Matthew Polenzani and cast of Mozart’s Idomeneo at Lyric Opera of Chicago. (Kyle Flubacker photo)
If you have ever been caught in a storm while sailing or found yourself on a rough boat ride in Lake Michigan you can understand why Idomeneo is ready to bargain with Neptune in return for a safe harbor after being tempest tossed while returning from the Trojan War.
Neptune, willing to make a deal with Idomeneo says he will assure his safe arrival at shore but in return the hero must sacrifice the first person he sees.
Like many mythological Greek gods of yore Neptune seems to really enjoy some irony. As it turns out the first person Idomeneo spots is his very own son Idamante. Ah! The stuff great opera is made of.
This Lyric Opera of Chicago’s revival of Wolfgang Amadeus Mozart’s Idomeneo with a stellar cast of singers and awesome orchestra led by Music Director Sir Andrew Davis, is indeed lyrical. Continue reading “Idomeneo makes awkward deal with Greek god”
The American Revolution is acted out by Theater Unspeakable cast on a tiny, raised platform.
A talented ensemble of seven actors in red union suits depict the salient moments of the American Revolution in an improvisational tableau style on a roughly three foot by seven foot platform, two feet off the ground, in fifty minutes.
Produced by Theater Unspeakable and directed by Marc Frost, the show is oddly compelling and entertaining.
With no scenery or props and using their bodies alone the cast, skillfully choreographed by movement director Thomas Wynne, employ many time honored devices of stagecraft including pantomime, narration, dialogue and a cappella song to guide us through a timeline beginning with the French and Indian war through to the establishment of a new nation while covering events on two continents.
Chicago’s theater productions are not only numerous and doing well, they are often extended to accommodate demand. Here are four show extensions with widely-different styles and themes that you might want to see.
Front, Rashada Dawan, Back left to right Emma Sipora Tyler and Tyler Symone. (Photo by Marisa KM)
Caroline, Or Change
A moving story with book and lyrics by Pulitzer Prize winner Tony Kushner (Angels in America) and score by Jeanine Tesori (Fun Home, Violet) the show has been extended to Nov. 11, 2018. It is a Firebrand Theatre/ TimeLine Theatre production at The Den Theatre, 1329-1333 N. Milwaukee Ave. For tickets and other information call (773) 697-3830 and visit Firebrandtheatre. For more about the show visit Change can be difficult.
Downstate
Steppenwolf Theatre Company extends its world premiere production of a difficult subject by Pulitzer Prize-winning ensemble member Bruce Norris through Nov. 18, 2018. For reviews of the show visit TheatreInChicago. For tickets call (312) 335-1650 and visit Steppenwolf.
WaistWatchers The Musical
The Chicago premiere of this funny salute to friendship, fitness and food at the Royal George Theatre, 1641 N Halsted St.,has been extended through Dec. 31, 2018. For tickets and more information visit WaistWatcher the Musical. For a review of the show visit WaistWatchers.
Hamilton Company at Private Bank Theatre Photo by Joan Marcus
Hamilton
Once again, Lin-Manuel Miranda’s mega hit about Alexander Hamilton co-starring his wife and her family and his fellow founding fathers, has been extended. Tickets are available through May 26, 2019. The show is at the Private Bank Theatre, 18 W. Monroe St. For tickets and other information visit Broadway In Chicago. For more about the show and to see a review visit Hamilton is worth the hype.
Waistwatchers the Musical is at the Royal George TheatreNo subject in “Waistwatchers – The Musical,” premiering now at the Royal George Theatre, is taboo
Take a talented group of ladies who belt out a powerhouse of hits about the traumas of growing older, getting heavier, and feeling somewhat invisible and you have the basics of a very funny show. You’ll find yourself laughing hysterically and nodding in agreement with their tales of universal woe.
The musical romp stars two-time Grammy nominee vocalist Martha Wash, the queen of disco and half of the Weather Girls, known for their hit single, “It’s Raining Men.”
While the three women commiserate at “Miss Cook’s Women’s Gym,” they sing the praises of younger owner Carla who does her best to keep her favorite customers motivated and on track. Yes, that anthem is an adaptation of “YMCA” and the audience is invited to sing along.
Lighthearted and full of high-energy dancing and non-stop fun, the musical features more than 20 numbers that focus on women’s relationship to food, friendship, loss, sex, Botox and working out. And candy. Lots of candy. Wash is Connie through October 28. The show also stars Kiley McDonald as Carla, Sarah Godwin as Cindy, Krissy Johnson as Cheryl, and Katherine S. Barnes as the MC.
