Posted by: Bob [CTA] | February 8|10

Review: ‘Wilson Wants It All’ @ The House Theatre of Chicago


Leslie Frame, Carolyn Defrin and Rebekah Ward-Hays in The House Theatre’s “Wilson Wants It All”

Things look pretty bleak 40 years from now. The U.S. has grown into a fractured society, deep in debt and dry in drinkable water. An impending civil war is just a speech away, and the government has launched a program that selectively sterilizes each of us to manage population growth. And, worse yet, we wear many shades of unflattering grey.

That is, according to The House Theatre’s inventive new play, Wilson Wants It All, an epic piece that nearly bites off more than it can chew. However, House is known for taking risks with lofty material, and, for the most part here, they succeed.

Wilson explores the U.S. political landscape in 2040, which features a broken government, corrupt leadership and a country filled with angry, distrustful citizens. The people eagerly look to Hope (Rebekah Ward-Hays, giving a perfectly-poised performance, while looking stunningly like Julianne Moore), the daughter of an assassinated senator whose 30th birthday marks her decision to run for Senate. Hope, as her name suggests, represents change and a new beginning — though, until now, she’s only been a figurehead for her legendary father and his ideals. Sick of being an icon, she decides it’s time to speak out for what she believes in — a.k.a. to go “off script.” But her life-long guardian and advisor, Wilson (John Henry Roberts, full of intense determination), will not have that. Fortunately for Wilson, Hope has a secret twin sister, Ruth (the radiant Leslie Frame), who’s more than willing to serve as a stand in, get dressed to the nines, and say the lines Wilson wants to hear.

This is a big, cinematic story, spanning many ideas while spinning through many locations, often within a single scene. Writers Phillip C. Klapperich and Michael Rohd (who also serves as director) effectively keep the narrative fresh and fast — rarely does it seem preachy, or that it’s hitting us over the head with an agenda. It also helps that the design team has created a sparse, projection-happy environment that comments on the over-saturation of the media without smothering the narrative or getting in the way of the brisk staging.

My only concern is the plot, at times, edges dangerously close to cheesy Syfy channel movie territory. But the honest acting and clear, unfettered direction keep things on track. As Hope, Ward-Hays easily conveys the pressure of reconciling her own beliefs with the overwhelming expectations of others. “What if what I have to say isn’t want you want to hear?,” she asks. The answer is unclear. As her twin sister Ruth, Frame beams with pride when she discovers, as Hope, her once insignificant voice can now shape a country — with the help of a carefully crafted speech, of course. And with Wilson standing in the wings pulling the strings, Roberts does an admirable job showing how a life in public service can poison the core that makes us human.

Kudos to House for doing something daring and entirely original — I really enjoyed it. I just wish the seats at their home, the Chopin Theatre, weren’t so narrow — my legs were killing me.

“Wilson Wants It All” plays through March 27 at the Chopin Theatre — The House Theatre of Chicago’s resident home. More information here >

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Posted by: Bob [CTA] | February 7|10

Review: ‘I Am a Camera’ @ The Neo-Futurists

Are you one of those people who loathe about 97% of the photos you’re in? All you can see is that cheesy grin, shiny forehead and weak chin? For example? The remaining three percent are reserved for those rare photo ops that catch you off guard, looking normal and natural. A genuinely honest moment.

Unless you’re some sort of narcissist, I think we all can relate.

I Am a Camera, an hour-long mixed media performance piece, attempts to explore this idea — the idea that the camera often captures a lie, an exaggeration, a staged memory. And we form and inform our memories around these images that have been strategically arranged and artfully snapped. Who are we? Who are you? Who am I? What is reality? Will we ever know?

Caitlin Stainken and Jeremy Sher serve as the vessels for these ideas, standing before us offering extremely personal information, including their medical histories and Social Security numbers. They struggle to make a connection with each other, often failing, sometimes succeeding. Photographs from Stainken and Sher’s family albums flash in front of us, without much relationship to the current discussion. They use pictures of themselves to communicate with each other, and then communicate with each other about the pictures of themselves.

