In Praise of “Law and Order: Criminal Intent”

Note: This post contains spoilers for all ten seasons of “Law and Order: Criminal Intent.”

There was a point in time when the “Law and Order” dominated NBC’s schedule like “CSI” did on CBS’ schedule. There were the main “Law and Order” shows–“Law and Order,” “Law and Order: Special Victims Unit” and “Law and Order: Criminal Intent”–as well as “Law and Order: Trial by Jury,” “Law and Order: LA” and the spin-off “Conviction.” But now “Law and Order: Special Victims Unit” is the only show that remains on NBC, while the occasional rerun of “Law and Order” and “Law and Order: Criminal Intent” on cable channels.

After picking up “Law and Order: Criminal Intent” on Netflix, I rediscovered how good this version of “Law and Order” was. Early this morning, I finished my journey through all of “Law and Order: Criminal Intent,” which essentially ends with Det. Robert Goren (Vincent D’Onofrio) and Det. Alexandra Eames (Kathryn Erbe) basically riding off into the sunset to solve the next case for the Major Case Squad. (Okay, there was no sunset, but they did get into an SUV and drive down a street to go to their next case at the end of the series finale.)

For those of you unfamiliar with the series, the show examines detectives of the Major Case Squad pursuing culprits while the audience also sees the lead-up to the crime as well as how the perpetrator or suspects act post-crime. The show initially focused on Goren and Eames, as well as Captain James Deakins (Jamey Sheridan) and ADA Ron Carver (Courtney B. Vance). Come season five, we’re reintroduced to Det. Mike Logan (Chris Noth), who was previously seen on “Law and Order,” as well as introduced to his partner, Det. Carolyn Barek (Annabella Sciorra). Logan and Barek episodes alternate with Goren and Eames, but otherwise it’s the same. Come season six, we have Captain Ross (Eric Bogosian, who will probably be best remembered for being on “Law and Order: Criminal Intent” than being a really good writer) and Logan gets a new partner, Det. Megan Wheeler (Julianne Nicholson) while ADA Carver leaves. In season eight, Logan leaves and is replaced by Zack Nichols (Jeff Goldblum), but then in season nine, Goren and Eames leave while Ross is murdered. Ross is replaced by Zoe Callas (Mary Elizabeth Mastrantonio) and Wheeler never returns, only to be replaced by Det. Serena Stevens (Saffron Burrows), and season nine generally isn’t enjoyable. Season 10 goes back to the original format with Goren and Eames back, but with Det. Joseph Hannah (Jay O. Sanders) and Goren finally going to therapy. (There are some other minor casting changes, but that pretty much covers all 10 season.)

Although the show had a shift in tone around season six as we got to know more about the personal lives of the characters, particularly Goren, the show remained an enjoyable crime show. Sure, it was predictable because of the format, but as the series went on you started to feel a connection with the characters and become interested in the adventures of Goren and Eames and other detectives. When Captain Ross was killed, I found myself a bit sad about the character’s departure because of how all of the characters interacted with him, as well as the fact that the FBI made it very difficult for the detectives to find the person responsible for the captain’s death.

What also made the show enjoyable was that it felt like a modern “Columbo.” In many cases, we knew who the perpetrator was and we got to see him try to wiggle out of the chase from Major Case. But there was also a bit of a Sherlock Holmes-esque characterization of the main duo. Goren was a fascinating, troubled and brilliant detective while Eames was his partner who was often as brilliant as her partner. The show also had captains who would routinely reel the detectives in when they overstepped their boundaries. There were moments where Goren was actually suspended for his behavior, not to mention that his reinstatement in season 10 did require him to see a therapist. Something that has always bothered me about “Law and Order: Special Victims Unit” was how often Det. Stabler (Christopher Meloni) would rough up suspects in the interrogation room, but he was suspended for that in some episodes.

There was also a chemistry between Goren and Eames that was completely platonic, but made them a great duo to watch work a case. Although I’m sure there are probably fans out there who would have loved to have seen them get together romantically, the platonic working relationship between the two was terrific to watch and was one of the reasons why the show was such a joy to watch.

