Thursday, April 20, 2017

Humana Festival 2017: Surviving a Wedding in I NOW PRONOUNCE

When I made my living writing romance novels, I wrote a lot of books set in and around weddings. Runaway brides, runaway grooms, bridezillas, bridesmaids hooking up with groomsmen, the bride and her identical twin sister switching places before the wedding... You name it, I wrote it. I did not, however, write anybody dropping dead at the altar.

That is the premise of Tasha Gordon-Solmon's I Now Pronounce, which was the first play I saw at this year's Humana Festival of New American Plays. At Actors Theatre of Louisville, Solmon's play starts with the rabbi who is officiating, played by the adorable Ray DeMattis, all alone in the middle of the Bingham Theatre. DeMattis has the skill and charm to hold the stage with ease, even as the rabbi he's playing goes farther and farther off track. He's so cute you don't mind that he's calling the groom something different every time he mentions him -- Aaron, Abraham, Anton -- or that he's really not well. And then disaster strikes. Before the "I do" part of the proceedings, the rabbi keels over, and we've lost him.

Ray DeMattis in I Now Pronounce by Tasha Gordon Solmon
Photo by Bill Brymer.
What happens next is the aftermath. Is the wedding cursed? Does anybody really want to get married in the wake of a dead rabbi?

The bride is holed up by herself, refusing to speak to anyone, while the groom is hanging out with two groomsmen, a cynical player who thinks marriage is a horrible idea, anyway, and a sweet but sloppy guy whose own marriage is in tatters. There are two bridesmaids, as well, trying to convince the bride to come out of hiding. One is very, very drunk and saying inappropriate things, while the other is a control freak. Neither has a date for the wedding, and that's an issue, too. We also see three tiny flower girls in matching outfits, shrieking and running around the wedding venue looking for ghosts and speculating on whether the rabbi's death means everybody else is going to drop dead, too.

By the end of the play, both bride and groom have pondered what it means to be committed to somebody else and have contemplated fleeing, insults are hurled, mortality is pondered, one couple has sex under the chuppah, and everybody pretty much gets skewered by everybody else. Most of the invective seems warranted as, all in all, they're a pretty unpleasant bunch without a whole lot of coping skills. Well, except for the flower girls. They're expected to be juvenile, after all.

Gordon-Solmon's script is especially hard on Eva, the controlling bridesmaid, as she gets ripped up and down for not being able to hang onto a man. Actress Satomi Blair makes Eva appealing enough that the attacks seem excessive, and when they're coming from Jason Veasey's slick groomsman Dave, they slide right over the line into misogyny. Against the backdrop of a wacky romantic comedy, the sexist tone doesn't play well, and the fact that both bridesmaids are desperate for a man heightens the problem.

The issues Gordon-Solmon raises are messy and complicated in a world where Say Yes to the Dress may never end, but Girls, The Mindy Project and New Girl -- all shows pitched to Millennials and centered on issues of growing up and finding or rejecting love and commitment -- are winding down*. And then there's Crazy Ex-Girlfriend, which takes the insanity of modern relationships one step farther.

Clearly people are still getting married. Clearly people are still breaking up. Clearly people are still pinning all their hopes and dreams on a fantasy wedding that may or may not end in disaster even if the rabbi doesn't meet his maker in the middle of the ceremony. There's conflict and real emotion to be mined there. I'm just not sure how much I Now Pronounce adds to the conversation.

*Girls just ended, The Mindy Project is finished after one more season, and New Girl is probably not coming back.

Tuesday, April 11, 2017

Playwright Lynn Nottage Wins Her 2nd Pulitzer Prize for SWEAT

The 2017 Pulitzer Prizes were announced yesterday, including three awards -- for international reporting on Vladimir Putin and Russia's criminal tactics to wield influence in other countries, C. J. Chivers' feature writing about a Viet Nam vet caught up in the legal system, and freelance photographer Daniel Berehulak's breaking news photography of a Chicago mother and son -- to The New York Times; a Pulitzer in national reporting to David A. Fahrenthold of The Washington Post for his stories on Donald Trump's shady use of his own charities; an award to the New York Daily News and ProPublica in the public service category for Sarah Ryley's stories on eviction abuses; and an editorial writing prize to Art Cullen of the tiny Storm Lake Gazette in Storm Lake, Iowa.

