The father of the rock musical, recently popularized with the much regaled Spring Awakening, the flamboyant Rock of Ages and Green Day’s American Idiot, is none other than Bertolt Brecht.

Born in 1898 in Bavaria, Brecht thrilled the world with such inspired, music filled productions as The Three Penny Opera and Schweik in the Second World War. In their masterful revival of Brecht’s The Mother, Oracle Theatre embraces both the heart and the punk rock nature of one of the theatre’s true, counter-culture geniuses.

It is 1905 in Russia and modest Palagea Vlassova is worried about her son, Pavel, and his bookish ways. Her distress grows when she discovers that her factory worker offspring is engaging in revolutionary activities with his co-workers. Angered at the frequent decreases in their already skimpy wages, Pavel and his friends have been inciting their comrades to strike. But when Pavel is arrested in a demonstration, the formerly reticent Palagea grows into one of Russia’s fieriest activists. Learning to read and write, she takes to the countryside to band together the entire nation’s passionate poor.

Granted, Brecht’s subject matter is the rise of the Communist Party, but his focus is on Palagea. Any woman who has fought for better school lunches for her children or improved roads for public safety can, therefore, fully relate to the circumstances here. Brecht’s humor, cunning intelligence and simple yet penetrating lyrics are all on full display, as well.

By utilizing Eleanor Kahn’s inspired rows of tables and the darkened nooks and crannies of the performance space, director Max Truax has created a truly singular, endless creative theatrical experience. With brilliant silent film style projections helping the narrative and Nicholas Tonozzi’s flawless vocal arrangements of Jonathan Guillan’s music, one is literally swept away by these creators’ passion.

The cast pops out from beneath your feet and on carefully placed risers, singing with delightfully layered harmonies. Led by the radiant Katherine Keberlein, who shades Palagea with humility and gritty determination, they truly fuse together with theatrical integrity and force. Rick Foresee brings the proper wearied resignation to his Pavel while Stephanie Plot and Havalah Grace ignite with determined fear as his closest companions. DeChantel Kosmatka’s biting superiority as The Commissioner is a joyous pleasure, as well.

That this production is offered to the public for free due to Oracle’s mission of theatre for all, only sweetens an already over-full pot.

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Here, the incredibly talented Keberlein gives us a rare look behind the scenes of this unusual, truly pertinent offering.

Sheridan Road: Hi, Katherine! Your role in The Mother is so physical, vocally, emotionally and movement-wise. Can you let our readers know how you prepare, before each show, to tackle such complexities?

Katherine: I have had the good fortune to perform constantly for the past 13 years in Chicago theatre, which is a workout and preparation in itself. I have two daughters (7 and 4). I log a decent number of miles running each week, and I sing regularly as a church cantor … thank goodness! All of that has helped me prepare for the 101 minute marathon that is this show. Beyond being in decent fighting shape, though, I realized early on that I needed to be physically stronger and more able to control my balance just because of the unique nature of our set – I spend much of the beginning of the show showing the meek, vulnerable side of the mother, but it takes a lot of energy to climb up and down the tables, all while maintaining that frail appearance. So a few more hours in the gym! In terms of emotional preparation: the immersive nature of the production – the fact that we are in place 15 minutes before the play even begins – allows all of us in the cast to live in that world before the first word is spoken, and the majority of us never leave the space for the full run of the show each night.

SR: Amazing! The set-up for the show is so interesting. The cast moves on top and under rows of tables. Do you have any fun stories about the rehearsal process or amusing tales about little mishaps that happened along the way?

Katherine: Bite your tongue … we will have no mishaps with the set!

SR: Ouch! Okay. Done!

Katherine: You are right, though: the design of the tables (Eleanor Kahn, set design) is absolutely ingenious and by far the most unique staging I have ever experienced as an actor. I remember the first day that we had all five tables in place and we began blocking the first song. Max Truax (the director) placed various members of the ensemble around and under the tables, choreographing them to rise and fall as the music surged and receded. The song is emotional to begin with — the desperation of a mother unable to feed her child — but to be literally surrounded by slithering danger, trapped on a pedestal with no way to escape … it was a breathtaking moment. Then the addition of audience members seated at the tables adds to the tension and changes the dynamics every night: it is truly a one-of-a-kind opportunity for an actor.

