It is ‘Lottery Day’ in the Rightlynd ward

 

James Vincent Meredith (Avery) and J. Nicole Brooks (Mallory) in Lottery Day at Goodman Theatre. (Liz Loren photo)
James Vincent Meredith (Avery) and J. Nicole Brooks (Mallory) in Lottery Day at Goodman Theatre. (Liz Loren photo)

3 stars

Rightlynd is Holter’s fictional ward in Chicago. When guests enter Owen’s lobby they see a colorful board map of the neighborhood with places and names that have been mentioned in the saga’s plays that precede “Lottery Day.” Maybe a copy of that map ought to be in the playbill.

If you think of playwright Ike Holter’s “Lottery Day,” the seventh play in his Rightlynd saga, from an opera format view point, you may not mind that you don’t hear what the characters are saying when they all talk at the same time. Maybe, just consider it a duet or blending of emotions and voices.

According to Holter’s comments in Goodman Theatre’s On Stage Q&A the cadence and very fast dialogue beats in his series are deliberate.

I understand that. But when watching “Lottery Day,” now in its world premiere at Goodman’s Owen Theatre, I felt I needed to actually hear what they were saying to help me define each character’s place in the story, their concerns and background.

Not having seen any of the plays that preceded “Lottery Day” in the saga, I felt I had come upon preparations for a party and then the party, itself, quite accidentally without knowing any of the participants, their back story or why they interacted the way they did. Continue reading “It is ‘Lottery Day’ in the Rightlynd ward”

Oh what a night!

Jersey Boys at the Auditorium Theatre
Jersey Boys at the Auditorium Theatre

4 stars

Opening in New York in 2005 and winning the Tony and Grammy Awards for Best Musical in 2006, “Jersey Boys” has now been seen by more than 25 million people.  And I’ll bet that some have seen it more than once—like I have.

The book, “Jersey Boys,” was written by Marshall Brickman and Rick Elice. Amusing dialogue is interspersed with the tremendous songs that keep the audience laughing.

Directed by Des McAnuff, “Jersey Boys” is the story of Frankie Valli and The Four Seasons—four guys from New Jersey who weren’t known at all until they started singing outdoors on a corner. And once they did, their songs became more than popular and played on radios every day and night.

The songs by The Four Seasons in “Jersey Boys” not only bring back so many memories, but have younger audience members swinging and swaying in their seats.

(l to r) Eric Chambliss, Jonny Wexler, Corey Greenan, Jonathan Cable and compnay of Jersey Boys at the Auditorium Theatre. (Photos by Joan Marcus)
(l to r) Eric Chambliss, Jonny Wexler, Corey Greenan, Jonathan Cable and compnay of Jersey Boys at the Auditorium Theatre. (Photos by Joan Marcus)

Songs such as “Walk Like a Man,” “Sherry,” “Working My Way Back to You,” “Rag Doll,” and “Big Girls Don’t Cry,” hook-up with the musical’s story of a gang leader with a money problem that involves the mob and the record industry, along with many things that relate to true friendships and loving relationships.

The original Four Seasons were Bob Gaudio, the musical composer played by Eric Chambliss, Frankie Valli, played by Jonny Wexler, Nick Massi, played by Jonathan Cable and Tommy DeVito, played by Cory Greenan. The lyricist and producer, Bob Crewe, is played by Wade Dooley.

“My Boyfriend’s Back” is sung by the Angels portrayed by Ashley Bruce, Chloe Tiso, and Jessica Wockenfuss, all of whom also play other female roles.

The rest of the fabulous cast is Tony L. Clements, Caitlin Leary, Jeremy Sartin, and Kit Treece. Many of the cast members move on stage as they play musical instruments.

A Broadway in Chicago presentation now at the Auditorium Theatre, it’s a show not to miss . . . “Let’s Hang On to What We’ve Got!”

DETAILS: “Jersey Boys” is at the Auditorium Theatre, 50 E. Ida B. Wells (Congress Pkwy. at Michigan Avenue), Chicago, through April 7, 2019. Running time: 2 hours and 45 minutes with one intermission. For tickets and other information, call Ticket Master at 1-800-775-2000, or visit BroadwayInChicago.

