Monday, May 11, 2015

Very Late for May!

May has been happening all around me and I am egregiously late in giving you the 411. Or 5-11, since that is today's date. Let's get this May party started, tardy or not.


First, Laughter on the 23rd Floor, a Neil Simon comedy that hit Broadway in 1993, opened last weekend at Community Players. There's one more weekend of this Laughter left, with the show closing on May 17. It's set at a TV comedy show in the 50s, with a brilliant, erratic, funny man named Max Prince, inspired by Sid Caesar and his time on Your Show of Shows, as the centerpiece. We see the writers' room, a place a lot like the one the real Neil Simon got his start, and the motley crew of writers, all based on or inspired by the talented but crazy people Simon and his brother wrote with, from Carl Reiner to Mel Brooks and Larry Gelbart. There's even a woman in the bunch, hugely pregnant Carol, who fights for the right to be as funny as the boys. On Broadway, Nathan Lane played Max Prince, with Mad Men's John Slattery, recent Oscar winner J. K. Simmons and Mark Linn-Baker, TV's Cousin Larry from Perfect Strangers, in the cast. For Community Players, Marcia Weiss directs Brian Artman as Max Prince, along with Melissa Breeden, Drew German, Hannah Kerns, Joshua McCauley, Bruce Parrish, Mario Silva, Chris Terven and Andrew Werner. Get all the info here.

On television this week, we're seeing the season finales of Nashville on Wednesday, Grey's Anatomy, Scandal and Elementary on Thursday, and the last episode ever of Mad Men on Sunday night. Late Night with David Letterman finishes for good next week, with Dave's swan song on Thursday, May 20. If you're not weeping after Mad Men takes its final bow, maybe Letterman's will put you over the top.

Over on Turner Classic Movies, May spotlights the movies of Orson Welles every Friday night. We're coming up on a Friday full of Shakespeare by way of Welles, with Chimes at Midnight, also called Falstaff, with Welles playing Falstaff, before Othello and Macbeth. In a nice bit of companion programming, TCM will air a very different Macbeth, Akira Kurosawa's Throne of Blood immediately after Welles' version. They're both well worth watching for their treatment of Macbeth's witches alone. If you stick around for Kurosawa, it will take you well into the night on Friday May 15.


Since we're talking Shakespeare, it's a good time to remind you that season tickets for the Illinois Shakespeare Festival are now on sale. This summer we'll be seeing Love's Labour's Lost, Richard II and Q Gents, a hip-hop take on Two Gentlemen of Verona from the Q Brothers, along with a special presentation of Love's Labor's Won, Scott Kaiser's sequel to Love's Labour's Lost. Click here to get the details on reserving tickets.


Heartland Theatre's 2015-16 season packet should also be reaching you soon, highlighting five subscription shows -- the annual 10-Minute Play Festival, this time with nine brand-new, winning short plays on the theme "Class Reunion," coming up in June; Nina Raine's Tribes, directed by Sandra Zielinski, set for September; Intimate Apparel by Lynn Nottage, directed by Don LaCasse, in November; Bruce Norris' Pulitzer-winning Clybourne Park, directed by Heartland's new artistic director Rhys Lovell, next February; and Love Letters by A. R. Gurney, directed by Ron Emmons, in April 2016. Extras on the 15-16 schedule include one-acts dealing with "A Fork in the Road" under the New Plays from the Heartland banner in July and a reading of An Alliance of Brats, an adaptation of an Ibsen play, newly translated by Nigel O'Hearn and produced by ISU third-year MFA Joey Banks, in December. The lineup is listed here. Watch your mailbox for season subscription details. And get your reservation in now for the always-popular 10-Minute Play Festival, which opens with a special Pay What You Can preview performance on June 4.

Thursday, April 30, 2015

"Being Alive" for 45 Years -- TheaterMania Celebrates Sondheim's COMPANY

As we bid a fond farewell to April, it is worth noting that Company, the Stephen Sondheim/George Furth musical about marriage, commitment, friendship and growing up, celebrated its 45th birthday earlier this week. It has been 45 years since this fresh, funny show about a bachelor named Bobby (baby, bubby) opened on Broadway.

