Displaying items by tag: Remy Bumppo

An Ibsen play on a cold winter’s evening just feels right. Marti Lyons delivers a stylish (and concise) production of “Hedda Gabler” at Remy Bumppo. With an impressive cast of Remy Bumppo ensemble and new faces, this 100-minute version gets right to the point.

Among the countless translations and adaptations of “Hedda Gabler” that have been written, Christopher Shinn’s version makes a bold, modern statement. Taken from a literal adaptation by Anne-Charlotte Hanes Harvey, this telling dispenses with Ibsen’s ambiguity almost entirely. Classic melodramas tend to run long and in this day and age, audiences easily grow frustrated with overly long plays laden with innuendo. Shinn’s version is structured in a way that modern audiences will take more from. While the Shinn script may not have been a success on Broadway in 2009 (even with Mary Louise Parker), Marti Lyons’ revival strikes the right balance with it.

Ensemble member Annabel Armour as Aunt Tesman has the first lines and immediately sets the tone of the new Tesman home, a vibe that’s somewhere between charming and unsettling. Armour captures something both aspirational and pitiful about the character in her reliably masterful way. In this telling, Hedda, who is played by Aurora Real de Asua, is feral, almost manic. Her short temper is always shown through smiling teeth and far-off looks. Hedda here is more certain of feeling trapped in a bad marriage. It’s less of a revelation and more of a palpable sense of dread. The only female character that seems to threaten Hedda is Thea Elvsted played by Gloria Imseih Petrelli, whose raw vulnerability is a counter to Hedda’s rampant cruelty.

Greg Matthew Anderson plays the blackmailing judge Brack with such dastardly charm, it’s almost hard to see what Hedda objects to. In the same way Thea is the counter of Hedda, Ejlert Lovborg (Felipe Carrasco) is the helplessly vulnerable of the two men. Carrasco’s performance is also that of a condemned man. In other scripts, this acceptance comes at a more laborious price. Here his conflict with conventional society feels urgent from the start.

Remy Bumppo brings a lot of humor to “Hedda Gabler”. Hedda’s one-liners have always been amusing, in the same mean-spiritedness of an Albee play. Linda Gillum brings a lot of physical comedy as Berte, the Tesman’s quirky maid. Shinn’s script has a sharp sense of wit, even if the somewhat frank sexual metaphors seem closer to 2026 than 1891.

Along with a more forwardly grown-up script, Kotryna Hilko and Joe Schermoly’s costumes and sets are bathed in a moody purple and when paired with Christopher Kriz' electrifying incidental music brings on the feeling of an impending storm.

“Hedda Gabler” is a divisive play. You can either see her as a victim or a spoiled villain. Shinn makes that decision for you, in at-times clunky divulgences. This particular version might not find you quibbling over the character’s true wants or intentions. Instead, Shinn is cutting away the excess so audiences can focus on the powerful statement Ibsen was making before most women knew true autonomy.

Through March 8 at Remy Bumppo at Theatre Wit. 1229 W Belmont Ave. 773-975-8150

This review is proudly shared with our friends at www.TheatreInChicago.com. 

A fool and their money are soon parted as the old expression goes, but what do you do when that fool is your best friend? Yasmina Reza’s 1996 Tony Award winning play ‘Art’ explores the balance of opinion, influence and friendship. Under Marti Lyons’ direction, Remy Bumppo’s revival is a madcap drawing room comedy that might even make you question your own sense of taste.

Parisians Marc, Serge and Yvan are close friends until Serge (Chad Bay) purchases an absurdly expensive, but terrible piece of art. While Serge beams over his new acquisition, Marc (Justin Albinder) is shocked at how bad the piece is and struggles to comprehend how his friend could possibly like it. Meanwhile people-pleasing Yvan (Eduardo Curley), is stuck in the middle trying to play both sides.

Similar to Reza’s most acclaimed play ‘God of Carnage’, ‘Art’ is confined to one chic set, but finds theatricality in richly dense dialog and the over-the-top slapstick humor. Though, none of that would work without the strong chemistry on stage.

There’s a certain sitcom style humor to ‘Art’ that harkens back to the best episodes of ‘Seinfeld’. This 80 minute play is about a splintered friendship that’s been chipped away through petty, unspoken grievances. The three-way friendship dynamic is having a moment right now on the heels of this past season of ‘The White Lotus’. Though, perhaps unlike ‘White Lotus’ Yasmina Reza was wise to set her friendship triad in circumstances that don’t rely on gender stereotypes to explore the uncomfortable truths about triangular relationships.

