Displaying items by tag: Michael Dailey

Notable New York playwright Stephen Adly Guirgis’s 2000 breakthrough play, “Jesus Hopped the 'A' Train,” is receiving a dynamic revival at City Lit Theater, with a fantastic cast delivering excellent  performances and inventive staging, all under the direction of Esteban Andres Cruz. Guirgis went on to win a a Pulitzer Prize in 2015 for his celebrated work, “Between Riverside and Crazy.”

Berwyn-born Cruz has a history working with Guirgis, and played the role of Angel Cruz in a 2008 Raven Theatre production for which they received a Jefferson Award. Now Cruz is guiding a brace of accomplished actors in Guirgis’ drama, along with 2024 University of Michigan graduate and relative newcomer Lenin Izquierdo, “an angel sent to us from heaven,” says Cruz. “He just had the beautiful thing about his heart that you can’t teach or fake.”

Izquierdo has the lead role that Cruz played, the young Latino Angel Cruz, who wounds a cult leader—Rev. Kim—who he believes is stealing away with his friends and family, and their money. Angel is arrested and sent to Rikers Island to await trial. When Rev. Kim dies from complications following surgery, the charges rise to murder. “Jesus Hopped the ‘A’ Train” thus carries the inherent dramatic tension of a jailhouse drama, and a courtroom trial.

Maria Stephens as Mary Ann

Guirgis’ play is structured in two acts, with a series of interconnected vignettes that allow each of the characters to deliver exposition, and full portrayals of themselves. Sometimes the vignettes feature a single character, or Angel paired with another—the sadistic guard Valdez (Manny Tamayo is stunningly good as an unvarnished tyrant); the court-appointed lawyer Mary Jane Hanrahan (Maria Stephens in a knock-out performance); the sympathetic guard D’Amico (Michael Daily brought me to tears); and Luscius Jenkins (Bradford Stevens) in a demanding role as a fellow prisoner, a convicted serial killer awaiting execution.

Lenin Izquierdo as Angel (left) and Manny Tamayo as Valdez

Scenic design by Tianxuan Chen is surprisingly effective in its minimalism: layers of canvas graffitied and draped as backdrop to an open stage. A backlit scene (lighting by Josiah Croegaert) is very striking representing off-stage prisoners tormenting Angel. Several scenes stay lodged in my mind: Angel Cruz forlorn in his cell, struggles in his first night in prison to recall the Lord’s Prayer, as prisoners taunt and complain in the background; the empathic guard D’Amico recounting his witness of an execution; Angel’s vivid recollectionis of the joyful play with his friends in the days of his youth.

With all its strengths, “Jesus Hopped the ‘A’ Train” falters perhaps on the basis of script: we get a little too much of the ravings of Lucius the serial killer, and the closing scene of the play seemed more like a diversion than a resolution.

“Jesus Hopped the ‘A’ Train” runs through September 27 at City Lit Theater in Chicago. It comes highly recommended.

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

In 2020, the Ovals of Ostropol, the fictional troupe of travelling players that bring the story of Hershel and the goblins who menace him to life in Strawdog Theatre Company’s holiday tradition, were forced to spread Hanukkah cheer and occasional chills online. This year, the Ovals are back in a surprisingly rollicking (given the size of the troupe) live production of Hershel and the Hanukkah Goblins, adapted from the children’s book by Eric Kimmel by Michael Dailey, with music and lyrics by Jacob Combs.  Tickets are free, making this story accessible to all, though donations are welcome and well-deserved. Director Hannah Todd has marshalled a team of designers and performers that create a charming and joyful holiday entertainment for the whole family. The enthusiastic cast play multiple roles and instruments, using deliberately low-budget stage magic to transport the audience to the town of Chelm, where they must convince the community that stories are worth retelling...and that performers are deserving of food and shelter. Only the most jaded will not be convinced.

Eric Kimmel’s children's book tells of one man’s efforts to save Hannukah from the goblins who have taken over the old synagogue and who, for reasons unknown, hate Hanukkah and blow out the candles and throw the latkes on the floor whenever anyone tries to celebrate the holiday. Michael Dailey’s adaptation frames the story with a troupe of down-on-their-luck traveling players, including a descendant of the book’s principal character, also named Hershel. This year’s company, wearing Oval-branded masks against the anachronistic COVID-19 pandemic, are a troupe of vaudevillians whose skills do not earn them enough to pay their dinner, though they make for an entertaining pre-show. Which brings them back to Chelm—the town where Hershel’s grandfather set out to outwit the series of goblins. Hoping to find a warm welcome, windows lit with Hanukkah lights, and food and shelter, the troupe instead finds a dour shopkeeper who explains that the town has no need for stories and turns them away. After some cajoling and bullying Hershel convinces her to listen to the story of how his ancestor defeated the goblins and then make her decision. The troupe scrambles to put together the show, sharing all the elements that will become the props and goblins through theatrical magic and commitment.