Bobby is a bit of an enigma, surrounded by well-meaning friends -- married couples all -- but unsure of why he isn't part of a couple himself. He dates. He is apparently a good friend, given how involved all the other couples are in his life. But Bobby... He has trouble figuring out whether sharing his life with another person is good, bad or indifferent. Is it better to let someone else move in, to hold you too close, hurt you too deep, sit in your chair, ruin your sleep? Or is being alone just being alone, not alive? That's what Bobby can't quite get past as his birthday looms.

In honor of Company's anniversary, TheaterMania has collected together a sampling of performances of "Being Alive," the stirring anthem that closes the show and asks all the questions listed above.

TheaterMania has Dean Jones, the original, Neil Patrick Harris, from the recent filmed New York Philharmonic concert version of Company, Raul Esparza, perhaps the most powerful Bobby, Adrian Lester, an English Bobby who acted the heck out of the role, Julian Ovenden, another Brit with a fabulous voice who performed it for the BBC Proms, divas Patti Lupone and Bernadette Peters, and John Barrowman, who offers one of the prettiest performances. It's a pretty fab collection strung together like that, even if it doesn't include one of my favorite interpretations of the song -- Norm Lewis's Sondheim on Sondheim "Being Alive."


You can listen to Lewis's version of "Being Alive" above or here on Youtube before you go off and buy the Sondheim on Sondheim cast album and then hunt down full versions of all those other "Being Alives." It just doesn't get better than that.

Blow out the candles, Robert. Make a wish!

Stephen Adly Guigis Wins Pulitzer for BETWEEN RIVERSIDE AND CRAZY


Between Riverside and Crazy, Stephen Adly Guirgis' darkly comic play that had runs at both the Atlantic Theater Company and the off-Broadway Second Stage Theatre in New York, has been named the winner of the 2015 Pulitzer Prize for Drama, awarded to "a distinguished play by an American author, preferably original in its source and dealing with American life."

The Pulitzer committee describes Guirgis' play as "a nuanced, beautifully written play about a retired police officer faced with eviction that uses dark comedy to confront questions of life and death." Its New York production earned multiple Drama Desk, Outer Critics Circle and Lucille Lortel Award nominations, including nods for the play, lead actor Stephen McKinley Henderson, director Austin Pendleton, featured actress Liza Colon-Zayas, featured actor Victor Almanzar and scenic designer Walt Spangler.

Between Riverside and Crazy will be part of Steppenwolf Theater's 2015-16 season with a production scheduled to open in Chicago in June, 2016. Yasen Peyankov will direct a cast that includes James Vincent Meredith and Tim Hopper. Last year's Pulitzer recipient was Annie Baker for The Flick, which will also appear in Steppenwolf's 2015-16 season.

Guirgis's previous plays include The Motherfucker with the Hat, which played on Broadway with a cast that included Chris Rock and Bobby Cannavale, Our Lady of 121st Street, The Last Days of Judas Iscariot and Jesus Hopped the A Train. Guirgis also made a cameo appearance in Birdman, last year's Oscar-winning Best Picture.

The other finalists for this year's Pulitzer Prize for Drama were Jordan Harrison's Marjorie Prime, described as "a sly and surprising work about technology and artificial intelligence told through images and ideas that resonate," and Suzan-Lori Parks' Father Comes Home from the Wars (Parts 1, 2, 3), "a distinctive and lyrical epic about a slave during the Civil War that deftly takes on questions of identity, power and freedom with a blend of humor and dignity."

The Pulitzer Prize for Drama comes with a $10,000 check to the winning playwright.

The New List of Nominees for Chicago's Non-Equity Jeff Awards


When the Joseph Jefferson Awards Committee first announced their non-Equity nominees for excellence in Chicago theatre, the Hypocrites and their production of All Our Tragic, an adaptation of 32 Greek tragedies into one epic 12-hour work, showed up all over the lists. But then Hypocrites artistic director Sean Graney discovered that the company had been working under an Equity "CAT-N" contract during the important period, making All Our Tragic ineligible for the non-Equity part of the Jeff Awards. Graney self-reported and the nominations were rescinded, with other nominees taking the slots in some categories.