Francine Pappadis Friedman

For more shows visit Theatre in Chicago

What is needed to get parenting right

 

Nathan Burger (Bernard) and William Brown (Salter) in 'A Number' at Writers Theatre. (Photos by Michael Brosilow)
Nathan Burger (Bernard) and William Brown (Salter) in ‘A Number’ at Writers Theatre. (Photos by Michael Brosilow)

3 1/2 stars

During the course of “A Number” at Writers Theatre, Glencoe, a father admits he was an awful parent the first time around as his sons try to extract the full story of their existence.

It’s sort-of a two person play with stage veteran, actor/director  Nate Burger (Writers Theatre, Americanh Players Theatre, Timeline) as the father, Salter, and popular Chicago actor Nate Burger (Chicago Shakespeare, Timeline, Goodman) as Bernard, his sons, 1, 2 and 3.

The play is only 65 minutes long but its high intensity acting and twists made it feel as if I sat through two hours of a suspenseful drama.

Eerie music and lighting enhance Robin Witt’s spot-on direction of clipped responses from the father in contrast to the emotions of Salter’s original and cloned sons.

Nathan Burger and William Brown in 'A Number'
Nathan Burger and William Brown in ‘A Number’

Yes the show, written by Caryl Churchill back in 2002 when copying mammals’ DNA and genetic make-up  was in the news, is about cloning. It’s also about examining uniqueness, identity, upbringing, abandonment and truth.

Salter, who felt he was not a good father the first time around, wanted to try again from scratch. He had scientists clone his first son so he could be a better father the second time.

What happens on how the son and clones react will be a surprise therefore there will not be an alert here. You have to go to find out.

But a word of warning. Don’t believe most of what Salter says. The real story emerges from the mist of his twisted mind in bits and pieces.

DETAILS:”A Number” is in the Gillian Theatre of Writers Theatre, 325 Tudor Court Glencoe  through June 9, 2019. Running Time: 65 minutes, no intermission. For tickets and other information call  847) 242-6000 and visit Writers Theatre.

Jodie Jacobs

For more shows visit Theatre in Chicago

 

 

 

‘Anastasia’

 

 Lila Coogan (Anya), Stephen Brower (Dmitry) (Photo courtesy of Broadway In chicago)
Lila Coogan (Anya), Stephen Brower (Dmitry) (Photo courtesy of Broadway In chicago)

3 stars

There is plenty to like about this Broadway in Chicago theatrical extravaganza. It is loosely based on the true story of a woman who claimed to be the surviving daughter of Czar Nicholas II of Russia and whose family was assassinated along with him by the Bolsheviks following the Communist uprising in July 1917.

But don’t worry this version of “Anastasia” has little to do with reality. Inspired by the Twentieth Century Fox animated film (later acquired by Disney Corporation), it refers to the tragedy but is scrubbed clean of most of the ugly parts, leaving behind the tale of a young, beautiful and strong heroine striving to find her true identity while struggling to come to terms with her inner princess.

It was an enthusiastic and appreciative, mostly female audience that packed Chicago’s Nederlander Theater opening night. The book by Terrence McNally is expertly crafted to suit its intended audience of preadolescent girls who themselves are likely exploring their own future and place in the world. Continue reading “‘Anastasia’”

Concert saluted singer Renée Fleming

Renee Fleming at the Lyric of Chicago in an anniversary concert. (Photo by Todd Rosenberg)
Renee Fleming at the Lyric of Chicago in an anniversary concert. (Photo by Todd Rosenberg)

Fans of opera, American soprano Renée Fleming and the Lyric Opera of Chicago were treated to an extraordinary program March 23 to honor Fleming on the 25th anniversary of her Lyric debut in1993 with Carlisle Floyd’s “Susannah.”

Chicago audiences may have heard her in other operatic roles such as Marguerite in “Faust” in the 1995-6 season and more recently as Hanna Glawari, in “the Merry Widow” in the 2016-17 season.

But what the program and Lyric President Anthony Freud mentioned during the concert is that  there is a lot more to Fleming’s accomplishments than her vocal talent. As an advisor and innovator of public programs through the Lyric in Chicago and through the Kennedy Center in Washington D.C. Fleming has been behind several outreach initiatives.

Arguably less known is that she was on the soundtrack of Best Picture and Best soundtrack 2018 Academy awards for “Three Billboards Outside Ebbing, Missouri” and  “The Shape of Water,” is a 16-time Grammy nominee (four-time winner) and is on the movie soundtrack of the “Lord of the Ring” and “The Return of the King.”

