Our seasonal theater previews frequently divide plays into categories such a LGBT plays, classics, world premieres and the like. But for my autumn theater preview, I've decided to mix-and-match with a list of 10 shows worth your attention for a variety of reasons. I am, after all, Chicago's most senior theater critic in years of service and that's gotta be good for something, right?
So here's what to see in the next two months before we are overwhelmed by the crush of holiday season shows. Productions are listed by their performance dates. I've stopped at 10 shows but easily might have listed a dozen more: 2013-2014 is shaping up as one of most eclectic and interesting theater seasons in several years.
The Crownless King, The House Theatre of Chicago, through Oct. 20. Chicago's very best story-telling theater troupe offers part two of a three-part, three-year epic saga which acts and riffs like a heroic fantasy adventure of yore, but also smells a lot like a commentary on American political history. It's a cheeky combination and potentially a profound one. In the second part, the young king, who never wanted the throne, must learn to wield power. Typically, The House combines an original story with original music, special effects and some rough-and-tumble action sequences. Performed at the Chopin Theatre
Pullman Porter Blues, Goodman Theatre, Sept. 14 (previews)-Oct. 26. History comes home to Chicago where Pullman railroad cars were built and the once-powerful African-American Pullman Porters' union was based. It's set in 1937 when glamorous overnight trains crisscrossed America (and every one of them started/ended in Chicago, the nation's rail hub) and focuses on three generations of Pullman porters in the same family. Playwright Cheryl L. West has incorporated 12 classic blues numbers, played live, into the action. Chuck Smith directs a large company
The Wheel, Steppenwolf Theatre Company, Sept. 21 (previews)-Nov. 10. Joan Allen, a founding member of the Steppenwolf Ensemble, returns "home" after an absence of 20 years during which time she became an Oscar-nominated film star. She is, and always was, an exceptional actor and that alone makes The Wheel worth seeing. But this very large production (17 actors) also features some of the best of the best such as Yasen Peyankov, Tim Hopper and Ora Jones under director Tina Landau. The story, too, sounds striking, the American premiere of a work of magic realism set in 19th-century Spain.
Cyrano de Bergerac, Chicago Shakespeare Theater, Sept. 24 (previews)-Nov. 10. Everyone thinks Edmond Rostand's 1897 heroic comedy is a classic from the 18th Century. However, if you really listen to this drama in verse, you can distinguish its decidedly modern tone as it demolishes both military glory and superficial romantic glory. The play remains popular because it's a lively bittersweet story with a tremendously engaging hero and, let's face it, glorious language. The outstanding actor, Harry Groener, last seen here in The Madness of King George, should make a Cyrano you wouldn't want to miss by a nose let alone by a mile.
The True History of the Tragic Life and Triumphant Death of Julia Pastrana, the Ugliest Woman in the World, Tympanic Theatre Company, Sept. 26-Oct. 19. Hey, you said a mouthful, and surviving photos of the real-life Pastrana (1834-1860) suggest you wouldn't wanna' lock lips with her. Born in Mexico, she spoke three languages, danced beautifully and was exploited and exhibited around the world as a freak ("The Ape Woman") in typical 19th Century style, with strong parallels to The Elephant Man. This is the regional premiere of this recent play by British author/actor Shaun Prendergast, and it has a gimmick: the play is performed in near-darkness, allowing audience imaginations to create their own visual images. Performed at the Berger Park Field House
Unwilling and Hostile Instruments: 100 Years of Extraordinary Chicago Women, Theatre Seven of Chicago, Oct. 3-27. Nine world premiere short plays by exceptional young local authors (Ike Holter, Emily Schwartz, Seth Bockley and Lauren Yee among them) about nine exceptional Chicago women (Jane Addams, Ida B. Wells, Ann Landers and Mavis Staples among them). This clever concept potentially is rich in variety, information and passion. Performed at American Theater Company
Directions for Restoring the Apparently Dead, Pride Films & Plays, Oct. 4 (previews)-Nov. 10. This world premiere by Martin Casella won Pride Films & Plays 2013 Great Gay Play Contest. It's a contemporary story set in the lovely English Lake District where two long-time friends retreat on a vacation, during which they must wrestle and resolve past and present issues, not to mention life-changing events. David Zak directs a very good cast. Has potential, if Casella hasn't tried to squeeze too much on the plate. Presented at Stage 773
Once, Oriental Theatre, Oct. 9-27. Broadway In Chicago presents the national tour of this winner of eight 2012 Tony Awards (Best Musical among them). Based on the 2006 film of the same name, this modestly-scaled show is a contemporary romance between a Dublin street musician and the woman who becomes his lover and his muse. Most of the songs from the film are retained and new ones have been added, and the actors play all the musical instruments themselves. Classic boy-meets-girl
Hello, Dolly!, Drury Lane Oakbrook Terrace, Oct. 24 (previews)-Jan. 5. This show is one of my guilty pleasures; I love it! But it's trickier to pull off than it looks. Drury Lane has the estimable Rachel Rockwell as director and choreographer, and has been smart enough to import Tony Award winning singer-dancer-actor Karen Ziemba for the title role. One hopes she will kick up her heels more than most who play the role, because she certainly has the chops for it. This could be the good-time show of the season.
The Normal Heart, TimeLine (sic) Theatre Company, Oct. 26 (previews)-Dec. 22. The first big Chicago revival in years of Larry Kramer's still potent 1985 drama inspired by the AIDS crisis. In 1987, the Chicago premiere production at Next Theatre (Evanston) won the Best Production Jeff Award and transferred for a commercial run. Revived several times off-Broadway, the play finally made it to Broadway itself in 2011, winning the Tony Award for Best Revival. This new Chicago production has TimeLine's characteristic quality and integrity going for it, with sure-handed veteran Nick Bowling as director and with actor/director David Cromer playing Ned Weeks, the autobiographical hero of Kramer's play. This is a powerful play and an important one. Performed at Stage 773
