As befits a play named after a B-52’s single, what followed was a campy pastiche of saccharine 1980s teen movies. “Song For A Future Generation” unfolds over the course of a theme party on a space shuttle owned by three clones, each one named Marika (Annie Lydia Litchfield, Andrea Decamp, and Haily Wineland). Each clone recalls the narrow archetypes established by the ’80s movie master, John Hughes: there is a nerdy clone, a ditzy clone, and a punk clone. They all explain, occasionally in unison, that initially there was one Marika whose attempts to seduce a boy were met with repeated failure. Hoping to increase the likelihood of her romantic success, she cloned herself and now there are three completely different (and completely hackneyed) characters who all answer to the same name.

The other party guests contribute their fair share of teenage angst and drama. There is the lovelorn Error (Jonathan Matteson) who, after having been genetically coded for time travel by a lab of Mengelesque researchers, jumps from century to century in search of his dream girl. Two intergalactic bounty hunters also make an appearance. One hunter’s target is the infamous eco-terrorist The Kid (Jaclyn Keough) who, after escaping from the prison planet Alcatron, has shown up at the party to save the last surviving Rock Lobster. Such overt references to America’s garish pop heritage are a fixture of the production and a source of easy laughs. Probably the most cliché characters, however, are the pilot-in-training Log (Bobby Libby) and the bitter, bookish Thena (Alyse Kittner), whose relationship seems to be a futuristic re-working of Emilio Estevez’s and Ally Sheedy’s respective roles in “The Breakfast Club.” Tracz’s play on the pairing of overconfident jock and troubled outsider rejuvenates an otherwise tired trope of teen cinema and cements the play’s ’80s aura.

“Song For A Future Generation” is already an over-the-top concept; in practice, however, it is an outrageous celebration of one of the sappiest eras in the history of American film. The characters suffer through the most predictable of romantic and existential (not to mention extraterrestrial) dramas, all the while blissfully unaware of the universal nature of their quest for individuality.

These seemingly age-old devices are no accident; director Mary Rose O’Connor takes deliberate steps to set a cinematic tone. Throughout the performance, Reagan-era hit singles play in the background, as do a few tunes from this century’s more ’80s-influenced acts, such as the super-trendy Neon Indian and M83.

Dance plays a significant role in the production as well. Laughter ricocheted off the theater’s walls every time the actors began their synchronized swaying and goose-stepping to tracks reminiscent of any soft-focus prom scene from a quarter century ago. The almost synesthetic combination of Log’s slicked back pompadour and the Smiths’ “How Soon Is Now?” leads one to believe that actor Bobby Libby is channeling Morissey himself. Minor details such as these coalesce to make the production intimate and jovial while remaining professional and well-acted. From the uproarious one-liners (“All of the hot ones are robots! Or gay! Or gay robots!”) to the delectably chintzy set design, the production can only be described as a neon-striped success.
EP Theater, 1820 S. Halsted St. Thursday, February 18-Saturday, March 13. 8pm. $15. eptheater.com

The play is Brecht’s first, written in 1918 when he was 20 years old. The time period would be difficult to guess just by watching it, though, as “Baal” draws from several different eras for its style and themes: The opening scene, in a tavern flanked by jeering men and a couple of coquettish women, recalls Shakespeare’s bawdy humor and prefigures the play’s modern address of gender relations. Baal himself is an amalgamation of ages, romantically enamored of natural beauty but with a modern aimlessness and nihilism.

Though “Baal” is billed as a “live music spectacle,” its percussion-and-cello accompaniment (an original score by local art-rock duo The Loneliest Monk) is unobtrusive and complements the action well. The set design—which consists of two levels—also fits the play’s mood and movement, though the lighting leaves something to be desired.

“What attracted us to this early Brecht work was just how raw it was,” Jason Ewers, EP Theater’s executive director, told the Chicago Theater Blog. The rawness comes through in EP’s production, both in its palpable emotion and its at-times disjointed and confusing shifts in location and time. The poetic language doesn’t contribute to the clarity, either—but, like a poem, it draws you in, and gives the impression it would only get better with re-reading.

