Displaying items by tag: Center on Halsted

There are several new things about PrideArts’ production of A NEW BRAIN, the most obvious being its new venue at the Hoover-Leppen Theatre in Center on Halsted. PrideArts made the most of its former location at 4139 N. Broadway, but this new venue is a boon in many ways. Its location in the Center on Halsted puts PrideArts in the center of the Gayborhood, and the theatre itself is definitely more accessible and comfortable (though last night it was freezing cold!). The spacious lobby provided plenty of room for the Lakeside Pride Woodwind Quintet, part of Chicago's LGBTQ+ music organization, to contribute a lovely prelude.

A NEW BRAIN is a musical whose story was inspired by events in choreographer William Finn’s life. It follows Gordon Schwinn (Dakotta Hagar), a songwriter who collapses suddenly and learns he must undergo brain surgery. Gordon is well attended by nurses Nancy (Britain Shutters) and Richard (Cordaro Johnson), Dr. Berensteiner (Elijah Warfield), and his bestie Rhoda (Caitlin Preuss). His mom, (Michelle McKenzie-Voight) is (naturally) in attendance, but her less-than-therapeutic attitude is made clear in Mother’s Gonna Make Things Fine. Even more abrasive is Gordon’s boss Mr. Bungee (Taylor Bailey), whose demands that Gordon finish writing a song are not conducive to the tranquility prescribed for pre-operative repose. The Minister (Jonas Davidow) is indifferent to Gordon’s being Jewish and simply continues forking out his conventional devotions. Meantime, Gordon’s boyfriend Roger (Beck Hokanson) would rather be Sailing.

And oh yes, for reasons not readily apparent to me, we’re introduced to another major character, one of my favorites: the homeless lady Lisa (Lena Simone).  

I think that’s everyone. Big cast, yeah? And even bigger Production staff, so I’ll just mention the highlights. Jay Espano is Director and Robert Ollis Music Director. Choreographer Britta Schlicht did amazing work, as everyone spent a good deal of their onstage time dancing, and Shawn Quinlan’s costumes were terrific. Gordon’s standard hospital gown was balanced by Mr. Bungee’s brilliant multichromatic garb.  Think about it: how would you dress a six-foot, 250-pound frog? The obvious answer: a gaudy bodysuit striped with every color imaginable.

The first half of A NEW BRAIN provided a clue as to why the theatre was so chilly – the actors were continually running, hopping, and generally cavorting about. A climate comfortable for the audience would have steamed the cast like a pan of broccoli; I just wish I’d brought a jacket!  

A NEW BRAIN is a musical, and all dialogue is sung rather than spoken. I was particularly tickled by Gordo’s Law of Genetics and Poor, Unsuccessful and Fat. The story got more serious with M.R.I. Day and Craniotomy. This was somewhat disorienting, as the production had hitherto been lighthearted comedy, which I believe was its natural métier; it was difficult converting to the gloominess of Brain Dead and A Really Lousy Day in the Universe.  

The high point of the latter half was Lena Simone as the homeless lady. Her signature song, Change, was a brilliant showcase for her marvelous voice. Which is not to dispute the musical caliber of the rest of the cast! One of the things I treasure about these small storefront theaters is how effectively they display Chicago’s extraordinary wealth of theatrical talent. At the major stages of the downtown Theater District – the Goodman or the Nederlander – one  anticipates distinction, but the splendid acting one encounters in the more humble venues is truly remarkable. We are very fortunate here in the Second City!

Incidentally, I feel called to point out (particularly in this context) that “Second City” does not refer to Chicago’s theatrical offerings as ‘second to’ those of New York. Rather, the appellation refers to the ‘second city’ that materialized from the ruins left after the Great Fire of 1871 levelled roughly a third of the city. A fortunate corollary is that the postfire rebuilding opportunities attracted a host of great architects— Louis Sullivan, Dankmar Adler, William Holabird, Daniel H. Burnham, John Wellborn Root, William Le Baron Jenney – whose work still defines the architecture of our lovely Second City.

End of historical circumbendibus – back to A NEW BRAIN.

The entire production, from the masterly actors, accomplished direction, first-rate music … wait a minute, I haven’t even mentioned the band! The A NEW BRAIN band was conducted by Robert Ollis, with Justus Wright on Synthesizer, Eric Grunkemeyer on French Horn, Adam Nigh on Reeds, and Percussion by Benjamin Heppner.

As I was saying (before I so rudely interrupted myself), though the play itself was not, IMHO, worthy of the creator of Into the Woods, the production was top-notch and totally worthy of the occasion. This is high praise indeed from me, as I’m not particularly fond of either musicals or comedies. I chose this show largely to support PrideArts in its splendid new home, and I hope you’ll do the same!

