Director Robert Carsen who first did this Eugene Onegin at the Met in 1997, does an interesting presentation of the beloved Tchaikovsky opera.
Tchaikovsky opera ‘Eugene Onegin’ at the Lyric Opera of Chicago. Lyric photo
The curtain opens to reveal a distant, somewhat shadowy figure of baritone Mariusz Kwiecien as an Onegin who is gloomily leafing through the pages of an old letter.
How he came to this despondency unfolds through about 160 minutes (not including the intermission) of wonderfully lyrical and dramatic acting and singing guided by revival director Paula Suozzi and conductor Alejo Pérez. Continue reading “Lyric ends opera season on a glorious Tchaikovsky note”
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.
Tchaikovsky opera ‘Eugene Onegin’ opens at the Lyric Opera of Chicago. Lyric photo
Lyric Opera
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.
Rolling Stones
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.
The depressing atmosphere of a home where time is passing people by is immediately apparent with the set of “Uncle Vanya,” now at Goodman Theatre.
David Darlow, Kristen Bush, Tim Hopper, Marilyn Dodds Frank, Larry Neumann Jr., Caroline Neff and Mary Ann Thebus in Goodman Theatre’s “Uncle Vanya” adapted by Annie Baker. Photo by Liz Lauren
Designed by Todd Rosenthal, a once elegant country estate confronts audiences with ravished walls, a light bulb that hangs from a chandelier and decrepit furniture. Continue reading “Chekov drama confronts wasted lives”
Up on the second floor of 180 N. Michigan Avenue beginning mid May, 2017 you will find Samuel Clemens and Saul Bellow, Ernest Hemingway and Nelson Algren, Harriet Beecher Stowe and Gwendolyn Brooks.
A story board in the American Writers Museum shows where a 60 foot long “American Voices” wall will go. Photo by Jodie Jacobs
The list of great American and Chicago writers could easily fill a few large tomes.
Instead the famed writers will be filling the American Writers Museum with their personalities, words and, hopefully, inspiring new generations of writers. Continue reading “Chicago has a new museum”
‘Carmen,’ the popular opera by Georges Bizet’ where nearly all the music sounds very familiar, is an audience pleaser at the Lyric Opera of Chicago.
A new production directed and choreographed by Rob Ashford who did the Lyric’s Carousel’ two seasons ago, the opera has the kind of important touches that make Broadway musicals special.
Ekaterina Gubanova (Carmen) teases Joseph Calleja (Don Jose) in ‘Carmen’ at the Lyric Opera of Chicago. Photo by Todd Rosenberg
There is fine acting of major roles, an outstanding voice, that of tenor Joseph Calleja as Don José, a leading lady, mezzo-soprano Ekaterina Gubanova who seems born to the part of Carmen, modern dance movements that capture audience attention during musical interludes, and exciting music thrillingly played by the Lyric Opera Orchestra that has people tapping their toes during the opera and humming during intermission.
Ashford’s staging is creative. The final scene where Don José stabs Carmen rather than have her go to her most recent lover, the dashing bullfighter Escamillo (Christian Van Horn), is set against the dramatic, high back of a bullfighting arena where its audience is silhouetted against a red-orange sky.
Excellent set design by David Rockwell and costumes by Julie Weiss beautifully fit the period, location and atmosphere.
But make no mistake. This is opera. Bizet’s music and the libretto by Henri Meilhac and Ludovic Halévy have turned Prosper Mérimée’s ‘Carmen’ novella about seduction, jealousy and death into a dramatic opera, beautifully sung at the Lyric.
The takeaway from Lyric’s ‘Carmen’, a co-production with the Houston Grand Opera, is Gubanova’s ‘Habanera’ and ‘Seguidilla,’ Van Horn’s ‘Toreador Song’ and Calleja’s gorgeous ‘Flower Song.’
Details: ‘Carmen’ by Georges Bizet is at the Lyric Opera of Chicago in the Civic Opera House, 20 N. Wacker Drive, Chicago, now through March 25. For tickets and other information visit Lyric Opera and call (312) 827-5600.
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.
Rosaline (Laura Rook) and Berowne (Nate Burger) are attracted to each other. Others are Longaville (Madison Niederhauser), Dumaine (Julian Hester), King of Navarre (John Tufts) and Princess of France (Jennie Greenberry) in ‘Love’s Labor Lost’ at Chicago Sheakespeare Theater. Photo by Liz Lauren
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.”
Cassie Slater (Rosie) Danni Smith (Donna) and Meghan Murphy (Tanya) in ‘Mamma Mia!’ at Marriott Theatre. Photo by Justin Barbin
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. Continue reading “‘Mamma Mia’ moves to a vibrant disco beat”
Valentine’s Day rose delivery has passed so should we be thinking about orchids now for Mother’s Day or prom?
Orchids fill the Regenstein Center and green houses at the Chicago Botanic Garden. Photo by Jodie Jacobs
It’s funny how potted orchids have become a popular grocery store item and how they are even on the shelves of big box hardware stores such as Home Depot. So instead of cut flowers, maybe an orchid in a pot makes a nice gift.
But if you want to see a lush variety hanging from trees or peeping out through tropical vegetation and you are in the Chicago area, go over to the Chicago Botanic Garden in North Suburban Glencoe.
The Botanic Garden’s popular annual Orchid Show has taken over the Regenstein Center and green houses, now through March 26, 2017.
The show’s theme this year is ‘Orchids in Vogue‘ so as you look at a wall of photos reminding visitors of how orchids were used through the ages maybe you recall giving or receiving an orchid for Mother’s day or a prom.
The show might even inspire you to buy an orchid for yourself or as a gift.
Tips: Experts are on hand weekends to answer questions on growing orchids. To see orchid artistry, go to The Illinois Orchid Society for its Spring Show and Sale March 11 and 12.
But mostly go to the show any day of the week to enjoy their beauty.
Cost: Adults: members/nonmembers: $10/$12, seniors 62+ $8/$10, children age 3–12: 8/$10. Nonmember parking is extra but can be bought in advance for easier garden entry and there is a Two Pack deal for parking and two tickets. The Chicago Botanic Garden is at 1000 Lake Cook Road, Glencoe, IL 60022. For tickets and other information visit CBG and call (847) 835-5440.
‘Merce Cunningham: Common Time,’ now at the Museum of Contemporary Art Chicago, is an excellent example of how the arts can fall into neatly separated compartments and yet be integrated into an astonishingly workable whole.
Robert Rauschenberg, “Tentric Geography” decor and costumes for Travelogue 1977 at MCA exhibit of ‘Merce Cunnngham: Common Time.’ Photo by Jodie Jacobs
Videos zoom in on Cunningham’s innovative choreography so that viewers understand that this famed dancer’s concentration on body movements revolutionized modern dance.
But although the title ‘Common Time’ may seem unusual for an exhibit that is a retrospective of a brilliant dancer and choreographer, it quite succinctly sums up how Cunningham pulled in art and music for his company’s performances.
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.
Ed (Alan Wilder) Jake (Madison Dirks), Drew (Ryan Hallahan) and Matt (Brian Slaten) in “Straight White Men” at Steppenworlf. Photo by Michael Brosilow
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.
