by Rhonda Walker

Court Theatre’s staging of Home is a stunner from beginning to end.  This powerful story of one man’s survival and growth, told against the backdrop of the social and political upheaval of the 1960’s and 70’s, will have you alternatively laughing and bordering on tears.  That man, Cephus Miles, is a farmer’s son whose satisfying life of hard work on the family farm takes a turn from the comfortable with the deaths of his grandfather and uncle, and his subsequent refusal to serve in Vietnam. His journey from his home in North Carolina, to prison, to survival on urban streets, and home again, is a compelling one and touching one.

The story is presented by Cephus and two women who act as narrators and also play  various characters in Cephus’ life. Ashley Honore and Tracey Bonner are brilliant as these two women, morphing over and over again into characters which range from Pattie Mae, the love of Cephus’ life, to a callous welfare worker to a larger-than-life reverend. Kamal Angelo Bolden (Chad Deity in last season’s “The Elaborate Entrance of Chad Deity)  lends depth and credibility to the part of Cephus, convincing you of his incredulity  and despair as events beyond his control unfold.

Ron OJ Parson’s production is fresh and the play superbly acted. At times, Honore and Bonner’s sometime rhythmic descriptions while narrating take on a poetic tone (think Def Poetry Jam) that lulls you along in the story, only to be abruptly draw you back into the present as they shift gears into yet another character.

This is a gorgeous story of hope, love and….home -that  special place where we feel safe and comforted.  Perfect for the holidays, Court hits a home run that is worth leaving yours to see.

Through December 12, 2010 at Court Theatre, 5535 S. Ellis, Chicago. For more information visit www.CourtTheatre.org.

by Rhonda Walker

Profiles Theatre continues its 22^nd season with the world premiere of Will Kern’s Kid Sister. Billed as a modern dime novel, the play tells the story of Demi Williams, the kid sister in question, and Cassius, her older brother who recently was released from prison.  If the term “dime novel” equates with lurid, then no description could be more apt.

Demi is a 19-year-old single mother, impregnated by her ex-boyfriend Kendall, a violent meth addict who is stalking her. Demi is a true product of reality television culture, naming her child Brittany Fergie and giving voice to her dreams in a professed belief that she is the next American Idol.  In this regard, she focuses solely on what American Idol can provide in terms of lifestyle, overlooking the hard work and training that might actually support her dreams. She is the definition of narcissism; oblivious to her child and her current mild-mannered boyfriend, she buys potato chips and drugs in lieu of food for her infant. She also attempts to draw Cassius, who is desperately trying to re-direct his life, into a plan to scare off Kendall.

Initially, Demi is a slightly sympathetic character despite the fact that she is wholly out-of-control. Kern draws reference to the early deaths of Demi’s mother and alcoholic father, inferring reason for her narcissism and over-exuberant attachment to her brother, Cassius, and in weaving Kendall’s incessant threats into the background, Kern gives some plausibility to her unhinged behavior. However, as the play progresses, it becomes apparent that Demi is a born sociopath, destroying anyone who comes in contact with her in spectacular fashion.

As always, the Profiles ensemble brings it all to the table. Darryl Cox is brilliant as Cassius.  His performance is so nuanced that it is heartbreaking-ly real. Allison Torem (Demi) is Profiles newest member.  If this performance is any indication she should be here to stay, rising to the intensity level that the Company’s performances seemingly dictate.

This is a startling and unrelentingly violent play which is not for the faint of heart. If you liked Killer Joe, this is the play for you. Or, if you need relief from the upcoming saccharin-infused holiday season, this should do it.

Running through December 19, 2010 at Profiles Theatre.  Go to www.profilestheatre.org for more information.

by Rhonda Walker

Lookingglass imprints its signature style on Amanda Dehnert’s world-premiere adaptation of   the classic tale of Peter Pan. The sheer physicality of this production brings the story to life like no other. Lookingglass is known for its aerial antics and this story makes perfect use of those talents. The company’s creative use of everyday items as props invites you to access your inner child, returning to a day when mundane items took on new meaning with a little imagination. Hooks’ ship is scaffolding, industrial lighting becomes stars and a metronome serves as the crocodile, all with a delightful realism that lands you smack-dab back in the day of blanket forts and broomstick horses. Aislinn Mulligan plays Tinkerbell with such a wild abandon that you remember what it was like to be five again and throwing yourself into life without caution.

The Lookingglass ensemble is as adept at drama as they are at physical play, and it is these qualities that take the play out of the completely childish realm where so many prior adaptations have lingered. This version digs deep into the soulful side of the story.  It is one that asks the hard questions about home, family and growing up that so many productions skip in favor of pandering to a larger audience.

Therefore, before you go out and get tickets for the kids in your life, think back to the story itself. There are dark moments and the Company does not hold back. The pirate costumes are startlingly scary and the aftermath of Lily’s death is gruesome. Because the play digs as deep as it does, this one is most suitable for kids 12 and up. The play is so captivating, and ultimately ends well, making it suitable for younger children with parental guidance.

In the hands of this company, this is a lovely tale to re-visit. Judging from the audience reaction, you will believe…..

Running through December 12, 2010 at Lookingglass Theatre, for ticket information and show times, go to www.Lookingglasstheatre.org.

