Author: Jodie Jacobs

Rock n Roll

 

Rock ‘n Roll Hall of Fame designed by I.M. Pei.

Maybe you know that the Rock & Roll Hall of Fame museum is on Lake Erie’s shore in Cleveland, OH. It is definitely worth a visit. Learn more about the museum below.

But first see this year’s inductees list of its Class of Performers that pretty much explains why they are chosen. (There is also the Musical Excellence Award and Musical Influencer’s Award.

Following that is a description of the museum and what to expect if you go. Figure at least two hours to go through it.

Brief 2025l ist of Performer Inductees

Announced April 29, it includes Cyndi Lauper, Joe Cocker, Chubby Checker, Bad Company, Outcast and White Stripes. If you want to know why these names are mostly out of the past it is because to be eligible for induction, an individual artist or band must have released its first commercial recording a minimum of 25 years before the nomination year.

The 2025 Induction Ceremony will be Nov. 8, at the Peacock Theater in LA., streamed live on Disney+ and available on Hulu Nov. 9.

Songwriter/singer Cyndi Lauper: Her album, She’s So Unusual, featured “Girls Just Want to Have Fun,” “Time After Time,” “She Bop,” and “All Through the Night,”  won two Grammys.

Songwriter, performer Joe Cocker: Particularly known for his interpretations “Feelin’ Alright” and “The Letter,” is often referenced for  his  “With a Little Help From My Friends.”

Chubby Checker: Think radio broadcasts of the 1960s’ rock & roll dance craze. He and his audience loved  “The Twist,” but also “The Fly,” “The Pony,” and “Limbo Rock.”

Bad Company:  Formed in London in 1973 by former members of Free and King Crimson, they interpreted music at its basic soul level with such FM rock & roll standards as “Bad Company,” “Can’t Get Enough,” “Feel Like Makin’ Love,” and “Shooting Star.”

Outkast: It blended funk, soul, and jazz with storytelling to become a very   successful hip-hop group with such popular recordings as  “Hey Ya!,”

The White Stripes: Originally  started in Detroit in 1997 by guitarist Jack White and drummer Meg White, the group reinterpreted blues and then went with a major re-release of “White Blood Cells” in 2002 before making their breakout album of “”Elephant” in 2003.

Soundgardent: Started by bassist Hiro Yamamoto with guitarist Kim Thayil and singer Chris Cornell in the early 1980’s, they appeared on the Deep Six Seattle grunge compilation in 1984 and 1986 with drummer Matt Cameron  on Indie labels and then went on to release Badmotorfinger in 1991 and the six-time platinum Superunknown in 1994.

The Rock And Roll Hall of Fame often called the Rock Hall.

It’s a museum but definitely not boring.

If you go, you will find many of its featured collections at Level 0 but there is a lot to see on the other levels so start where you want. You might get through it in two hours but leave a larger block of time. There is so much to see from the early years about the genre’s trailblazers. Take your time then move on to the more recent inductees. It’s all a “blast from the past.” But maybe you even have some of the records mentioned so not so distant a past.

Why Cleveland?

It’s location made no sense to me when I first visited it on a travel-writing trip. However, the city and particularly WJW disc jockey Alan Freed pushed for the location. Freed often used the term “rock and roll” when referring on his radio show to what became a popular music genre. In addition, WJW sponsored the  sold-out Moondog Coronation Ball, considered as the first major rock and roll concert.

Before the Rock Hall, as its often called, became a reality there was the  RRHOF Foundation. Established in 1983 by Ahmet Ertegun and his group that included  Rolling Stone publisher Jann S. Wenner, they began naming artists in 1986 and looked for a location including in NYC and Memphis.

Cleveland won with its $65 million offer and the committee liked Freed’s radio and event efforts.BTW Freed was a member of the Rock Hall’s first class in 1986. Groundbreaking took place  June 7, 1993. In attendance were Chuck Berry, Billy Joel and Pete Townshend, among others.

