‘Pearl Fishers’ soars at Lyric

HIGHLY RECOMMENDED

No question that opera goers and even many members of the general public are familiar with the music of Georges Bizet’s “Carmen.” Arguably less known is his earlier work, “Les pêcheurs de perles” (The Pearl Fishers).

Now appearing at the Lyric Opera of Chicago, the opera is particularly known for “Au fond du temple saint,” my favorite duet for tenor and baritone. Its gorgeous, lyrical strains are delightfully repeated at the end of the opera.

Marina Rebeka and Mariusz Kwiecien in The Pearl Fishers at Lyric Opera. Todd Rosenberg photo
Marina Rebeka and Mariusz Kwiecien in ‘The Pearl Fishers’ at Lyric Opera. Todd Rosenberg photo

But, featuring Evanston born tenor Matthew Polenzai as Nadir, Polish baritone Mariusz Kwiecien as his friend, Zurga, and Latvian soprano Marina Rebeka as Leïla, the priestess both men love, what the Lyric production really accomplishes is to remind music lovers that the entire opera contains one beautiful aria after an other.

There is Polenzai’s bravissimo rendering of “Je crois entendre encore” and Rebeka’s passionate “Comme autrefois dans la nuit somber,” then her duet with Nadir, “Léïla! Léïla!…Dieu puissant, le voilà!”.

The production’s charmingly bold sets and costumes, both designed by British fashion artist Zandra Rhodes, reflect the joyous, sunlit culture of an exotic Ceylon (now Sri Lanka).

Directed by Andrew Sinclair, the Lyric production was first staged at the San Diego Opera in 2004.

Comparatively short at two hours, 25 minutes including a 30 minute intermission, it is sung in French aided by English subtitles using a libretto by Michel Carré  and Eugene Cormon.

This opera, like many of the genre’s plots, whirls around forbidden love and its consequences. The story pits two friends against each other as they grapple with the consequences of loving the priestess who is supposed to protect Ceylon fishermen from the island’s treacherous waters. If she breaks her vow she could die and so would the man she loved.

When it happens and is witnessed by the high priest of Brahma sung by Italian bass, Andrea Silvesrtrelli, he decrees the lovers’ death.

The orchestra led by Andrew Davis and the chorus under Michael Black were both superb. The only problem I had with the production were the dance scenes. They may be true to the culture but they detract from rather than add to the opera.

‘The Pearl Fishers’ is at the Lyric Opera House, 20 N. Wacker Dr., Chicago, through Dec. 10, 2017. Running time: 2 hours, 25 minutes with one intermission.  For tickets and more information visit Lyric Opera.

The production, seen on Nov. 22, 2017, was dedicated to Siberian baritone Dmitri Hvorostovsky whose death by brain cancer was announced in London that morning.

Jodie Jacobs

For more shows visit TheatreinChicago.

Windy City Winds American Originals

 

RECOMMENDED

The Windy City Winds recently celebrated their Third Season Fall Concert   at St. Paul’s United Church of Christ in Chicago, playing a selection of American Originals. The program covered a thoughtful selection of American music suitable for wind, brass and percussion.

Windy City Winds
Windy City Winds

Windy City Winds is a not-for-profit adult community concert band founded on the premise that many accomplished musicians who were music majors or played instruments in college have little opportunity to play seriously after graduation, particularly if they do not pursue musical careers.

The 55 talented volunteer players age twenty-one and over are all experienced playing at the college level.

Mark and Sarah Mosley co-founded Windy City Winds in September 2015 and serve together as Music Directors.

Mark Mosley is an articulate and engaging conductor. He enthusiastically opened the first half of the concert with the very familiar and playful “Overture to Candide” by Leonard Bernstein partly in homage to the composer’s upcoming 100th birthday being celebrated in 2018.

They continued with “Night Song” by Joliet native Ron Nelson featuring a rare euphonium solo by Eon G. Cooper. The rich basso instrument takes charge of the central theme and sings sweetly with a low lyrical line through the entire piece.

You almost can’t get more uniquely American than Charles Ives, in this case the “Fugue in C.” The program notes describe Ives as “nostalgically quoting popular, patriotic and church music from his youth, while boldly embracing dissonance and experimenting with polytonality, rhythmic complexity and tone clusters.”

