La compagnie Mona Lisa Klaxon s'empare du texte de Genet pour l'emmener au Mexique avec une distribution clownesque et travestie....

Transposer Les Bonnes dans l’univers de la Fête des morts au Mexique, en utilisant le masque de clown comme travestissement des personnages, voici plantés les éléments du conte moderne de Jean Genet qui ne peuvent que nous ravir. La transplantation dans la société bourgeoise latino-américaine de cette comédie tragique va de pair avec les enjeux de ce continent qui nous plonge en permanence dans tels désarrois, complots et autres jeux de pouvoir....

Inattendue, burlesque et colorée, cette mise en scène revisite génialement le chef-d’œuvre de Genet....

Funnily enough, the one time that director Victor Quezada-Perez inserts a direct reference to Donald Trump into this ghoulish incantation of The Resistible Rise...

Review: The Resistible Rise of Arturo Ui by Trap Door Theatre is Bertolt Brecht's allegory for the rise of Hitler — and the resonances really hit home....

The Resistible Rise of Arturo Ui (pronounced ooey) may be the last historical play you ever want to see become relevant again, but at least under the direction of Victor Quezada-Perez, Trap Door theatre....

Trap Door Theatre, Chicago: Bertolt Brecht set this bludgeoning satire of government corruption in a comic-book 30s gangland Chicago, but wrote it in 1941 to protest Hitler’s rise in his 1933...

Most noticeable of the effects in the production, however, are the red clown noses that adorn every character. These are, at once, richly and effectively symbolic, and symptomatic of the unrelenting comedic style that robs the production of its underlying “horror.” The world to which these red noses introduce us is one in which everyone is, to some conscious degree, implicated in the corruption. When a character dies, his or her red nose is torn...

Kevin Webb, Abby Blankenship, Mike Steele and Casey Chapman/Photo: Beata Pilch RECOMMENDED “The Resistible Rise of Arturo Ui” is not as funny as the red noses would have you think. Not the “ha-ha” sort of funny, anyway. Brecht’s 1941 Chicago mobster story of cauliflower rackets and murder was called a "parable play." As the emcee (David Steiger) tells us from his box, Hitler came to power through small sins and oversights. And when it begins, the...

Chicago gangsters fight over the ownership and expansion of the cauliflower trust into Cicero. You may think that sounds like a farce, but The Resistible Rise of Arturo Ui is a vehicle for Bertolt …...