SR: That truly shows in the performances! With our economy still in a flux and our unemployment rate still hovering, The Mother has obvious parallels to today’s times. How does the piece’s relevance speak to you?

Katherine: In scene three the character Karpov, a union negotiator, urges the workers to accept a pay cut and says “we are on the threshold of the greatest economic crisis our country has ever experienced.” It sounds to me like eerily familiar talk from current US political discourse. But Brecht’s question was: can we in good conscience let that looming crisis, even the possibility of a governmental collapse; erode the rights of the poorest of the poor? If we take communism out of the discussion – out of the play, I think we can agree – I hope we can agree – that we have a duty as human beings to protect the most vulnerable in our society. I find it especially moving to present this play within the context of Oracle’s mission: free art for all. We can educate, we can inspire, and we can lift up our common man.

SR: That truly is an incredible mission. Thank you so much, Katherine!

Katherine: Thank you again for your interest and have a wonderful week!

The Mother runs through May 25th at Oracle Theatre, 3809 N. Broadway in Chicago. The admission is free and reservations can be secured by visiting publicaccesstheatre.org. – Brian Kirst

Marriott Theatre in Lincolnshire’s current production of Rodgers and Hammerstein’s classic musical South Pacific has been referred to, critically, as both sumptuous and introspective. A lot of its success, though, stems from the multi-layered performance of its leading man, Naperville native Stephen Buntrock.

The acclaimed Buntrock has spent the last fifteen years appearing on Broadway in such productions as Titanic, Beauty and the Beast, Jane Eyre and Les Miserables. In this exclusive piece, the congenial Buntrock talks about his joyous homecoming to the Marriott stage, his experiences on Broadway and the eternal resonance of South Pacific.

Sheridan Road: Hi, Stephen! Let’s start from the very beginning! What stands out the most in your memory about growing up in Naperville?

Stephen Buntrock: When I moved to Naperville in 1970, there were only about 15,000 people in the town. When I graduated high school in 1986, there was over 100,000. I definitely saw the growth of the town in my youth. But, what I remember most about Naperville was growing up and doing the park system – the soccer program, swimming at the beach. It’s an incredible pool made out of an old quarry. I had many a great summer there. I’m, also, blessed that I have held onto many friends over the years after moving away. I just went back the other day and it was quite shocking to see how big it had gotten. The farms that were there are all gone and its nothing but mammoth houses now.

SR: Interesting. Can you tell us what made you fall in love with the theater?

Stephen: When I was 10 years old my mother and father took me to go see the first national tour of Annie in downtown Chicago. It was a life-changing experience. The only way I can describe it is, afterwards, there was a weird kind of sickness in my stomach. I was so jealous of the kids on that stage. I really wanted to do what they were doing. I took that album back home and I played it for the entire summer. I drove my family crazy, blasting away “Tomorrow” and all the songs of the show! I hoped that they would re-write it so a boy could be in the show. Don’t get me wrong, but I actually grew up wanting to be Annie!

SR: Then you made your professional debut, locally, correct?

Stephen: 23 years ago, I made my professional debut as Lt. Cable, on this exact same stage, in South Pacific. I was so wide-eyed. My understudy was (Broadway legend) Brian D’Arcy James, if that rings a bell, and he’s become a lifelong friend. It’s been amazing to come full circle and play Emil de Becque. It’s just been an amazing time.

SR: Is there anything that stands out for you about that first production?

