What's happening on the arts scene – on stage, in museums and at fairs and festivals
Lollapalooza just announced a strong lineup for 2018 that includes Bruno Mars, The Weekend, Jack White, Arctic Monkeys, Travis Scott, The National, Odesza, Logic and Vampire Weekend.
The mega (more than 170 performances) four-day summer pop fetival is Aug. 2 to 5 in Chicago’s Grant Park.
Visit Lollapalooza lineup for the complete list.
Related: Lollapalooza tickes are available
HIGHLY RECOMMENDED
Take a town with a water system that is polluted and put it into a play.
Or take a town or company where the powers that be would rather cover-up a health hazard than pay for a costly fix.
Or take a media outlet that enjoys being in the good graces of a powerful politician so it will publicize fake information rather than the truth.
Flint, Michigan may come to mind, or a nuclear facility worthy of a movie, or name a media outlet you love to hate. Then go see ‘An Enemy of the People,’ written by Henrik Ibsen in 1882 and now playing at Goodman Theatre in Chicago.
Adapted and directed by Robert Falls who points out in an online video that the choice is in “response to where the country may be headed,” and that its themes of corruption and environmental disaster make the play “contemporary,” the production ought to be playing all year but will only be at Goodman through April 15, 2019.
Well cast, Philip Earl Johnson brilliantly portrays Thomas Stockmann as a doctor worried about the illnesses he has seen as medical officer of the new Municipal Baths and as an idealist willing to take on townspeople and officials including his elder brother, Peter Stockmann. Peter, the town’s mayor and Thomas’ Baths boss, is depicted perfectly by Scott Jaeck
Lanise Antoine Shelley handles the role of Thomas’ pregnant, second wife Katherine with grace and restraint. Rebecca Hurd is very believable as Thomas’ adult daughter Petra who teaches school and follows her father’s ideals.
David Darlow is Katherine’s cantankerous, sly father Morten “the Badger,” Kiil, the wealthy owner of a tannery that is polluting the water.
Moving through the plot are Editor Hovstad (Aubrey Deeker Hernandez) of “The Peoples’ Messenger,” Asst. Editor Billing (Jesse Bhamrah) and Aslaksen (Allen Gilmore), a publisher and the paper’s printer. They are characters who profess one thing then change direction when so determined by political winds.
Clever staging puts the backs of the townspeople to the audience when Thomas tries to hold a meeting to explain scientific findings that declare the bath waters to be toxic. Playing the townspeople are Larry Neumann, Jr. (The Drunk), Carley Cornelius, Arya Daire, Guy Massey, Roderick Peeples and Dustin Whitehead.
Instead of winning friends to his side at the meeting, Thomas insults the townspeople calling them stupid and comparing them to dogs. Even though the opening night theater-goers understood that Thomas’ belittling speech wasn’t going to convince anyone in the town to change, the Goodman audience broke into applause when Thomas pointed out that stupid leaders were elected by stupid people.
Indeed, the play is filled with interesting insights such as “The public doesn’t want new ideas. They are perfectly happy with the old ones.
‘An Enemy of the People’ is at Goodman Theatre , 170 N Dearborn St., Chicago, now through April 15, 2018. Running time: 2 hours and 20 minutes including one intermission. For tickets and other information call (312) 443-3800 and visit Goodman Theatre.
Jodie Jacobs
For more shows visit Theatre in Chicago
Listen up Lollapalooza fans.
Four-day tickets to the mega (more than 170 performances) music festival at Grant Park, Chicago, Aug. 2-5 are on sale at 10 a.m. today, March 20, 2018. It features more than 170 performances from 11 a.m. to 10 p.m.
General admission is $335 plus taxes and fees but tickets go quickly.
VIP is $2,200 and Platinum is $4,200.
Hotel packages are for the WChicago, LondonHouse Chicago, Ritz-Carlton, Hyat Regency Chicago, JW Marriott Chicago and The James Chicago.
Certainly, the Field Museum is known for its T Rex and dinosaurs in its “Evolving Planet” exhibition and for its native American exhibits including the popular Pawnee Earth Lodge.
