Cast of Howard’s End, a Remy Bumppo production at Theater Wit
4 stars
E.M. Forster’s 1910 literary classic is a sprawling novel about rank, morals and love among three English families from different social classes
His novel offered an insightful portrait of England at the height of its imperial world influence just prior to World War I. Through the lives of three diverse families, he showed how fast progress was happening and shaping Edwardian England.
In light of the sweeping changes taking place, Forster seemed to ask who would eventually inherit England? Which class would ultimately define this powerful nation?
Through this tale, we come to know the wealthy, capitalist Wilcox dynasty, the idealistic, intellectual upper middle class Schlegel sisters and the ever struggling, financially impoverished lower class Leonard and Jacky Bast.
Douglas Post’s faithful theatrical adaptation is truly eloquent and makes E.M. Forster’s novel accessible in a two-and-a-half hour production. This is a beautiful, carefully constructed play commissioned by Remy Bumppo Theatre, and currently enjoying its world premiere at Theater Wit.
Sons and Lovers at Greenhouse Theater. (photo courtesy of On the spot Theatre Company)
2 1/2 stars
It’s true that the very best writers use experiences from their own lives to inspire their writing. English author D.H. Lawrence, whose early twentieth century novels like Lady Chatterley’s Lover, Women in Love, Mr. Noon and The Rainbow shocked and entertained readers during this “Age of Innocence.” It’s also true that his stories are all very intimately bound up with his own life. But none of his novels is more autobiographical than Sons and Lovers.
This is Lawrence writing about his life and recreating scenes from his own experience, but fictionalizing it. He began writing the book in 1910, finishing the novel two years later.
The story underwent lots of revisions, including the title, and was influenced by many personal crises that occurred during this period. Lawrence ended a long relationship with Jesse Chambers (who’d serve as the model for his character, Miriam Leivers).
He became engaged to, and then broke up with Louie Burrows (who would be the inspiration for the character of Clara Dawes). He lost his mother to cancer, became seriously ill with pneumonia, gave up teaching and moved away from his birthplace. But this is a story that’s derived from the author’s own Oedipus complex.
When Lydia was a young woman, she lost her first love to another woman. She settled for Walter Morel, a boorish, yet passionate lower class man who worked long hours down in the Midland mines.
As sons William and Paul grew up, Lydia doted on them to the point where Walter is brow-beaten and practically ignored and she redirects all of her ardor and passion to her sons. They, in turn, become her lovers and as they grow to manhood they aren’t able to love any other women because their mother’s hold over them is so strong.
Casa Valentina a Pride Films and Plays at Broadway Theatre. (Photo by Cody Jolly)
3 1/2 stars
As part of Pride Films & Plays’ exploration of all things gender related, we travel back to the Chevalier d’Eon Resort in the Catskill Mountains. It’s 1962, and a secret world is revealed to 21st century audiences that actually existed during those more innocent, post-war years.
For at least one weekend during the late Spring, a group of happily married men with families, highly-respected in their chosen, white-collar professions, gather in this secluded Garden of Eden to express their alter-egos.
These men are not homosexuals, nor do they harbor a hidden desire to undergo surgery in order to become full-time women. They’re cross-dressers who, in private, simply enjoy (sometimes) being a girl.
In this remote setting, several longtime friends and a couple of new acquaintances, are provided the freedom to express themselves as feminine, girly girls in their own private, woman’s world.
Cast of Into the Woods at Writers Theatre. (Michael Brosilow photo)
3 ½ stars
In Act II of Stephen Sondheim and James Lapine’s “Into the Woods,” the Baker and Cinderella, two of four main fairy-tale characters who survive the whole, Hamlet-like second act (Little Red and Jack (of beanstalk fame are the other two), explain that choices have consequences and everyone is connected in “No One Is Alone.”
It the characters sound like those folks encountered during childhood bedtime stories they may possibly come to life for some audience members during Act I. but that familiarity ends when Sondheim who composed the music and lyrics and Lapine who wrote the book, offers a scathing reality check in Act II.
