Reviews – Page 35 – Chicago Theater and Arts

Santa’s elf gives us a break

Matt Crowle as Crumpet the Elf in the Santaland Diaries at Goodman Theatre. (Erik Erik Scanlon photo)

3 stars

“The Santaland Diaries,” a humorous, naughty-nice take on the holidays now at Goodman Theatre, evolved more than 25 years ago from an essay written by the then unknown comedian David Sedaris. Coupled with other stories, he told on the nightclub circuit, it was picked-up by the National Public Radio broadcast in 1992 as the “Santaland Diaries.”

The rest, as they say (whoever they are) is history. Sedaris published the collection in 1994 and his reputation took off as a humorist, comedian, author, and radio contributor.

Adapted by Joe Mantello, “The Santaland Diaries”presented in Goodman’s more intimate Owen Theatre, is a one-man, hilarious tale about becoming a department store elf for the season.

Played by Matt Crowle, the fabulous actor talks non-stop to the audience as he tells them he has decided to take a job at Macy’s in New York City as a Santaland elf by the name of Crumpet.

The audience gets to know Crumpet very well, as he changes his clothes on stage from casual, worn clothing to the elf’s red-and-white striped tights, attractive green velvet jacket, adorable elf boots and flashy hat.

Crumpet portrays the different elf jobs that he takes on—appearing in Macy’s windows, greeting visitors, and directing the people waiting in line to see Santa.

No one is spared as he describes what’s happening with the various parents who bring their children to sit on Santa’s lap.

The challenge is to keep a smile pasted on as the job becomes less enchanting and more boring.

Directed by Steve Scott, the play’s humor is endless. The audience feels as if they are traveling every minute with Crumpet, an elf whose imperfect behavior and naughty remarks make everyone laugh out loud.

“The Santaland Diaries” gives audiences a break from their overwhelming pre-holiday schedule.

DETAILS: “The Santaland Diaries” is at the Goodman’s Owen Theatre, 170 N. Dearborn St., Chicago, through Dec. 30, 2018. Running time: 65 minutes with no intermission. For tickets and other information, call (312) 443-3800 or visit Goodman Theatre.

Francine Pappadis Friedman

For more shows visit Theatre in Chicago

1940’s come alive in ‘It’s a Wonderful Life’

Custer, Cameron, Robinson, Dahlquist, Joseph, Mohrlein (Photo by Michael Brosilow)

4 stars

If you haven’t been invited to a holiday party yet or are just feeling ready to get into the Christmas spirit, you can’t do much better than the American Blues Theater’s staged radio show version of Frank Capra’s classic “It’s a Wonderful Life-Live in Chicago!.”

In this production, the theater is set up to give the illusion that you are part of the studio audience for a live radio broadcast in 1944 at WABT Studio on Belmont Avenue in Chicago.

There is a spinet piano, stage left, and three old-timey microphones on stands across the front where most of the action takes place.

Stage right is an array of apparatus where Foley artist Shawn J. Goudie will add sound effects. Above the piano is a lighted sign which displays the words “On Air” and “Applause.”

Continue reading “1940’s come alive in ‘It’s a Wonderful Life’”

‘The Nutcracker’ magic still exists

Cara Marie Gary (Marie) and The Joffrey Ballet. (Photo by Cheryl Mann)

4 stars

Imagine what if. What if Marie Stahlbaum’s nutcracker Christmas gift and her dream, a tale by E.T. A. Hoffmann, and adapted by Alexandre Dumas that was first presented with Tchaikovsky’s music in 1892, changed location and style.

What if it moved from a wealthy, European estate to Chicago where dreams were possible for a young girl who lived in a shack. And, what if the story kept the late 19^th century date.

What was going on in Chicago that year was preparation for the 1893 World’s Columbian Exposition also called the Chicago World’s Fair. It celebrated the 400^th anniversary of Christopher Columbus’1492 landing in the “new world.” Indeed, the Chicago World’s Fair dedication was in 1892 but the fair didn’t open until 1893.

