Displaying items by tag: Jordan Arredondo

If ever given the chance to see Amy Morton on her home stage at Steppenwolf–take it. She stars in the Chicago premiere of Noah Diaz’s ‘You Will Get Sick’ alongside fellow ensemble members Cliff Chamberlain, Namir Smallwood, Jordan Arredondo and Sadieh Rifai. Steppenwolf Theatre Artistic Director Audrey Francis directs this inventive new production with theatricality and compassion.

‘You Will Get Sick’ comes from writer and screenwriter Noah Diaz. It was previously seen at The Roundabout Theatre in which the late Linda Lavin starred to rave reviews. It’s the oddball story of a man with a secret (Namir Smallwood) who pays a woman (Amy Morton) to have uncomfortable conversations with the people in his life. At first the woman seems only motivated by money, but in time she becomes his unlikely confidant. The woman is preoccupied with her own dreams of starring in a local production of ‘The Wizard of Oz’. As his condition worsens, they live under the constant threat of attack from giant birds overhead.

The list of things that make this play unique is much longer than the list of things that make it familiar. On one hand, it’s not hard to draw a connection between the man’s wasting illness and his new friend’s obsession with being Dorothy Gale in ‘The Wizard of Oz’. This a story about a queer man and the illness that he will eventually succumb to. All the while, an off-stage narrator gives the internal stage directions for how the man feels. Each actor embodies several other unnamed characters that revolve around him in some way.

Sadieh Rifai portrays a handful of zany characters from nurses to new age theatre teachers, but as his sister receives bad news from Amy Morton’s character, her fury is electrifying. Rifai makes the most of Diaz’s gallows humor. Amy Morton’s performance is the centerpiece of the play though. As with her co-stars she wears a few unnamed character’s hats throughout the show, but as what’s described as “an older woman” who’s both a profit-driven jerk and a reliable caregiver–she’s complex and utterly realistic.

Diaz makes a point with ‘You Will Get Sick’ that illness in our society is seen as a moral failing. The man is ashamed for people to know he’s ill, but he’s even more embarrassed of his failing limbs. Namir Smallwood is heartbreaking as a man so lonely he has to pay people to be kind. Conversely, Cliff Chamberlain hilariously plays a swirl of toxically positive characters that seem to only exist to annoy those dealing with traumatic reality.

There’s something hard to define about ‘You Will Get Sick’, but instead of wondering what it’s about, perhaps Diaz wants you to feel what it’s about. Between the dreamy dialogue and Audrey Francis’ sumptuous vision for this production, there’s an emotional energy on stage that is quite literally magic in some parts. Even though there is tragedy in life, what this play explores is what can grow out of that and what parts of people do we carry with us after they’re gone?

Through July 20 at Steppenwolf Theatre Company. 1650 N Halsted St. 312-335-1650

*This review is also featured on https://www.theatreinchicago.com/! 

On any given day, when I walk out my front door, I’d see a quiet suburban street. Most families stay within their, rarely venturing out unless the temperature is a cool-but-warm 70 degrees, content with their healthy skepticism of their neighbors, keeping to surface level ‘how-do-you dos’ or ‘how-is-the-family?’ There’s not a sense of engagement let alone community.  The concept of community is an abstract one but something that people crave, something they need in their lives. But what makes a community?The places?The familiarity or the routine? The melding of business and residential living? Or is it the people? These are the questions that come up when viewing the exceptional Broadway National Tour of Lin Manuel-Miranda’s In The Heights, now playing at Marriot Theatre.

In The Heights takes place on a hot and sweaty day in the summer of 2008 in Washington Heights, New York City. On a corner bodega, Usnavi de la Vega, welcomes us to his neighborhood and introduces us to his community. We meet Abuela Claudia, the neighborhood’s resident matriarch and grandmother who raised Usnavi, and Sonny, Usnavi’s cousin, Daniela and Carla, local salon owners, Kevin and Camila Rosario, who manage a cab service, and Vanessa, Usnavi’s crush who wants out of the barrio, the Rosario’s daughter Nina who is returning home from Stanford with a secret, and runs into Benny, his father’s employee at the cab service. As the community moves about their day, we see the struggles and challenges each person faces in and out of the barrio; feeling unwelcome, discriminated against, cut down, undervalued. Amidst their own personal crises, the neighborhood itself is under attack from gentrification, businesses being bought out for cheap by big realestate investors, eager to remove teh culture and heart of the neighborhood. As the heat rises, passions and tempers flare, and the barrio goes dark, a once in a lifetime occurence changes the trajectory of the neightbod, uniting them in ways that allow them to move forward together towards a bright future. 