The musical, garnering several Tony Awards including Best Score and Best Book when premiering on Broadway in 1987, pulls a moralistic, anti-happily after plot from stories primarily conceived or popularized by 17th century French fairy-tale founder Charles Perraultan (“Cinderella,” Little Red Riding Hood”) and 19th century German folklore authors and collectors, the Brothers Grimm (Rapunzel, Snow White). “Jack and the Beanstalk” is an English Fairy tale popularized by Joseph Jacobs started out n 1734 as “The Story of Jack Spriggins and the Enchanted Bean.”
It all starts with “Rapunzel” when a husband steals veggies called rampion or rapunzel from the garden of a next-door neighboring witch to make his pregnant wife happy. The witch catches him and makes a deal to leave the couple alone if they will give her theirthe baby to raise. This story is uncovered when that man’s son, the Baker, and his wife are lonely without children and learn it’s because of the witch’s curse.
And so the musical is about what people wish for and their journey to achieve it. The witch tells them the curse will be removed if the couple brings her a “cow as white as milk, cape as red as blood, hair as yellow as corn and slipper as pure as gold” in three days.
The Condells, left and Heminges, right with Ben Johnson, center, in The Book of Will at American Players Theatre in Spring Green (Liz Loren photo)
4 stars
High school kids typically encounter Shakespeare in an English class. A Shakespearean comedy is often staged outdoors in the summer. And, insightful comments from Shakespeare’s plays are quoted so often that some of the folks saying the witty words don’t even know they originated more than 400 years ago from the pen of an English playwright/poet who died in 1616.
But what if the plays of this great dramatist called the “Bard of Avon” had been lost or remembered incorrectly by players and printers?
Why and how they have been saved as the 1623 First Folio is the subject of American playwright Lauren Gunderson’s “Book of Will.”
The annual Tchaikovsky Spectacular fills the lawn at Ravinia Festival. (J Jacobs photo)
Tchaikovsky, the Chicago Symphony Orchestra and Itzhak Perlman brought friends and families out to Ravinia Festival Sunday. After storming in the morning, the weather was cooperating for Ravinia’s annual “Tchaikovsky Spectacular” in early evening.
Blanket carrying, luggage-rolling, chair-toting, concert goers kept pouring through the park’s gates even past the early 5 p.m. program start.
Each year, the popular concert fills the lawn with music lovers who know that the final notes of the “1812 Overture” are also an appropriate cannon send-off to a Chicago Symphony Orchestra that is at Orchestra Hall downtown during the winter but plays at Ravinia in Highland Park in summer.
Heads, nodded and even feet seemed to join in from the blankets and chairs behind the Pavilion and across the lawn as Perlman expertly conducted Tchaikovsky’s familiar Symphony No. 4.
Regular Ravinia goer Patsy Haase, Arlington Heights, chats with daughter Julie Haase and Sydney Burks, MO before the program begins and the lawn starts to fill. (J Jacobs photo)
After intermission, the 2017 Credit Swisse Young Artist Award winner, cellist Kian Soltani, a Deutsche Grammophon recording artist, wowed listeners with his deft handling of “Variations on a rococo theme for cello and orchestra and its virtuosic coda.
For the “1812” some lawn sitters with youngsters on shoulders, strolled over to the space on the northeast side of the Pavilion to watch the cannon shots.
Ravinia Festival was living up to its name. A festival mood had spread across the park as youngsters skipped around blankets and many picnickers, reluctant to leave on this balmy concert night, continued sipping, eating and chatting.
Frequent Revinia goers, Donna and Dan Berman, Deerfield, know to get to popular concerts early. and Dan knows to bring a hat because the sun changes. (J Jacobs photo)
They had come well-supplied with wine bottles, dishes to share and other stuff.
Although this was the first time Sidney Burks and Julie Haase from Southern Missouri had been to Ravinia, they were visiting Julie’s folks, Patsy and Roger Haase, regular Ravinia goers from Arlington Heights. What was important to bring?
“A light,” said Patsy, pointing to a very attractive decorated glass container sitting by their table that would be good for concerts continuing after dark. “This way we can find our way back to our table,” she said.
Dan and Donna Berman who lived a lot closer in Deerfield, had already seen several concerts and had more planned on their calendar including the Michael Feinstein program.
Why come?
