February 2014 : Chicago

Gypsy at Chicago Shakespeare

This production has been on my radar since it was first announced. Director Gary Griffin can do no wrong with a musical in Chicago Shakespeare's main, deep three-quarters thrust theater. His Follies and Sunday in the Park with George were the best versions of these shows I've ever seen with his Follies being one of the best productions I've ever seen period! While I secretly hoped that Aussie Caroline O'Connor (so great as Phyllis in that production of Follies) would be playing Rose, I was definitely intrigued when Canadian Louise Pitre, Broadway's original mama in Mamma Mia!, was cast. This is yet another triumph for Griffin and a great introduction to Gypsy for David. While Pitre's early, quieter songs are a little breathy, never fear, she has more than enough vocal prowess to deliver the powerhouse numbers that are the two act's finales.

The whole cast is excellent and Griffin's staging is interesting throughout with probably the most brilliant "Rose's Turn" I've ever seen. During the intro when Rose states, "There wouldn't be signs big enough," the overhead Gypsy Rose Lee marquee lights reduce to just Rose, which she takes slow, clear note of. Then, when she turns back to the audience and continues, "There wouldn't be lights bright enough," the footlights raise and light up, further egging Rose on into her psychological breakdown. It's an exciting, goosebump inducing turn perfect for this space. Griffin excels at adding these little touches that aren't necessarily in the shows' scripts, but furthers their themes and heightens the theatricality. Great work all around!

Cock at Profiles Theatre

I missed this four-character play by the U.K.'s Mike Bartlett when it was off-Broadway despite its provocative title. The gimmick behind the play is that the theatrical action takes place in a cock-fighting ring, complete with wood chips on the floor and the audience seated in the round on high-rising, wooden benches with chicken wire and tin overhead. As staged at Profiles, you really feel like you could be watching a cock-fighting match in a small Mexican town. While the ringing of a loud bell (which we were seated way too close to!) marks the start and end of each scene, and the actors circle around each other poised to strike for most of the play, the actual setting is that of modern day London and the drama ensues when the younger member of a gay male couple, John, falls in love with a women. Most of the scenes are one-on-one exchanges between John and either his older gay partner, listed as M, or his newly met, same-aged girlfriend, listed as W. The dialogue is fast and furious (sometimes dizzyingly so) and the play has a lot to say about relationships today. The ending is a little more traditionally and realistically staged as the three lovers agree to meet over dinner with M surreptitiously enlisting the help of his father (F) to keep his relationship intact. While the actor playing M probably reads younger than indicated, all four casts members are interesting to watch though the bitchy M (the role and the actor) is easily the most entertaining. While most in the audience probably won't identify with John's struggles, they definitely make for a fun evening out.