Old romance conflict revived at Citadel Theatre

 

Recommended

On the one hand it’s hard to review a show that is dated. At least, that is the feeling audience members may get watching “She Loves Me” at Citadel Theatre. The show is a Jerry Bock/Sheldon Harnick, Joe Masteroff muscial with award-winning revivals that started out in 1937 as “Perfumerie” by Hungarian playwright Miklos Laszlo.

It went on to become the film “The Shop Around the Corner” in 1940 then redone as “In the Good Old Summertime.”

The action takes place as the seasons change but mainly during the holidays. However, this is not a family Christmas show. (except for older teens who may appreciate the more risqué parts in a café and the excekkent choreography by Amanda Schmidt in the Perfumerie.)

By the end of the first act, and it is a long first act, minds can also be changed.

What started out as somewhat stilted workplace activities, conversations and rifts, developed into a romantic confrontation, resolution and possible workplace disasters.

Once we meet and get to know Amalia Balash well-played by Hannah Louise Fermandes and nicely done by Georg Nowack portrayed by Travis Ascione as the verbally dueling couple who start out on the wrong foot, the action, directed by Director Matthew Silar, grows on you until you care about their conflict resolution and those of other characters. Kudos also go to Jake Busse as the café waiter.

Considering how small Citadel’s stage is the scenic design by Eric Luchen is perfect.  It includes an excellent side balcony style space for a quintet led by keyboardist Rex Mayer.  

“She Loves Me” is at Citadel Theatre, 300 Waukegan Rd., Lake Forest, IL from  Nov. 17 through Dec. 17/   Running time 2 ½ hrs. For tickets and other information visit Citadel Theatre.

Jodie Jacobs

For more shows visit  Theatre in Chicago

 

 

Beautiful tells how King classics came to be

 

(Kaitlyn Davis as Carole King in “Beautiful” at Marriott Theatre Lincolnshire)

3 1/2 Stars

The audience at the Wednesday Marriott opening of “Beautiful: the Carole King Musical,” are likely familiar with such classic songs as “You’ve Got a Friend,” “So Far Away,” “Up on the Roof,” and “You’ve Lost That Lovin’ Feeling.”

But I wonder if they know that the person who wrote them started out as a teenage songwriting phenom who had skipped two grades in school and whose mom wanted her to continue her classical piano studies.

Or that she started out as a pop composer whose first husband, Gerry Gofin, did the lyrics while she wrote the music.

Or that the grand piano on stage at the show’s start would actually reappear at the show’s end in Carnegie Hall.

With terrific dance and song examples, “Beautiful’s” long Act I showed  how the music of the King-Gofin partnership was picked up and performed by well-known groups.

(“Beautiful” at Marriott shows how major performers adopted the King-Gofin songs) 

The shorter Act II is about that partnership’s on-off crises and split up that led King to going it alone and her concert at Carnegie Hall. The show could have an Act III about all her awards, more partnerships and more songs plus her award-winning “Tapestry” album.

However, King’s “Beautiful” journey as performed at the Marriott Theatre is in the wonderful, over-the-top hands of Kaitlyn Davis from the national tour of “Beautiful.” BTW, Davis is also an accomplished pianist and songwriter.

Her co-star, Andrew Mueller, who is the brother of the Mueller sisters who performed “Beautifu”l on Broadway and the national tour, has impressive credits in Chicago area theater. He does an excellent portrayal of Gofin.

(Song-writing rivals and friends, Cynthis Weil (Erica Stephan) and Barry Mann, (Justin Albinde) )

A good picture of the song business is the delightfully done inclusion of couple Cynthis Weil portrayed by Erica Stephan, and Barry Mann, played by Justin Albinder. 

Well directed by Jessica Fisch, “Beautiful” is basically a “jukebox” show that will bring back lots of musical memories.  

“Beautiful: the Carole King Musical” is at Marriott Theatre, 10 Marriott Drive, Lincolnshire, Il now through Dec. 31, 2023.