Theatre critic Hilton Als of The New Yorker was also singled out for his "bold and original reviews," including his pieces on bullies and pop psychology in Dear Evan Hansen, two looks at the "maddening sexist, racist, restless, complicated, and important dramas" of Eugene O'Neill, and "Gay Reflections, Onstage" in four very different theatrical pieces.When congratulating Als on his prize, The New Yorker's twitter account linked to a beautiful musing he wrote on the movie Moonlight, showcasing the lyrical style and deft analysis that characterizes Als' writing.

On the "Letters, Drama & Music" side of the Pulitzer equation, Colson Whitehead won the Pulitzer Prize for Fiction for The Underground Railroad, "a smart melding of realism and allegory that combines the violence of slavery and the drama of escape in a myth that speaks to contemporary America." Whitehead's National Book Award winning novel creates a physical railway, with tracks and tunnels underneath American soil, taking former slave Cora from state to state, from one abomination to the next, one step ahead of dangerous slave catchers, as she tries to escape to both metaphorical and actual freedom.

And in my favorite category, Drama, Lynn Nottage, who happens to be one of my favorite playwrights, has won her second Pulitzer Prize, this time for Sweat, her "nuanced yet powerful drama that reminds audiences of the stacked deck still facing workers searching for the American dream." Nottage is the first woman playwright to receive the Pulitzer twice.

Lynn Nottage
Sweat was commissioned by the Oregon Shakespeare Festival as part of its United States History Cycle. After the Oregon production and a run at Arena Stage in Washington DC, Sweat moved to New York's Public Theater, where it was popular enough to be extended three times. The accolades the play received, including the Susan Smith Blackburn Prize, earned Nottage her first trip to Broadway at the same time Paula Vogel, another Pulitzer winner, made it with her play Indecent. Plays written by female playwrights on Broadway are enough of a rarity that The New York Times interviewed both Nottage and Vogel about the phenomenon.

The Public Theater production of Sweat, directed by Kate Whoriskey, moved to Broadway's Studio 54, where it opened in previews March 4, 2017. Its official opening was March 26.

For more information on all of this year's Pulitzer Prize winners, check out the Pulitzer site here.

Thursday, April 6, 2017

Illinois Theatre Looks for RESISTANCE • REVOLUTION • RESURGENCE in 2017-18


Illinois Theatre, the producing arm of the University of Illinois Department of Theatre, has announced the schedule for its 50th anniversary season. Under the theme "Resistance • Revolution • Resurgence," Illinois Theatre will offer Robert Penn Warren's political cautionary tale All the King's Men; followed by Tom Stoppard's Travesties, a "cryptic-crossword of a modern classic" comedy; Sarah Ruhl's funny, sexy and quite moving play In the Next Room, or the vibrator play;the Sondheim/Weidman dark and dangerous musical Assassins, which never seems to go out of style; Twelfth Night, one of Shakespeare's finest; and a provocative new play by Robert O'Hara called Barbecue.

The line-up of topical plays and the inclusion of some exciting new directors makes for a very intriguing season for Illinois Theatre.

This is what their press release has to say about the whys and the wherefores:
"Celebrating 50 years of creating excellence in performance, design, technology, management, and scholarship, Illinois Theatre invites you to join us as we examine themes timely and timeless. Theatre’s powerful exploration of human experience stands as a reminder that great difficulties have been overcome with inquiry, analysis, critique, and persistence—always persistence. Our productions will delve into issues of gender and political corruption; we consider the role of art during the Russian Revolution; we see dawning female sexual consciousness in the Victorian era; we gawk at the twisted dreams festering in a collection of presidential assassins; laugh at the confusions of love, lust and identity in a classic Shakespearean comedy; and experience the cultural difference between two families: one black, one white. This season of plays plumb the depths (and heights) of diverse human experience, and we invite you to join us for a season of laughter, love, pain, and triumph."
And here's more info on the individual plays, including directors and dates:

All the King’s Men
By Robert Penn Warren
Tom Mitchell, director
Illinois Theatre presents the quintessential American political saga of Willie Stark, a charismatic populist who rockets to the Louisiana statehouse and sets his sights on Washington. With an all-female cast, this production depicts the hyper-masculine 1930s backrooms where “good old boys” jockey for power. Robert Penn Warren adapted his Pulitzer Prize-winning novel for the stage and for two film versions.
September 28 to 30 and October 4 to 8, 2017