And that is why there is now a new list of non-Equity nominees for the 2015 Jeff Awards. Because All Our Tragic was so well-received, with some critics even touting it for the Pulitzer Prize, there are high hopes the production will now make an appearance when the Equity Jeff nominations are announced.

But in the meantime, these are the artists and productions vying for the non-Equity Jeffs, which will be handed out in a ceremony held at Park West, 322 West Armitage Avenue in Chicago, on Monday, June 8:

Production, Play
Exit Strategy, Jackalope Theatre Company
Men Should Weep, Griffin Theatre Company
Monstrous Regiment, Lifeline Theatre
Ruined, Eclipse Theatre Company
The Jungle, Oracle Productions

Production, Musical
Assassins, Kokandy Productions
Jesus Christ Superstar, Theo Ubique Cabaret Theatre
The Full Monty, Kokandy Productions
The Wild Party, Bailiwick Chicago
Titanic, Griffin Theatre Company

Production, Revue
A Kurt Weill Cabaret, Theo Ubique Cabaret Theatre
Always...Patsy Cline, Theo Ubique Cabaret Theatre

Director - Play
Gus Menary, Exit Strategy, Jackalope Theatre Company
Jonathan Berry, Balm in Gilead, Griffin Theatre Company
Matt Foss, The Jungle, Oracle Productions
Robin Witt, Men Should Weep, Griffin Theatre Company
Steve Scott, Intimate Apparel, Eclipse Theatre Company

Director, Musical or Revue
Brenda Didier, The Wild Party, Bailiwick Chicago
Fred Anzevino, Always...Patsy Cline, Theo Ubique Cabaret Theatre
Linda Fortunato, Parade, Bohemian Theatre Ensemble
Rachel Edwards Harvith, Assassins, Kokandy Productions
Scott Weinstein, Titanic, Griffin Theatre Company

Ensemble 
Assassins, Kokandy Productions
Balm in Gilead, Griffin Theatre Company
Exit Strategy, Jackalope Theatre Company
The Jungle, Oracle Productions
The Wild Party, Bailiwick Chicago
Titanic, Griffin Theatre Company

Actor in a Principal Role, Play 
Aaron Kirby, Geezers, Redtwist Theatre
Aaron Kirby, Red, Redtwist Theatre
Andre Teamer, Ruined, Eclipse Theatre Company
Joseph Wiens, Look Back in Anger, Redtwist Theatre
Kevin Cox, La Bete, Trap Door Theater
Michael Manocchio, Mike and Seth, the side project, the side project, the side project
Steve O'Connell, Dead Accounts, Step Up Productions

Actor in a Principal Role, Musical
Garrett Lutz, The Full Monty, Kokandy Productions
Jim DeSelm, Parade, Bohemian Theatre Ensemble
Matthew Keffer, The Wild Party, Bailiwick Chicago
Maxwell J. DeTogne, Jesus Christ Superstar, Theo Ubique Cabaret Theatre
Sam Button-Harrison, The Book of Merman, Pride Films and Plays

Actress in a Principal Role, Play
Ashleigh Lathrop, Balm in Gilead, Griffin Theatre Company
Kelly Owens, Intimate Apparel, Eclipse Theatre Company
Kendra Thulin, The Vandal, Steep Theatre Company
Lori Myers, Men Should Weep, Griffin Theatre Company
Stephanie Chavara, Charles Ives, Take Me Home, Strawdog Theatre Company
TayLar, Ruined, Eclipse Theatre Company

Actress in a Principal Role, Musical or Revue
Callie Johnson, Carrie, Bailiwick Chicago
Christina Hall, Always...Patsy Cline, Theo Ubique Cabaret Theatre
Courtney Jones, The Next Thing, Signal Ensemble Theatre
Danni Smith, The Wild Party, Bailiwick Chicago
Sarah Bockel, Parade, Bohemian Theatre Ensemble

Actor in a Supporting Role, Play
Jack Miggins, The Vandal, Steep Theatre Company
Matthew Klingler, All My Sons, Raven Theatre
Nate Whelden, Stupid Fucking Bird, Sideshow Theatre Company
Shane Kenyon, If There Is I Haven't Found It Yet, Steep Theatre Company
Will Casey, Vieux Carre, Raven Theatre