For tickets and more information visit Beautiful/MarriottTheatre

Jodie Jacobs

For more shows visit  Theatre in Chicago

 

 

 

 

Brigadoon has reappeared

 

(Conor Jordan and Zachery Linnert)

4 Stars

With such Lerner and Lowe songs as “Almost Like Bein’ in Love” and “Come to Me, Bend to Me,” it would be hard to not put on a fine musical. However, Brigadoon, now presented at the North Shore Center for the Performing Arts by Music Theater Works, goes beyond merely “fine.”

Everything, from the voices and acting to dance numbers by Clayton Cross and costuming by Jazmin Aurora Medina, are spectacular. And that is happening, unlike the last Music Theater Works of “Springtime for Hitler” on the large stage. This production is crammed onto the small North Theatre stage.

But it works.

Directed by Sasha Gerritson and choreographed by Cross, the show features a sterling cast of ballet-style dancers and such exceptional singers in the lead as Conor Jordan as Tommy Albright and Sarah Obert as Fiona.

Albright and Fiona fall in love but the catch is the Scottish town of Brigadoon will disappear for one hundred years. Albright, an American who stumbled on it while exploring the country with his friend, Jeff (Zachery Linnert), returns with him to America and his somewhat jaded existence.

What happens next is that Love conquers all. 

As with “Springtime,” the show has a large supporting cast of singers, actors and dancers – Madison Kauffman, Luke Nowakowski, Stan Austin , Will Leonard, Bob Sanders, Susannah Harvey, Kent Joseph, Timothy Wolf, Adam Raso, Delaney Good, Isa Ramirez, Jimmy Hogan, Anna Marie Abbate, Emma Jean Eastlund, Theresa Egan, David Geinosky, Dee Kimpel, Olivia Russell, Alex Villasenor, Chad Gearig-Howe and Renee Dwyer.

Go see it before Brigadoon disappears. The production is at the North Shore Center for the Performing Arts, 9501 Skokie Blvd, Skokie, IL through Nov. 12, 2023. For more information and tickets visit Music Theater Works | Great Music. Great Theater. The Works.

Jodie Jacobs

For more shows visit Theatre in Chicago

 

 

Chrisite defines what is a mousetrap

 

Cast O Mousetrap at Citadel Theater. (North Shore Photography Club photo)
Cast O Mousetrap at Citadel Theater. (North Shore Photography Club photo)

 

Recommended

If you have seen “The Mousetrap,” Agatha Christie’s 1952 murder mystery that is still alive on stage in London, don’t give away the “who done-it” part.

 With a reasonable run time of 2 hours, 20 minutes that includes a 15-minute intermission, the first act ends the play with you likely wondering, who is the next murder victim.

Directed by Scott Westerman who brilliantly presented Citadel’s award-winning “The Chrisians,” he has staged “Moustrap similar to a farce with characters moving in and out of doorways then appearing elsewhere.

 As to the cast, they are mostly projected as somewhat overblown stereotypical characters that fit the “farce” slant.

So ask yourself who are these people, really? All the audience knows is that they are guests in the newly opened Monkswell Manor operated by newlyweds Mollie Ralston (Mary Margaret McCormack) and husband Giles (Jack Sharkey).

Next on the scene is a young, overly hyper lad named for architect Christopher Wren played by Jesus Barajas.

He is followed by Kristie Berger as the old maidish, times-have-changed Mrs. Boyle and William Ryder as  the pleasant Major Metcalf.

Into the mix is Amy Stricker as Miss Casewell will drops hints that she had a difficult childhood.

The seemingly strangest character is Mr. Paravicini portrayed by Reginald Hemphill as an uninvited guest. He seems inordinately pleased with the guests’ makeup.

Last on stage is Detective Sergeant Trotter. Played by Sean Erik Wesslund, he first appears in the Inn’s big window on skis because the house is cut off by a persistent snowstorm.

Speaking of snow, the video created by cinematographer Ian Merritt adds drama to the show as does a strange mirror and other special effects.

So, don’t misread Westerman’s farcical handling of “Mousetrap.” Christie and Westerman are “dead” serious about the plot.

It supposedly was inspired by a real case about gravely mistreated children. It may lead some viewers to consider a case now in the news and the Illinois legal system.

 Originally called “Three Blind Mice,” the nursery rhyme’s song is played in the background and thus raising the questions who are the mice and is the inn acting as a mousetrap?