But another favorite permanent exhibition is “Inside Ancient Egypt” where visitors descend down into a tomb and see painted mummy coffins.
Now, the contents of those coffins and others can be revealed because of current technology.
“Mummies,” the Field’s newest exhibition doesn’t just display coffins, many of which are gilded. It has wrapped mummies, mummy masks, some CT scans, a CT scanner and ceramics
It also has sculptures and 3D images that show what a mummified person likely looked like when alive.
For instance, there is a mummy of an Egyptian woman in the exhibit from 1,500 years ago that scientists say died when in her 40s, had curly hair and a slight overbite.
Just as fascinating are interactive touch-table stations where visitors see artifacts and mummies the way scientists do.
“This exhibition allows visitors to see how we use modern technologies to learn about the lives of ancient peoples and cultures,” said Curator Bill Parkinson.
“Before, you would have to unwrap the mummy, or even cut it open, to learn more about it. Now we can use non-destructive methods to learn so much more about the past,” Parkinson said.
Also featured, is Peruvian mummification done by the Andean cultures earlier than in Egypt.
“One of the unique things about this exhibition is the inclusion of the Peruvian mummification traditions, which started much earlier than in Egypt and lasted until the Spanish conquest 500 years ago,” said Curator Ryan Williams. “That seven thousand year history of Andean mummification is something most people have never heard previously.”
“Mummies,” up now through April 21, was developed as a traveling exhibit by the Field Museum but has just returned home.
“Because the exhibition is back at its home base, we’ll be able to include some cool artifacts that were too fragile to send out on the road,” said Exhibitions Project Manager Janet Hong.
Thus, a couple of two-and-a-half-foot tall Peruvian beer jars, once shown at Chicago’s 1893 World’s Fair, were added to the exhibit.
Mummies is a ticketed exhibition. A Good way to see it and such exhibits available through General Admission such as “Inside Ancient Egypt” is with a Discovery or All-Access pass.
The Field Museum is at 1400 S. Lake Shore Drive, Chicago. Hours: Daily 9 .am. to 5 p.m. except Christmas. For tickets and more information call (312) 922-9410 and visit Field Museum.
Jodie Jacobs
All photo have copyrights
Get the calendar out. It’s time to plan which Ravinia Festival concerts should be marked down, which ones need tickets ahead of time and which might be good for a picnic on the lawn or a seat in the Pavillion. The 2016 season goes from June 1 through Sept. 16.
Tickets
Donors can get tickets March 20. Tickets will be available to the public May 8 for June and July concerts and May 10 for August and September programs.
Programs
New this year: There are more programs inside Bennett Gordon Hall and the Martin Theatre. The season will celebrate the late conductor, composer, pianist Leonard Bernstein’s 100 anniversary of his birth and ; the 30th anniversary of Ravinia’s Steans Music Institute (RSMI).
Dining
And the dining spaces and menus have been redone. Park View, a contemporary American restaurant featuring local and seasonal dishes is upstairs the dining pavilion. Mirabelle is still there but specializes in guest chef and themed dishes. The casual Ravina Market take-out menu has expanded but kept popular dishes. Tree Top will go in where PNC Private Dining used to be and the Lawn Bar with indoor and outdoor seating for drinks and small plates will be located on the lower level, north side of the dining Pavilion. The Freehling Room is still the Donor Dining Club but will add casual fare on pop concert nights.
Location
Ravinia Festival Park is at the south end of Highland Park from Sheridan Road on the east to Green Bay Road on the west. But best option is to take a free shuttle from the Ravinia or Highland Park train station. For tickets, directions and transportation options visit Ravinia.org.
Enjoy the summer by planning now.
Highly Recommended
Once upon a time, there was a historic traveler’s guide called the “The Negro Motorist Green Book” that directed blacks traveling through the South to homes, restaurants and gas stations that were a safe haven.
For blacks traveling during the days of Jim Crow laws and segregation, the Green Book was a lifesaver, telling them where they could enjoy true southern hospitality in comfort and safety.
It was the hope of “The Green Book” founder Victor Green that one day his book would no longer be needed.