Hosted by Tituss Burges, the program also featured well-known opera stars soprano Sondra Radvanovsky, tenor Lawrence Brownlee, baritone Quinn Kelsey, and bass-baritones Eric Owens and Christian Van Horn,  plus members of the Patrick G. and Shirley W. Ryan Opera Center. Patrick summers conducted the Lyric Opera Orchestra.

Fleming started out with what some consider her trademark piece of “Porgi amor” from Mozart’s “the Marriage of Figaro.”

Other pieces in the first part of the program were Eric Owens doing “O tu Palermo “ from Verdi’s “I vespri sicilarni,” Radvanovsky singing “Vissi d’arte” from Puccini’s Tosca,” Brownlee doing “Ahmes amis…” from Donizetti’s ”La fille du regiment,” Van Horn singing “Eddo il mondo” from “Boito’s La Mefistofele” and the Ryan Opera Center artists doing Faltaff’s “Un oro e terminiam la scena…”

Radvanovsky sang an aria from “Susannah” later in the concert. Then, to herald her role in a special musical production in December, Fleming did “Fable,” from Adam Guettel’s “The Light in the Piazza.” Tickets to the run,  Dec. 14-29, 2019,  go on sale March 28, 2019. For tickets and more information visit LyricOpera/light.

As a bonus Saturday, many of the designer gowns worn by Fleming were on display at the Lyric.  For the concert she wore a  navy tulle gown designed by Carolina Herrera and a rose-gold sequined gown by Vivienne Westwood.

Another interesting not is that the acoustic Pritzker Family Concert Shell designed by Studio Gang for Lyric’s 60th Anniversary Gala Concert in 2014 was the backdrop for Saturday’s concert.

Jodie Jacobs

 

The ‘Miracle’ musical

Cubs championship photo (Courtesy of William Marovitz)
Cubs championship photo (Courtesy of William Marovitz)

Certainly “Miracle,” a musical directed by Damon Kiely and premiering at the Royal George Theatre May 8, 2019,  refers to the Chicago Cubs 2016 Championship.

But during a phone interview with lead producer William “Billy” Marovitz, the concept’s originator, what comes across is how much baseball is a part of many people’s lives.

And yes, Marovitz, who has followed baseball “for as long as I can remember,” is the former, long-time IL State Senator instrumental in working out the compromise that brought lights to Wrigley Field in 1988.

Marovitz had earlier conceived a Chicago show about what happened in the city during the two Daley administrations. But when he realized the concept wasn’t going anywhere when Richard M. Daley didn’t run again, his love of baseball sparked another show idea.

“It was Feb. 16, 2016 and I thought the Cubs have a good team. So I though let’s look at the season through a family. I needed to tell a story, not one just about baseball, but about real people, their ups and downs,” he said.

The story, fleshed out by film and TV writer Jason Brett, co-founder of Chicago’s Apollo Theater, follows the Delaneys, a Wrigleyville bar-owning family, through changing times.

Marovitz tells how in one part of the show the Delaney’s 11-year old daughter asks her grandfather who is always going over to Cubs’ park, how he got his limp.

“He explains he was in Vietnam, in a fox hole when he got shot up, and said he thought would lose his leg,” Marovitz said. He continued, “And then the grandfather says “The only thing that kept me going was a transistor radio. I could listen to the games.” Continue reading “The ‘Miracle’ musical”

‘A Bronx Tale’ offers lessons of fear and love

 

Touring company of 'A Bronx Tale' (Photo courtesy of Broadway in Chicago)
Touring company of ‘A Bronx Tale’ (Photo courtesy of Broadway in Chicago)

4 stars

This version of the coming of age story “A Bronx Tale” is based on an off-Broadway, one-man play by Chazz Palmintiri later turned into the 1993 Robert De Niro movie of the same name.

Adding music by Alan Menken and Lyrics by Glenn Slater this is a very successful adaptation appearing in Chicago on tour.

