Displaying items by tag: Hell in a Handbag

Hell in a Handbag Productions celebrates its 25th year with a revival of Joan Crawford Goes to Hell, a sharp, mischievous look at the Hollywood icon through the company’s signature parody lens. It is truly perfect timing that Handbag's guiding force David Cerda has chosen to do this play in the hellish year of 2026. First staged in 1999 by Sweetback Productions, the show is currently staged at The Clutch with a fresh cast and a renewed appetite for chaos, blending biography, satire, and Crawford’s own self-mythologizing into a hypnotic, magnificent, and powerfully funny indictment of one of Hollywood’s greatest movie stars. It’s a wildly funny show, bristling with the kind of big, brazen laughs that Handbag delivers better than anyone. The premise is simple and delicious: Joan Crawford dies and lands in hell, where she’s forced to relive scenes from her life as filtered through daughter Christina’s memories, including the indelible Mommie Dearest moments, from the wire hanger tirade to the all-out battle royale between mother and daughter. 

One of the show’s sharpest structural choices is the way it pits Christina’s Mommie Dearest against Joan’s own memoir, My Way of Life. Each woman clings to her version of the truth, and the production amplifies that contradiction by having the characters volley excerpts from their respective accounts. Christina’s recollections paint a childhood marked by significant acts of child abuse and cruelty, while Joan counters with polished, self‑protective passages that insist on glamour, discipline, and maternal devotion. The back‑and‑forth becomes a theatrical tug‑of‑war over legacy itself. The truth is, legacy is all that was important to Joan Crawford because she cared more about public perception than her own children. 

Handbag’s reimagining of the most unforgettable Mommie Dearest moments hits home in both comedy and tragedy, reminding us why those scenes have stayed lodged in the cultural imagination for decades.

(left to right) Gretchen Greear and Anna Rose Steinmayer in Hell in a Handbag Productions’ revival of Joan Crawford Goes To Hell.

With Christina and Joan locked in a battle over whose version of the truth will prevail, Handbag pushes the idea even further: Joan isn’t embodied by just one performer. She’s split into three distinct incarnations, each capturing a different era and emotional temperature. David Cerda, as Joan #1, the older, not-so-remorseful, excuse-making Joan who has just passed away, delights everyone in the role with a wry, sardonic comic edge (and yes, Handbag finds a way to even make a deathbed funny). Gretchen Greear steps in as Joan #2, the impeccably polished Hollywood star, while Nicholas Ian unleashes Joan #3, the volatile, larger-than-life tempest with a hair-trigger temper. Together, the trio creates a lively rotation that keeps the show moving and underscores the contradictions that fueled Crawford’s public image. I really enjoyed watching the three Joans bounce off one another – the interplay keeps the show unpredictable in the best way.

By splitting Joan Crawford into three personalities, the production sharpens our view of the forces pressing in on her - Hollywood’s unforgiving demands, the intimidation she faced under MGM studio head Louis B. Mayer, and the specter of financial ruin - all seen through Christina’s spooky, subjective retelling of her mother’s life. 

And Cerda, now back as his premiere character Joan Crawford, also recorded an album called The Joans back in 2001, and the music is used in this play. Having also been in a band at the time we met, I remember feeling an immediate connection with David - a kind of gay fairy godmother - from the first time I heard him elicit enormous laughs from his loving audiences through Joan’s curling blood‑red lips. 

(left to right) Haley Gillman,Nicholas Ian and Ryan Kenny.

Joan’s remorse is fleeting at best. The production makes it clear that even when she’s forced to relive the worst moments of her life, including the cruelty toward Christina, the chaos she inflicted on friends, and the emotional wreckage she left behind, she rarely accepts responsibility. Instead, she pivots, excuses, reframes, or outright denies, often doubling down on the very behaviors that landed her in trouble in the first place. When Joan Crawford is asked if she had any regrets about her dramatic life decisions, she answers with a martini dry, rock solid “absolutely not” that millions of women from her generation to the present will all echo with a fury. Handbag plays this not as tragedy but as sharp comedy: Joan’s instinct for self-preservation is so strong that the devil himself can’t pry a sincere apology out of her. The result is funny, pointed, and perfectly in line with the company’s parody style.