Rock Hall Guide

I like Level 5.  Called Legends of Rock, (used to be on Level O), and filled with artifacts, you might want to start here and then go down. Or start at the beginning with Level O and the Pioneers of Rock – Chuck Berry, Elvis and Wanda Jackson because then you’ll know how much time you need to see everything else.

For more info visit https://rockhall.com/visit/
The museum is at 1100 Rock and Roll blvd, Cleveland, OH 44114, (216) 781-7625.
Jodie Jacobs

 

Wedding Party Revelations

Highly Recommended

A group of bridesmaids hiding out in an upstairs bedroom during a wedding reception find reasons to bond in “Five Women Wearing the Same Dress” produced by St. Sebastian Players.

Featuring costumes by Mary McCarthy, the bonding ritual begins with the common agreement that the attendants’ dress with matching hat chosen by the bride is perfectly ridiculous.

Eventually the bond is further forged by the realization that they don’t even really like the bride that much and the only reason any of them are there is because of some blood relation or past friendship.

There are moments of sincere introspection and serious revelations. As each woman reveals something of herself, they traverse a range of emotions; infuriated, anxious, remorseful, exasperated, frantic, exhausted, flirtatious, but overall, hilarious.

Francis (Kayla Erpenbeck) a self-declared devout Christian is the youngest of the group who ultimately has her eyes opened a bit by the other more worldly-wise ladies.

Merideth (Hannah Green) the hostile sister of the bride would prefer to be anywhere but this wedding and as far away from her Knoxville home as possible.

Trisha (Alexandra T. Cross) somewhat renowned for her past sexual proclivity is a former confident of the bride.

Georgeanne (Claire Rutkowski) involved in an unhappy marriage has encountered a past lover at the reception.

Mindy (Laura Peterson) is the openly lesbian sister of the groom.

Each of these actors do a superb job inhabiting their respective roles. The dialog by playwright Alan Ball is believable and smooth as the women segue from story to story. Director Jill Chuckerman Test moves the players seamlessly in and out of the one room set and around the stage in a very natural manner.

The set design by Emil Zbella is perfectly reminiscent of a fashionable bedroom in an upscale suburban Knoxville home, complete with 1980s style stenciling on the walls, a small chaise lounge and a make-up table or vanity where much of the action takes place.

Act One of this two act “drawing-room” comedy is flawless. My issue with Act Two is with the playwright, not the actors. Ball somewhat abruptly introduces a new male character, Tripp (Trey Sorensen) to serve as a love interest for one of the women. Since the play is set roughly in the 1990s there is dialog that was maybe hip and edgy at the time but seems a little cringy today.

I personally feel this new plotline needlessly takes the story in a new and unexpected direction. I wish he could have thought of an alternate way to wrap this up within the context of the established characters. In the end it does not spoil the experience but is more of a hiccup.

The theater is a comfortable venue with tiered seating that accommodates about 75 in the basement of St. Bonaventure Church. Sadly, there is no elevator so be prepared to navigate some stairs. Limited free parking is available in the back with plenty of additional street parking.

Details: “Five Women Wearing the Same Dress” produced by St. Sebastian Players at St. Bonaventure Church, 1625 W. Diversey, Chicago, IL runs through May 18, 2025. Running time is 2 hours including a 10-minute intermission. For tickets and information visit saintsebastianplayers.org

Reno Lovison

Sex and drugs and rocking chairs

 

L to R Bob Sanders, Ellen Phelps, Kenneth Johnson and Elizabeth Rule. Photo by North Shore Camera Club.

HighlyRrecommended

In case you think that “A Jukebox for the Algonquin” is merely about an old people’s care center, the phrase listed under the title is a hint to what the show at Citadel Theatre in Lake Forest is really about.

Well directed by Scott Westerman it takes place in upstate New York’s Placid Pines Senior Care Center where a recreation room is dominated by a fish tank that you don’t see but can imagine as a handful of residents feed the fish or refer to it.

They decide a much better use of the space would be  a jukebox they could use to play tunes and dance to. They hear of a second-hand Wurlitzer but how would they pay for it? You get the how idea at the end of Act I as they learn what is among the stuff being cleaned out of a room there just vacated.

