Displaying items by tag: comedy

As a longtime comedy fan, seeing a show at Second City has been on my bucket list for years, so when the opportunity to attend Black and Highly Flavored came up, I jumped at it. That excitement, however, was paired with some hesitation: I questioned whether I was the right person to review a show rooted in experiences I do not personally share. By the end of the night, after laughing until I cried, those concerns were completely put to rest.

At a time when diversity in comedy too often comes at the expense of BIPOC performers rather than celebrating their lived experiences, Black and Highly Flavored stands out as a rare gem. Now in its fourth year as Second City’s Black Excellence Revue, the show is a sharp and joyful two-act performance that blends sketch comedy, improv, music, and dance to uplift Black artists while remaining accessible, engaging, and enjoyable – and even relatable – for everyone in the audience.

Jam-packed from start to finish, this comedy show includes upwards of 20 sketches, ranging in length from a few minutes to as short as 15 seconds. The content of the skits is just as wide-ranging, pulling from everything from 70s laugh-track sitcoms to ChatGPT, and from John Steinbeck to Janet Jackson. With such varied material, it’s inevitable that not every joke lands with every audience member; however, the lightning-fast pacing of the show means that even if a joke doesn’t land for you, the show has already moved on to its next laugh.

Not only are the scripted parts of the show hilarious, but it also features improvisation at many points throughout the night. Black and Highly Flavored is particularly smart about how and where improv is incorporated, utilizing the famously divisive style of comedy to connect with the audience through tailored, rapid-fire one-liners, maintaining the polish of the longer, scripted skits.

Under the direction of Julia Morales, the six-person cast is stellar, and each actor truly brought their own distinct charm to the show. Tyler Vanduvall delivers off-the-charts physical comedy to the stage, throwing himself – sometimes literally – into every role, human or not. Kimberly Michelle Vaughn wears her heart on her sleeve on stage, exuding talent and joy, as she sings, dances, and laughs like no one is watching. Lauren Walker’s characterization is unmatched, making every one of her (many, many) roles just as animated and memorable as the last. EJ Cameron engages with the audience like no other, skyrocketing the intimacy of the show through his charisma alone. Jillian Banks is spunky and larger-than-life, adding both laughs and layers to any scene she’s in. Last, but certainly not least, is Jason Tolliver: the improv king of the night. Tolliver is sharply funny – and he knows it – allowing his genuine self-amusement to shine through on stage, making you laugh first at the joke, and then again at his reaction to himself.

Although not technically complicated, Black and Highly Flavored’s production was incredibly well planned and curated. Every lighting cue, sound effect, prop, and costume felt perfectly curated to the skit without overwhelming the show. The use of screens on stage was balanced well to be additive, rather than taking away from the joys of real-life theatre by being overbearing. The production from start to end was incredibly well-paced, void of any painful transitions or dead moments. This is undoubtedly a team effort but could not have been accomplished without Music Director and live musical performer Cesar Romero, who both beautifully and comedically underscored the whole evening. Add to that an in-your-seat food and drink menu, and Second City’s UP Comedy Club might just have it all!

Black and Highly Flavored is running at Second City’s UP Comedy Club on Thursdays and Fridays through March 20th. Tickets are available at www.secondcity.com/shows/chicago/the-second-city-black-excellence-revue-chi.

Paul Slade Smith’s Unnecessary Farce - a 2006 comic whirlwind that is fast becoming a modern staple of the genre - lands with full force in Buffalo Theatre Ensemble’s lively production at The McAninch Arts Center in Glen Ellyn. The show is a reminder of how exhilarating a well‑constructed farce can be when every door slam, double‑take, and spiraling misunderstanding is executed with precision.

The setup couldn’t be more straightforward: two green cops stake out a bargain‑basement motel, poised to catch a small‑town mayor admitting to embezzlement. The camera is trained on the adjoining room, the accountant is prepped to draw out the confession, and everything should go smoothly. Naturally, it doesn’t. What follows is an avalanche of mistaken identities, disappearing clothing, and panicked improvisation as characters burst through the wrong doors at precisely the wrong time.

Smith’s script operates like a beautifully rigged Rube Goldberg machine of mayhem, each beat triggering the next with wicked precision. The comedy lands not because anyone is a cartoon, but because these poor, well‑meaning souls are desperately – hilariously - outmatched by the situation. And just when the chaos feels like it can’t possibly escalate further, in stomps a thick‑accented Scottish hitman, sending the whole affair hurtling into a delirious, side‑splitting crescendo that has the audience laughing at both the gags and the sheer engineering genius behind them.

