Category Archives: Stephen Sondheim

We keep Company at Writers Theatre . . .

plus K. raves over Between Riverside and Crazy (her summer home), while J. celebrates Pride Films & Plays’ adaptive reuse of an abandoned space.


Something familiar, something peculiar: Porchlight Music Theatre’s A Funny Thing Happened on the Way to the Forum

Plus, K. recommends Chicago Human Rhythm Project’s dance concert on Wednesday, May 13.

West Side Story at Drury Lane Oakbrook: the Dueling Critics Stick to Their Own Kind

Gary F. Barth as J. Robert Oppenheimer (foreground) and (L–R) Eric S. Prahl as Roger Robb, Matthew Fayfer as C.A. Rolander and Steven Walanka as Herbert S. Marks in the Saint Sebastian Players' production of In the Matter of J. Robert Oppenheimer by Heinar Kipphardt, running Feb. 14–Mar. 9 at St. Bonaventure, 1625 W. Diversey, Chicago. Visit for tickets and information. Photo by John C. Oster.

In The Matter of J. Robert Oppenheimer: What do 1954 and 2014 have in common?

Gary F. Barth as J. Robert Oppenheimer (foreground) and (L–R) Eric S. Prahl as Roger Robb, Matthew Fayfer as C.A. Rolander and Steven Walanka as Herbert S. Marks in the Saint Sebastian Players’ production of In the Matter of J. Robert Oppenheimer by Heinar Kipphardt, running Feb. 14–Mar. 9 at St. Bonaventure, 1625 W. Diversey, Chicago. Photo by John C. Oster.


J. and K. consider the relevance of the Oppenheimer trial to the present day as they review In The Matter of J. Robert Oppenheimer at St. Sebastian Players.  Then they disagree over what’s wrong with Chicago Shakespeare’s Gypsy.  Two reviews for the price of one!

Tim Parker and Owais Ahmed in First Floor Theater's production of THE RECKONING OF KIT AND LITTLE BOOTS by Nat Cassidy, directed by Gus Menary. Photo by Sid Branca.

Picks: First Floor’s Reckoning of Kit and Little Boots, Raven’s Playboy of the Western World, TimeLine’s The How and The Why

Tim Parker and Owais Ahmed in First Floor Theater’s production of THE RECKONING OF KIT AND LITTLE BOOTS by Nat Cassidy, directed by Gus Menary. Photo by Sid Branca.

K. sez:


The Reckoning of Kit and Little Boots, First Floor Theater.  The “Kit” in Nat Cassidy’s play is Christopher Marlowe, here haunted by the emperor Caligula, whose moniker (who knew?) means “Little Boots.”  In sharp comic exchanges punctuated by violence, these two characters (and other Caesars and Elizabethan playwrights) explore the use and abuse of power, the necessary but despised role of the spy, and the challenge of writing simultaneously for one’s own time and for the ages.  Director Gus Menary brings out the best in all the performers, but Owais Ahmed as Kit, Tim Parker as Caligula and Alfred Thomas as spymaster Francis Walsingham have particular depth and breadth.  A production both intellectual and visceral, whereas so often we have to choose one or the other.  Through March 2 at the Den Theatre on Milwaukee Avenue in Bucktown.


(Leah Frires, Sam Hubbard, Martha Reddick and Lindsay Tornquist in The Playboy of the Western World at Raven Theatre)

The Playboy of the Western World, Raven Theatre.  Director Michael Menendian pulls out all the stops in Raven’s lively production of the Synge classic about a drifter lionized by a benighted Irish community because he killed his father—or did he?  There’s comedy and romance and then—as seems inevitable with Irish plays—an undertone of sadness.  But it doesn’t weigh down the production, invigorated as it is by David Woolley’s vigorous fight direction.  And Andrei Onegin’s set—a gorgeously run-down public house—transports us to turn-of-the-[20th]-Century back-of-beyond County Mayo before anyone says a word.  Through April 5 at the Raven Theatre on Clark Street in Edgewater.

The How and the Why, TimeLine Theatre.  Sarah Treem’s drama is simultaneously about the competition between a pair of female scientists (a professor and a graduate student) and about the content of their dispute, namely, the impact of evolutionary biology on feminism and vice-versa.  This healthy dose of intellectual content raises an otherwise pretty standard intra-gender battle into an exciting examination of what it really means to be a woman.  Under Keira Fromm’s direction, Janet Ulrich Brooks gives her usual fine performance, combining strength and intelligence with a generous dose of empathy, and Elizabeth Ledo more than holds her own.  Through April 6 at TimeLine on Wellington Avenue in Lakeview.

Not so much

Into the Woods, The Hypocrites.  There’s nothing wrong with Geoff Button’s inventive production—at least nothing that couldn’t easily be cured—and he’s assembled a strong cast to enact his clever notions.  The problem is the show itself, James Lapine and Stephen Sondheim’s ponderous retelling of fairy tales whose purpose is to bear the news that fairy tales aren’t real and life doesn’t consist of happy endings.  Find me people who need to have that explained to them and I’ll send them to this show.  Its excess length and over-seriousness are here exacerbated by the over-amplification of the orchestra, so the words of many songs (especially those sung by the Witch) can’t be ascertained.  Or maybe that’s a blessing.  Through March 30 at the Mercury Theater on Southport in Wrigleyville.

Chicago’s Golden Soul, Black Ensemble Theatre.  This revival of Jackie Taylor’s jukebox musical shows the piece to be a concert rather than a play, as evidenced by the fact that no director is credited.  The music, arranged and directed by Robert Reddick, is superb, as is always the case with Black Ensemble shows.  And as always the text is labored and didactic.  Fortunately Mark Allan Davis’s choreography is top-notch and Evelyn Danner’s costumes gorgeous and period-perfect, not an easy combination when presenting the 1970s.  This show, too, is overlong, but any number of hours would be worth it for Lawrence Williams’s showstopping rendition of “Summertime.”  Running in rep with The Story of Curtis Mayfield through March 29 at the BET Center on Clark Street in Uptown.

Really not at all

The Pitchfork Disney, Interrobang Productions.  In one agonizing two-hour act, the characters in Philip Ridley’s pointlessly ugly play break each other’s fingers, eat cockroaches, describe cooking and eating a live garter snake, and generally make it difficult for the audience (or at least this member thereof) to keep from vomiting.  The apparent purpose of all this is to demonstrate that the outside world is as terrifying and disgusting as any inside world characters can create for themselves, and vice-versa.  I could have guessed that.  Through March 2 at the Athenaeum on Southport in Lakeview; if you hurry you can miss it.