“Arcadia” begins with thirteen year-old Thomasina Coverly (Meghann Tabor)asking her tutor Septimus Hodge (Chris Woolsey) the meaning of the term “carnal embrace.” Hodge replies essentially that the word carnal is derived from the Latin “carne” meaning meat and it is therefore referring to an embrace with a “side of beef” or “leg of mutton.”
From this opening dialog playwright Tom Stoppard is creating an atmosphere of inquiry and humor. He is sending a message that though this may be challenging at times, we are going to have fun with it.
The action takes place around a table in an historic and aristocratic English manor house in which there are two intersecting story lines set roughly two hundred years apart.
At Lookingglass Theatre audiences see a charming screen a few minutes before Hans Christian Andersen’s “The Steadfast Tin Soldier” story is pantomimed on stage.
The actors, dressed as figures that might be found in a young European child’s nursery or at a “Panto,” take turns on stage opening windows that reveal children’s toys – except one that shows a fire.
And thus, perceptive audiences might pick up the clue that as with many of the famed Danish author’s fairy tales such as “The Little Mermaid,” life will not be very smooth for the lead character but the ending can offset what appears to be devastating consequences. Read More
Readers familiar with Jane Austen’s novels know this author sees through surface-only charm, social pretense and people who talk about manners but are not at all well-mannered.
These readers also know to expect thinly cloaked feminism about a century before the women’s rights movements were causing waves and making some progress in England and the United States.
But given Austen’s first two books, “Sense and Sensibility” in 1811 and “Pride and Prejudice” in 1813, audiences who see “Mansfield Park,” now at Northlight Theatre, will find in Austen’s third novel, out in 1814, that practicality no longer wins arguments. They will also note that one of “Mansfield Park’s theme stresses that financial benefit doesn’t excuse slavery.
“Mansfield Park’s heroine Fanny Price is portrayed to perfection by Kayla Carter. She convincingly takes her character from a young girl trying to adapt to her relative’s moneyed and mannered life when sent there as a servant and companion, to her metamorphosis as an independent young lady who does not succumb to pressure and who is willing to lead an impoverished life.
First performed on Broadway in 1982, this interpretation of the Old Testament’s story of Joseph and his brothers through contemporary eyes is a fun, high-energy show featuring a delightful chorus of local children.
Based on Joseph’s “coat of many colors” from the Book of Genesis, the story shows what can happen when a parent plays favorites.
From the get-go, the show begins with two narrators instead of the traditional one and takes off like a rocket from the very first musical number, “Any Dream Will Do.”
Thanks goodness, the Lyric Opera of Chicago’s “Il Trovatore” has much more going for it than the famed “Anvil Chorus” (“Vedi le fosche notturne”) in which some of the workers overdo their loud clangs, forgetting that the gypsies are singing to Verd’s music and the anvils ought to be an interesting accompaniment.
This production is an opportunity to hear Soprano Tamara Wilson, making her Lyric debut as Leonora . Wilson lets the audience know right away that she was well chosen as the doomed heroine with her “Tacea la note placida, a beautiful cavatina with its high c, and the passionate “Di tale amor che dirsi” aria made even more impressive by its trills.
It is also an opportunity to hear mezzo-soprano Jamie Barton, last heard at the Lyric in as Giovanna in Donizett’s Anna Bolena in 2014. Read More
After its 25th anniversary revival on Broadway in 2017, “Miss Saigon” is reappearing this year on a national tour. Directed by Laurence Connor, the music is by Claude-Michel Schönberg and Alain Boublil, with lyrics by Boublil and Richard Maltby, Jr.
Loosely based on Puccini’s opera, “Madame Butterfly,” “Miss Saigon” follows the final days of the Vietnam War.
The first lead character that opens the show is The Engineer played by Red Concepcion. The Engineer runs Dreamland, a steamy bar and brothel in Saigon that’s packed with beautiful Vietnamese women whom he has lined up for American soldiers.
William Shakespeare’s “Twelfth Night” (subtitled “Or What You Will”) must be Writers Theatre’s holiday gift to show lovers who enjoy witty entertainment.
Its outstanding cast and superb direction bring out all the deliberate jests, entertaining horseplay, subplots and musical interludes that mark the Bard’s wicked sense of humor.
Meant as entertainment that befits the bawdy disorder that had traditionally been part of the Eve of the Feast of Epiphany, the play hinges on Shakespeare’s fondness for females dressed as males and the ensuing falling-in love confusion.
There are also the playwright’s deceptively honest answers such as when Olivia, a woman in mourning whom Duke Orsino hopes to wed, asks his emissary, Cesario (really Viola, dressed as a young man), if she is a comedian (another term for actor). She answers “I am not that I play.”
Irving Berlin’s “White Christmas,” now playing at Marriott Theatre, is among the composer’s delightful story-telling songs in “Holiday Inn.” But don’t confuse Berlin’s “Holiday Inn,” a musical that has a book by Gordon Greenberg and Chad Hodge, with the show, “White Christmas.”
Based on the 1942 Universal film with Bing Crosby and Fred Astaire, “Holiday Inn” packs “Blue Skies,” “Steppin’ Out With My Baby,” “Heat Wave,” “Shaking the Blues Away,” “It’s a Lovely Day Today”, “Be Careful, It’s My Heart” and “Let’s Take an Old-Fashioned Walk” into a delightful, old-fashioned-style hokey, song and dance musical that ends with happily ever after.Read More
It is supposed that our most ancient cave dwelling predecessors told supernatural cautionary tales of adventure that included encounters with fantastic creatures.
Their flickering fires casting out-sized, ominous, and at times, grotesque shadows on the wall amplified the sense of dread and danger. Add the slow beating of a drum mimicking the ever increasing beating of hearts, mixing with the mysterious sounds of nature lurking in the darkness and you begin to see the primeval recipe that Manual Cinema has tapped into in the telling of their version of Mary Shelley’s “Frankenstein.”
Manual Cinema is a singular theatrical experience that has elements of street theater and silent film. The company mixes live action, silhouettes, puppets, shadow puppetry, masks, video, slide projection and all manner of theatrical techniques, ancient and modern to create a captivating monochromatic video mash-up, reminiscent of a nickelodeon feature, assembled and projected on stage before your eyes.
Opera goers who saw “Das Rheingold” in 2016 and “Die Walküre” in 2017, Lyric’s first two operas segments of Wagner’s four-part “Der Ring des Nibelungen,” will find the next segment, “Siegfried,” still has tall scenery towers bookending the stage. They deliberately remind audiences that Wagner’s The Ring cycle is theater.
It is theatrical and musical drama. But where the productions of the first two segments were highly creative but serious, “Siegfried” is playful, fanciful, serious fun.
The tone is set when a somewhat menacingly large, three-nail-claw and an eye of Fafner, the giant-turned dragon who guards the ring, appear under the curtain and draw audience laughter. The curtain then rises to reveal Siegfried’s playroom of oversized art work and children’s furniture including a tall playpen.