Big themes here. And I’m not sure Greg Allen, who conceived and directed this experimental piece, really gets into to the core of the matter. A lot of interesting concepts and thoughts are presented on the the Neo-Futurarium’s stage, but many of them languish and go on far too long. The point has been made, but where does he want to take it?

(Special thanks to Monica over at Fragments for letting me tag along!)

“I Am a Camera” plays through March 13 at the Neo-Futurists. More information here >

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Posted by: Bob [CTA] | February 6|10

Happy coffee cup

It’s always the simple things that brighten one’s day and lift the spirits. This coffee cup, for example. My best friend Patty painted it for me, and I painted a cup for her (see here). It was one of those “paint your own pottery” places. She titled this one: “Club-footed Penguins.” Because they look a little inbred, don’t they? Poor club-footed penguins.

I left the cup with her to get glazed and kilned – a process that takes a few weeks — and yesterday it arrived at my doorstep.

So, a smile to my lips with each sip. May your mornings be as happy and hopeful. Amen.

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Posted by: Bob [CTA] | February 4|10

Video trailer for New Colony’s ‘11:11′

From the YouTube description:

“On the eve of the first day of camp, a group of young, Christian camp counselors give in to the temptations of summer’s last night of freedom, and in the process, unknowingly drug themselves. As the evening unravels, secrets are shared about life, love, sexuality and, ultimately, the doubts of young Christian leaders.”

I’m going opening night (Feb. 11) and can’t wait to discover what this exciting group has up its sleeve — it looks like they’re continuing their track-record of producing venturesome new material. As a look back on this fledgling group, read my reviews for previous New Colony shows: Tupperware: An American Musical Fable and Calls to Blood.

11:11 premieres Monday, Feb. 8. at The Victory Gardens Biograph Studio Theater, and will run Thursdays and Saturdays at 8 p.m., Fridays at 8:30 p.m., with two additional Wednesday performances on March 3 and March 10 at 8 p.m., and closes March 13. More information here >

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Posted by: Bob [CTA] | February 3|10

Review: ‘August: Osage County’ @ The Cadillac Palace


Shannon Cochran, Jeff Still and Estelle Parsons in the national tour of “August: Osage County.”

A confession: I’ve never seen a production of August: Osage County. Until yesterday evening, that is, when I caught the explosive opening night performance of the national tour’s Chicago engagement, currently playing at the Cadillac Palace through Feb. 14.

I don’t know where I was or what I was doing when Tracy Letts’ ground-breaking play premiered at Steppenwolf in late Summer 2007. Out of it, like Weston family matriarch Violet on one of her early morning drugged-out binges, apparently. And I never got my act together to see its triumphant run on Broadway. So, when people were ranking it among their top 10 lists for the decade and citing lines from it ad nauseum on twitter, it was like some elite theatrical club I wasn’t privy to. Sad, sad, sad.

But there I was last night, third row center(ish), ready to see what all the hub-bub was about, and eager to end this shameful omission from my theatre-going list.

As much as I struggled to remain objective, expectations were mile-high. And after a slow opening, particularly the very first scene, I grew worried. However, the show gradually found its footing, mostly in the second act, and took off.

It’s a dense 3.5 hour drama, exploring the complex and extremely dysfunctional dynamics of the Weston family — a rural Oklahoma-based clan of bitter, broken people. Beverly, the family’s patriarch, has mysteriously disappeared, forcing everyone, including the three Weston sisters, to gather at the Weston homestead to support the pill-popping Violet as they await his hopeful return (and silently dread the unthinkable). Deeply rooted family secrets and long-held rage bubble to the surface, coming to an explosive boil — thanks, mostly, to Violet’s caustic and relentless verbal abuse.

This cast really delivers. I could go on about them all, but let’s focus on the two leads: Violet and Barbara. I’ve read countless interviews and features about Estelle Parsons’ work ethic and age (she’s 82). The fact that she’s an octogenarian has little to do with her performance: Violet Weston is ageless, as is Parsons. She’s such a masterful actor, grand theatrics aren’t necessary to make an impact. But when she turns it on in act two, watch out. Her voice booms, her finger points, and the family withers around her feet. This is a master acting lesson in restraint and power.

