Displaying items by tag: Invictus Theatre Co

“Network” at Invictus Theatre Co. is one fun, funny, exciting show. In this full-throttle Chicago debut at the WIndy City Playhouse on Irving Park Road, we get a powerhouse rendering of Lee Hall’s script.

Adapted to the stage in 2017 for a London production from the Oscar-winning 1976 screenplay by Paddy Chayefsky, the passage of nearly 50 years since the film version has made the stage version even more powerful.

Chayefsky used his television insider experience skillfully to create a rollickingly funny portrait of the follies of big media business. Hall also laces the script with damning indictments of the intersection of capitalism and big media news reportage that has exchanged integrity for ratings-driven content, debasing news, and forsaking the public trust. This angle makes “Network” even more timely today, the era when TV’s commentating personalities (and online streamers for that matter), untethered from factual information, have been in the ascendance.

We’ve also watched as these personalities crashed and burned, costing the media owners billions of dollars as they flame out amid defamation and libel suits.
In the case of the 1976 “Network,” with its amazing performances by Peter Finch as Howard Beale and Faye Dunaway as his ambitious producer Diana Christensen, the movie played as satire (though said to be based on a true story).

Five decades later with Invictus Theatre’s “Network,” we see a vivid portrayal of life imitating art. With a large cast and many moving parts—directed superbly by Charles Askenaizer—we meet news anchor Howard Beale (James Turano is positively magnetic), a network television anchorman who is fired for his declining ratings. When in one of his last few broadcasts he promises to kill himself on air, no one among the producers and directors notices. But the audience does, and his ratings skyrocket.

 In the control booth at UBS (l-r): John Chambers, James Lewis, Joe Sergio, and Anne Trodden. 

Calculating there is gold to be had, producer Diana Christensen (Anne Trodden is pitch perfect) convinces station exec Frankl Hackett (a deft performance by Joe Sergio) to reverse his edict to fire Beale, and instead give him his own show.

The news slot is then transformed from a me-too recitation of the day's top news, to ranting commentator Beale before a live studio audience on “The Howard Beale Show.” Suddenly sponsors are willing to pay millions and producers let Beale do and say whatever he wants. That is, until a global mega corporation moves to acquire the parent of UBS, and Beale attacks the prospective merger. This triggers even more hilarious outcomes as the big corporate brass intervene directly, bringing down the hammer on Beale in a come to Jesus moment complete with organ music and stained glass windows.

It’s all this and more, in the fast-paced setting of a television studio. What Chayefsky only imagined has now become the reality all around us, where the “talent” (as these on-air stars are known) have power over their corporate bosses - news ethics be damned. It is only when the tab for subjorning falsities for ratings gets high—think voting machine maker Dominion’s $787 million settlement with Fox News, or sex harassment settlements—that management reigns in the likes of Tucker Carlson, Bill O’Reilly, etc.

“Network” is a fantastic production, with convincing lights-camera-action of a television station, and even the audience called into the action. The control booth serves as a droll commentary on the action as we see the producer Christensen, exec Schumacher, producer Harry Hunter (John Chambers) and the Director (James Lewis) delight in Beale’s antics on air. A special shout-out to Lewis, whose mostly wordless role centers on his body language and reactions within the control booth—real acting!

Highly recommended, “Network” runs through September 29 at the WIndy City Playhouse, 3014 W. Irving Park Road in Chicago.

When we think of summertime in Chicago, we probably wouldn’t associate it an existential play set in a small Russian town filled with woe and dread and longing. That style of play would fit better with the dark winter days. But like a required literature course in high school, or a classic novel from another century we had to read, it’s often later that we realize why we took that course, why we read that book Like Chicago itself, with its long dark winters, there is a beautiful tapestry of people with thriving, complex lives, with dreams and desires sometimes unrealized or just out of reach. That is at the theme at the heart of Anton Chekhov’s classic Three Sisters, now playing at Invictus Theatre for a limited time.

