The Front Page - Highly Recommended

I am now officially a fan of the TimeLine Theatre. Their staging of Ben Hecht's and Charles MacArthur's "The Front Page" was gritty, intelligent, funny, challenging, and clever. The acting was top-shelf, the set (in the round) was stunning and engaging, and - in short - this production represents the best of what theater has to offer - not just local theater, but Theater.

As if that weren't enough, the wealth of educational materials - both in the lobby and online - draws one even further into the story and its historical roots. Again, kudos to TimeLine!

"A Front Page" is a challenging play to mount: I know a little bit about this, as I had the good fortune to be a "fly on the wall" on an excellent college production a half-dozen years ago. The pacing is frenetic; dialogue is constantly overlapping; and the topics - the ethics of news and politics, capital punishment, racism, misogyny - are serious. Many subsequent reworkings of the play (such as the Howard Hawks film "His Girl Friday") discard the darker side to emphasize the comedic strengths of the work, but this production is ample proof that such guttings do a great disservice to the playwrights.

For those unaware of the basics, it is the eve of Earl Williams' execution for murdering a "colored" policeman, and all the action takes place in the press room, where reporters from eight different Chicago newspapers first fend off boredom and then attempt to cope with the chaos that ensues when plans for the execution go awry. The other line of tension comes from the imminent departure of star reporter Hildy Johnson, who is about to be married and is leaving to take an advertising job in New York.

All the corruption for which Chicago is rightly or wrongly famous is exposed in this bit of historical fiction, which is broadly based on real newspapers, characters and events, but is clearly more fiction than fact.

The choice of presenting this in the round is inspired; having seen it in this form, I can't imagine a traditional approach working anywhere near as well. The acting is flawless, and the technical challenges of entries, exits, phones ringing and gallows falling are overcome in what seems to be an effortless manner. The pathos of Molly, Earl and even to some extent Mrs. Schlosser are well-defined.

I would say more about the play, but I fear it would amount to simple gushing. This is a production that has it all: run quickly to the TimeLine and see this before its last show on June 17!

Middletown - Somewhat Recommended

Full disclosure: following seeing Middletown, a recent play by Will Eno staged at the Steppenwolf, I sat in on a brief discussion session led by the Assistant Dramaturg. In trying to isolate the impact of that provocative discussion, I believe my opinion of the play was briefly raised and then, post-discussion, lowered.

Middletown is two-act play with a unique middle that is, in many ways and in all its parts, too clever for its own britches. A cerebral pastiche of wry, intellectual humor adorns the first act, treating the audience to many good laughs and plenty of assaults on the fourth wall. Even the typical "here are the exits" monologue is clever, funny, and oddly out of place.

Throughout the first act, a darkness is hinted at - in particular, the darkness of isolation and loneliness - amidst the rollicking humor. At its most extreme, a violent encounter between the Cop and the Mechanic seems poised to open up a truly dark, festering world beneath, but that promise (like many others) is never fully realized. Rather, it is more like (as one of my intrepid colleagues suggested) a Seinfeld episode where nothing ever happens, but without the attachment to the characters that that show engendered.

The second act steps off the light-hearted cliff and takes us down into a world that is still unpredictable, where the characters largely don't matter, but where the humor is less frequent and the isolation more profound. Even there, though, there is not enough darkness to engage us: just enough to leave us tasting loneliness, seeing it all around us, without enough hope to lift us up or enough terror to get us to rebel.

It is, ultimately, a profoundly lonely play without any discernible hope or purpose.

Technically, the set is sparse and clever, matching the text of the play. The direction is a conundrum to me: the first act seemed much "flatter" to me than the second, but I remain uncertain as to whether that was the staging, the acting, the material or just an off night. I doubt the last two, as the audience seemed to react well to the humor, but again - it's a mystery.

So why do I recommend this play at all?

The writing in the first act is genuinely superior, and executed (by and large) quite well. The pseudo-opening and pseudo-intermission are quite clever, and therefore at least half the play is intriguing, entertaining, and plays with conventions in a manner that is often surprising. And, as a result of the dramaturg's knowledge and enthusiasm, I see that there are more tropes and depth to the play that are worthy of discovery and discussion.

Armed with a half-priced ticket, I'd say it's well worth the investment of time and money. But be prepared for the drain on your emotions.

The Last Act of Lilka Kadison - Recommended

Sometimes familiar stories work because we know them and their telling so well, and we draw comfort from the predictable terrain. Sometimes familiar stories work because the teller adds a twist, and it is that difference that catches us up. And sometimes familiar stories work because they are told in a different way, and that telling brings a new delight to the story.