Actor in a Supporting Role, Musical
Donterrio Johnson, Jesus Christ Superstar, Theo Ubique Cabaret Theatre
Eric Lindahl, Assassins, Kokandy Productions
Jason Richards, Assassins, Kokandy Productions
Justin Adair, Titanic, Griffin Theatre Company
Nick Graffagna, Ordinary Days, BoHo Theatre
Scott Danielson, The Full Monty, Kokandy Productions

Actress in a Supporting Role, Play
Annie Prichard, Another Bone, Redtwist Theatre
Cyd Blakewell, Balm in Gilead, Griffin Theatre Company
Ginneh Thomas, The Submission, Pride Films and Plays
Jen Short, All My Sons, Raven Theatre
JoAnn Montemurro, Vieux Carre, Raven Theatre

Actress in a Supporting Role, Musical or Revue
Caron Buinis, The Full Monty, Kokandy Productions
Courtney Jones, Ordinary Days, BoHo Theatre
Danni Smith, Always...Patsy Cline, Theo Ubique Cabaret Theatre
Danni Smith, Jesus Christ Superstar, Theo Ubique Cabaret Theatre
Hannah Dawe, Ordinary Days, BoHo Theatre
Katherine I. Condit, Carrie, Bailiwick Chicago

New Work
Erik Gernand, A Place in the Woods, The Fine Print Theatre Company
Ike Holter, Exit Strategygy, Jackalope Theatre Company
Joe Zarrow, Principal Principle, Stage Left Theatre and Theatre Seven of Chicago
Ronan Marra and Jon Steinhagen, The Next Thing, Signal Ensemble Theatre

New Adaptation
Chris Hainsworth, Monstrous Regiment, Lifeline Theatre
Matt Foss, The Jungle, Oracle Productions

Choreography
Brenda Didier, Jesus Christ Superstar, Theo Ubique Cabaret Theatre
Brenda Didier, The Wild Party, Bailiwick Chicago
Daniel Spagnuolo, The Full Monty, Kokandy Productions
Steve Love, Caged Dames, Hell in a Handbag Productions

Music Direction
Aaron Benham, Always...Patsy Cline, Theo Ubique Cabaret Theatre
Aaron Benham, The Wild Party, Bailiwick Chicago
Elizabeth Doran, Titanic, Griffin Theatre Company
Jeremy Ramey, A Kurt Weill Cabaret, Theo Ubique Cabaret Theatre
Jeremy Ramey, Jesus Christ Superstar, Theo Ubique Cabaret Theatre

Original Music in a Play
James Sugg, Stupid Fucking Bird, Sideshow Theatre Company
John Szymanski, One Came Home, Lifeline Theatre
Nicholas Tonozzi, Circle-Machine, Oracle Productions
Nicholas Tonozzi and Sam Allyn, The Jungle, Oracle Productions

Scenic Design
Courtney O'Neill, Men Should Weep, Griffin Theatre Company
Dan Stratton, Balm in Gilead, Griffin Theatre Company
Jeffrey D. Kmiec, Dividing the Estate, Raven Theatre Ray Toler, Vieux Carre, Raven Theatre
Zachary Gipson, Caged Dames, Hell in a Handbag Productions

Lighting Design
Brian Hoehne, The Wild Party, Bailiwick Chicago
Laura Wiley, Dr. Jekyll and Mr. Hyde, Idle Muse Theatre Company
Maya Michele Fein, A Kurt Weill Cabaret, Theo Ubique Cabaret Theatre
Sean Mallary, The Arsonists, Strawdog Theatre Company

Costume Design
Rachel Lambert, Intimate Apparel, Eclipse Theatre Company
Rachel Sypniewski, La Bete, Trap Door Theater
Rachel Sypniewski, Titanic, Griffin Theatre Company
Theresa Ham, The Wild Party, Bailiwick Chicago

Sound Design
Danny Rockett, Cookie Play, Trap Door Theater
Heath Hays, The Sweeter Option, Strawdog Theatre Company
Karli Blalock, Red, Redtwist Theatre
Sarah Espinoza, The Arsonists, Strawdog Theatre Company

Artistic Specialization
Musical Arrangements, Aaron Benham, A Musical Tribute to the Andrews Sisters, Theo Ubique Cabaret Theatre
Projection Design, Anthony Churchill, Ordinary Days, BoHo Theatre

Tuesday, April 28, 2015

Time for the Tony Nominations!