The production thrives on the strength of a sharply attuned ensemble, each performer bringing a distinct spark that fuels the play’s escalating hilarity. Lisa Dawn, as the ever‑frazzled accountant Karen Brown, and Brad Lawrence, playing the straight‑laced Officer Eric Sheridan, ignite the evening with a rhythm that blends sharp comedic timing and buoyant physicality. Their energy sets the tone long before Frank Nall ambles in as Mayor Meekly, whose beautifully understated, steady presence becomes even funnier as he’s swept - again and again - into one absurd predicament after another.

Laura Leonardo Ownby, as the ever‑eager Billie Dwyer, injects the show with a burst of quick‑witted, slightly off‑kilter energy that’s instantly endearing. There’s a touch of Julie Hagerty in her wide‑eyed charm—funny, irresistible, and just unpredictable enough to keep the audience leaning in. When she hits her big moment, she lands it so cleanly and with such delightful abandon that the crowd breaks into spontaneous applause. Stepping in for Robert Koon for this performance, David Scott Crawford takes on the role of Todd with an easy confidence and a nimble, quick‑thinking presence. He slips into the ensemble’s rhythm without a hitch, matching their pace and tone so naturally that the substitution feels entirely organic.

Doreen Dawson, as Mary Meekly, offers a warm, steady presence that subtly elevates the entire ensemble, giving every twist, turn, and impeccably timed door‑slam an extra spark of comedic payoff. And closing out the company, Bryan Burke storms in as Agent Frank - uproariously funny and armed with expertly dialed‑in bluster that sends the chaos over the top in the best possible way. He leans into the character’s bluster and bravado with such sharp comic instinct that every entrance, line, and reaction becomes its own little punchline. Burke’s presence adds a final, satisfying jolt of absurdity to the ensemble’s chaos. I remember really enjoying his performance in Buffalo Theatre Ensemble’s Native Gardens. That same sharp instinct for timing and that wonderfully unforced comedic presence show up again here.

Together, this ensemble operates like a finely tuned comic engine - fully committed, perfectly synchronized, and clearly delighted by the demands of farce. Their collective precision makes the escalating madness feel effortless, transforming the production into something that doesn’t just execute farce, but celebrates it.

Superbly directed by Kurt Naebig, Buffalo Theatre Ensemble embraces the play’s breakneck rhythm and gleeful silliness, delivering a production that feels both tightly engineered and joyfully unhinged. It’s the kind of show that rewards timing, commitment, and a willingness to lean into the ridiculous - and this staging at The MAC does exactly that.

A crowd‑pleaser from start to finish, Unnecessary Farce proves once again that when farce is done right, it’s irresistible.

For tickets and/or more show information, visit https://atthemac.org/events/unnecessary-farce/.

When the sun plays peek-a-boo and a pre-winter chill settles over Chicagoland, locals inevitably look for ways to warm their hearts as well as their fingers and toes. It’s during this time of year that locals venture indoors and when the Chicago theatre scene offers respite from the bitter cold. Like a favorite holiday treat, there are dozens of choices available to seekers of light and warmth, from recurring favorites and classic retellings to original plays and immersive theatre. There is no better way to celebrate the season and to lighten spirits than a good hearty laugh, or two, or three, or so many your sides hurt the next day. You’ll find no better way of warming up this December than seeing the deliciously dirty fairytale that is Rapornzel now playing at the Hoover-Leppen Theatre.

Rapornzel (yes, you read that right, it is not a typo) is a panto-style reimagining of the classic fairytale of Rapunzel. Many years ago, the King and Queen of a far-off kingdom were blessed with a baby girl with long, magical, downstairs hair. One day, the jealous witch Mother F**ker kidnapped the child and locked her in a tower, selfishly squandering her merkin magic for herself. With the help of local hairdresser Dame Fanny Follicle, her thick-as-s**t son Pascal, the dashing Prince Ride-her, and the Hairy Fairy, will Rapornzel ever come out?

If you couldn’t glean it from the title, Rapornzel is a serious-unserious play. Serious in the fact that the cast and crew put on a spellbinding, side-splitting comedic performance, but unserious to ensure the audience was able to escape the bitter cold reality for a few short hours and simply enjoy a hilarious performance. The story is written in the pantomime style or “panto.” Panto is a theatrical performance style dating back to the 1700s, traditionally performed around Christmas time. The popular form incorporates song and dance, exaggeration, and fourth wall breaks to tell a story. It often interchanges slapstick puns heavy with innuendos and groan-worthy dad-jokes to break the monotony of traditional theatre. Critical to the success of these comedic shows is audience participation. It’s highly encouraged to react and respond to the actors on stage, think “booing” the villain, “cheering” the hero, and responsive questioning from the actors such as: “Chicago is so cold…” to which the audience responds: “How cold is it?” wherein the actors then deliver a witty or punny joke in the tale that may or may not make you laugh, guffaw, or simply groan at how bad it is (in a good way). Panto is not for everyone, nor are puns or dad jokes, but in the Vonnegut style approach of moving the story along, it’s difficult not to enjoy, and even an ostrich chuckle at least once.