Anton Chekhov was a Russian playwright and short-story writer. Chekhov is often referred to as one of the three seminal figures in the birth of early modernism in the theatre. Chekhov was a physician by profession. "Medicine is my lawful wife," he once said, "and literature is my mistress." The playwright penned Three Sisters in 1900 and the four-part play was first performed in 1901. This seminal classic chronicles three and a half years in the falling fortunes of the four children of a recently deceased Colonel in the Russian army, notably three sisters: Olga (played by Maria Stephens), Masha (played by Katherine Schwartz), and Irina (played by Ellie Duffey). They have been living in a small town in Russia for the past 11 years and yearn to return to the excitement of Moscow. Their dreary provincial life is enlivened only by the arrival of the Imperial Army. The sisters' dreams of a new life are crushed when their brother marries a woman they consider ill-bred and mortgages the house.

Like the green light at the end of Daisy’s dock, the eventuality of a courtship in Netflix’s One Day, like a Bears dynasty, the three sisters within the play long for something more than their lives. Throughout the first act they long to work, to contribute to society if only to fight the boredom a privileged life affords them. In the second act, they loathe work and long for a life of elegance and ease. Throughout the play they and others put Moscow on a pedestal, often whispering the name with reverence, like a prayer, as though the city would hold the promise to their happiness, the end to their misery. Juxtaposed against minor characters who are happy and contented, the stark contrast forces the audience to determine if the protagonists are justified in their woes or drowning in their self-made misery.

Chekhov’s Three Sisters has a timeless staying power that still resonates in the modern world and is a perfect existential piece to juxtapose against the beautiful Chicago summer evenings. Invictus Theatre Company took on the lofty goal of putting on the production as the first run in its new home at The Windy City Playhouse in Irving Park. Paul Schmidt’s translation and condensation of the four-part play into two acts highlights all the key points and themes. Set against an intimate and enchanting set by Kevin Rolfs, Director Charles Askenaizer transports us to the small Russian town filled with existential woe, philosophical debates on life and love, and bridges the centuries with this timeless classic.

As summer kicks off in Chicagoland, don’t pine for an evening out or promise yourself you’ll see this play one day. Seize your Moscow and see Three Sisters. Three Sisters is playing in a limited run at Invictus Theatre at The Windy City Playhouse at 3014 W Irving Park Rd through July 14th. Tickets are available at www.invictustheatreco.com. ваше здоровье.

Invictus Theatre’s smashingly good Chicago production of Susan-Lori Parks’ “Topdog/Underdog” brings us a dark comedy that is both gripping and layered. This Tony winner for its current Broadway revival incorporates all the qualities of a well-written play, steadily unfolding details of the brothers who share a derelict apartment—the plaster is falling, the sink is broken, the working bathroom is down the hall—with exposition artfully buried in the dialog.

Under the direction of Aaron Reese Boseman, the audience is drawn in the course of the play to learn these two black brothers were separated some 20 years ago from their parents, who named them as a macabre joke, then walked out when Booth was just 11 and Lincoln 16.

The two have made their way in the world by hustling for money. Booth (DeMorris Burrows) shoplifts and Lincoln (Mikha’el Amin) is a master at three-card monty, where he collects winnings from marks. Younger brother Booth longs to capture Lincoln’s mastery in cards, and when we first meet him alone in his apartment, he is practicing and practicing, struggling to gain his older brother’s finesse.

When Lincoln arrives, though, we learn he has given up cards, and is now working in an arcade, in white face, dressed as Lincoln: tophat, beard, frock coat and vest. Lincoln comes fresh from his work, where customers pay to shoot blank bullets at him, after which he dutifully dies. How’s that for a premise?

Lincoln gives Booth a hard time. "Bathroom's down the hall," Booth tells Lincoln, who needles his brother. "You're living in the third world, Booth."  When Booth asks Lincoln to teach him how to succeed at three-card monty, Lincoln retorts, "I don't touch the cards," and refuses to teach him. Booth complains, "Here I am trying to make a living, and you're standing in my way." We immediately feel that this argument, and Booth's supplicant role, has played out many times. 