Walsh knocks it out of the park with her powerful vocals and she simply commands the show every time she’s on the stage. She was a joy to watch.
Produced by Dana Matthow, the creative team includes Matthew E. Silva (Director), Alan Jacobson (Creator, Book and Lyrics), Vince Di Mura (Music) and Dani Tucci-Jurraga (Choreography).
The audience included several groups with a few men who were picked on for fun. In the end, the show empowers women to band together, relax and just be who they are.
DETAILS: “WaistWatchers the Musical” is at the Royal George Theatre, 1641 N. Halsted St., Chicago, through Dec. 30, 2018. Running time: 90 minutes with no intermission. For tickets and other information call (312) 988-9000 or visit Waist Watchers the Musical.
Donterrio Johnson (Leading Player) and Koray Tarhan (Pippin); (Photo by Brett Beiner)
Young Prince Pippin, played by Koray Tarhan, is searching for many things to help him fulfill his happiness.
From his glory of the battlefield to his political aptitude and his sensual seductions, not only does he come closer to finding his jubilation, but the audience gets to know Prince Pippin increasingly better by the minute.
Pippin’s imaginative journey is at the heart of Broadway legend Stephen Schwartz’s classic musical ‘Pippin’ which won four Tony Awards in 2013.
The new Chicago production at Mercury Theater’s Venus Cabaret Theater is delightful. Its captivating tunes “Corner of the Sky” and “Magic to Do” are beautifully played by musicians Courtney Anne McNally, Andrew Milliken, and Diego Salcedo.
At the end of the play, Pippin finally discovers where his happiness lies. His message is a worldwide, all-embracing theme.
Cast of Pippin at Mercury Theater Chicago (Photo by Brett Beiner)
A fabulous cast keeps the delighted audience at the edge of their seats as they watch with amazement as each member displays proficient, multiple skills. The singing is beautiful and the dancing is incredible.
Leading Player is performed by Donterrio Johnson who brings Pippin together with the following characters: King Charlemagne the Great—aka Charles—Pippin’s father played by Don Forston; his half-brother, Lewis, played by Adam Fane and his grandmother, Berthe, played by Iris Lieberman.
The cast also includes Nicole Armold, Kayla Boye, Michael Rawls, Gabriel Robert and Sawyer Smith.
“Pippin” is directed by L. Walter Stearns with music direction by Eugene Dizon and choreography by Brenda Didier.
DETAILS: “Pippin” is at the Venus Cabaret Theater of Mercury Theater Chicago, 3741 N. Southport Ave., Chicago, through Dec. 16, 2018. Running time: 2 hours. For tickets and other information, call 7(73) 325-1700 or visit Mercury Theater Chicago.
Cast of On the Town at Northbrook Theatre (Zach Dalin Photography)
Catch “On The Town,” a high-energy wartime musical about three sailors on a 24-hour leave who are looking for love and adventure in New York City. Performed by the Highland Park Players through October 28, this Tony Award-nominated musical features thrilling music by Leonard Bernstein with playful lyrics and book by Betty Comden and Adolph Green.
What makes this show so unique (and challenging) is the blending of musical comedy with ballet, just as the young Bernstein envisioned and would go to recreate in “West Side Story” as well. If you listen carefully, you can hear some of the same musical arrangements made famous in “West Side Story,” yet Bernstein was only 26. The Highland Park Players pull it off with amazing choreography, beautiful singing and impressive costumes.
Based on the 1944 Broadway show and 1949 film starring Gene Kelly, Frank Sinatra and Jules Munchin, On the Town captures a time when anything and everything was possible. While humor runs throughout the show, it leaves the audience with an uncertain, but hopeful ending.
“On The Town” is directed and choreographed by Dina DiCostanzo. The production stars Aaron Stash as Ozzie, Christopher Johnson as Gabey, Steven Schur as Chip, Brittny Goon as Claire, Justine Klein as Hildy, Ariana Cappuccitti as Ivy, Naomi Hershman as Madame Dilly and Geoff Isaac as Pitkin.
Aaron Stash, Brittny Goon, Christopher Johnson, Justine Klein and Steve Schur in On The Town (Zach Dalin Photography)
Cast standouts include Goon who has an amazing powerful voice and Hershman is hysterical as the drunken Madame Dilly. Mention must be made of Cappuccitti who oozes charm and innocence as “Miss Turnstyle of the Month.”
Music Director/Conductor Aaron Kaplan leads a dazzling 22-piece orchestra that has never sounded better. Also, kudos to scenic designer Brett Baleskie for his imaginative subways cars used throughout the show and to Rachel Parent for her authentic costume designs that reflect the times.