But when it comes to Rapornzel, I guarantee you’ll laugh more than once. Rapornzel is what you get if you take a fairytale and remix it with a book of dad-jokes, throw in a general use of 1980s musical bangers, and finish it with the dry wit of 2025. Rapornzel is one of the many bawdy, silly, and immensely entertaining pantomime scripts written by professional performer-writer Tom Whalley. The writer’s works have become a popular holiday season tradition at PrideArts, joining the ranks of Whalley’s other works like Jack Off The Beanstalk, Sleeping with Beauty, and Throbbin Wood. With unimaginable R-rated puns, pop songs, and audience participation, Rapornzel follows a growing holiday tradition within PrideArts. This year’s production is exceptionally acted by Chicago talent like Jeremy Cox, who plays Hairy Fairy Dandruff, Peter Moeller as the local hairdresser Dame Fanny Follicle, and the sexy and incomparable Gina Cioffi as the evil Mother F**ker who kidnaps Rapornzel. For those still tepid about the play or the panto style, don’t worry, the skilled actors utilize their quick wits, improvisation skills, and comedic timing to make this production enjoyable for all, never overstepping where they sense timidity. They read and respond to the audience to both give and get energy to move the story along and draw out a smile from even the most austere theatre goer.

Therein lies the beauty of this type of theatrical play. Whalley’s style of Panto grants permission to the audience to simply lighten up, be silly, and share some laughs. In short, in its seriousness to stage a good production, it masterfully creates a space to be supremely unserious. There aren’t many theatrical stylings that can pull that off these days. 2025 has been wrought with ill humor, tired remakes, and uninspired sequels. It’s refreshing and welcome to see a production that doesn’t take itself too seriously while still representing Chicago theatre, PrideArts, and the theatrical community well. The actors, panto, and Rapornzel itself, beg the attendees to lighten up. It reminds us that we don’t always need to seek hidden meaning between the witty one-liners, and we don’t need to laugh at every joke we’ve heard at countless Thanksgiving tables by distant relatives. We should endeavor to seek out light and warmth as the days grow shorter and the darker nights descend. Rapornzel beckons Chicagoans inside and endeavors to thaw critical hearts this holiday season. It’s a healthy reminder that it’s okay to shout, especially when asked or directed to do so. It’s fine to laugh or simply smile. And it’s encouraged, and I daresay desperately needed, to remember that nothing, including fairy-hairy-overly-share-y-tales, is really that serious. Funny, yes. Serious, no. That in and of itself is a gift.

 Rapornzel is playing for a short while longer through December 14^th at the Hoover-Leppen Theatre in Center on Halsted (3656 N. Halsted, Chicago). Grab your winter jacket and your tickets today, available at www.pridearts.org, and warm up with a few hearty belly laughs guaranteed to shake away your winter blues.

I walked into Steppenwolf Theatre not really knowing what to expect when going to see their new play Noises Off. Turns out, admittedly, I have never heard of the comedic art of British Farce or the original 1982 play by English playwright Michael Frayn called Noises Off. My only goal when selecting this play was to laugh and enjoy my time. I can successfully say that I did laugh a lot, and I enjoyed my time, but it took some time to get there.

The comedy show, directed by Anna D. Shapiro is a play-within-a play with a cast acting as actors, backstage crew and the director of the show preparing for an upcoming play called ‘Nothing On’. The show begins with the opening scene of actress Dotty Otley playing Mrs. Clackett, a housekeeper who is answering the phone while the homeowners are away. This takes place during a late night dress rehearsal just hours away from their opening performance. As the rehearsal carries on, many issues arise amongst the actors and the director. Missed cues, wrong lines, broken doors and lost props drives the cast into a mess. Meanwhile, drama unfolds amongst the cast with secret relationships, personal problems, and the mounting pressure of getting the show right.

The beginning of the show feels a bit confusing, having little context as to what is going on. All of the characters enter on and off the stage, while carrying two identities between their actor character and their play character. This constant movement and character changes make it a bit challenging to follow. By the end of the first act, I got the gist of what was happening and who each of the characters were.

Act I of the show is about the horrendous dress rehearsal that sets the stage and gives you an inside look at the drama and affairs amongst the cast. Act II takes you backstage, where chaos erupts during their opening night performance. And Act III brings you back to the front stage with one of the final shows for the cast. Out of the three acts, Act III is by far the best. All of the preparation, failures, and drama reaches a climax with a dizzying final performance with everything that could go wrong in a play. I found myself laughing along with the majority of the crowd during Act III.

