If ‘Destiny of Desire’ sounds like the title of a soap opera you would be very close to right.
On stage at Goodman Theatre now through April 16, the “soap” that audiences sit in on as it is supposedly being televised in an empty Chicago theater (note the lighting props), is a Latino “telenovela.”
It has all the overemphasized drama of the Latino mini TV series that has even made the format the show of choice in Eastern Europe and Asia. Read More
The atmosphere inside the PrivateBank Theatre was electric March 15 as hundreds of Chicago high school students filed in to watch their peers perform on the “Hamilton” stage.
It was the third of what would be 10 student performances during 2017.
By the end of a special education program tying “Hamilton’” to their American History studies, 20,000 Chicago high school students will have seen their peers perform in the morning followed by a regular Hamilton matinee.
Citadel Artistic Director Scott Phelps has taken a riviting script about parent-child relationships by playwright Laura Schellhardt (think ‘Auctioning the Ainsleys’) and placed it in the intelligent hands of Jeff award winning director Scott Weinstein.
But to really pull off multiple messages on growing up, fulfilling dreams and responsibilities, Citadel cast the play with Chicago area veterans who ought to be up for Jeff nominations in their “Upright Grand” roles.
The father, a talented pianist called Pops who tells personal stories while playing at the Broken Man’s Bar is Mark Ulrich.
Charlotte Mae Ellison as his daughter, Kiddo, is perfect as a 12–year-old with all the angst of a teenager who is suspended for writing “School is crap” on her academy’s wall, later, as the sophisticated accomplished 21-year-old who is on a concert circuit and at the end when she comes home and…. OK, won’t put in spoiler alert here.
The third figure is Matt Edmonds who literally plays as the Accompanist. He is a shadowy figure for father and daughter, a piano tuner who compares people to pianos that are out of tune or in tune. Later he is Todd, son of Pops’ friend Toady from the bar.
Premiered at Theatre Works in Pal Alto, CA at its 2012 New Works Festival, the play examines how one’s parental role and responsibility or lack, influences the next generation and how sometimes those actions are not understood until years later.
Pops goes through life as an absentminded professor who doesn’t know how old his daughter is at different stages but “retires’ from the bar to encourage her to focus on piano when he learns she is gifted. He sees his own dad as far from encouraging him with his musicianship.
By the play’s end, a successful Kiddo understand what her father went through and voices what probably many adults think when she says “I’d go back if I could.”
A charming part of the play is that throughout the different stages, Kiddo asks her father for one of his stories and audiences get to hear snatches from classical and popular music.
Something to think about is how to characterize a person or family. Pops’ family were farmers. He plays an upright piano. His wife’s family are wealthy and have endowed a musical academy. They have a grand piano.
A phrase to think about that is said during the show is “We’re more upright than grand.”
Unfortunately, “Upright Grand” is only at Citadel through March 26, 2017.
Details: Citadel is at 300 S. Waukegan Rd., Lake Forest, IL. For tickets and other info call (847-) 735-8554 and visit Citadel.
It is hard to appreciate ‘The Scene,’ Thersea Rebeck’s darkly satirical play set against New York’s hyper TV and acting professions, on stage at Writers Theatre.
Chicago stage and TV actor Deanna Myers is so good at playing the obnoxious Clea, an ambitious, amoral, vacuous young woman who recently moved to New York, that it is difficult to understand how she can attract the play’s two male characters.
There is always so much going on in Chicago it is easy to miss something you will want to see or find that the tickets you wanted are gone. So check out the following events and opportunities.
If you love the music of Pyotr Ilyich Tchaikovsky, you will love his beautiful, dramatic “Eugene Onegin” opera. The Lyric Opera of Chicago completes its 2016-2017 series with the musically lush opera starting Feb. 26 and going through Mar. 20, 2017.
Based on a Alexander Pushkin’s poetic novel about ill-fated romantic attractions, the Lyric production stars soprano Ana Maria Martinez as Tatiana Larina and baritone Mariusz Kwiecień as Eugene Onegin. The Lyric production is at the Civic Opera House, 20 N. Wacker Drive, Chicago. For tickets and other information visit Lyric Opera.
