Before Saturday's opening-night presentation, executive director Doug Tschopp took the stage for Genesius Guild's traditional pre-show announcements and T-shirt giveaway, and kindly asked the crowd for continued financial support, especially given the organization's decreased support since 2008 from the State of Illinois. Not to make light of a very real monetary concern, but I wish power players from Nike had been there for Tschopp's request. Because after seeing Macbeth, they might've happily handed over a check, considering the motto for everyone involved in director Michael King's inspiriting production appeared to be the same: "Just do it."
Not long into author Robert Harling's ensemble dramedy Steel Magnolias, the Louisiana beautician Truvy asks local socialite Clairee Belcher about the recipe for a delicacy called "cuppa cuppa cuppa," the ingredients for which are a cup of flour, a cup of sugar, and a cup of fruit cocktail. Truvy says it sounds awfully rich, and Clairee replies that it is, "so I serve it over ice cream to cut the sweetness."
Friday, July 24, 10:40 a.m.-ish: It's been so long since my last quadruple-feature - a miraculous six months plus! - that I'm only mildly dreading today's, and only then because I know it's ending with Adam Sandler. It's beginning, however, with Mr. Holmes, and while I can't imagine the world needing yet another showcase for Arthur Conan Doyle's literary sleuth, I'm psyched knowing this latest iteration will reunite director Bill Condon with his Gods & Monsters star Ian McKellen and Kinsey co-star Laura Linney. Most of the movie consists of McKellen's 93-year-old Sherlock, in 1947, contending with failing memory and the haunting case that forced his retirement, while Linney's Irish housekeeper Mrs. Munro cooks and tidies up. But while several mysteries arise and are duly resolved in the film, I am distracted throughout by two unresolved questions. (1) Who is this little kid Milo Parker who plays Sherock's protégé (and Mrs. Munro's son) Roger? And (2) How is this boy giving a performance that might be topping those of the excellent McKellen and Linney?
Music
TRAINWRECK
MINIONS
Two of the things I miss most about reviewing theatre with greater frequency are raving about area artists whose talents I'm quite familiar with, and raving about area artists whose talents are brand-spanking-new to me. Happily, regarding the Playcrafters Barn Theatre's The Red Velvet Cake War, I get to do both. And that's especially gratifying because one of the things I absolutely do not miss is explaining why certain well-meaning, lighthearted endeavors designed solely to entertain simply don't work for me, and it looks like I have to do that, too.
The opening scene in the Richmond Hill Barn Theatre's The Robin Hood Caper is one you've likely sat through, in different iterations, in numerous stage comedies over the years. It introduces us to the young, flummoxed journalist Richard Collins, who, as his conversation reveals, is dealing with all manner of personal crises: shaky finances; an underhanded mayor with plans to shutter Richard's newspaper; a fiancée demanding a wedding date. Richard's Aunt Flora, meanwhile, takes this all in with a sympathetic ear and an occasional, dotty reminiscence of her own, and routinely shifts her focus back to her needlepoint.Subscribe & Listen to Reader Podcasts
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