The Steppenwolf Theatre stage hosts the set of the ‘Nothing On’ play the actors are preparing for. The set is the inside of an old British home with a staircase and many, many doors waiting to be slammed. The stage smoothly rotates between acts as you move to the front and back stages. The stage design works well for the show and gives enough dimension to keep things interesting.

I am thoroughly impressed by the cast in this show. Each actor seamlessly switches in and out of their play characters without error. Most of them carry the British accents well, while others could finesse it a bit more. By the third act, the actors were flying off and on stage, changing props, exchanging lines and swapping characters rapidly. I felt my head spinning and was shocked by each actor’s ability to carry on at that pace.

Rick Holmes who plays the Director of the play named Lloyd brilliantly captures the God complex a stereotypical play director holds. He’s condescending, pessimistic and truly vain. Holmes is convincing in his role as the director, and he exudes the distasteful personality of a narcissistic director who gets inappropriately involved with his cast. Meanwhile the cast in the ‘Nothing On’ play is a mixed bag of over-confident, lackadaisical, overly emotional, and dramatic personalities. Each character has a unique personality, which is entertaining to watch as the drama unfolds.

One standout cast member is Andrew Leeds who plays Garry Lejeune and his character Roger Tramplemain. Leeds is a quirky actor who is confident in his role and questions the director on a few of his decisions. I found Leeds to be the most exaggerated character with ridiculous behavior and a very convincing fall down the long staircase. He is quick in his character’s actions and is hilarious in his lines. He seems experienced in all things farce comedy and effortlessly switches in and out of his Garry and Roger roles.

Izumi Inaba’s costume design for the show embraces the 70s era style for the ‘Nothing On’ play with bright vibrant patterns. Each costume accurately portrays the characters each of the actors were playing. Some of the costume pieces eventually become props in the show and work as comedy pieces.

This production runs approximately 2 hours and 40 minutes with two short intermissions. The show itself feels a bit long between the first two acts but quickly picks up speed by Act III. I recommend getting to the theatre early and grabbing a drink and a small snack at the front bar.

As mentioned before, this show is based on a British farce comedy and the touring production of a bedroom farce. Farce is a style of comedy that heavily relies on physical and sometimes violent humor and ridiculous highly exaggerated situations. This show is well suited for adults who are into slapstick comedy and find “Monty Python and the Holy Grail” funny. Not to mention this show is loud in parts. There is a lot of door slamming and the play is ironically named Noises Off. I found this show to be pretty funny as I picked up on farce humor. This show is truly chaotic, stressful, a tad confusing and just downright absurd in the best way.

Noises Off, a Co-Production with Geffen Playhouse, is now playing at the Steppenwolf Theatre Company located at 1650 N Halsted Street in Chicago. This show will run from September 12th to November 3rd. Showtimes include 7:30 p.m. Tuesdays-Saturdays and 3:00 p.m. Saturdays and Sundays. Single tickets for the show range from $20-$148 and are now on sale at steppenwolf.org and at the Box Office at (312)-335-1650.

It’s a truth universally known that the holidays aren’t always a great time for everyone. Holiday traditions and expectations can often leave us feeling emotionally void or overwhelmed, particularly with how bleak 2023 has been for so many. But in every darkness there is joy to be sparked and light to be found, if one is willing to look for it. This holiday season I discovered a shining light in the The Jinkx & DeLa Holiday Show at Auditorium Theatre. 

The Jinkx & DeLa Holiday Show is an internationally acclaimed holiday variety show returning to Chicago following the massive success of their previous holiday tours. Co-written, co-created, and starring global drag icons and RuPaul’s Drag Race stars BenDeLaCreme and Jinkx Monsoon, fans braved the winter cold to witness a fabulous spectacle, whip-smart comedy, and creative song parodies embodying and cleverly critiquing holiday traditions. 

The holiday show harkens back to classic comedy variety shows that used to dominate television and stage. Jinkx and DeLa are an iconic and dynamic duo, with quick and witty banter and humor that is conflict free, a rarity in today’s comedic world. Even more impressive is that the show is entirely helmed by the queens themselves, with BenDeLaCreme in the producer and director’s chairs.  Too often, queer and drag stories are written and produced by people outside of the community. The Jinkx & DeLa Holiday Show and BenDeLaCreme Presents are reminders why authentic queer storytelling is not only necessary but should be widely celebrated. BenDeLaCreme says, “With all the hatred, darkness, and misinformation flying around our world today, it is an honor and a privilege to spend the holidays with tens of thousands of audience members each year, creating joyous community spaces where we can gather strength through laughter and celebration. Whether you consider it the most wonderful time of year or the most troubling, we’re here to tell you… you’re right! So let’s make it our own.” Monsoon adds, “It’s been a wild year, so let’s end it wildly. DeLa and I strive to entertain while we enlighten and enliven. The Jinkx & Dela Holiday Show is not only a moment of respite, but also of community, at a time where we need our chosen family and community most of all. So add us to your holiday plans, or let us BE your holiday plans— either way, you’re welcome to join us.”

