(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 .
Cast of Women of Soul at Black Ensemble Theater. (Alan Davis photo)
The Black Ensemble Theater, founded in 1976 by Jackie Taylor, has been dazzling audiences ever since with original musicals. Its current production, “Women of Soul,” written and directed by Associate Director Daryl D. Brooks, is a tribute to many powerful female singers who cover different genres and numerous years.
The female cast includes Cynthia Carter, Robin DaSilva, Hannah Efsits, Jerica Exum, Colleen Perry, Rhonda Preston, Jessica Seals, Ariel Williams and Jayla Williams-Craig.
These nine talented women —with one wonderful male cast member, Dwight Neal who plays their various partners—portray well over fourteen famous soulful singers.
The production also includes these fabulous musicians: Robert Reddrick, Adam Sherrod, Gary Baker, Mark Miller and Dolpha S. Fowler.
Cast members give the background of each of the well-known singers plus some newly-revealed details such as how their careers blossomed and how some of their lives unfortunately ended. Then the singer portrayed performs one of her hits.
From Mahalia Jackson’s “Trouble of the World,” Etta James’s “I’d Rather Go Blind” and Janis Joplin’s “Cry Baby” to Diana Ross’s “I’m Coming Out” and Natalie Cole’s “This Will Be An Everlasting Love,” the fabulous cast practically rocks people out of their seats.
An amazing salute to female vocalists, the production also includes hits of Whitney Houston, Anita Baker, Janet Jackson, Mavis Staples, Gladys Knight, Donna Summer, Chaka Khan and more.
The musical ends with a medley of songs giving tribute to the Queen of Soul, Aretha Franklin, with “Ain’t No Way,” ” I Say a Little Prayer for You,” ” Respect” and “You Make Me Feel Like a Natural Woman.”
When the cast lined up in the lobby while audience members were leaving the theater, two statements came from my heart: their performances were fabulous and the closing tribute to Aretha Franklin brought joyful tears to my eyes. “Women of Soul” celebrates all women!
DETAILS: “Women of Soul” is at the Black Ensemble Theater, 4450 N. Clark St., Chicago, through Jan. 27, 2019. Running time: 2 hours, 30 minutes with one intermission. For tickets and other information call (773) 769-4451 or visit Black Ensemble Theater.
Betty Buckley & Hello, Dolly! National Tour Company. (Photos by Julieta Cervantes)
I’m glad you’re on stage in Chicago where you belong.
It doesn’t matter if Carol Channing, Bette Midler or Barbara Streisand come to mind, the current touring version with Theatre Hal l of Famer Betty Buckley as Dolly Levi, that brash New York “meddler, matchmaker and miraculous handler of anything needed, is making her endearing way into audiences hearts.
Fortunately the tour is currently in Chicago at the Ford Oriental Theatre where audiences also get a terrific Horace Vandergelder in the person of consummate film and stage actor Lewis J. Stadlen and a talented supporting cast.
Both Nic Rouleau (Book of Mormon) as head Vanergelder clerk Cornelius Hackl and his love interest, Analisa Leaming who reprises her Broadway role as hat shopper owner Irene Malloy,enchant audiences with their wonderful rendition of “It only Takes a Moment.”
While Jess LeProtto (Broadway “Hello, Dolly! Ensemble) pulls off exciting dance moves as junior clerk Barnaby Tucker and his love interest Kristen Hahn (Broadway, “A Gentleman’s Guide to Love & Murder), adds delightful comic relief as hat shop employee Minnie Fay.
Matthew Polenzani and cast of Mozart’s Idomeneo at Lyric Opera of Chicago. (Kyle Flubacker photo)
If you have ever been caught in a storm while sailing or found yourself on a rough boat ride in Lake Michigan you can understand why Idomeneo is ready to bargain with Neptune in return for a safe harbor after being tempest tossed while returning from the Trojan War.
Neptune, willing to make a deal with Idomeneo says he will assure his safe arrival at shore but in return the hero must sacrifice the first person he sees.
Like many mythological Greek gods of yore Neptune seems to really enjoy some irony. As it turns out the first person Idomeneo spots is his very own son Idamante. Ah! The stuff great opera is made of.