Stephen: Well, something happened during the fifth preview for that South Pacific. In that production, we killed Lt Cable on stage. I had a t-shirt on and I had a blood packet in my t-shirt. What was planned was that the gun would go off, I would hit the t-shirt like I was getting shot and the blood would start seeping through my t-shirt. The audience could see I was shot and then the lights would go out. Well, on this fifth show, just as I was about to go out, Kerry Walker, the former producer of Marriott Lincolnshire Theater, told me that they couldn’t see the blood coming through the t-shirt. So, he wanted me to take the blood packet out and hit it in my face. (Laughing) First of all, I was so nervous for those first few shows that my eyebrows were shaking! So, I took the blood packet out of my t-shirt. I turned around as I was supposed to and I snuck up the aisle a bit. The only lights that were coming from the stage were in my face, so I was pretty much a shadow to most of the audience. The gun went off. I took the packet and I hit it and it, literally, splattered right into my face. The audience thought that my head exploded. It made them scream with horror. I had kind of left my eyes open, as well, so it got in my mouth and eyes. I realized it was colored shampoo. And — It was not the tearless kind. It was stinging! I remember I didn’t even die. I just ran up the aisle going, “My eyes, my eyes!” I was bumping into people. I dropped my gun and it went into the aisle. The actor playing Emile de Becque, trying to help out, grabbed a strap in the black-out. He didn’t even realize, until he got backstage, that he had grabbed a lady’s white purse. I can say it was absolutely hilarious, now, looking back on it. In the moment, though, I thought my career was completely over

SR: Well, it is a very funny story!

Stephen: Thankfully, when I got backstage, Kerry Walker was laughing hysterically!

SR: So, there was natural nervousness with your first professional job. What was it like performing on Broadway for the first time?

Stephen: When I made my Broadway debut it was 1997 and it was the 10th anniversary of Les Miserables. There was something about that time in my life where I was just ready for it. I was almost like a running back. I took the ball on the one yard line and nothing was going to stop me until I got to the end zone. I had, at that time, the self confidence of a giant. (Laughing) Subsequently, nerves have kind of come back into my life. I seem to get more nervous the more I perform. But, I will never forget that opening night of Les Miserables. It was an incredible night and I felt so sure of myself. I just remember hitting the stage, taking this giant breath, and saying, “Okay, let’s go! This is what I got, folks!” It was a wonderful night. Sting was in the audience, Rosie O’Donnell, a lot of New York socialites. It was an amazing night, an amazing night!

SR: Now, as you mentioned, you’ve come full circle with South Pacific. What do you think makes this production so special?

Stephen: First of all, I think there is a true realism in this piece. David Bell, the director, really crafted this show in an amazing way. With some of the Rodgers and Hammerstein pieces you can kind of get boisterous and the characters can seem unreal, in a way. But he really makes the themes of the show, the racism that’s addressed, recognizable today. We have taken giant leaps forward in civil rights and things like that. But, he shows that the touches of racism in the show can be applied to today’s times. Also, the songs in this show, you truly forget how great they are. You truly can get swept away by the music. There’s simplicity and a romanticism working here. And – I hope we do actually sweep away the audience every night. It seems like we have. We’ve gotten standing ovations every single show. I think that once we start that train going every night, everyone jumps on for the wonderful journey.

South Pacific runs through June 2nd at the Marriott Theatre in Lincolnshire on Ten Marriott Drive in Lincolnshire, IL. Tickets are $45-$55 and can be purchased by calling 847-634-0200 or by visiting marriotttheatre.com. – Brian Kirst

If they asked me, I could write a review about the way a show can walk and whisper and look. Of course, if that show is Rodgers and Hart’s classic musical Pal Joey, that task becomes a bit easier. It becomes even simpler if that production is Porchlight Musical Theatre’s current, frequently engaging revival of this celebrated work.

Introduced in 1940, this story of a lovable hustler (whose machinations flip on him) was considered too downbeat for many at the time. Based on his series of gritty stories, John O’Hara’s Joey and his ‘friends’ weren’t fully embraced until the 1952 revival. Granted, most of the characters are thieves, con artists and luscious adulterers – people whom are hard to fully accept. Yet, as a playwright, O’Hara supplies Joey and his various contemporaries with enough charm and humanity to make up for their various, hard won faults.

The show begins when handsome Joey, disguising his spattered past, works his way into an emcee gig at a downtrodden Chicago club in the late ‘30s. A chance encounter with Linda, a fresh faced shop girl, gives him hope that his life may be on the upswing, though. But, when Vera Simpson, a married society woman, takes an interest in him, Joey decides to take the easy road out. Showered with Vera’s money, Joey turns the club in to a hot nightspot, Chez Joey. But when a corrupt business manager and a shadowy showgirl threaten blackmail, it is only Linda’s honesty that can, perhaps, save Joey from total ruin.