Yet Lincoln also helps Booth, dispensing his earnings, yet Booth takes advantage of him, taking all but $13, then asking for five bucks back. What Booth really seeks is the recreation of the family of his childhood, when the two lived with their parents, as carefree children, with a treehouse, running a lemonade stand, playing practical jokes on their dad, and chowing down on their mother’s home cooking. Booth rearranges the furniture, to simulate the table around which they would gather during their upbringing. But Lincoln refuses this sentiment, putting it all back the way it has been when he arrived. 

Into the mix are added intriguing entries: Booth tells his brother of witnessing his parents preparing to leave, a traumatic experience. He secretly retains a stocking filled with a parting gift, which he believes is money, but it is never opened during the play. Booth has a girlfriend, Grace, whom he plans to marry—yet she never appears, and when he returns from visiting her, Lincoln asks Booth for a blow-by-blow of the tryst. His recount sounds unconvincingly made-up, but the inebriated Lincoln only vaguely challenges Booth on this, then passes out.These components point to yearnings Booth holds, which Lincoln only partially shares. 

Eventually, there is resolution of the action, the relationship, everything, that is both satisfying and disturbing. The actors here put everything on the boards; it's hard to imagine them recovering and doing this again, nightly. In his protrayal of Booth, Burrows is exacting, a range from humorous clowning, to high energy plaintive soliloquoy, while Mikha’el Amin's Lincoln gives a more restrained but emotionally evocative performance. This nuanced portrait of a brotherly relationship rings remarkably true. Anyone with a brother, or who knows brothers, will recognize the mix of adulation and aspiration in the younger sibling, and the kindly nurturance and meanness in the older one.

Driven from its tiny 35-seat quarters by a fire, Invictus has landed in the northside site renowned for its big sets and large enough to accommodate some riveting immersive theater. WIth existing lighting, sound, and set capability, this space allows for production values supporting in equal measure to Invictus' tradition of concentrating on the fullest expression of the script. Scenic design by Kevin Rolfs, props by Barbie Brown, costumes by Marquecia Jordan or on the mark. The touches of music by sound designer Petter Wahlback set mood at keep dramatic points, and lighting by Brandon Wardell and Josiah Croegaert illuminate and transition fully in sync with the action.

“Topdog/Underdog” carries all the ingredients of the formula for a hot production: an eminently incredible play, in its Chicago revival at the capacious and versatile Windy City Playhouse, the new digs for one of Chicago’s top acting troupes, Invictus. Definitely a must-see on all counts, "Topdog/Underdog" runs through March 31 at Windy City Playhouse, 3014 W. Irving Park Road in Chicago.

Invictus Theatre delivers the finest acting in Chicago. The current run of Lynn Nottage's 2009 Pulitzer Prize winning play 'Ruined' is no exception.

Originally commissioned by Goodman Theater, where Nottage workshopped it in 2007, 'Ruined' is set in the Democratic Republic of the Congo. It tells the story of sexual exploitation and abuse of women, where rape of women is a weapon used by warlords in factions battling within the Democratic Republic of the Congo.

The action takes place in Mama Nadi's tavern and brothel, where women are fed and protected by Mama Nadi, but in exchange for accepting a controlled exploitation. As Mama Nadi, Tekeisha Yelton Hunter is on stage most of the play, and rules as an actress who is fully immmersed in her role. Please order the Jeff now. 

But most surprising is Courtney Gardner as Salima, a farmer's wife stolen from her garden, and enslaved at an encampment. Largely silent in her early scenes, Nottage teases out ever more of Salima, as she does with all her characters. In this evolution on stage, Gardner goes from quiet and retreating, to bitingly sarcastic, funny, even wise, and delivers the essence of the play's message in a shattering and tragic soliloquoy.  

The production team includes Rueben Echoles, whose costume design was notable, and Kevin Rolfs came up with a set that is practical and functional, and realistic.  