The Marriot Theatre continues to produce incredible shows each season and finds exceptional local talent that rivals any NYC Broadway cast. There was not a single member of the ensemble cast of In The Heights that was not talented beyond measure, their energy and vibrancy pulling you in and bringing you along for the entirety of the 2 hr and 20 min run time. Start with the captivating Joseph Morales as our narrator, Usnavi with Paola V. Hernández spicy and vulnerable Vanessa, add in the singing talents of Yasir Muhammad and Addie Morales as the young lovers, Benny and Nina, mix in the humor of  Jordan Arredondo as Benny with the heart of Crissy Guerrero’s  Abuela Claudia, and finally throw in smooth-as-honey vocals from Lillian Castillo, Andres J DeLeon and the sexy and rhythmic dance moves of Wesley J Barnes and Kiana Rodriguez and you have an ensemble case ready to step onto Broadway and sweep the Tony’s. The cast was energtic, fun, passionate, and heartfelt, and truly made the audience long to be part of such a community.  In The Heights features a live orchestra secretly nestled within the 360 degree theatre. The immersive stage allows the audience to feel like they are a member of the cast, every angle and corner utilized to portray the NYC neighborhood. The lighting, the music, the staging, everything was en pointe for this production of In The Heights. Chicago theatre lovers will be remiss to not see such a whirlwind portrayal of what is sure to be a play with lasting staying power. 

The portrayal of community within the play is one of shared struggles and successes. When Nina returns home from Stanford, feeling like she has lost her way, her community reminds her of her talent and prowess. Nina herself is reminded of not only where she comes from, but where her parents came from to build a foundation to give her a better life. She’s able to refocus and ground herself, and find her way again. After Usnavi’s bodega is looted, Sonny enlists the help of Graffiti Pete, played by Phillip Wood, to symbolize home and community on the bodega’s gate, signifying to Usnavi where his heart has been all along, right there in the barrio with his chosen family. Director James Vásquez says it best, “with the help of Lin Manuel Miranda’s brilliant and specific score, which has changed the idea of what musical theatre can be, we zoom in to get a closer look at one particular community. They fight to remember who they are where they come from, but also look to the future and dream of who they can become.” If a neighborhood is a body, the bodega would be the head, but the people would be the heart, and that is the true essence of In The Heights. Community is about what you make it to be, and who makes up that heart.

Though my community isn’t nearly as engaging or centric as the one portrayed in In The Heights, I walked away from Marriot Theatre feeling light, hopeful, and a part of a larger community than just what makes up my cul-du-sac. The Chicago Theatre community is supportive, vibrant, and diverse. They lift each other up and come together to experience real, authentic voices. The community is welcoming and fun and one that draws me back in every time. Not every community is made up of a corner store or city block, or even a quiet tree-lined street in greater Chicagoland. There are thousands of communities to discover in Chicagoland and beyond. Whatever makes up your community, I hope it is filled with love, hope, happiness, and has a soundtrack that Lin Manuel Miranda himself would be envious of. 

In The Heights runs through March 17th at The Marriot Theatre at 10 Marriott Dr, Lincolnshire. Tickets are available at www.marriottheatre.com.

America was a different place in 1965. Jim Crow was alive and well in southern cities, American schools were still on the way to being integrated, African-Americans were getting their heads busted in trying to cross the Edmund Pettis Bridge in Alabama, there were race riots in major northern cities, the Andy Griffith Show and The Beverly Hillbillies were the top shows on television and in New York City Day of Absence was being staged by the newly formed Negro Ensemble Company.

Day of Absence, written by Douglas Turner Ward in 1965, is a reverse minstrel where the white residents of a Southern town wake to find all the black people gone. All the roles are played by Black people in white face. The caricatures are broad and cartoonish. It was written to make white audiences squirm while laughing. The script won the Vernon Rice and Obie Awards.

Fifty-five years later, America has changed. And Congo Square Theatre Company has upped the ante. Instead of Black people disappearing, all people of color (known as “Pox” in this iteration) disappear. The script has been updated to include racial slurs and stereotypes of Hispanics, Asians, East Indians, and everyone not white, with uproarious results.

Anthony L. Irons, a master physical comic himself, has directed this multiracial cast with energy and an eye towards razor sharp comic timing. The cast is phenomenal. Jordan Arredondo, Ronald L. Conner, Meagan Dilworth, Ann Douglas, Bryant Hayes, Sonya Madrigal, and Kelvin Roston, Jr. all play multiple parts, easily shifting from one character to another. The bare bones modular set by Sydney Lynne Thomas was the perfect background for the makeup, costumes and wigs by the talented Rueben D. Echoles.

Of note is Douglas’s Mayor Lee, a cross between Boss Hogg of “Dukes of Hazzard” and Marge Schott (the Owner and CEO of the Cincinnati Reds who infamously called her players "million-dollar n*ggers.”) As the events in the play become dire, she makes a television appeal that will have you crying with laughter. Along with her assistant Jackson (Conner), they steal the scenes they are in with a physicality that is unmatched.

When Douglas Turner Ward wrote Day of Absence his intention was to put a mirror to white people and make them feel uncomfortable. Congo Square’s production doesn’t so much indict white people, but makes fun of ignorant stereotypes, and we all hold ignorant stereotypes, whether we’d like to believe it or not. This is America 2020.

Special Note: It was great to see Derrick Sanders back at the helm of Congo Square Theatre Company. His artistic vision is unparalleled.
Day of Absence by Congo Square Theatre continues through March 22 at the Richard Christiansen Theater at Victory Gardens, 2433 N. Lincoln Ave. Tickets are $35 ($25 for seniors and students) for performances Friday-Sunday.