As Barbara, the eldest Weston daughter, Shannon Cochran is perfectly built for standing up to Parson’s Violet. A tall, handsome woman with the coarse voice of a truck driver, Cochran rips into her role with courage and heartbreaking vulnerability. At times her delivery veers into sitcom territory, but she quickly pulls it back. And the fact that Cochran resembles Laurie Metcalf makes the confrontations between her and Parsons seem like one majorly intense episode of “Rosanne.”

The only weak link, for me, is the young actress playing Barbara’s daughter, Jean. Perhaps she was directed to play the role as if she was perpetually high (she liked her weed), but her approach comes off as bizarre and affected — which is at odds with the overall tone.

But this production isn’t 100 percent perfect. The Cadillac Palace is far from the ideal venue for this intimate show. Even sitting in the third row, with that moat of an orchestra pit separating me from stage, I felt removed from the action. As a result, the actors had a hell of a time keeping things natural while projecting, and I’m sure director Anna D. Shapiro had her work cut out helping this cast strike that balance — as this tour has been booked into some pretty large theatres. The mic pacs helped a bit, but this piece is much better suited to a cozier space. Also: the fight that ended act two didn’t have the impact I would have liked. I’ve seen my share of authentically staged combat scenes in Chicago shows (this city seems to excel in this arena — we like our violence), so I expected more. And maybe it’s blasphemous to say: but the final scenes leading up to the powerful ending moment seem under developed.

Yet, with those minor quibbles, it’s not hard to see why Letts won the Pulitzer. The play is like an onion — you can keep peeling away at it to get to the core, which makes for great post-show cab ride conversation. Aside from the obvious concepts of dysfunction, generational change and family dynamics, the themes that seem to drive most of the action — at least to my theatre companion and me — are escape and avoidance. Pills and alcohol provide an easy means for escape, and we often conceal secrets and maintain lies to avoid the ugly truth. Rather than just ripping it off like a Band-Aid and coming clean, as humans we tend to stamp down our dark emotions so they fester and rot — and eventually consume us. So, yeah, a warm and fuzzy discussion to end a Tuesday night.

This is one of those theatrical experiences you CAN NOT MISS. If you haven’t seen this show, go! But be warned: it’s 3.5 hours long, but it flies by. I was surprised by the number of whiny babies leaving the Palace: “I have to be up so early tomorrow!”, “I didn’t know it was THAT long!”, “Why didn’t you tell me it was a nine hour long play?”, etc., etc.

As I imagine Violet Weston would respond to these folks: “Oh, shut the f*ck up already!”

“August: Osage County” plays through Feb. 14 at the Cadillac Palace. For more information, visit broadwayinchicago.com.

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Posted by: Bob [CTA] | February 2|10

Tonight: August: Osage County

The national tour of this Chicago-based hit opens tonight at the Cadillac Palace, running through Feb. 14. More info here >

Thoughts to come…

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Posted by: Bob [CTA] | February 2|10

Review: ‘The Distance You Have Come: The Music of Scott Alan’ @ Davenport’s Piano Bar

Composer Scott Alan bears it all behind his keyboard.

Planning an evening of one composer’s work can be a tricky thing, especially if the composer is a relatively unknown commodity. First, there’s the risk no one will come, as they’re not sure what the evening will sound like, and second, and most importantly: what if his/her work isn’t engaging enough to fill an entire evening?

NYC-based tunesmith Scott Alan doesn’t have to worry there. His work is meaningful, melodic and intimate — perfectly crafted for a cabaret setting. However, his tunes are so powerful, they can soon become…overpowering. It’s like being served a three course meal 10 times over, when a simple canapé or apéritif would do. With only two albums to pull from to assemble this show, the variety in Alan’s canon just isn’t there…yet. You can only listen to so many hands-in-the-air-soul-bearing-showstoppers before it all starts to lose meaning.

Thankfully, director Christopher Pazdernik has assembled a quartet of lovely performers — Lina Kernan, Shannon Strodel, Becky Chicoine and Katherine L. Condit — to deliver this heavy material, and has kept the evening short and sweet. While I think each songstress needed a bit more time with the material (there was noticeable hesitation with the lyrics at points), and a few of the numbers I would shuffle around to meet their unique talents, they each seemed to genuinely care about the message they were delivering, which is essential and refreshing. (I would strike the affected hand-off between performers, though, with the “Sigh…I just sang my feelings. Your turn!” expressions. It came off as insincere and became distracting.)

