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.”
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.
Anthony Festa (Chris) and Emily Bautista (Kim) in Miss Saigon at the Cadillac Palace Theatre. (Matthew Murphy photos)
4 stars
After its 25th anniversary revival on Broadway in 2017, “Miss Saigon” is reappearing this year on a national tour. Directed by Laurence Connor, the music is by Claude-Michel Schönberg and Alain Boublil, with lyrics by Boublil and Richard Maltby, Jr.
Loosely based on Puccini’s opera, “Madame Butterfly,” “Miss Saigon” follows the final days of the Vietnam War.
The first lead character that opens the show is The Engineer played by Red Concepcion. The Engineer runs Dreamland, a steamy bar and brothel in Saigon that’s packed with beautiful Vietnamese women whom he has lined up for American soldiers.
Front, l to r, Andrea San Miguel, Jennifer Latimore, and Matthew C. Yee, and back, William Brown in Twelfth Night at Writers Theatre (Photos by Michael Brosilow)
4 stars
William Shakespeare’s “Twelfth Night” (subtitled “Or What You Will”) must be Writers Theatre’s holiday gift to show lovers who enjoy witty entertainment.
Its outstanding cast and superb direction bring out all the deliberate jests, entertaining horseplay, subplots and musical interludes that mark the Bard’s wicked sense of humor.
Meant as entertainment that befits the bawdy disorder that had traditionally been part of the Eve of the Feast of Epiphany, the play hinges on Shakespeare’s fondness for females dressed as males and the ensuing falling-in love confusion.
There are also the playwright’s deceptively honest answers such as when Olivia, a woman in mourning whom Duke Orsino hopes to wed, asks his emissary, Cesario (really Viola, dressed as a young man), if she is a comedian (another term for actor). She answers “I am not that I play.”
Holiday Inn cast at Marriott Theatre with Johanna McKenzie Miller and Will Burton in the center. (Liz Lauren photos)
3.5 stars
Irving Berlin’s “White Christmas,” now playing at Marriott Theatre, is among the composer’s delightful story-telling songs in “Holiday Inn.” But don’t confuse Berlin’s “Holiday Inn,” a musical that has a book by Gordon Greenberg and Chad Hodge, with the show, “White Christmas.”
Based on the 1942 Universal film with Bing Crosby and Fred Astaire, “Holiday Inn” packs “Blue Skies,” “Steppin’ Out With My Baby,” “Heat Wave,” “Shaking the Blues Away,” “It’s a Lovely Day Today”, “Be Careful, It’s My Heart” and “Let’s Take an Old-Fashioned Walk” into a delightful, old-fashioned-style hokey, song and dance musical that ends with happily ever after. Continue reading “‘Holiday Inn’ dances joyous path through the holidays”
Cast and production crew of Manual Cinema’s Frankenstine at Court Theatre (Michael Brosilow photos)
4 Stars
It is supposed that our most ancient cave dwelling predecessors told supernatural cautionary tales of adventure that included encounters with fantastic creatures.
Their flickering fires casting out-sized, ominous, and at times, grotesque shadows on the wall amplified the sense of dread and danger. Add the slow beating of a drum mimicking the ever increasing beating of hearts, mixing with the mysterious sounds of nature lurking in the darkness and you begin to see the primeval recipe that Manual Cinema has tapped into in the telling of their version of Mary Shelley’s “Frankenstein.”
Manual Cinema is a singular theatrical experience that has elements of street theater and silent film. The company mixes live action, silhouettes, puppets, shadow puppetry, masks, video, slide projection and all manner of theatrical techniques, ancient and modern to create a captivating monochromatic video mash-up, reminiscent of a nickelodeon feature, assembled and projected on stage before your eyes.
Matthias Klink (Mime) in playpen and Burkhard Fritz (Siegfried) in the third segment of Wagner’s Ring cycle at the Lyric Opera of Chicago. (Todd Rosenberg photos)
3.5 stars
Opera goers who saw “Das Rheingold” in 2016 and “Die Walküre” in 2017, Lyric’s first two operas segments of Wagner’s four-part “Der Ring des Nibelungen,” will find the next segment, “Siegfried,” still has tall scenery towers bookending the stage. They deliberately remind audiences that Wagner’s The Ring cycle is theater.
It is theatrical and musical drama. But where the productions of the first two segments were highly creative but serious, “Siegfried” is playful, fanciful, serious fun.
The tone is set when a somewhat menacingly large, three-nail-claw and an eye of Fafner, the giant-turned dragon who guards the ring, appear under the curtain and draw audience laughter. The curtain then rises to reveal Siegfried’s playroom of oversized art work and children’s furniture including a tall playpen.