For being a show that wasn’t high art, “Law and Order: Criminal Intent” managed to be thoroughly enjoyable, not demanding of needing to catch every episode and often amusing because of the writing. It’s actually a bit of a shame that the show didn’t last longer, but it went out on a high note. At least there are still reruns and the entire series on Netflix, because I really recommend watching the show if you want something that’s a guilty pleasure. Meanwhile, I would love it if Dick Wolf gave the world a final “Law and Order” show, this time focusing on Doctor Elizabeth Rodgers (Leslie Hendrix), the medical examiner.

“The Black Cauldron” (1985)

In 1985, Disney would release an animated film based on Lloyd Alexander’s The Chronicles of Prydian. It would get the first PG rating to ever be given to a Walt Disney film and it would fail at the box office. The film was entitled The Black Cauldron and is generally regarded as the darkest and most frightening of Disney’s films.

In hindsight, The Black Cauldron seems like it might be Disney’s underrated film. Yes, it’s a dark children’s movie, but in terms of themes it somehow manages to feel less dark than The Hunchback of Notre Dame and manages to feel very cohesive with the tone and world due to be based off of a fantasy series.

The Black Cauldron follows Taran (Grant Bardsley), an assistant pig keeper, who learns from a vision from the pig Hen Wen that The Horned King (John Hurt) is searching for the Black Cauldron to raise an army of undead soldiers, the Cauldron-born. Taran is trusted with taking care of Hen Wen, but due to Taran’s day dreams of being a warrior, he loses track of the pig. While searching for Hen Wen, he meets a creature named Gurgi (John Byner). Taran’s searching leads him to the Horned King’s castle, where the pig is being held captive. The pig escapes and Taran is captured. While in the dungeon, he meets Princess Eilonwy (Susan Sheridan), who has also been captured, grabs an awesome magic sword and helps a bard named Fflewddur Fflam (Nigel Hawthorne) escape. The trio then decides to find Hen Wen and the Black Cauldron, the latter of which they intend to destroy.

This film, directed by Ted Berman and Richard Rich–Rich went on to direct The Swan Princess and its sequels as well as The King and I–looks very much like a classic Disney film in terms of the character design. If someone isn’t looking closely, they could mistake Princess Eilonwy for Princess Aurora when she’s living in the forest. There’s also great coloring in this filming, such as shades of green that highlight areas of the Horned King’s castle as Taran approaches the building for the first time.

Although I can’t criticize the film in relation to its source material as I’ve never read that series, I can say that pretty much everything in the film works because it is set in a mystical fantasy world. From the presence of the adorable Fair Folk that are very fairy-like to vision-granting pigs to witches to the very presence of Gurgi, a talking creature that looks like a dog, but also like a small human, this all works because of the world of the film, which is easy to buy into and believe in this film.

Gurgi, meanwhile, serves as this film’s Cute Little Animal Sidekick. At first, Gurgi comes across as an annoying character thrown in to make the film cuter for kids, but as the film goes on, it becomes more clear that Gurgi is as important in this film as the Horned King or Taran. More importantly, Gurgi sacrifices himself to save the world, which is something that most Cute Little Animal Sidekicks would not do. And unlike most Cute Little Animal Sidekicks, Gurgi is not obnoxious or wisecracking, he’s simply a cute creature that talks in a muffled tone.

As for the violence, the violence in The Black Cauldron is no worse than what I’ve seen in some episodes of Cartoon Network’s Adventure Time, which is rated TV-PG. That being said, if you’re a parent who won’t let your children watch Adventure Time, then it might be best to not let them watch The Black Cauldron for a while. On another note, while I’m all for allowing children to watch potentially scary movies, I remember being a bit bored by The Black Cauldron as a child. Perhaps as an adult the movie is easier to appreciate because it’s easier to follow the plot. It still remains that The Black Cauldron is an underrated Disney film that will probably never get its deserved recognition.

