Parisian street scene in “La boheme at Lyric Opera of Chicago. (Todd Rosenberg photo)
3 stars
Opera lovers who hoped to see “La boheme,” Lyric’s attractively updated version directed by Richard Jones when the 2018-19 season opened in the fall, still have a few opportunities.
After the musician’s strike cancelled one performance, this fresh version of Giacomo Puccini’s popular opera is back with more January dates added to the schedule.
The new production is beautifully sung, featuring Zachary Nelson (Marcello), Michael Fabiano (Rodolfo) and Maria Agresta (Mimi). In the performance I saw, Ann Toomey (Musetta) stood in for Danielle De Niese who had a cold.
Kristin Stokes,l, Chris McCarrell and Jorrel Javier go on a hero quest in The Lightning Thief: The Percy Jackson Musical. (Photo: Jeremy Daniel)
2 ½ stars
Fans of Rick Riordan’s Percy Jackson series about the trials and friendships among children of god and mortal coupling should understand and enjoy “The Lightning Thief: The Percy Jackson Musical” now playing at the Oriental Theatre.
Adults not familiar with the series will get the idea from this low-budget (no real scenery changes), touring show that yeah, what Riordan calls “half-blood” youngsters not only have to please their mortal parent but also put up with and please their Greek god dad or goddess mom.
Because my granddaughter liked the series, I read the books, was hooked on their adventures and thought the show might be fun.
Well, it’s not bad. All it needs are some decent-singing voices aside from Chris McCarrell who does a fine job as Percy and his mom Sally, played by Jalynn Steele, who has the best voice in the cast.
The rest of the cast are certainly in character but it’s hard to understand all the words because they shout-sing in nasally, tinny voices.
Percy fans might not care but if a song is worth writing and singing it ought to be sung so audiences hear more than a couple of words.
And the songs, with music and lyrics by Rob Rokicki, are basically good. McCarrell puts over his frustration well in the “The Day I Got Expelled” and “Good Kid.”
Riordan’s page-turning story-telling, cleverly interpreted in the book by Joe Tracz, keeps audiences wondering what will happen next and how will these “kids” handle the next obstacle.
Director Stephen Brackett, scenic designer Lee Savage and lighting designer David Lander move the story along with obviously low-budget staging. Riordan fans likely don’t care. They just enjoy seeing how Percy, the love-child of powerful god Poseidon, handles his “hero quest” to bring his mom, struck down by a Minotaur, back from the Underworld and also recapture Zeus’ lightning stolen by Hades.
The show is only in Chicago for a short time so Percy Jackson fans who want to see how Riordan’s story is interpreted on stage need to snag a ticket now.
DETAILS: “The Lightning Thief: The Percy Jackson Musical” is at the Oriental Theatre, 24 W. Randolph St., Chicago, through Jan. 13, 2019. Running time: 2 hours with one intermission. For tickets and other information call (800) 775-2000 and visit Broadway In Chicago.
Cecelia Iole (Little Red Riding Hood) and Benjamin Sprunger (Wolf) In Music Works production of Into the Woods. (Brett Beiner photo)
When writing for a suburban weekly, a county-wide daily, contributing to the Chicago Tribune for 25 years and doing articles for other publications, the articles seemed to live on in archives, on line and in my closet. They were fun and thoughtful reminders of what was going on where.
The cast of “The Steadfast Tin Soldier” at Lookingglass Theatre. (Photos by Liz Lauren)
But when invited to guest on a podcast about the past Chicago theater season I found that an oral conversation that was well-guided by thought-provoking questions with some give and take on critical review points could be just as rewarding.
So, here is the podcast tape I just did with Reno Lovison of Chicago Broadcasting Network. It goes back over some of the shows that appeared in Chicago this past year. It was fun and enlightening because it revealed themes and trends.
(front L-R) Ian Paul Custer, Brandon Dahlquist, John Mohrlein (Photo by Michael Brosilow)
Reno has also made podcasts of the reviews he does for ChicagoTheaterAndArts.com.
His podcasts can be found at iTunes, Spotify, and GooglePlay.
Hope you enjoy listening to this theater year in review podcast. It is about an hour long show with a very short announcement break halfway through it.
Front, l to r, Andrea San Miguel, Jennifer Latimore, and Matthew C. Yee, and back, William Brown in Twelfth Night at Writers Theatre (Photos by Michael Brosilow)
For his world premiere of “La Ruta” at the Steppenwolf Theater, Chicago based playwright Isaac Gomez has commandeered a bus transporting “maquila” workers to and from their jobs in Juarez, pointing its headlights into the vast darkness. It exposes the despair and anguish of the mothers and sisters of an estimated 1,400 women kidnapped, used as sex slaves, murdered and disposed of like trash in the Mexican desert.