From the first scene, when Baal (Craig Cunningham) holds forth on the joys of hedonism before an audience both rapt and disgusted, he pushes the bounds of common decency. Early on, though, he’s still an attractive figure, and his listeners encourage him to put his talent to use. Instead, he uses his charms to seduce women—before ultimately humiliating and rejecting them—and wreak other havoc with his friend and lover Ekart (Shawn Pfautsch), an aspiring composer. The two actors have admirable chemistry, first appearing as young comrades-in-arms against social convention, but eventually emerging as very different people, Ekart the far more human of the two. Not even their friendship can survive Baal’s destructive tendencies, however, and as one might predict he meets a tragic and lonely end.
EP Theater, 1820 S. Halsted St. Through October 3. Wednesday, Friday, and Saturday, 8pm. $12. eptheater.com

35-year-old Dave Stinton wrote “The Lost Shakespeare Play” after attending the 2001 Stratford Festival of Canada, where he chanced upon the story of William-Henry Ireland, who had forged a series of Shakespearean documents. Jen Ellison, a twelve-year veteran of the Chicago theater scene, directs the unfolding mystery.

Stinton’s play focuses on this real-life Shakespearean scandal that unfolded in late eighteenth- and early nineteenth-century Britain. William-Henry Ireland, a 19-year-old law clerk, purportedly “discovered” a cache of manuscripts autographed or authored by William Shakespeare, including a lost play called “Vortigern, an Historical Play.” Edmund Malone, the eminent Shakespearean scholar of the day, denounced the documents as forgeries.

The audience comes to know William-Henry through his relationship with his father “Samuel Ireland,” an antiquarian, travel writer, bookseller, artist, and publisher, played by Adam Weiler. Mr. Ireland is a somewhat silly, amateur Shakespeare enthusiast, whom Weiler captures well, and Vidal’s William-Henry captures the audience’s sympathy as the inadequate son.

Gladish’s Malone is a pleasingly pedantic scholar who rants and reflects, developing into a round and convincing character as he fights for the very soul of Shakespearean integrity. Sean Patrick Leonard plays the renowned Shakespeare actor John Philip Kemble of London’s Drury Lane Theater, who schemes with Malone and is especially enjoyable while bellowing famous passages from “Hamlet” or “King Lear.”

Throughout, the audience serves as the jury in the case of Malone v. Ireland, as they battle it out between fact and fake. Each clamors to tell their side of the story and defend the “true” work of Shakespeare. Stinton asks the question, “Does it matter whose name is on a work of art or rather that it affects you in some way?” William-Henry champions those who believed in the recovered manuscript, claiming, “The joy they felt was not a forgery.” “The Lost Shakespeare Play” makes us wonder along with William-Henry if “Shakespeare is but a label meaning ‘good.’”

The Lost Shakespeare Play Through March 22. Thursday, 7pm; Friday and Saturday, 8pm; Sunday, 2pm. EP Theater, 1820 S. Halsted Ave. (312)850-4299. $20. eptheater.com

Best Taquería
Taquería Los Comales
Nuevo León is often touted as the best place to chow down before heading out to Second Fridays, a monthly open house of Pilsen’s many art galleries. But do not be tricked. Instead, head across the street to Los Comales which, while it does not have the same charming décor as Nuevo León, is cheaper and consistently tastier. One reviewer on Yelp.com proclaimed Los Comales the most authentic Mexican restaurant in Chicago (and he’s Mexican, so he’s got cred), and I’m not one to argue. You can sample some of the more exotic Mexican meat options, like tripa (tripe), sesos (brain), and lengua (cow tongue). The tacos are served a la Mexicana, with cilantro, onions, and freshly-made salsa, and the meat is impeccably spiced. The gorditas are different combinations of beans, cheese, and pork rinds, and taste as delicious as they sound. And possibly the best part? They’re open till 4am on Fridays and Saturdays. 1544 W. 18th St. Monday-Thursday 8am-midnight; Friday-Saturday 8am-4am; Sunday 8am-1am. (312) 666-2251. www.loscomales.com (Katie Buitrago)