Narrated by Calogero (Joey Barreiro), he tells of growing up in an Italian/American section of the New York borough of The Bronx during the tumultuous and racially charged era of The Sixties. And that he is mentored by a local mobster, Sonny (Joe Barbara), and is hanging out with “the wrong crowd.” Continue reading “‘A Bronx Tale’ offers lessons of fear and love”

Chicago designates Water Tower area as arts district

 

Commissioner Mark Kelly is among Chicago dignaeries and arts organization representatives that launched the Water Tower Arts District March 12, 2019 at the Museum of Contemporary Art. (Photo: Nathan Keay, © MCA Chicago)
Commissioner Mark Kelly is among Chicago dignaeries and arts organization representatives that launched the Water Tower Arts District March 12, 2019 at the Museum of Contemporary Art. (Photo: Nathan Keay, © MCA Chicago)

 

Do you know Chicago’s WTA District?

Visitors and Chicago area residents are arguably familiar with the city’s Theatre District of show venues in the Loop and the Museum Campus next to Soldier Field.

Now add the Water Tower Arts District to Chicago’s cultural district scene.

Now, the city has officially designated an area both sides of North Michigan Avenue that stretches approximately from Streeterville to the Gold Coast as the WTAD.East of LaSalle Street from Illinois Street to North Avenue .

Launched at the Museum of Contemporary Art Chicago by Commissioner Mark Kelly of the Chicago Department of Cultural Affairs and Special Events on March 12, 2019, the new district includes these 15 cultural organizations: (1) The Arts Club of Chicago, (2) Broadway in Chicago’s Broadway Playhouse at Water Tower Place, (3) City Gallery in the Historic Water Tower, (4) Graham Foundation, (5) International Museum of Surgical Science, (6) Lookingglass Theatre Company, (7) Loyola University Museum of Art (LUMA), (8) Museum of Contemporary Art (MCA), (9) the Newberry Library, (10) Poetry Foundation, (11) Porchlight Music Theatre, (12) Richard Gray Gallery, (13) the Richard H. Driehaus Museum, (14) the Ruth Page Center for the Arts, and (15) the Society of Architectural Historians.

Water Tower Arts District map with 15 arts institutions (Photo courtesy of Museum of Contemporary Art)
Water Tower Arts District map with 15 arts institutions
(Photo courtesy of Museum of Contemporary Art)

Anyone old enough to recall “Bug House Square,” the once popular tag for Washington Square Park south of Newbery Library where people would debate social issues, will understand Kelly’s reference during the launch to the area as Bohemian.

Plus, he and Chicago historian Pamela Bannos noted that the area around the Water Tower, was once known as “Towertown,”  a Bohemian arts stronghold, so the new designation was really a return to its roots.

“This tightly knit group of arts organizations raises the same spirit of camaraderie and collaboration as they reclaim the District and invite visitors to experience a diverse array of cultural activities…,” Kelly said.

Lookingglass Theatre Company resides in the historic Chicago Water Works across from its sister, the historic Water Tower. (J Jacobs Photo)
Lookingglass Theatre Company resides in the historic Chicago Water Works across from its sister, the historic Water Tower. (J Jacobs Photo)

Lookingglass Executive Director Rachel Fink likes that the arts organizations are joining together to attract attention. “It felt a little isolated over here…,” said Fink. “The Mag Mile  has a different focus.”

The process of gathering together, which she recalled started about five months ago, has also introduced her to other arts organizations in the neighborhood.

“I like meeting our neighbors. It’s been an incredible opportunity for me” she said. “Now I know more the Driehaus Museum and I learned about the interesting (International) Museum of Surgical Science.”

She added, “It helps to do things as a community. Now we’re celebrating and  brainstorming together.

For more information and descriptions of the 15 organizations and activities, visit the website Watertowerarts.  The site and the graphic designation were created by Chicago designers Michael Savona, and Tobey Albright plus Mollie Edgar from Hour. Photographs of the institutions were done by Chicago artist Assaf Evron.

Jodie Jacobs

‘Choir of Men’ pub crawl serves up 90 minutes of pop

Choir of Man at Broadway In Chicago Playhouse. (Photo courtesy of Broadway in Chicago)
Choir of Man at Broadway In Chicago Playhouse. (Photo courtesy of Broadway in Chicago)

3 Stars

In spite of the venue “The Choir of Man” is more boy band concert than Broadway musical. It features nine very energetic, vocally talented, male singers who purport to be “regulars” at a traditional Irish Pub named “The Jungle,” that serves up pop.

