Displaying items by tag: Brian Keys

Like the dream deferred in Langston Hughes' poem that inspired its title, Court Theatre's latest production of "A Raisin in the Sun" simmers, sags, and occasionally explodes with raw intensity. Director Gabrielle Randel-Bent's contemporary vision crackles with urgency, even as it wrestles with the delicate balance between modern resonance and historical authenticity.

Andrew Boyce's masterful set design emerges as the production's crowning achievement. His deconstructed Chicago kitchenette apartment becomes a character itself – a cramped urban cage where privacy is as scarce as hope. The shared bathroom, visible just beyond the family's domain, serves as a constant reminder of the Youngers' station in life. Outside the city of Chicago pushing its way in threatening to devour the inhabitants in grit and grime.

The stellar ensemble breathes fierce life into Hansberry's beloved characters. Shanesia Davis anchors the production as family matriarch Lena Younger, while Brian Keys brings explosive energy to Walter Lee – though his visible tattoos create an unfortunate distraction that pulls us from the 1950s setting. Martasia Jones commands the stage as Beneatha, imbuing the aspiring doctor with a perfect blend of youthful idealism and sharp intellect. Her scenes of intellectual sparring sizzle with wit and passion, though the choice to smoke cigarettes in Mama's apartment strikes an implausible note in an otherwise masterful performance.

Kierra Bunch brings a quiet strength to Ruth Younger, crafting a deeply nuanced portrait of a woman stretched to her breaking point. Her scenes with Walter Lee pulse with complicated history – love and resentment, hope and exhaustion all tangled together. When she finally breaks down over her pregnancy, the moment is devastating in its restraint. Her joy is unbridled when she learns of the family's plan to buy a home.

Charles Andrew Gardner brings the perfect presence to George Murchison, making the most of his limited stage time. His polished demeanor and cutting wit provide the perfect foil for Beneatha's revolutionary spirit, while hints of vulnerability beneath his assured exterior add welcome complexity to what could have been a one-note character.

J. Nicole Brooks steals her scene as the nosy neighbor Mrs. Johnson, delivering gossip and judgment with such gleeful spite that you can't help but love to hate her. Her brief appearance provides crucial comic relief while underlining the community's complicated relationship with social mobility.

Julian Parker's Bobo's locs hairstyle is out of place for the time. It's distracting and makes it hard to believe Walter Lee would trust him with his dream of business ownership.

While the performances ground the production in emotional truth, Randel-Bent's modernizing choices create an intriguing tension between past and present, sometimes to the detriment of Hansberry's carefully crafted world.

Raquel Adorna's costume choices prove particularly puzzling: Joseph Asagai (Eliott Johnson) appears more Wall Street than West Africa when we first meet him in his Brooks Brothers-esque suit. At the same time, Karl Lindner (Vincent Teninty) inexplicably dons plumber's attire instead of the more historically and dramatically appropriate business suit of a "welcoming committee" representative. Young Travis (Jeremias Darville) sports an out-of-place cowboy ensemble, making him seem too old for both the outfit and the role as well as being an unlikely splurge for a family counting pennies.

Willow James' sound design walks a delicate tightrope between past and present, largely succeeding until a jarringly anachronistic moment when Walter Lee and Ruth dance to Chaka Khan's "Sweet Thing" – a choice that catapults us decades ahead of the play's setting.

“A Raisin in the Sun" hits different today than it did in 1959, but its truths cut just as deep. Sure, the Younger family's dream of owning a home in a white neighborhood might look different in 2025, but their story - fighting against systemic barriers, sacrificing for family, and refusing to let hope die - that's as real now as ever. The play nails something timeless about the American Dream: how it promises everything but keeps moving the goalposts for some folks. When Mama tends to that struggling plant, she's not just growing a flower. She's showing us how Black families keep pushing forward, generation after generation, despite the odds. Whether it's redlining in the '50s or today's housing discrimination Hansberry's message rings true: dreams don't come easy, but they're worth fighting for. That's why this play still packs theaters - it's not just history, it's tomorrow's headlines.

RECOMMENDED

When: Through March 9   *Extended through March 23rd

Where: Court Theatre, 5535 S. Ellis Ave.