At the same time, the play doesn’t ignore the darker realities of Crawford’s life. Even though Joan Crawford was accused of severe child abuse by two of her adopted children, the play also acknowledges that a woman alone in the world at that time - especially one operating at her level of Hollywood fame and power - would have faced enormous pressure, mind‑bending double standards, and relentless scrutiny, including outright sexist abuse both behind the scenes and sometimes in public. 

I’ve always appreciated Handbag’s knack for casting performers who can land both the joke and the heart of a moment, and this group embodies that beautifully. A steady, clear‑eyed anchor comes through in TJ O’Brien’s performance as Adult Christina, while Haley Gillman supplies a youthful spark as her younger counterpart. As Carol Ann, Ryan Kenny delivers some of the evening’s most reliable laughs, playing a maid whose patience seems almost supernatural. Lori Lee steps into a few sharply etched roles, including Helga, a housemaid and recipient of Crawford’s iconic “I’m not mad at you. I’m mad at the dirt” line, and Al Steele, the Pepsi executive who became Crawford’s fourth husband.

Good-natured and genial, Michael Rashid’s Greg brings an easy charm to the MGM lawyer who helped facilitate Christina’s adoption, though even he eventually reaches his limit with the Crawford tumult. A devilish glint runs through Nick Dorado’s turn as Mr. Deville, guiding Joan through her infernal afterlife, while Anna Rose Steinmayer and Tyler Calhoun add texture throughout the ensemble.

The magnificent projections, beautifully designed by DJ Douglass, deliciously underscore how much of Crawford’s power came from the control of her face - the slick black rolls of shiny hair, the hours of evenly applied makeup, the sweet yet searing expressions, those magnificent, even terrifying eyes. She quite literally had to possess the “looks that kill” to survive the jungle of Hollywood. The projections draw from multiple sources, each revealing a different facet of her beauty and its eventual fading, including one haunting image of her gaunt body dancing in an old nightgown near the end of her life. Handbag uses these projections to sprinkle in memorable cameo appearances: Jennifer Engstrom of A Red Orchid Theatre and Coco Sho Nell materialize as yet more versions of Joan, adding to the show’s gleeful multiplicity. 

(left to right) Gretchen Greear and ensemble members Lori Lee and TJ O’Brien. Photos by Rick Aguilar Studios.

Playwright and Artistic Director David Cerda once again proves why Handbag’s voice is so distinct, shaping the material with his trademark blend of camp, bite, and affectionate parody. In perfect sync with that tone, director Cheryl Snodgrass keeps the energy sharp and well-paced, guiding the ensemble through the show’s chaos with a steady hand and a clear understanding of how Handbag humor lands best.

I noticed early on that what makes David’s writing - and the plays he produces - so special is the deeply compassionate view of life he brings from the woman’s side of things. Cerda doesn’t just tease the audience with camp, easy and tawdry jokes, he educates, encourages and supports his audience with easy and tawdry jokes. 

Even Hell needs a good design team, and this one delivers the right mix of style, practicality, and playful flair. Marcus Klein’s scenic design uses a simple, brilliant, sparkling catwalk feel that suits the production well, giving the cast plenty of room to play without clutter. Costumes by Ben Argenta Kress are perfectly designed to reflect the period with style and humor, Syd Genco’s makeup design adds dramatic, expressive detail, and Keith Ryan’s wig work rounds out the look with steady, character-focused polish.

If you’re already a fan of David Cerda as Joan Crawford and of Hell in a Handbag Productions, you should still do yourself a favor and watch Mommie Dearest before seeing the show. You’ll laugh hysterically, and during the play you’ll fully appreciate the immaculate detail the production and cast bring to the black‑and‑white film projections, the hair and wigs, the makeup, costumes, and jewelry - all crafted to showcase the utmost in humor, radiance, and accuracy.  

For two decades, Buzz Center Stage has lovingly followed Handbag’s work, and in their 25th anniversary celebratory season, Joan Crawford Goes to Hell does what the company does best: delivers affectionate and hilarious parody with a genius wink of glamour. It’s a light, funny summer offering with a faithfully committed ensemble and a clear love for the material.

Joan Crawford Goes to Hell runs August 21st through September 27th at The Clutch, 4335 N. Western Ave. Tickets available at handbagproductions.org.

Highly recommended.

