Displaying items by tag: Victory Gardens

Coincidentally (or not), Victory Gardens’ new play about a controversial campus speaker opens just days after the one-year anniversary of Charlie Kirk’s assassination. Returning from a lengthy hiatus, Victory Gardens once again lights up the Biograph Theater with the world premiere of Zayd Ayers Dohrn’s new play “The Humanities”.

This thrilling play takes place on an American college campus where an opinionated voice is scheduled to speak. At the top level, an intellectual battle brews between professors and the college administration, while the students openly revolt.

Jonas (Ernest Bently) is a new professor on campus, hand selected by the department chair Martin (Steve Pickering) and his professor wife Margot (Naomi Evans). Jonas is young and ambitious, unwilling to get involved in the petty troubles of students and faculty. Martin and Naomi have other ideas. When Martin invites Luka (Daniil Krimer), an ultra-right-wing speaker on campus he kicks off a series of events that could lead the college, and Jonas, to ruin.

Carole (Sabine Wan) straddles the line between education and commerce as the dean while trying to appease the students and queer professor Milta (Isa Arciniegas). On the ground, students Hampton (Derrick Sanders III) and Xander (Piper Murphy) are taking action into their own hands.

Zayd Ayers Dohrn’s script is densely packed, structured in parts much like a college lecture. Each professor has their own somewhat incomprehensible monolog that speaks to how people can say so little with so many words. That’s not to say these passages are empty, and that’s the point. What college student could actually follow these verbal gymnastics though? Perhaps these speeches say more about how some educators are afraid to share their real opinion. Afterall, feelings aren’t facts.

“The Humanities” is a riveting exploration of the cost of free speech. Of course, our first amendment protects it, but it doesn’t account for good taste. Luka is played so smooth and charmingly by Daniil Krimer that you almost forget he’s a neo-Nazi, until he starts his speech. And that’s the unsettling part; under the law he’s just as entitled to hate speech as to tolerance messaging. And that those who criticize him in this play aren’t exactly perfect themselves.

Dohrn paints a rather cynical portrait of higher education, but in other ways he has a lot of faith in youth. Without the radical intentions of Xander and Hampton, there would be no point in rehashing the systematic problems of American academic institutions. In many ways it’s what makes this play so unique.

For those wondering if Victory Gardens has been restored to its former glory under new leadership, “The Humanities” proves they’ve still got it. Edward Torres directs a great cast. While originally billed as starring SNL alum Nora Dunn, British American actress Naomi Evans seems better fit for the role. She has a sleekness about her that makes some of the sexual plotlines a bit more palatable. Steve Pickering embodies that stodgy professor in this era almost as pitifully as Albee’s George was to the 1960s. There’s a certain tragedy in his performance.

While maybe a bit of trimming could help file this play down to a finer point, Victory Gardens choosing Dohrn’s script as their season opener is a brave choice. Almost an admission of self-awareness in an ever-dividing world in which institutions are no longer held on the same pedestals.

Through October 4 at Victory Gardens Theater. 2433 N Lincoln Ave. (773) 871-3000)

How does an advice column translate to stage? Surprisingly well in the case of 'Tiny Beautiful Things’ at Victory Gardens. From an adaptation of Cheryl Strayed’s book penned by “My Big Fat Greek Wedding” star Nia Vardalos comes this uplifting one-act. Directed by Vanessa Stalling, this production marks the Chicago premiere for this 2017 play. 

Strayed is best known for her 2012 memoir “Wild: From Lost to Found on the Pacific Crest Trail’ which was adapted into a film in 2014. In “Tiny Beautiful Things” (Also from 2012), Strayed recounts the time she spent writing the anonymous advice column “Dear Sugar” for “The Rumpus.” 

Chicago stage favorite Janet Ulrich Brooks takes up Strayed’s character in this inventive adaptation. The play is set in a hip looking coffee shop as designed by Courtney O’Neill. In rapid-fire succession anonymous questioners played by August Forman, Jessica Dean Turner and Eric Slater throw their quandaries at Strayed and she responds back as all-knowing Sugar. In a series of bittersweet and heartbreaking monologues, Janet Ulrich Brooks relays Strayed’s troubled past as it relates to her readers’ questions. 

Nia Vardalo’s swiftly-paced script nearly serves as a one-woman show for the transfixing Janet Ulrich Brooks. Through the power of good storytelling, entire scenes are built out of responses to some of life’s most challenging questions. Despite tales of woe from Strayed’s somewhat traumatic life, there’s a great deal of humor in this play. Vardalos shows us both ends of the emotional spectrum in the eighty minute runtime. The message of her stories is always of survival or overcoming bad circumstances in order to grow. Ulrich Brooks has a comforting and relatable way of taking an audience in her arms as she pours herself into the life of the character. 