Hannah Todd and the ensemble of performers and designers have created an accessible, low-tech performance that relies on mild Catskills-style humor, slapstick, and some dance and acrobatics. Nothing fancy. The Ovals seem to rely more on charm than skill, which explains their destitution. However, they have charm in spades, which makes it nearly impossible not to root for them. Todd does an excellent job of keeping the pace moving, allowing just enough time for laughs (or groans) and audience responses, and, finally, a moving celebration of stories and community. She introduces all the elements of the play-within-the-play either in the preshow, or in the “panic” to pull together a show in a moment’s notice, and it is fun to see how the elements are transformed when the story of Hanukkah-hating goblins is performed. The cast convey the urgency of their characters predicament without ever losing their connection to the audience and their message of togetherness. As Hershel, Morgan Lavenstein plays Hershel with just the right amount of swagger, easily switching between physical humor and solemn songs of the season, which beautifully ground the production. She also does a great job of encouraging the moments of audience participation. As Hershel’s foil and partner, Leor, who does not share Hershel’s faith that all will be well, Charlie Baker plays multiple roles, including a greedy goblin who must battle a pickle jar, with physical aplomb and comic timing. The droll Rebecca Marowitz as Max teams with Baker for vaudevillian hijinks and brings the Innkeeper to life. LaKecia Harris as Sara brings energy and warmth to her role in the ensemble, as well as a big vocal presence as one of the more menacing goblins. Christopher Thomas Pow and Amy Gorelow provide the musical spine, with Pow on violin and Gorelow on the upright bass underscoring and accompanying much of the play. Pow also voices an oddly charming, tiny tong-goblin, and Gorelow adds some comedy with her character’s attempts at acrobatics. The whole company does an excellent job of manipulating the objects that comprise the set, props and goblins. There’s even a goblin-brawl!

Scenic designer Caitlin McLeod has created a puzzle-box wagon that contains the entire play, with a few scenic touches that unite cast and audience in the spirit of Hanukkah. The wagon provides a backdrop for the Ovals’ act, holds chests of props and accessories, and then transforms into a stage. Lighting designer K Story subtly shifts focus from exterior to interior, allows the “candles” to shine, and helps create the dramatic Goblin King entrance and the miracle of the Hanukkah lights that eventually comes to pass. The props by Foiles, and puppets by Foiles and McLeod, with Stephanie Diaz serving as puppetry consultant, exemplify stage magic—common objects are transformed into goblins of all shapes and sizes, including an initially terrifying Goblin King. Both the design and performance of these puppets are delightful. Daniel Etti-Williams’s sound design relies heavily on old-fashioned Foley effects, which adds to the sense of theatricality; the coming of the King of Goblins is particularly foreboding. The movement by choreographer Amanda Crockett, incorporates acrobatics, vaudeville and traditional dance elements to tie together the worlds of players and play. Gregory Grahams costume designs bring the story closer to modern times, early in the 20^th century, with a mix of urban and rural styles. Music director Ricky Harris deploys the considerable instrumental and vocal talents of the cast to perform Jacob Combs’s klezmer-inflected score, creating a rich musical backdrop for the play. From the energetic Dreidel song, which provides a good primer of the rules of the dreidel game—helpful for later in the play—to spare settings of the Hanukkah prayer that accompany the lighting of the candles, to goblin encounters and a final musical lesson on latke-making, Harris’s musical direction fills the space.

Even the youngest members of the audience will be able to figure out what will transpire long before it does, but in the hands of Strawdog’s energetic ensemble, Hershel and the Hanukkah Goblins is a fast-paced, magical love letter to storytelling and community. Though Hershel and the goblins both are delighted by geld, Hershel and his company ultimately desire just enough to keep themselves fed and sharing stories. Though enjoyable for children of any age (there was only one child in attendance at the performance, but he represented his generation well), this show will delight younger theatergoers with opportunities to join in songs, offer advice and dance along. Hershel and the Hanukkah Goblins is a joyful and moving part of the holiday season, and well worth a visit.

Hershel and the Hanukkah Goblins, now in its fourth consecutive year, runs through December 12, 2021 at Rivendell Theatre, 5779 N. Ridge Ave. in Chicago. Tickets are FREE and currently available at www.strawdog.org. Please note that audience members 2+ must wear a mask, and all audience members 12+ must provide proof of vaccination or a negative COVID-19 test before entering the theater. Performances take place Saturdays and Sundays at 1 pm and 4 pm, and there will be an added understudy performance on Friday, December 10 at 7:30 pm.