Articles tagged with: Peter Moore
Preview: The Chicago theater scene enters its snow-to-blossoms segment with a flurry of highlights that we’ll glimpse in a three-part series of winter-spring previews. In early prospect are Goodman Theatre’s world premiere of Christina Anderson’s “How to Catch Creation,” Ike Holter’s “Red Rex” at Steep and Christina Ham’s “Nina Simone: Four Women” at Northlight.
Review: Despite a rather heavy application of angst, the true face of poignancy emerges in Penelope Skinner’s “Linda,” a dramatic screed at Steep Theatre on women, beauty and the cumulative unkindness of years. Kendra Thulin reels through the title role, one moment a confident and successful marketer of beauty products, the next moment a has-been who watches the world, fashion and relevance all pass by, leaving her bereft in life’s seventh age, sans everything. ★★★
Review: In an imaginative whodunnit, Chicago writer Calamity West proposes the hypothetical solution to an unsolved mass murder from 1922. Bavaria’s counterpart to the Lizzie Borden story (in notoriety if not in detail) involves six people on a farmstead in Munich’s remote outback. All were found hacked to death. ★★★
Review: If you have not yet seen both “A View from the Bridge” at Goodman Theatre and “The Crucible” at Steppenwolf Theatre – well, it’s Miller time. These are mesmerizing productions of two of Arthur Miller’s finest plays, and impressive reminders of why Goodman and Steppenwolf hold such eminent places on Chicago’s – indeed, the nation’s – theater scene. Each of these parallel runs has only a handful of performances remaining. Together, they make for a stunning one-two theatrical punch. Both ★★★★★
Review: Mike Bartlett’s “Earthquakes in London,” at Steep Theatre, is an intriguing excursion that conflates garden variety family dysfunction with nothing less than the end of days. The show closes March 18, and it’s worth catching – not for its perfection (it is imperfect), but for its rigorous melding of intricate, credible characters and a provocative foray into magical realism. ★★★
Review: If the mirror held to up to our human lot by Simon Stephens’ play “Wastwater” fairly reflects what’s framed there, we’re not a very pretty collection. We may have our favorable features, but for the most part the image that emerges in “Wastwater,” about to wind up its run at Steep Theatre, is one of frailty, desperation and meanness. ★★★
17th in a series of season previews: Founding artistic director Peter Moore says Steep Theatre’s 15th season captures the essence of what this scrappy company is all about – “ground-level views of life.” That low-angle survey begins with the world premiere of Hamish Linklater’s “The Cheats,” about two neighboring couples who suddenly find themselves uncomfortably close.
Interview: Into the life of overweight, lonely, sullen teenager Anna, in Nick Payne’s play “If There Is I Haven’t Found It Yet,” bursts her similarly miserable but emotionally supercharged uncle Terry. He’s an instantly appealing guy who, says actor Shane Kenyon, has invested a lifetime of energy in “running away from growing up and accepting responsibility.”
Review: Anna is 15 years old, seriously overweight and disconnected from just everything: her mom and dad, her school mates, her life. But disconnection runs in the family. Anna’s parents don’t seem to notice her. Then into their midst, in Nick Payne’s absorbing and painful play “If There Is I Haven’t Found It Yet,” pops the girl’s utterly lost soul of an uncle bearing a glimmer of hope. It is a promise as fragile as it is paradoxical, and exquisitely framed by four superb actors in Steep Theatre’s fine production directed by Jonathan Berry. ★★★★
Review: Danny has no visible scars, no missing limbs, but this former British soldier bears deep wounds from his tour of duty in Iraq. He is the tormented, dangerous antihero of playwright Simon Stephens’ “Motortown,” now in a riveting North American premiere run at Steep Theatre. ★★★★