According to Gomez this is a story that has been systematically silenced through intimidation and adherence to a Latin American culture of toxic masculinity, or “machista.”
Based on a true story and directed by Sandra Marquez, “La Ruta” is performed by an all Latinx cast of eight that centers around the few days leading up to and the nearly three years following the disappearance of Brenda (Cher Alvarez).
Gomez is careful to point out in the program notes that this is not a docu-drama but rather a “creative re-imagining.”
Cast of Into the Woods at Music Theater Works. (Brett Beiner photo)
4 stars
Music Theater Works in Evanston has put together a visually stunning production of Stephen Sondheim’s fairy-tale musical mashup, “Into the Woods.”
The opening tableau is like the first page of a richly illustrated children’s picture book that literally sets the stage for the primary characters.
Stage right is Cinderella (Kelly Britt) tending to the fire; center stage is the Baker (Daniel Tatar) and his wife (Alexis Armstrong) in their kitchen; and stage left is Jack (Christopher Ratliff) of beanstalk fame with his mother (Anne Marie Lewis) and cow Milky White (Milky White).
Behind the vignettes are the slightly ominous birch tree “woods” accented against a deep blue twilight sky hung with the words “Once Upon a Time.” But of course, this is not your child’s version of the stories presented.
The exceptional voice and expressive movements of Israeli actor, dancer Yehezkel Lazarov, alone, make the “Fiddler on the Roof,” the 2015 Broadway revival, worth the ticket.
Add in the fine cast, Michael Yeargan’s creatively low-contrasting set design, Catherine Zuber’s dream-scene costumes and Christopher Evens’ recreated choreography inspired in part by Jerome Robbins, and audiences see a memorable, highly charged, redo of the 1964 Tony-Award winning musical.
Current audiences may not remember that this musical with book by Joseph Stein based on tales by Sholem Aleichem including his “Tevye and his Daughters,” end with the villagers being forced by the Russia’s tsar to leave their homes.
But this revival has Lazarov, somewhat clothed contemporary-styled and holding a book, looking at the village’s railroad sign against the background noise of a speeding train.
Remember it because the show ends with Lazarov back in his opening apparel, pulling the “fiddler,” nicely done by Paul Morland, in to the exodus with him to the station.
And that is just the opening and closing of what Lincoln Center Theater Director (“My Fair Lady”) Bartlett Sher has wrought. Every song and every dance number elicited highly appreciative applause. Every interaction of the daughters fighting tradition in their quest for happiness had the audience worriedly wondering how Tevia would react and handle breaks with tradition.
Lazarov as a philosophical Tevye didn’t disappoint. What was disappointing was Maite Uzal’s shrewish interpretation of Tevye’s wife, Golde. The director ought to have her dial back her harsh, mean-spirited sounding responses. She can be strong-willed and even demanding without sounding nasty.
Of course the show features such memorable Jerry Bock (music) and Sheldon Harnick (lyrics) songs as “Tradition” “If I Were A Rich Man,” “Sunrise Sunset” and “To Life,” with new orchestrations by “Ted Sperling.
However, except for Lazarov and the wonderful voice of Ruthy Froch as second oldest daughter Hodel, the voices blend well instead of standing out on their own. Jesse Weil as Motel the tailor, sounded particularly weak making me wonder if he was nursing a cold.
The touring revival was the best-staged “Fiddler” I’ve seen in a long time. Just expect a long first act and a total 2 hours, 55 minutes (one intermission).
It’s an excellent production but given the musical’s length of almost three hours (15 min intermission) because of well-executed but too long dance sequences, a few minutes could be cut from the dances in both the first and second act and still have an exciting show.
DETAILS: “Fiddler on the Roof,” presented by Broadway in Chicago, is at the Cadillac Palace Theatre, 151 W. Randolph St., Chicag0, through Jan. 6, 2019. Running time: 2 hrs, 55 minutes (one intermission). For tickets and other information visit Broadway in Chicago.
Led in revels by the First Fairy (Adrienne Storrs) and Puck (Sam Kebede), the fairy ensemble gather to “Rock the Ground” in Chicago Shakespeare Theater’s production of ‘A Midsummer Night’s Dream’ (Liz Lauren photo)
4 stars
Shakespeare Theater Chicago puts a slightly modern twist to an old favorite, one of “The Bard’s” most well-known and beloved plays, “A Midsummer Night’s Dream.”
As is not unusual for Shakespeare this story is something of a three ring circus.
Oberon, King of the Fairies (Edward O’Blenis) directs his minion Puck (Sam Kebede) to put a spell on Titania, Queen of the Fairies (Alexandra Silber) to teach her a lesson.
The spell uses the essence of a special flower that will cause Titania to fall madly in love with the first being she sees whether it be man, beast or fairy. Oberon prefers the more beastly the better.