Windy City Winds
Windy City Winds

The band concluded the first half with “Chester” based on the patriotic tune of William Billings which became the unofficial hymn of the Revolutionary War. This variation is composed by Pulitzer Prize winning American composer William Schuman who in 1961 became president of the NYC Lincoln Center for Performing Arts.

After a brief intermission Sarah Good Mosley conducted the six movement “Divertimento for Band, op. 42” by Vincent Persichetti described as “…distinctly urban and American – energetic, lonely, humorous, and nostalgic.”

She followed next with ”October” by popular contemporary composer Eric Whitacre who is largely known for his choral music as the artist-in-residence at the Walt Disney Concert Hall in Los Angeles. His composition “Sleep” inspired the work of Dutch born artist and current Wisconsin resident Anne Horjus ..

Mark Mosley closed the concert with “Chorale and Shaker Dance” by John Zdechlik. “The short chorale theme is original, while the Shaker melody ‘Simple Gifts’ is familiar to many.”

Windy City Winds will perform two concerts in 2018 at St. Paul’s United Church of Christ, 2335 N. Orchard St.in Chicago: March 9, “Cityscapes” Winter Concert, and May 11, “Adventures” Spring Concert. Admission is free (donations welcome).  For more Information visit Windy City Winds.

Reno Lovison

Related:   Ann Horjus article.

 

‘White Christmas’ sings and dances into your heart

 

HIGHLY RECOMMENDED

First a caveat, This critic loved Paramount’s 1954 movie and the musical’s theme’s of romance and military camaraderie and caring, so the show, now touring with a stellar cast of Broadway and tour veteran actors, singers and dancers, seems to this writer to be a perfect holiday ornament.

'White Christmas' at Cadillac Palace has a great "Snow" scene. Photo: Jeremy Daniel
‘White Christmas’ at Cadillac Palace has a great “Snow” scene. Photo: Jeremy Daniel

Based on the book by David Ives and Paul Blake, with music and lyrics by Irving Berlin, the musical has some fun songs such as “Snow” sung on a train ride from New York up to Vermont, some dated but fun pieces such as “What Can You Do With a General,” sung about the post-army job market, and some famous ones that still are popular when the holidays roll around such as, “Happy Holidays,”  “I’ve got My Love to Keep Me Warm,” and of course, “White Christmas.”

The story pairs Bob Wallace(Sean Montgomery) and Phil Davis (Jeremy Benton) , two very successful male entertainers who served in the same unit in WWII, with Betty (Kerry Conte) and Judy (Kelly Sheenan) Haynes who have a sister act.

The gals are headed to a holiday gig at a Vermont ski resort where there is supposed to be snow. Davis tricks Wallace into joining them.

When they arrive, the gig turns into an effort to keep the resort, an inn owned by General Henry Waverly (Conrad John Schuck), from going bankrupt.

"Blue Skies" is a fun, Fosse-style dance number in White Christmas. Photo: Jeremy Daniel
“Blue Skies” is a fun, Fosse-style dance number in White Christmas. Photo: Jeremy Daniel

How they pull it off and the general’s reaction still brings tears to my eyes.

Along the way you meet inn receptionist Martha Watson (Karen Ziemba), a former Martha Raye style entertainer who also is too nosy for anyone’s good.

Plus there is inn employee Ezekiel who is also the train’s snoring man (Cliff Bemis who has a great voice and originated the Broadway role), Gen. Waverly’s granddaughter Susan (delightfully played in the opening by Makayla Joy Connolly), Stage Manager Mike Nulty (Aaron Galligan-Stierle who is also the Ed Sullivan and Regency Room announcer), and Davis and Wallace promoter Ralph Sheldrake (Gil Brady who always has a “million dollar proposition”).

The musical is also a showcase for exceptional dance numbers including to “Blue Skies”. Kudos to Director/ Choreographer Randy Skinner. In addition, Anna Louizos’ creative scenic design really helps tell the story.

Cast of "White Christmas" at Cadillac Palace Theatre.
Cast of “White Christmas” at Cadillac Palace Theatre.

DETAILS: ‘White Christmas’ is at the Cadillac Palace Theatre , 151 W. Randolph St., Chicago, through Dec. 3, 2017. Running time: 2 hours, 25 minutes. For tickets and other information call (800) 775-2000 and  visit  Broadway in Chicago.