They are residents Johnny ( Kenneth Johnson) somewhat of a leader of the group, his good friend Dennis (Bob Sanders), Annie (Ellen Phelps) who has an over-the top personality and BTW is Citadel’s co-producer, and Peg who bakes cookies (Elizabeth Rude who also plays Mrs. McDarren, a visitor who is checking out the facility).

Also on the set are Chuck, a knowledgeable and funny janitor (Patrick Thornton), and the facility’s staff members, Josefina who often pops in (Karla Corona)  and Tyler (Joshua Thomas).

Written by Paul Stroili, the plot reminds us there is more to senior citizens and growing old than gazing at the TV or a large fish tank.

I like that scenic designer Catalina Nino kept the setting simple and that costume Danielle Reinhardt stayed with normal, wearable clothes so that the audience could focus on the words and actions.

DETAILS: “A Jukebox for the Algonquin” is at Citadel Theatre, 300 S. Waukegan Rd., Lake Forest, IL. now through May 25, 2025. Running time: 2 hours with one intermission. For tickets and other information call  847-735-8554, x1, or visit www.citadeltheatre.org.

Jodie Jacobs

For more shows visit Theatre in Chicago

A political horror story

 

https://i0.wp.com/www.chicagotheatrereview.com/wp-content/uploads/2025/04/SGT_ATOTC_8537_web_credit-Michael-Brosilow.jpeg?fit=640%2C446&ssl=1

Highly recommended

 

Charles Dickens’ expose of the French Revolution produced by the Shattered Globe Theatre at the Wit is cleverly performed by a cast of eight and seems a little too close to home in today’s political climate.

This story of love, politics, mob action and self-sacrifice demonstrates how collective passion for social change can ensnare even the innocent in a net of violence that is intended to punish those guilty of creating financial crises, promoting social inequality and suppressing the ideals of enlightened thinking.

A well-conceived adaptation of “A Tale of Two Cities” adapted by Brendan Pelsue and directed by Mikael Burke, tells a big story on a small stage with a minimal cast that encourages the audience to express their emotions as various incidents occur.

This vocalization from “the mob” adds energy to the production providing a visceral feeling of being part of the events and perhaps even some responsibility for decisions that are made and actions that take place.

A cautionary tale that depicts injustice masquerading as justice, this shows how those in power can manipulate the system to exact revenge and to accomplish their political objectives, illustrating how the manipulated emotions of the mob can incite violence and add credibility to the injustices being perpetrated.

Dickens weaves a fictional chronical that begins with a love triangle involving Lucie Minnet and two men who bear an uncanny resemblance to one another, Charles Darnay and Sydney Carton.

Ultimately the three are engulfed in “the terror” that results in guillotine executions of thousands of aristocrats and their perceived associates and sympathizers including the king and queen.

Lucie’s father, Dr. Minnet, has been falsely imprisoned in the notorious Bastille because he was witness to a horrible crime involving two aristocrats who used their power to silence him.

Dr. Minnet becomes a hero of the “Storming of the Bastille,” an event that sparked the beginning of the French Revolution.

Darnay, a member of the French aristocracy, has denounced his favored position as a Marquis in sympathy with the revolutionaries who seeks to put more power into the hands of “the people.”

The status of Dr. Minnet as a revolutionary hero and Darnay’s sympathetic stance cannot totally insulate them and their family from the madness of the mob personified by the character of Madame Defarge. As an overzealous and vengeful revolutionary, she even manages to whip this rather passive audience at The Wit into a frenzy.

The talented ensemble moves seamlessly from role to role as each of the actors portray multiple characters. The cast is comprised of Daria Harper (Actor 1), Diego Vazquez Gomez (Actor 2), Demetra Dee (Actor 3), Glenn Obrero (Actor 4), Penelope Walker (Actor 5), Jazzma Pryor (Actor 6), Jeff Rodriguez (Actor 7), and William A. S. Rose II (Actor 8).

This is a story of a reality that seems impossible. The set design by Eleanor Kahn & Milo Bue features an array of smoky semi-gilded mirrors that dominates the backdrop from floor to ceiling. It provides an otherworldly distorted reflection of the action as well as an eerily distorted view of the audience who are part of the ensemble.