Now comes the play, “The Green Book” from playwright Calvin A. Ramsey that brings racism front and center to the stage. The multi-talented Ramsey co-authored the award-winning “Ruth and the Green Book,” written numerous other works and does photography and painting.
This play is an homage to the famous guide, published from 1936-1967.
It centers on the Davis family of Jefferson City, Missouri, an African-American family who opened their home to black travelers before the birth of Civil Rights activism.
The couple, Barbara and Dan, are highly educated; he a lawyer and she a college librarian. Their daughter, Neena, is soon to graduate high school and off to college, far from home.
“The Green Book” is set in the mid 1950’s as the Davises are celebrating the arrival of the prominent Dr. W.E.B. DuBois for a lecture.
The appearance of a Jewish Holocaust survivor sets off a chain of events that showcases the prevalence of racism and anti-Semitism in the U.S.
Unfortunately, Jews who survived the Holocaust in Europe came to the U.S. and continued to face intolerance, fear and hatred. Because of the similarities, alliances were formed between the Jewish people and African-Americans. Both were subjected to prejudice, the “red scare” of McCarthyism and restrictions from signs that said, “No Blacks, No Jews, No Dogs.”
Stacie Doublin as Barbara Davis and Henri Watkins as Dan Davis are outstanding. They convey their characters as believable and sincere. They struggle with their daughter, Demetra Drayton as Neena, who serves as their brightest hope for the next generation. She is excellent as the young girl who varies her position as the real truths begin to emerge.
But Malcom Banks who gives a powerful performance as Keith Chenault, the Yankee from Harlem with big, misplaced ideas, is a powerful force that must be reckoned with.
Michael Stock as Jake Levinsky does an outstanding job as he recalls the horrors of the camps and losing his family. His pain is real and raw. The ensemble comes together to tell a story that resonates with today’s headlines of bigotry and hate.
The play is wonderfully directed by Producing Artistic Director Ilesa Duncan. Mention must also be made of the glorious costumes by Uriel Gomez, who dresses all of the characters in handsome 1950s attire that is both authentic and mesmerizing.
DETAILS: “The Green Book” is at the Pegasus’s resident home, Chicago Dramatists, 765 N. Aberdeen, Chicago, in conjunction with ShPIeL Performing Identity, now through April 1, Running time: just over two hours with intermission. For tickets and other information visit PegasusTheatreChicago.org.
Mira Temkin
For more shows, visit TheatreInChicago
RECOMMENDED
“The Picture of Dorian Gray,” playing now at City Lit Theatre, is a world premiere adaptation by Paul Edwards of the Oscar Wilde’s story.
The story of Dorian Gray is a tale of moral decay and self-loathing, demonstrating the extent to which some people will go to maintain a façade and avoid looking at their true selves.
In this version, set in the 1970’s and 80’s, the young Dorian Gray (Javier Ferreira) exclaims to Henry Wotton(Scott Olson) that he will gladly sell his soul to keep his youthful exterior rather than suffer the ravages of physical aging.
Directed by Andrea J. Dymond, the play covers a roughly 20 year period over which time Gray seems to retain his youthful appearance while those around him either lose their attractiveness or their life. Their maladies and misadventures seem somehow mysteriously have to do either directly or indirectly with their association with the title character.
While content with his own good looks, Gray fantasizes that a photo of him taken by Basil Hallward (Gabriel Fries) early in the story has not fared as well over the years and is essentially reflecting back the effects of his misdeeds and misbehavior.
This is a drama in which the dialogue is the essence of the story. The cast was a little unsteady and awkward in the first act but thankfully gained steam as the story progressed. In Act Two Ferreira hit his stride and began to own the part.
The obviously capable Scott Olson confidently dominated the action but at times seemed to lose his compass speaking upstage, apparently forgetting that an actor can speak intimately while still projecting to the audience.
Having the actors join the theater audience during a play-within-a-play was charming and effective.
The rest of the time they could spread out a bit more and employ some meaningful stage business so that they are not simply standing over one another or huddling in little groups.
This version offers a more contemporary explanation for the iconic picture reference but in doing so sacrifices some of the sci-fi or Victorian horror of the original.
