by Sharon Lurye
That being said, here's what's new and reviewed:
Superheroes usually keep their clothes on for the sake of their secret identities, but the capes fly off with merry abandon in Holy Bouncing Boobies, a Batman burlesque from Gorilla Tango Theatre. Marissa Oberlander recommends it for its confident campiness and sexy comedy. Less successful is the The All-American Genderfuck Cabaret, a show about men and women and everything in between. Dan Jakes says the premise is bold, but the show suffers from a lack of plot. [Note that the Reader made an unfortunate editorial error in its August 16 paper edition, giving The All-American Genderfuck Cabaret the recommended designation belonging to Holy Bouncing Boobies. We apologize to Pride Films and Plays, Gorilla Tango Theatre, and our readers for the confusion and consternation caused by this mix-up. —ed.]
When Reader food critic Mike Sula reviewed Untitled a few weeks ago, he mentioned that its 1930s speakeasy ambience was punctured by details like a Cubs game playing on a giant TV. Apparently the live entertainment suffers from the same problem. Featuring a slick emcee and smiling chorus girls, the restaurant's floor show, Bally Hoo, has a lot of potential, according to Tony Adler. But the powers that be need to cut out dissonant elements like belly dancing.
Quickly now: Zac Thompson praises All Kinds of Crazy, Arlene Malinowski's monologue about depression, for its "aversion to self pity." Justin Hayford discusses Jack Bourgeois's Antigone, a new version of the ancient tale that "poses thorny, timely questions about just governance and unchecked ego." And Albert Williams recommends Light Opera Works's revival of Man of La Mancha, the 1965 musical based on Don Quixote.