Scott Alan is a fresh new voice, who’s quickly gaining traction with the next generation of musical theatre artists, so it was nice to finally be exposed to his work. I will definitely check out his albums, and recommend this evening of cabaret, as his emotionally-dense songs seem best suited for a performance-based setting. Just go with an empty stomach — there’s a lot to digest here.

The Distance You Have Come: The Music of Scott Alan plays through Feb. 22, with showtimes on Mondays at 8 p.m. Tickets are available by calling 773-278-1830 or by visiting davenportspianobar.com. Learn more about Scott Alan here.

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Posted by: Bob [CTA] | February 1|10

Tonight: The Distance You Have Come: The Music of Scott Alan


Becky Chicoine, Lina Kernan, Katherine L. Condit, and Shannon Strodel will perform in ‘The Distance You Have Come’ at Davenport’s Piano Bar & Cabaret.

Over the past few years, I’ve increasingly heard about composer Scott Alan. Seems he’s the hot new cabaret tunesmith. So I’m looking forward to hearing his songs performed by these exciting young artists. More thoughts to come. Here’s info from press materials:

For four nights only, hear the songs of up-and-coming New York musical theatre composer Scott Alansung by four fabulous Chicago performers: Lina Kernan, Shannon Strodel, Becky Chicoine and Broadway veteran Katherine L. Condit. Be introduced to these heartfelt and moving songs by some ofthe most talented ladies in Chicago!

Scott Alan is a New York based composer who also founded the Monday Nights, New Voices concert series, showcasing the promising new talent in New York. Alan writes accessible, pop-oriented musical theatre and cabaret songs, filled with honest emotions. He also has released two CD’s of his music featuring Broadway performers: “Dreaming Wide Awake” and “Keys.” Songs from both albums will be featured in the performances at Davenport’s. Alan maintains a website for his music at www.scottalan.net.

The performance will feature the vocal stylings of four prominent musical theatre performers from Chicago: Lina Kernan (Porchlight’s Ragtime; Goodman’s Ain’t Misbehavin), Shannon Strodel (Bailiwick’s Jerry Springer: The Opera; Porchlight’s Candide), Becky Chicoine (La Red Music Theatre’s Brat Camp; Porchlight’s Miracle on 34th Street) and Katherine L. Condit (original Broadway cast of Chess; national tours of Cats, A Chorus Line, and Joseph; Bailiwick’s Kiss of the Spider Woman). The cabaret is the brainchild of young director and musical theatre aficionado Christopher Pazdernik, who has Chicago credits with Porchlight Music Theatre, Bailiwick, and Theo Ubique, but is making his Chicago directorial debut with this production.

The Distance You Have Come: The Music of Scott Alan runs Mondays through February 22, 2010. Show times are 8 p.m. at Davenport’s Piano Bar & Cabaret, 1383 N. Milwaukee, Chicago. More information and tickets are available at www.davenportspianobar.com. Read more >

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Posted by: Bob [CTA] | February 1|10

Love never dies

…and neither does the music of Andrew Lloyd Webber. The title song from his new musical, Love Never Dies, recently received its debut performance on some awards show in the U.K. This new show is the sequel to ALW’s massive, record-shattering hit, The Phantom of the Opera.

Some background: While a theatre snob, I’ve always had a soft spot for Phantom. It’s the first musical I fell in love with, and you never forget your first love. (It never dies, or so I’m told.) When ALW announced he was working on a sequel, theatre mavens around the world, including me, were all a twitter. When details of the plot were revealed last summer, we had an absolute field day predicting what the new sequel would look like (read here.) It’s no secret that ALW has been struggling for a hit show, and Love Never Dies is his latest (and perhaps last?) desperate attempt.

Here’s the lovely Sierra Boggess, who’ll play Christine in the sequel’s premiere, performing the title tune:

And here’s Dame Kiri Te Kanawa performing…the same song with different lyrics…over a decade earlier.