Review: “The Hobbit” — Black Hawk Children’s Theatre

Upon entering the Hope Martin Theatre for the Black Hawk Children’s Theatre’s production of The Hobbit, you instantly see Geoff Ehrendreich’s magnificently designed set, which features a hobbit hole, complete with round door, some mountains, some holes with bars for holding prisoners, and a backdrop that happens to be an detailed map of Middle Earth, complete with Elven runes. It manages to be stunning, realistic and efficient for this production; it works well.

That statement can’t be said about the rest of Anita Ross’s production, which has the main problem of having actors that really come off a bit too much as a bunch of kids running around on stage in fake beards. Never for once do we really believe that this is J.R.R. Tolkein’s classic tale coming alive before our eyes, which isn’t aided by the fact that Edward Mast’s script comes off as being a Middle Earth-themed episode of Mister Roger’s Neighborhood due to Bilbo’s (Zack Thune) asides and narration. It makes a lot of the play seem all warm and fuzzy and sweet. Except for Gollum (Whitney Molln).

What the play primarily suffers from is a lack of emotion in the actors’ performances, which leaves many of the performances unmemorable. But there are also some actors that simply speak too quickly, like Thune. Smaug is reduced to a unintimidating cartoon thanks to Linnea Nicol’s voiceover, which is unfortunate since Smaug is supposed to be a fearsome dragon. Wesley Word’s fight choreography is inconsistent due to some scenes seeming too fake. However, Molln’s performance as Gollum is delightfully creepy and pathetic, making it a performance that you wish would go on for longer. The scene also features a terrific lighting effect that makes it appear as though there is a stream reflecting on the cavern walls. (The lights are designed by Brad Brist.)

For young children with no previous exposure to The Hobbit or The Lord of the Rings, this might be the right introduction for them; there’s nothing too scary about this production. But for those that are fans of Tolkein’s book, this will be a disappointment.

“The Hobbit” continues through March 7 with performances at 2 p.m. at the Hope Martin Theatre in the Waterloo Center for the Arts (225 Commercial St., Waterloo). Tickets are $10 and can be purchased by calling (319) 291-4494.

In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminates against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I did not pay for my ticket for this play. I received a press ticket.

Review: “The Producers” — Theatre Cedar Rapids

Theatre Cedar Rapids has it and they are flaunting it.

The award-winning Mel Brooks’ musical has come to the newly reopened Iowa Theatre Building in a knee-slapping and thoroughly exciting production directed by Leslie Charipar. To say it is a blast is an understatement; to say it is a superb production might come across as a cliché. It is simply a must-see production that is quite possibly the most fun I’ve had at the theater in quite some time. (And I’ve seen The Producers on Broadway.) It is the biggest and best way to reopen their home and Theatre Cedar Rapids has given it their all, with an end result on stage that pays off.

The musical, which is based off of the 1968 film of the same name, follows washed-up Broadway producer Max Bialystock (Scott Schulte) and timid accountant Leo Bloom (Trevor Debth) as they try to pull of a seemingly sure-fire scheme by producing the worst show ever written, Springtime for Hitler by Franz Liebkind (Jason Alberty), and raising more money than is needed. It is the sort of story that can only happen in the theater; a musical with a bit of an odd redemption tale and a happily ever after show business ending. And, like many of Brooks’ creations, the characters are cartoonish versions of stereotypes. In Charipar’s production, they are given heart by the actors portraying them.

Schulte and Debth play off of each other and have an incredible chemistry as the titular duo with magnificent solo performances. Both of them become the character, never seeming to try to imitate Nathan Lane and Matthew Broderick. They are clearly the driving force of the show and it never slows down.

Alberty, who possesses a beautiful singing voice, hams it up while being a bit charming as Liebkind, prancing around the stage in lederhosen. In costume, it is a delightful caricature of Germans but his performance does make the crazy character a bit more unique. Katie Knutsen manages to be sweet and a bit ditzy as as the sexy Swedish secretary Ulla, while Tim Boyle and Nathan Cooper are magnificently swishy as Roger DeBris and Carmen Ghia.