‘Art’ is also a statement on the very idea of opinion: when to have one, when to express one and ultimately how to process someone else's. In the social media era, there’s a kind of pressure to have a strong opinion about everything, even topics on which you’re not informed. Reza suggests that those with the strongest opinions, may not always be the most confident about them. Hence, Marc’s intense desire to convert Yvan to his point of view.

In a three character play, it’s hard to say who the main character is but really either character could be seen as the character on which the play hinges. Eduardo Curley brings Yvan to life in neurotic perfection. Maybe the reason he doesn’t have a strong opinion about the work is that he’s mostly concerned with the anxiety of living. Yvan’s long, animated and silly monologues help cut the tension between Marc and Serge, but both friends are trying to prove themselves right based on whether Yvan agrees.

Yasmina Reza’s play remains timeless in its contemporary allegory. While it may be named ‘Art’ this play is about more than just a silly painting. Lyons’ production at Remy Bumppo is stylish and funny thanks to the intimate cast and Liz Gomez’s gorgeous set. The short play packs a gag-a-minute but leaves you wondering what is the best way to politely disagree with someone you respect?

Through June 1 at Remy Bumppo at Theatre Wit. 1229 W Belmont Ave. 773-975-8150

*This review is also featured on https://www.theatreinchicago.com/!

What a treat to have two of Evanston-native Sarah Ruhl’s plays running concurrently at Theatre Wit. Alongside the Shattered Globe Theatre’s Midwest premier of Ruhl’s Becky Nurse of Salem is Remy Bumppo’s production of Dear Elizabeth. Directed by Christina Casano, this epistolary play has all the elements that make Ruhl’s plays so enjoyable.

Dear Elizabeth is an intimate play that explores the letters between two of the world’s most celebrated poets: Robert Lowell and Elizabeth Bishop. Ruhl crafts a tender narrative out of the beautifully written letters, and it’s wonderfully acted by Christopher Sheard and Leah Karpel.

Sarah Ruhl is one of America’s most popular playwrights because of her unique brand of quirky storytelling. Through her inventive style audiences who may not be familiar with the poets will walk away with more than just a book report. Though, this play will certainly tickle classic literature enthusiasts. The 90-minute play is crackling with trivia and humorous hot takes.

The dialogue in Dear Elizabeth may be contained to letters, but the contents of those letters whisk audiences all over the world. Both poets did extensive traveling during their careers, with Elizabeth Bishop residing in Brazil for some years. Through their words we get rich descriptions of where these characters are in their lives physically but more importantly emotionally. Though the romantic throughline is a bit mirky (as is often the case in life), the deep love between them is palpable.

Staging and visuals are important aspects of Ruhl’s work. Seeing how she sees her story, and seeing how a director and set designer interprets her vision are as moving as the words themselves. Catalina Niño’s design for Dear Elizabeth is nothing short of gorgeous. Though minimal in nature, the emotions certain moments conjure are haunting.

Dear Elizabeth is also a celebration of the art of letter writing. This is a theme Ruhl has touched on in other works as well. We may be living in the most advanced age of communication, but so much is lost in emojis and brief text messages. In these heartfelt letters there’s such depth and substance that you’re nearly envious of their loyal friendship.

If it’s Sarah Ruhl you’re after this season, look no further than Theatre Wit in Lakeview. Two of Chicago’s most esteemed companies impeccably bring her riveting works to life. Dear Elizabeth is a great showcase of Ruhl’s earlier style whereas Becky Nurse of Salem feels more like a new direction. And just like Robert and Elizabeth, they’re great companions.

Through November 17 at Remy Bumppo at Theater Wit. 1229 W Belmont Ave. (773) 975-8150
 

When a play’s opening moment is mystifying and its closing moment is satisfying, the stuff in between must be doing its job. John Kolvenbach’s Love Song presents us with a young man in a spartan room, silently observing a lamp that seems to have a mind of its own. Love? Song? We have our doubts.

The back wall of the room slides open and reveals a high-rise apartment, sleekly decorated and offering a panoramic view of an unspecified city through a vast window. Enter a couple as sleek as their home, bickering with such intensity – not to mention hilarious verbal agility – that we continue to wonder if love and song will have anything to do with what’s happening onstage.