Imagine all the possibilities the fair with its multi-cultural pavilions and its noted (first) Ferris Wheel as a background might hold for a ballet.

Continue reading “‘The Nutcracker’ magic still exists”

Bah humbug turns around!

4 stars

“A Christmas Carol” was written 175 years ago by Charles Dickens—and its popularity has never wavered since, as it appears on stages all over the country. For the past forty years, Goodman Theatre has presented “A Christmas Carol” until going downtown Chicago to see it has become a tradition for many families.

Directed for several years by Henry Wishcamper, the play tells a basic story of the redemption of the leading character, Ebenezer Scrooge by giving him a glimpse at his past, present and what the future might hold if he doesn’t change..

Played by Larry Yando, Scrooge is the embodiment of what the name has come to represent since written by Dickens. He hates Christmas and only begrudgingly allows his underpaid clerk, Bob Cratchit (Thomas J. Cox) to take off Christmas Day. He refuses to donate to good causes with comments about where the poor should go.

Scrooge’s selfish business partner, Jacob Marley who died years earlier returns as a ghost (Kareem Bandealy). Clanging chains wrought by miserly deeds, Marley warns Scrooge he will be visited by three spirits and that Scrooge must listen or be cursed and carry even heavier chains.

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‘The Safe House’ at City Lit is a safe bet

marssie Mencotti, L. and Kat Evans in City Lit's The Safe House. (Photo by Steve Graue) — marssie Mencotti, L. and Kat Evans in City Lit’s The Safe House. (Photo by Steve Graue)

3.5 Stars

This world premiere slice of life drama is sure to strike close to home.

For many, the place they have lived and raised a family is more than an assembly of bricks and wood, it is a repository of memories and the physical manifestation of a life’s work. When it comes time to consider leaving it behind there are more considerations than a change of address.

“The Safe House,” commissioned by City Lit and based on a true story by Chicago playwright Kristine Thatcher, is expertly supervised by Producer/Artistic Director Terry McCabe.

You get a feeling you know where the cookie jar is in designer Ray Toler’s cozy retro kitchen/dining room stage setting It brings us right into the domain of “Grandma” Hannah (marssie Mencotti) who must confront the realities of her changing condition and abilities. Continue reading “‘The Safe House’ at City Lit is a safe bet”

‘Arcadia’ is close to ideal

Chris Smith, Megan DeLay, Chris Woolsey (Photos by Tim McGrath, TCMcG Photography)

3.5 Stars

“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.

Continue reading “‘Arcadia’ is close to ideal”

Lookingglass takes ‘Steadfast Tin Soldier’ to another level

The cast of “The Steadfast Tin Soldier” at Lookingglass Theatre. (Photos by Liz Lauren)

4 stars

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. Continue reading “Lookingglass takes ‘Steadfast Tin Soldier’ to another level”

Appreciate Jane Austin once again with ‘Mansfield Park’

Heidi Kettenring (Mrs. Norris) tells Kayla Cargter (Fanny Price) she can never say no at Mansfield Park while Kate Hamill (a maid) helps change Price's clothing. (Michael Brosilow photos) — Heidi Kettenring (Mrs. Norris) tells Kayla Cargter (Fanny Price) she can never say no at Mansfield Park while Kate Hamill (a maid) helps change Price’s clothing. (Michael Brosilow photos)

3 stars

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.

Continue reading “Appreciate Jane Austin once again with ‘Mansfield Park’”

‘Joseph:’ A Citadel show of biblical proportions

Joseph (Jacob Barton) shows off his “coat of many colors” to his jealous brothers. (Photo by North Shore Camera Club)

3.5 stars

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.”

Continue reading “‘Joseph:’ A Citadel show of biblical proportions”

Superb voices meet Verdi’s ‘Il Trovatore’ challenge

Tamara Wilson (Lenora) in Il Trovatori at Lyric Opera of Chicago (Todd Rosenberg photo)

3.5 stars

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. Continue reading “Superb voices meet Verdi’s ‘Il Trovatore’ challenge”