Experienced theater goers and Oscar Wilde fans may enjoy this adaptation of the classic because of some inside references to the life of the author himself and to the clever alternate handling of the infamous picture but it may be a bit tedious for some.
Chicago Theater & Arts fans might want to consider a visit to the Chicago Art Institute to visit the Ivan Albright portrait painted for the Oscar-winning movie adaptation of Oscar Wilde’s novel.
DETAILS: “The Picture of Dorian Gray” is Paul Edwards’s world premiere adaptation of the Oscar Wilde’s story directed by Andrea J. Dymond running now through April 15, 2018 at City Lit Theatre, 1020 W. Bryn Mawr Avenue, Chicago (Inside Edgewater Presbyterian Church). For ticket and other information call (773) 293-3682 and visit citylit.org.
Reno Lovison
For more shows visit TheatreInChicago
The only problem with the Lyric Opera’s “Celebrating 100 Years of Bernstein” last Saturday, March 10, was that it was a one-time program.
Mezzo-soprano Susan Graham, baritone Nathan Gunn in the first half featuring Bernstein’s short opera Trouble in Tahiti and joined in the second half in a variety of his works, by Broadway star Kate Baldwin, deserved their prolonged applause and standing ovation. Indeed, the audience didn’t seem to want to leave but encores were not part of the program.
The audience also appreciated the really fine voices of Ryan Opera Center members soprano Diana Newman, tenor Josh Lovell and baritone Emmett O’Hanlon who added a light touch to the opera which has some seriously funny moments. And they, plus Ryan Center members soprano Ann Toomey and bass-baritone Alan Higgs, joined the stars in the second half.
That part of the program was an interesting mix of popular and lesser known works. For instance, it started with Baldwin’s delightful rendition of “I Hate Music” from the 1943 cycle of “Five Kids Songs for Soprano and Piano.”
It would have been interesting to have seen a show of hands from people familiar with the cycle.
Then, the Ryan Center singers did Candide’s “The Best of All Possible Worlds.” They and the leads closed with the lovely and appropriate “Some Other Time” from On the Town.
What came in between was glorious.
Baldwin sang Eileen’s charming “A Little Bit in Love” from Wonderful Town followed by Gunn doing a fine “Lonely Town” from On the Town.
Based on intermission chat and looks through the program, many in the audience were hoping for something from West Side Story. There were two selections.
Baldwin and Graham each soloed and then beautifully blended their voices in “I Have a Love.” Then Baldwin did a remarkable “Somewhere” that moved people to tears.
At this point, about half way through the second half, comic contrast was needed and provided by Gunn coming up through the floor as Captain Hook from Peter Pan.
Bernstein wrote “Captain Hook’s Soliloquy” for the original 1950 Broadway show but it was supposedly eliminated as unworkable with the voice of Boris Karloff who played Hook.
Wearing a wig that resembled a large black mop, Gunn hilariously interpreted the song somewhat in the manner of King George in Lin-Manuel Miranda’s Hamilton.
Other songs seldom heard were “So Pretty” written by Bernstein for Barbra Streisand to sing in a peace protest against the Vietnam War that was sung by Baldwin and ”To What You Said,” a Walt Whitman verse put to music in Songfest that touched on homosexual attraction and sung by Nathan Gunn.
Peter Pan was on the menu again. This time with Graham singing “Dream with Me.”
A show which didn’t make it long on Broadway was 1600 Pennsylvania Avenue written with Alan Jay Lerner in 1976. But after cuts and revisions it was released in 1990 as A White House Cantata.
Kate Baldwin as Abigail Adams sang “Take Care of this House” which is on the Cantata release. A lovely piece, the song is still heard on occasion.
Before the company’s “Some Other time” closing number, Baldwin ended with another lively ditty, “I Can Cook, Too” from On the Town.
There were many reasons the program left people wanting more.
There was the spot-on direction of Peggy Hickey who had the singers actively move around the stage as if in a musical instead of a concert. The staging was also clever with props and furniture moved on, off and coming up from below.
Another plus was Conductor David Chase’s warm interaction with the audience. He introduced and explained the opera and the musical numbers’ background. Experienced with working on musicals as conductor, arranger or supervisor of more than 30 Broadway productions, Chase had a relaxed attitude that made the entire program fun.