Best Goat Tacos
Birriería La Barca Jalisco
Note: This restaurant is technically in Pilsen’s sister neighborhood, Little Village.
I speak Spanish, so I’m not usually too concerned about going deep into the non-English-speaking reaches of Chicago’s Latino cuisine. But I had no idea what was on the menu at Birriería La Barca Jalisco: Guilotas? Guevera? Azada? Machito? Tejuino?* Even my dad, the native Spanish speaker, who I called in a fit of desperation, couldn’t offer any help. “It sounds made-up,” he said. Great. Well, whatever it is, they do it right. I stuck with the words I knew—al pastor (pork) and birria (goat) tacos—and was treated to some of the best tacos I’ve ever had. They’re served on exquisite, thick homemade tortillas. And it’s one of the few restaurants in the city that serves the Jalisco specialty of birria tatemada, goat made in consommé and seasoned with mole before browning in the oven and refrying on the grill. Don’t be deterred if you’re less than linguistically gifted: the waitstaff-cum-cooks speak enough English to take your order. Just pick something at random and you’ll be in for a treat. 4304 W. 26th St. (773)522-1450 (Katie Buitrago)
*Machito, I’ve discovered, is coiled tripe and gut, guevera is catfish roe, and tejuino is a drink made from cornmeal and lime juice. I’m still in the dark about the others. Contact the Weekly if you can shed some light (cwedit@gmail.com).

Most Intimate Theater
EP Theater
EP Theater is proof that Chicago, most commonly known as a city with superior improvisational theater, also has a serious side. Located in Pilsen, the EP Theater is a small, independent theater company that could be easily missed when walking down Halsted between 18th and 19th Streets, especially because the entrance is located in back. Upon entering the building, its doors outlined by white Christmas lights, you feel like you’re stepping inside the home of an old friend. The dimly lit yet lively lobby area showcases artwork by local artists and features a bar with beer and spirits. The theater itself, a simple black box theater, seats around fifty people with no elevated stage. Ultimately, the lack of a raised stage works in EP Theater’s favor, as the audience is drawn into the play immediately. There is a level of intimacy between the actors and the audience that does not exist at bigger theater companies. Whether you live for theater or barely know who Shakespeare is, EP Theater has a little bit of something for everyone. And if you’re an aspiring playwright, act fast; last week the theater announced an open call for submissions of all sorts. 1820 S. Halsted St. (312)850-4299. eptheater.com (Tiffany Kwak)

Best Art Gallery Under a Highway
Rooms
Off the beaten path of the Pilsen prime gallery drag, if you’re in the neighborhood, Rooms is worth a gander. Despite its location under the Dan Ryan Expressway, Rooms is unaccountably serene—a tranquil two-story flat-to-gallery converted space. Owners Todd and Marrakesh Frugia frequently co-create original productions that vary from proper theater such as January’s “Bird Dog Sedition” to video installations such as November’s “12-Speak.” They occasionally lease the space to other artists, putting up new shows about once a month. Every third Thursday Frugia opens the gallery for “Salon,” an outlet for aspiring artists to perform or display their art. 645 W. 18th St. Friday, 7-10pm, or by appointment. www.roomsgallery.com (Rachel Reed)

It seems that the Iraq War is all too easily contained within the glaring screens and inked pages of news media today. It has become easy to observe as an audience member, to appreciate from a distance, and to argue about over coffee. We can stick a yellow ribbon magnet to the SUV and leave the war to tomorrow’s newspaper. Of course, many don’t share this perspective, but it is prevalent enough that, thus far, few efforts to humanize the war through art successfully engage a wide audience. EP Theater’s production of “By Obit,” however, largely surmounts this obstacle with a surprisingly fresh and dirty take on a media-saturated topic. Director Michael Pieper writes, “War has been part of this world since the beginning of time.” Well, the time is ripe for a show that enraptures an audience alienated by an age of apathy in a nation divided along red and blue lines; “By Obit” invites us into the barracks and lives of ‘our troops.’

With a vivid script by Timothy McCain, the play takes a raw look at the day-to-day lives of a motley group of men and women stationed just outside of Baghdad, and follows a handful of them back home to deal with the fallout. “By Obit” is a far cry from the broad-shouldered nationalism of the “Les Miserables” barricade: we can seldom hear these people sing, for this play is decidedly, even violently, un-romantic in its view of war. F-bombs are dropped with abandon while ground-shaking combat scenes are few and far between.

