‘Legends the Musical: A Civil Rights Movement Yesterday, Today, Tomorrow’
Jackie Taylor, the amiable creative heart and soul of Chicago’s beloved Black Ensemble Theater, has declared 2020 as the company’s Season of Change. She opens with this original, ambitious, musical battle cry, a movement against the injustice and bigotry that’s overtaking our country today thanks to an administration that has set our country back 200 years.
And this is just the beginning of Taylor’s aggressive theatrical approach to helping combat the racism that’s reared its ugly head in America.
TimeLine Theatre is often the place in Chicago where we revisit those special individuals, real people or fictional representations, who’ve left a mark in history.
At times, these wonderful plays and musicals remind us of events from the past, taking a close look at another time and place. But once in a while this treasure of a theatre forces audiences to examine events from the present, and we are presented with history—good or bad—in the making. Continue reading “Black Lives Matter!”
They sound like a good idea on paper, and there have been dozens bouncing around Broadway and on National Tours over the years, but the jukebox musical isn’t much more than a concert with some narrative.
There are two formats in this style of musical theatre. There’s the show that creates an original story and characters, but instead of using new music to further the plot, the songs of one or more artists are featured instead.
In an age when social media has usurped our lives, it’s refreshing to visit a time when people actually spoke to each other, and with eloquence. As in all her stories, Jane Austen’s fourth novel is an 1815 comedy of manners set in Georgian-Regency England. The title character, however, is unlike Austen’s other heroines in that Emma is pretty, smart and rich, but also strong-minded, overindulged and rather full of herself.
During the repressive 1960’s a gay man was forced to become very secretive about everything. Being “in the closet” was how most homosexuals survived being hassled or, quite often, brutally attacked for what was perceived as a perverted life style. A small percentage of men braved all the hostility and met their peers at the few underground gay bars and bath houses located primarily in certain large cities
Mart Crowley wrote his groundbreaking “Boys in the Band” in response to the prevalent oppressive social attitude of that time. The lives of every homosexual was threatened daily with violence and unfair laws. Gay men continually were the brunt of heterosexual jokes, degradation anger and, although claiming to not be an activist, Crowley felt the need to expose this oppressing milieu to the world through the theatre.
Five years ago this highly-anticipated stage version of the 1951 Gene Kelly/Leslie Caron musical film classic burst upon Broadway. After playing Paris, New York and the West End, and launching a two-year National Tour that played Chicago, we finally have our own regional production.
It is truly magnificent. It’s elegant, romantic, gorgeously produced and beautifully danced and sung. For anyone who adores those classic movie musicals and big, old-fashioned, splashy theatrical productions, this is the show for you.
Amidst a growing crop of holiday productions, Chicago is being treated to yet another new family friendly show. Chirpy, relentlessly over-exuberant and with very few moments of reflection or subtlety, this new holiday musical could really use some layers and a bit of variety. As it now plays in its world premiere, the production is a little overpowering. It’s a little like sitting in the front row of an IMAX theatre: there’s no escape.
Created by the writing team of twins Jennifer and Jaclyn Enchin, the plot of this new play is fresh and fun, although vaguely familiar. The songs are a different matter.
A delightfully original holiday musical is debuting in the Buena neighborhood that is both nostalgic and current. The shift in television entertainment from sitcoms and dramas to reality shows inspired this spunky musical spectacular.
With a brilliant book and lyrics by Larry Todd Cousineau and a catchy score by Cindy O’Connor (the team that wrote the Jeff Recommended “All That He Was”), savvy theatergoers have a brand new holiday alternative available to them, premiering at Pride Films and Plays.
The premise for this 80-minute, one-act is pretty clever. The musical is a mashup between a particular scene inspired by the 1964 cartoon classic, “Rudolph, the Red-Nosed Reindeer,” and the turning points from an array of popular TV reality contests.
Victorian author Charles Dickens might be surprised, and maybe a little proud, at how his story about one curmudgeon’s redemption has been adapted for the stage, film, opera and every other form of media.
This production, “Q Brothers Christmas Carol,” back by popular demand at Chicago Shakespeare Theatre, has fast become one of the Windy City’s favorite holiday events, especially among younger, hipper audiences. It’s a terrific, cleverly-written and utterly captivating piece of theatre that deserves the high praise it’s received.