Jodie Jacobs

For more shows visit TheatreinChicago.

‘Minutes’ shines scary spotlight on small town politics

HIGHLY RECOMMENDED

Audiences are likely to be lulled into a state of boring normalcy during the first part of actor/playwright Tracy Letts’ new play, ‘The Minutes.’

Premiering now at Steppenwolf Theatre through Dec. 31, 2017,’The Minutes’ is a dark comedy which turns out to be a scary, unfunny, toe-dip into the troubled waters of small-town USA. The scene is a city council meeting in Big Cherry (you pick a state).

Cast of 'The Minutes' at Steppenwolf. Michael Brosilow photo
Cast of ‘The Minutes’ at Steppenwolf. Michael Brosilow photo

As a former reporter who has covered meetings at the city, county and school board level, I can attest that David Zinn’s set design is right on as far as the seats, desks and ceiling are concerned. (The mural is an added patriotic touch).

However, you know something is wrong when the meeting is announced as closed, even though no legal reason is given such as personnel or law suit. Even if those items are only briefly mentioned during the closed session, they still should have been offered at the start of the meeting as an excuse for going into a closed session.

Apparently there was no public to complain but maybe the public in this town knows that all council meetings are held in closed session.

But then as each council member  states an item of business, from Francis Guinan as the doddering Mr. Oldfield to Danny McCarthy as Mr. Hanratty who has drawn up plans to redo the town’s fountain with a ramp for disabled visitors, the meeting appears to be routine. At least in the beginning.

One of the worms that rots the fabric of life in Big Cherry is that its founding is based on a battle that happened almost just the opposite of what is celebrated in town every year, as researched by Mr. Carp, one of the council members.

The other problem is that Carp, well portrayed by Ian Barford, also uncovered a city official’s criminal action regarding the disposal of stolen bikes.

But in this small town that does not want rotten apples to upset its rosy apple cart, politics and threats make the worms disappear.

The play’s title refers to the uncovering of the worms when  Cliff Chamberlain as new council member, Mr. Peel, wants to hear the minutes from the meeting he missed when he was at his mother’s funeral. Those minutes reflect Carp’s complaints and concerns. Peel is told by Mayor Superba, the forcefully restrained William Petersen, that the minutes have not been prepared for distribution.

All is revealed when the Ms Johnson, an honest clerk nicely interpreted by Brittany Burch, says they have been prepared.   The other council members who always go along with the Mayor are Mr. Breeing (Kevin Anderson), Mr. Blake (James Vincent Meredith)  Mrs. Matz (Sally Murphy), Ms Innwa (Penny Slusher) and Mr. Assalone (Jeff Still).

Directed by Anna D. Shapiro, to use the may’or’ name, is superb. The problem I have with the play is that its ending feels a bit off given the town’s attitude toward its heritage. Though the ending, (no spoiler alert here) delves into what may be the true nature of a group when divested of its respectable trappings, it would have been more understandable if the group circled in the dark with candles or adopted another ritual.

DETAILS: ‘The Minutes’ is at Steppenwolf Theatre, 1650 N Halsted St, through Dec. 31, 2017. Running time: 1 hour, 40 minutes, no intermission. For tickets and other information call 312-335-1650 or visit Steppenwolf.

Jodie Jacobs

For more shows visit TheatreinChicago.

Marriott Sleeping Beauty contains perfect holiday message

 

RECOMMENDED

‘Sleeping Beauty’ at Marriott Theatre, a charmer for all ages, is Marc Robin’s non-traditional adaptation of Brothers Grimm fairy tale.

Princess Amber, beautifully sung and interpreted by Elizabeth Telford, does prick her finger on the deadly spinning wheel but she’s a figure that today’s young girls should love because she‘s adventurous instead of prim and proper.

'Sleeping Beauty' at Marriott Theatre. Marriott Theatre photo
‘Sleeping Beauty’ at Marriott Theatre. Marriott Theatre photo

And instead of just another handsome guy to the rescue, Prince Hunter, played with humor by Garrett Lutz, has to overcome allergies and insecurities in order to come to Amber’s aid. He does so with “you can do it” audience help reminiscent of Peter Pan’s “do you believe in fairies.”