It is each character’s uncensored view of the world that lends the play its power. At first the scope is unfocused, but a few figures eventually come to the forefront over the course of the plot, though it takes almost until intermission to realize whom this story is really about. Derek Ryan gives an especially vivid performance as Crosby, delivering a tour-de-force monologue in the second act that enraptures the audience in the sanguine horror of being a flawed human being in a world that seems devoid of right and wrong. Garrett Pregean plays Boone, the leader of the group and the hero of the play. Boone’s story highlights the vastness that lies between the world of the war and the one in which we all live. It becomes apparent that it’s nearly impossible to be truly at home in both.

There is a video-log of sorts that is projected onto one of the stucco walls of the theater in between scenes—the tapes that Benny, an 18-year-old soldier played by Abel Castro, sends to his family. He holds the camera himself and speaks about the heat, the food, and the military legacy that he’s upholding as a third-generation soldier. Benny’s videos give us what we know is a censored account, as the barracks have a parent-censorship filter. But we also get an emotional openness and vulnerability that is completely absent in Benny’s compatriots. The other soldiers are hardened products of their harsh situation, and we watch as the fresh meat is thrown into the desert sun.

The EP Theater is a small townhouse in Pilsen, so the theater inside is rather intimate. In the play’s best moments, you are sitting on the next bunk; at others, you notice the chunk of foam that is knocked off of the ‘rock’ stage left. Though audience members and actors alike may find themselves fighting alienation, “By Obit” brings us into this not-so-far away world and then brings us back into the world close at hand. It’s a bumpy ride filled with doubt, bigotry, and loneliness, and just as we begin to draw away, one frustrated character asks another, “Why are we here?” For now, that lies in the response, quick and dirty: “It’s our fucking job.”

“By Obit,” EP Theater, 1820 South Halsted. March 6-April 12, Thursday-Saturday at 8pm (312)850-4299 www.eptheater.com

The EP Theater Company has been up and running since 2004, promoting the work of local Chicago playwrights. Its latest show is the “Paint & Ink One Act Festival.” This five-week festival that began the weekend of September 22 attempts to bridge the gap between visual art and performance art by having a group of Chicago playwrights interpret works of visual art. The art—”Derailed” by Sydia Reyes, “The Apology” by Scott Ashley, “A Delicate Balance” by Diana Solfis, and “Bird Inside” by Robert Burridge—is a mix of paintings on canvases and standing “sculptures.” Each artwork provided inspiration for plays from all over the dramatic spectrum. As people walked back and forth in front of the artworks, strategically placed around the back room of the theater, it was clear that no one knew what stories would unfold in the theater. The one act plays ranged from a lighthearted story about an engaged couple getting their portrait painted and almost breaking up, (“The Bird Inside,” written by Shawn Pfautsch, who also founded the House Theatre of Chicago) to a bizarre, mind-boggling one-act that involved the voices inside the head of a maniacal craftsman and a man in a brilliantly designed silver robot-like costume (“Raw Material,” written by Aaron Carter). In addition, Clint Sheffer’s “Heft” taught the audience a valuable lesson about never starting deadly bar fights in the South Loop, and Isaac Holter’s “Jungle” told a story about desperation and the twisted relationship between a high school student and her guidance counselor. Each of these plays required no more than three actors—one actress in “Raw Material” played three different female characters—truly showcasing the actors’ and actresses’ compelling efforts and interesting interpretations of the dramatic works. Although the one act plays were imaginative, it was difficult to focus at times because the audience could hear the traffic from outside. The noise was a little distracting since it reminded everyone that this was a theater in someone’s home, but the sounds of the outside world died down as the night progressed and the intensity of the plays drowned out any other distractions of the evening.

EP Theater, 1820 S Halsted St. Through October 21. Friday-Saturday, 8pm; Sunday, 7pm. (312)-850-4299. www.eptheater.com

Best for Intimate Drama
EP Theater
I don’t mean that kind of intimate drama—get your mind out of the boudoir. Storefront theatre can be a hard gig, but the guys behind Pilsen’s EP Theater put their all into it. The small theater adopted the slogan “Enter at Back”, because you have to go around the back of the building to get in. The building’s been recently renovated and the space looks great, but more importantly, EP continues to offer quality work in their intimate space. They’ve started a Tuesday night reading series for new work (more importantly: it’s free), and the current production is a series of short plays inspired by art. EP isn’t the most glamorous place, but their work certainly makes a big impression. 1820 S. Halsted St. Show runs and times vary. (312)850-4299. www.eptheater.com (Rose Schapiro)