Like A.R. Gurney’s classic play “Love Letters” “Tiny Beautiful Things” is a play that could be performed with little to no staging, but it’s nice that director Vanessa Stalling has added so much style to her production for Victory Gardens. When we aren’t being gutted by the moments of humanity in the advice column, or hopelessly endeared by Janet Ulrich Brooks’ performance, there’s an inviting atmosphere being created here.  Wise casting maintains a universal appeal in this life affirming play about growing up and the choices we make. “Tiny Beautiful Things” is a play about the minute moments that alter the course of a life and the perspective of age. Splendid acting and a compelling script make this a play that’s anything but tiny. 

Through October 13 at Victory Gardens. 2433 N Lincoln Ave. 773-871-3000

“A blink in time.” is a phrase repeatedly projected throughout Paula Vogel’s play ‘Indecent’ now running at Victory Gardens. The line could have many interpretations but perhaps it means that the nature of theatre is but a blink in time. Plays are ephemeral, especially where fickle Broadway audiences are concerned. “Indecent” was a critical darling in New York last year and marked the first time Pulitzer Prize winner Paula Vogel’s work had appeared on Broadway. Vogel’s ‘How I Learned to Drive’ was awarded the Pulitzer in the late 90s and is now considered a topical modern classic.

“Indecent” tells the true story story of the ill-fated 1923 Broadway premiere of Sholem Asch’s play ‘God of Vengeance’ —the first Broadway play to ever feature a homosexual kiss. As a result, the entire cast was jailed and deported on charges of obscenity. The play is a collaboration between director Rebecca Taichman (who originally conceived the idea) and Paula Vogel (whom she teamed up with to write the script). Unlike a typical Vogel play, “Indecent” features many musical numbers with instruments being played by the cast. Director Gary Griffin has kept much of the original staging for his production at Victory Gardens.

A hallmark of Vogel’s style is her use of structure and narrative. “Indecent” follows a similar pattern. Its genius is its show-within-a-show charm. The forth wall is often broken giving you the true feeling of being in a vaudeville theater. The small troupe of actors skillfully transitions between the various roles. Though all an all a tremendously talented cast, perhaps nobody stands out as much as Kiah Stern. Her character is the spirit of the play, the reason why in spite of the hardship this cast goes on. There’s something luminous in Stern’s performance. Catherine LeFrere consistently delivers the laughs as Halina.

“Indecent” touches on a lot in its short run time. There’s of course the intolerance of homosexuality and the prevailing antisemitism, but also a history of how theatre became a more established art form in the early 20th century. It’s because of plays like “God of Vengeance” and the like that the theatre has become a place where audiences attend in order to be challenged.

Anyone with a basic knowledge of world history knows that things weren’t looking good for European Jews by the mid-1930s. The tragedy of “Indecent” is that we know what happened to our troupe of actors when they were returned to the old country. One of the show’s most powerful moments is when the cast gives the final performance of “God of Vengeance” in the Lodz ghetto.

Vogel is great at non-traditional storytelling. The show is unlike any play or musical recently seen on Broadway. Its subject matter also holds a mirror up to Broadway. It asks who censorship protects and ultimately what we classify as entertainment. Director Gary Griffin’s highly anticipated regional premiere is worth the hype as this show will likely not be produced again to such high standards.

Through November 4th at Victory Gardens Theater. 2433 N Lincoln Ave. 773-871-3000

Strindberg’s quintessential battle of the sexes play, ‘Mies Julie’ is retold by award winning South African playwright Yael Farber. ‘Mies Julie’ is a modernized version set eighteen years after the abolishment of apartheid. Directed by Dexter Bullard, Victory Gardens presents this regional premiere.

‘Mies Julie’ has been a controversial play since it premiered in the late 1800s. Strindberg’s representation of a strong-willed aristocratic woman has always been a plum role for actresses. The sexual tension between Miss Julie and her servant is an apt metaphor for the competition between men and women especially in an era where women had few, if any rights to property.

Putting this play in modern day South Africa is a wise way to address the racial inequality still present nearly thirty years since apartheid’s end. The stakes are raised here as John is fighting for more than just dominance. His ambition is to win back the land he believes was stolen from his ancestors, while Julie represents the white ruling class that fears change.

Heather Chrisler plays Mies Julie, a young woman we learn has recently broken off an engagement. Chrisler flawlessly reproduces a South African accent. In fact, it’s so good there are times you struggle to follow. Her performance is wild and untamed. She’s endlessly tempting and viciously wicked. Her co-star Jalen Gilbert in the role of John is just as seductive. While Gilbert’s performance is more sympathetic, there’s a violent undercurrent that is thrilling to watch. There’s a great deal of chemistry between these actors and seeing it ebb and flow is incredibly sexy.