The lighting by Eric Watkins is subdued augmented by clusters of candles around the perimeter of the stage that contribute to the indistinct and unsettling nature of events taking place.

The candlelight along with the costumes by Kotryna Hilko indicate that this is a period piece that historically represents an actual place in time.

The overall cadence of the dialogue has a contemporary vibe with moments of humor and levity that lighten the atmosphere a bit. Its gallows humor reminds us of just how absurd things can get when they have gotten completely out of control.

The actors make no attempt to affect either a British or French accent which would only unduly complicate the message.

This modern approach no doubt makes the production more accessible to younger audience members who may find a more traditional telling of the story somewhat oppressive and remote.

My first impression was that Pelsue’s approach harks back to what we might have called a “Cliff’s Notes” version of Dickens’ original story. That is to say, an abbreviated retelling designed primarily to touch on the main themes in order to pass a literature test.

But thinking back to the 1958 film, it took about the same amount of time to tell as this version. The advantage of a movie is you can get more information in the time provided because you can tell with moving images details that you cannot include on stage.

Dickens’ writing traditionally is fraught with minute details that draw you into the time and place. In a book, he can take as much time as he wants to set the scene and explain the backstory. I would compare this version to that of an operatic libretto. The story is complete but stripped to the essentials. In this case a narrator or one of the characters often fills in some of the details in order to keep the plot line moving.

The overall effect of this version of a “Tale of Two Cities” was quite satisfying and thought provoking. I would highly recommend this to Dickens fans; anyone unfamiliar with the story; anyone unfamiliar with the history of the French Revolution and anyone interested in how a political movement run amok can affect the lives of every person involved resulting in unfathomable horrors perpetrated in the name of justice.

Details: “A Tale of Two Cities” by Shattered Glode Theatre is at Theater Wit, 1229 W. Belmont, Chicago, IL through May 31, 2025. Running time: About 2 hours plus a 15-minute intermission. For tickets and information visit sgtheatre.org, call the Theater Wit box office, (773) 975-8150, or purchase in person at Theater Wit.

Reno Lovison
For more reviews visit TheatreInChicago

Titanic the Musical

Sully Ratke’s perfectly dated costumes and finery (or lack of it) define their wearers’ status which in this period musical is important as they reflect the lifestyles of the passengers who promenade each of Titanic’s decks.
If you go, do glance up at the walls where an up to date time appears as the Titanaic moves toward the iceberg. Four days into her maiden voyage from Southampton, England to New York, the RMS Titanic sank April 15, 1912 in the North Atlantic Ocean. There were about 2,224 people on board of whom more than 1,500 died. 
DETAILS: “Titaanic the Musical” is at Marriott Theatre Lincolnshire, 10 Marriott Drive, Lincolnshire, IL, now through June 1, 2025. For tickets and more information visit  Marriott Theatre 0r call 847-634-0200.
Jodie Jacobs

Stingingly familiar peek at organizational leadership

The Whole Seamus Thing

Highly Recommended

The founder of a plucky not-for-profit who has been on administrative leave returns threatening to revert to the status quo and up end planned changes taking place in his absence.

This is a humorous take on a very real inflection point where an organization is moving beyond the skill set of the founder whose success has been largely due to an ability to engage others in their vision. At the same time those in administrative positions and others operating behind the scenes do not fully appreciate the value of charisma and passion.

Writers Ben Auxier and L.C. Bernadine seemed to have had a shared experience that has allowed them to capture, with one voice, the essence of the behind-the-scenes realities of typically underfunded, understaffed and overworked not-for-profits often surviving on dedication to make up for a lack of resources.

“The Whole Seamus Thing,” skillfully directed by Spencer Huffman is a perfect ensemble piece where each cast member is equally weighted. No one stands out as more important than anyone else in regard to telling the story. Each role speaks on behalf of one of the organization’s stakeholder groups.

The simple set design by Raquel Dwight combined with the effortless dialogue, in this intimate theater space, has a naturalness that puts you immediately at ease and feeling like you are a fly on the wall.