But, really, all ALW starts to sound the same over a while…so who really can tell anyway?

(Thanks to Jamie for directing me to the first clip!)

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Posted by: Bob [CTA] | January 29|10

And the winner is…

Thanks to all who played my very first contest to win tickets to Chicago Shakespeare Theater’s Private Lives! The winner has been contacted and tickets have been arranged, so if you played and haven’t been contacted, your number wasn’t drawn…this time!

The one requirement for entering the raffle was to supply a fun factoid on Private Lives playwright Noël Coward. Some samples from participants:

  • Coward’s mother had him audition for The Goldfish, a children’s play, which marks his first professional stage performance.
  • Although Noël Coward was gay, he had a strong distaste for penetrative sex. (My personal favorite, courtesy of Monica over at Fragments.)
  • He played Elyot in Private Lives alongside Gertrude Lawrence (as Amanda) in London in 1930 and then on Broadway the following season. Laurence Olivier played the jilted Victor Prynne.
  • In Romantic Comedy in Hollywood, James Harvey observes of Private Lives that “nearly all moments of liberated feeling in Coward’s play tend to be moments of triumphantly recovered childhood.”


Gertrude Lawrence and Noël Coward

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Posted by: Bob [CTA] | January 29|10

Review: ‘Killer Joe’ @ Profiles Theatre

Darrell W. Cox, Howie Johnson and Kevin Bigley in Profile Theatre's "Killer Joe"

There are signs as you enter Profile Theatre’s intimate, creaky space warning you of the violence, gunshots and nudity on display in Tracy Letts’ 1991 play, Killer Joe. But, really, nothing quite prepares you for what goes down in the home of this trashy Texas family, when Chris (the emotionally raw Kevin Bigley) and his blubbering father (Howie Johnson) hire a brooding hit man, “Killer” Joe Cooper (Darrell W. Cox), to murder his mother for her life insurance policy — money desperately needed to get Chris out of big time trouble with small time drug dealers.

Naturally, the plan becomes unraveled before its even begun, as the cash to pay Killer Joe isn’t available quite yet (but it will be after they the deed is finished). However, Killer Joe doesn’t do business on spec, and demands a retainer fee — in the form of Chris’ younger sister, Dottie, played by the perfectly understated Claire Wellin. As the desperation runs blood thick, they reluctantly pimp off Dottie, but doing so slowly eats away at Chris’ conscious and eventually brings him and his family to their knees.

Director and Steppenwolf ensemble member Rick Snyder doesn’t compromise the realism of this taut, nearly farcical thriller with phony theatrics. The cigarettes the actors nervously puff fill the space with real smoke, the coffee they brew sputters away in the kitchen, the tv they attempt to distract themselves with actually works. And the nudity and violence, as noted, are explicit. Bold, necessary choices that keep you completely engaged and equally repulsed.

In fact, the only production I can think of in recent memory that staged such authentic violence only inches from my feet was Redtwist’s The Pillowman. (Read my review here — and it’s still playing, so see it!)

Kudos to a cast who can deliver on these extreme demands without going too far; Snyder has assembled a well-oiled ensemble that isn’t afraid to get dirty. And as the title character, Cox uses his piercing eyes and imposing figure to make damn sure you know: this isn’t going to turn out good.

Highly recommended, though not for the easily offended.

“Killer Joe” plays through Feb. 28 at Profiles Theatre. For more information, visit profilestheatre.org.

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Posted by: Bob [CTA] | January 28|10

Tonight: ‘Killer Joe’ @ Profiles Theatre

Profiles Theatre continues its 2009-2010 Season with KILLER JOE by Pulitzer Prize-winning playwright Tracy Letts, directed by Steppenwolf ensemble member Rick Snyder. The production runs January 14 – February 28, 2010, at Profiles Theatre, 4147 N. Broadway.

KILLER JOE focuses on the Smith family, a greedy, vindictive clan of Texans who hatch a plan to murder their estranged matriarch to cash in on her insurance policy. Unable to bring themselves to do the deed, they hire Killer Joe Cooper, a full-time cop and part-time contract killer. Once he steps into their trailer, their simple plan quickly spirals out of control. Learn more >

And I’m planning on seeing Letts’ August: Osage County when the tour stops by at the Oriental next week. Letts overload? Letts do it!