Chicago area theaters put on so many excellent productions that picking our top 10 shows is not merely challenging, it also reflects individual points of view, entertainment preferences and theater and music backgrounds. Readers are welcome to disagree and comment with their own suggestions.
This year, we also are including Broadway in Chicago and Lyric Opera contenders because Chicago audiences attend those productions and support those organizations with subscriptions.
A bit about our reviewers: Reno Lovison, Pam McKuen, Francine Friedman, Mira Temkin and editor Jodie Jacobs are professional writers who have contributed over the years to a variety of publications. Read more in the About section of Chicago Theater and Arts. Their selections could each have extended to five and more but were narrowed down to two apiece.
Reno Lovison
“Haymarket”
“Haymarket” was an important Chicago story, well performed and included appropriate Bluegrass music reminiscent of labor-oriented folk songs. See review of this Underscore Theatre Company’s production at Haymarket.
“The End of TV”
“The End of TV” made me a Manual Cinema fan, offering a fresh way to experience live performance utilizing old and new technologies. See review of the Manual Cinema production at The End of TV.
(***: In spite of my two picks I find myself periodically thinking about “Arcadia” and “Fear and Misery in the Third Reich” but probably more as a result of the playwright than the players.)
Pam McKuen
“Once”
A Paramount Theatre production, “Once” is a sweet but short-lived romance with an imaginative set and an upbeat cast of congenial music-makers that was put on at a suburban jewel. See review of Once.
“On Your Feet”
A Broadway in Chicago presentation at the Cadillac Palace, “On Your Feet” is the life story of Emilio and Gloria Estefan. It has everything you’d want in a musical: global hits, glitzy costumes, dramatic lows and comedic punches. I’d see it again. See review at On Your Feet.
Francine Friedman
“Miss Saigon”
Loosely based on the opera “Madame Butterfly,” the musical “Miss Saigon” embraces the relationship between an American GI and a young Asian woman while it follows the final days of the Vietnam War. The play’s touring company of wonderful actors, singers and dancers, along with real photos of orphaned, war-born American/Asian children displayed in its second act, brought the musical to life. See review at Miss Saigon.
“Women of Soul”
At the Black Ensemble Theater through Jan. 21, 2019, “Women of Soul” is a tribute to many well-known female singers, covering their different genres and numerous years. In addition to the wonderful performers who sing their famous tunes, many newly-revealed details of how their careers blossomed and how some of their lives ended adds insight to their backgrounds. And the closing tribute to the Queen of Soul, Aretha Franklin, brought everyone to their feet. See the review of Women of Soul.
Mira Temkin
“The Buddy Holly Story”
An American Blues Theater production, this high-energy biopic of singer/songwriter Buddy Holly kept the music going at a frenetic pace as a testament to the amazing talents of star, Zachary Stephenson and the entire cast. Even though “it was day the music died, according to Don McLean,” the audience never wanted it to end. See review at Buddy Holly Story.
“A Shayna Maidel”
What is family? Can it be created or reborn? “A Shayna Maidel” performed as a revival by TimeLine Theatre, answers these thoughtful questions in a most profound way. See review at A Shayna Maidel.
(*** Also agree that “Miss Saigon” is among the year’s best. This new versio, now on on tour ,takes out all the stops in theatrics, wowing audiences as one of the most spectacular musicals ever written and produced. Contemporary theatre goers can’t help but get caught up in the past, knowing how the war ended with the cost in human life and how many Vietnamese orphans the U.S. left behind.)
Jodie Jacobs
“La boheme”
Lyric Opera of Chicago’s “La boheme” was extraordinary theater. It had everything from inventive scenery and creative staging to exceptional acting, singing and orchestration. Fortunately, it continues in January, 2019. See the review at La boheme.
“Steadfast Tin Soldier”
Audiences have come to expect unusual presentations from Lookingglass Theatre. However, Mary Zimmerman’s adaptation and direction of the “Steadfast Tin Soldier,” has to be seen to really appreciate its outstanding pantomime and puppetry. See the review at Steadfast Tin Soldier.
We had a great time visiting the Winter WonderFest at Navy Pier.
The event is sponsored by Fifth Third Bank and even though it is geared primarily toward the little ones there is plenty of fun for the whole family.
Essentially this is an indoor carnival. In fact the brochure claims “thrills without the chills.”
For the little tykes, designated as under 46 inches tall, there are two bouncers and other games in the Jingle Jym Junior area right by the entrance.
WinterFest at Navy Pier is a fun family experience (Photos by Reno Lovison)
Of course the Kringle Carousel which is the first thing you see when you enter is fun for anyone looking for a classic carnival experience. My wife never misses an opportunity to ride a carousel.