This musical extravaganza is loosely narrated by Denis Grindel who introduces his mate. He provides a bit of backstory about each of their characters as a way of establishing the iconic stereotypes we have all encountered in every tavern and public house the world round.

Grindel’s introductions explain that this is one of those places where we go to be who we are and where people accept us for who we are — good, bad and ugly. Though in this case the boys are not too “bad” and nary a one, would be accused of being ugly.

This being the case, “The Choir of Man” is a perfect fantasy for those looking for a bit of testosterone flavored eye-candy, perhaps a “girls night out,” that’s not too naughty.

I could not help thinking that after taking little sister to the American Girl store, a few steps away, Mom could take bigger sister here for her share of fun.

Yes, there is plenty of beer flowing but I do not think there is anything said or done that an average thirteen year-old has not seen or heard on prime-time TV. And in fact, there were a number of youngsters on hand opening night.

Sadly, the program does not include a list of songs so I suspect they change it up as they get a sense of what’s working. It is basically about 15 or so cover tunes by Adele, Queen, Paul Simon, Katy Perry, Red Hot Chili Peppers and others that everyone will find enjoyable and most will find familiar.

The harmonies are awesome with onstage guitar accompaniment by Peter Lawrence, occasional piano by Connor Going and random percussion including a foot stomping tap dance by Matt Cox.

This is good clean well-intentioned, high caliber, fun. Perfect, if you happen to be in town for a visit or just looking for something to do before or after a nice dinner near Michigan Avenue or Rush Street.

“The Choir of Man” is at Broadway Playhouse at Water Tower Place, 175 E. Chestnut St., Chicago, through March 17, 2019 (before continuing their US tour). For more information, visit BroadwayInChicago.

Reno Lovison

For more shows visit Theatre in Chicago

 

 

What do we want God to be

Walter Briggs, Kristina Valada-Viars, Emjoy Gavino, Anthony Irons, Rom Barkhordar and Shannon Cochran in "Act(s) of God" by Lookingglass Theatre Company. (Liz Lauren photo)
Walter Briggs, Kristina Valada-Viars, Emjoy Gavino, Anthony Irons, Rom Barkhordar and Shannon Cochran in “Act(s) of God” by Lookingglass Theatre Company. (Liz Lauren photo)

2 1/2 stars

Take a dysfunctional family, yes, another one, add intellectual rhetoric, several different ideas (make them existential, religious, morality bent, etc.) and wrap the action in somewhat comic absurdism and you have “Act (s) of God” by Kareem Bandealy at Lookingglass Theatre.

Given that Lookingglass has afforded ensemble member Bandealy a top notch cast and placed it under the smart direction of Heidi Stillman for what is his debut venture on the other side of a script, we should have a four-star evening.

Instead, we have a mish-mosh of a play, probably two or three plays. It needs reworking and shortening from three to two acts so that even though it might fall in the absurdist category, theater-goers will leave with a sense of the playwright’s message.

Except for an overly-long religious ritual, I liked Act One when everyone (but G..D) is introduced. I liked the idea that Eldest daughter Kristina Valada-Viars, an atheist, could open a sealed missive that seemed to have come with ads to the household’s mailbox.

When others tried they couldn’t open it. When they dropped it, the house experienced a power outage.

Eldest said it was blank but when she loudly told her family to read it, they were able to and found that it announced an unexpected dinner guest the next day.

Not sure why in Act II the guest was supposedly a being who farted a lot in the computer room or why the three children of Mother and Father (no given names) disliked themselves and each other so much even though lots of trite reasons were bandied about along with personal attitudes towards religion and humanity.

Supposedly, an apocalyptic event occurs so that in the third act the furniture is taken from the stage. I liked that it included the comfortable chair in which Father was seated and barely moved from.

Lookingglass does repeat it’s productions so maybe we’ll see a new, shorter version of Bandealy’s play sometime. I’m looking forward to that.

DETAILS:
Act(s) of God” is at Lookingglass Theatre in the Chicago WaterWorks, 821 N. Michigan Ave., through April 7, 2019. Running time: 2 hours, 35 minutes with two intermissions. For tickets and other information call (312) 337-0665 or visit LookingglassTheatre.

Jodie Jacobs

For more shows visit Theatre in Chicago