It's an exciting time of year for theater fans. Time for the Tony nominations!

The annual Antoinette Perry Awards for Excellence in Theatre honor the best shows, performers and designers on Broadway. Earning nominations has helped plays of the past gain visibility, while getting a performance slot on the awards show has helped sell tickets for many a musical.

So whose show will reign supreme this year? The way this year's nominations have fallen into place, coming-of-age musical Fun Home, film-to-stage musical An American in Paris, Shakespeare spoof Something's Rotten!, revivals of The King and I and Skylight, and British imports The Curious Incident of the Dog in the Night-Time and Wolf Hall are leading the pack.

Here's the complete list of nominations:

BEST PLAY
The Curious Incident of the Dog in the Night-Time
Disgraced
Hand to God
Wolf Hall Parts One & Two

BEST MUSICAL
An American in Paris
Fun Home
Something's Rotten
The Visit

BEST REVIVAL OF A PLAY
The Elephant Man
Skylight
This Is Our Youth
You Can't Take It With You

BEST REVIVAL OF A MUSICAL
The King and I
On the Town
On the Twentieth Century

BEST BOOK OF A MUSICAL
Craig Lucas, An American in Paris
Lisa Kron, Fun Home
Karey Kirkpatrick and John O’Farrell, Something's Rotten!
Terrence McNally, The Visit

BEST ORIGINAL SCORE
Jeanine Tesori (music) and Lisa Kron (lyrics), Fun Home
Sting (music and lyrics), The Last Ship
Wayne Kirkpatrick and Karey Kirkpatrick (music and lyrics), Something Rotten!
John Kander (music) and Fred Ebb (lyrics), The Visit

BEST PERFORMANCE BY AN ACTOR IN A LEADING ROLE IN A PLAY
Steven Boyer, Hand to God 
Bradley Cooper, The Elephant Man
Ben Miles, Wolf Hall Parts One & Two
Bill Nighy, Skylight
Alex Sharp, The Curious Incident of the Dog in the Night-Time 

BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE IN A PLAY
Geneva Carr, Hand to God
Helen Mirren, The Audience
Elisabeth Moss, The Heidi Chronicles
Carey Mulligan, Skylight 
Ruth Wilson, Constellations

BEST PERFORMANCE BY AN ACTOR IN A LEADING ROLE IN A MUSICAL
Michael Cerveris, Fun Home
Robert Fairchild, An American in Paris
Brian d’Arcy James, Something Rotten! 
Ken Watanabe, The King and I 
Tony Yazbeck, On the Town

BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE IN A MUSICAL  
Kristin Chenoweth, On the Twentieth Century
Leanne Cope, An American in Paris
Beth Malone, Fun Home
Kelli O’Hara, The King and I 
Chita Rivera, The Visit

BEST PERFORMANCE BY AN ACTOR IN A FEATURED ROLE IN A PLAY
Matthew Beard, Skylight 
K. Todd Freeman, Airline Highway
Richard McCabe, The Audience 
Alessandro Nivola, The Elephant Man
Nathaniel Parker, Wolf Hall Parts One & Two
Micah Stock, It’s Only a Play

BEST PERFORMANCE BY AN ACTRESS IN A FEATURED ROLE IN A PLAY
Annaleigh Ashford, You Can’t Take It with You
Patricia Clarkson, The Elephant Man 
Lydia Leonard, Wolf Hall Parts One & Two 
Sarah Stiles, Hand to God 
Julie White, Airline Highway

BEST PERFORMANCE BY AN ACTOR IN A FEATURED ROLE IN A MUSICAL
Christian Borle, Something Rotten! 
Andy Karl, On the Twentieth Century 
Brad Oscar, Something Rotten! 
Brandon Uranowitz, An American in Paris
Max von Essen, An American in Paris 

BEST PERFORMANCE BY AN ACTRESS IN A FEATURED ROLE IN A MUSICAL
Victoria Clark, Gigi 
Judy Kuhn, Fun Home
Sydney Lucas, Fun Home 
Ruthie Ann Miles, The King and I 
Emily Skeggs, Fun Home

