The Chicago Musical Theatre Festival produced by Underscore Theatre through Feb. 24, 2019 is a great opportunity to experience new work from emerging composers, lyricists, and playwrights of this classically American performance genre.
My first festival experience this weekend was “Brooke Astor’s Last Affair” based on the life of New York socialite and philanthropist Brooke Astor.
The format is flashback fantasy in which Brooke is forced to review some life choices including the relationship between her and her son (from a previous marriage), Tony Marshall.
I very much wanted to love this show and it has a number of interesting moments but overall it was a miss.
The book and lyrics by Rachael Migler are the heart of the production and get the job done in terms of telling the story but the music by composer Nick Thornton is generally underwhelming with the exception of “Marry for Money” and the very cute “Dachshunds and Men.”Read More
Our cell phones have truly become extensions of ourselves, storing bits of personal and secret data with the potential to live-on sharing and connecting pieces of our lives even after we are gone.
In “Dead Man’s Cell Phone” presented by “The Comrades,” Wilmette playwright Sarah Ruhl explores what might happen when a stranger interacts with a deceased man’s cell phone she retrieves in a diner.
This is an absurd tongue-in-cheek noir-style, dark comedic drama directed by Arianna Soloway. It features the winsome, inquisitive and inventive Cydney Moody as “plain Jane” Jean who is perhaps being a bit voyeuristic but also just wants to make people feel better. In the process, she finds herself more involved than she probably expected.
Performed by an expert ensemble that includes Bryan Breau as the dead man Gordon, Caroline Dodge Latta as his at times overbearing but loving mother Mrs. Gottleib, Lynnette Li as his somewhat reluctant widow Hermia, Mike Newquist as his neglected brother Dwight and Valeria Rosero as the secretive “Other Woman.”
The stunning simple set design by Sydney Achler is a series of monochromatic paint-splattered trapezoids whose hectic colorization and odd angles contribute visually to the unbalanced surrealistic quality of the story.
There are a few bothersome inconsistencies in the story but they are easily overcome by the outstanding performances of the ensemble and the thought provoking subject matter.
This is a weird ride that makes you want to see what’s around the next turn.
“Dead Man’s Cell Phone,” The Comrades production at Greenhouse Theater Center, 2257 N. Lincoln Ave., Chicago, goes through March 10, 2019. Running time is 90 minutes with no intermission.For tickets and other information call (773) 404-7336 or visit Greenhouse Theater.
“Photograph 51” written by Anna Ziegler and Directed by Vanessa Stalling at the Court Theatre is a snapshot of the life of British chemist Rosalind Franklin (Chaon Cross).
Until recently she had gone virtually un-credited for her contribution to the discovery that revealed the structure of DNA to be a double helix. But the discovery earned her research colleague Maurice Wilkins (Nathan Hosner) and two rival collaborators James Watson (Alex Goodrich) and Francis Crick (Nicholas Harazin) the Nobel Prize.
Franklin was hired by King’s College London for her cutting edge expertise in the field of X-ray crystallography and assured that she would be in charge of her own research. Instead, she was assigned to Wilkins’ DNA project thus leaving her status of independence unresolved at best. Read More
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.
For his world premiere of “La Ruta” at the Steppenwolf Theater, Chicago based playwright Isaac Gomez has commandeered a bus transporting “maquila” workers to and from their jobs in Juarez, pointing its headlights into the vast darkness. It exposes the despair and anguish of the mothers and sisters of an estimated 1,400 women kidnapped, used as sex slaves, murdered and disposed of like trash in the Mexican desert.
According to Gomez this is a story that has been systematically silenced through intimidation and adherence to a Latin American culture of toxic masculinity, or “machista.”
Based on a true story and directed by Sandra Marquez, “La Ruta” is performed by an all Latinx cast of eight that centers around the few days leading up to and the nearly three years following the disappearance of Brenda (Cher Alvarez).
Gomez is careful to point out in the program notes that this is not a docu-drama but rather a “creative re-imagining.”
Music Theater Works in Evanston has put together a visually stunning production of Stephen Sondheim’s fairy-tale musical mashup, “Into the Woods.”