Jodie Jacobs
Related: Lyric concert joins worldwide Bernstein celebration.
SOMEWHAT RECOMMENDED
Based on the classic “Cyrano de Bergerac” originally written in French verse by Edmond Rostand in 1897, this translation by Michael Hollinger adapted for the stage with Aaron Posner is a successful reinterpretation using a more modern dialog that preserves much of the courtly charm necessary to the play’s setting.
The title character of Cyrano (Michael B. Woods) is an accomplished courtier in 17th Century France, an unparalleled master of the sword and the word whose personal relationships are hampered by what he perceives as a hideous deformity, namely a grotesquely enormous and unsightly nose.
Cyrano conspires with a fellow comrade-in-arms, Christian (Zach Livingston) to woo and win the affection of the lovely Roxane (Vahishta Vafadari). Christian will supply the good looks while Cyrano supplies the requisite language of love.
Cyrano’s own self-hate is his worst enemy that keeps him separated from his desire.
The fight choreography by Jon Beal was a highlight of this production making me wish that the same level of effort was put into the rest of the lackluster performances.
Since none of the actors seemed fully invested in their characters I must set the fault at the feet of Director Steve O’Connell’s ability to rally the troupe.
Though this adaptation aims to “ditch the pretentions” it should not be at the expense of nuance and the basic humanity of the characters nor the charm of the language. Here the actors rely too heavily on the words to do all of their heavy lifting and doing little to breathe life into their respective roles.
BoHo is intended to be “a launching pad for up-and-coming actors” but in this case was a lost opportunity to show us what you got.
This Cliff’s Notes version provides a few memorable moments provided mostly by the text and is a good introduction to the book however, it definitely lacks panache.
DETAILS: ‘Cyrano’ by BoHo Theatre at Theatre Wit, 1229 W. Belmont in Chicago runs through April 15, 2018. For tickets and other information call or call (773) 975-8150 or visit BoHoTheatre.com.
Reno Lovison
For more shows visit TheatreInChicago.
RECOMMENDED
‘Hedda! A Musical Conversation’ is a very entertaining one-woman show at the Athenaeum Theatre starring Jillann Gabrielle as legendary Hollywood gossip columnist Hedda Hopper.
Written by Gabrielle with book and lyrics by Michael Termine and music by with Howard Pfeifer, ‘Hedda’ is a one-act play that takes place from the mid 1940s through the late 1950s in Hedda Hopper’s living room.
Tasteful furniture, a rolling cart of favorite drinks , clothing racks with dozens of the hats she was famous for wearing and that prime necessity for a gossip columnist, a phone, set the scene for a fun 90 minute peek into the life Hedda Hopper.
Gabrielle’s performance as Hedda is superb as she walks and sings the audience through a life that went from Quaker upbringing to bit MGM player and then famed columnist.
Lively phone conversations and clever songs such as as “Hedda! Queen of Hollywood,” “Off the Record” (there’s audience participation), “Elizabeth, “Hats!” and ‘Don’t Drink the Punch” reveal much of her story.
Among the many things that makes this play interesting there is her interaction with the audience. When the phone or doorbell rings, she looks out at the crowd and says, “I’ll be right back.”
And when the audience hears her say, “Hello, Elizabeth” or “Joan,” or “Marlene” and others, everyone knows who’s there.
Hedda had an amazing effect on not only the motion picture industry, but on politics, as well. Her song “I’m Political” describes her conservative values and moral views as her columns go after Charlie Chaplin and other Communist sympathizers.
She also had famous heated discussions with many of Hollywood’s elite including the Elizabeth Taylor/Eddie Fisher/Debbie Reynolds trio.
Her column had a readership of over 30 million, and it set the stage for many types of columns today.
DETAILS: ‘Hedda! A Musical Conversation’ is at the Athenaeum Theatre, 2936 N. Southport, Chicago, through March 17, 2018. Running time: 90 minutes with no intermission. For tickets and other information, call 773-935-6835 or visit AthenaeumTheatre.
Francine Pappadis Friedman
For more shows visit TheatreInChicago.