The Jinkx & Dela Holiday Show is a shining light within the darkness, and truly a magnificent experience. The Auditorium Theatre audience were loyal followers of Jinkx and DeLa, many having seen their 2023 show in multiple cities on their tour, while others were back for their yearly tradition of seeing the iconic duo perform. In talking with Jinkx and DeLa, we learned this year’s holiday show changed the formula of the variety show, pairing the usual sweet vs. spicy duo as a united front, emphasizing the core message of togetherness and unity amidst an ever divisive and polarizing world. At the end of the show, the stars beseeched the audience to carry the joy, laughter, and love exuded and felt throughout the show out into the dark world; to spark that light within others and be the light so needed in the darkness. With everything that has happened in 2023, and the last few years,  Jinkx and DeLa have channeled their worry, frustration, and anxiety into a beautifully crafted show filled with lightness, and have created an enduring and worthwhile holiday tradition sure to be enjoyed for years to come.

Though the tour only visited Chicago for one night, this show is sure to become a staple in Chicagoland, only growing and getting better with time. One of the prevailing themes of this year’s variety show was that while our traditions anchor us to the holiday season, we can consistently look within ourselves and our communities to create new traditions or adapt and grow our old traditions. And most importantly, if we cannot find a light within the darkness, we ourselves can be the light for those around us. I cannot wait to add The Jinkx & Dela Holiday Show a must-see holiday tradition and I’ll see you all there in 2024.

This year’s tour will run through December 30 across the US, UK, and Canada with the show that proves they’re still the reigning “queens of Christmas'' (Entertainment Weekly). Tickets are available at JinkxandDeLa.com. 

It's Mother's Day today and you know what that means, 

It's the day we honor those who rock cool mom jeans.

Don't pretend you don't own some, they're back in fashion, ya know,

So don those old favorites and step out for a show.

Grab your friends, hire a sitter, and venture out to the city,

To see a play that is irreverent, honest, sharp, and so witty.

Mothering figures will rejoice at this theme that’s well understood,

There is nothing quite like MotherFreakingHood!

The musical comedy plays out in two simple acts,

The songs encapsulating straight motherhood facts,

From pregnancy pee sticks and kid drop-off lines,

To postpartum, pharmacology, and teen robotic crimes.

Three women meet while preggers, each one a mom troupe,

Finding love and support with each in the groupe.

Tafadzwa Diener plays Rachel, the excited new mom,

Whose joy is contagious but she’s anything but calm.

Jacquelyne Jones depicts Angie, the Type A CPA,

Planning every minute of kid life like a project ETA.

Leah Marrow plays Marcia, a seasoned mother of three,

She's blunt and uncensored and longs to break free.

Rounding out the ensemble is the great Maya Rowe,

Who plays “everywoman,” and who often steals the show.

Julie Dunlap and Sara Stotts who wrote the music and book,

Understood the assignment and knew just where to look,

For the content and humor that peppered this play,

For the sometimes sad, lonely, and miserable days.

The long lonely nights, the joy and the pain,

That only a mother figure can capture and explain.

It truly takes a village, we make mistakes and we try,

But like motherhood this musical made us laugh more than cry.

MotherFreakingHood! The musical runs through mid-June

Find tickets here and get to Southport very soon,

Buy the tickets to thank all the moms who’ve been there,

Grab a Mom Water, or two, or three (you don’t have to share!)

While we reflect on this day, with the mothers we love,

Be them our own, the ones we make, or the ones now above,

This world would be greyer without them around,

And remember they’ve loved you, from that first ultrasound.

If we can agree on one thing, it’s that we all do good,

In this crazy, fantastic, thing called MotherfreakingHood!

It's been 24 hours since I enjoyed this play and I'm still reeling from the super intelligent "trance-formation" delivered with rapid fire accuracy by Robert Dubac's one man show Book of Moron. Dubac plays out the thought patterns of a man who has traumatically lost a portion of his memory and is trying to "remember what he has forgotten". Along the way he employs the inner voices of His Common Sense, His Voice of Reason, His Scruples, His Inner Moron, His Inner Child, His Inner Moron and His Inner Asshole. Dubac even throws in a little real stage magic to show the audience how his character finds his way to the Truth.