DETAILS:  Mousetrap is Sept. 15-Oct. 15 at Citadel Theatre Company, 300 S. Waukegan Rd., Lake Forest, IL. For tickets and information call (847) 735-8554, x1, or visit Citadel Theatre.

Jodie Jacobs

For more shows visit  Theatre in Chicago

For the Love of Dance

 

(Maddy Shilts, Whitney Wolf, Ben Isabel, Ben Paynic,  Luis Del Valle, Elizabeth Bushell, Madelynn Oztas) 

Recommended

Directed by Wayne Mell, this Madkap Production of “A Chorus Line” at the Skokie Theatre, is on pointe. It taps into the essence of love and dedication to the art of dance.

“A Chorus Line” is an anthology of songs and monologues bringing to light the collective motivations and inspirations that keep people involved in a mentally and physically demanding occupation.

Through the individual stories and seemingly endless rehearsals we are reminded of the hard work and athleticism required to make moving to music look artful and effortless. All of that requires intense dedication while offering only rare substantial successes.

Onerous choreographer Zach played by Sean M.G. Caron, cajoles a select group of hopeful chorus applicants into revealing some of their deepest secrets while continually drilling them on numerous dance routines. He is barking orders all the time to lift their chin, raise their arms and smile less while looking like they’re having fun.

From those who survive the ordeal only a handful will be selected.

In the song “What I Did For Love,” (music by Marvin Hamlisch and lyrics by Edward Kleban) beautifully sung by Diana (Marcela Ossa Gomez), she says of the grueling work and unmet promises “We did what we had to do – – Won’t forget, can’t regret — What I did for love.” In this context it’s the love of the craft, the love of dance.

It may be a useful reminder that when first staged in in 1975, frank conversations about sexuality in general and homosexuality specifically were unusual and a bit shocking for theater goers. In “Hello Twelve, Hello Thirteen, Hello Love” the ensemble shares stories of puberty, adolescence and sexual awakening.

But in “Dance 10: Looks 3” (a reference to her performance score) dancer Val (Lili Javorka) lightens the mood in a song more commonly referred to as “Tits and Ass” where she reveals that surgically enhancing those assets improved her career.

It cannot be overlooked that the intense, nearly nonstop two-hour score by Hamlisch is a workout for the production pianist, in this case, the extremely capable musical director Jeremy Ramey who must also be credited with the precision of the ensemble vocal numbers and that the musical subtleties and multi-voice harmonies within the songs were preserved and celebrated.

Though there were a few obvious “ringers” the vocal capabilities of the cast exceeded their dancing “chops.” But that does not detract from their earnest effort led by choreographer Susan Pritzker.

The production is a substantial aerobic workout that requires continual attention to complicated footwork and challenging movements, all while singing, talking or being otherwise engaged with what is happening on stage

The onstage leadership of dance captain Ben Paynic, echoed by his character of Larry, was amusing and quietly assuring. In a sense he represented the ideal that all of the rehearsal was supposed to finally achieve.

Set design by Scott Richardson could not be more minimal, consisting of a few mylar sheets as mirrors on the back wall flanking an opening that exposed the backstage area and pianist.

I get that this was supposed to be a rehearsal area and admittedly the Skokie Theatre stage is already a bit small for a show with a large dance ensemble. But when there were only one or two people in a scene, they seemed lost in space.

For instance, in the scene between Zach and Paul (Luis Del Valle) a simple chair might have grounded them and given them a reference point.  Likewise, the lighting was virtually nonexistent, being fully up most of the time. This made me as an audience member feel like I was watching a rehearsal and not in a good way

Again, in the previously mentioned scene or during Cassie’s (Sarah Sapperstein) solo dance, some isolating lighting might add to the intimacy of these moments.

Sadly, the costumes by Patti Halajian were overall a miss for me, in this show, where there is so much fun and interesting off-the-rack potential.

The biggest faux pas was the finale which aside from being generally ill-fitting was way too much bling for this small space. What’s important in the finale is that the chorus line be uniform and synchronized. Save the glitter for a larger venue.

Each individual cast member did an outstanding job on their spotlight performances. A standout for me was Emma Drazkowski as Maggie while my wife thought Whitney Marie Wolf as Judy “was the real deal.” I also thought Del Valle’s scene was very moving.

