Displaying items by tag: covid theater

We all love a good comeback, a big bang, a triumphant return. After nearly two years of having to avoid the theater, and any overly crowded place, the Marriott Theater has returned to hosting shows with a genuine Broadway caliber production. Kiss Me, Kate, Broadway classic that earned the very first Tony Award for Best Musical finally hit the Marriott Theatre stage and it was the welcome back kiss we all desperately need.

Kiss Me, Kate is a clever portrayal of Taming of The Shrew, with the familiar 'show-within-a-show' troupe. Passions run high as leading lady Lilli Vanessi and her ex-husband, actor and director Fred Graham, battle onstage and off in a production of Shakespeare’s Taming of the Shrew. KISS ME, KATE combines the irreverent humor of two brilliant writers - Cole Porter and William Shakespeare - with a battle of the sexes and a bickering liaison, mixed with a number of cases of mistaken identity, the mob, and comedic routines. Musical numbers include “Another Op’nin, Another Show,” “So in Love,” “Wunderbar,” “Too Darn Hot,” and “Brush Up Your Shakespeare.”

Director Johanna McKenzie Miller took approached this Broadway classic with a modern take, making this play relatable even by today's standards. “Rather than changing what was originally on the page," says Miller, "I hope to make sense of it in the present day and give women the voice they need to tell their stories." This vision plays out across the stage thanks to the powerhouse female performances of Alexandra Palkovic as Lois Lane/Bianca, Allison Blackwell as Hattie, and of course Susan Moniz as Lilli Vanessi/Katharine. Moniz's vocals and star caliber were unparalleled in her performance ranging from soft and feminine, to channeling Shakespeare's Katharine as a male-hating, fiercely independent and strong, just listen to Moniz's rendition of 'I Hate Men' and not be fully rooting for her the rest of the play.

Having never seen or heard of this production before, much to the chagrin of my musical theater friends, Kiss Me, Kate was everything one needed in a play. It was witty and smart with plenty of flashy musical dancing numbers. What made this production a standout was every actor in the ensemble performed with their whole bodies. Every feature, kick, twirl, fall, and look conveyed precisely what it needed to, leading the audience to swoon, to laugh or gasp, it was truly an immersive experience. The Marriott Theater's 360 stage lent itself to the immersion as well and the mask-clad audience members all laughed together as Petruchio/Fred, played by Larry Adams, attempts to kiss the fair Kate. 

In the current age where kissing could be frowned upon as a non-covid friendly activity, Kiss Me, Kate was the perfect welcome back to the stage. The Marriott Theater is also committed to everyone's health and safety requiring proof of vaccination or negative covid tests. Audience and cast members alike can rest assured that their experience will be a memorable one filled with worry one liners and clever Cole Porter songs as opposed to catching a virus; a much better proposition in my humble opinion. So dawn your gay apparel and most festive masks and head to The Marriott Theater for a classic-classic-modern tale that was worth the wait. Kiss Me, Kate is playing at The Marriott Theatre, 10 Marriott Dr. in Lincolnshire, and runs through January 16, 2022.

It’s no secret that Chicago is in for some dark months ahead. But in every darkness there are flickers of light to be found. Throughout history, the Arts are those flickers of light, providing entertainment, levity, and much needed escapism from everyday struggles and strife. In today’s virus-that-shall-not-be-named world, movies, books, paintings and music all provide the much needed escapism and lightness. Now, theater in Chicago is following suit. Adapting to the new virtual and socially-distanced world, Steppenwolf Theater has created a virtual stage, Steppenwolf NOW, showcasing pieces written, acted, and produced during the pandemic. They have kicked off this season with a bright light in What is Left, Burns. 

The world premiere of What Is Left, Burns, the first of six works that are a part of Steppenwolf NOW virtual stage, was released for streaming this month. The play follows two poets separated by age and distance engaging in a video call rendezvous after fifteen years. Keith, a distinguished poet and professor of literature is moving towards retirement after a recent divorce from his wife. Ronnie, his younger former lover and mentee, has a New York Times bestselling book and a burgeoning career ahead of him. The two men wade through the connection they once had as they struggle with the desires that still bind them. Written by James Ijames and directed by Whitney White, the play was commissioned for the Steppenwolf virtual stage and features ensemble members K. Todd Freeman (Keith) and Jon Michael Hill (Ronnie).

The beauty of What is Left, Burns lies in its effortlessness. This seamless virtual stage plays out like any FaceTime chat, House Party, or any video conferencing app; two men, side by side on screen, their faces sometimes too close or angled oddly, moving casually about their homes, passing the phone from one hand to another while they chat. The play invited you into Keith and ROnnie’s chat, or like House Party, you simply virtually walked in. It could have been any of our friends’ or family’s conversation we were watching. It was simply two people connecting after a long time apart that initially draws you in. It’s then the subtleness of the social queues in their conversation that holds your attention; the compliments mistaken for criticism, the quickness to defense, the brush off with an odd joke or shrug. Beautifully acted, it was all so relatable yet fresh and inviting. What is it that burns between these two men?  Everything about the production demands and holds your attention until...it’s over. As quickly as it began. A short, relatable, and effortless escape from today. 

Associate Artistic Director Leelai Demoz summarizes this play best, sharing, “James Ijames has written this beautiful short play that feels like a complete experience... It feels so completely about the time we are living through now.” Coupled with stunning video and photography design by Lowell Thomas and Joel Moorman and set to an original soundtrack composed by Justin Ellington, this virtual production highlights the incredible talent, dedication and creativity of the ensemble cast and crews at Steppenwolf. Steppenwolf NOW Productions will be released throughout the year and members are able to stream all Steppenwolf NOW content through August 31, 2021.

When sitting in a darkened theater, the light shines brightest on the art of the production on stage. Virtual productions will prove to provide the same light in the darkness we might find ourselves in today. For viewing details, teasers, and more on What is Left, Burns, visit https://www.steppenwolf.org/whatisleftburns. Steppenwolf NOW is a new virtual programming stream featuring breakthrough stories written by America’s most talented voices. For upcoming productions, streaming, and membership details visit: https://www.steppenwolf.org/tickets--events/steppenwolf-now/.