Lawrence Bommer

DANCERS DO GOOD BY MAKING ART For a quarter century’”since 1991’”one summer night of nights in Chicago has raised funds to fight HIV, assist the AIDS Foundation of Chicago and 30 other service organizations, as well as provide for the health emergencies of countless dancers. True to its mission, on Saturday night  Dance For Life raised…

THEATER NOIR EXPOSES A COLLABORATIVE CRIME WAVE Making its U.S. debut at the Greenhouse Theater Center, the solo saga Bloodshot, by Chicago native Douglas Post, feels as world weary and viscerally violent as its supple title. A superb vehicle for British dynamo Simon Slater that’s been touring the UK and Europe since 2011, the taut…

BRECHT FORCES YIN ONTO YANG A strong, often infuriating, truth about the protest plays of Bertolt Brecht is how much the socialist playwright pushes the plot beyond the ending: He ends up accusing the audience of failing to finish the tale. It’s not really over, he cajoles or threatens, until we furnish the future. How…

HIS HEART IS CRYING, CRYING The latest rouser in Black Ensemble Theater’s 40th anniversary celebration/season, The Jackie Wilson Story, a retrospective on an R&B Legend, showcases terrific talent. It also revives a 2000 hit that went on to a 2002 national tour, culminating in a record run at Harlem’s Apollo Theater. The blast from the…

A MASON/DIXON CATHARSIS REPRISES ITS SUCCESS Can white trash/peckerwood/country cracker/Dixie doodles rise above their rotten roots? Byhalia, Mississippi is not just a place or a title but a condition’”a backwater hamlet with none of the sophistication, joie de vivre or cosmopolitan culture of Jackson, the nearby dumbass state capital. A 2015 Jefferson Award-winning world premiere…

AN EX-SLAVE BREAKS NEW CHAINS Eager to be relevant but not quite succeeding, Thomas Klingenstein’s Douglass, a world premiere by the american vicarious at Theater Wit, is nonetheless a valuable historical allegory. An exercise in irony as much as reclamation, it depicts the struggle of a 19th-century American emancipator, not just to find freedom from…

A FAR FROM COSMETIC MUSICAL MAKEOVER In the late James Kirkwood’s Legends!,  two feuding divas–played on a 1986 national tour by theatrical goddesses Carol Channing and Mary Martin–reach a reconciliation before death divides them forever. In War Paint, a vehicular musical trying out at Chicago’s Goodman Theatre, the rags-to-riches rivals are historical personages: Helena Rubinstein and…

HYPOCRISY BEGINS AT HOME In theater revenge is best served quickly. That’s a virtue in David Alex’s 80-minute family drama, now detonating four times a week at Chicago’s Redtwist Theatre. A world premiere from Asuza Productions, Maggie Speer’s intense (as in loud) staging drives home the rifts and grudges that ravaged loved ones during the…

COLORFUL CHARACTERS AIN’T ENOUGH Between Riverside and Crazy is a 2015 slice of strife from Stephen Adley Guirgis (perpetrator of The Motherf**ker with the Hat and Jesus Hopped The ‘A’ Train). It’s a very N.Y.C. story of unprocessed rage and self-sustaining disappointment. Character-driven by hard luck Big Apple survivors ever on the edge (of breakdowns,…

A JEW  WALKS INTO A COMMUNIST MEETING… Sometimes whistle-blowing can echo from the past. It’s never too late for a timely reminder that ignorance is no excuse. A 95-minute solo show by Phil Johnson and Marni Freedman, A Jewish Joke, now in a Midwest premiere by ShPIeL-Performing Identity, tellingly depicts a Jewish comedy writer on the…

THE LIES THAT PASS FOR LOVE Many years ago, a half hour into the Body Politic Theatre’s revival of The Importance of Being Earnest a woman behind me very softly threw up. It was done so efficiently, even decorously, that it barely disturbed the patrons near her, let alone the performance. In a strange way…

FREEDOM BEHIND BARS: THE UNREACHABLE STAR JUST GOT REACHED A skeptic might argue that Man of La Mancha succeeds because it lifts the guilt of anyone who never read Don Quixote. (Two hours in a theater presumably beat two weeks in a study.) Forget the cynicism. The 1965 musical by Mitch Leigh and Joe Darion…

KEEPING COMPANY— SONDHEIM’S BITTERSWEET BEST It’s the first musical in Writers Theatre’s sumptuous new $30 million-dollar home in Glencoe, a light-loving complex with a more spacious lobby than the somewhat cramped seating of its three-quarter mainstage. The Broadway consecration of this North Shore venue is, appropriately, a 1970 show about friends and strangers in desperate…

THE CANDY COUPLE “The world belongs to the fools who dare to dream”: Reprising the crowd pleasure of music-hall euphoria and pantomime cut-ups with a charming quintet of Cockney buskers, An Anthony Newley – Leslie Bricusse Songbook is an endearing 80-minute confection from Theo Ubique Cabaret Theatre. It turns No Exit Café, a music mecca…

OUT OF CONTEXT BUT EASY TO ADMIRE William Finn, a gay songwriter with wit and warmth (and second only to Sondheim), writes story ballads and situational numbers that teach as much as touch. Like two of their titles, they’re all about “Change” and “Heart and Music.” In his Tony-winning Falsettos  (a merging of his March of…

CORKING UP OR SELLING OUT? Living up to its title billing, Lookingglass Theatre Company’s world premiere Thaddeus and Slocum: A Vaudeville Adventure is a rampage down Memory Lane. Their 135-minute blast from the past evokes the glory days of broad burlesque and novelty acts, as well as literally darker doings. A guilty pleasure and an…

SO BEYOND BAD THAT YOU’LL BE TAPPED OUT Half-baked, heavy-handed, overlong, poorly plotted, wretchedly sung, scenically sterile, contrived and clichéd, witless and mindless, and minus any production value(s), Tapped: A Treasonous Musical Comedy is not a good night at the theater. I’d say it should not be reviewed’”but that might mean it could be seen–by…