Best for Something A Little Different
Extension Gallery for Architecture
Pilsen’s lauded “Chicago Art District” can be fun, sure, but some of the galleries don’t take the risks that you see elsewhere in the city. Extension was developed to be a gallery for examining new frontiers in architecture. Though its space can feel a little cramped when there are truly giant projects, it does bring architecture to you—no more stretching your neck to see what you just can’t. And while Extension works to stretch your expectations, there is no question that what they show is challenging, interesting, and both architecture and art. 1835 S. Halsted St. Thursday-Friday, 12pm-5pm. (773) 742-0983. (Rose Schapiro)

Best Mid-Sized Splurge
Mundial Cocina Mestiza
Mundial is a fantastic BYOB in Pilsen, if you’re interesting in dropping a bit more for your food. It does Mexican-inspired cuisine (with a Mediterranean twist) incredibly well. Think homemade tamales and tortillas as well as dishes like grilled salmon with caramelized mango. The food is completely fantastic, but it’s definitely more than you might be used to paying (about $10-20 for entrees). However, the trip is completely worth it, as Mundial is a foodie haven because of their great fusion of flavors and styles. The menu changes seasonally, and the chef is, needless to say, quite talented. Notably, they’re open for brunch on Saturday and Sunday, which makes for a fun treat. 1640 W. 18th St. Monday-Sunday, 11am-10:30pm. (312)491-9908. (Rose Schapiro)

Best Place to Rock
South Union Arts
Where can we start about the sorry state of rock music on the South Side? Luckily (for now) there’s South Union Arts, a former church (though it actually still has services on Sundays) where local company MP Shows books rock concerts. SUA is kind of a lovable underdog—shows are cheap and have obscure line-ups, and the bands will play when there are two people in the audience or a few hundred. The concerts take place in the main church area, so you’re treated to a neon Jesus on a crucifix behind the stage, which bathes the entire room in an eerie glow. Go to SUA even if you don’t recognize the names on the bill, because it’s a completely unique concert experience. Also, be advised that unfortunately, the pews make truly dancing to your fullest a bit of a hazardous experience. 1352 S. Union St. www.southunionarts.com (Rose Schapiro)

Best for Not Actually Buying Things
New Maxwell Street Market
The Maxwell Street Market is a Chicago institution. Unless you’re in construction, you probably won’t want what these vendors are selling. But aside from that equipment (some of which appears to have been gathered through slightly sketchy means), there are tube socks, toys, horrendous sunglasses, and cookware of varying degrees of quality. And you can find some things that you truly might want. But the best parts of the market (which recently relocated to Roosevelt Road) are really the people-watching and the food stands, which mostly sell incredibly spicy varieties of tortillas and sandwiches, as well as Coca-Cola in classy glass bottles. The throngs are an eclectic bunch, and definitely worth paying attention to. 500 W. Roosevelt Rd. Canal St. and Roosevelt Rd. Sunday, 7am-3pm. (312)922-3100. (Rose Schapiro)

Best Place to Get a New Wardrobe—Sort Of
Unique Thrift
The Unique Thrift stores are wonderful places to shop. They are like your conventional thrift store, but because they’re a popular chain, they offer a huge variety of products. This Unique has everything from furniture to shoes to leotards. Mondays are half-off on everything in the store, but incredibly busy. This particular location is one of the largest, and resembles a fluorescent museum devoted to bad eighties dresses (think lots of nylon blends all arranged in color-coordinated order on one side of the store) and high-waisted jeans. But if you look through everything that you don’t want to wear, you’ll find plenty that you do covet. And aside from being a cheap way to spruce up your look, you’ll have fun searching. The one downside is that Unique’s don’t have any dressing rooms, so you’ll find yourself looking a little more ridiculous than usual when you try to decide what to take home. 5040 S. Kedzie Ave. Monday-Sunday, 10am-9pm. (773)434-4886. (Rose Schapiro)