In Dubac's world, even The Truth is a multi-leveled thing and he begins opening the doors in his brain to The Illusion of Truth, The Truth and The Whole Truth and Nothing but The Truth.  Along the way, Dubac uses props like a box he climbs in and out of  to represent our thinking "inside the box" and demonstrates clearly how TV has dumbed down an entire population by bombarding us with 9th grade reading level clichés and factoids about the Kardashians. 

Dubac tackles Sex, Media, Politics, and other inflammatory subjects like abortion and the death sentence with humor by pointing out the inconsistencies in thinking behind each and possibly aggravating all the different groups. But he manages to bring it all together by turning a literal mirror on the audience and concluding that when all the other letters of the "Illusions" are erased from the blackboard of his mind all that is left is "US". 

Dubac points out the obvious thing we have all forgotten that we are people who all share the same heartbeat, the same planet who have much more in our minds that unite us than the "Illusions of Truth" we have been programmed to accept which divide us. 

Dubac is also the author of the one man show The Male Intellect, An Oxymoron? and told the audience he is developing a new show called Stand Up Jesus.

I was completely blown away by his total control of his complex, fast moving text AND his audience’s reactions for 90 straight minutes with no intermission that I went to purchase his DVD The Male Intellect, an Oxymoron? After the show, because that's a subject I really love to examine. 

Dubac welcomed a just few questions from the audience at the end of the show because it was a "union house and he needed to get out of the theater faster than usual" but after the show at his merch table I got to ask him my burning question - he brought up Jesus several times during the show and seemed to be working his way to a higher spiritual "Truth" in the show but never really reached it . So, I asked him "Do you believe in Jesus?" 

Without any hesitation at all he smiled broadly and said "Oh, I AM Jesus!" and I laughed and tapped him on the heart center and said without hesitation, "Me too!" 

The show was so full of provocative ideas delivered in such a way to disarm and inform us that it made me eager to see the process of his developing of his new piece, Stand Up Jesus which he will be workshopping at Zanies next Monday (March 2nd) and Tuesday (March 3rd) here in Chicago.  

Book of Moron was delivered in a way that reminded me of a much funnier version of the 1970's transformational group EST,  "It Is" , The Werner Erhard Training which over the course of 48 hours caused participants to rethink their entire belief systems in such a way as to free their minds from the belief systems that were holding them back. 

Dubac manages to do almost the same thing in a record breaking 90-minute show. 

Enjoying Book of Moron live feels much like slowing down your brain long enough to clean it with fizzy water and then hitting it with a pleasant jolt of electricity to get it started again. 

I highly recommend seeing this marvelous and fast paced show right now, especially for thinking people who have become brain weary and overwhelmed by the last few years of the "fake facts' mentality.

You can catch Robert Dubac’s Book of Moron at Broadway Playhouse through Sunday, March 1^st. for more show information click here or visit www.RobertDubac.com.  

There’s something about a good mystery that keeps us engrossed. Maybe it’s the colorful suspects, maybe it’s the dissecting of clues involved, maybe it’s our own morbid curiosity that comes with murder - after all isn’t Forensic Files still one of the most watched TV shows? We like the detective work, plain and simple – the search for motive and opportunity and the gathering of evidence. And we certainly like the thought that everyone in the room is a suspect, no matter how unlikely they might seem. There’s a reason that Shear Madness has been running for forty years and is now one of the longest running non-musical plays ever (the whodunnit The Mousetrap leads all stage productions with the longest ever run). Well, amateur detectives, get ready because there’s been another murder in Chicago and your help is needed to solve the case. Once a mainstay in Chicago from 1982 through 1999, Shear Madness has returned, this time making its temporary home at Mercury Theater.

Taking place inside Shear Madness, a Chicago salon, life seems normal for the most part until the landlady upstairs is brutally murdered – stabbed repeatedly with a pair of – guess what - shears. But fortunately, Detective Nick Rossetti (Joe Popp) has been working undercover and is on the scene and through a bit of interrogation and deducing we find that everyone has a motive. Suspicion runs rampant as accusations fly everywhere and it soon becomes clear – the audience will need to help in bringing the killer to justice.    

Like in any engaging whodunnit, Shear Madness gives us a handful of intriguing characters and though the play starts off a bit sluggish to the point where one asks themselves where the story could possibly be going, the excitement quickly accelerates once the murder occurs and its direction is no longer in question. After a few scenarios are tossed around onstage, Detective Rossetti asks the audience to participate as the cast reenacts everything that had happened prior to the murder with as much detail as possible. If something is amiss or does not match what had actually happened, theater goers are invited to call out the discrepancy to help the detective put the pieces together. We are then encouraged to toss out any theories we might have to Detective Rossetti during the intermission where he makes himself readily available, at the same time we prepare questions to ask the play’s characters once the second act begins. Yes, we get to interrogate the suspects.