Seamus (Alexander Attea) is the affable, sometimes disingenuous, passive aggressive founder who feels his lofty position allows him the latitude to behave as he wishes, often with total disregard for the feelings of others.

Mel (Lydia Moss) is currently the communications manager, aspiring to become the new executive director who is feeling overwhelmed by having to cover for the founder’s short comings including his lack of attention to detail.

It is the tension between Seamus and Mel that drives the plotline.

Co-writer Ben Auxier plays Marty the laid-back confidante of Mel who represents the support staff that keeps the ship in balance. He works hard to relieve tension by running interference between the opposing factions. This job is his livelihood and his safe harbor. He does not seek personal attention and does not want to contribute to anything that rocks the boat.

Gabriel Fries offers a measured comic sensibility as Newton, the clueless board member who has stepped in as acting executive director until the situation regarding the “whole Seamus thing” is resolved. He has very little idea of the inner workings of the organization or what he is supposed to be doing so he busies himself as cheerleader-in-chief hoping to keep everyone motivated.

Olivia Lindsay is quietly hilarious as Kayla the industrious well-meaning volunteer who has a penchant for climbing ladders and zealously guarding the precious markers and tape. It is no surprise that Lindsay is also a professional clown incorporating every element of her being into the role.

Those who have any experience with working inside a grassroots not-for-profit will feel the sting of familiarity. For those without that experience it is a peek into an unknown word that smacks of a reality TV show or a mockumentary like “Waiting for Guffman” or “Spinal Tap.”

Details: “The Whole Seamus Thing” is at Bramble Arts Loft, 5545 N. Clark St, Chicago. through April 19, 2025. Running time is about 90 minutes with no intermission. Tickets are on sale at https://bit.ly/seamusthing

Reno Lovison

A very Sunny Afternoon

 

“Sunny Afternoon” brings The Kinks greatest hits to The Yard at Chicago Shakespeare Theater. (Photo credit: Carol Rosegg)

HIGHLY RECOMMENDED

The Shakespeare Theater at Navy Pier seems an appropriate site for a retrospective British invasion of Chicago.

This energetic jukebox musical, “Sunny Afternoon,” enjoying its North American premiere here in Chicago, is based on the story of the Kinks as told by lead singer and songster Ray Davies, filtered through the adept hand of playwright Joe Penhall.

Following on the heels of the success of The Beatles and Rolling Stones, another group of working-class lads from the outskirts of London called The Kinks made their mark on the history of Rock and Roll.

Their first big splash on both sides of the pond was “You Really Got Me” featuring an iconic fuzzy five chord guitar riff.

The fifteen-member cast of talented actor/singer/dancer/musicians, directed by Edward Hall, move seamlessly onstage and around the theater, through twenty-five musical numbers often playing multiple roles while switching instruments as necessary to provide the very appreciative audience with virtually nonstop entertainment.

The beginning of the second act is punctuated with an impressive solo by Kieran McCabe as drummer Mick Avory.

Danny Horn perfectly embodies the pivotal role of the depressive Ray Davies, plagued by his feverish mind and manic need to create.

Oliver Hoare plays Ray’s uninhibited and rambunctious brother Dave Davies a/k/a “Dave the Rave” whose sometimes comical and often boisterous antics take their toll on those around him.

Horn and Hoare are both imports from the popular West End production of the show.

The roughly seven-year storyline covering the rise of the group, their egregious record deal and arduous touring schedule, combined with strained personal relationships, is not much different from the experience of many rock and roll bands of the era, but it is enough to supply the narrative necessary to create an excuse to move from song to song.

“A Well Respected Man” is used cleverly to introduce the band’s self-described Torrey managers Larry Page (Sean Fortunato) and Grenville Collins (Will Leonard) whose uptight characters provide much of the comic moments in the show. “He’s a well-respected man about town – – Doing the best things so conservatively.”

Horn sings a beautifully harmonious duet of “This Strange Effect” with Anna Margaret Marcu as Ray’s girlfriend and soon to be wife Rasa.