Aside from a few minor gaffs as mentioned this show was great fun and very enjoyable. The full house is a further indication that Madkap provides an important function in Skokie, offering competent entertaining live theater experiences to the Northshore communities in a convenient, comfortable, modern venue.

DETAILS: “A Chorus Line” is at the Skokie Theatre, 7924 Lincoln Ave, Skokie, IL through October 8, 2023. Running time is 2 hours with no intermission. For tickets and information visit http://skokietheatre.org or call (847)677-7761.

Reno Lovison

For more shows visit  Theatre in Chicago

Photo by MadKap Productions

 

Everything is coming up roses for Gypsy

 

3 Stars

Lauren Maria Medina as Louise (Photos by Liz Lauren).

A musical fable comes to life at the Marriott’s fine production of GYPSY. Its all-star cast showcases the tale of the ultimate stage mother, Rose, who fights for her daughters’ successes while really wanting her own moment in the spotlight.

 Opening on Broadway in 1959, Arthur Laurents’ GYPSY was nominated for eight Tony awards and has been a beloved classic for generations.

 Taking her daughters across the country in search of that next big gig in the waning days of vaudeville, Rose continually dreams of seeing daughter June’s name in lights. A three-times divorced mamma, nothing will get in Rose’s way, not even a new suitor by the name of Herb, who is kind and loyal.

 Make no mistake, this is a woman’s show, empowering and emotionally problematic.

 When June tires of the act and runs off to get married, Rose channels her interest in her other daughter, Louise, to make her a star.

 The musical features Broadway star Lucia Spina as Rose whose loud, brassy, and booming voice perfectly captures the pushy stage mother. She belts out every song, reminiscent of Ethel Merman who played Rose on Broadway.

 Lucky for the audience, a warm welcome back to the Marriott stage is given to the Jefferson award-winning Nathaniel Stampley as suitor Herbie who is charming and authentic. But having seen Stampley in other Marriot roles like “Man of La Mancha” and “Ragtime,” his amazing talent seems somewhat wasted.    

Nathaniel Stampley (Herbie) and Lucia Spina (Rose )

 The audience watches as Lauren Maria Medina who plays Louise is transformed from a mousy little girl into a confident, successful burlesque superstar, the legendary Gypsy Rose Lee. Her voice is powerful and strong.

 With music by Jule Styne and lyrics by Stephen Sondheim, the show boasts a memorable score including: “Everything’s Coming Up Roses,” “Let Me Entertain You,” “Some People,” and “Together Wherever We Go.”

 Kudos to J’Kobe Wallace who plays Tulsa and an ensemble member for his outstanding dancing that took the house down.

 The Marriott production will likely feel different from other GYPSYs  because director Amanda Dehnert working with choreographer Stephanie Klemons and music director Jeff Award Winner Ryan T. Nelson emphasized its emotional toll and darker side. 

On a different note: Fans of Nathaniel Stampley will be happy to know he takes the stage in an intimate evening of solo songs and stories for one night only, October 15 at 7:30 p.m. In Songs & Stories: Nathaniel Stampley in Concert, Mr. Stampley traces his career from Milwaukee to Chicago, Broadway, London and beyond.

DETAILS: GYPSY is at the Marriott Theatre, 10 Marriott Drive, Lincolnshire, IL through October 23, 2023. Running time: 2 hours, 40 minutes with one intermission. For tickets and other information, visit www.marriotttheatre.com or call the Marriott Theatre Box Office: (847) 634-0200.

Myra Temkin

For more shows visit Theatre in Chicago

 

Music Theater Works produces a fun time out

 

 

(Photo courtesy of Music Theater Works)

Highly recommended

The North Shore Center for the Performing Arts’ Center Theatre is the perfect space for Music Theater Works’ The Producers.

Unlike the company’s “Camelot” which was crammed into the small theater, it has the space for Producers director Walter Stearns,’ choreographer Darryl K. Clark’s’ and scenic designer Jonathan Berg-Einhorn’s interpretations of Mel Brooks Tony Award winning musical comedy. They need the space for their terrific dancers and talented cast.