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Posted by: Bob [CTA] | January 27|10

A season of divas: LuPone, Skinner and Ebersole

Watch out Chicago! A flurry of diva activity is coming your way in the next few months, so bundle up accordingly!

Wow. How’s that for a cheesy opener? Anyway, as I was looking at what’s coming down the pike, I noticed some big-time female theatre talent is making its way to the windy city. Here’s an overview:

Rachel York
The 101 Dalmatians Musical
Feb. 16 – Feb. 28 at the Cadillac Palace

She’s coming for you, and your little dog, too! The lovely and talented Rachel York is starring in this national tour as Cruella de Vil — a role I’m sure she’ll rip into with delight. Ms. York is a complete pro and has paid her dues, so it’s nice to finally see her get title billing in this show. I also wrote a Diva Friday post on her, which you can read here (and she also responded in the comments!). This just in: According to a comment posted below, Rachel will be out of the show after this week! Her website confirms this.

Once The 101 Dalmatians Musical ends its engagement at the Wharton Center in East Lansing, Michigan on Sunday, January 31, Rachel will hang up her furs and climb down from her stilts, ending her triumphant run as the notorious puppy snatcher Cruella De Vil. With a trunk full of unanimous rave reviews in hand, Rachel is heading back to Hollywood where she will pursue promising film and television opportunities.

Patti LuPone
An Evening with Patti LuPone and Mandy Patinkin
March 2 – March 7 at the Cadillac Palace

Anyone who knows me knows of my devotion to this red-hot diva. I’ve spent fortunes seeing her in concerts, shows and clubs, and will even suppress my strong distaste for Mandy Patinkin to see her onstage yet again. This time, let’s hope I don’t get LuPWNED.

Emily Skinner
Billy Elliot the Musical
Begins March 18 at the Ford Center/Oriental Theatre

I’ve already discussed my love for Ms. Skinner here. I can’t wait to see her star in this hit Elton John musical as Mrs. Wilkinson, Billy’s zesty dance instructor and mentor. And, unlike the rest of the divas mentioned here, this run is open-ended — so she’ll be around for a while (hopefully).

Christine Ebersole
An Evening with Christine Ebersole
March 25 at Harris Theatre

I was fortunate enough to see Ms. Ebersole in her Tony-winning role in Grey Gardens the week before it closed on Broadway, and it was a milestone theatrical moment. She’s magnetic, with a rapid-fire New Jersey swagger that seems entirely at odds with her crystal-pure voice. And if this concert is anything like her albums, it’ll be a class act, all the way. (Also, don’t forget to buy your tickets to see Stephen Sondheim, a diva in his own right, at Harris Theatre on March 4.)

(Am I missing anyone?)

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Posted by: Bob [CTA] | January 26|10

Albion College is dead to me.

“Albion, dear Albion, we pledge our love to thee.”

Yeah, that is until you unceremoniously crapped on the one area of campus I treasured most — the Gerstacker International House.

The I-House, as we fondly called it, was my home away from home. As a language major, you were required to live in the I-House for a semester. I lived there for three years as an undergrad, and had the privilege of living with other language majors and the native speakers who led our house’s programs and tutorials for the year. It was a very unique and special place — a refuge that made me think Albion was right for me.

I-House buddy Esther and me, all "Deutsched" out for the annual I-House German dinner, circa 1999.

I met some of my best college buddies there. My sophomore year, I roomed with Marco, the crazy German who made movies. We held weekly meetings and organized stupid events (scavenger hunt!) to exercise our language skills and learn more about the culture. Every year each house (French, German and Spanish) had to prepare a meal for other I-House residents and foreign language staff and students. And each year it was a bit of a hilarious failure. I think in my junior year we actually served fried bologna and sauerkraut — ganz authentisch!

One of the best features of the I-House was the courtyard — a common ground for the building’s distinctive residents. I remember BBQ-ing in the gorgeous courtyard each summer on their big smoker grill with the native speakers. My skull still rattles thinking about the many times I walked into the giant plate-glass sliding doors that led into the courtyard. One Halloween, the German and French houses combined efforts to transform the space into a haunted cemetary.