As to the three good fairies who bestow good personality traits, they are the very colorful Ruby (Danni Smith), Periwinkle (Cassie Slater) and Marigold (Sharrissee Hamilton).

The supposedly wicked Magenta (Meghan Murphy) casts the death spell as revenge for being snubbed by the father of current King Lapis, played as a nice but foolish man by Steven Strafford.

The characters’ helper is the elf, Topaz, interpreted with a few Spanish phrases thrown in by William Angulo.

Names are important to the show because this is the kingdom of Colors which had made the fairy, Magenta, and purple illegal. In the end, King Lapis changes the law so that all colors are welcome.

Directed and choreographed by Scott Weinstein, the is a nice, low key message that is a perfect as a conversation starter now at holiday time and throughout the year.

DETAILS: ‘Sleeping Beauty is at Marriott Theatre, 10 Marriott Dr., Lincolnshire through Dec. 30, 2017. Running time: 1 hour plus a Q and A period after the show. For tickets and information call (847) 634-0200 and visit Marriott Theatre.

Jodie Jacobs

For more shows visit TheatreinChicago.

 

 

Brilliant play conclusion confirms value of printed words

 

HIGHLY RECOMMENDED

The paradox of William Shakespeare is that his works reflect the motives of people at all levels of society from kings to working classes and peons and from husbands and wives to scoundrels and mistresses, but  even though his works were popular with all classes during his lifetime and his plays contain an amazing amount of dead-on observations still quoted now, those plays tend to attract an intellectual audience today rather than the general audience of his time.

Black, Altay, Linington, Ortlieb and Carter in 'The Book of Will' at Northlight Theatre. Liz Lauren photo
Black, Altay, Linington, Ortlieb and Carter in ‘The Book of Will’ at Northlight Theatre. Liz Lauren photo

But Shakespeare’s company members, usually referred to as the Kings’ Men, their title when King James I became their patron in 1603, really appreciated the value of the words they were saying.

In ‘The Book of Will,’ now at Northlight Theatre, playwright Lauren Gunderson shows how that appreciation likely led to the publication of the Bard’s works in the 1623 First Folio.

The play introduces audiences to the company’s players, their relatives and their friends as they struggle to get the original comedies, tragedies and histories into a quality book. These people wanted to preserve the words as originally written for them rather than the bastardized versions some people were promoting at the time.

The time? This was the early 1600s. Paper was costly and at a premium. Other issues were how to gather all the original works and obtain the rights to them.

Nevertheless the plays did come out in one tome. What Gunderson has done after considerable research is re-create how that First Folio came into existence. The characters in her play are real though some poetic license and assumptions are made.

Audiences will meet actor John Heminges (Jim Ortlieb) who became the company’s manager, his wife, Rebecca (Rengin Altay), their daughter, Alice (Dana Black) and actor Henry Condell (Gregory Linington) who became co-owner of the Globe Theatre and then the Blackfriar’s playhouse and his wife, Elizabeth (McKinley Carter.

Audiences will also see playwright and English Poet Laureate Ben Jonson (William Dick), Richard Burbage (Austin Tichenor and the Jaggards, William (Tichenor) and son Isaac (Luigi Sottile) who published the First Folio, Ralph Crane (Thomas J. Cox) who produced transcripts of the King’s Men’s plays and Ed Knight (LSottile) who was a King’s Men promoter.

In addition, Altay is also Anne Hathaway, Black is also Susannah Shakespeare, Carter is also Shakespeare’s mistress and poet Emilia Bassano Lanier. The characters of Boy Hamlet, Marcus and Bernardo are portrayed by Sam Hubbard.

Excellent notes in the program help identify the players and other people involved in The Folio.

The cast, directed by Jessica Thebus, is superb. However, several Shakespearean characters and situations are mentioned so quickly and in a supposedly appropriate accent that not all references are easily caught.

Indeed, if going to see ‘Book of Will’ it wouldn’t hurt to go back and re-read some of those plays analyzed in high school or pick up a book of quotes from the library to see all of the Bard’s phrases that have become common usage.

Fine scenic design by Richard and Jacqueline Penrod and costumes by Janice Pytel perfectly  set the time period of London, 1619 to 1623.

As great as the First Folio achievement was, its importance is truly not felt until the last scene. You have to go to Northlight to feel it and see how brilliant staging brings it all together.