With the excellent singer-actor Thomas M. Shea in the lead as Max Bialystock and David Geinosky as the nerdy accountant-turned producer sidekick, the show rollicks from a scheme to make millions with aBroadway flop to their unintentional, probably disastrous, success as a hit. Kelsey MacDonald as their Swedish bomb/secretary/receptionist Ulla, is a bonus.

The show, which would likely not appeal to conservative theater goers, is what anyone who attends should expect from Mel Brooks who rejoices in off-color dialogue, surprising topis and action. So blame him and co-book writer Thomas Meehan. The funny, rousing, music and lyrics are also by Brooks.

The Producers is a fun break in the theater season.

DETAILS: The Producers is at The North Shore Center for the Performing Arts” Center Theatre, 9501 Skokie Blvd., Skokie, IL through Aug. 20, 2023. Running time:2 hours, 30 minutes with one intermission. For tickets and other information visit MusicTheaterWorks.com or call Music Theater Works Box Office: (847) 673-6300.

Jodie Jacobs

For more shows visit Theatre in Chicago

Marriott keeps the music alive

Marriott Theatre's joyful revival of "Buddy -- The Buddy Holly Story" stars Kieran McCabe, left, as the titular rocker, Jed Feder as drummer Jerry Allison and Shaun Whitley as bass player Joe Maudlin.

(Kieran Mcabe, Jed Fedder and Shaun Whitley)

4 Stars

After seeing “Buddy – The Buddy Holly Story,” an extraordinary musical production that opened at Marriott Theatre in Lincolnshire, June 28, it’s hard not to think of Don Mclean’s version of ” American Pie” (see Rolling Stones and the “Day the Music Died) .

Of course, the show ends with a darkened stage for the tragic plane crash that took the lives of Holly, two other performers and the pilot. But the lights come back on, the music returns to high intensity and the audience knows Holly’s music lives on.

With “Buddy,” Marriott Theatre introduces another generation to Holly’s rock ‘ n’ roll style and songs. In doing so, the Marriott brilliantly cast Kieran McCabe as Buddy.

Written by Alan Janes, directed and choreographed by Amber Mak with music direction by Matt Deitchman, the production deserves  the long, standing ovation it received on opening.

Other versions of the show have been mostly on national and international tours, but if it returns to Broadway where it opened at the Shubert Theatre Nov. 4, 1990 (and ran for 225 performances), it should star the exceptionally talented McCabe as Buddy.

More than a “jukebox musical” featuring the songs of Holly, those of the “Crickets,” as they were known when they backed Holly, and later, after he died, other rock n’ roll songs of the 50s and 60s time period, it’s clear it takes more than just knowing how to play a guitar. A lot of “Buddy” is showmanship.

You see Holly turn audiences onto rock’n’roll as he moves from a less than successful start in Lubbock, Tx at age 19 where a recording studio manager wanted country, not rock’n’roll, through Nashville, TN and on to the NorVaJak Studios in Clovis, NM, where his and the Crickets “That’ll be the Day” recording was released, May 1957, reached number three on the Billboard Top 100 by mid-September and went on to future successes including in Harlem.

By the end of the show you see McCabe play his guitar backwards, over his head and stop at the piano to add a riff similar to what audiences see in “Million Dollar Quartet.”

Indeed, some of the musicians in Buddy” have played in that show. McCabe was Fluke, the drummer/ Crickets’ bassist Joe Maudlin was Carl Perkins.

The show, a rocking 100 minutes without intermission, magnificently proves, once again, that Buddy Holly’s musical vision, personality and ground-breaking style made him the super star that would live on past his tragic plane crash in 1959 at age 22.

DETAILS: “Buddy – The Buddy Holly Story” is at Marriott Theatre, 10  Marriott Dr., Lincolnshire, IL, now through Aug. 13, 2023 Run-time approx 100 minutes with no intermission. For tickets and other information visit Buddy.

Jodie Jacobs

For more shows visit Theatre in Chicago

 

Music Theater Works does justice to the Pippin dreamworld

Connor Ripperger as Pippin at Music Theater Works in the North Shore Performing Arts Center. (Photo Courtesy of Music Theater Works)
Connor Ripperger as Pippin at Music Theater Works in the North Shore Performing Arts Center. (Photo Courtesy of Music Theater Works)

Highly Recommended

Music Theater works brings Pippin to the North Shore Center for Performing Arts in a production that is a feast for the senses and uses the entire spectrum of theater craft.