Best Place to Shop if Goodwill’s Out of Your Price Range
The Rag Shop
Find a cheaper thrift store in this city and I’ll give you a dollar. With that, you’ll be well on your way to a pair of jeans, or all the way to a shirt at the Rag Shop. Rarely will a garment go for more than $5, and most stick to the $2-3 range. Still feeling overcharged? Clothes are half-off every day, and everything in the store is half-off on Saturday. The selection isn’t bad either; the Rag Shop stocks everything from shirts to shorts, handbags to sleeping bags. The shop runs mostly on donations, but the owners will occasionally drive hours across the state to pick up free clothing. These pick-ups often turn up strange finds, including noiseless ornamental bells and rooster-shaped plates for deviled eggs. A particularly large batch of Czech World War II posters was part of one such haul. “My mom picked them all up from Galena, Illinois,” said the owner’s son. “This guy was just giving away all these clothes and stuff for free.” Short version: this place is a must for clothes bargains, a maybe for dorm decoration. 1112 W. 18th St. (312)243-1724. (Supriya Sinhababu)

Best Place to Trick Out Your Bike
Irv’s Bike Shop
Irv’s Bike Shop is a bit of a misnomer. “My brother bought this place from Irv 27 years ago,” explains one employee. “Before then it was more of a toy store than a serious bike shop.” Now Irv’s is the happy medium, a kind of toy store for bike enthusiasts. Sure, there’s still a row of toy vending machines by the door, a pile of discount comics in the back, and a cage of canaries for sale outside. But don’t be fooled. The shop carries top brand bikes, like Schwinn and Diamond Back, as well as hard-to-find bike and skateboard parts. Used bikes normally go from $45-120. And if it’s a Lowrider you want, don’t even think about using any other bike shop. Irv’s also has the biggest selection of bike bling in the city. Cyclists with a taste for plush seats, decals, or chrome-plated parts, look no further. If bike-accessorizing sounds too gaudy, consider this: Irv’s is famous for carrying quality brands at unbeatable prices, and for staffing mechanics who won’t talk down to even the biggest bike noob. So go on, celebrate your triumph at finding a great bike shop with a brand-new, purple leopard-print seat. 1725 S. Racine Ave. Monday-Friday, 10am-7pm; Saturday 10am-6pm; Sunday 10am-3pm. 312-226-6330. (Supriya Sinhababu)

El Mejor Lugar para Encontrar Libros en Español
Libreria Girón
If you’re serious about learning Spanish, go to a Spanish-speaking country. If that’s out of your budget, the Libreria Girón might be the next best thing. Don Quixote and Sancho sculptures welcome customers into the small shop, which packs a surprisingly wide variety of Spanish-language print and audio books, magazines, and CDs. Wannabe Spanish-speakers can pick up latest edition Spanish-English dictionaries, bilingual songbooks, or fairy tales for kids. Those with reading abilities a bit beyond elementary school levels can find titles by Gabriel Garcia Marquez, Pablo Neruda, or Federico Nietzsche. Don’t hesitate to ask the owner for recommendations. She seems to have a knack for understanding mangled Spanish. 1443 W. 18th St. Monday-Saturday, 9am-8pm; Sunday, 10am-7pm. (312)226-2086. (Supriya Sinhababu)

Best Restaurant to Visit in the Dead of Winter
Cuernavaca Restaurant
It can’t be helped. The time will come, mid-February or sooner, when you forget that the color green occurs in the natural world. This year, try beating the winter blues with the plentiful greenery of Cuernavaca Restaurant. With a potted plant in every corner, the eatery has leaves, vines, and branches climbing up walls, hugging pipes, and dangling from the light fixtures. The less verdant elements of the décor also contribute to Cuernavaca’s south of the border feel. Ceramic tiles top the tables, and the word “Mexico” is carved into every chair. A Mexican Revolution spoof poster features Pancho Villa pointing and saying “I want you, gringo!” while Mexican pop stars on one of four plasma televisions provide pre-meal entertainment. The food itself completes the experience. Two pots of salsa and an oven-fresh batch of tortilla chips arrive at the table as soon as a chair moves out from under it, and the tostadas, sopes, and tamales are among the most authentic and delicious in the city. At just $7-10 an entrée, Cuernavaca will send you back into the world with the full stomach and color vision you’ll need to make it to May. 1160 W. 18th St. Monday-Sunday, 10am-12am. (312)829-1147. (Supriya Sinhababu)