DETAILS: ‘The Book of Will’ is at Northlight Theatre in the North Shore Center for Performing Arts, 9501 Skokie Blvd., Skokie, through Dec. 17, 2017. Running time: 2 hours 10 minutes with one intermission. For tickets and other information call (847) 673-6300 and visit Northlight.

Jodie Jacobs

For more shows visit TheatreinChicago.

 

 

 

 

Escape to Margaritaville is Paradise Lost

SOMEWHAT RECOMMENDED

Dressed in a never been worn Hawaiian shirt and accompanied by one of the biggest Jimmy Buffett fans I know we were ready to “Escape to Margaritaville” and party. Unfortunately this ship barely left port. In fact it will be moored at the Oriental Theatre on State and Randolph Streets in Chicago through December 2, 2017.

Cast of Escape to Margaritaville. Mathew Murphy photo
Cast of Escape to Margaritaville. Mathew Murphy photo

A new musical that premiered at the LaJolla Playhouse near San Diego, CA in May 2017, “Escape to Margaritaville” is based on popular favorites and some new songs of singer/songwriter Jimmy Buffett.

Essentially, two young women embark on a paradise bound, girls pre-nuptial buddy trip. Rachel (Alison Luff) hopes to distract her best friend Tammy (Lisa Howard) away from her fat shaming fiancé Chad (Ian Michael Stuart) while also gathering volcanic soil samples for her super potato battery invention. Yes that’s right.

Soon after their arrival at the “not as described in the brochure” Margaritaville Resort the two become entangled with Tully (Paul Alexander Nolan) the house acoustic guitar strumming musician and his sidekick Brick (Eric Petersen) the beach side bartender.

The predictable and sophomoric story line suffers in a valiant attempt to humorously weave elements of various Jimmy Buffett lyrics into the plot. The sitcom inspired dialogue by Greg Garcia and Mike O’Malley is not all that funny, though the performance of aging beach bum J.D. (Don Sparks) and his perpetual search for salt was cringingly amusing.

J.D. hopes to reignite his relationship with Margaritaville proprietress Marley (Rema Webb) who seems to have been (through no fault of her own) left behind from a previous production of South Pacific.

The entire cast does an admirable job of wading through this low waterline script. But neither they nor the spectacular set designs of Walt Spangler could lift this vessel. One inspired moment was an all too brief swimming sequence compliments of “Flying by Foy” who provided the aerial expertise and apparatus.

The winsome secondary duo of Tammy and Brick shone the brightest.  Their singing and acting performances, together with the theme that Brick loves Tammy just as she is, seems timely and charming.

A peculiar highlight for me was Brick’s flashback induced dancing dead insurance salesman zombies.

I know that Jimmy Buffett fans are crazy about his music and love him as an entertainer but in this production the music never really pays off.

You’ll hear favorites like “Cheeseburger in Paradise,” “I Will Play for Gumbo,” “Why Don’t We Get Drunk” and of course the title number, “Margaritaville.”

At this performance the cast was joined at the curtain call by the man himself, Buffett, and the audience was thrilled. The excitement level rose tenfold.

The production should strike a chord with Jimmy Buffett fans and might play well in island resort venues but for general theater goers who are looking for a memorable experience I can only somewhat recommend..

DETAILS: Escape to Margaritaville’ is at the Oriental Theatre, 24 W. Randolph St., through Dec. 2, 2017. For tickets and other information call (800) 775 2000 and visit Broadway in Chicago.

Reno Lovison

For more shows visit TheatreinChicago.

 

Witty Wilde endears at Writers Theatre

 

RECOMMENDED

Even though the set and costumes set the Victorian period and the mannerisms of Oscar Wilde’s witty take down of English high society was time appropriate, so many of his comments continue to hit the mark on social climbing and pseudo intellectualism today that ‘The Importance of Being Earnest’ is still a joy to watch.

Cast of 'The Importance of Being Earnest' at Writers Theatre. Michael Brosilow photo
Cast of ‘The Importance of Being Earnest’ at Writers Theatre.
Michael Brosilow photo

Indeed, the Writers Theatre production, on stage through Dec. 23, 2017, takes the author’s subtitle: “A Trivial Comedy for Serious People” quite seriously so that the audience “gets it” when the male leads, John Worthing (Alex Goodrich) and Algernon Moncrieff (Steve Haggard) behave in an absurd, languid manner while stating rather profound observations.