Recommended

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

I fondly recall watching the 1964 children’s television special Rudolph the Red-Nosed Reindeer each year with great wonder! Its message of hope—that you can be yourself and different from the herd—left a lasting impression. The idea that, through perseverance, you can be loved and appreciated for your unique talents is as relevant today as ever. This timeless lesson is humorously celebrated in Hell in a Handbag Production’s 25th anniversary edition of Rudolph, the Red-Hosed Reindeer.

Written by Handbag Artistic Director David Cerda, directed by Anthony Whitaker with musical direction by Chad Gearing, this year's production of Rudolph the Red-Hosed Reindeer (An Unauthorized Musical Parody) is as significant as ever. It’s a delightful experience and provides so many much-needed laughs, particularly during these dark winter months following the election. I always enjoy David Cerda’s brilliant sense of humor whether writing, acting or both - and his fabulous camp costumes. This time, David is dressed head to stiletto-heeled toe in luscious candy apple red, parodying one of the 'Reindeer Housewives of the North Pole,' and it's fantastic.

The Handbag satire remains faithful to the storyline and characters of Rudolph the Red-Nosed Reindeer, but with a distinctive Handbag twist. In this version of the Christmas classic, Rudolph, a young reindeer at the North Pole, stands out not because of a shiny, glowing red nose, but for his love of wearing red-hosed stockings. His 'unusual' clothing choice often makes him the target of teasing and exclusion by his fellow reindeer. In his quest for acceptance, Rudolph runs away and, thanks to friends he meets along the way, like Herbie the elf who wants to be a dentist and Yukon Cornelia the gold miner, our red-hosed wearing reindeer learns that it's okay to be different and to love yourself for who you are. Rudolph’s story highlights themes of acceptance, determination, and celebrating individuality. 

(left to right) Kelly Bolton, Caitlin Jackson and Peter Ruger in Hell in a Handbag Productions’ production of ‘Rudolph the Red-Hosed Reindeer (An Unauthorized Musical Parody).’

This show features hysterical spins on all the well-known Rudolph characters, brought to life by many beloved Handbag favorites. Caitlin Jackson, whom I’ll always adore for her fantastic portrayal of Bette Midler in Handbag’s Bette: Live at the Continental Baths, plays Mrs. Claus, the oft-drunken, lonely wife of the narcissistic and sex-addicted Santa Claus - and she steals every scene she's in! Jackson’s outstanding singing voice, paired with her sharp wit, generates continuous laughter throughout this hilarious production. While Jackson excels as Mrs. Claus, Michael Hampton delivers an uproariously funny performance in Handbag’s amusing spoof of Santa Claus.

Handbag fave, Sydney Genco, who plays Elfina and also doubles as Choo Choo, the misfit square-wheeled train, is funny and adorable as always, showcasing her terrific singing voice. Genco also took on the role of make-up designer for this production, contributing to the fantastic visual elements of the show.

The show is brimming with fantastic performances, so I'll continue to heap on the praise. Longtime Hell in a Handbag member Terry McCarthy is the ideal comedic counterpart to Cerda, portraying another of the influential, spoiled reindeer wives of the North Pole. Their characters are suspicious of poor Rudolph, clad in lacy red underwear, who is quite a departure from the macho bucks that usually pull Santa's sleigh. Lori Lee shines as Yukon Cornelia, the slightly confused gold miner, in this production. A very talented comedienne and singer, and a Hell in a Handbag member, Lee is a delight in her role. With the help of the fearsome Drag Beast (well played by Mark Bartishell), Cornelia finally realizes she is gay, a hunch that every other character in the play had all along! Kelly Bolton glows as the quirky elf Herbie, who dreams of being a dentist rather than a toymaker. Bolton perfectly captures the character, eliciting plenty of laughs from the enthusiastic opening night audience.

Indeed, the praise for this show is boundless… While Peter Ruger enchants as our hero, Rudolph, with charm and flair, yet another standout performance comes from Matt Sergot, who brilliantly embodies Sam the Snowman in this delightful musical. As the show's narrator, Sergot sets up each scene with perfect whimsy, adding a charming touch to the entire production. Rudolph the Red-Hosed Reindeer also benefits from the talents of ensemble performers Eustace Allen, Cameron Cai, Micah Mixon, TJ O’Brien, Shawn Quinlan, Michael Radford, and Whitney Willard Wilkinson, who impresses in her role as Clarice.

Special kudos also go out to costume designer Marquecia Jordan for doing a splendid job bringing Herbie, Yukon Cornelia, Sam the Snowman, and our other Rudolph favorites to life. The entire production team crushes it in this one.

Each year's production of Rudolph consistently features a great deal of updated humor. Some jokes are bawdy, but all are undeniably funny, touching, and heartfelt – and that is the magic that is Hell in a Handbag. Alongside the humor also comes valuable life lessons—in this case, the importance of being true to yourself and accepting others for doing the same.

