Think “The Music Man.” Then add such shows as “Come From Away,” “Frozen” and “Hamilton.” But as the guy on TV says, “Wait, there’s more.” Add in opera star Maria Callas to make three spectacular evenings – one in July, another in August and the third one in early September.
“The Music Man”
Goodman Theatre and the Department of Cultural Affairs and Special Events (DCASE) has a double bill of a short performance by “The Music Man” cast members followed by a screening of the movie featuring Robert Preston and Shirley Jones.
When: July 23, 6:30 p.m. remarks, 6:34 p.m. performance and 6:45 p.m. film.
Where: The Jay Pritzker Pavilion and The Great Lawn at Millennium Park at Randolph Street and Michigan Avenue.
Broadway In Chicago Summer Concert (Coming shows peek)
Co-sponsored by DCASE and ABC 7, several shows from Broadway In Chicago’s 2019-2020 season will be live in concert including “The Phantom of the Opera, The Band’s visit, Summer: the Donna summer Musical, “Once on this Island, “My Fair Lady”, “Mean Girls,” Hamilton” Fronzen, “Dear Evan Hansen and “Come from Away.”
When: Aug. 12 at 6:15 p.m
Where: Jay Pritzker Pavilion in Millennium Park at 201 E. randolphg st.
Some of Callas’ greatest performances have been digitally re-mastered using state-of-the-art 3D hologram technology by Base Hologram Productions. They will be backed by the Lyric Opera Orchestra conducted by Elmear Noone.
When: Sept 7, 2019 at 7:30 p.m.
Where: Lyric Opera House, 20 N. Wacker Drive.
Co-presented by Lyric Opera of Chicago and Live Nation.
Located on the city’s popular Navy Pier, CST is currently doing “Six” a fun, pop-concert-style musical about Henry VIII’s wives that has been so popular it’s been extended through Aug. 4. Also there is the family musical “The Wizard of Oz” which opens July 6 and continues through Aug. 25, 2019.
The theatre is on Dearborn Street at Randolph Street near downtown attractions such as Millennium Park and the city’s Piccasso. Shows are on stage in the Albert Theatre and smaller Owen Theatre.
Currently, Goodman is doing “The Music Man” helmed by famed director Mary Zimmerman, June 29-Aug. 11, 2019 (Albert). Then “Hanna H. is Sept. 6-Oct. 6 (Owen) and “Bernhardt/Hamlet,” Sept. 14- Oct. 20 (Albert). “A Christmas Carol,” a family holiday favorite, continues for its 42nd annual production Nov. 16 – Dec. 29, 2019 (Albert).
The Lyric Opera House. a historic building on north Wacker Drive at Madison Street, will resound with the sounds of Rossini and Verdi, Wagner and (Jake) HeggieL as the 2019-2020 season mixes the popular with the provocative.
Opening the season is Rossini’s popular “The Barber of Seville” Sept. 28-Oct. 27 followed by Verdi’s “Luisa Miller”Oct. 12-31. Then Jake Heggie and Terrence McNally’s unusual “Dead Man Walking” opera is Nov. 2-11. The series returns to the classics with Mozart’s “Don Giovanni” Nov. 14-Dec. 8 but offers a gorgeous vocal treat with Sondra Radvanovsky singing the finales of Anna Bolena, Maria Stuarda, and Roberto Devereux in a semi-staged performance of Donizetti “The Three Queens” Dec 1-7, 2019.
Now located in the Ruth Page Center, Porchlight will open the 2019-20 season with “Sings: 25 years of Porchlight,” a benefit concert Aug. 5 that celebrates its past 25 years on Chicago’s musical theater scene.
A leading lady of Chgo theater, Hollis Resnik, makes her Porchlight debut in Andrew Lloyd Webber’s “Sunset Boulevard” Oct. 11- Nov. 24. However, there will also be a quick revisit to Irving Berlin’s “Cal Me Madam,” Nov. 20-21. Next is the Ruffians’ “Burning Bluebeard” Dec 13-27.
Fans of opera, American soprano Renée Fleming and the Lyric Opera of Chicago were treated to an extraordinary program March 23 to honor Fleming on the 25th anniversary of her Lyric debut in1993 with Carlisle Floyd’s “Susannah.”
Chicago audiences may have heard her in other operatic roles such as Marguerite in “Faust” in the 1995-6 season and more recently as Hanna Glawari, in “the Merry Widow” in the 2016-17 season.