BEST DIRECTION OF A PLAY
Stephen Daldry, Skylight
Marianne Elliott, The Curious Incident of the Dog in the Night-Time
Scott Ellis, You Can't Take It With You
Jeremy Herrin, Wolf Hall Parts One & Two
Moritz von Stuelpnagel, Hand to God

BEST DIRECTION OF A MUSICAL
Sam Gold, Fun Home
Casey Nicholaw, Something Rotten!
John Rando, On the Town
Bartlett Sher, The King and I
Christopher Wheeldon, An American in Paris

BEST CHOREOGRAPHY
Joshua Bergasse, On the Town
Christopher Gattelli, The King and I
Scott Graham and Steven Hoggett, The Curious Incident of the Dog in the Night-Time
Casey Nicholaw, Something Rotten!
Christopher Wheeldon, An American in Paris

BEST ORCHESTRATIONS
Christopher Austin, Don Sebesky and Bill Elliott, An American in Paris
John Clancy, Fun Home 
Larry Hochman, Something Rotten! 
Rob Mathes, The Last Ship

BEST SCENIC DESIGN OF A PLAY
Bunny Christie and Finn Ross, The Curious Incident of the Dog in the Night-Time
Bob Crowley, Skylight 
Christopher Oram, Wolf Hall Parts One & Two
David Rockwell, You Can’t Take It with You 

BEST SCENIC DESIGN OF A MUSICAL
Bob Crowley and 59 Productions, An American in Paris
David Rockwell, On the Twentieth Century
Michael Yeargan, The King and I 
David Zinn, Fun Home

BEST COSTUME DESIGN OF A PLAY
Bob Crowley, The Audience 
Jane Greenwood, You Can’t Take It with You
Christopher Oram, Wolf Hall Parts One & Two
David Zinn, Airline Highway

BEST COSTUME DESIGN OF A MUSICAL
Gregg Barnes, Something Rotten! 
Bob Crowley, An American in Paris 
William Ivey Long, On the Twentieth Century 
Catherine Zuber, The King and I

BEST LIGHTING DESIGN OF A PLAY
Paule Constable, The Curious Incident of the Dog in the Night-Time 
Paule Constable and David Plater, Wolf Hall Parts One & Two 
Natasha Katz, Skylight 
Japhy Weideman, Airline Highway

BEST LIGHTING DESIGN OF A MUSICAL
Donald Holder, The King and I
Natasha Katz, An American in Paris
Ben Stanton, Fun Home
Japhy Weideman, The Visit

In other Tony news, Tommy Tune will receive the special Tony Award for Lifetime Achievement in the Theatre, while  the Cleveland Play House will be awarded the Regional Theatre Tony.

Other special Tony honors will be given to composer Stephen Schwartz, recipient of the Isabelle Stevenson Tony Award, and to John Cameron Mitchell, who wrote and starred in Hedwig and the Angry Inch, now receiving a Tony for his return to that show. Tony Awards for Excellence in Theatre will be presented to press agent Adrian Brian-Brown; Gene O'Donovan, founder of the Hudson Scenic Studio; and scenic designer and painter Arnold Abramson.

The Tony Awards will be broadcast on Sunday, June 7 on CBS. For all the Tony news you need now and then, check out their official website.

Humana Festival, Part 3: Erin Courtney's I WILL BE GONE

The premise behind Erin Courtney's I Will Be Gone is moody and evocative, creating mysteries and intrigue before the first line.

Teenage Penelope, called Pen for short, has come to California to live with her aunt following the death of her mother. Aunt Jo lives very near an abandoned mining town, Bodie, a real place where the dilapidated remains of old buildings are protected as a historic site.

Pen eventually gets a job as a tour guide in Bodie, coming a little too close to some of the ghosts -- of her mother's past and the town's past -- who haunt the ghost town. As tensions rise, Jo runs into her old love, now the town's mayor, a gawky teenage boy starts hanging around Pen, and a homeless man the other townspeople protect begins to get a little more erratic.