This Lyric Opera of Chicago’s revival of Wolfgang Amadeus Mozart’s Idomeneo with a stellar cast of singers and awesome orchestra led by Music Director Sir Andrew Davis, is indeed lyrical. Continue reading “Idomeneo makes awkward deal with Greek god”
The American Revolution is acted out by Theater Unspeakable cast on a tiny, raised platform.
A talented ensemble of seven actors in red union suits depict the salient moments of the American Revolution in an improvisational tableau style on a roughly three foot by seven foot platform, two feet off the ground, in fifty minutes.
Produced by Theater Unspeakable and directed by Marc Frost, the show is oddly compelling and entertaining.
With no scenery or props and using their bodies alone the cast, skillfully choreographed by movement director Thomas Wynne, employ many time honored devices of stagecraft including pantomime, narration, dialogue and a cappella song to guide us through a timeline beginning with the French and Indian war through to the establishment of a new nation while covering events on two continents.
Waistwatchers the Musical is at the Royal George TheatreNo subject in “Waistwatchers – The Musical,” premiering now at the Royal George Theatre, is taboo
Take a talented group of ladies who belt out a powerhouse of hits about the traumas of growing older, getting heavier, and feeling somewhat invisible and you have the basics of a very funny show. You’ll find yourself laughing hysterically and nodding in agreement with their tales of universal woe.
The musical romp stars two-time Grammy nominee vocalist Martha Wash, the queen of disco and half of the Weather Girls, known for their hit single, “It’s Raining Men.”
While the three women commiserate at “Miss Cook’s Women’s Gym,” they sing the praises of younger owner Carla who does her best to keep her favorite customers motivated and on track. Yes, that anthem is an adaptation of “YMCA” and the audience is invited to sing along.
Lighthearted and full of high-energy dancing and non-stop fun, the musical features more than 20 numbers that focus on women’s relationship to food, friendship, loss, sex, Botox and working out. And candy. Lots of candy. Wash is Connie through October 28. The show also stars Kiley McDonald as Carla, Sarah Godwin as Cindy, Krissy Johnson as Cheryl, and Katherine S. Barnes as the MC.
Walsh knocks it out of the park with her powerful vocals and she simply commands the show every time she’s on the stage. She was a joy to watch.
Produced by Dana Matthow, the creative team includes Matthew E. Silva (Director), Alan Jacobson (Creator, Book and Lyrics), Vince Di Mura (Music) and Dani Tucci-Jurraga (Choreography).
The audience included several groups with a few men who were picked on for fun. In the end, the show empowers women to band together, relax and just be who they are.
DETAILS: “WaistWatchers the Musical” is at the Royal George Theatre, 1641 N. Halsted St., Chicago, through Dec. 30, 2018. Running time: 90 minutes with no intermission. For tickets and other information call (312) 988-9000 or visit Waist Watchers the Musical.
Donterrio Johnson (Leading Player) and Koray Tarhan (Pippin); (Photo by Brett Beiner)
Young Prince Pippin, played by Koray Tarhan, is searching for many things to help him fulfill his happiness.
From his glory of the battlefield to his political aptitude and his sensual seductions, not only does he come closer to finding his jubilation, but the audience gets to know Prince Pippin increasingly better by the minute.
Pippin’s imaginative journey is at the heart of Broadway legend Stephen Schwartz’s classic musical ‘Pippin’ which won four Tony Awards in 2013.
The new Chicago production at Mercury Theater’s Venus Cabaret Theater is delightful. Its captivating tunes “Corner of the Sky” and “Magic to Do” are beautifully played by musicians Courtney Anne McNally, Andrew Milliken, and Diego Salcedo.
At the end of the play, Pippin finally discovers where his happiness lies. His message is a worldwide, all-embracing theme.
Cast of Pippin at Mercury Theater Chicago (Photo by Brett Beiner)
A fabulous cast keeps the delighted audience at the edge of their seats as they watch with amazement as each member displays proficient, multiple skills. The singing is beautiful and the dancing is incredible.
Leading Player is performed by Donterrio Johnson who brings Pippin together with the following characters: King Charlemagne the Great—aka Charles—Pippin’s father played by Don Forston; his half-brother, Lewis, played by Adam Fane and his grandmother, Berthe, played by Iris Lieberman.
The cast also includes Nicole Armold, Kayla Boye, Michael Rawls, Gabriel Robert and Sawyer Smith.
