The Nutcracker by the House Theatre. (Michael Brosilow photo)
4 stars
Ten years have passed since The House Theatre of Chicago first presented their original, contemporary version of E. T. A. Hoffman’s classic story, “The Nutcracker and the Mouse King.”
Whenever theatergoers hear that iconic title, forever associated with Christmas, they envision fairies and a toy that comes to life to bravely battle a Mouse King to rescue a little girl named Clara.
They imagine a dazzling spectacle, a lavishly-produced ballet, featuring dozens of lithe, magnificently skilled dancers. They picture lush, imaginative costumes and a story set in a magical land of snowflakes and flowers.
But with neither a tutu nor a toe shoe in sight, the House Theatre once again revives its popular production of their modern, family-friendly adaptation, loosely based upon the original tale.
Will Mobley (George Wickham) and Jennifer Latimore (Lydia nee Bennet Wickham) in ‘The Wickhams: Christmas at Pemberley’ at NOrthlight Theatre. (Phots by Liz Lauren)
4 stars
Audiences move below the stairs in “The Wickams: Christmas at Pemberley,” the second part of a trilogy that started with “Miss Bennet: Christmas at Pemberley.
Co-written by playwrights Lauren Gunderson (“Book of Will”) and Margot Mekon (former Marin Theatre New Play Development Director) Jane Austen fans will recognize some of the characters, their foibles and charm, as inspired by Pride & Prejudice.
Indeed, the troubles between Fitzwilliam Darcy (Luigi Scottile) and George Wickham (Will Mobley) start in the famed Austen story and reach another scandalous level in Part Two about the Bennets and the Darcys.
In a letter to her sister, Lizzy (Elizabeth Darcy played by Netta Walker), Lydia Wickham, née Bennet, portrayed by Jennifer Latimore, says she is coming to Pemberley for Christmas. Lydia’s husband, George, a gambler and unscrupulous womanizer, is not welcome at the Darcy estate.
left to right Ayanna Bria Bakari(Zoe) and Mary Beth Fisher(Janine) in The Niceties at Writers Theatre. (Michael Brosilow Photos )
3 stars
Racism isn’t always a clear, conscious choice but activism and outrage regarding racism are choices in playwright Eleanor Burgess’ “The Niceties,” now at Writers Theatre.
When a well-regarded Caucasian Ivy-league history professor meets one of her students, a smart African-American anxious to turn in her paper on the American Revolution ahead of time so she can organize a protest at the school, their discussion dissolves from quiet, academic points to heated confrontation.
Patricia Racette top center, Ryan McKinny bottom left, Susan Graham bottom right and parents of murdered teens bottom center at Angola in Dead Man Walking at the Lyric Opera of Chicago. (Ken Howard photo)
Every season opera houses around the world include at least one story of murder and often, its consequences. But whether clothed in lyrical or dramatic music by famous composers, their librettos typically focus on mythology or historic tales. Those productions seldom produce the kind of gut-wrenching reactions and post opera discussions sparked by “Dead Man Walking,” now at the Lyric Opera of Chicago through Nov. 22, 2019.
L.R. Elaina Henderson, Guy Wicke, Stephen J. Bryant, Taylor Toms. (Photo by Stephen Bryant)
3 stars
It’s the 1940s and veteran detective Max Forthright (Guy Wicke) is throwing a lavish party to celebrate the publication of his upcoming memoirs.
Max has invited a number of distinguished guests including his best friend (the square jawed man of action) screen actor Roman Powell (Stephen J Bryant) accompanied by the lovely young socialite Ainsley Hyde (Taylor Toms) whose father is a well-known politician.
Brittany Bellizeare and Edgar Miguel Sanchez in Chicago Shakespeare Theater’s production of Shakespeare’s “Romeo and Juliet.” (Liz Lauren photo)
2 ½ stars
We already have “West Side Story,” a tragic love tale of feuding groups based on Shakespeare’s “Romeo and Juliet.” Beautifully and emotionally interpreted with book by Arthur Laurents, music by Leonard Bernstein and lyrics by Stephen Sondheim, it’s parallel to current gang wars was not lost on a tearful audience at Lyric Opera’s closing 2019 production.
That Chicago Shakespeare Theater Artistic Director Barbara Gaines would like to remind CST audiences that the problems Shakespeare dramatized and Bernstein put to music still exist, is laudable. However, given the set design, cast and costumes of the Gaines production, there probably should be a different title.
Packing presented by About Face Theatre at Theater Wit. (Photo courtesy of About Face Theatre)
4 stars
Each of us have lived lives that are filled with significant situations, emotional events and meaningful memories. If we all possessed an eloquent gift for writing, as well as a talent for emotionally honest storytelling, any one of us could probably condense our childhood, adolescence and early adult years into a 90 minute narrative, like this. But few would be as captivating at sharing his life story as Scott Bradley.
Performing on a simple, white square platform that sometimes serves as a blank canvas for Stephen Mazurek’s colorful and evocative projection artwork, Bradley opens his heart and bares his soul in this incredibly moving solo performance of discord and survival.
Scott Bradley has come a long way. Today he wears many hats. Not only a talented actor and playwright, he’s a gifted and empathetic educator, performer and director.
Chicago audiences may recall his off-the-wall genderqueer-rock-puppet-spectacles of “Alien Queen,” “The Carpenters Halloween,” “Mollywood” and “Tran: The Atari Musical.” His wacky holiday musical fantasy, “We Three Lizas,” which premiered a few years ago at About Face Theatre, was later revised and reprized a couple years later, to great delight.