Pictured above: Photos by Sean Williams

by Rhonda Walker

Teatro Luna begins its 10^th season with a journey of magical realism in Diane Herrara’s Lullaby. The play is a creation in progress,  born of the company’s Incubation Series which  supports new  Latina  theatre talent.

Set in the dreams of a young woman in an apparent coma, the cast smartly explores themes of familial love and letting go, interspersed with dream-like sequences of mythic creatures such as mermaids and aliens. Cleverly staged in spare fashion with few cast members, this all-female group convincingly morphs into each character, resulting in a work that alternates between funny and touching.  All this against the background of Andrew Wheatley’s compelling sound design makes for a fantasy of a play grounded in the reality of death.

This play has incredible staging potential and is one to see now,  as well as in the future as it develops. Through October 17, 2010 at the Victory Gardens Greenhouse.  Go to www.teatroluna.org for more information.

Michelle L’amour brings her jaw-dropping burlesque, “Big Sexy Show” to Mayne Stage Saturday, October 9 with shows at 8 p.m. and 10:30 p.m.

Titleholder of Miss Exotic World 2005, L’amour has performed her stripteases for upwards of 40 million people on NBC’s America’s Got Talent and Showtime’s Sexual Healing , along with International performances from Canada to Brazil. She has her own successful book of photographs called “The Most Naked Woman,” and directs and stars in instructional videos called “Tools of the Tease.” Her Bix Sexy Show brings together world-class performers representing countries and disciplines from Egypt, Britian, Israel, Germany and America. Guests will see sexy dance numbers, eye-popping illusions, death-defying vaudeville acrobatics and, of course, show-stopping solo performances from L’amour herself.

Attendees must be ages 21 and older. Tickets for Michelle L’amour’s Big Sexy Show are $15 and are available at www.maynestage.com or by calling 773.381.4554.

by Rhonda Walker

Chicago Shakespeare Theater opens the current season with a serviceable production of Romeo and Juliet. The story is uber-familiar, having been staged over and over in everything from West Side Story to Romeo Must Die. This telling finds the Capulet and Montague boys in (mostly) modern dress on a (mostly) modern stage, with the initial fight scene cleverly starting out with pieces of overturned saw horses and then turning to the more traditional sword play. It is in this, as well as other details, that the staging is inconsistent. The context is neither purely modern nor purely traditional, resulting in a production that is somewhat visually incongruous. The swordplay seems out of touch with the modern costumes as does some of the costuming of the characters seem out of touch with those costumes worn by the young men of the Capulet and Montague clans.

That said, Australian Director Gale Edwards draws impressive performances from each of her actors, making this a production worth seeing. Jeff Lillico and Joy Farmer-Clary, are lovely in the title roles bringing a realistic and truly youthful exuberance to their parts that conveys the feverish intensity and impetuous choices of young love. They do so with a clarity and passion that is remarkable, one that finds Juliet convincingly pining on her balcony like a modern, love struck teenager. Ariel Shafir as Mercutio lends his part the true roguish quality it deserves. With a no holds barred sexuality, he is alternately fun, funny and disdainful, truly conveying his character’s louche qualities.  John Judd is a truly menacing Capulet—his scene at the celebration which finds his sword drawn at Tybalt is portrayed with a breathtaking intensity that mesmerizes.

The story is, of course, timeless and this interpretation compelling. With a cast this strong, audiences are sure to enjoy this production. Running through November 21, 2010,  go to www.chicagoshakes.com for more information.

by Rhonda Walker

A Red Orchid Theatre opens its 2010-2011 season with the Chicago premiere of Paul Mullin’s Louis Slotin Sonata. Slotin was a Canadian atomic scientist who,  with a debated slip of the hand in May of 1946, began a fission reaction which released  a  burst of radiation that  ultimately killed him nine days later. The chronology of Slotin’s horrifying death from radiation sickness, told in excruciating detail,  is the compelling focus of a  story also examining  the larger ethical issues of atomic weapons.

As Slotin lays in his hospital bed, his doctor, nurse, father and colleagues float in and out of the scene,  both in Louis’ reality and in his dreams.  His doctor and nurse expound on his deteriorating condition in explained medical detail ,  his  horrified and stunned colleagues  bravely attempt  to deal with the situation,  and Oppenheimer and Einstein appear  in dream sequences that, while somewhat uneven, remain as interesting subtext  expounding  on the larger themes.

Steve Shine gives a compelling performance as  Slotin. He walks a fine line between horrifyingly funny and contemplative while deteriorating physically.  William Norris is  touching as Slotin’s father, alternating between dignity and grief in an all too convincing performance. His recitation of the Kaddish, the Jewish prayer for the dead,  against the backdrop of a spoken autopsy of Louis’ body, is a tear-jerker. This wide ranging play–touching on the  personal issue of death, the larger issue of atomic energy, political use and misuse, science and religion–truly is a sonata.  Simply put, it sings.

This is a stunning,  intelligent and engaging play that is not to be missed.   In a world gone awry, Louis Slotin Sonata should be required watching for  all.  Through October 24, 2010 at A Red Orchid Theatre. Go to  www.aredorchidtheatre.org for tickets and showtimes.