Even though we have dozens of categories of Favorites lists, some shows defy classification or excel in a way all their own. So we decided to create a page to showcase those productions—think of it as our theatrical mixtape.
(topics are in no particular order; items within a topic are in reverse chronological order)
Quick links: [Stunning Stagecraft] [Jane Austen] [Movement]
Stunning Stagecraft in Low-Tech Spaces
Most of the shows we see are in storefront spaces, without benefit of traps, lifts, or any other advanced staging capabilities. Despite these limitations, we still see productions where creativity and brilliant stage management pull off remarkable feats of stagecraft. Here are a few memorable examples.
- Kiss by Guillermo Calderón, produced by Haven in 2019 in The Den Theatre’s Bookspan Theatre: Every performance was a precisely timed workout for the stage manager and actors that ranged from a living room to a “live” feed from a war zone.
- Director Monty Cole; production stage manager Corbin Paulino; stage manager Mitch Ward; scenic designer William Boles; technical director Josh Prisching; projections designer Liviu Pasare
- The Light Fantastic by Ike Holter, produced by Jackalope Theatre Company in 2018 on their stage in the Broadway Armory: Even with a director’s note in the playbill that began “Fear is a basic emotion” and a Ghost Wrangler listed in the credits, we were still not prepared to experience some of the scariest special effects we’d ever seen on a stage—and especially not one that was inches from our seats, where you’d think it’d be impossible to hide the underlying mechanics from the audience. (Our favorite review of The Light Fantastic, by Emilie Modaff, did a great job of capturing what it was like to experience the show.)
- Director Gus Menary; ghost wrangler Brandon Moorhead; technical director Dan Machalinski; magic consultant Brett Schneider; scenic designer Sotirios Livaditis; lighting designer Slick Jorgenson; stage manager Natalie Wagner
- Foxfinder by Dawn King, produced by Interrobang Theatre Project in 2017 in the Athenaeum Theatre’s second-floor studio space: A remarkably true-to-life set (a farm house and environs) and a totally believable rain storm(!) grounded this surrealistic play in reality and greatly intensified the effect of the futuristic tale of paranoia, power, and manipulation.
- Director Margaret Knapp; stage manager Veronica Bustoz; scenic designer Eric Luchen; lighting designer John Kelly; technical director Josh Prisching
- We also have a list of shows that featured noteworthy staging. Some of the productions in that list, such as The White Road by Irish Theatre of Chicago, also included remarkable stagecraft and stage management.
Favorite Productions of Jane Austen Adaptations
Adapting any novel for the stage is a challenging task, but even more daunting when the novel is a beloved classic by Jane Austen. Here’s our list of favorite productions where an Austen adaptation caught both the spirit of the novel and the demands of the new medium, brought to life by a sensitive director and a game and talented cast. (It’s no accident that this list is dominated by Lifeline Theatre, home of highly skilled adapters, directors, and actors!)
- Emma adapted by Phil Timberlake, Lifeline Theatre, 2019, directed by Elise Kauzlaric: Fiendishly clever adaptation for five actors, in which one actor played Emma and the rest played all the other characters—but each character was played by a combination of actors rather than by a single performer! The coordination and hand-offs were a treat to behold, and to add to the fun, occasionally a particularly taciturn character was “played” by a dress form on wheels. And needless to say, this Rubik’s Cube of a play required a brilliant director!
- Northanger Abbey with book by Robert Kauzlaric and music and lyrics by George Howe, Lifeline Theatre, 2016, directed by Elise Kauzlaric (see our favorite musicals list for details)
- Pride and Prejudice adapted by Hanreddy and Sullivan, Northwestern University, 2013, directed by Jessica Thebus: A theatre-friendly adaptation with minimal narration, enlivened by spot-on casting, pacing, and imaginative staging (see our favorite college productions for more)
- Pride and Prejudice adapted by Christina Calvit, Lifeline Theatre, 2012, directed by Elise Kauzlaric: An adaptation that combined traditional with cheeky, as befits the tale of Mr. Darcy (played by Dennis Grimes) and Miss Bennet (played by Laura McLain, whose endearingly impudent lines delivered directly to the audience with perfect timing were a highlight). The rest of the splendid cast, which included Amanda Drinkall as Jane, brought the novel’s characters to 3-D life on the meticulous set designed by Melania Lancy, which miraculously turned Lifeline’s space (a former ComEd substation!) into the stately homes of England.
Movement
How an actor moves is a key element of embodying a character, whether the movement is a fight, a moment of intimacy, or non-verbal storytelling. Here are examples of shows where our memories of the performances are immeasurably richer thanks to the lingering visual images, recalled as virtual “video clips” rather than snapshots.
- The Memo by Václav Havel, produced by Organic Theater Company in 2019 and directed by Bryan Wakefield with choreography by Erica Bittner: Think about every soul-numbing absurdity in your favorite bureaucratic organization, and it was embodied by the marvelous cast of The Memo in their repetitive, regimented, and invariably fruitless movements. This non-verbal part of the storytelling beautifully complemented the exceedingly clever script.
- The Total Bent by Stew and Rodewald, produced by Haven Theatre in association with About Face Theatre in 2019, directed by Lili-Anne Brown with choreography by Breon Arzell: This production practically demanded that you see it twice: once for the main event (the absolutely perfect Robert Cornelius and Gilbert Domally as a father and son with a complicated relationship and a white world to navigate); and a second time to focus unwavering attention on the backup singers/dancers (Breon Arzell and Michael Turrentine, with divine movement, music, and supporting acting). The movement was not only brilliantly conceived and executed, but also added substance and wry commentary to the story. For a great first-hand account of what it was like to develop, direct, and act in this show, check out the Booth One podcast with director Lili-Anne Brown and actor Robert Cornelius.
- American Revolution by Marc Frost, et al, produced by Theatre Unspeakable in 2018: With a cast of seven depicting the entire sweep of the American Revolution on a 3 x 7 foot platform (and never leaving the “stage”), movement was at least as important as dialog in conveying the story. In Theatre Unspeakable’s unique brand of physical theatre, the actors not only embodied historical figures but also morphed into set pieces (anything from George Washington’s boat crossing the Delaware to Governor Dinwiddie’s swivel chair). Scene transitions required tight coordination that was a marvel in itself.
- Lizzie by Cheslik-deMeyer, Hewitt, and Maner, produced by Firebrand Theatre in 2018, directed by Victoria Bussert with movement direction by Jon Martinez: Among all the perfectly executed elements of Firebrand’s Lizzie, it’s the rock-concert-inspired movements and the tableaux of the phenomenal cast that anchor our vivid memories of the show. And has there ever been a more evocative set of production photos (by photographer Marisa KM, showcasing Maya Michele Fein’s lighting design); to view them, check out the review in Picture This Post.
- Prowess by Ike Holter, produced by Jackalope Theatre Company in 2016 and directed by Marti Lyons: Stage combat in Prowess did not mean an occasional sword fight or stunt, but rather an essential, integrated element of the storytelling and character development. A substantial portion of the running time consisted of Ryan Bourque’s breathtaking fight choreography, precisely executed by the cast: Sydney Charles, Julian Parker, Donovan Diaz, and Andrew Goetten (a late replacement whose performance earned a place on our list of favorite understudy performances).
