Interludes

VIEWPOINTS – Checking up on Chicago theater: A potent revival of BUG at the Steppenwolf and the formidable E. Faye Butler in FANNIE at the Goodman

• By drediman
• November 16, 2021
• No Comments

This past weekend, I spent some time in Chicago, a city where – as an arts consumer – I spent some of the most formative years of my adult life. Suffice to say, it was a pleasure to be back and attend in-person performances at some of the Windy City’s premiere performing arts institutions, particularly its two flagship theater companies – Steppenwolf Theatre Company and Goodman Theatre (I was also able to attend a tremendous concert given by the mighty Chicago Symphony Orchestra).

FANNIE
Goodman Theatre
Through November 21

E. Faye Butler is a national treasure. As one of the grand dames of Chicago theater, she’s put her indelible stamp over the years on iconic roles in musicals such as Gypsy and Caroline, or Change. Currently, she’s acting and singing up a storm at the Goodman Theatre in Fannie (RECOMMENDED), a solo show in which Ms. Butler channels Fannie Lou Hamer, whose work as a women’s rights activist, community organizer, and civil rights leader continues to inspire. Although I have reservations about Cheryl L. West’s play – it feels telegraphed and comes across as didactic throughout most of its 70-minute running time – it nonetheless serves as a powerful vehicle for Ms. Butler, who in the role is an exhilarating force of nature. Thankfully, the show – which is fleetly directed by Henry Godinez – features considerable music (mostly of the gospel variety), which Ms. Butler interprets with her signature blend of guttural attack and immense feeling. Indeed, when she digs deep within and lets loose, there’s nothing that can get in the way of this formidable singing actress. That Ms. Butler is able to transcend the clunky script and triumph is a testament to her tremendous talent and artistry.

BUG
Steppenwolf Theatre Company
Through December 12

Then on Sunday, I attended the highly anticipated re-opening of Steppenwolf Theatre Company, which resumed in-person performances with a potent revival of Tracy Letts’ Bug (HIGHLY RECOMMENDED) (the production was in the midst of its run when last March’s lockdown occurred). I hadn’t seen a staging of the play since its original run (starring the great Michael Shannon) in Chicago more than two decades ago, and I’m happy to report that the piece has aged well. Although I miss the claustrophobia of that came with seeing it performed in an intimate storefront theater, the play’s (literally) combustible mixture of absurdist theater, graphic psychological thriller, and strange romance still had me at the edge of my seat, especially under David Cromer’s clear-eyed, incisive direction. Leading the cast are Namir Smallwood and Carrie Coon, who are sensational as two lost souls who may or may not be seeing little critters in their motel room. There’s an aching sadness in their respective portrayals that brings emotional heft to their characters’ paranoia, desperation, and finally self-immolating love.

In addition to the memorable performance, I also got the opportunity to tour the company’s stylish new building, which includes two new bars and a state of the art in-the-round theater. I’m excited to see Steppenwolf’s ongoing evolution as it starts to operate in its expanded campus and break in its new performance space.