Articles tagged with: Francis Guinan
Review: Clare Barron’s shadow-streaked comedy “You Got Older,” about a father’s death and a daughter’s transfiguration, is an oddly – I might even say deceptively – unsatisfying play. The real reward of Steppenwolf Theatre’s staging directed by Jonathan Berry, and the only thing that might draw me back to see it again, is the ever-luminous Francis Guinan’s performance as a loving father fighting a losing battle with cancer. ★★★
Review: The individual agendas of the Big Cherry village council members, in Tracy Letts’ comedy-chiller of a new play “The Minutes,” are credibly various and amusingly personal. What really resonates, however, is the one thing they all hold in common — the raw, elemental conviction that safeguards and perpetuates Big Cherry as a community. ★★★★
Review: Jessica Dickey’s play “The Rembrandt” is a thing of great spiritual beauty, but Francis Guinan’s performance – you might say in the title role – at Steppenwolf Theatre bears out the imperative of another character in the play, Homer: that poetry must be spoken aloud. Guinan takes Dickey’s eloquent and insightful text to a transcendent place. ★★★★★
Review: Taylor Mac’s tumultuous, off-the-wall play “Hir,” currently on stage in a bristling production at Steppenwolf, is about battles, foreign and domestic. And if the shape-changing military one in the Middle East has been going on for a long time, the societal one at the center of “Hir” is just building a good head of steam. Ex-Marine Isaac has come home to a household in chaos, and to a new sexual order – a whole new declension of genders in which “he” and “she” are but instances on a daunting new landscape. ★★★★
Review: Chicago’s holiday offerings include Three Scrooges — not a show, but a trio of shows all based on “A Christmas Carol.” And yes, there’s some slapstick in it, even ribaldry, depending on which flavor of Dickens you choose.
Review: Leo lives for those bets that feel good. You’d think winning would be the high, but no. When he has placed a bet that feels really good, Leo can breathe. Never mind that his luck is seldom good, or that his college-age son has minded this financially and spiritually broken, irreducible addict since the lad was little more than a child. Such is the starting point of John Kolvenbach’s eloquent, albeit painfully plain-spoken, play “Goldfish,” a sleeper gem of the season in a sparkling production by Route 66 Theatre. ★★★★
Interview: The alienated, indeed despised husband and father Francis Guinan portrays in Rory Kinnear’s marvelous first play “The Herd,” at Steppenwolf Theatre, elicits deeply ambivalent feelings, and not just from the audience. Guinan admits he also sees the guy in decidedly conflicted terms.
Review: Ah, family values. Mom, Dad, the kids. The dysfunction, the divorce, the alienation, the animosity. All the things that make a house a home are piled into “The Herd,” a smashing first play by Rory Kinnear now fuming through its U.S. premiere at Steppenwolf Theatre. No need to equivocate. It is simply not to be missed. ★★★★★
‘The Night Alive’ at Steppenwolf: It’s three guys, girl and thug looking for answers in life’s rubble
Review: At the center of “The Night Alive,” Conor McPherson’s wry and compassionate spin on the human comedy, are three men grappling with life near its baseline. And in Steppenwolf Theatre’s unglossed, touching perspective on the play, these ordinary guys find in each other the redemptive qualities of connection, meaning and purpose. ★★★★
Review:It is redolent of Chicago, eloquent of a shadowed time that was, Cheryl L. West’s song-filled “Pullman Porter Blues” at the Goodman Theatre. It is a gritty, pulsing, sweet hymn to the generations of black men who made train-travel hum back in the day. ★★★★
Some wounds heal slowly. 4 stars!