Travesties
By Tom Stoppard
Robert G. Anderson, director
Vladimir I. Lenin, James Joyce, and artist Tristan Tzara walk into a library—and the world is transformed. Tom Stoppard’s supremely literate comedy—with a wink and a nod to Oscar Wilde—imagines lively encounters between three revolutionaries who changed the world of politics, literature, and art. Presented by Illinois Theatre in association with the "1917/2017: Ten Days That Shook the World/Ten Days That Shake the Campus" initiative.
October 19 to 21 and 26 to 29, 2017

In the Next Room, or the vibrator play
By Sarah Ruhl
Lisa Gaye Dixon, director
In the waning years of the 19th century, the age of electricity enlivens the possibilities for human satisfaction. A path-breaking physician treats the “hysteric” needs of his female patients while overlooking domestic discontent in his own home. Illinois Theatre examines love and marriage, artistic inspiration, and burgeoning female sexuality. Viewed through a blushing comic lens of sexual awakening and desire, audiences will surely find moments of identification, sympathy, and laugh-out-loud acknowledgement. This production is for adult audiences only.
Contains adult content
Oct 26 to 28 and November 1 to 5, 2017

Assassins
Stephen Sondheim, composer and lyricist
John Weidman, librettist
J.W. Morrissette, director
"Murder is a tawdry little crime; it’s born of greed, or lust, or liquor. Adulterers and shopkeepers get murdered. But when a president gets killed, when Julius Caesar got killed...he was assassinated." —John Wilkes Booth to Lee Harvey Oswald in Assassins.
Tony Award and Pulitzer Prize-winning composer Stephen Sondheim and librettist John Weidman take aim at American ideals of prosperity and fortune. Illinois Theatre presents this powerful musical examination of the blood-curdling (and banal) impulses of would-be assassins who pursue their own versions of the American dream.
February 1 to 3 and 7 to 11, 2018

Twelfth Night, or What You Will
By William Shakespeare
Brenda DeVita, guest director
Featuring a shipwreck, lost siblings, false identities, gender confusion, and star-crossed love, this production from Illinois Theatre is sure to excite every aficionado of Shakespeare. Guest director Brenda DeVita, artistic director of the American Players Theatre, has her Krannert Center debut at the helm of this lively, timeless comedy.
March 1 to 3 and 8 to 11, 2018 1-3

Barbecue
By Robert O’Hara
Chuck Smith, guest director
The O’Mallery family gathers in a local park to confront a sibling about her substance abuse. Is it a made-for-reality-television event? Not quite. As the narrative unspools, members of the family attack and retreat. Familiar tropes from domestic dramas give way to startling new revelations as a family’s identity shape-shifts across an evolving landscape of race, class, and consciousness. Illinois Theatre welcomes playwright Robert O’Hara to our community as we produce his exciting new comedy, directed by the Goodman Theatre's Chuck Smith.
Contains adult content
Mar 29 to 31 and April 4 to 8, 2018

For more information, take a look at the Illinois Theatre website or check out their Facebook page.

Tuesday, March 21, 2017

New Route Theatre Presents HER*STORY March 24 to 26


In keeping with its mission to create "professional quality theatre using a broad spectrum of artists who represent the community in all of its diversity," New Route Theatre focuses its energy and its productions on stories often overlooked by other theaters in the area

Heather Carnahan
This week, New Route Theatre will present something they're calling Her*Story, or "A Showcase of Original Personal Stories by Women from the Bloomington Normal Community." There's a lot of information packed in there, but it's important. Yes, these are her stories. They are new, they come from the heart, they represent what individual women find important, and they come from women in this community, like contributors Lauren Berry, Kat Gregory, Elaine Hill, Jajwanica Johnson, Genevieve Pilon and Diane Walker and co-creators Heather Carnahan and Rachel Lewis. Carnahan, a graduate of Illinois State University's Masters program in theatre, also serves as director.

Rachel Lewis
What will you see? Her*Story is composed of "original stories reflecting on moments that impacted the contributors’ lives. This performance piece provides insights into what it means to be a woman facing the challenges of today’s society. Stories elicit both laughter and tears, frustration and anger, as these remarkable women bravely share their stories of both joy and heartbreak."

Performance are scheduled for Friday and Saturday March 24 & 25 at 7:30 pm and Sunday the 26th at 2:30 pm at the First Christian Church located at 401 West Jefferson Street in Bloomington. And admission is also a bargain -- you can either donate any feminine care product you choose or $5.00 at the door.