The show’s title song “Sunny Afternoon” is inspired by the idea that after the tax man has gotten his share of the money and his girlfriend has left, at least he can enjoy the freedom of a summertime sunny afternoon.

The grand finale reprises a medley of the Kink’s most memorable songs, “All Day and All of the Night”, “You Really Got Me”, and “Lola.”

They “really got me.”

DETAILS: “Sunny Afternoon” is at the Chicago Shakespeare Theater, Navy Pier, through April 27, 2025. Running time is about 2 and a half hours with a 15-minute intermission. For tickets and information visit ChicagoShakes.com

Reno Lovison

For more reviews visit Theatre in Chicago

Nonequity Jeff awards announced

 

(Artwork courtesy of Kokandy Productions)

  Non-equity Jeff award recipients for the 24th season were named during a ceremony at the Harris Theater in Chicago, March 24, 2025. They were chosen from 138 nominees in 25 artistic and technical categories.  The evening featured included acts from several nominated productions.

Kokandy Productions topped the award list with five for its musical production of “Into the Woods” in the Production, Ensemble, Direction, Musical Director for a Musical/Revue and Artistic Specialization for orchestrations categories.

Open Space Arts took four awards for its Short Run Productions (nine – 17 performances) including “Cock” that received awards for Short Run Production and Short Run Supporting Performer plus “Light Switch” that received honors for Short Run Director and Short Run Principal Performer.

The 2024 Non-Equity Award in the Production – Play category went to City Lit Theater Company for August Wilson’s “Seven Guitars.”  It also received an award for Performer in a Supporting Role. (“Seven Guitars” represents the 1940s section of Wilson’s Pittsburgh Cycle.)

For a complete list of award recipients go online in the Non-Equity and News and Events sections of www.jeffawards.org.

Jodie Jacobs

 

Tale mixes remorse and romance

Jennifer Agather and Robert Hunter Bry in “The Winter’s Tale” at Invictus Theatre. Photo by Aaron Reese Boseman Photography.

Highly Recommended

A story of reproach, remorse and reconciliation, William Shakespeare’s “The Winter’s Tale” presented by Invictus Theatre, has something for everyone. It is both tragedy and a romantic comedy with sorrow, absurdity, mirth and fantasy.

The opening act is clear tragedy and might have you wondering what you’ve gotten yourself into.

King Leontes (Michael Stejskal) falsely accuses his wife Hermione (Andrea Uppling) of having an affair with his brother, Polixenes (Raúl Alonso), that has resulted in her pregnancy.

The accusation has tragic consequences for Hermione and the couple’s son and heir, prince Mamillius (Jennifer Agather).

The new born baby girl is sent with Antigonus (Fred A. Wellisch) to the outskirts of the kingdom to be abandoned in the woods.

There are three superb monologues expertly performed. The first is by Uppling as Hermione when she defends herself. Then by Hermione’s good friend Paulina (Amber Dow) who admonishes the King for his actions. And lastly, by Stejskal as Leontes when he realizes what he has done.

These three are the pivotal players who clearly demonstrate the high level of performance within the ranks of the Invictus Theatre company.

Things lighten up considerably in the second act sixteen years later. The baby, who has been named Perdita (Jennifer Agather) has been found and raised by a shepherd (Chuck Munro).

She has grown into a beauty who has caught the eye of prince Florizel (Robert Hunter Bry). Ironically, he is the son of her Uncle Polixenes, the ruler of the neighboring kingdom of Bohemia, a place of bawdy fun and good cheer.

We won’t get into the fact that these two are first cousins. After all, this is a royal romance and it’s important to keep the bloodline in the family.

This act is full of youthful exuberance. It includes a hilarious scene of buffoonery, that would be a great success on any vaudeville stage. The performance involves Autolycus (Sam Nachison) a vagabond trickster who cleverly steals the clothes off the back of the Shepherd’s son (Kyle Quinlivan).

In the end, all the characters are united including Queen Hermione who is momentarily resurrected in the form of a statue erected to her memory by her friend, Paulina.

There are a number of minor roles played brilliantly by various actors which reminds me of the adage, “there are no small roles – – only small actors.”

