April 28--Hits? The Chicago theater's got 'em. But as always in this town, where commercial enhancement money for local productions is very hard to find, it's tough to keep 'em open.
Exhibit A is "Dreamgirls," the terrific Porchlight Music Theatre production of the much-loved musical that showcases Chicago's formidable pool of hot, young African-American talent. Porchlight has been looking all over town for a way to keep the show going, or move it to a bigger theater like the (available and aptly named) Apollo Theater.
But Porchlight does not have the money to do that kind of deal itself, and the risk involved in transferring to a larger venue could, frankly, sink the entire shoestring operation. So I hear nothing has yet been determined, but that nervousness prevails. "Dreamgirls" is, of course, a big show, even in this very lean form.
"This is no 'Million Dollar Quartet,' " Porchlight artistic director Michael Weber wrote to me this week, referencing the previous tenant of the Apollo, with emphasis on the word "quartet." You can understand his dilemma.
In the absence of a move like that, Porchlight's problem is not unlike that of another musical that did very well, the Kokandy Productions version of "Heathers," which did nicely in this week's non-Equity Jeff Award nominations and packed the house at each and every performance, mostly with fans of the cult movie. Both Kokandy and Porchlight work in rental venues -- Theater Wit and Stage 773, respectively -- where just a few weeks are blocked out at a time and the overall calendar is shared with different companies. So when a show is a smash, it presents a quandary. You might be able to squeeze a couple extra weeks out of it, but that is about all. These theaters are just not set up for long-running shows, especially if it is not a show created by the people who own and operate the theater.
It's a pity. Jobs are at stake.
Heck, Rob Kolson, who owns the Apollo, would be well advised to stick "Dreamgirls" in there for prime time and then roll in "Heathers" for the late-night attraction. Neither show has much set. Or how about Black Ensemble Theater welcoming a show that is not its own?
On the new play front, I hear that houses are big and enthusiastic for "Sender," Ike Holter's terrific dissection of the mating (and associated social media) habits of Chicago's millennial generation.
If this play, which you can see at A Red Orchid Theatre, were in that other theater town to our east, all kinds of influential people would have stopped in to catch some of Holter's poetic licks and think about ways they might enjoy some more of them. Here? Not so much. Tracy Letts, a big supporter of the storefront world, apparently stopped by and dug what he saw, but tickets are still available.
No reason for that with such a great play in such a small theater. Snag a couple, say I.
No better 90 minutes of entertainment in Old Town. Certainly not at the bars, which are looking more and more like aircraft hangars.
At "Hamilton" in New York, there's reported talk of setting premium tickets at $995. "Sender"? Thirty-five.
You also can still get tickets to Letts' own, very beautiful Steppenwolf Theatre play, "Mary Page Marlowe." This attraction also is unlikely to extend beyond a week, and I could not get Steppenwolf to confirm even that much until at least next week. Where are the great producers of this town, screaming "must-see hit" from the rooftops?
At least the much-Jeffed Theo Ubique production of "Rent" has extended. But only through May 15!
Since I'm prattling on about shows to see, and how fast you have to move to see them, let's not forget "Carlyle," the provocative play about black conservatism that closes Sunday at the Goodman Theatre. No extensions there, either. Many good reasons, I'm sure. But I bet you feel like you only just heard about it.
Here are two of my cents in the ongoing debate about diversity and Chicago theater: When a diverse Chicago show that also happens to be good -- hello "Dreamgirls," "Sender" and "Carlyle" -- stays open, that's a good thing. Better, actually, than a whole lot of abstract debate.
But in Chicago, you snooze, you lose. Better keep up, theater lovers.
Chris Jones is a Tribune critic.
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