Best put, Shear Madness is just plain old fun. It’s a hilarious show that gives us a chance to crime solve along with the detective, some of its funniest moments the participation between audience and cast. Also entertaining are the many references to Chicago and several jokes that have been updated to include todays politics and pop culture. Sure, some of the humor is dated. The show was created in 1980. But it works – and works well. Thanks to Warner Crocker’s well-piloted direction and a superb cast that works well together and can also seamlessly interact with the audience on the fly, we see that funny is funny no matter when it was written so long as it’s delivered well. And no one was off limits. Touching on famous personalities from Taylor Swift to Bill Clinton to Joe Biden to Rod Blagojevich to dot, dot, dot, the play certainly takes its share of swipes. And while some of its jokes might be geared to ruffle a few feathers, the audience clearly takes them as just that – jokes. Even in its more contrived moments where predictable humor is used, a laugh is usually found. In the end it’s a silly comedy, not a show to be taken seriously, and lord knows we could all use a laugh or two.

The show does get a boost from audience involvement and even some good-natured heckling, but it naturally relies heavily on its cast. Ed Kross is a sheer delight to watch as Tony Whitcomb, the flamboyant salon owner, both his well-timed innuendos and physical comedy garnering one laugh after another. Mary Robin Roth as Mrs. Schubert also has many scene stealing moments as does David Sajewich as “used antique dealer” Eddie Lawrence while Brittany D Parker’s Barbara DeMarco hits the mark, as well. Detective Rossetti’s partner Mikey Thomas is played well by Sam Woods to round out an overall solid cast. Joe Popp as Detective Nick Rossetti is perhaps the most noteworthy of the bunch, as his character is kind of the glue that holds everything together in this production. As theater goers bounce one question or theory off the detective (sometimes with spot on observations and often quite absurd), Popp impresses repeatedly never wavering from his character and never absent of a quick, often humorous, response.

Shear Madness is also a play that can be enjoyed more than once. The story has four possible outcomes based on how the audience votes, and even if one gets the same outcome twice, you can be sure the audience participation will differ each and every time.

A unique theatre experience that has the audience laughing as much as it has them guessing, Shear Madness breaks down the fourth wall and delivers two one-of-a-kind fun-filled hours.

Shear Madness is being performed at Mercury Theater through March 29^th. For tickets and/or more information visit www.MercuryTheaterChicago.com.           

The only "rotten" thing about this super funny and colorful production is the title, a line taken from a Shakespeare play. ‘Something Rotten’ is the latest comedy-musical at Marriott Theatre and is full of laughs.

I went to the show not knowing anything about its brief Broadway debut in 2015 and was completely surprised and delighted right out of the gate by the spectacular opening number “Welcome to the Renaissance!" The song is a full-cast extravaganza that makes fun of the conditions people were dealing with in the 1590's (like the black plague), yet also makes the audience realize that at that time the many inventions being brought into humankind awareness seemed really new and miraculous to people of the middle ages.  

Director Scott Weinstein does a fantastic job throughout and has perfectly cast the show with seasoned character actors and actresses who bring it to life with great energy and wit. 

The plot is about two brothers/writers Nick Bottom (KJ Hippensteel) and his brother, Nigel (always another great comedic turn by Alex Goodrich) who, like everyone else at the time, worship The Bard -Shakespeare, played really well  by Adam Jacobs (dressed in sexy  black leather rock star attire to woo the ladies). The brothers ask a soothsayer to give them the plot of a future hit play by Shakespeare. The plot of ‘Something Rotten’ jumps around quite a bit but is superbly funny anyway. 

There are many funny and incisive throwbacks from the past to the present like when Ross Lehman who plays both the soothsayer and a Shylock 0tells the brothers he believes that Shakespeare has made him a character in a play he believes will be titled “Shylock, The Really Nice Jew." Unfortunately, for the brothers, the play the soothsayer predicts that Shakespeare biggest hit will be called ‘Omelet’ not ‘Hamlet’ and the comedy just rolls right on from there. 

Nick Bottom's helpful, hardworking wife, Bea, is a great role for Cassie Slater and she knocks her numbers out of the park every time.  I also really enjoyed Rebecca Hurd as Portia. Portia is the daughter of the only creepy Priest who wants the actors and playwrights of the time to be taken down for crating impure thoughts through theater, which leads people to dancing, which leads to sin, etc.  

Hurd has a wonderful show-stopping number with ‘Bottom’ in which the two lovers discover that they are both really turned on by words! ‘Bottom’ serenades her ears with loving words set to iambic pentameter, and the couple have a hilarious yet heartfelt climactic release together onstage as they find their "word loving" soulmates in each other.  Another showstopper is the full cast blow out of the song "A Musical," which tips it hat to every great musical from ‘Cats’ to ‘Chicago’ to ‘Pippin’ and is jammed packed with spectacular costumes and clever choreography. 