Indeed, it does. Remy Bumppo’s production, directed by the company’s Artistic Director Marti Lyons, revives a play that premiered at Steppenwolf 18 years ago. Though full of unanswered questions, Love Song proves worthy of another viewing. With equal parts sensitivity and tartness, Lyons and her cast tell the story of Beane (Terry Bell), who suffers from an autism-like condition and spends the play’s 85-minute length defying the expectations of his loved ones.

Actually, it’s just two loved ones: his sister Joan (Sarah Coakley Price), a demanding professional who is lost in a tirade about an incompetent intern; and her husband Harry (Ryan Hallahan), a fellow professional who challenges his wife’s firing of said intern for misdeeds such as crying “at noon!” and temporarily misplacing an important file.  

Witty as their banter may be, they are hard to like. When Beane visits his sister and brother-in-law, Harry subjects him to a questionnaire designed to provide psychological insight that mostly makes fun of his literal responses. Joan doesn’t do much to ease the situation.

Beane returns to his empty apartment, where he encounters an intruder by the name of Molly (Isa Arciniegas). She too launches into a tirade, though hers has a very different feel from Beane’s sister. Molly attacks architects and their curated minimalism, meanwhile deriding Beane for his lack of possessions for her to steal. A cup but no plate, a spoon but no fork. “What kind of criminal did you say you were?” he asks with the same literalness that aggravated Harry in the previous scene.

Molly’s brand of burglar remains unknown, but it sure excites Beane’s hormones. Off they go on a passionate adventure that leads Beane to talk so much that Harry now describes him as verbose. Beane’s liberation from his sister and brother-in-law’s (and probably society’s) expectations turns him into a different person altogether. And that jolts Joan and Harry from their calcified marriage into rediscovered sensuality.

Without really addressing the issues at hand, Love Song morphs from rapid fire wordplay into a lyrical romance. As staged by Lyons on a set designed by Joe Schermoly, the transitions from Beane’s lonely planet and Joan and Harry’s fraught high rise seem organic.

The cast, too, seems organic. Each of the actors onstage could have fallen into some sort of cliché – Joan as a career-driven ice princess; Harry as a wisecracking sidekick; Molly as a voracious loony; and most notably, Beane as a victim of the other three. But Coakley Price, Hallahan, Arciniegas and Bell all take charge of their characters and allow us to enjoy their transformations.

Love Song, produced by Remy Bumppo Theatre Company, is playing now through April 21 at Theater Wit. Tickets can be purchased through Theatre Wit’s website.

I have seen “Blues for an Alabama Sky” several times, all very good productions. However, the production by Remy Bumppo in the intimate space of Theater Wit was sublime. 

As soon as you walk into the theater, you are transported to an apartment building on iconic Lenox Avenue in the heart of Harlem in the 1930’s. The production design is truly remarkable. Lauren Nichols’ depiction of a Harlem tenement complete with fire escape and two apartments on each floor, encapsulates the essence of tight-knit living in New York City. The meticulous attention to interior details provides valuable insight into the lives of its occupants.

This setting is beautifully enhanced by Becca Jeffords’ carefully crafted mood lighting and Ricky Harris’ evocative 1930’s musicscape. Set against the backdrop of the Harlem Renaissance and the opening salvo of the Great Depression, Pearl Cleage’s poignant play masterfully weaves together themes of love, loss, ambition and social change. Each character is searching for their identities and places in the world. They all experience love whether romantic, platonic or familial and the sacrifices made for love. They experience loss but are never defeated.

More than anything, they dream. They dream big dreams and they have the tenacity to bring them to fruition. Cleage created multi-dimensional characters, put them in proximity, sat back and
let them live. The characters are truly the heartbeat of this production.

Tiffany Renee Johnson, evoking a young Diana Ross, fully embodies the role of Angel. She exudes a magnetic charm, begging everyone to love her but unable to reciprocate the love she so desperately needs and wants. Pearl Cleage, we extend our gratitude for crafting the character of Guy Jacobs. Breon Arzell brings this role to life with grace and authenticity, resisting making him a stereotype.

Delia Patterson who works tirelessly to introduce family planning to Harlem is played by the talented Jazzlyn Luckett Aderele. Aderele’s vocal nuances and gestures transport us seamlessly to a time when women were just learning about agency over their bodies. Edgar Sanchez last seen by me in Goodman’s production of “Toni Stone” disappears into the conflicted persona of Dr. Sam Thomas, showcasing a depth I had previously overlooked. He proves himself capable of portraying a mature, distinguished man with flair.