I was really impressed by the new Shakespearean send-up Out, Darn Spot! starring Tyler Anthony Smith as Lady Marcia Macbeth. Smith is a very talented actor and writer to have pulled off what is essentially a one-man show that never fails to elicit all kinds of emotions, from the deepest, darkest depression to high campy humor throughout. The play is in essence an episode of Macbeth’s late 1960s lifestyle show but done in Handbag style. Also featured within the production are a handful of hilarious throwback commercials that perfectly poke fun of the era.

David Cerda, Hell in a Handbag Artistic Director, makes a delightful appearance as writer Jacquline Susan and is as funny as ever. Caitlin Jackson also puts in some great scenes as kidnapped singer, Leslie Gore. Jackson has such an amazing singing voice, 

I still recall her portrayal of Bette Midler and I was hoping that she would be allowed to sing a portion of one of Leslie Gore's songs like "These Boots Are Made for Walking" or "You Don't Own Me" but perhaps the licensing of those songs was prohibited. 

Stephanie Shaw who directed, shot and edited this video performance did an amazing job capturing Tyler Smith's many moods and looks. Shaw also nails the colorful and psychedelic special effects common to TV and video of that period for all the supporting characters and interior scenes. In one particularly disturbing and haunting section Smith appears to be in a film similar to "The Shining" at the top of a very scary staircase which evolves into a "broken mirror" image of Smith, sans his beautiful period wig, in which he appears to deconstruct his entire character in order to show how deep the layers of depression, pathos and repression of 

sexuality affected housewives back in the 60's.  

This is a particularly timely piece right now as so many of us are trapped at home alone for extended periods of time, like the housewives of the 1960’s. Tyler Anthony Smith conveys with a single piercing  look directly into the camera - just how very lonely and distressing this situation is,  especially when your spouse is not providing you with the sexual or even platonic affection that every human being needs to survive this kind of home lockdown.

Although I sincerely miss the wonderful live shows from Hell in A Handbag, that I've enjoyed for so many years, I am pleased to see this great quality of absurdist, even avant-garde, theater created in a video format for audiences to discover and watch time and time again. The show has so many twists and turns and the monologues are so richly written, I would need to watch it again to absorb it all. 

Although the dark comedy and multilayered Out, Darn Spot! might be a slight break from the pure camp stage comedy that one usually sees from HIAH, it is a successful and important production that could be used as Tyler Anthony Smith's calling card for years to come. 

Out, Darn Spot! will stream through March 21, 2021 (Thursdays, Fridays & Saturday at 8 pm; Sundays at 3 pm) via Vimeo. Tickets ($17) are currently available at handbagproductions.org or directly through Eventbrite.

Caitlin Jackson as Bette Midler recreating one wonderful cabaret night at the Continental Bathhouse in New York city is a heartfelt, moving and entertaining way to remember and celebrate Bette's humble and "hungry" beginnings as a performer with the legendary “Tommy” (Tommy Robb) her pianist.

 
I really can't say enough about how talented Caitlin Jackson is as a comedienne and vocalist to be able to carry off this show with such style. Jackson's own vocal stylings are superb and many of the songs were delivered so strongly and such emotional insight into Midler's early struggles as a sexually liberated woman searching for love through her loneliness brought me to tears.

I actually lived in the historic pre-war luxury building, The Ansonia, on 72nd and Broadway showcased in Woody Allen's film Manhattan, for 4 years right after graduating from college. The bathhouse was long gone when I lived there in 1983-1988, but sometimes when I was doing laundry in the cavernous basement of the Ansonia, I imagined I could still hear the sounds of Bette's exquisite voice and the excitement of her loving fans laughing and clapping for her bawdy, yet tender humor.

I think Caitlin Jackson has a marvelous, powerful voice and does Bette Midler's humor and patter (taken almost verbatim from one show) justice without doing a full on impersonation which allows the audience to feel they are seeing the young Bette for the first time. 

I had forgotten just how many of Midler's amazingly moving songs are about her extreme loneliness and heartbreak in love relationships - "Empty Bed Blues," “Long John Blues,” “Do You Wanna Dance?” and, of course, "I Shall Be Released" and "Waiting for my new Friends to Come," so I was really happy to discover that this Christmas Edition wisely pumps up the Joy factor with several fantastic renditions of toe tapping Christmas songs and the ever popular "Superstar," "Baby Please Come Home" and "Boogie Woogie Bugle Boy".

