Performing Arts

Friday, February 24, 2012

Margaret: Immature

Posted by Tony Adler on 02.24.12 at 09:00 AM

Anna Paquin in Margaret
  • Anna Paquin in Margaret
This week the Bleader presents a series of commentaries on Kenneth Lonergan's drama Margaret (2011), which screens through Thursday at Gene Siskel Film Center.

As Reader movie critic J.R. Jones noted in his review, the original version of Margaret was much longer than the one that reached theaters. Writer/director Kenneth Lonergan was forced to cut the running time down to 149 minutes in order to get it released, and it's interesting to speculate on what exactly is missing from the tale of Lisa Cohen, a privileged Manhattan teen who goes a little mad after inadvertently causing a bus accident that kills a woman. Jones points, convincingly, to scenes involving Matt Damon as Mr. Aaron, Lisa's far too understanding math teacher. I tend to think some of the cuts must've come out of a subplot involving Lisa's divorced mom, Joan, and her courtly Colombian boyfriend, Ramon. Guilt and mourning are heavy presences in Margaret, and Joan has good reason to feel both when it comes to Ramon. In effect, he's her bus accident. And yet the scene in which she addresses the wreck directly seems to have been snipped from the movie.

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Thursday, February 23, 2012

If you liked Manual Cinema's Ada/Ava . . .

Posted by Tony Adler on 02.23.12 at 02:03 PM

Fjords
  • Fjords
Every once in a while you see something that makes you go, "Hunh. That's new." It'll have lots of elements you recognize, but also some that seem entirely strange, and the whole thing will unwind in a way that catches not only your attention but your breath.

That's how I felt on seeing Manual Cinema's Ada/Ava last summer.

All shadow-puppet plays necessarily look at least a little bit alike, so it was familiar in that respect. And the subject matter—an exploration of what happens when inseparable old twins are finally parted by death—seemed redolent, picking up on ingrown-sibling lore that runs from the pixilated sisters in Mr. Deeds Goes to Town through the murderous ones in Arsenic and Old Lace to the weird ones in Macbeth (with a side trip to the hoarding Collyer brothers of books, plays, movies, and reality). What took me by surprise was the Dante-esque journey undertaken—part willingly, but part not—by the devastated surviving twin, Ada, as she tried to master her loss. A visit to a traveling carnival yielded twisted images and false exits worthy of the hall-of-mirrors shoot-out in The Lady From Shanghai.

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The latest Reader performing arts reviews

Posted by Sharon Lurye on 02.23.12 at 11:00 AM

Rush Pearson in Diary of a Madman
Our latest performing arts reviews are here, hot off the real and virtual presses—but only a select few are positive enough to warrant a Reader recommendation. According to Tony Adler, you can't go wrong with Steppenwolf Theatre's Garage Rep this year: all three entries are worth seeing (though for entirely different reasons). And Laura Molzahn suggests you make Molly Shanahan/Mad Shak's The Delicate Hour your dance fix for the week.

Also recommended are DreamLogic Theatrework's Elder Gods, a promenade-style adaptation of H.P. Lovecraft's At the Mountains of Madness; the Actors Gymnasium's sweet Lost and Found: A Recycled Circus, featuring an outstanding cast of adults, teens, and kids; and They Are Dying Out, Trap Door Theatre's version of a 1973 satire by Austrian provocateur Peter Handke. The intimacy of a black-box set makes for great theater in Mary-Arrchie's revival of the 2008 Tracy Letts comedy Superior Donuts and (Re)discover Theater's Hamlet, which amps up the classic play's sex appeal by emphasizing the relationship between the melancholy Dane and Ophelia. (Hurry if you want to see Hamlet: it closes Saturday.)

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Friday, February 17, 2012

Steppenwolf expands

Posted by Deanna Isaacs on 02.17.12 at 02:43 PM

steppenwolf.jpg
According to a report in Chicago Real Estate Daily, Steppenwolf Theatre has purchased its next-door neighbor, an 18,000-square-foot Ethan Allen furniture store at 1700 N. Halsted. Steppenwolf executive director David Hawkanson declined to comment on the story, which pegs the purchase price at $6.4 million. According to a Steppenwolf spokesperson, "things are still being finalized."

And since CRED reporter Dave Matthews took the opportunity to mention the David Margulies play, "Time Stands Still," running at Steppenwolf through May 13 and the subject of numerous critical raves, here's a question: Am I the only audience member who found the characters, the story, and the pacing insufferable? Well, no—here's Kerry Reid's Reader review.