Directed by Charles Askenaizer, this very capable Invictus company has no small actors. Everyone contributes to the story and their roles are capably performed.

The character of Camillo (Kim Pereria) is a bit of glue that ties Leontes and Polixenes together. In fact, he warns Polixenes of the King’s wrath and escapes with him to safety. Though a comparatively small role he is clearly no small actor. Pereria spoke every line with an easy clarity of meaning that demonstrated his mastery of this art form.

If you are unfamiliar or afraid of Shakespeare because you think it might be difficult to understand. Forsooth! Fear thee not, good soul. These most artful players do employ such mastery in their deeds and such clarity of tongue and fair enunciation, that, joined with the noble and skillful quill of the Bard himself, thou shalt have but little toil to grasp the tale and the deeds unfolding afore thine eyes.

Details: The Winter’s Tale by Invictus Theatre Company is at the Windy City Playhouse, 3014 W. Irving Park Rd., Chicago, through April 20, 2025. Running time: about 2 1/1 hours with one intermission. For tickets and more information visit www.invictustheatreco.com

Reno Lovison

For more reviews visit Theatre in Chicago

La Boheme at Lyric Opera of Chicago

Highly Recommended

Yes, this is the opera where the young lady with the bad cough dies at the end. Puccini’s classic has often been spoofed but it is also  the inspiration for the popular rock musical, RENT.

In this production of La Bohème directed by Chicago native Melanie Bacaling at Lyric Opera of Chicago, Maestro Jordan de Souza conducts tenor Pene Pati (Rodolfo) in his Lyric debut, with Ailyn Perez, soprano (Mimì), Gabriella Reyes, soprano (Musetta), Will Liverman (Marcello), Peixin Chen (Colline), Ian Rucker (Schaunard), Levi Hernandez (Benoit & Alcindoro), Travon D. Walker (Parpignol), Uniting Voices Chicago, and the Lyric Opera Orchestra and Chorus.

First, a little background. The term La Bohème or Bohemian, in English, was assigned to anti-establishment artists and intellectuals who were free thinkers. Indeed, the very image of starving artists are the focus of the story. Often living in poverty, they could be found residing in cheap lodgings in the Latin Quarter of Paris during the later part of the 19th century when this story takes place.

In Act One, we learn that Rodolfo, Marcello, Colline and Schaunard are four young men sharing a garret in Paris. Each member of the Bohemian quartet is laboring at his own intellectual or artistic pursuit while struggling to keep a fire in their little stove during this cold winter.

Schaunard, the musician, announces that he has raised enough money for some meager groceries and treat them all to dinner. As they leave Rodolfo says he will catch up with them after he finishes his project.

There is a knock at the door. Neighbor Mimi enters and asks Rodolfo if he might light her candle which has gone out. Rodolfo is immediately smitten with the young woman.

While speaking Mimi realizes she has dropped her key.  In the process of searching for it, both candles are extinguished and the two are left fumbling in the dark. They share their life stories and fall immediately in love.

Act Two introduces us to “party girl” Musetta who loves life and sometimes loves Marcello. A colorful street scene and café society provides a distinct counterpoint to the squalor of the bohemian’s garret. The scene depicts the high energy public life in the Latin Quarter where both rich and poor meet and mingle offering opportunities of every kind.

Act Three is several months later. Rodolfo and Mimi have been living together in the garret and Marcello has moved above a local inn with Musetta. It is dawn and Mimi comes to the inn in search of Rodolfo who has not come home. She overhears Rodolfo confess that he wants to break off his relationship with her, primarily because he is concerned for her health and cannot bear to see her fade away.

In Act Four the worst-case scenario comes to pass. Mimi is indeed dying and shows up at the garret to be with Rodolfo. They have always been in love even during their separation.

Everyone pitches in to make Mimi as comfortable as possible but she tragically succumbs to her illness and Rodolfo is grief stricken as the show concludes.

