Artist, Beau Jest, This Old Man Came Rolling Home, Jest a Second!, Romance in D, From Door to Door, The Old Man’s Friend, Affluenza!, Half and Half, Relatively Close, Jacob and Jack and The Ben Hecht Show. Sherman began his professional career as a writer and performer with The Second City in the early 1970s. He received an M.F.A. degree from Brandeis University and a Masters Degree in Library and Information Science from Dominican University.  In 1985, he began his long association with the Tony Award-winning Victory Gardens Theater in Chicago and was a founding member of the Victory Gardens Playwrights Ensemble. Sherman currently teaches playwriting and improvisation at Columbia College Chicago and DePaul University.  He has been a teacher of playwriting and acting on the faculties of The Second City Training Center, Chicago Dramatists Workshop, Victory Gardens Theater and as a visiting professor (2001) in Seoul, South Korea at the Korean National University of the Arts. His published works have been seen in the United States, Canada, Mexico, South America, England, Germany, Austria, Turkey, South Africa, Australia, China and Korea.   

 

ABOUT GRIPPO STAGE COMPANY

Grippo Stage Company, a 501 (c) (3) public charity, produces new plays and revivals of classic works of theater in the Chicago metropolitan area. Previous productions include The Ben Hecht Show (world premiere) written and performed by James Sherman; Confessions of a P.I.M. P. (co-production with Dennis Zacek), written and performed by Tony Award-winning actor Andre De Shields and The God of Issac (Chicago revival) by James Sherman. Grippo Stage currently partners with pianist/actor/author Hershey Felder to present streaming shows from Florence, Italy.  Upcoming for May of 2023 is Shaw vs. Tunney (world premiere) by Douglas Post, based on The Prizefighter and the Playwright by Jay R. Tunney, which depicts the deep relationship between Irish playwright George Bernard Shaw and Gene Tunney, the American World Heavyweight boxing champion.

Grippo Stage Company is proud to present Chagall In School, a world premiere comedy by James Sherman (Beau Jest, The God of Isaac, The Ben Hecht Show) and directed by Georgette Verdin.  The play is inspired by the real story of the famed artist, Marc Chagall. Performances will take place August 26 - October 8, at Theater Wit, 1229 W. Belmont Ave. Preview performances will be Friday, Aug. 26 at 8 p.m. Saturday, Aug. 27 at 8 p.m. Sunday, Aug. 29 at 2 p.m.,Thursday, Sept. 1, Friday, Sept. 2 and Saturday, Sept. 3 at 8 p.m. and Sunday, Sept. 4 at 2 p.m. Opening night is Tuesday, Sept. 6 at 8 p.m. The performance  schedule is Thursdays -  Saturdays at 8 p.m. and Sundays at 2 p.m. Tickets are now on sale  from $38 - $42 and information is available at 773.975.8150 or at www.theatrewit.org.