The only problem is that the observations come too quickly or are sometimes slurred so that not all Wilde’s bon mots are caught.

The two female leads, the women the men fall in love with, Gwendolen Fairfax (Jennifer Latimore) and Cecily Cardew (Rebecca Hurd), banter beautifully with each other and their beaux.

The leads’ farcial actions bounce off each male’s butler, the sarcastic Lane and drunken Merriman (both brilliantly played as foils for the show’s asides by Ross Lehman).

Other catalysts in separating the couples and bringing them back together are Lady Bracknell (Shannon Cochran) as Gwendolen’s formidable mother, Miss Prism, (Anita Chandwaney) as Cecily’s governess and a wannabe novelist, and Reverend Canon Chasuble (Aaron Todd Douglas).

The action takes place aided by Colette Pollard’s charming sets that are nicely void of Victorian excess and Mara Blumenfeld’s delightful, somewhat “My Fair Lady” style costume designs.

Directed by Michael Halberstam as a seriously funny look at Victorian and therefore, society’s sometimes artificial values, ‘The Importance of Being Earnest’ is a delightful addition to a holiday season filled with Dickens’ views of Victorian England.

DETAILS: ‘The Importance of Being Earnest” is at Writers Theatre, 325 Tudor Court, Glencoe, through Dec. 23, 2017. Running Time: two hours, 20 minutes with two intermissions. For tickets and other information call (847) 242-6000 or Writerstheatre.

Jodie Jacobs

For more shows visit TheatreinChicago.

Holiday shows that are here and coming soon

 

Chicago’s gift bag of holiday shows has something for everyone from Scrooge’s dreams  and dreaming of a white Christmas to Santa’s naughty and nice lists and his overgrown Elf.

Cast of 'A Christmas Carol' at Goodman Theatre. Liz Lauren photo
Cast of ‘A Christmas Carol’ at Goodman Theatre. Liz Lauren photo

Already Playing

‘TWAS THE NIGHT BEFORE CHRISTMAS,’ a Ken Ludwig’s Emerald City Theatre production, is at the Broadway Playhouse now through Dec. 31. The show is a a fun take on Santa’s list which mysteriously disappears and how it is recovered in time for his gift deliveries.At just 45 minutes long, the show is perfect for elementary age youngsters. The Broadway Playhouse  is at Water Tower Place 175 E. Chestnut. For tickets and other information visit Broadway in Chicago Twas.

‘Scrooge And The Ghostly Spirits,’ is a new musical for the entire family based on Charles Dickens’ “A Christmas Carol.” Written by Douglas Post, it is at Citadel Theatre Nov. 17 through Dec. 23. Citadel is in a Lake Forest School property at 300 S. Waukegan Rd., Lake Forest. For tickets and other information call (847) 735-8554 or visit Citadel Theatre.

‘A Christmas Carol,’ a beloved Goodman Theatre creative but traditional holiday retelling of Charles Dickens’ classic, goes from Nov. 18 through Dec. 31. Goodman Theatre is at 170 N. Dearborn St., For tickets call (312) 443-3800 or visit Goodman Theatre

(The non-ballet) ‘Nutcracker,’ a House Theatre production is at the Chopin Theatre. It does use dance and songs to tell the story. The show runs now through Dec. 30 at The Chopin Theatre, 1543 W Division St. For tickets visit House Theatre.

Touring cast of 'White Christmas' Jeremy Daniel Photography
Touring cast of ‘White Christmas’
Jeremy Daniel Photography

 

Coming Thanksgiving week

‘White Christmas,’ Irving Berlin’s classic musical is at the Cadillac Palace Theatre Nov. 21 through Dec. 3. The Cadillac Palace is at 151 W. Randolph St. For tickets and other information visit Broadway In Chicago.

‘Q Brothers Christmas Carol,’ a very hip hop take on Dickens’ story is in The Yard at Chicago Shakespeare  on Navy Pier,  Nov. 21- Dec. 31. For tickets visit ChicagoShakes.