I was in the audience opening night of Pene’s Lyric debut in what promises to be a notable career. The Samoan tenor’s soaring high notes provided the requisite drama and intensity to his portrayal of Rodolfo. It perfectly complimented the beautiful tones of Chicago’s own soprano, Perez.

Though still very much in the traditional vein and rather dark, this new set design by Gerald Howland did feel fresh and visually appealing. The Eiffel Tower depicted in the distance is not quite complete. As it was built for the 1889 World’s Fair this firmly and cleverly sets the action in 1888.

The garret section, where much of the action takes place, was set too far back and with it being a small enclosure it seemed to inhibit the volume of the voices. This is compounded by the fact that the arias sung from that position on stage also happen to be more intimate moments that are sung mezza voce.

Also, I am not sure where Mimi’s apartment is located. Seemingly Rodolfo and his companions are on the top floor so where did she come from? When she enters, the door is left open even though it is unbearably cold outside and there is no apparent inner hallway.

In terms of lighting when the candles go out there is no shift in light onstage. We have to rely on them to tell us they are in darkness. Then we learn at one point that they are operating by moonlight but where is that coming from and why don’t we see it?

All of these anomalies can be easily overlooked but staging, lighting, costumes and props should help to support the story and fill in some of the gaps that the lyrics, dialogue, and action do not specifically express. This is especially true of opera where language can already be a barrier.

Rather than rely on the prompter to tell me about the darkness of the room and subsequent moonlight I have liked to see it.

The colorfulness of Act Two offers an energetic background for the introduction of Musetta. Toy seller Parpignol, together with twenty youngsters from Uniting Voices Chicago (formerly Chicago Children’s Choir) provided the necessary contrast needed to keep the theme of the production from being all doom and gloom and too oppressive.

I personally love the timbre of the children’s voices blended with those of the robust Lyric Chorus.

Soprano Gabriella Reyes as Musetta was requisitely flirty and sensual but director Bacaling might have helped her out a bit regarding the implementation of her little dance on the chairs. The intention of this activity is to show Musetta as completely unconventional and free spirited but came across as contrived, awkward, and potentially dangerous – – losing some of its spontaneity.

The problem with having seen a few productions of La Boheme is that I cannot help making comparisons. I first saw this opera at The Met sometime around 1980 and Act Three is indelibly burned into my memory.

The deep stage allowed a hundred chorus members and supernumeraries to file slowly up a hill and through the city gates at dawn while the snow endlessly drifted down. I felt like we were outside in the middle of Central Park.

Howland’s set design in Act Three is more intimate, reminiscent of Lyric’s 2019 version and that’s not bad, just different. Without the comparable I think I would be fine with it – – and by the way the snow was very effective.

I did like the look of Musetta and Marcello’s apartment above the inn and the location of the interaction of the characters in this scene being front and center with a small tree as a reference point.

This created a more believable visual for the idea that Mimi is overhearing the conversation between Marcello and Rodolfo. In other productions I’ve seen the performers seemed lost in a vast void. So, this is an improvement.

As always, the Lyric Orchestra led by Maestro Jordan de Souza was outstanding.

La Bohème is a story of youth, passion, love and loss where idealism comes face-to-face with life’s realities such as poverty, illness and death.

It is a very accessible opera for those who may not have much familiarity with this theatrical or musical art form. It was very satisfying to see a number of young people in the audience, no doubt a result of the sizeable participation of youngsters on stage.

I was introduced to opera in my youth through my mother who sang in an amateur opera company giving me an opportunity to appear on stage in a non-singing role in a few of their operas and also as a “super” at The Lyric when I was about ten years old. These experiences have contributed to my enjoyment all these years later.

If you’ve seen La Bohème before, you will no doubt enjoy this performance. If you are unfamiliar with this particular opera or opera in general, this is a perfect opportunity to experience something new and maybe bring a young person with you.

DETAILS: “La Bohème”is at the Lyric Opera House, 20 N. Wacker Drive, Chicago, through April 12, 2025. It is sung in Italian with easy-to-follow English translation projected above the stage. Running time is 2 ½ hours with one intermission. For tickets and other information call (312) 827-5600 or visit LyricOpera.org/boheme

Reno Lovison

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