In addition to the main performances, this production features a strong ensemble and various cameos from local personalities ranging from Brucemore executive director Jim Kern to TCR veterans like Cherryl Moon Thomason. Charipar’s production is sprinkled with sight gags, such as a blind violinist wandering from the ensemble during the number “The King of Broadway.” Bret Gothe’s set is of a professional quality with a detailed exterior of the Schubert Theater that comes flying in to smaller pieces to represent the various locations.

The production is a visual feast because of the set and Joni Sackett’s 1950s costumes. TCR’s production is a reminder of the magic of life theater and the potential of community theater to do stunning, professional quality productions. It is certainly the best way to reopen the Iowa Theatre Building.

“The Producers” continues through March 14 at the Iowa Theater Building (102 Third St SE, Cedar Rapids). Tickets range from $20-$25, $15 for students, $12 rush and can be purchased by calling (319) 366-8591 or by visiting

In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminates against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I paid for my own ticket for this play.

Review: “The Addams Family”

The Addams Family, which began it’s pre-Broadway run at the Ford Center for the Performing Arts Oriental Theatre on Wednesday, is a very enjoyable musical with terrific performances from several of the actors. But the musical has two problems: it is too long and the characters are underdeveloped, even though there is too much exposition for the family that many people are familiar with.

To clarify, the show isn’t really too long; it simply feels too long. The musical follows the familiar macabre family that was created by Charles Addams as they spend one night trying to entertain (and act normal) around the family of Wednesday’s (Krysta Rodriguez) love interest, Lucas Beineke (Wesley Taylor). The Beineke’s are very conservative Ohioans and a foil to the Addams, giving the show a plot very similar to La Cage Aux Folles.

The musical, which presently clocks in at about two and a half hours, has a lot going for it. As Morticia, Bebe Neuwirth is very refined, elegant and dark and gives a terrific performance in a role that is saddled with a weak plot about Morticia worrying about looking old and being upstaged by her children, which she sings about in the showstopping, “Second Banana.” Neuwirth is not upstaged by either Rodriguez or Adam Riegler, who plays Pugsley, and looks quite fabulous in the low-cut, form fitting black dress she wears throughout the show. Nathan Lane does as best as he can with what he’s been given with the role of Gomez. At many moments, Gomez is a suave man with a Spanish accent and a love for swordfighting and torture instruments. But at other moments, he seems like an immature individual who laughs at his own jokes, which are lost to Mal Beineke (Terrance Mann). The moments where Gomez is the romantic yet demented Spaniard are the moments where Lane has some of his finest moments and that personality is shown in both the numbers “Passionate and True” and “Happy/Sad.”

As for several of the other actors, they are giving performances that are so good that it seems as though their characters are underused. Riegler manages to even be a bit adorable as Pugsley, who laments the possible loss of being literally tortured by Wednesday. As Grandma, Jackie Hoffman is really given nothing better to do than say lines at the end of act one and act two that old characters have been saying in comedies for several years and is hilarious because of her delivery of these lines. In a scene between her and Pugsley, Hoffman acts like a sweet old woman before dropping her voice to tell Pugsley to stay out of her stuff. At the present moment, Uncle Fester (Kevin Chamberlain), acts as a bit of a narrator and commenter, but is also saddled with an odd plot line about being in love with the moon. Even though his number “The Moon and Me” is very tender and uses old theatrical methods to create the illusion of him being near the moon, the plot line suddenly comes out of nowhere towards the end of the show, making it seem very abrupt and lacking in the emotion needed to really draw the audience to the character’s problems. And as Lurch, Zachary James is on stage for only a few scenes and only does much of anything in about three of them, but is very funny as he walks slowly and speaks in low, slow sounds.

Mal and Alice Beineke (Carolee Carmello) suffer from coming into the show late in act one and being rushed through their plots as they suffer a transformation. While Mal’s takes more time and is much more straightforward—although how his passion for his wife is rekindled is disturbing—Alice’s transformation is just downright confusing. Carmello sings a number entitled “Waiting” at the end of act one and while she puts quite a bit of energy and emotion into this number, it comes off as being a hot box of crazy with muddled, incomprehensible lyrics, which may have been difficult to understand since I was sitting in the front row and very close to the 17-piece orchestra. But she sings a very emotional song about waiting, collapses on the table and then tries to find a way to rekindle her romance with her husband. All of this occurs in a short time and feels very contrived because of that.