But what the program and Lyric President Anthony Freud mentioned during the concert is that there is a lot more to Fleming’s accomplishments than her vocal talent. As an advisor and innovator of public programs through the Lyric in Chicago and through the Kennedy Center in Washington D.C. Fleming has been behind several outreach initiatives.
Arguably less known is that she was on the soundtrack of Best Picture and Best soundtrack 2018 Academy awards for “Three Billboards Outside Ebbing, Missouri” and “The Shape of Water,” is a 16-time Grammy nominee (four-time winner) and is on the movie soundtrack of the “Lord of the Ring” and “The Return of the King.”
Hosted by Tituss Burges, the program also featured well-known opera stars soprano Sondra Radvanovsky, tenor Lawrence Brownlee, baritone Quinn Kelsey, and bass-baritones Eric Owens and Christian Van Horn, plus members of the Patrick G. and Shirley W. Ryan Opera Center. Patrick summers conducted the Lyric Opera Orchestra.
Fleming started out with what some consider her trademark piece of “Porgi amor” from Mozart’s “the Marriage of Figaro.”
Other pieces in the first part of the program were Eric Owens doing “O tu Palermo “ from Verdi’s “I vespri sicilarni,” Radvanovsky singing “Vissi d’arte” from Puccini’s Tosca,” Brownlee doing “Ahmes amis…” from Donizetti’s ”La fille du regiment,” Van Horn singing “Eddo il mondo” from “Boito’s La Mefistofele” and the Ryan Opera Center artists doing Faltaff’s “Un oro e terminiam la scena…”
Radvanovsky sang an aria from “Susannah” later in the concert. Then, to herald her role in a special musical production in December, Fleming did “Fable,” from Adam Guettel’s “The Light in the Piazza.” Tickets to the run, Dec. 14-29, 2019, go on sale March 28, 2019. For tickets and more information visit LyricOpera/light.
As a bonus Saturday, many of the designer gowns worn by Fleming were on display at the Lyric. For the concert she wore a navy tulle gown designed by Carolina Herrera and a rose-gold sequined gown by Vivienne Westwood.
Another interesting not is that the acoustic Pritzker Family Concert Shell designed by Studio Gang for Lyric’s 60th Anniversary Gala Concert in 2014 was the backdrop for Saturday’s concert.
Summer events are not as far away as we may think when it comes to planning which Ravinia Festival concerts we want to attend. The Ravinia organization just released its summer schedule and it is jammed with pop, classic and rock concerts.
Lionel Richie June 11-12, Buddy Guy June 14, Tony Bennett June 21, Jennifer Hudson July 14 to Gershwin Concerto in F July 13, Renée Fleming July 28, Ringo Starr and the Beach Boys Aug. 3 and Sting Aug. 23, there’s something for everybody. Of course there’s the Tchaikovsky spectacular, 1812 Overture Aug 18
So the first question is where to see the schedule.
Go to Season at a Glanceto print an easy to copy Ravinia program to put on the bulletin board (or into your mobile devise). For an easy to read schedule visit Ravinia.
Next question is when tickets are available.
According to the Ravinia website, the first opportunity goes to patron and higher donors, March 19–28. Next, affiliate donors have access to tickets April 22–25. Then, tickets are available to Friend donors April 26–28 and Bravo and Encore donors can order Lawn tickets April 29–30.
Tickets will be available to the public beginning May 7 for the May/June/July concerts. Then the tickets open for August/September concerts on May 8. Visit Ticket Info.
No, you don’t have to plan what to bring now but you might want to decide if you and family or friends are going to try one of Ravinia’s dining-in or take-out options.
Just reading over all the choices at the Ravinia Market, the new Lawn Bar, the Park View and the Tree Top makes me want to try all of them just to see which I prefer and experience something different than “I will bring dessert.”
Finally, print out the schedule or put dates on the calendar so you don’t miss the concert you really want to see.
The Lyric Opera’s “Ariodante” by George Frideric Handel (of “Messiah” fame) satisfies the sensibilities of a modern audience.
The storyline of this eighteenth century Baroque opera has elements familiar to a twenty-first century TV audience including love, sex, drugs, infidelity, deception and a missing person. Oh! and puppets.
The plot-line would benefit from a chart. But essentially, Ginevra and Ariodante are in love and soon to be married, however, the villainous Polinesso is also in love with Ginevra who incidentally, can’t stand the sight of him.