For more information, click here to see the event's Facebook page.

Saturday, March 18, 2017

Chicago's CONCERT FOR AMERICA: STAND UP, SING OUT! March 20


The Chicago version of Concert for America: Stand Up, Sing Out! -- billed as "a star-studded benefit concert highlighting the diversity and hope that is America at its best" -- will indeed be star-studded. The first two Concerts for America took place in New York, but this one, scheduled for March 20 at 8 pm at the Auditorium Theatre of Roosevelt University, is Chicago's own.

The list of performers includes cast members from the blockbuster Chicago company of Hamilton as well as Alice Ripley, a Tony winner for Next to Normal, pop star Melissa Manchester, and Chita Rivera, a ten-time Tony Nominee who won for Kiss of the Spider Woman and The Rink. Rivera's daughter Lisa Mordente serves as director of the concert.

Ripley, Manchester and Rivera will be joined by Ana Gasteyer, probably best known for her years on Saturday Night Alive, although she's also done her share of Broadway shows and television and she headlined Wicked in Chicago, and Christine Pedi, a frequent Forbidden Broadway performer who is currently in Chicago as part of a Hamilton spoof called Spamilton.

From the world of television, you'll find Sharon Gless of Cagney & Lacey fame, actors Torrey DeVitto and Colin Donnell of TV's Chicago Med, and Miranda Rae Mayo and Yuri Sardarov of Chicago Fire. Donnell has a lot of stage credits, as well, starring in Anything Goes, Jersey Boys and Violet on Broadway and the Encores! version of Merrily We Roll Along opposite Lin-Manuel Miranda.

The list of performers should be considered tentative, but those are the people expected as of a few days ago.

Tickets for Concert for America: Stand Up, Sing Out! are available at my.auditoriumtheatre.org or at the Auditorium Theatre box office. The concert benefits five organizations devoted to protecting human rights: the NAACP, National Coalition Against Domestic Violence, National Immigration Law Center, The Sierra Club Foundation and the Southern Poverty Law Center.

If you can't get a ticket or you're not close enough to Chicago to see the concert in person, you can catch it on Facebook Live or live-streaming at ConcertsforAmerica.com starting at 8 pm (Central time) on Monday, March 20.

Monday, March 6, 2017

American Theatre Critics Announce 2017 Steinberg New Play Award Finalists


The American Theatre Critics Association has announced the six finalists for this year's Harold and Mimi Steinberg/American Theatre Critics Association New Play Award, which recognizes the best scripts that premiered professionally outside New York City during 2016. With $40,000 total presented during the Humana Festival of New American Plays at Actors Theatre of Louisville, the Steinberg/ATCA Awards represent the "largest national new play award program of its kind." Three playwrights will receive recognition, with a top award of $25,000 and two citations of $7,500 each.

The six finalists for 2017 include two plays first produced by Chicago's Steppenwolf Theatre and four productions total from Chicago theaters, which says a lot about the city's commitment to new work and theatrical excellence. Playwright Tracy Letts has been nominated before for his work with Steppenwolf, with a citation for Superior Donuts in 2009. Among the other playwrights in the group, Michael Cristofer took top honors way back in 1996 for his play Amazing Grace. For the complete list of previous honorees, click here.

This year's finalists are:


The Ice Treatment by Nate Eppler. Premiered at Actors Bridge Ensemble, Nashville. "'Compelling, with fast moving story and well-constructed dialogue...plus a cosmonaut,' opined one panelist of Eppler’s darkly funny take on celebrity, concerning a 'modern day, working-class monster—or is she?' 'Always on the verge of careening out of control, the tonal shifts are wild,' chimed in others of this 'interrogation of the American Dream' as an ice skater 'writes her own story, regardless of the truth.'"


in a word by Lauren Yee. Produced via the National New Play Network with a rolling world premiere at the San Francisco Playhouse, Cleveland Public Theatre and Straw Dog Theatrein Chicago. "'Important and honest questions are being asked, here,' commented one panelist. 'Yee’s masterful drama about a mother's living nightmare after a child's disappearance is a mystery of word puzzles' that are 'lyrical and haunting and very well-constructed.' 'To have an ending that is satisfying dramatically but still appropriately unresolved is a tough nut to crack and this one does it.'"