But above all, the Addams family is overly aware of their oddity, while in Charles Addams’ cartoons and in the TV series and the films, their behavior was to them perfectly normal and the rest of the world was odd. Although, since Wednesday is reduced to little more than an angsty teenage girl in this musical, her over-awareness of her abnormality is understandable.

As for the length, this is the result of quite a few numbers going on for too long of a time. The opening number, “Clandango” is very energetic and busy, but it felt like it went on for several minutes as the actors did a lot of dancing and never really seemed to explain what exactly a clandango was. Another number, “Let’s Not Talk About Anything Else But Love,” is very sweet, but then turns into a bawdy dance number for no explicable reason, other than to maybe pump up the sexual frustration between Wednesday and Lucas. If the number ends before the dance sequence, it works very well.

As for Wednesday and Lucas, even though their conflict is what causes the events of the night to begin, it feels as though there is too much time spent on them. Either that, or Marshall Brickman and Rick Elice’s book is filled with too much of Wednesday and Lucas’s dialogue consisting of Lucas saying something and Wednesday responding with “That’s hot” for their problems to really matter because their lines and problems are now very clichéd. Rodriguez also gave a very monotonous, robotic performance in the first act, but loosened up by the second act.

Andrew Lippa’s score, although in need of some pruning on some numbers, utilizes a wide variety of musicals styles from flamenco to power ballad to pop rock that sounds terrific when played by the orchestra. Co-directors and co-designers Phelim McDermott and Julian Crouch have a grand, majestic set for the family’s house that almost is a show in itself as it moves around to show the exterior, the interior and the various rooms with several panels and doors and windows for the characters and Basil Twist’s elaborate puppets to enter and move around on. It is a rare instance where a set can be very extravagant but seem necessary and work beautifully with the play without being a distraction.

The Addams Family is certainly kooky at this moment. But with some pruning of the numbers and some more development of the characters, the show could also be creepy, mysterious and spooky and altogether ooky.

“The Addams Family” runs through January 10, 2010 at the Ford Center for the Performing Arts Oriental Theater at 24 W Randolph St. Tickets range from $28 to $105 and can be purchased at all Broadway in Chicago box offices, by calling 1-800-775-2000, or by going on to

In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I did not pay for a ticket for this show.

Review: “The Mystery of Irma Vep”–Court Theatre

Chris Sullivan as Lady Enid and Erik Hellman as Jane in The Mystery of Irma Vep. Photo: Michael Brosilow.

At one point in Charles Ludlam’s play The Mystery of Irma Vep, which is currently running at the Court Theatre, it is remarked that a man in a dress can’t be all that bad. While this has a different meaning and a bit of irony since it is said by a male actor in a dress and a wig at that moment in the show, one can agree that, no, a man in a dress isn’t all that bad, judging from Sean Graney’s thoroughly delightful production of Ludlam’s play.

Chris Sullivan and Erik Hellman play the eight roles in the production nimbly and with an exquisite skill that makes their performances realistic in a play that satirizes Victorian melodrama and classic mystery and horror films. Sullivan and Hellman manage to change costumes with lightning speed and keeping each of the characters distinct, even when they might have to do the voices for two characters portrayed by them at the same time.

Yes, , the play is campy, but that is intentional with Ludlam’s script and Graney’s production and they manage to do camp and cross-dressing so well that it seems natural in the world of this play; a world where a shot gun can be fired towards the ceiling and a black puppy dog with a red ribbon falls to the stage. Many aspects of the show are over-the-top, but the play still makes the secrets that Lord Edgar (Hellman) is hiding from his new wife, Lady Enid (Sullivan) as they are terrorized by monsters and, in the case of Lady Enid, the maid, Jane (Hellman), very interesting. Ludlam’s script is also seasoned with wordplay, references to Shakespeare, and double entendres, making it a very clever play that manages to stoop to vulgar humor while managing to still use it in a clever way.