It was a community, a home, a learning experience.

I found out this weekend — rather casually over drinks with my friend Sarah, another Albion alum and former I-House resident — that the I-House has been razed. Leveled. Demolished.

I was stunned — not only by the news itself, but also by the fact that there seemed to be no prior announcement made to anyone about this.

In my quest to find some answers, I came across this article (with photo):

The college’s Gerstacker International House, or I-House, which once housed foreign language programs, was razed last week. Demolition began Dec. 14, after the facility had been removed from use this fall. The semester ended Dec. 11.

College officials are planning to build a green space on the site near E. Erie and S. Hannah streets to make the campus more walkable.

…it goes on:

“We didn’t really explore any other options. We are working to make our campus more pedestrian-friendly. This was an opportunity,” said Mike Frandsen, vice president for finance and administration. “The design was such that (the building’s) usefulness today was limited. It was at a point in its life where the mechanics needed to be upgraded.”

…

“Next spring, as weather permits, we’ll begin the planning of the garden and those things,” he said. “There’s no plans to put another building on that site.”

So, I gather this key aspect of Albion’s foreign language program, which I believed was one of the best things the college had to offer, interfered with the walkability of the campus to such a degree, Albion officials didn’t even think twice about dismantling it. In fact, it was “an opportunity.”

How insulting.

The question still remains: where do the native speakers and language majors live now? According to Albion’s web site, “Gerstacker International House is closing, but the I-House program will continue on the top floor of Whitehouse.”

They’ve reserved a floor of a dorm building to replace what the I-House once used to achieve.

Dear Albion College: you can officially Suck It. Remove me from your phone lists and contact sheets. I’ve no use for you.

Yeah. Nice knowing you, I-House.

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Posted by: Bob [CTA] | January 25|10

Actors Theatre loses long-time home, announces upcoming production

Late last year I announced my top ten Chicago theatre moments, which included the surprisingly well-realized production of Stephen Sondheim’s Follies at Actors Theatre Company. As I discussed in my review of that production, Follies is a rarely-produced musical — a trend that stems from its sheer scope and size. It’s Epic with a capital “E.” So, it was a real treat to finally see a production of this show, and one done so well — especially considering this is a community theatre group.

In response to mentioning their production in my top ten list, Actors Theatre President Marlon Barden, who also directed Follies, recently sent me a lovely email thanking me for recognizing their hard work:

“While you rightly note that ours is a ‘community theatre,’ we have always striven for artistic excellence, and in that endeavor we are aided by the incredible talent that abounds throughout Chicagoland,” she said. “Follies was a labor of love for us all, and we so appreciate that you recognized the heart and soul that everyone involved in the production poured into it.”

However, in this note, Ms. Barden shared some disappointing news: “Unfortunately, Follies will be our last production at Loyola University; with no warning, they committed our time slot to Next Theater from Evanston.”

(Don’t worry – I already received confirmation from her that it was okay to share this information on my blog.)

The space, Kathleen Mullady Memorial Theatre, is a lovely venue, featuring state-of-art equipment, including scrims, lighting, sound, projection equipment, and an elevating orchestra pit — which was used to great effect in Follies. Previous productions ATC staged there include Sweeney Todd, Guys and Dolls, and 1776. “It is really a shame,” added Barden. “We loved their facility and treated it with respect, and we had a great relationship with their on-site staff.”

While I’m not sure why Loyola would kick out a great group like Actors Theatre, one can only assume it was a decision based on money. While they aren’t the largest group, and I don’t think I’ve ever seen a press release or poster announcing one of their shows, the word of mouth among my theatre friends has been strong. That’s how I discovered Follies.

However, this isn’t the end for this passionate troupe. Actors Theatre’s next production, Maltby and Shire’s Baby, will be produced at the Theatre Building, and is set to open June 10.

“Our new space is far more limited, of course, so we will be taking most of the ‘epic’ out of our productions,” she said. “However, the people there are great, and they seem very happy to have us on board. We are hoping that this will be the start of a beautiful friendship!”

I hope so, too! This group deserves a respectful home.

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