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.
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.
Adults and youngsters alike should easily laugh, applaud and fall in love with “Cendrillon,” Jules Massenet’s operatic interpretation of “Cinderella.”
Certainly the version now at the Lyric has been traveling the opera circuit since opening at the Santa Fe Opera in 2006, but the telling clue to its humor is that when it premiered in 1899 it was at Paris’ Opéra-Comique where it was also remounted in 1911.
That the opera is a fairy tale comes across immediately with Barbara De Limburg’s delightful storybook set design.
That this opera, unlike Gioachino Rossini’s operatic drama “Cenerentola” (Cinderella), is a lighthearted version of the familiar fairy tale, becomes obvious with Laurent Pelly’s hysterical, balloon-shaped costumes for the step sisters and the comedic costumes worn by the step mother and other female hopefuls at the prince’s ball.
And that the prince also stepped out of an amusing story book comes across when Pelly, who is also the opera’s director, introduces him as somewhat peevish, uncooperative, hardly charming, pajama-wearing kid in his bed chambers.
Revival choreographer Karine Girard (and original choreographer Laura Scozzi) play up the opera’s nose-thumbing, pseudo-sophistication side with wonderful marching steps by palace couriers and the introduction of females who hope to win the prince.
But humor aside, the Lyric’s Cendrillon is still an opera that requires fine voices. And they are.
English mezzo-soprano Alice Coote is superb in the “trouser” role of the prince and a good contrast (as it should be) to Australian soprano Shobhan Stagg’s quieter, sweet, Cendrillon in her American debut.
Bass-baritone Derek Welton, another Australian making his American operatic debut, convincingly portrays Cendrillon’s comically pathetic father, Pandolfe. And French-Canadian coloratura Marie-Eve Munger stands out in her Lyric debut as the Fairy Godmother.
In the step family, American mezzo-soprano Elizabeth Bishop making her Lyric debut is a perfect Mme. De la Haltiere. She’s backed up by daughters Noémie sung by American soprano Emily Pogorelc, and American mezzo-soprano Dorothée sung by Kayleigh Decker, both a Ryan Opera Center members.
As with many fairy tales there still is a poignant side, but the story still turns out well.
Although Rossini’s “Cenerentola” has appeared at the Lyric, Massent’s “Cendrillon” has only now come to town. It’s magic is perfect for the holiday season or anytime.
DETAILS: “Cendrillon” is at the Lyric Opera of Chicago, 20 N. Wacker Dr., Chicago through Jan. 20, 2019. Running time: 2 hrs. 45 minutes with one intermission. For tickets and other information visit Lyric Opera.
The “clues” are all there before “The Play That Goes Wrong” supposedly starts that the title is justified.
Now at the Oriental Theatre the farce that goes over-the top to be wrong begins with audience interaction when the “manager,” says something about ticket problems and the guy at the controls and his stage crew member point out problems with the set and auditorium as needing more duct tape.
More than duct tape is needed to fix this farce, a touring “hit” of a show that began in England then moved to Broadway.
But audiences are warned that what they will see is supposed to be an amateur production by a university drama society of “The Murder at Haversham Manor,” an Agatha Christie- “Mousetrap” style mystery somewhat akin to the “Noises Off” farce.
Thus scenery mishaps and missed lines and are to be expected. After all, this is supposed to be farcical take-off of an amateur college production. And some of the antics are funny.
The problem is that the longer the show goes on, sophisticated theater audiences will find it less witty and more juvenile. It probably does belong in the category frat house entertainment for visiting parents.
That said, designer/prop maker Chris Bean who is also the director, costume designer, voice coach, etc. etc. etc. nicely creates a flawed British manor house where doors don’t work, pictures fall of the walls and windows don’t open as they should.
DETAILS: “The Play That Goes Wrong” is at the Oriental Theatre, 24 W. Randoph St., Chicago through Dec. 16, 2018. Running time: 2 hours with one intermission. For tickets and other information call (800) 775-2000 or visit Broadway in Chicago Shows.
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
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.”
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 19th 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 400th 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.
“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.
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.Read More