L-R: Amber Cartwright, Katherine Duffy, Rachael Soglin, Raina Lynn (Photos by Brian McConkey Photography
This delightful Invictus Theatre experience proves once again that little has changed since Shakespeare penned this early comedy about the powerful drive of the passions of youth.
The young Ferdinand King of Navarre (Chad Bay) challenges his three besties Berowne (Charles Askenaizer), Longaville (Taylor Glowac) and Dumain (Sam Cheeseman) to forsake romance and other distractions of the flesh such as eating for the purpose of devoting themselves fully to their studies for three years.
The pact does not last long due to the hunger of youth and the arrival of a young French Princess (Raina Lynn) and her posse of eligible young maids in waiting Rosaline (Rachael Soglin), Katherine (Amber Cartwright) and Maria (Katherine Duffy). Conveniently there is the requisite number of each sex for the two respective royal crews to square off.
The young men have soon forsaken their fasting and studies and have instead turned their hand to verses of love, while the ladies delight in disguising themselves and otherwise confounding their suitors for sport.
As with most of The Bard’s theatricals there are a few side trips not the least of which is a Spanish Lord Don Armado (Martin Diaz-Valdes) and doltish slave Costard (Johnny Kalita) pursuing the same country wench Jaquenetta (Daniela Martinez); and the play-within- a-play featuring the self-important teacher Holofernes (Alisha Fabbi) and his sycophant the curate Nathaniel (Jack Morsovillo). Continue reading “Love’s Labour’s Lost – A timeless tale”
(left to right) Tim Kough and Catherine Dvorak in Greenhouse Theater Center and Forum Productions’ world premiere of Truman and the Birth of Israel. (Photo by Michael Brosilow)
“Truman and the Birth of Israel” is a politically wonkish tale about a fictional encounter between the retired 33rd President and a young, future congresswoman, Bella Abzug (Catherine Dvorak).
At this point she is a rising New York attorney already showing a penchant for championing Zionist, feminist and civil rights ideals that will be her trademark in later years.
The action takes place in the home study and garden of Harry S. Truman (Tim Kough). Abzug has been assigned to represent “Give’m Hell Harry” in a libel action the former President intends to initiate against an East Coast newspaper reporter who has allegedly defamed him by insulting his daughter’s singing talent.
Truman’s law firm assigns Bella Abzug to the case presumably because both she and the reporter are Jewish. Abzug feels certain that the defense will attack Truman for his past anti-Semitism and sets out to understand the complexities of a man who was once a card carrying member of the KKK but is also credited with helping to make the State of Israel a possibility.
Linda Gehringer in Lady in Denmark at Goodman Theatre (Liz Loren photo)
Maybe despair and loss can be emotionally handled when countered or balances with glimmers of hope.
In “Lady in Denmark,” a one-person show currently playing at Goodman Theatre, Helene recounts her life in Denmark including rape when she was 14 and her current situation of desperate loneliness upon the recent death of husband Lars.
She replays their favorite Billy Holiday songs for the memories but try as she does, it doesn’t seem to work for her and is not enough to leave audiences feeling good about loss.
Indeed, theater goers who are experiencing or have gone through the kind of cancer battle that Helene just went through with her beloved Lars, might want to skip the show or see it at a much later time.
Part of the problem is that Linda Gehringer who received a Jeff nominee for “The Crowd You’re In With,” portrays Helene so well and with such intensity and depth of understanding it is easy to believe the person on stage is recounting her own experiences.
Written by Pulitzer Prize finalist Dael Orlandersmith, the playwright and actress of the highly acclaimed “Until the Flood,” her current play appears on the surface to be a tribute to Holiday, the “Lady” who visited Denmark and was happier in Europe than in America where she was subject to racial hatred and discriminatory laws.
It does partially retell Holiday’s interaction with a family in Denmark, the inspiration for “Lady in Denmark.” But with Gehringer’s heartfelt portrayal under Chay Yew’s direction, what the play does in its brief 90 minutes is to remind people that “rape lasts a lifetime” and that trying to get through loss “doesn’t get better.”
The action takes place in a home in Chicago’s Andersonville neighborhood, an elaborate, excellent set designed by Andrew Boyce, furnished in Danish Modern. Gehringer competently interjects Danish phrases and mentions favorite foods that add to the show’s ethnic angle.
Even told with a Danish flavor that has Billy Holiday songs in the background and referred to in the title, “Lady in Denmark” is about loss., an emotion that is universal.
DETAILS: “Lady in Denmark” is in the Owen theatre and Goodman Theatre, 170 N. Dearborn St., Chicago through Nov. 18, 2018. Running time: 90 min. no intermission. For tickets and other information call (312) 443-3800 and visit Goodman Theatre .
