Wandering Through Chicago's Arts and Culture

Charles Dickens Begrudgingly Performs A Christmas Carol. Again. I have seen lots of theater this holiday season that ranges from the absurd that is barely a cut above the amateur to the honed professionalism of actors well-versed in their art and craft. There were two that stand out in my memory as “best of season” and both are one-man presentations. Earlier, I reviewed The Sanaland Diaries at Wandering Through Chicago's Arts and Culture: Murder on the North Pole Express . Yesterday, as a capstone to my Christmas theater travels, I watched the last performance of Blake Montgomery’s realization of what it must have been like for Charles Dickens to repeatedly present his annual reading of what is perhaps the best-loved of all Christmas novels, A Christmas Carol. I am familiar with Montgomery’s style of theater development; it is an organic method that starts with a story and then attempts to tell that story on the stage. In the process a lot of discovery takes place, a lot o

Murder on the North Pole Express The Santaland Diaries Explores the Dark Side of Customer Service David Sedaris first aired his essay The Santaland Diaries on NPR’s Morning Edition on December 23 rd , 1992. It has become a staple of the Christmas Season ever since. After twenty years it probably qualifies as “tired,” “trite,” “venerable,” or “shopworn.” But let’s face it: pieces like The Santaland Diaries, Dickens’s A Christmas Carol, the film Holiday Inn (think of the Irving Berlin song White Christmas ,) Dylan Thomas’s A Child’s Christmas in Wales and Truman Capote’s A Christmas Memory all satisfy an urgent and powerful need of the human spirit; we need to be connected during the holiday season regardless of whether you celebrate Christmas, Hanukah, Kwanza, the Pagan Solstice or the simple pleasures of the Atheist who treasures time spent with family and loved ones. Actor Mitchell Fain skillfully becomes Crumpet, the Elf, who works at a variety of positions at Macy’s Santaland

It’s Not Easy To Get Laid These Days Date Me Explores the Trials of Thirty-Something Womanhood Noemi Schlosser and Michelle Slonim are best friends attending a wedding. They each have been unable to find a date and so are marooned at the bar together where they share about seventy-five minutes of some of the bawdiest adventures imaginable.   As the wedding reception drags on the two women consume substantial amounts of the free-flowing Champaign that only adds to the frank and graphic depictions of their past escapades not to mention contributing to a very unsteady Slonim toward the play’s conclusion. Don’t misunderstand these women, however. They are not ordinary sluts willing to take any man that happens along. Far from that, they have standards, preferring, for example, men who are circumcised as well as men who can boast of twenty-two centimeter equipment. (Schlosser is Belgian and they use the metric system to gauge a man’s important statistic. It turns out to be 8.66 inches

Paul Varnell: RIP Some Reflections on the Passing of an Old Friend The Passing of Paul Varnell Paul Varnell Paul Varnell passed from this life on December 9, 2011 sometime in the afternoon. He had been experiencing a decline in health for some time and those of us who knew and cared were certainly prepared for what will be the final journey for all of us. It is inevitable when faced with the loss of a friend, no matter how much anticipated, that we stop to reflect a little on the life of the lost traveler and our own interactions over the years we knew, worked, played and enjoyed each other’s company. In Paul’s case it is a complex story; Paul was in some ways a complex man while in others he was crystal clear and transparent, never wavering from a strongly held set of values and ethics. What follows are some of the highlights of my own interactions with Paul over time along with some notes about a few of his other noteworthy activities. I’m sure that many others will have relev

Indifferent Torture Sound of Silence by Jean Cocteau at Theater Wit Indifference is one of the most powerful instruments of torture possessed by man. Since it is a form of psychological torture it is difficult to detect, intense but subtle in its effects and despite the fact that the victim probably has complete control over the application, nearly impossible to defend. The premise of this hour-long monologue is simple: an attractive night club singer is in an unsatisfying relationship with her lover, who routinely abandons her for trysts with his ageing mistress. He also completely ignores the singer by taking refuge behind his newspaper. In this production, the lover is actually portrayed by a projection; it is physically impossible for the image to respond even if given stout blows with a club. The singer is thus trapped by a combination of her love and attraction to the lover and his torturous and complete indifference to her presence, monologue or needs. The seeming paradox