Jack Magaw’s scenic design adds to the humorous, suspenseful tone of the show with a Gothic chandelier hanging above the stage with candles in it and the uneven, disconnected, almost cartoonish walls that are made to look like they’re covered with purple striped wallpaper. Alison Siple’s detailed costumes are period appropriate, while managing to be easy enough for the actors to get in and out of them quickly. The production also has sight gags ranging from the use a fabric to the final scene of the play, which adds some more spoofing. Ludlam’s script along with Graney’s direction and Sullivan and Hellman’s performances create a deliciously amusing night of theater that manages to be compelling and outrageously funny.

“The Mystery of Irma Vep” continues through December 13 at the Court Theatre. Tickets are available by calling (773)753-4472 or visiting

Young Frahn-ken-steen

My dad happens to have a list of things that should not be made into musicals. After seeing the national tour of Young Frankenstein at the Cadillac Palace Theatre last night, I can now agree with him on the Mel Brooks film Young Frankenstein being one of those things that should not be made into a musical.

At least, it shouldn’t be done in the manner that Brooks, along with his collaborator on the book, Thomas Meehan, and director Susan Stroman went about adapting it. One of the beautiful things about the movie is the fact that the gags quickly come and go. Some might be running gags, like the horses neighing at the mention of Frau Blucher’s name or Igor’s changing hump, but the gags aren’t dwelled upon and milked to death. The last two things I mentioned in that previous sentence is why Young Frankenstein is not a good musical. The jokes and gags are played out into lengthy numbers and stretched out. The audience can only be thankful that there is not a musical number about the horses neighing at the mention of Frau Blucher’s name.

And the over playing of elements is what kills this show. The two best parts of Young Frankenstein are Roger Bart’s performances as Fredrick Frankenstein and “Puttin’ On the Ritz,” which is also the only memorable number from the show. And even with “Puttin’ On the Ritz,” it is stretched out for what seems to be several minutes as it goes from Bart and the Schuler Hensley as the monster to Hensley and a shadow creature, to the ensemble in elevator shoes to the ensemble and Hensley dancing with strobe lights. And poor Bart, who seems to give the role his all and has some very well done solo numbers, is literally lost in the scenery.

The show is primarily dominated by Robin Wagner’s massive sets and Peter Kaczorowski’s headache-inducing lighting. The set pulls out all of the stops, so we have a rather cartoonish replica of the laboratory, we have the exterior of a ship, that is used in only one scene. And the lighting? There are so many blinding lighting effects used onstage that my eyes hurt at intermission. And I was sitting in the second to the last row of balcony of the Cadillac Palace Theatre.

As for the performances of the other actors, I’m not really sure what to say because I think that maybe their performances would’ve made more of an impression if they had been given better material to work with. But Frau Blucher’s violin is quite impressive since whenever she moves her bow across the strings, we hear horns playing a chord. I’ve never seen a violin that sounded like horns.

Who knows if this will be Mel Brooks’ last musical venture? I love The Producers, which has the benefit of not following the film as closely as this does. If Brooks’ decides to do another musical based off of his films, like Blazing Saddles, I only hope that “16 schnitzengruben is my limit” does not become it’s own number.

Review: “parades and changes, replays” at Museum of Contemporary Art


In the 1950’s, choreographer Anna Halprin developed her show “Parades and Changes,” which was subsequently banned from performance in New York in 1965 due to nudity. Halprin had put together “Parades and Changes” by writing dance scores, sets of instructions for the dancers, but allowed the dancers to decide how to perform them. “parades and changes, replays,” which is running at the Museum of Contemporary Art until Sunday, is a reinterpretation of Halprin’s original productions, headed by French choreographer Anne Collod. The physical movements of the six performers as they perform the sequences to Morton Subotnick’s chilling score results in a fascinating 90-minute performance.