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The Toronto Chicago Cultural Plan

Posted by Deanna Isaacs on 02.17.12 at 01:19 PM

Two things were obvious at Wednesday night’s jam-packed town hall meeting to gather public input on the city’s new cultural plan. First, the Chicago arts community (more than 300 of whom showed up) is aching for a new version of the 26-year-old plan—one that would have teeth. And second, the consultants are in charge.

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Thursday, February 16, 2012

Have you heard of Ron Shock?

Posted by Tony Adler on 02.16.12 at 04:16 PM

Junior Stopka
  • Junior Stopka
Here's a last-minute way to do good by having fun: local comics Drew Frees, Mike Lebovitz, and Junior Stopka (who tied with Beth Stelling as the Reader's pick for best stand-up of 2010) will be featured tonight in a benefit for Ron Shock. A southern-born comedian/storyteller, Shock's been diagnosed with urethral cancer—which sounds horrific even before you learn it's rare and aggressive.

I've got to admit I never heard of Shock, legend though he's supposed to be, until I got the notice about the benefit this afternoon. But I've been watching videos of him since then. Telling hip jokes and tales in a good-ol'-boy drawl, reminiscing about his prison term in New Orleans, he's kind of what you might expect if Charles Bukowski and Johnny Cash had a baby and let Lenny Bruce raise it. He's also got guts: since the diagnosis on December 14, he's been taping regular "cancer chronicles" that can be seen on Youtube. I say he deserves to live.

The benefit is scheduled for tonight at 10 PM at the Lincoln Lodge, 4008 N. Lincoln. Cost is $10.

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The latest Reader performing arts reviews and previews

Posted by Tony Adler on 02.16.12 at 01:24 PM

The Green Day jukebox show, American Idiot, will be hanging on through Sunday in a touring production at the Oriental Theatre. You'll probably enjoy it if you're already a Green Day fan (or simply in your 40s). Otherwise, you may find yourself wondering exactly how big a truck could be driven through the holes in its overheated, operatic scenario.

Meanwhile, we have five Chicago-made shows to recommend.

Teatro Luna premiered Crossed late last year. The Reader's Julia Thiel liked it then, but the Lunas revised it anyway. Now this montage of scenes about immigrants, legal and otherwise, seems angrier in tone, and it's also jettisoned one of Thiel's favorite bits (a disembodied voice at an airport, sorting passengers for "additional screening based on the color of their labia"). But overall, we're sticking by our earlier assessment.

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Tuesday, February 14, 2012

The show's aged better than the write-up

Posted by Michael Miner on 02.14.12 at 04:02 PM

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Show Boat first opened on Broadway in December 1927. The (unsigned) New York Times review began with this:

The worlds of Broadway and Park Avenue and their respective wives put on their best bibs and tuckers last night and converged at Mr. Ziegfeld’s handsome new playhouse on Sixth Avenue. There they milled about elegantly in the lobby, were pictured by flashlight photographers and finally got to their seats and on to the business at hand. That was the inspection of the news offering from the workshops of the maestro, the much-heralded musical adaptation of Edna Ferber’s novel, “Show Boat.”

We would flatter this passage by calling it merely archaic.

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Friday, February 10, 2012

"The Love Song of Saul Alinsky"

Posted by Jerome Ludwig on 02.10.12 at 04:16 PM

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In his column this week, headlined "Saul Alinsky, poster child," Michael Miner writes about how the right just loves to link Barack Obama to community organizer Saul Alinsky. The link in particular here is Obama's participation in a panel discussion at a 1998 performance of the play The Love Song of Saul Alinsky, staged by the Blue Rider Theatre in Pilsen.

Which got me wondering: was the play any good?

Read Adam Langer's September 10, 1998, Reader review here.

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Thursday, February 9, 2012

The latest Reader performing arts reviews and previews

Posted by Sharon Lurye on 02.09.12 at 02:45 PM

Shame is an overwhelming emotion. When it mixes with religion, it becomes an explosive force. Two plays this week go right ahead and light the fuse: Hesperia and Disgrace. In the former, a porn star joins an evangelical community, hoping to regain her innocence. In the latter, a corporate lawyer tries to run as far away from his Muslim upbringing as he can. Reader critic Zac Thompson recommends Hesperia, saying that playwright Randall Colburn paints his characters as, well, real characters, rather than chick tract stereotypes.

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