Goodman mounted the world premier of 'Ruined' in its 2008 season, and Nottage's script does not shy from the brutal facts. As an audience, we are spared directly witnessing the suffering and degradation leveled upon these innocent women, carried off and tied down in their abusers encampments. And yet their words, and the power of the acting in this Invictus show, delivers the story viscerally, bringing this reviewer to tears, to cry out in woe, to bury my head in my arms

This is the third play by Lynn Nottage I have seen. 'By the Way, Meet Vera Drake' was a homerun for me; both 'Sweat' and 'Ruined' seem to have a diffuse first act. But the second act in 'Ruined' is incredible, and at curtain, I realized how I was applauding for a dozen fully-formed characters that Nottage had built right there on the stage. She's good. And so is 'Ruined.'  It runs through March 20 at Invictus new home, the Reginald Vaughan Theatre, 1106 W. Thorndale.

Before entering Invictus Theatre's storefront on Thorndale Avenue, you are asked for your vaccination card. But they may just as well have asked for your passport.

Once you pass through the curtains on your way to your seat, you know quickly “something is rotten in the state of Denmark." There’s a feeling of death—and grief—in the air. Kevin Rolfs’ bare, blood-red set consists of a single paneled wall. That, coupled with Chad Lussier's atmospheric soundscape, and the stark lighting, evokes a sense of dread. And within a brief three hours, this will indeed be the scene of a slaughterhouse.

Hamlet, considered by many to be Shakespeare’s best play, starts with a young man, Hamlet (Charles Askenaiser), being told by the ghost of his father that he was murdered. The ghost then demands Hamlet seek vengeance on his murderer.

Making things interesting is the fact that the murdered man was King of Demark. The murderer is the king’s brother, Claudius (Jospeh Beal) who two months after the crime married the king’s widow (Hamlet’s mother), and is now the reigning king—Hamlet's uncle-slash-step daddy. Still with me?

It’s enough to drive the heir to the throne mad, and as Hamlet goes about his task of vengeance, he causes collateral damage that suggests he just might indeed be mad. The mood swings of Hamlet are demanding. His emotional highs are quirky; his lows are disturbingly maudlin. Charles Askenaizer, as Hamlet, makes the most of every moment. I found myself looking into his eyes hoping for a clue as to his mental state.

Askenaizer, who also directed, sped up the pace of this Hamlet, and it works for the most part. While still clocking in at a little over three hours, fear not: the time flies by.

The supporting cast is strong and worked well as an ensemble. Barry Irving is a sincere Horatio. Joseph Beal as Claudius became ever more dastardly as the play progressed.

A special nod must go to the intimacy coach, Glenn Thompson. His orchestration of the scuffle between Hamlet and his mother Gertrude (Diane Sintich) must be seen. It looked as though she were giving birth all over again, only this time to a monster. 

There was something sweet in the chemistry between Laertes (Michael Lewis, excellent recently in “A Raisin In The Sun) and Ophelia (Ebby Offord). Certain scenes stood out for me and this was one of them. This begins their character arc and we are fully invested in them, though Lewis should take care not to let the background music overtake his melodic voice. And Offord if this is your debut, you have a bright future.

Darren Jones’ plays Polonius as an oily, pompous, hypocrite. That he would be the first to die by Hamlet’s hand is no wonder. A lot of comedy is lost because of the speed of delivery of Polonius’s lines. Another of my favorites scenes was Rosencrantz (Jack Morsovillo) and Guildenstern (Andrea Uppling) being questioned by Hamlet. Comedic timing by the three characters worked perfectly. Other excellent performances were offered by Robert Koon, Chuck Munro, Keenan Odenkirk and Maria Clara Ospina.

Isaac Jay Pineda's costumes were reminiscent of 1980's businessmen and women. The military characters wore fatigues with the Danish flag. Upon Laertes' return from France, you could tell he had done some shopping. Nice work! 