"The Last Act of Lilka Kadison," on extended run at the Lookingglass Theatre, benefits mostly from the latter of these. The story - of a Holocaust survivor's coming to terms with the past she has buried - is a familiar tale of angst and redemption. Which is not to demean the tale: it is inventively told, and despite (or because?!) of the familiar terrain, it easily brought tears to my eyes more than once during the nicely-paced 90 minutes. But that's not the reason to see this play.

What makes this production well-worth attending is the imaginative production: the use "toy theater" in both the micro and the macro to invite the audience to allow themselves to be drawn into the machinations of plot and set, and perhaps to imagine that they are part of an even larger "toy theater" - as actors and directors. Perhaps we can change our worlds by moving a few memories and assumptions around: allowing the hidden to be revealed, or the obvious obstacles to be finally discarded.

The set is frankly remarkable. At every turn, a new entrance or exit appears, and the intricate crafting of dialogue and action to bring it all together is inspiring. In Chance Bone's capable hands as Ben Ari Adler, the storytelling ghost, we forgive the mechanics and laugh - and cry - when cued.

There are a few missteps here, but many fewer than one would expect from a script crafted by five individuals. The use of modern vernacular in the "old days" of Poland was jarring and really unnecessary (e.g., what was gained by referring to the traveling troupe's next "gig"?). And the development of the young Lilka Kadison, played by Nora Fiffer - really didn't hold up: to go from frightened, observant maiden to feminist to her final youthful development may have been factual, but it wasn't "true" in the way the story was presented.

Nevertheless, these are not serious flaws: the story is solidly told, with well-timed and well-proportioned dashes of pathos and humor. It does not soar to new heights, but then again, that is not what we look for - usually - in the telling of a familiar story. So go ahead: revel in the magic that Lookingglass Theatre seems to be so adept at providing, and hear a familiar tale one more time. And maybe you'll find it's time to move around some of that lingering "baggage" that has crept into your life over so many years...

Working at the Broadway Playhouse: Highly Recommended

While I had a good idea about the broad lines of this play before attending, I was unprepared for its emotional depth. To call it a celebration of the "working man" (sic) is correct - but wholly inadequate. Through the words collected by Studs Terkel, then adapted and updated by Stephen Schwartz and Nina Faso, we are taken into the lives, aspirations and disappointments - but never defeats - of the working class.

Mr. Terkel's positive bias for the blue collar - and against executives - is transparent and unapologetically presented. Even the staging takes up the theme, making the stage crew and musicians active parts of the production. The set itself is ingeniously tied to the lighting, rendering the industrialized rendition of Hollywood Squares into a fluid, vibrant landscape. The actors and stories rip apart the cubical walls and allow us, in their finer moments, to be touched by the real people struggling within.

And, speaking of the actors, the six individuals who portray the 26 stories are a superbly talented ensemble, particularly Ms. Emjoy Gavino, whose voice, acting and dance all come together powerfully in "Millwork" (music by James Taylor).

Many of the stories were noteworthy, and in fact the only ones that struck slightly sour notes were those where Mr. Terkel painted the executives with too broad of a caricaturist's brush. The addition of the story of a project manager and a callroom staff in India helped modernize the flavor, but that was a welcome addition rather than a necessary update. Finally, many of the stories transitioned nicely, particularly the housewife (sic) / prostitute (kudos to E. Faye Butler) and the retiree / caregivers.

However, the real treat was the fact that the language of the stories was both authentic and often deeply personal. More than once I found myself touched more deeply than I ever expected, and it was this fact that took the production from simply being a well-crafted, well-performed musical to an experience worthy of high recommendations.

Woyzeck at the Chopin Theatre: Recommended

This, I hope, is the most challenging review I will ever have to write.

Woyzeck is a play by Georg Büchner that is comprised of a set of unfinished scenes composed sometime between 1836 and 1837. I attended the energetic, avant garde and decidedly attention-grabbing production mounted by The Hypocrites company at the Chopin Theatre cold - I knew nothing about the play, the story line, or the author. This turned out to be a significant error, and yet I can recommend the production anyway.

The story line can be found briefly on Wikipedia or here (not that I endorse either of those sites). As it is presented on each site, it seems to be a compelling, linear story. As presented by The Hypocrites, it is anything but linear (unless one knows the story), and is a swirling mass of symbols, energy, blood and creativity.

The staging itself is compelling: a melange of props, each with their own deeply-rooted symbology, an elevated stage with a river running through it, and one of the more intriguing openings I have seen. Much of the sound effects are provided by the actors, often in a Greek chorus-meets-acapela percussion that is both unsettling and convincing. The lighting is dramatic, and the direction seemed quite crisp.