Ajax Dontavius, last seen in American Blues production of “Fences” as Cory, transforms himself to become Leland Cunningham, the broken, dogmatic paramour of Angel. Dontavius lays bare every facet of this intricate character, leaving the audience captivated.

In Director Mikael Burke’s steady and capable hand, not only do these characters live, they soar. We are introduced to five very different, complex people as well as a host of era specific luminaries such as Langston Hughes, Margaret Sanger and Adam Clayton Powell, they are all real people. Cleage’s dialogue is authentic and resonant, tackling issues of race, gender, and sexuality with sensitivity and intelligence. The plays intersectionality of identity is particularly relevant.

Remy Bumppo’s “Blues for An Alabama Sky” is a triumph. It is a powerful commentary on the human condition. It invites introspection and reflection on our own dreams, aspirations and sacrifices we make to achieve them. It challenges us to confront the complexities of love, friendship, family and societal expectations. This play is a must see for anyone who craves entertaining and thought-provoking theatre.

Also notable, there is a Pearl Cleage festival in Chicago. Most of the events are free. You can get details at https://www.goodmantheatre.org/event/pearl-cleage-fest/

"Blues for an Alabama Sky" runs through October 15 at Theatre Wit, 1229 W. Belmont Avenue in Chicago.

What does a cigar factory in 1920s Florida have to do with Tolstoy’s epic novel ‘Anna Karenina’? More than you might think it turns out. In Nilo Cruz’s 2003 Pulitzer Prize winning play ‘Anna in the Tropics’, cigar rollers working in a factory are inspired when a new lector reads the classic Russian novel to them while they work.

Ofelia (Charin Alvarez) and Santiago (Dano Duran) own an antiquated cigar rolling factory and work the line along with their daughters Marela (Alix Rhode), Conchita (Krystal Ortiz) and her husband Palomo (Roberto Mantica). When Ofelia hires lector Juan Julian (Arash Fakhrabadi) to read aloud while they roll cigars, the themes in Tolstoy’s novel begin to unlock everyone’s secret desires. The further Juan Julian reads, the more the character’s lives start to mirror those in the book.

Retelling the story in hot and steamy Florida allows for something the original Victorian era novel cannot—sex. While Tolstoy subtly addresses sex in his novel, Cruz’s script doesn’t shy away from the passion between his characters. Director Laura Alcala Baker’s production is dripping with sex, but in a way that portrays women as being the dominant gender.

The female ensemble in Remy Bumppo’s revival of ‘Anna in the Tropics’ is a triad of perfection. Charin Alvarez leads this talented cast and from the first line of dialogue she instantly captures the audience. The bittersweet scenes between her and Dano Duran will melt even the hardest hearts.

Most of the play focuses on the love triangle that forms between Conchita, Palomo and the lector Juan Julian. A tepid marriage begins to heat up with the arrival of Juan Julian, who inadvertently helps reignite Palomo’s passion for his wife. The chemistry between these three is palpable, and nobody is as sultry as Krystal Ortiz. Her fascinating performance is hard to shake longer after the curtain closes.

‘Anna Karenina’ is Tolstoy’s exploration of morality and he does so through two main characters: Anna and Levin. In Cruz’s version Levin is represented by Cheche (Eduardo Xavier) who is the nephew of the family who owns the cigar factory. He sees the progress of a new century and resents the old ways of doing things. Through Cheche’s character, Cruz makes his points about what things shouldn’t be modernized, such as the love that goes into a hand rolled cigar. Much like Tolstoy documenting the twilight of an era for Russian aristocracy, Cruz is documenting a way of manufacturing that has vanished in many industries, replaced by the coldness of a machine.

‘Anna in the Tropics’ is a brilliant take on a classic. Cruz in some ways brings more passion to this already romantic story. Could this play operate without the direct relationship with the novel? Probably not, but a lack of familiarity with the novel in no way impedes on the emotional experience of the play. Remy Bumppo has arranged a perfect cast led by three incredible actresses. Laura Alcala Baker’s vision for this production has a style of its own, rather than just a faithful restaging. An infectious flirtation runs throughout this unique play.

Through March 19 at Remy Bumppo at Theater Wit. 1229 W Belmont Ave. www.remybumppo.org