In addition to About Face, Scott’s work has been enjoyed at The Hypcrites, Walkabout Theatre, Hell in a Handbag, Bailiwick Repertory and many other venues. In short, this isn’t Scott Bradley’s first rodeo.
Bradley unpacks his overstuffed suitcase of memories, removing each episode from his life, piece-by-piece, as if they were treasured articles of clothing.
(L-R) Asia Martin, Andrew Knox, Adam Schreck, Mary Catherine Curran, Jordan Savusa, Sarah Dell’Amico in The Second City’s Do You Believe In Madness. (Photo by Timothy M. Schmidt.)
3 stars
The Second City began in Chicago in December of 1959, and will have its 60th anniversary next month. It was called “The Second City” because a journalist in New York had written a book titled Chicago: The Second City. Back then, Chicago was the second largest city next to New York City.
Now,six decades later, The Second City is still going strong with its 108th Mainstage Revue “Do You Believe in Madness?” The show is expected to run at least until the famed improv theatre’s 60th anniversary Dec. 16, 2019.
Directed by Ryan Bernier with musical direction by Nick Gage, the show is written and performed by six fabulous actors: Mary Catherine Curran, Sarah Dell’Amico, Andrew Knox, Asia Martin, Jordan Savusa and Adam Schreck.
Even though the production features several different scenes the format works because the transition is so smooth. One scene takes place in a high school where a teacher tells her most misbehaved students that they are the reason that all of the teachers went on strike.
Another scene deals with many people whose dogs and cats were lost or died, and the owners relate it to deaths of siblings. Then a human family has a bird in the house, and then a bird family has a human in the house – both are unsettling to the families.
(L-R) Sarah Dell’Amico, Andrew Knox, Asia Martin, Jordan Savusa, Mary CatherineCurran, Adam Schreck. (Photo by Timothy M. Schmidt.)
A scene with a dating couple asked each other why they were so normal. They felt that normal must be something wrong! The revue’s title, “Do You Believe in Madness?” seems very appropriate.
Most of these fun scenes include jumping around, dancing, singing, laughter, background music and more. Perhaps in the future, these professional actors and actresses may follow in the footsteps of those from The Second City many decades ago – Bill Murray, Gilda Radner, Dan Aykroyd, Joan Rivers, John Belushi, Tina Fey, and others.
DETAILS: “Do You Believe in Madness?” is at The Second City Mainstage Theater. 1616 N. Wells St., Chicago as an open run. Running time: 2 hours with one intermission. For tickets and other information, call (312) 337-3992 or visit Second City.
William Brown (center) stars as aging pickpocket Fagin in “Oliver!” at the Marriott Theatre. (Liz Lauren photo)
‘Oliver!’
3 stars
Marriott Theatre’s “Oliver!” is among the best productions of a Charles Dickens-based show that, unlike “A Christmas Carol,” has few redeeming factors.
Lionel Bart’s 1960 musical based on Dickens’ Oliver Twist, an 1838-39 novel revealing England’s brutal underbelly at the time, contains the excellent “Where is Love?” “As Long as He Needs Me” and “Consider Yourself (one of us)” musical numbers.
The story features Fagin, an aging thief characterized by Dickens as a Jew who teaches youngsters how to pick pockets. However, Marriott has dropped stereotyping the character which is well-portrayed by William Brown as an elderly, caring person who now depends on his possessions and on others to take care of him in his old age.
But its sub-theme of domestic violence has Bill Sikes (Dan Waller), a dangerous adult thief, beating (later murdering) his girlfriend, Nancy, a sympathetic character delightfully interpreted by Lucy Godinez.
It also portrays how Oliver, the son of a high-born, unwed mother fares in an unforgiving society.
L to R Kayden Koshelev, (Oliver) and Patrick Scott McDermott (The Artful Dodger). (Liz Loren photo)
The star/s of Marriott’s production are the two young boys who alternately portray Oliver, Kai Edgar and Kayden Koshelev. It doesn’t matter whom you see when you go, they are both outstanding.
A fine, atmospheric mist and Sally Dolembo’s period costumes transports audiences to mid-19th century London.
Directed by Nick Bowling, the acting is on the mark. My problem is not the cast but the musical, itself.
“Oliver!” is at Marriott Theatre, 10 Marriott Dr., Lincolnshire, IL, through Dec. 29, 2019. Running time: 2 hrs, 20 min. with one intermission. For tickets and other information visit Marriott Theatre.
Cast of The Steadfast Tin Soldier at Lookingglass Theatre. (Photo by Liz Lauren)
4 stars
Returning for a second holiday season at Lookingglass Theatre, Mary Zimmerman’s gorgeous adaptation of Hans Christian Andersen’s classic story of love and valor warms the heart and nourishes the soul.
From the moment we enter, we’re put in the holiday mood by a curtain transformed into a gigantic Advent calendar.
While four powdered-wigged musicians begin playing in the show’s petite orchestra pit, the cast enters the stage, one-by-one, clothed in Ana Kuzmanic’s delicious, brightly colored, exquisitely detailed costumes. Each character opens one of 25 tiny doors and reacts to the images behind them.
The final door reveals the titular character and the pantomime begins. By the conclusion of the play the audience will understand the significance of each image.
In the first scene, a very young boy opens his Christmas gift. Inside one of the boxes, he discovers a collection of tiny, tin, toy soldiers. One of the soldiers, however, was the last one to be cast from the metal which apparently ran out, so he’s missing a leg.