The actors threw themselves expertly into their roles, but (owing to my lack of knowledge) I was not always initially clear on what they were attempting to convey beyond the immediate scene. Yet slowly certain themes emerged, through clever repetition: the thumping of the heart accompanied by pulse-taking; the religious undertones, the drama of red blood on white fabric. I soon gained the compelling understanding that something deeper, richer was being communicated - I just couldn't tell you what it was.

Having skimmed the play, I can attest to its openness to such an avant-garde production as was mounted, although I suspect it could be mounted more traditionally as well. My recommendation: digest at least the story line (the play is available in English here) before seeing this excellent production. Were there more hours in the day (or days in the week), I would definitely return for a second viewing after such a reading.

On a side note, this was my first visit to the Chopin Theatre, and I am completely entranced with it overall. This is one venue I expect to be returning to many times.

Stage Kiss at the Goodman - Recommended

This is a very pleasant comedy from the pen of Sarah Ruhl, staged at the Goodman. It is full of plenty of insider theater references, has its fair share of belly laughs and truly innovative non-sequitirs ("Its like giving bacon to a starving vegetarian"), and - as expected - it shows off the considerable set design talents of the Goodman staff. Kudos to Todd Rosenthal for set design!

The plot mines all-too-familiar territory (a bad play mounted by a largely incompetent staff in a small regional theater), with some delightfully terrible plot lines for the plays-within-the-play. I only shudder to think that these "romance novels set to stage" may one day actually appear in print...

The twist that Ms. Ruhl provides is yet another well-mined issue: where is the line between what happens on stage and reality? Can an onstage romance re-kindle one abandoned many years ago? It must be said that, while the territory and twist are familiar, the play and its production are entertaining and on many occasions quite hilarious.

Most satisfying amongst the actors are, ironically, Sarah Tolan-Mee in the character of the teenage daughter, Angela, and Scott Jaeck in the role of husband - the two characters most firmly rooted in reality. In particular, Ms. Tolan-Mee's performance significantly outshines the rest of the troupe, who all put on solid if not stellar performances.

Some of the comic turns are wonderful, in particular the "false exit" routine. Others, like the repeated injuries, would do better without repetition.

The music nicely reflects the slapstick of many moments in the play, and Jenny Bacon in the lead role as "She" demonstrates a particular talent for physical comedy.

So, what keeps this from being "highly recommended?" One reason is that the writing could be tighter: at 2:15, it could easily shed 15 minutes, perhaps 30. The play never really drags, but it misses the opportunity to take off, and my sense is that some editing would help in that matter.

The second is more structural. For me, the highlight of the play was the encounter between the husband, daughter, He, She and Laurie, "His" girlfriend. Suddenly, the possibility of an encounter with real people emerges, and it is electrifying. There is a slight return to this reality at the closing of the play, but for a moment there was a glimpse beyond the farce, which Ms. Ruhl abandons. A missed opportunity, to say the least.

All in all, it is an entertaining and pleasant experience. Add the positive elements together - clever humor, fantastic set, a talented and energetic performance - and it's a night well spent at the theater.

Romeo & Juliet - Babes with Blades at the Raven: Highly Recommended

This one has it all: great acting, great "violence," great writing (of course, it's the Bard), a great ensemble, and great directing. Even the minimalist set (dictated by space and budget) was innovative and evocative. Get ready, there's nary a nit to be found in this review!

This production by the Babes with Blades company at the Raven Theatre is truly a gem. The story itself was effectively edited by the director, Brian LaDuca, who manages through excision and conflation to keep the heart of the story intact and the running time to two hours. He highlights enough of the bawdiness of the Bard to keep the pace entertaining, and is true to the language. Well done!

With the cast being completely women, I wondered what gender-inspired changes there would be, and the good news is - none. Not that I would have objected, mind you, but the audience's inability to distinguish man from woman based on their physical appearance means we must focus on the characters themselves. And this company is clearly capable of strong acting - not just amazingly compelling "violence."

Special kudos are due to Amy Harmon as Mercutio, and Eleanor Katz as Nurse, and Ashley Fox as Juliet - though there wasn't an actor "beneath the salt." Ms. Harmon in particular had her dialogue, timing and acting down cold, and managed some of the more challenging fight scenes with such skill that they seemed effortless.

The set - a two-story affair, with a trestle between up- and down-stage - was used very effectively to allow scene transitions to begin in the back while the former finished in front. The effect of this was to keep the pace ratcheted up an extra notch, and the cast certainly was adept at maintaining that energy.

All in all, the classic story was told in a slightly unconventional way that did not intrude, but in fact enhanced the original tale. The language was easily understood, elocuted clearly and punctuated nicely by smart direction. And the fight scenes were glorious, as one can expect from Babes with Blades.

Hie thee to the Raven, and see this gem before it departs on 30 April.