Man in the Ring by Michael Cristofer. Premiered at the Court Theatre, Chicago. With “the inexorable feel of a classic tragedy,” this drama “with its Caribbean songs and its rhythm and thrust, seems at first to be a play of beautiful and utter simplicity. But au contraire.” Based on the true story of a boxer who killed a man in the ring, “the playwright threads through guilt and tragedy, weaving past and present together seamlessly.” This rich play stays “within the playwright’s total control while allowing for the frayed edges that make it feel alive and not premeditated.”


Mary Page Marlowe by Tracy Letts. Premiered at Steppenwolf Theatre, Chicago. "'Generous and incredibly specific,' Letts’ play drew panelists in 'by both the flawed, multifaceted woman at the play’s center and how the non-linear storytelling painted this vivid picture of her.' Added others: 'The beauty of this play, the originality, the well-crafted scenes – with a scope so much larger than so many "issue" plays' brought to life 'an imperfect, fascinating, stalwart character…who doesn’t yield her story to any of the people around her.'"

Time Is On Our Side by R. Eric Thomas. Premiered at Sympatico Theatre, Philadelphia. "Who gets to tell our stories? And why do they tell them? Those are some of the questions asked in Thomas' tale of podcasters who discover a hidden diary. The play features 'fantastic language,' and 'sharp wit' that 'could have become a sentimental mess at any moment but somehow always saved itself.'"


Visiting Edna by David Rabe. Premiered at Steppenwolf Theatre, Chicago. "With 'extraordinarily constructed dialogues and monologues that are simultaneously wide-ranging and super specific,' Rabe’s play is primarily focused on a dying mother and her son but with characters including her TV…and Cancer itself. 'While aging and dying may be all around us in the theater, right now,' commented one panelist, 'I found this play particularly brave and honest and deep, without getting sentimental or trying to be existentially profound, about what it means to face death (both for mother and son). I can’t shake this play. And I don’t want to.'"

The finalists were selected from eligible scripts recommended by ATCA members and evaluated by a committee of 17 ATCA members led by Lou Harry of the Indianapolis Business Journal/IBJ.com.

Awards will be presented on April 8, 2017, during the last weekend of Actors Theatre of Louisville's Humana Festival of New American Plays.

Wednesday, February 15, 2017

STRANGERS ON A TRAIN: Week 3 of the 6 Week Film School at the Normal Theater

Strangers on a Train, the 1951 psychological thriller directed by Alfred Hitchcock, is a direct descendant of the first movie in the Normal Theater's Six Week Film School -- Shadow of a Doubt -- with the same rapid escalation of tension, the same kind of charmingly psychotic killer, and the same cruelty towards the women in its cast of characters.

What Strangers on a Train has that Shadow of a Doubt doesn't is a diabolically good hook. Strangers on a Train is what you might call "high concept" before that idea became popular. What it's about -- two strangers meeting on a train and one proposing they "exchange" murders so they can both get rid of inconvenient people without getting caught -- is right there in the title.

Yes, Guy and Bruno are strangers. And they meet on a train. What seems like an innocuous conversation turns creepy quickly, however, when Bruno, the affable psychopath, offers to kill Guy's greedy wife (she's pregnant, but not by him, and she won't divorce him), if Guy will knock off Bruno's annoying father. It's based on a Patricia Highsmith novel of the same title. Highsmith's Strangers has some significant differences, even if the basic idea -- the murder swap that Bruno proposes -- is the same. Highsmith makes it grimmer and more cynical, but I prefer Hitchcock's version, created by screenwriter Czenzi Ormonde from a treatment by Whitfield Cook after Hitchcock reportedly tossed out what famed mystery novelist Raymond Chandler had provided.

Highlights of the film include Farley Granger's performance as Guy, the handsome tennis star with decent impulses but some definite shades of gray, Robert Walker taking Bruno into unsavory territory and then some, a famous back-and-forth tennis match, more than one pair of eyeglasses, a distinctive lighter, and a dizzying carousel ride. If you're a fan of TV's Bewitched, you may also enjoy seeing Samantha's Aunt Clara (Marion Lorne) as Bruno's indulgent mother.

Strangers on a Train is really, really good at ratcheting up suspense. That will be even more apparent on the big screen at the Normal Theater, offered free tonight at 7 pm as part of Professor Bill McBride's Six Week Film School. You'll find supporting materials and food for thought here on the Normal Theater website.