All I can say is I went to the show hoping for the best from a musical I have never seen before and I got it!

I highly recommend this entertaining, delightfully funny musical with eye-popping costumes and really great laughs throughout to audience members of all ages. The director, crew and cast members including a superbly talented dance/singer ensemble of ‘Something Rotten’ have taken this show and revved it up into a fun packed "must see” production from the ever-solid lineup at the intimate Marriott Lincolnshire Theatre.

Through October 20th at Marriott Theatre.

In 1956 a psychological horror-thriller film hit the big screens across America that undoubtedly shocked audiences nationwide. The film, The Bad Seed, was based on William March’s 1954 novel of the same name and also hit the stage that same year. In a time when UFOs and alien invasions caused country-wide panic, now comes a film where a sociopathic eight-year-old girl, Rhoda, murders when she doesn’t get what she wants when she wants it. Her mother, growingly suspicious of her daughter’s wicked deeds, is caught at a crossroads not knowing what to do since she also loves her more than anything in the world. The film goes on to debate whether criminal behavior is caused by one’s environment or perhaps is inherited. Sometimes a person is just a bad seed, right?

As serious and as creepy as the film is, it is the perfect material for the Hell in A Handbag theatre company to parody. Adding their own twists and turns and injecting their own unique blend of humor, the masters of camp have now given Chicago its newest comedy hit, The Drag Seed, by David Cerda. You may have guessed by the title that a drag theme is added to the story, this time the villain is not eight-year-old Rhoda but eleven-year-old Carson (Kristopher Bottral), a spoiled drag queen whose temper is turned on with a flick of the switch the moment he (in this case, “they/them,” as demanded by the child) doesn’t get what they want. The plot thickens as a trail of mysterious deaths occur throughout and Carson always seems to be found nearby.

It’s just a not-so-everyday life in the affluent suburbs where Miss Charles (David Cerda) is a live-in landlord. Miss Charles has taken a liking to tenants Miss Lingus (Ed Jones) and her dear Carson. Lee (Kelly Anchors) serves Miss Charles as the estate’s very quirky handyman and loves nothing more than teasing young Carson, who attends The Josephine Baker Rainbow Academy for Gifted Students led by Miss Ficus (also played by Anchors). It’s when fellow student Summer Breeze (Tyler Anthony Smith) wins a competition over Carson and is found dead shortly thereafter that the intrigue begins.

Carson’s mother Miss Lingus (“just call me Connie”) is at first ignorant to the clues being laid out in front of her, but slowly pieces them together and becomes conflicted since she loves her son more than a "fuck ton of kisses". Carson’s as a matter of fact behavior surrounding every death is not just a big clue, it’s downright creepy.

Directed by Cheryl Snodgrass, The Drag Seed, is a hilarious ride that’ll keep audience members on the edge of their seats. Ed Jones is like fine wine and just keeps getting more delicious with each show. I’ve probably said that this the last time around, but it’s true once again - Jones’ performance as Miss Lingus may be one of his best yet. His knack for executing the perfect facial expression at just the right moment coupled with capturing just the right tone in his line delivery makes him a comedic force. Excellent performances flood the stage in this production with Kristopher Bottral’s all-out hilarious and highly energetic “Carson” while David Cerda is comedic perfection as Miss Charles. Kelly Anchors doubling up for the roles of Miss Ficus and Lee is yet another highlight in this show, particularly the brilliance she infuses in her role as Lee, creating yet another sidesplittingly funny character that we won’t forget anytime soon. Handbag fave Elizabeth Lesinski returns, this time as Wendy Breeze, Summer’s drunk and distraught mother, and makes the most of her role with a flawlessly camped performance of Eileen Heckhart’s character in the 1956 film version. I know – high praise all around. Yes, but well-deserved. Sydney Genco and Tyler Anthony Smith also rock their roles, making this a truly well-round effort.

Handbag stalwarts will undoubtedly be very pleased with Cerda’s newest production and newbies that attend will be sure to get hooked on Handbag’s camp theatre.

The Drag Seed is perfect mid-summer fun and is an easy show to recommend. If you get the chance be sure to check out the The Bad Seed prior to seeing this production, if for anything just to appreciate Cerda’s brilliance that much more and the character nuances that these talented actors have so brilliantly executed into their roles. If you’re unable to catch the film first, don’t worry, you’ll still have a blast.

The Drag Seed is being performed at Mary’s Attic in Andersonville through August 24th. For more show information visit www.handbagproductions.org