‘Mies Julie’ is like watching a game of tennis. Each line between the two characters is a volley and often the meaning of words and feelings changes on a dime. In the short span of seventy minutes, Yael Farber tells a complete story of the family trees of Julie and John. The dialogue is a constant one-up-manship and in the end, you may wonder who really wins.

The sultry atmosphere envisioned by Dexter Bullard is the perfect backdrop for this titillating drama. The heat is palpable. With simple touches the stage is set for an edge-of-your-seat verbal and physical struggle for power in a changing world.

At Victory Gardens through Jun 24th. 2433 N Lincoln Ave. 773-871-3000.

Dennis Začek and Grippo Stage Co., Inc., will present Confessions of a P.I.M.P., written and performed by André De Shields, and directed by Samuel G. Roberson and Dennis Začek. The cast also includes Kimberly Lawson and Donica Lynn. Confessions of a P.I.M.P. runs August 26, 27 at 8pm and August 28 at 7:30pm at Victory Gardens Theater, located at 2433 N. Lincoln Ave.

Tickets are $25 and can be purchased at www.victorygardens.org or by calling the box office at 773-871-3000.

From the heat of urban insurrection in Baltimore, Maryland to the incandescent glare of New York’s Great White Way, “Jelly Belly” has many stories to tell. Through song, dance, and spoken word, join Victory Gardens Theater’s Fox Foundation Resident Actor Fellow André De Shields in this riveting performance as we follow this adventure from inner city impoverishment to self-actualization.

The creative team for Confessions of a P.I.M.P. includes Doug Peck (musical direction), Jake Ruppert (sound design) and Charles Smith (dramaturg). The band includes Tony Mhoon (bass) and Robert Reddrick (percussion). Tina Jach is the stage manager.

Confessions of a P.I.M.P. originally premiered as part of Victory Gardens’ 2015 IGNITION Festival of New Plays.

About the Artists

André De Shields in a career spanning forty-six years, André De Shields has distinguished himself as an unparalleled actor, director, choreographer and educator.  He is the recipient of three Jeff Awards, one as Director for Victory Gardens’ 1987 production of The Colored Museum, and two as Featured Performer in a Musical for the Goodman Theatre productions of Play On! (1998) and Mary Zimmerman’s The Jungle Book (2013).  In fact, André’s professional career began at Chicago’s Shubert Theatre, now the Bank of America Theatre, in the 1969 production of Hair.  From there he moved on to The Me Nobody Knows at the Civic Opera House, and ultimately became a member of The Organic Theatre Company, where he created the role of Xander the Unconquerable, Ruler of the Sixth Dimension in the cult sensation Warp. A multiple Tony Award nominee, he is best known for his show-stopping performances in four legendary Broadway musicals: The Wiz, Ain’t Misbehavin’, Play On! and The Full Monty. His numerous accolades include an Emmy Award for the NBC Special based on Ain’t Misbehavin’, the National Black Theatre Festival’s Living Legend Award, the Village Voice OBIE Award for Sustained Excellence of Performance and two Doctor of Fine Arts degrees honoris causa one each from the University of Wisconsin-Madison and the State University of New York-College at Buffalo. A triple Capricorn, Mr. De Shields is the ninth of eleven children born and reared in Baltimore, Maryland. Ubuntu. 

Kimberly Lawson appeared in Confessions of a P.I.M.P. during the 2015 IGNITION Festival of New Plays. A current board member of Chicago Cabaret Professionals, her cabaret shows include WOZ: A Rock Cabaret, Why Can't a Woman: A Feminist Perspective of Broadway, Fancy Meeting You Here andLife, Love, and Faith: A Tribute to Faith Prince. She is currently a student of Nadine Gomes of the Chicago College of Performing Arts and Tony Award Winner Faith Prince. In her non-performing life, Kimberly is the Audience Services Manager at Lookingglass Theatre.

Donica Lynn was most recently seen on stage in Porchlight Music Theatre’s Dreamgirls! Previous PMT credits include: Chicago Sings Motown, Chicago Sings Disney and Off the Porch’s Gatecrashers. Chicago credits include: Confessions of P.I.M.P with Tony nominee Andre De Shields (Victory Gardens); The Color Purple, Barnum (Mercury Theater); Thoroughly Modern Millie, Hairspray, Aida (Drury Lane Oakbrook); Once On This Island and Seussical (Marriott Lincolnshire); Lady in Denmark, Crowns and Ain’t Misbehavin’ (Goodman Theatre); as well as works with Paramount, Court, Congo Square, Theatre at the Center and ETA Creative Arts. Film/TV credits include: Chicago Fire. She is also a featured vocalist on albums by Ramsay Lewis, Calvin Bridges, Justin Roberts and Cory Goodrich. Donica is a two-time Black Theater Alliance Award nominee, a Black Excellence Award nominee, an alumna of Soul Children of Chicago, proud AEA & AGMA member and represented by Stewart Talent.