Explaining the plot of Pippin is as useful as trying to recall the details of a dream. What exactly happened is not important but the fact that your brain was trying to help you organize your thoughts and work through your anxiety is important.

But for context I’ll tell you that Pippin (Connor Ripperger) who has recently completed his education in Italy is the eldest son of Charlemagne Thomas M. Shea.) Ripperger’s Pippin has a longing boyish quality that is spot on.

The boy is anxious to make his way in the world but the problems in his way are stepmother Fastrada (Savannah Sinclair) and stepbrother Lewis (Andrew Freeland). They want to get rid of Pippin so Lewis will become first heir to the throne.

Though Lewis is purported to be a better warrior, Pippin sets out to prove himself in battle where he learns war is a deadly and dirty business.

Pippin’s grandmother, Berte (Kathleen Puls Andrade), encourages the lad to enjoy life and have more sex. He tries but his experiences bring him little pleasure and take him no closer to a fulfilling life.

Then Pippin falls into the arms of a wealthy widow,, Catherine (Desiree Gonzalez) who has a small b oy, Theo (Di’Aire Wilson). Again the promise of a quiet and distracting domestic life is not fulfilling to the restless youth.

Ultimately, Pippin is back in Charlemagne’s palace where he becomes king after the untimely death of his father. Saddened by the injustices of the world, Pippin attempts to right some wrongs but learns that the problems are more complex than they appear.

The phantasmagoric experience is orchestrated and narrated by the Leading Player (Sonia Goldberg) who promises a finale we will never forget. Goldberg has the needed commanding stage presence that lets you know she is in charge. 

The action will not have anything to do with the actual life of Charlemagne. In fact, it includes video games, tv reports and images on large screens mimicking fragments expected from a dream.

Pippin was co-written and originally directed and choreographed by Chicago native Bob fosse in 1972 at the epicenter of his successful and frenetic career. (Possibly his drug addiction might help explain this bizarre tale of how Pippin’s quest for meaning plays out.) Fosse’s fingerprints (or say footprints) are all over this psychedelic fever dream.

Many of the characters, notably Pippin and The Leading Player, are gloved which is a nod to Fosse’s iconic “Jazz hands” and his desire to accentuate hand movements as part of dance.

This production’s co-choreographers, Mollyanne Nunn and Kaitlyn Pasquinelli, got all they demanded from their talented company who kept the non-stop action energetic and entertaining.

Director Kyle A. Dougan with assistant director Patrick Tierney did an expert job wrangling the large cast of about 20 players around a limited area of the smaller North Theater in the Skokie complex.

Shane Cinal supplied the needed multilevel set design that provided additional room for movement including clever areas for unusual entrances and exits. Andrew Meyers lighting effects were key components of several scenes.

Jazmin Aurora Medina’s colorful fantastical costumes, augmented by Alice Salazar’s hair, wig and makeup, added the right look for the chaotic action. Charlemagne’s toys sealed in plastic and his plastic crown added a subtle brilliance of detail to the array of often absurd imagery. 

The music and lyrics of Stephen Schwartz who gave us the highly acclaimed Wicked is high caliber. It doesn’t have a break-out number with the possible exception of “Corner of the Sky.” When performed by the Jackson Five it became #18 on Billboard.  Schwartz almost simultaneously wrote Godspell. My initial response was to characterize Pippin as The Fantastiks meets Godspell.

On the surface, Pippin seems weird and fragmented but in retrospect, the Tony Award winning musical is deeply reflective of the competitive and often, tormented mind of Fosse. In a larger context, its the reflection of us all as we strive to live more meaningful lives.

Details: Pippin, a Music Theater Works production, is at the North Shore Center for Performing Arts, 9501 Skokie Blvd., Skokie, IL ,through June 25, 2023. Running time: 2 and 1/2 hours with a 15 minute intermission. for tickets and information visit Music Theater Works or call (847) 673-6300.