Giuseppe Verdi’s music always gets four stars and played by the Lyric Opera orchestra conducted by Michael Christie, the popular La traviata, certainly is no exception.
The music and Francesco Maria Plave’s libretto beautifully express the emotions of fun-loving, delightful, but doomed (think Camillia ) courtesan Violetta.
Gloriously sung by Russian soprano Albina Shagimuratova, her “È strano! … Ah, fors’ è lui…” (“Ah, perhaps he is the one”) and her famed, declared choice of freedom “Sempre libera” (“Always free”) are opera highlights. Just hearing her is worth the trip.
La traviata also has one of opera’s great drinking songs. Alfredo Germont, who loves Violetta toasts her with the crowd at her party in “libiamo ne’ lieti calici” (“Let’s drink from the joyful cups”).
Italian Giorgio Berruci making his Lyric debut as Alfredo, is OK, but he doesn’t have the full, soaring voice of other tenors who have played the role. However, as the opera ends and the lovers are reunited though Violetta is fading away, their “Parigi, o cara, noi lasceremo,” (“We will leave Paris, O beloved”) and their “Gran Dio!…morir sì giovane” (“Great God!…to die so young”) are beautiful and touching.Read More
A stormy Nina Stemme filled the Lyric Opera House with a powerful interpretation of Richard Strauss’ “Elektra,” Feb. 6.
Known to the Met and European house for her vibrant vocals in Wagner and Strauss operas the Swedish soprano is making her Lyric debut this month as the tragic Elektra whose only motive for living is to avenge the death of her father, Agamemnon.
Stemme not only brings the expected explosive passion to the role, she also tempers the portrayal with wistfulness and contemplative anguish.
A one-act opera, there are no gaps for well-deserved applause and bravo! after each of Stemme’s arias.
The other two important female roles are Elektra’s sister, Chrysothemis, sung beautifully by acclaimed South African soprano Elza Van Den Heever and their mother, Klyamnestra, expressively sung by internationally known American mezzo-soprano Michaela Matens.
The two male characters vital to the story, Elektra’s, long lost brother, Orest, and the queen’s lover, Aegisth, don’t appear until the end. Scottish bass-baritone Iain Patterson who was recently Creonte in Medea at the Berlin State Opera sounded right at home in this dark mythological tale as was American tenor Robert Brubaker, a frequent artist at the Met.
Directed by Nicolas Sandys as a revival of Director David McVicar’s production, the 2019 “Elektra” is not a stand and sing to the audience opera. Instead, it is dramatic theater that combines exceptional singing and acting with Strauss’ turbulent music played by the Lyric Opera Orchestra conducted by Donald Runnicles.
What audiences may not recall from this tale based on Sophocles’ Electra, is that the queen was enraged by Agamemnon’s supposedly appeasing a goddess by sacrificing another daughter, Iphigenia, before he left for Troy. But no matter the motivation, Greek mythology makes potent opera.
My only problem with the production was the costumes of Klyamnestra and her court. The rubble in and around the courtyard where the action takes place and the ruinous state of the palace, itself, seem to symbolize decay. I got that. However, the queen and her court appear to be over grotesquely costumed in apparel from a 1931 “Cabaret” nightmare so they distract from the opera’s action.
DETAILS: “Elektra” is at the Lyric Opera House, 20 N. WackerDrive, Chicago, through Feb. 22, 2019. Running time: 1 hr, 40 min. with no intermission. For tickets and other information visit Lyric Opera.
Opera lovers who hoped to see “La boheme,” Lyric’s attractively updated version directed by Richard Jones when the 2018-19 season opened in the fall, still have a few opportunities.
After the musician’s strike cancelled one performance, this fresh version of Giacomo Puccini’s popular opera is back with more January dates added to the schedule.
The new production is beautifully sung, featuring Zachary Nelson (Marcello), Michael Fabiano (Rodolfo) and Maria Agresta (Mimi). In the performance I saw, Ann Toomey (Musetta) stood in for Danielle De Niese who had a cold.
With everything you have to do, places to go, people to visit there might not have been time to fit in everything you hoped to see by Dec. 31. No worries. Some of the fun shows, exhibits and festivals will still be around in January, 2019.
Lyric Opera’s delightful “Cendrillon” (Cinderella ) runs through Jan. 20 and its exceptional “La boheme” continues at the Lyric Opera House, 20 N. Wacker Dr., Chicago, through Jan. 31. For tickets and more information visit Lyric Opera.