There’s mini golf artic style and an artic plunge is a giant inflatable slide topped by an enormous polar bear.
The Lighthouse takes those 36” and taller up a roughly thirty foot lighthouse then unexpectedly drops them repeatedly for a bit of a thrill.
The Winter Tube is a slippery snowless toboggan-like slide, only rather than a sled, you ride a kind of colorful inner tube style ring.
Ice skating at WinterFest
I think a feature for many is the star spangled ice skating rink. This seems like it might be an attraction for teens looking for a fun date night, especially if mom makes you take your little brother along. But indoor ice skating is actually my idea of enjoying the sport.
Kids love to climb and what could be more fun than making your way to the rafters via the Snowy Summit Climbing Wall?
The gigantic Christmas tree is beautifully decorated offering a perfect back drop for a photo or just to be enjoyed from virtually every vantage point within the fair.
Gaze up at the wonderful Christmas tree.
The Cliff Hanger is certainly the most visual and most exciting offering, whirling you at break-neck speed in a kind of hang glider looking contraption, ultimately landing you gently back the ground.
The psychedelic lighting of the Winter WonderWhirl adds a lot to the sense of excitement.
There are bumper cars, an excursion train, Tilt’a Whirl and spinning Hot Cocoa Cups.
Enjoy plenty of holiday photo ops which you can do yourself or take advantage of the photo package available for purchase on site.
There are snacks, additional rides and attractions and as a nice bonus each ticket also includes a ride on Chicago’s very own Centennial “Ferris” Wheel.
This is a good excuse to get off the couch and do something together as a family or just another nice way to enjoy a trip to Navy Pier.
DETAILS: You will find the Fifth Third Bank Winter WonderFest at the West end of Navy Pier on the Lakefront at Illinois Street through Jan. 6, 2019. For tickets and information visit NavyPier.org
Adults and youngsters alike should easily laugh, applaud and fall in love with “Cendrillon,” Jules Massenet’s operatic interpretation of “Cinderella.”
Certainly the version now at the Lyric has been traveling the opera circuit since opening at the Santa Fe Opera in 2006, but the telling clue to its humor is that when it premiered in 1899 it was at Paris’ Opéra-Comique where it was also remounted in 1911.
That the opera is a fairy tale comes across immediately with Barbara De Limburg’s delightful storybook set design.
That this opera, unlike Gioachino Rossini’s operatic drama “Cenerentola” (Cinderella), is a lighthearted version of the familiar fairy tale, becomes obvious with Laurent Pelly’s hysterical, balloon-shaped costumes for the step sisters and the comedic costumes worn by the step mother and other female hopefuls at the prince’s ball.
From left: Kayleigh Decker, Elizabeth Bishop and Emily Pogorelc in “Cendrillon.” (Todd Rosenberg photos)
And that the prince also stepped out of an amusing story book comes across when Pelly, who is also the opera’s director, introduces him as somewhat peevish, uncooperative, hardly charming, pajama-wearing kid in his bed chambers.
Revival choreographer Karine Girard (and original choreographer Laura Scozzi) play up the opera’s nose-thumbing, pseudo-sophistication side with wonderful marching steps by palace couriers and the introduction of females who hope to win the prince.
But humor aside, the Lyric’s Cendrillon is still an opera that requires fine voices. And they are.
English mezzo-soprano Alice Coote is superb in the “trouser” role of the prince and a good contrast (as it should be) to Australian soprano Shobhan Stagg’s quieter, sweet, Cendrillon in her American debut.
Bass-baritone Derek Welton, another Australian making his American operatic debut, convincingly portrays Cendrillon’s comically pathetic father, Pandolfe. And French-Canadian coloratura Marie-Eve Munger stands out in her Lyric debut as the Fairy Godmother.
Cinderella (Siobhan Stagg) far left, Fairy godmother (Maie-Eve Munger) atop the books center and Prince charming (Alice Coote) far right kneeling with cast of Cenrillon at the Lyric Opera.
In the step family, American mezzo-soprano Elizabeth Bishop making her Lyric debut is a perfect Mme. De la Haltiere. She’s backed up by daughters Noémie sung by American soprano Emily Pogorelc, and American mezzo-soprano Dorothée sung by Kayleigh Decker, both a Ryan Opera Center members.
As with many fairy tales there still is a poignant side, but the story still turns out well.
Although Rossini’s “Cenerentola” has appeared at the Lyric, Massent’s “Cendrillon” has only now come to town. It’s magic is perfect for the holiday season or anytime.
DETAILS: “Cendrillon” is at the Lyric Opera of Chicago, 20 N. Wacker Dr., Chicago through Jan. 20, 2019. Running time: 2 hrs. 45 minutes with one intermission. For tickets and other information visit Lyric Opera.