It's all intriguing as you find yourself puzzling out who's connected to whom in what way, what happened in the past, and how Courtney's story will unspool. The play's dramatic quotient is aided immeasurably by Andrew Boyce's scenic design, with a whole miniature ghost town that descends from the rafters when it's needed. It's detailed and spooky at the same time, giving director Kip Fagan lots of nooks and crannies to play with as actors crawl underneath the level that carries the ghost town.

Ultimately, however, the script doesn't support its characters as strongly as the set does, as storylines and characters end up more vague than compelling, more fluky than fully developed. The one exception is the character of Jim, the homeless man, brought to life nicely by Triney Sandoval. The others all seem like ciphers, like character fragments.

What lingers in your mind is Boyce's haunted, haunting set. For I Will Be Gone to resonate, its ghosts need to become more substantial. 

Monday, April 20, 2015

GLASS MENAGERIE Shines at Heartland


Tennessee Williams' The Glass Menagerie may be over 70, but it still seems young and fresh on the stage. There's a reason for that. It lies in Williams' central conflict, with a mother so lost in what she wants for her children that she doesn't see who they are or what they want. The parent/child impasse, the desperation, the inability to understand... It's achingly real.

Because of that, Amanda Wingfield, the mother in question, has been a dream role for generations, as has her son Tom, this memory play's unhappy narrator and a representation of Williams himself. They seem like real people who could be plucked off any family tree.

In the context of the play, the Wingfield family, such as it is, has fallen on hard times. Dad decamped years ago, and the three remaining Wingfields -- Amanda, Tom and daughter Laura, a fragile, shy young woman -- live in a poor apartment in St. Louis. Tom supports the family with his income from a drab job in a shoe factory, even as he dreams of becoming a writer. His mother pushes him to make more of himself, but she also constantly interrupts when he tries to write. As she repeats stories of her own girlhood as a Southern belle, Amanda is desperate to find "gentleman callers" for her daughter, who becomes ill at the very idea.

Don LaCasse, the head of the MFA directing program at Illinois State University, makes this Glass Menagerie moody and a little misty, as befits a memory play. He is aided in that effort by John Stark's beautiful set, framed in brick and lace to keep the action constricted and confined, with a tricky little corner fire escape that affords Tom a breath of fresh air. Cassie Mings' lighting design is just as impressive, moving the actors from shadow to candlelight and darkness and providing a really lovely final tableau.

Connie de Veer leads the cast as Amanda, offering a fully-drawn portrayal of a woman who expected so much more from her life than where she is now. It's not easy to make this domineering, narcissistic woman sympathetic, but de Veer finds a way. We can see her desperation and her lost dreams on her face and in her eyes, no matter what the facade, and the touches of humor in the performance only serve to underline that.

Joe Faifer is strong and equally compelling as Tom, who loves his sister -- and his mother -- even as he chokes on the stranglehold they have on him. His Tom is a little rough around the edges, someone we can see bolting to become a merchant marine, with a command of language that tells us everything we need to know about Tennessee the writer. The layers and the contradictions are all there in Faifer's performance.

As Laura, Elsa Torner is lovely and delicate, visibly shattering at even a hint of having to make her way in the world, breaking our hearts every time she tries to make herself heard, while Patrick Riley's ebullient Gentleman Caller is a welcome counterpoint with his boyish enthusiasm and can-do spirit.

The beauty of this production is that each of the four shows dashed dreams and failed expectations, giving strong support to each corner of Williams' play. After we've met them, we want more for each of them. It's the eternal human dilemma, right there in front of our eyes.

THE GLASS MENAGERIE
By Tennessee Williams

Heartland Theatre Company

Director: Don LaCasse
Assistant Director: Megan Hoepker
Scenic Designer: John Stark
Assistant Scenic Designer/Charge Artist/Properties Master: Jen Kazmierczak
Costume Designer: Lauren Lowell
Lighting Designer: Cassie Mings
Sound Designer: Shannon O'Neill
Assistant Sound Designer: Mat Piotrowski
Stage Manager: Matthew Harter

Cast: Connie de Veer, Joseph Faifer, Patrick Riley and Elsa Torner.

Running time: 2:10, including one 10-minute intermission.

Remaining performances: April 23, 24, 25 and 26, 2015

For performances times and ticket information, click here.