The opening tableau is like the first page of a richly illustrated children’s picture book that literally sets the stage for the primary characters.
Stage right is Cinderella (Kelly Britt) tending to the fire; center stage is the Baker (Daniel Tatar) and his wife (Alexis Armstrong) in their kitchen; and stage left is Jack (Christopher Ratliff) of beanstalk fame with his mother (Anne Marie Lewis) and cow Milky White (Milky White).
Behind the vignettes are the slightly ominous birch tree “woods” accented against a deep blue twilight sky hung with the words “Once Upon a Time.” But of course, this is not your child’s version of the stories presented.
Shakespeare Theater Chicago puts a slightly modern twist to an old favorite, one of “The Bard’s” most well-known and beloved plays, “A Midsummer Night’s Dream.”
As is not unusual for Shakespeare this story is something of a three ring circus.
Oberon, King of the Fairies (Edward O’Blenis) directs his minion Puck (Sam Kebede) to put a spell on Titania, Queen of the Fairies (Alexandra Silber) to teach her a lesson.
The spell uses the essence of a special flower that will cause Titania to fall madly in love with the first being she sees whether it be man, beast or fairy. Oberon prefers the more beastly the better.
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.
We had a great time visiting the Winter WonderFest at Navy Pier.
The event is sponsored by Fifth Third Bank and even though it is geared primarily toward the little ones there is plenty of fun for the whole family.
Essentially this is an indoor carnival. In fact the brochure claims “thrills without the chills.”
For the little tykes, designated as under 46 inches tall, there are two bouncers and other games in the Jingle Jym Junior area right by the entrance.
Of course the Kringle Carousel which is the first thing you see when you enter is fun for anyone looking for a classic carnival experience. My wife never misses an opportunity to ride a carousel.
There’s mini golf artic style and an artic plunge is a giant inflatable slide topped by an enormous polar bear.
The Lighthouse takes those 36” and taller up a roughly thirty foot lighthouse then unexpectedly drops them repeatedly for a bit of a thrill.
The Winter Tube is a slippery snowless toboggan-like slide, only rather than a sled, you ride a kind of colorful inner tube style ring.
I think a feature for many is the star spangled ice skating rink. This seems like it might be an attraction for teens looking for a fun date night, especially if mom makes you take your little brother along. But indoor ice skating is actually my idea of enjoying the sport.
Kids love to climb and what could be more fun than making your way to the rafters via the Snowy Summit Climbing Wall?
The gigantic Christmas tree is beautifully decorated offering a perfect back drop for a photo or just to be enjoyed from virtually every vantage point within the fair.
The Cliff Hanger is certainly the most visual and most exciting offering, whirling you at break-neck speed in a kind of hang glider looking contraption, ultimately landing you gently back the ground.
The psychedelic lighting of the Winter WonderWhirl adds a lot to the sense of excitement.
There are bumper cars, an excursion train, Tilt’a Whirl and spinning Hot Cocoa Cups.
Enjoy plenty of holiday photo ops which you can do yourself or take advantage of the photo package available for purchase on site.
There are snacks, additional rides and attractions and as a nice bonus each ticket also includes a ride on Chicago’s very own Centennial “Ferris” Wheel.
This is a good excuse to get off the couch and do something together as a family or just another nice way to enjoy a trip to Navy Pier.
DETAILS: You will find the Fifth Third Bank Winter WonderFest at the West end of Navy Pier on the Lakefront at Illinois Street through Jan. 6, 2019. For tickets and information visit NavyPier.org
This popular play by Will Kern has been trotted out by several companies since its debut in the nineteen- nineties and was even made into a movie in 1998.
“Hellcab” is comprised of a number of vignettes all taking place within the confines of a cab trolling the streets of Chicago during an evening leading up to the Christmas holiday.
There are highs and lows, there is happiness and sadness, violence and love. Some people are in good cheer, others not so much. Through each experience the stoic cabbie (in this case played by Regina Linn) absorbs the emotional impact of each encounter. Read More