I am not a theater critic but I have been devoted to covering theater since my early 1980s reports on the explosion of Chicago storefront theaters for National Public radio. On The Mara Tapp Show in the 1990s, I was honored to host weekly for conversations about and offer scenes from some of Chicago’s best shows, and delighted when those interviews filled houses for our local theaters.
In 2015, at the request of friends, I started a series of emails with recommendations for shows I thought worthy of patrons. Some years later, actors, directors and publicity people in Chicago’s theater world prevailed on me to share these raves, a request I accepted, especially in light of the increasing tensions in the theater world and need to keep Chicago theaters healthy. Read more…
Find out what the critics think at the Review Round-up on the website of TheatreInChicago.com.
company during its 55th Chicago engagement. Now that’s a revelation worth celebrating!
Raves
Rosencrantz and Guildenstern are Dead
Court Theatre through April 28
Highly Recommended
What a joy it is to hear Tom Stoppard again in Chicago, and it’s a particular delight to see his linguistic acrobatics catapulted into tongue-twisting and physical magic courtesy of the captivating comedic acting now onstage at Court Theatre.
Rosencrantz and Guildenstern are Dead is a powerful farewell from Director Charles Newell, who has led Court for 30 years and will become its Senior Artistic Consultant this summer. In those decades, Newell often reinterpreted the classics, for which this theater and the University of Chicago to which it is connected are known, in often-arresting new ways. As artistic director, he welcomed Black plays, actors and audiences.
Stoppard wrote his absurdist play in the 1960s when artists, intellectuals and theater-goers around the world were still recovering from World War II, embracing Albert Camus, Jean-Paul Sartre, Samuel Beckett and the Existentialists, being mired in the Cold War and fearfully watching the shadows cast by the Soviet Empire. Stoppard, who used to refer to himself as a “bounced Czech” certainly knew what being crushed by the Soviets meant, and that sense of lack of control and unrelenting grappling with the inevitability of one’s fate wraps itself around his take on Hamlet.
Shakespeare’s brilliant Hamlet is, of course, a star in Stoppard’s universe, and his characters pluck and illuminate critical lines and moments from the classic play. This requires a facile cast, clever enough to keep up with both linguistic geniuses and be able to make quicksilver leaps from Shakespeare’s poetry to Stoppard’s more contemporary wit.
I’ve never seen Erik Hellman do anything but excel in any role but here, as Guildenstern, the smarter half of the R&C duo, he masters the mix of intelligence, contemplation of life and fate, irritation at and affection for Rosencrantz without ever seeming to stop for breath. Nate Burger’s Rosencrantz is an ideal sidekick, lighthearted, a bit slow on the uptake, clingy, taunting and loyal. As the head of the theater troupe that will replay Hamlet’s play within the play, and other critical scenes from Hamlet, Lorenzo Rush Junior is full of majesty and presence. He directs his corps of players with intelligence and purpose. The rest of the players in the ensemble are strong as well but Blake Hamilton Currie’s Hamlet deserves kudos for his ability to traverse a range of emotions, as one must expect from the prince of Denmark, while walking on palace walls and shipboard.
Newell’s direction and vision create a snap and buzz. John Culbert’s blazing red is perfect for this tale of murder, revenge and tragedy. Raquel Adorno’s costumes compliment the set. She starts Rosencrantz and Guildenstern in white suits, which they lose near the end of the play when they don the black acting/mourning garb of the other actors.
The only weak moment is the musical choice at the end, which undercuts an otherwise brilliant interpretation of this early piece that helped put Stoppard on the theatrical map. However, that’s hardly a reason to skip this show. In fact, even if you are neither a Shakespeare nor a Stoppard fan, go see this one if only for its razor-sharp language, penetrating questions, comedic moments and to say a grateful goodbye to Charlie Newell even as you hope for more such examples of making classic plays contemporary.
Purpose
Steppenwolf through May 12
Highly Recommended
From the moment Jon Michael Hill opens his mouth in Purpose you know you are in for an evening of profound thought from a deeply intelligent and sensitive person with a deliciously ironic sense of humor. It turns out that you will also take a wild ride through the lives of his powerful political family that will keep you laughing even as you are amazed by the cruelty and wisdom of its members.
Branden Jacobs-Jenkins fierce play crackles with electric language, rapid-fire dialog, intense politics, the troubling dynamics of a deeply disturbed family that manages elegance, wisdom and leadership in the ruins it inherited and those it has created. I hope we will see more of his whip-smart work on Chicago stages.
Phylicia Rashad’s vision and her talented corps of actors transports us from the gut-splitting though the heartbreaking moments. There’s not a weak performance here; in fact, all are over the top in the best way possible offering layered interpretations of complex characters.
Meet the Chicago-based, well-connected Jasper family, reminiscent of the Jackson dynasty, as in Jesse. It is led by Solomon “Sonny” Jasper, a Civil Rights icon versed in religion and politics who, while revered, was never quite at the center of the action. Harry Lennix shows us his power, sorrow and cruelty as he moves between being committed to his ideals, worshipped by his followers and disappointed on multiple fronts. Jon Michael Hill plays Nazareth “Naz” Jasper, the runaway and perhaps prodigal son with the right doses of distance, understanding and acceptance. Glenn Davis is perfect as his tortured brother, Solomon “Junior” Jasper, whose return from incarceration for tax fraud has occasioned the celebration dinner at the center of the play. Alana Arenas gives a biting performance as his unhappy wife Morgan, who is all too aware of how being a Jasper is a cross to bear. A different wifely model is offered by Tamara Tunie as Claudine Jasper, who stands by her man while standing up to the world and protecting her male tribe of a famous father and two not-as-successful sons. Tunie’s portrayal of the perfect political wife who is as strong and manipulative as she is loyal hits home. Into this mess of family matters comes Aziza Houston, an idealistic young friend of Naz’s who finds herself with eyes increasingly wide open. Ayanna Bria Bakari captures the range in this pretty idealist who turns out to have some snap as well as sense.
Dede Ayite’s costumes couldn’t be better at expressing the personalities of each character from the bright flowing garments of Claudine to the somber, studied garb of her husband. Todd Rosenthal’s set evokes one of those lovely Bronzeville or Kenwood homes with its warm colors, tasteful furnishings, African art and shrine to Dr. King.
One doesn’t want to give away all the plot twists, turns and outright shocks in this world premiere but suffice it to say that they will keep you at close attention. And they will keep you laughing and sometimes sighing at the wisdom that emerges from hurt and ugliness. Purpose is sure to be a hit and it is a show not to be missed because it reveals so much about families, Black politics, religion and life as we should know it all delivered in a wonderful cascade of jewel-bright language by top-notch actors.
And now for something completely different!
This comes from my brilliant friend Danny (Alias) Duane, who not only edits my Theater Raves but keeps me in stitches. Enjoy!