While the first moments of the show involve a man onstage conducting the six performers, who are seated among the audience, to speak–five of them speak in French and one in English–the rest is silent, save for the score that is being performed, which at some moments has an industrial and mechanical sound to it. The first 30 minutes of the performance involves the performers undressing and dressing, which is what caused “Parades and Changes” to be banned in 1965. In spite of the different movements that the performers incorporate into the stripping and dressing, the repetition causes it to become a bit dull. The performers, nude, then tear up large sheets of brown paper and crumple the paper, throwing it around, swirling the paper around. The movements of the performers as they throw the paper up in the air and move it around has a quality reminiscent of a storm occurring onstage. The next portion involves the performers, now wearing underwear underneath black jackets, rhythmically stomping on brightly colored cubes. After removing their shoes, the performers run to different blocks and yell before embracing other performers. The different embraces and the alienation of those still standing on blocks, alone, caused this portion to be the most powerful aspect of the performance.

The final sequence involves an odd fashion show of sorts where the performers create outfits out of the various elements scattered on the stage. At the end, four of the performers put as many objects as possible on a male and female performer. This has an odd, monster-like quality to it as the performers walk up the aisle, to the lobby outside of the MCA theater, and then let outside to roam outside of the museum, the images of which are captured on film and shown on a screen inside of the theater. (I am happy to report that the performers got back to the theater okay.)

These sequences and the performances from the ensemble are brave and interesting. It is truly a shame that Halprin’s original production was banned from performance in 1965 because of how human yet alienating Collod’s reinterpretation of the original “Parades and Changes” is.

“parades and changes, replays” has performances at the MCA stage on Saturday, November 7 at 7:30 p.m. and Sunday, November 8 at 3 p.m.. Tickets are $25 and are available by calling 312-397-4010 or visiting The performance is recommended for mature audiences.

Review: “Frankenstein” –The Hypocrites at Museum of Contemporary Art

Matt Kahler as the Daemon in The Hypocrites' "Frankenstein."  Photo by Paul Metreyeon, courtesy of the Museum of Contemporary Art

The Hypocrites’ production of “Frankenstein,” which opened Saturday at the Museum of Contemporary Art Stage under the direction of Sean Graney, is a mash-up of not only Graney’s adaptation of Mary Shelley’s novel with the 1931 film, but also a clash of time periods, causing one to not be sure of when it takes place. The play is rife with anachronisms: Elizabeth (Stacy Stoltz) wears Victorian clothing, while her betrothed, Victor Frankenstein (John Byrnes), wears jeans and a T-shirt. A large antiqued cellphone is used at one point, while another character carries an Edison Talking Doll, which sings “Mary Had a Little Lamb” in German. The world in which “Frankenstein” occurs is that of Graney’s own creation; a world where human flesh is more palatable than Cheese Whiz. And this world is one that the audience is thrust into due to the fact that it is staged promenade style, placing the audience onstage with the actors.

But this world, albeit terrifying, has flaws, which causes this production to not be as effective as it could be. While the film is projected onto a screen that hangs above a wall, I found myself paying attention to the film during the brief periods where the audio is on, which is not a very long time. The video is never really incorporated into this production to make it truly work as a part of the play. What is occurring onstage is too engrossing to allow for the audience to look at what is occurring on the screen.

This production also features two original songs by Graney and Kevin O’Donnell. The first song is sung by Frankenstein’s bride, a resurrected prostitute (Jessie Fisher) who must be plugged in in order to be alive. While this song is certainly interesting to the Daemon (Matt Kahler), it slows down the show as it seems to be placed there for no real reason. Yes, the song conveys that she is confused and realizes what she is, but the audience could have gathered that from what occurs earlier. The second song, which is a lament that the Daemon sings, is much more fitting because of the situation in which the song is being sung.

However, this production features good acting from the four actors, notably Stoltz as the frequently jilted bride and Kahler as the grotesque creature. Kahler’s portrayal gives us a creature that is brutal and vicious, but at the core, struggling to be accepted by the world in which he was created. Stoltz, on the other hand, gives us a woman who cares deeply for the man she is engaged to, but is also not revolted by the sight of the Daemon, which could have been the result of her state of mind when she meets the creature.