Sydney Genco and Allison Petrillo are a delight as her backup singers and bring their bright sexy dame harmonies and dance moves that really help support Jackson - who otherwise carries every minute of this very demanding vocal and theatrical "one woman show". 'Bette: Xmas' is adapted by both Artistic Director David Cerda and Jackson, and Jackson also directs this production along with Marc LeWallen while music direction is handled by Tommy Robb.

I highly recommend seeing this unique and talent-filled Hell in a Handbag production, which has only been improved from its original Summer form by being lit up with Christmas lights and the Joy of Christmas.

‘Bette: Xmas at the Continental Baths’ is being performed at Mary’s Attic through December 31st.

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

Fun! Funny! Funnier! If you are fan of The Golden Girls TV show, then run, don't walk, to see Hell in a Handbag’s The Golden Girls: The Lost Episodes at Mary's Attic before its special, recently extended, run is over. The show opens with a heart lifting, hug your best friend singalong of the sitcom’s famed theme song, "Thank you for being a Friend" - in its fantastic entirety! 

Plenty of fans arrive in costume to see the show and in between the hysterically funny, bawdy, R-Rated "Lost Episodes” theatre goers are entertained by Golden Girls trivia contests with fun prizes, so live it up. 

Hell in a Handbag Artistic Director David Cerda wrote the show which parodies the famed 1980’s sitcom where four women who share a home in a Miami Senior Community are not ready to stop living life to the fullest. Cerda is fantastic as the deadpan Dorothy even with the use of just one syllable – “Mah!" David, who recently won a well-deserved special Jeff Award (Congrats!) for all of his amazing contributions to theatre in Chicago with his much beloved production company Hell in a Handbag, evokes laughs with every shoulder-padded shrug and anchors the show with his dead-on funny accuracy in the role of Dorothy that actress Bea Arthur made famous. 

I don't know how he does it but every single show David writes is unique, displays every cast members talents superbly, heartfelt and funnier than the last. In this show, he takes the iconic TV show and brings it to a new level, creating hysterically campy “lost episodes” that one could only wish took to the air during the series’ heyday.  

Blanche is played with true southern sex appeal by A. J. Wright. Wright is mind-blowingly accurate in his portrayal of the flirty man-eater. Wright is so convincing, I had to occasionally close my eyes and just listen with delight, because I really felt he was a woman channeling Rue Clanahan, not a man in drag. The razor-sharp tongued Sophia played by Adrian Hadlock is also right on the mark with his dry as a martini, machine gun-like delivery of every single one-liner.

Ed Jones rounds out this fearsomely funny foursome with his always gentle, never forced portrayal of the delicate and ditzy, Rose, often forced to do and say indelicate things! Handbag favorite Ed Jones is - as ever, roaringly funny and true to Betty White's every gesture, even to her dazed and confused looks of naivety. As in all of Handbag’s productions, Golden Girls is equipped with a stellar ensemble, this show including hilarious performances by Chazie Bly, Kristopher Bottrall, Grant Drager, Lori Lee, David Lipschutz, Terry McCarthy, Michael S. Miller and Robert Williams.

Not ignoring the other fine touches that make this such a fun experience, Myron Elliot’s costumes and Keith Ryan's wigs and makeup are a laugh riot in themselves and really help each actor achieve the eerie accuracy that makes this a true golden fest for fans of the show. 

David Cerda and I have some kind of strange psychic connection in that his shows always seem to coincide in some synchronistic way with things going on in my life and family, and Golden Girls was just what I needed to see. My mother and I lived in Miami Florida throughout my whole young adult life and the week I saw this production of Golden Girls (one of my mom's favorite shows to watch with me) she was in the hospital and I was extremely stressed and worried about losing her. When David says as Dorothy about her mother Sophia, "She's probably thinking back to her youth in the fields of Sicily," and then sighs, "God, I'd wish she'd just die," I had to let out a cathartic laugh because it was just such a perfectly funny, subtext of compassion coupled with frustration of the statement of all mother/daughter love when stretched to its limits. I loved it. Naturally, I don’t wish such a thing, but Cerda’s writing has a way of somehow finding love and humor in even such a statement.  