This excellent production of Hamlet by Invictus Theatre demonstrates yet again why Chicago storefront theatre is known throughout the country.

Hamlet at Invictus Theatre runs October 21 – November 21, 2021
Thursdays, Fridays, Saturdays 7:30 p.m., Sundays 3:00 p.m.
1106 W. Thorndale Avenue, Chicago, Illinois 60660

Triggered by Shylock’s role, Invictus Theatre gives us a strong production of The Merchant of Venice. One of Shakespeare’s most accessible plays, The Merchant is seasoned with timeless lines: “Love is blind”, “Let me play the fool,” “The quality of mercy is not strained,” “the devil can cite Scripture for his purpose.”

And its well-crafted subplots include the famous trio of suitors seeking the key to marry the princess Portia (Julia Badger), by choosing blindly among three boxes - with only the barest of hints to guide them. The Merchant of Venice also features Shakespeare’s only explicitly Jewish character, Shylock (Joseph Beal) – a moneylender who, along with his Jewish companion, Tubal (Joshua Seeger), is reviled by the citizens of Venice. In this production, we are transported to Mussolini’s Italy in 1938 – a time when Hitler’s Nuremburg laws against Jews were promulgated.

Though updating the period of Shakespeare’s plays is almost commonplace, as though the scripts are in need of a facelift, Invictus heightens the impact of the singularly disturbing Jew-baiting structured into Shakespeare’s action and dialog. The opening scene features menacing uniformed Blackshirt fascista in jackboots and jodhpurs, and soon enough the merchant Antonio (Chuck Monro) spits in the face of Shylock (Joseph Beal). Mussolini’s face is plastered in posters all around, and his thundering speeches play before the curtain rises. The costumes by Sato Schechner are elegant and on trend.

What Shakespeare had in mind with Shylock is open to question; Jews had been driven from and banned by England for centuries. Invictus dramaturg Michael Shapiro notes the play was likely produced in response to a plot to kill Queen Elizabeth – for which her Jewish-Spanish physician was executed. The Bard may also have been drawn to the outsider nature of Shylock, who like Othello or Hamlet, suffers for his “otherness.”

Christians in Venice were prohibited by the Church from making loans, so Jews made them. Shylock laments his lack of stature among the merchant class, despite the essential service he offers.

In the play, the young merchant Bassanio (Martin Diaz-Valdes) needs funding for ships in a trading expedition. Shylock sets up a bullet-proof contract with default requiring payment in the famous “pound of flesh.” Bassanio also needs the wealth to buttress pursuit of Portia as his bride. As the plot turns, the ships founder in storms, and the loan is called. Shylock engenders our sympathy as he expounds eloquently on the abuse he suffers from the trading class.

When Bassanio’s associate Salarino (Mitchell Spencer) suggests the terms are too harsh to enforce, Shylock asserts his case compellingly in the marketplace:

He hath disgraced me, and….what's his reason? I am a Jew….

Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions? …If you prick us, do we not bleed? if you tickle us, do we not laugh? if you poison us, do we not die? and if you wrong us, shall we not revenge?

In this Merchant of Venice, the language of Shakespeare is handled effectively, with Chuck Monro as Antonio, Martin Diaz-Valdes as Bassanio and Madeline Pell as Nerissa delivering compelling performances.  Monro also brings a depth of emotion to his part.

In the role of Shylock, Joseph Beal uses a kind of Ashkenaz accent (a Western European “Jewish” accent if I have it right) which atop the Elizabethan English is quite a feat. But it seemed to me the Ashkenaz was slathered on a bit heavily, which at times diminished the power of the underlying script. Still you cannot not miss the power of his Shylock performance, a testament to Beal’s strength. A nod to a very special performer is in order: Jack Morsovillo played Launcelot, the Jailer, and the suitor, the Prince of Arragon, effortlessly switching roles, between stints playing incidental guitar music. Well done!

Recommended, The Merchant of Venice runs through November 17 at the Pride Arts Center, 4147 N. Broadway in Chicago.