The use of the MCA stage is also very interesting as benches have been placed onstage for the audience to sit or stand on. There is also a see-saw on stage, along with a bed that is on a bit of an angle, making the awakening of the Daemon a bit more dramatic as the audience can see his body moving a bit better than if the bed was not raised at all. Hanging from the ceiling are bloodied and disembodied dolls and covering the back wall of the theater are pages from Shelly’s text.

While this production is engaging and fascinating, it is only terrifying at some points. While early on in the show I was a bit terrified to be in a darkened theater due to what had already occurred in the show, even by the end when horrific things occur to Victor, the gruesomeness and terror of the show had worn off. While “Frankenstein” is well-acted and interesting, it never gets underneath the skin.

“Frankenstein” continues through November 1. Curtain is at 7:30 p.m. for Wednesday, Thursday, Friday and Saturday and Sunday performances, 3 p.m. on Sunday, and 10 p.m. on the 30 and 31. Tickets are $20-25 and can be purchased by calling 312-397-4010 or visiting

Review: “Animal Crackers” at the Goodman Theatre

Hooray for Captain Spaulding!

Or maybe that should be hooray for director Henry Wishcamper and the talented cast of nine actors in George S. Kaufman, Morrie Ryskind, Bert Kalmar and Harry Ruby’s 1928 musical “Animal Crackers,” which opened tonight at the Goodman Theatre. The original musical starred the Marx Brothers, but the 1930 film based off of the musical is possibly more familiar to many audience members.

This production takes the audience in to the slapstick world of the 1920s, before the election of Herbert Hoover and the stock market crash. The production also has Joey Slotnick, Jonathan Brody, the magnificent Molly Brennan and Ed Kross looking exactly like the Marx Brothers who played the roles of Captain Spaulding, Emanuel Ravelli, The Professor and Horatio Jamison. But it doesn’t have the allusion that one is watching four people try to act like the Marx Brothers, at least it didn’t for me.

The production, which has a lavish set designed by Robin Vest that depicts the interior of a Long Island estate belonging to Mrs. Rittenhouse (Ora Jones). The six member orchestra sits directly in the center of the stage, but you never really notice them until the actors interact with them. In fact, many of the aspects of this production work well. The double casting of some of the roles works well with the actors making the characters unique and donning different outfits and wigs, easily fooling an audience members. The breaking of the fourth wall with some of Slotnick’s lines doesn’t come off as heavy handed, nor do anachronistic remarks about being at Petterino’s in ten minutes. In fact, “Animal Crackers” is a hilarious, roll-’em-in-the-aisle comedy that is truly funny and features such antics that the two-and-a-half hours you spend inside the Goodman’s Albert Theatre fly by.

The benefit of this show is that Kaufman and Ryskind wrote a book that is hilarious without being stupid. Not once is there the feeling of “Hurry up and get to the numbers,” nor is there the feeling of “Hurry up and get back to the dialogue” during Kalmar and Ruby’s numbers, which are usually serving a purpose for the characters to express romantic feelings.

But that’s only if you enjoy slapstick comedy. Those that do not enjoy slapstick will probably find “Animal Crackers” to be repetitive, vulgar and tedious. And even to those of us that do enjoy slapstick, the show is not without flaws. The final scene, a result of The Professor’s gassing antics, seems completely unnecessary except to untangle the mystery of who stole the missing painting that is at the heart of the plot. The unfortunate thing is that is slows down the show immensely, but the fortunate thing is that it’s right at the end of the show.

The entire company does a magnificent job in this production, but primarily Brennan, who relies solely on physical humor for the role of The Professor, Brody and Slotnick, who ensure that the show never has a dull moment with their delivery of misunderstood phrases and double entendres while Jones as the rich Mrs. Rittenhouse.

But what works so well about “Animal Crackers” is that it never feels as though you are watching the actors imitate the classic film. It just sweeps you away like you’re slipping on a banana peel.

“Animal Crackers” continues at the Goodman’s Albert Theatre until October 25. For more info, visit