“Pippin” is directed by L. Walter Stearns with music direction by Eugene Dizon and choreography by Brenda Didier.
DETAILS: “Pippin” is at the Venus Cabaret Theater of Mercury Theater Chicago, 3741 N. Southport Ave., Chicago, through Dec. 16, 2018. Running time: 2 hours. For tickets and other information, call 7(73) 325-1700 or visit Mercury Theater Chicago.
There are many reasons to see “Shrek the Musical,” now playing in Marriott Theatre for Young Audiences’ series.
As has come to be expected of Marriott shows whether for adult, general or young audiences, the singing, choreography and costumes are first rate.
Directed by Scott Weinstein, with musical direction by Matt Deitchman and choreography by William Carlos Angulo, “Shrek” has a cast actors known to Chicago audiences. Shea Coffman is Shrek, Jacquelyn Jones plays Fiona, Jonathan Butler-Duplessis is Donkey and Steven Strafford portrays Farquaad.
Then there is Marriott’s understanding that a show for young audiences shouldn’t be more than an hour and that scary creatures such as dragons should be shown as merely clever representations actually moved by actors they can see yet still ferocious enough to interest older children.
But what these shows really come down to for parents and grandparents of grade-school youngsters are talking points for discussions on the way home.
Adapted by Jeanie Tesori and David Lindsay Abaire form DreamWorks’ Oscar-winning movie, “Shrek the Musical,” the show revolves around fairy-tale characters sent to ogre Shrek’s swamp because they have no place to go after being ousted from Farquaad’s kingdom. Farquaad considers them weird and he wants what he considers to be an ideal realm.
Families who think this theme is similar to what is going on now and in the past across the globe or merely want to ask their youngsters what they think about Farquaad and his ideas have a strong basis for discussion in “Shrek.”
Shea Coffman, Jonathan Butler-Duplessis, and Jacquelyne Jones in Shrek the Musical.
However, the ending also leaves a lot open to discussion. Shrek accedes to Farquaad’s wishes to bring him a princess in order to become a king and have a queen . Shrek does so because his reward is to have total ownership and control of the swamp.
The proposed match doesn’t work out. The ogre and the princess realize they’re in love . Shrek welcomes the princess and fairy tale characters to his swamp and everyone is supposedly happy.
So first, there is the argument that love’s first kiss can reveal one’s true self which is what the princess was told when a spell was cast upon her. In the musical the princess and Shrek find out they are alike. And there is the question of do princesses still need rescuing?
Then, there is the talking point, not made in the show, of why should characters who are unlike those in a kingdom, country or area have to reside outside it even if they are welcome elsewhere, such as the show’s swamp.
DETAILS; “Shrek the Musical” is at Marriott Theatre, 10 Marriott Drive, Lincolnshire, through Dec. 30, 2018. Running time: One hour. For tickets and other information call (847) 634-0200 or visit Marriott Theatre.
Michael Fabiano (Rodolfo) and Maria Agresta (Mimi) meet when she comes to his garret. (Todd Rosenberg photo)
Giacomo Puccini’s “La bohème”opened the Lyric Opera of Chicago’s 64th season Oct. 6. And what an opening it was.
Not only is the set more creatively stylized from the one opera goers have seen at the Chicago Opera House for more than 40 years, Puccini’s lyrical music and the drama in Luigi Illica and Giuseppe Giacosa’s libretto were also given more depth by English director Richard Jones and Venezuelan-Swiss conductor Domingo Hindoyan then in earlier Lyric productions.
Based on Henri Murger’s “Scènes de la vie de bohème,”the playful interactions of poet Rodolfo (American tenor Michael Fabiano) and his friends, painter Marcello (American baritone Zachary Nelson), musician Schaunard (Puerto Rican baritone Ricardo José Rivera) and philosopher Colline (Romanian bass Adrian Sampetrean), are emphasized as are Marcello’s temperament and Rodolfo’s multi-faceted character.
But what really made the opening a “happening” was Fabiano’s soaring delivery of each aria from “Che gelida manina” to “La più divina delle poesia,” to “Ebenne no, non lo so.”
Thank you, Lyric, for introducing this amazing tenor and his powerfully rich voice to Chicago audiences. Fabiano has already wowed audiences with his Rodolfo at London’s Royal Opera House in 2017 and at the Met earlier in 2018.