Tickets are available for the Chicago stop of “Exhibitionism,” the first major touring exhibit of Rolling Stones memorabilia. Opened first in London and currently in NYC, the show will take over Navy Pier’s Festival Hall April 15 –July 30, 2017. Time dated tickets range from StonesExhibitionism.com. $25- $35 for adults to $20-$22 for juniors. Special tickets are $80 for two visits, any time, fast-track entry.m Group tickets are available from Broadway In Chicago Group Sales at (312) 977-1710. Navy Pier is at 600 E. Grand Ave. Chicago.
A parody of William Shakespeare is clever when performed by Second City or by another theater when advertised as a take-off by one of Chicago’s many production companies.
But it was a surprise when opening night of Chicago Shakespeare Theater’s ‘Love’s Labor’s Lost,’ an early Shakespeare comedy, lines were intentionally overly emoted and humorous characters became caricatures.
Written in the 1590’s, CST’s version is nicely placed in the 18th century with a romantic, beautiful set by scenic designer Kevin Depinet and gorgeous costumes by Christina Poddubiuk.
There’s no question that the play, an ironic exposure of good intentions foiled by man’s innate nature, is a comedy.
Ferdinand, King of Navarre (John Tufts), and his three companions, Lords Berowne (Nate Burger) , Dumaine (Julian Hester), and Longaville (Madison Niederhauser), pledge to three years of study and fasting without the company of women. The King subsequently decrees that women will not be allowed within a mile of the court.
Complicating matters is a subplot of Spaniard Don Adriano de Armado (Allan Gilmore) betraying an affair between local lad Costard (Alex Goodrich) and local wench Jaquenetta (Maggie Portman). Adriano also likes her and discusses it with his page, Moth (Aaron Lamm).
Then the Princess of France (Jennie Greenberry) and her ladies, Maria (Jennifer Latimore), Katherine (Taylor Blim) and Rosaline (Laura Rook) arrive to speak with the King but they have to camp outside the court.
Of course, since this is a Shakespearean comedy, the king and his lords fall for the Princess and her ladies and messages are given to the wrong people.
Taking a playful approach similar to ‘A Midsummer Night’s Dream,’ a comedy also written in the 1590’s, should work. The problem, at least for fans of Shakespeare’s sophisticate language, is when actors’ overblown actions distract from clever dialogue.
Details: ‘Love’s Labor’s Lost,’ directed by Marti Maraden, is at Chicago Shakespeare Theater, 800 E. Grand Ave. on Chicago’s Navy Pier, now through March 26, 2017. For tickets and other information call (312) 595-5600 and visit Chicago Shakes.
It doesn’t matter if you have seen’ Mamma Mia’ before. As an audience member sitting next to me at the Marriott Theatre said, “I saw it on Broadway. This is better.”
A jukebox musical based on the songs of ABBA, the Marriott production has it all: terrific solos, great dance numbers, fine staging and a perfect combo of light and sound that brings back the 1970s disco era. A Swedish group, ABBA was performing, basically from 1972 to 1982. Read More
In spite of the title ‘Straight White Men,’ Young Jean Lee’s play now on stage at Steppenwolf, there is more than one theme presented to the audience.
First, there is the question of what makes people uncomfortable. Before the play starts, audiences are subjected to exceedingly loud music with lyrics some might find objectionable.
However Elliott Jenetopuloes who is working on a platform for non straight white artists, and Wil Wilhelm who has acted at Northlight and other Chicago theatres, sashay through the aisles handing out earplugs if requested.
‘The Book of Joseph’ now at Chicago Shakespeare Theater through March 5, 2017, is scary. That’s not in a ghostly sense, but in the way past signs seem to repeat themselves.
The play, a world premiere by Karen Hartman developed with Creative Producer Rick Boynton, relates the Hollander family’s horrific experiences during World War II and then continues the story in current times in the United States.
The first half of the play is based on letters that Joseph Hollander, brilliantly portrayed by Sean Fortunato, received and saved from his large family in Krakow, Poland.
His mother, sisters and spouses plus two nieces were not willing to leave when Joseph got them all the needed papers and visas. A wealthy, well-traveled lawyer who saw what was happening, Joseph leaves for Portugal with wife Felicja Hollander (Gail Shapiro) and a ward, the 14-year-old son of a friend. Entry to Portugal was denied so they were taken to the US and Ellis Island.