Trish Vignola - Page 5

I support the promotion of local playwrights, especially women. However, 'Lucinda's Bed' plays into every stereotyped moment of a woman's life: self-consciousness, violence, guilt, fear. Don't get me wrong. A stereotype is a stereotype because there is some kernel of truth to it. Who hasn't had to reread Camille Paglia on occasion? However, McCullough seems to allow her heroine's life to be defined by one moment and by doing that, the play became as predictable as Lifetime Television. I accept McCullough's choice to have her lead dissolve into an anti-hero. Some of the greatest female roles in theatre history are anti-heroes, but Lucinda becomes an anti-hero by giving up. And when she does give up, I stopped caring.

Alright, I have to confess that I was prepared for a night of processed cheese melting under stage lights. I personally cannot stomach holiday-themed theatre (regardless of the holiday) and this was the second Halloween-themed show I reviewed in the past three weeks. However, I am happy to say that I was completely wrong about this show. The production recalls the decadent intimacy of an old-time cabaret. If you're lucky to get in, you don't want to leave.

I support the promotion of local playwrights, especially women. However, 'Lucinda's Bed' plays into every stereotyped moment of a woman's life: self-consciousness, violence, guilt, fear. Don't get me wrong. A stereotype is a stereotype because there is some kernel of truth to it. Who hasn't had to reread Camille Paglia on occasion? However, McCullough seems to allow her heroine's life to be defined by one moment and by doing that, the play became as predictable as Lifetime Television. I accept McCullough's choice to have her lead dissolve into an anti-hero. Some of the greatest female roles in theatre history are anti-heroes, but Lucinda becomes an anti-hero by giving up. And when she does give up, I stopped caring.

I can't stress enough that if you are looking for something for the kids to do this Halloween, this is not the show for you. There are no slashers or ax-murderers; however, Rhymes with Evil is a scary Hitchcockian good time. This Halloween, if you are looking for an original suspenseful evening, then this is the production to check out. www.infusiontheatre.com www.dcatheater.org

The Profiles Theatre opened its 21st Anniversary Season with the Midwest premiere of Neil LaBute's The Mercy Seat. Directed by Artistic Director, Joe Jahraus, this production runs now through November 15, 2009 at the Profiles Theatre, 4147 N. Broadway. The Mercy Seat was one of the first theatrical responses to the attacks on September 11, 2001 and the current cast includes Profiles' ensemble member Darrell W. Cox and Cheryl Graeff.

No, it does. Literally. The Porchlight Music Theatre opened its 15th anniversary season this month with The Fantasticks. Based on Edmond Rostand's Les Romanesques with music by Harvey Schmidt and a book and lyrics by Tom Jones, this classic has produced Broadway standards such as "Try to Remember." The Fantasticks is simple parable about love and all of its intricacies. Our Romeo and Juliet-esque heroes learn through the difficulties of maturity that fulfillment is found no further than their own backyard in each other arms. The current production is running at the Theatre Building Chicago now through November 15, 2009.

The World Premiere of Michael Golamco's Year Zero opens this week in the new second floor studio of the historic Victory Gardens' Biograph Theater. Year Zero is the first of a two-show premiere concluding Victory Gardens' Ignition Emerging Playwrights of Color Festival, which after this production, we should all hope will be annual event.

The Provision Theater Company opened their season last week with a revival of their 2004 production of Cotton Patch Gospel. The Cotton Patch Gospel is a reverent retelling of the Gospels of Matthew and John, set to Bluegrass music. Based on the book, The Cotton Patch Gospel of Matthew and John by Civil Rights Activist Clarence Jordan, this musical has music and lyrics by the late Folk Balladeer Harry Chapin with book by Tom Key and Russel Treyz. Lou Contey directs the current production in the Company's beautiful new home on West Roosevelt, running through November 8.

Last night, the Caffeine Theatre in association with the Chicago DCA Theater opened Dylan Thomas' 'Under Milk Wood' at the Storefront Theater. Thomas' dark 'Day in the Life' comedy about the fictional Welch town of 'Llareggub' explores the theme of isolation in an ever shrinking world, while still celebrating the glorious possibilities humanity offers. First broadcast in 1954 as a radio play, Director Paul S. Holmquist and a cast of nine bring to life over forty characters through fetes of physicality and a mastery of Thomas' language.

The Steppenwolf Theatre Company continues its 2009-2010 season with a revival of David Mamet's American Buffalo. Directed by ensemble member, Amy Morton, this production features ensemble members Francis Guinan and Tracy Letts with Patrick Andrews. You have until February 7th to catch this must-see in Steppenwolf's Downstairs Theatre (1650 N. Halsted Street). To see a Mamet play at Steppenwolf is tantamount to seeing Mamet come home, the work of a Chicago-area native so uniquely tied to our city in a Chicago theatre with its finger on the pulse of the American Theatre scene. How many opportunities to you get to see this happen?

Route 66 premiered the rehabbed Jalopy, High Fidelity, last night at Pipers Alley. However, when a show only lasts fourteen performances in its Broadway Debut, it might just be worth it to let sleeping dogs lie. Based on the 1995 Nick Hornby novel and the 2000 John Cusack film, High Fidelity introduces us to Rob, a record-store owner with the emotional maturity of a child and takes us on his journey to get the love of his live, Laura, back and maybe just grow the heck up.

Carnival Nocturne will be packing up its nightmarish menagerie of freaks in a week. So, catch it before it is gone. For information about the Silent Theatre Comapany's Carnival Nocturne and the Chicago DCA Theatre, call 312-742-TIXS or visit www.dcatheater.org. For more information about the Silent Theatre Company, check them out at www.silenttheatre.com.