“Steadfast tin Soldier at Lookinggglass Theatre in the Chicago Water Works at 821 N. Michicagn Ave. runs through Jan. 13. For tickets and other information visit Lookingglass.
“Wonderland Express” is at the Chicago Botanic Garden, 1000 Lake Cook Rd., Glencoe (just east of Edens Expressway) through Jan. 6. (This is a time and date ticketed show) For tickets and other information visit . For parking check Chicago Botanic.
“Zoo Lights” at Lincoln Park Zoo, 2001 N. Clark St.,, Chicago, is open New Year’s Day and continues through Jan. 6.
Chicago area theaters put on so many excellent productions that picking our top 10 shows is not merely challenging, it also reflects individual points of view, entertainment preferences and theater and music backgrounds. Readers are welcome to disagree and comment with their own suggestions.
This year, we also are including Broadway in Chicago and Lyric Opera contenders because Chicago audiences attend those productions and support those organizations with subscriptions.
A bit about our reviewers: Reno Lovison, Pam McKuen, Francine Friedman, Mira Temkin and editor Jodie Jacobs are professional writers who have contributed over the years to a variety of publications. Read more in the About section of Chicago Theater and Arts. Their selections could each have extended to five and more but were narrowed down to two apiece.
“Haymarket” was an important Chicago story, well performed and included appropriate Bluegrass music reminiscent of labor-oriented folk songs. See review of this Underscore Theatre Company’s production at Haymarket.
“The End of TV”
“The End of TV” made me a Manual Cinema fan, offering a fresh way to experience live performance utilizing old and new technologies. See review of the Manual Cinema production at The End of TV.
(***: In spite of my two picks I find myself periodically thinking about “Arcadia” and “Fear and Misery in the Third Reich” but probably more as a result of the playwright than the players.)
A Paramount Theatre production, “Once” is a sweet but short-lived romance with an imaginative set and an upbeat cast of congenial music-makers that was put on at a suburban jewel. See review of Once.
“On Your Feet”
A Broadway in Chicago presentation at the Cadillac Palace, “On Your Feet” is the life story of Emilio and Gloria Estefan. It has everything you’d want in a musical: global hits, glitzy costumes, dramatic lows and comedic punches. I’d see it again. See review at On Your Feet.
Loosely based on the opera “Madame Butterfly,” the musical “Miss Saigon” embraces the relationship between an American GI and a young Asian woman while it follows the final days of the Vietnam War. The play’s touring company of wonderful actors, singers and dancers, along with real photos of orphaned, war-born American/Asian children displayed in its second act, brought the musical to life. See review at Miss Saigon.
“Women of Soul”
At the Black Ensemble Theater through Jan. 21, 2019, “Women of Soul” is a tribute to many well-known female singers, covering their different genres and numerous years. In addition to the wonderful performers who sing their famous tunes, many newly-revealed details of how their careers blossomed and how some of their lives ended adds insight to their backgrounds. And the closing tribute to the Queen of Soul, Aretha Franklin, brought everyone to their feet. See the review of Women of Soul.
“The Buddy Holly Story”
An American Blues Theater production, this high-energy biopic of singer/songwriter Buddy Holly kept the music going at a frenetic pace as a testament to the amazing talents of star, Zachary Stephenson and the entire cast. Even though “it was day the music died, according to Don McLean,” the audience never wanted it to end. See review at Buddy Holly Story.
“A Shayna Maidel”
What is family? Can it be created or reborn? “A Shayna Maidel” performed as a revival by TimeLine Theatre, answers these thoughtful questions in a most profound way. See review at A Shayna Maidel.
(*** Also agree that “Miss Saigon” is among the year’s best. This new versio, now on on tour ,takes out all the stops in theatrics, wowing audiences as one of the most spectacular musicals ever written and produced. Contemporary theatre goers can’t help but get caught up in the past, knowing how the war ended with the cost in human life and how many Vietnamese orphans the U.S. left behind.)
Lyric Opera of Chicago’s “La boheme” was extraordinary theater. It had everything from inventive scenery and creative staging to exceptional acting, singing and orchestration. Fortunately, it continues in January, 2019. See the review at La boheme.
“Steadfast Tin Soldier”
Audiences have come to expect unusual presentations from Lookingglass Theatre. However, Mary Zimmerman’s adaptation and direction of the “Steadfast Tin Soldier,” has to be seen to really appreciate its outstanding pantomime and puppetry. See the review at Steadfast Tin Soldier.