Running time: 2 hours, 50 minutes

Tickets: $58 - $100.00 Student, Group and military discounts available

773-753-4472

www.Courttheatre.org

The Recommendation, which opened July 11 at Windy City Playhouse, tells a compelling story of two lifelong buddies who clash violently when their adult lives and values go in different directions than during their student days. Yet they remain friends. The play, which premiered in New York in 2013, is by Jonathan Caren who adapted it with Windy City artistic director Amy Rubenstein for this “immersive” production, examines the advantages conferred on individuals by the circumstances of their birth.

“Circumstances of birth might give some people an advantage over others, and it's not something we talk about on a daily basis,” says Caren. “But it does affect the stories that get told; and it affects the people that do get certain opportunities. This play focuses a lot on intersection people from different backgrounds.”

A series of scenes contrasts the privileged life of Aaron Feldman (Julian Hester) with that of Iskinder Iodouku (Michael Aaron Pogue), who met as freshman at Brown University. Aaron is a familiar type who skates through life on good looks, natural bonhomie, and easily forming and tapping his network of connections – including those of his Dad, a lawyer in Los Angeles. The story is told from the point of view of Iskinder, a pre-law student whose father is from Ethiopia, and whose mother is American. He narrates scenes, and speaks directly to the audience at times – when not playing against the other characters.

Iskinder is a realist, and sees through Aaron, but loves him anyway – and it seems likely he has tapped Aaron’s Dad’s connections to assure his entry into UCLA law school. After college, Aaron enters the Hollywood movie business, a tough grind where connections get introductions, but talent is needed to succeed. He is at the bottom, acting as an assistant to a movie producer – which means house sitting, getting coffee, and being a go-fer. Iskinder pursues his legal education and career, deciding against becoming a court-appointed attorney for a more lucrative post with stature at a high powered law firm.

The plot thickens dramatically when Iskinder takes on a pro-bono case to get early release for a young African-American man, Dwight Barnes (Brian Keys), whose sentencing was excessive. It turns out that Aaron met Dwight when he was briefly jailed for driving on an expired license. Dwight protected him from other inmates, but Aaron also confided something to him: that he may heave hit someone with a car as a teenager, and he left the scene of the accident. He was never caught.

Isikinder Iodouku (Michael Aaron Pogue) leads the audience into the next scene, in the dorm room at Brown University. 

The conflict for the college buddies comes as Iskinder works to win Dwight’s release – against Aaron’s protests, who wants him to remain jailed – to keep him quiet. But Aaron has never revealed his motive to Iskinder, who goes further, and helps Dwight secure a job. Along the way, Iskinder’s law firm lets him go, specifically claiming his pro bono work was based on his personal relationship to Dwight – a violation of the law firm’s policy. But we also suspect that Aaron may have used his connections to make this happen.

The Recommendation as presented at Windy City Playhouse also makes a compelling case for experiential theatre. The format eschews the traditional actors-on a stage performance. Instead the audience walks through a series of sets. In The Recommendation, we began with a scene in the lobby, from which a double door opens onto the dorm room of Aaron.

Next we are lead into the dorm room itself. And from there, we visit several other scenes from the story, and at various points the audience is offered drinks (alcohol optional); saki at a sushi restaurant; Jello shots in the dorm room; a cocktail at the lobby scene; and finally water in a health club sauna scene. We also visit a pool at a Hollywood home and a jail cell.

During these multi-dimensional experiences, the three actors are up close and we see precisely how exceptionally good their performances are. We also experience the delivery of exposition in a physical way – and much more naturally than when only spoken - including a flashback scene to Aaron growing up and talking to friends on the phone as his parents (unseen) leave the house.

This recap of the story is more explicit than the play itself; I have connected a few dots to give it a reasonable sequence. But if you pay attention you will see, hear and experience all of this – a cross between a play and a live podcast, perhaps. In one particularly powerful scene, Iskinder is counseling Dwight as he prepares to seek his release. The strength of that scene is along the lines of the best of To Kill a Mockingbird.

The other aspect of experiential plays is the business model – which makes it an attractive theatrical experience even for those who may not love ne theater fans. Only about three dozen seats are available for the show, since the audience must sit within the various scenes – all built into rooms within the theater building. With cocktails (non-alcoholic drinks are offered, as well as drink free tickets) run from Wednesdays and Thursdays at 7:30 p.m., Fridays at 8 p.m., Saturdays at 4 p.m. and 8 p.m.and Sundays at 2 p.m.and 6 p.m.Tickets ($80-$100) are now on sale through October 6th. The Recommendation at Windy City Playhouse is highly recommended.

*Extended through October 20th!