I didn't stop laughing or smiling from start to finish of this uproariously funny take on the Golden Girls that no fan should miss. Even if you are not familiar with the show, it’s worth checking out. Don't worry, you’ll pick it up quickly. And like many Hell in a Handbag shows, there is an intermission long enough to stretch, grab a drink and use the restroom which allows you to really allow the funniness of the first act to sink in. Increasingly I find myself enduring 90-minute or longer shows with no intermission as if the audience is trapped in some kind of marathon endurance test of our concentration and bladders! But not at Hell in a Handbag shows, which proves yet again that David Cerda is in tune with everything a Golden Girl needs to truly enjoy a laugh packed night out with your best friends. Much Thanks to David Cerda for "being a friend!”

Golden Girls: The Lost Episodes is being performed at Mary’s Attic in Andersonville on Wednesday and Thursdays at 7:30 p.m now extended through September 16th. Saturday dates have been added for August. Tickets are $20, but are just $16 if purchased in advance. To purchase tickets or to find out more about this hilarious show wonderfully directed by Shade Murray, visit handbagproductions.org.

I thoroughly enjoyed this Hell in a Handbag Production starring the divine Caitlin Jackson, as the “Divine Miss M”, Bette Midler. The show takes us to the early days of Midler's career playing for gay audiences at the Continental baths for two years before her album, The Divine Miss M was released. 

Back in 1987 when I moved to New York after college I actually lived in The Ansonia for four years, a pre- war luxury building on New York's upper west side. I heard about the history of the building which included an entire circus complete with live elephants at one time living in the penthouse, and always wished I could have lived there in its heyday, when The Continental Baths was a gay bathhouse in the basement of The Ansonia Hotel, which was opened in 1968 by Steve Ostrow.

The features of this bathhouse included a disco dance floor, a cabaret lounge, sauna rooms, a narrow "Olympia Blue" swimming pool, bunk beds in public areas, and tiny rooms as one would find in any bathhouse. The facility had the capacity to serve nearly 1,000 men, 24 hours a day.

Jackson's MC, played adorably by Chad, mentions just a few of the features of the bathhouse like a vending machine which dispensed among other things KY Jelly, and a warning system that tipped off patrons when police arrived. He also points out an STD clinic, a supply of a lice-killing shampoo in the showers and how the hetero general public discovered the great shows going on underground and “ruined the scene". The baths were advertised as reminiscent of "the glory of ancient Rome".

Caitlin Jackson really captures the outrageous, open-minded spirit of Bette Midler. Most importantly though Jackson has the voice to really do justice to Midler’s renditions of “Superstar”, “Chattanooga Choo Choo”, and a sexy, bawdy cover of Bessie Smith’s “Empty Bed Blues”. Jackson also shines in her performances of “Chapel of Love”, “Hey Mambo” and delivered a heart wrenching, yet uplifting, “You Gotta Have Friends”.

Few people know that Barry Manilow was Bette Midler's accompanist during these years. Talk about two superstars finding each other at the right time! Jeremy Ramey as Barry Manilow is hysterical and really gets some great laughs as he plays the piano and captures the talented artist’s well known panache and flash. 

The show is filled out with the MC and two cutie pie twinks clad only in white towels the entire show played by TJ Crawford and Will Wilhelm. Although they are the author's invention they seem perfectly part of the show, giving Bette (Jackson) time to change in and out of her glamorous bosom enhancing outfits for number after great number. 

I really have to hand it to Caitlin Jackson, whose voice is capable of hitting Midler's high and low notes with seeming ease. Jackson also does her best in this slightly short production (1 hour 15 minutes with one intermission) to convey Bette Midler's HUGE personality and deeply penetrating sense of loneliness and compassion for the “cast outs” of the world - the ones "waiting on the corner for their friends to return."

Even if the songs were not actually part of Midler's bath house days, I left yearning to hear more, simply because Caitlin Jackson's voice was such a JOY to listen to and her face a wonderful mirror of Bette Midler's enthusiasm for life and love of the gay community without ever becoming a caricature.

 Highly Recommended. 

Bette, Live at the Continental Baths is being performed at Stage 773 through September 10th. More show info can be found at www.stage773.com.