One thing I can always count on when bringing friends to a Hell in a Handbag production, especially this Christmas-themed show, is that we'll have a great laugh, hear fun songs, enjoy a couple of drinks during the generous intermission, and leave feeling like part of the uniquely wonderful straight and LGBTQ family celebrating right here in Chicago.

If you need a laugh and to unwind during the holiday season, then be sure to attend Rudolph the Red-Hosed Reindeer through January 5^th. And please take special note of the show's benefit weekend, from Friday, December 20th through Sunday, December 22nd. During this time, you can enjoy this fantastic camp parody holiday-themed show, knowing that the proceeds will go directly to support the food needs of Chicagoans living with AIDS.

Hell in a Handbag’s Rudolph the Red-Hosed Reindeer and Unauthorized Musical Parody is being performed at Hoover Leppen Theatre at Center on Halsted through January 5^th. For tickets and/or more show information click HERE.  

When George W Bush won his second term in November 2004 Larry Kramer delivered the watershed speech The Tragedy of Today’s Gays, a speech that was “the most difficult I’ve ever had to give”. Director David Zak worked with Kramer adapting the speech for theatrical performance, continuing after Kramer’s death in 2020. THE KRAMER PROJECT is the result; its world premiere is the first event for Open Space Arts, a new non-profit dedicated to works of social relevance. The six performances of THE KRAMER PROJECT, July 22 through 31, benefit Center on Halsted.

Larry Kramer would be first to agree that most of his performances involve yelling at people, particularly other gays. David Zak modifies the speech for performance by having the cast – Tom Chiola, Keith Butler, Elijah Newman, Hailey Hance, Roberto del Rio, Alexandria Moorman and Ryan Quade – deliver the speech to one another, against a video background designed by Magdiel Carmona and including original music by Elijah Newman.

THE KRAMER PROJECT was a flashback for me personally.  I completed my psychiatric residency at Rush Medical Center from 1984 – 1988, as the Plague swept through Chicago. During those four years I watched helplessly as sparkling young men shriveled and died in unspeakably horrible ways. When my training was complete, my National Health Corps Scholarship required me to pay back with four years of practice. I went all the way up to the Surgeon General, C. Everett Koop, begging to complete my payback service at Howard Brown Health Center. In April 1988 I received a letter from Dr. Koop stating that “AIDS is not a national health care priority”. So, yeah … THE KRAMER PROJECT was a flashback, both bitter and sweet.

By the time Kramer delivered the speech in 2004 the Highly-Active Anti-Retroviral Treatments (HAART) had been available for nearly ten years, and AIDS had morphed from an immediate death sentence (90% dead within six months of diagnosis) into a chronic, treatable disease. The Tragedy of Today’s Gays was addressed to the latest generation of young gay men, for whom AIDS is “just a bad STD””, condemning their disregard for social activism in favor of orgasms.

The Tragedy of Today’s Gays had much to say about the Bush administration’s endorsement of “moral values”. Kramer quotes extensively from Bill Moyers’ research on the alliance of conservatives that were transforming America into a “classist, racist, homophobic, imperial army of pirates”.  AIDS was a gift to this cabal: "Their wildest dreams started to come true. The faggots were disappearing, and they were doing it to themselves".  

Kramer’s confrontational style, criticizing the promiscuous gay relationships common in the 1970’s, earned him severe ostracism from the gay community. Undeterred, in The Tragedy of Today’s Gays Kramer directs his censure toward the younger generation of 2004 gays. 

Today, 20 years later, it is shocking – and deeply alarming – to see how accurate his indictments continue to be in 2022.  

Zak’s technique in THE KRAMER PROJECT, having the cast address one another, works brilliantly, transforming Kramer’s recriminations from a tirade into a discussion. The cast ranges in age from early 20’s to late 50’s, lending still greater depth to the ‘discussion’, and enhancing the validity of Kramer’s charges. 

At the post-performance discussion David Zak described his dismay as one segment after another of The Tragedy of Today’s Gays anticipated today’s anti-trans legislation, supreme court decisions, and ‘Don’t Say Gay’, adding: “…and now here comes monkeypox, right on schedule.”

Each actor spoke of their personal journeys with THE KRAMER PROJECT. A younger cast member admitted that, though they already knew much of the history, it had been difficult to ferret out the information. There are no straightforward [sic] sources for queer history, and many will abandon efforts to piece together the hodgepodge of implausible accounts with questionable provenance.

Yes, in 2022 Kramer’s words prove clairvoyant. We have just (barely) unseated a President who makes George W Bush look like James Baldwin, we have a brand-new viral onslaught on men who have sex with men, and many of today’s queers seem mired in political apathy.  Without an overwhelming upsurge in activism, Kramer’s ominous predictions will continue to foreshadow our dwindling gay rights.

I highly recommend THE KRAMER PROJECT, but expect to leave the theatre feeling deeply unsettled.