Note: Though the production has an overall comedic tone it contains adult themes and language as well as allusions to sexual activity, murder and suicide so may not be appropriate for everyone.

Reno Lovison

For more shows visit Theatre in Chicago

 

 

 

 

A tragic love story and cautionary tale of intolerance

 

West Side Story at Lyric Opera of Chicago (Photo by Todd Rosenberg)
West Side Story at Lyric Opera of Chicago (Photo by Todd Rosenberg)

Highly recommended

For a professional theater experience in Chicago this month you can’t do much better than West Side Story at the Lyric Opera.  This Leonard Bernstein / Stephen Sondheim musical deemed cutting edge and somewhat avantgarde when first introduced, is now a classic.

The story by Arthur Laurents is a rather faithful mid-century modern adaptation of Shakespeare’s Romeo & Juliet. Rival teenage street gangs, the Sharks and Jets, battle in New York City streets to maintain what they feel is control of this small piece of Manhattan. Caught in the crossfire of this conflict are Tony (Ryan McCatan) and Maria (Kanisha Feliciano) two tragic lovers from opposite ends of the divide.

The production is a natural for this venue. West Side Story leans more toward opera as the story is told primarily through song, with many that found a firm foothold in the Great American Songbook, such as Maria, Tonight, and One Hand One Heart. They are augmented by the accompaniment of a full live pit orchestra led by conductor James Lowe, a  rare treat that would likely not be included in a smaller company.

Director Francesca Zambello has largely remained faithful to the original production directed and choreographed by Jerome Robbins that includes a substantial amount of modern ballet, executed here by choreographer Joshua Bergasse and the production ensemble. The Lyric’s massive Civic Opera House stage gives the dancers ample room to move.

The set design of Peter J. Davison featuring the iconic fire escape, towers over the audience. When Maria sings Somewhere to Tony as they embrace on the balcony while the dance company interprets her message of hope below, the scale of the proscenium provides an opportunity to suggest both the intimacy of the lovers as well as the suggestion of a world beyond.

The depth of the stage allows for a glimpse of the larger city, amplifying the claustrophobic feelings of the gang members whose view of the world is so limited they can not see further than their small neighborhood and the immediate “problems” that they largely have created themselves.

The story of street violence, turf warfare and ethnic battles are all too familiar in today’s environment illustrating that these often-deadly disagreements are nothing new, and difficult if not impossible to eradicate from our communities.

The “Gee, Officer Krupke” musical number comically reminds us of the continuous effort to understand and curb youthful anti-social behavior including psychology, sociology, and criminology as well as the conditions that lead to “delinquency.” Our mothers all are junkies / Our fathers all are drunks / Golly Moses, naturally we’re punks!

In America, Anita (Amanda Castro) and Rosalia (Joy Del Valle) expose the promise versus the realities of “The American Dream,” while in The Jet Song, Riff (Bret Thiele) and The Jets express the perceived value they get from being part of a gang.

I was happy to see a number of young people and children at the matinee performance I attended but caution parents to keep in mind that not all musicals are written for a Disney audience

In the nineteen-fifties and sixties there was a decisive movement to create musical theater with mature themes. Some of these included Carousel and Oklahoma (both of which have been staged at the Lyric) depicting or suggesting domestic abuse, murder and rape. This trend has continued and expanded since then, proving that the American Musical has a place in high art because it has the ability not only to entertain but also to inform, reach us emotionally in a profound way and expand our thinking.

The original West Side Story production ensemble of Laurents, Bernstein, Sondheim, and Robbins with Robert Griffith and Harold Prince did not shy away from difficult topics and instead embraced the trend by exposing the challenges related to depicting racial conflict, disaffected youth, street gang violence, murder and death, through music and dance.

West Side Story is a tragic love story that ultimately encourages us to be more tolerant and thoughtful as to how we perceive, judge and react to each other, particularly those with whom we have perceived differences. It is suggested that there is space for everyone if we open our hearts to each other.

Details: West Side Story is at the Civic Opera House, 20 North Wacker Drive, Chicago, through June 25, 2023. Running time is 2 hours and 30 minutes with one intermission. For tickets and information visit LyricOpera.org

Reno Lovison 

For more shows visit Theatre in Chicago