“I love Ravinia,” said Dan. “I love music.” He added. “Not necessarily in that order.”
“We come every year for the ‘1812,’” said Donna.
1812 overture blast (Photo by Ravinia Festival/Kyle Dunleavy)
Hunchback of Natre Dame choir by Music theater Works in Cahn Auditorium, Evanston. (Photo by Brett Beiner)
4 stars
I was curious to imagine how this epic story that features a soaring gothic cathedral in the heart of Paris would be portrayed at Music Theater Works’ Cahn Auditorium venue.
But from the moment the curtain rose revealing the stunning scenic set design and twenty-four member choir for MTWs’ “The Hunchback of Notre Dame,” the audience was thoroughly captivated.
Set around 1492 the essence of this operetta is derived from Victor Hugo’s epic novel of the same name with similar themes of intolerance, injustice, abuse of power, and “man’s inhumanity to man” as in his “Les Miserables.”
‘All That He Was.’ L to R: Ethan Warren, Rick Rapp. (Photos by Nicholas Swatz)
4 stars
First, a gentle warning to theatergoers planning to see”All That He Was,” a deeply moving, sometimes humorous new musical by Pride Films & Plays at The Buena: bring along lots of Kleenex.
When theatergoers walk into The Buena, they may be surprised to discover that they’re about to attend a funeral. The entire theatre has been transformed into an outdoor, park-like space.
This sepulchral space is highlighted by a tasteful garden of plants and flowers surrounding an arbor and peppered with places to sit and the stage is festooned by strings of tiny white lights.
A poignant AIDS-inspired, mostly sung-through musical, “All That He Was” is a newly revised version of the original, award-winning one-act by Larry Todd Cousineau (book and lyrics) and Cindy O’Connor (music).
Fast forward to the year 2094, 75 years in the future when”Women of 4G,” presented by Babes with Blades, tackle Earth’s uninhabitable air.
Cast of Women of 4G (Photo courtesy of Babes With Blades)
3 stars
Because of the arrogance and stupidity of our world leaders, the earth’s fragile environment has now been totally destroyed. With the planet’s atmosphere almost completely polluted, mankind is literally gasping its last breath.
In one final, heroic attempt to insure another 500 years of life, a team of seven superior female scientists and their lone male Captain, have been sent on a life-and-death mission into outer space.
Once into the cosmos, the crew of 4G plan to launch a lifesaving satellite, brilliantly developed by one their own, LT Wollman. This celestial orb promises to reverse the harmful gases and lethal rays that have destroyed earth’s precious oxygen supply.
But something else has gone deadly awry. At the top of the play, the audience learns that the ship’s captain has been murdered. Playwright Amy Tofte’s often funny, frequently violent feminist science fiction melodrama quickly evolves into an intergalactic whodunnit?
Cast of Junie B Jones at Marriott Theatre. (Photo courtesy of Marriott)
3 stars
In her Junie B Jones stories, children’s author Barbara Park found interesting solutions to problems youngsters face at school. Which means that “Junie B. Jones, The Musical,” put together by the “Dear Edwina” team of Marcy Heisler and Zina Goldrich, is perfect for youngsters to see right before school starts this fall.
Now at Marriott Theatre in Lincolnshire just through Aug. 11, 2019, the show is for all elementary-middle school youngsters.
On the first day of school, Junie B encounters problems right away on the bus when her best friend from last year now has two other best friends so won’t sit with her.
Once at school, Junie B doesn’t understand why she can’t read words on the board. She’ll have to wear glasses but what will her classmates think and say.
And the problems keep happening.
Elizabeth Telfore is a terrific Junie B. Adam LaSalle is great as her piano-playing day (and teacher Mr. Scary and others). Rashada Dawan is perfect as mom, (and the cafeteria cook and others).
Marriott shows, whether for a general or young audience, always have excellent voices and choreography. “Junie B” is no exception.
But the reason to take youngsters to the show is for them to see that there are ways to work through things that sometimes go wrong at school.
DETAILS: “Junie b. Jones, the Musical,” is at Marriott Theatre, 10 Marriott Drive, Lincolnshire. Running time: 1 hour. For tickets and other information call (847) 634-0200 or visit Marriott Theatre.