Influenced by O’Hara’s creative zeal, the famed Rodgers and Hart came up with one of their most intricate scores. Hart’s magnificent sense of sensual wordplay comes into play with such numbers as the often covered “Bewitched, Bothered and Bewildered”, the hysterical “Zip” and the fun “Our Little Den”. “I Could Write A Book”, meanwhile, is among the most fully realized songs of the Broadway canon.

In the contemporary zone, director Michael Weber works with exuberant force. Granted, some of the multiple reprises of various songs could work better with a bit more streamlining. One can, also, assume that the talented performers, who already energetically interact, will gel even more as time goes on.

Cast wise, Adrian Aguilar makes a compelling Joey. Even when choreographer Brenda Didier’s moves do his characterization no favors, he always performs with committed passion. The skilled Matt Orlando and the brassy Sharriese Hamilton shine as the evil Ludlow and the unrestrained Gladys Bump. As Linda, Laura Savage glows with determined innocence. Jim Heatherly, meanwhile, almost steals the show with his ecstatic contribution to the second act opener, “The Flower Garden of My Heart”. This is Broadway veteran Susie McMonagle’s show, though. As the duplicitous Vera, she beguiles with steely resolve. Masterfully, she turns well regarded songs into totally new aural experiences due to her pertinent and original vocal stylizing, as well.

Pal Joey runs through May 26th at Stage 773, 1225 West Belmont in Chicago. Tickets are $39 and can be purchased by calling 773-327-5252 or by visiting stage773.com. – Brian Kirst

Do we ever really know our parents? The secret passions and invisible histories of those who raised us can pop up at any time. Even years after their deaths, new mysteries can be revealed. Such is the case with the whimsical father and tormented son in the Broadway-bound musical of Big Fish, currently enjoying a flower-filled run at the Oriental Theatre in downtown Chicago.

Based on the popular novel by Daniel Wallace and inspired by the intense visuals of the 2003 Tim Burton film, this production details what happens when Will, a young journalist, discovers that the fantasies his father has propagated may have some damning realities. A traveling salesman, Edward Bloom filled Will’s ears with magical stories of circus life, kindly giants and skies bursting with daffodils. But due to an unexpected health crisis, Will happens upon some papers that bring a more duplicitous edge to Edward’s fantasies. This may spell sure heartbreak for Will and the small family’s beloved matriarch, Sandra.

Famed director Susan Strohman, who brought elastic magic to the Broadway and film versions of the musical The Producers, truly brings all of Edward’s highly irregular stories to life here. Whether it is the gyrating forms of cowboys and outlaws bursting from a darkened television set or a mermaid smiling, beguilingly from a river, there is much visual candy and gymnastic style enthusiasm on display. Julian Crouch’s vibrant scenic design, Donald Holder’s eclectic lighting and Benjamin Pearcy’s sweeping projections all make this show a singular experience, as well.

Granted, those who treasure old school musicals with songs that still decorate the Classic American Songbook will be puzzled by Andrew Lippa’s lyrics. As with many modern productions, his songs are more operatic in notion, belonging strictly to the world of the show. Some of his rhyme schemes (including one that centers on bodily functions) are jarring to the ear, as well. Still, there is great variety and skill in his music. His final compositions, revolving around Edward and Will’s experiences at a hospital and a mystical River’s Edge, alternate between exciting and beautiful. They are rich enough to produce tears and laughter, ultimately making this production a heart sweeping experience.

Long a beloved Broadway performer, Norbert Leo Butz brings a multitude of quirks and whimsies to his Edward, creating a superior theatrical experience. Kate Baldwin, another veteran performer, brings subtle sexuality and warmth to Sandra, Edward’s supportive wife. Baldwin’s glowing and passionate appearance here should bring her to the top of the Broadway stratosphere. Meanwhile, Bobby Steggart brings voluminous emotion to his Will while Krystal Joy Brown radiates with sweetness as his young wife, Josephine. Every show has its scene stealer, though. Katie Thompson as The Witch brings dark mystery and a deep woods vibe to her brief appearances. She is one of the pertinent treats of a frequently joyous evening.

Big Fish runs through May 5th at the Oriental Theatre, 24 West Randolph Street, in Chicago. Tickets are $33-$100 and can be purchased by visiting broadwayinchicago.com or by calling 800-775-2000. – Brian Kirst