‘Elf: The Musical,’ based on the 2003 Will Ferrell movie, is at the Paramount Theatre, 23 E. Galena Blvd, Aurora, Nov.  22, 2017 through Jan. 7, 2018. For tickets and other information call (630) 896-6666 or visit Paramount Aurora.

‘The Christmas Schooner,’ a moving, true-story musical that has become a Chicago tradition is at the Mercury Theater, 3745 N. Southport Ave., Nov. 24 through Dec. 31. For tickets and other information call (773) 325-1700 and visit Mercury Theater.

Chicago Tap Theatre does 'Tidings of Tap' at North Shore Center for Performing Arts, Skokie
Chicago Tap Theatre does ‘Tidings of Tap’ at North Shore Center for Performing Arts, Skokie

 

On stage from the beginning of December

‘The Nutcracker,’ The Joffrey’s re-imagined production of Tchaikovsky’s ballet, choreographed by Christopher Wheeldon is at the Auditorium Theatre Dec 1-30. The Auditorium Theatre is in Roosevelt University at 50 E. Congress Parkway at Michigan Avenue. For tickets visit Joffrey.

 

Appearing later

‘Tidings of Tap’ presented by the Chicago Tap Theatre is at the North Shore Center for Performing Arts at 3 p.m. Dec. 10, only.  The venue is at 9501 Skokie Blvd, Skokie. For tickets and other information visit Tap.

‘Peter Pan’ is a delightful Music Theater Works (formerly Light Opera Works) musical based on J.M. Barrie’s play. It will run at cahn auditorium, 600 Emerson St., Evanston, Dec. 23, 2017 through Jan.1, 2018. For tickets call (847) 920-5360 or visit Music theater Works.

Enjoy the season!

Jodie Jacobs

 

 

 

Baroque music soars with Quint artistry

 

Violinist Philippe Quint and the Lake Forest Symphony’s strings led by Vladimir Kulenovic dispelled any image that listeners might have had that Baroque music is sedate or boring.

Playing last weekend first Lake Forest Academy’s Cressey Center for the Performing Arts and then at the College of Lake County’s James Lumber Center for the Performing Arts, Quint introduced concert goers to Baroque works by playing Johan Adolph Hasse’s melodic “Sinfonia” with dramatic and joyous gusto. Although Hesse is arguably better known for operatic works, his “Sinfonia” interpreted by Quint showed that Baroque could be both exuberant and elegant.

Grammy award-winning violinist Phillipe Quint. Photo by Lisa Marie Mazzucco, from Lake Forest Symphony
Grammy award-winning violinist Phillipe Quint. Photo by Lisa Marie Mazzucco, from Lake Forest Symphony

To educate the audience on the difference between a shorter, differently constructed bow used for Baroque music and the sound that emanates when a violinist uses the classical longer bow, Kulenovic had concert master Netanel Draiblate  play the next piece, Arcagelo Corelli’s “La Folia” on one side of the podium and Quint do his bowing on the other side.

The piece used was the 1729 Francisco Geminiani edition which was perfect for the demonstration since there are solos for two violins and also the viola and cello.

The Baroque education continued with Tomaso Antonio Vitali’s “Chaconne in G minor with the recommendation to listen for the organ. But what really drew the audience’s attention was Quint’s passionate interpretation.

Of course no Baroque program is complete without something by Johann Sebastian Bach. In this case it was his “Air in D Major” from his Orchestral Suite #3 which reminded the audience how perfectly the harpsichord fitted the piece’s melodic musings.

Quint continued his remarkable showmanship in the second half with Antonio Vivaldi’s “The Four Seasons” from Op. 8. Really for concertos for violin and strings, they are tone poems whose sounds evoke birds in spring, other animals and breezes in summer, harvest celebrations and hunting in autumn and running, stamping feet and chattering teeth in howling storms in winter.

But along with the descriptive parts already in Vivaldi’s music, Quint used the concertos to add several embellishments. Some seemed planned ahead while others appeared to be impromptu.

The concert turned out to be a delightful survey of baroque music, a powerful introduction to the high quality of the Lake Forest Symphony under Kulenovic and an unforgettable demonstration of Quint’s artistry. This reviewer will be looking for more programs featuring Philippe Quint.

For Lake Forest Symphony information call (847) 295-2135 and visit LFSymphony.

Jodie Jacobs