Apparently thrill-killing isn't a new sign of the gradual breakdown of society. John Logan's historical thriller "Never the Sinner" explores the trial of wealthy, local killers Leopold and Loeb in what was once hailed as the crime of the century. Director Gary Griffin brings this story to life in an exciting new production at Victory Gardens Theater. 

Logan's wordy script has the potential to be really dull, even with the gory details. That's not the case with this quick-moving production. Set against a minimal set draped in peacock damask, Griffin's staging makes the telling active. Each twist and turn in the tabloid drama is accented by slick reporters. The cheeky headlines pose the question whether there's profit in crime? And if so, who benefits from a court room sideshow? Certainly not the victim. It also serves to underscore that in America, we're all just rubber-neckers happy that a crime didn't happen to us. 

A play like "Never the Sinner" is really only as strong as its Leopold and Loeb and luckily they’ve got two great actors. Japhet Balaban plays the part of introverted Nathan Leopold and he's unnervingly creepy. His attention to diction is a wise character choice. While Loeb technically carried out the crimes, Balaban's Leopold has the Norman Bates-type aloofness that most serial killers tend to possess. Jordan Brodess' Loeb balances the rage and panache which likely serves Logan's point that some people will sink to deplorable depths for fame in America. 

The true surprise of this story is their country lawyer Darrow played Keith Kupferer. Kupferer is known for his "every man" roles, and this show will prove a high point for him. Of course the knee-jerk reaction to brutal murder committed by two remorseless college boys makes us demand the ultimate penalty: death. Logan uses this real-life instance to debate the ethics of the death penalty. In high profile cases up to this point in history, rarely was the philosophy of capital punishment ever questioned. Even in our times it’s a hard question without an easy answer. Ultimately Logan uses this shlockey murder trial to ask the audience, is killing in the name of justice, just? 

Through December 6th at Victory Gardens Theater - 2433 N Lincoln Ave. 

Everyone is looking to be loved and to give love though it’s not always that easy as we find out in Stupid Fucking Bird. In this twisted and very comical take on Anton Chehkov’s The Seagull that is filled with bird references relating to life, Stupid Fucking Bird is the story of dysfunctional friends and family who are defined by their own complexities, self-absorption and yearnings. Also relating theatre to life, Aaron Posner’s Stupid Fucking Bird uses stage performance as insightful metaphors to human behavior.

Sideshow Theatre Company’s production of Posner’s adaptation of Chehkov’s boring and often hard to watch stage classic is nothing short of hilarious at times and funny all the way through despite a heavier ending than expected. Assembled in this witty play is a dynamite cast led by Nate Whelden who plays “Cody Proctor”, a tortured playwright who is in love with his subject “Nina” (Jeff nominated Nina O’Keefe) whom will never love him in return. Cody Proctor is incensed with commercial theatre that is not “world changing” and is determined to write provocative and meaningful art that has an effect on society. In the meantime, emptiness, loneliness and lack of purpose are ever present in those close to him and “Nina” wants to be a seagull – thus the title, Stupid Fucking Bird.

The story is filled with dark humor and clever parodies of the original it spoofs. There are moments where the actors interact with the crowd, whether to ask for advice on a specific situation or to simply vent to us. The set is modest but effective to which its simplicity actually adds to the show’s theme of hollowness and the constant longing to be complete. 

Stupid Fucking Bird is not only funny it is also heartwarming and can be thought provoking on occasion. It is a journey that most are all too familiar with and it is a struggle that can often be overcome. There is a good reason this play was a hit on the East Coast, that being it’s engagingness and cast of characters that are easy to identify with. 

Stupid Fucking Bird is playing in the upstairs theatre of Victory Gardens (2433 N. Lincoln) through September 21^st. For tickets and/or more information, visit www.victorygardens.org or call (773) 871-3000.    

*Above photo - (left to right) Matt Fletcher, Katy Carolina Collins, Nina O’Keefe, Nate Whelden, Cody Proctor, Stacy Stoltz and Norm Woodel in Sideshow Theatre Company’s Midwest premiere of STUPID FUCKING BIRD by Aaron Posner, sort of adapted from Anton Chekhov’sThe Seagull, directed by Jonathan L. Green.  Photo by Jonathan L. Green.