DETAILS: “On the Town” is at Northbrook Theatre, 3323 Walters Ave., Northbrook. Running time: Approximately 2.5 hours with intermission. For tickets and other information, call the Northbrook Theatre at (847) 291-2995 or visit Highland Park Players.
There are many reasons to see “Shrek the Musical,” now playing in Marriott Theatre for Young Audiences’ series.
As has come to be expected of Marriott shows whether for adult, general or young audiences, the singing, choreography and costumes are first rate.
Directed by Scott Weinstein, with musical direction by Matt Deitchman and choreography by William Carlos Angulo, “Shrek” has a cast actors known to Chicago audiences. Shea Coffman is Shrek, Jacquelyn Jones plays Fiona, Jonathan Butler-Duplessis is Donkey and Steven Strafford portrays Farquaad.
Then there is Marriott’s understanding that a show for young audiences shouldn’t be more than an hour and that scary creatures such as dragons should be shown as merely clever representations actually moved by actors they can see yet still ferocious enough to interest older children.
But what these shows really come down to for parents and grandparents of grade-school youngsters are talking points for discussions on the way home.
Adapted by Jeanie Tesori and David Lindsay Abaire form DreamWorks’ Oscar-winning movie, “Shrek the Musical,” the show revolves around fairy-tale characters sent to ogre Shrek’s swamp because they have no place to go after being ousted from Farquaad’s kingdom. Farquaad considers them weird and he wants what he considers to be an ideal realm.
Families who think this theme is similar to what is going on now and in the past across the globe or merely want to ask their youngsters what they think about Farquaad and his ideas have a strong basis for discussion in “Shrek.”
Shea Coffman, Jonathan Butler-Duplessis, and Jacquelyne Jones in Shrek the Musical.
However, the ending also leaves a lot open to discussion. Shrek accedes to Farquaad’s wishes to bring him a princess in order to become a king and have a queen . Shrek does so because his reward is to have total ownership and control of the swamp.
The proposed match doesn’t work out. The ogre and the princess realize they’re in love . Shrek welcomes the princess and fairy tale characters to his swamp and everyone is supposedly happy.
So first, there is the argument that love’s first kiss can reveal one’s true self which is what the princess was told when a spell was cast upon her. In the musical the princess and Shrek find out they are alike. And there is the question of do princesses still need rescuing?
Then, there is the talking point, not made in the show, of why should characters who are unlike those in a kingdom, country or area have to reside outside it even if they are welcome elsewhere, such as the show’s swamp.
DETAILS; “Shrek the Musical” is at Marriott Theatre, 10 Marriott Drive, Lincolnshire, through Dec. 30, 2018. Running time: One hour. For tickets and other information call (847) 634-0200 or visit Marriott Theatre.
Cast of Curious Incident of the dog in the nighttime at Steppenwolf Theatre’s Young Adult Program.
“The Curious Incident of the Dog in the Night-Time” follows the adventures of Christopher (Terry Bell) who is a fourteen year old boy with an undefined sensory processing disorder (like autism) who is also a kind of math savant.
While he has advanced mental abilities on one hand, he also has limited interpersonal skills which manifest in his aversion to personal contact, his inability to tell a lie, and his propensity to take everything he hears literally.
For instance, he is confused by most idiomatic phrases and metaphors. When his test proctor asks, “Are you ready to roll” Christopher simply looks bewildered.
Intrigued by the mystery of the obviously intentional death of his neighbor’s dog, the young man sets out to find the perpetrator of the act. That leads him to places he has never been. It confronts him with unimagined truths while being forced to manage and overcome some of his own personal challenges.
This is less of a whodunit and more of a why’d-you-do-it that forces Christopher and us to ponder themes of death, infidelity, and betrayal. In the end there is not so much of a resolution as an open ended series of unanswered, perhaps thought provoking questions.
The strength of the play is providing a glimpse into an alternate state of being.
Actor Terry Bell gave an excellent, well=balanced performance as Christopher. It would be easy to overplay this role but his portrayal is sympathetic and sensitive.
Michael Fabiano (Rodolfo) and Maria Agresta (Mimi) meet when she comes to his garret. (Todd Rosenberg photo)
Giacomo Puccini’s “La bohème”opened the Lyric Opera of Chicago’s 64th season Oct. 6. And what an opening it was.
Not only is the set more creatively stylized from the one opera goers have seen at the Chicago Opera House for more than 40 years, Puccini’s lyrical music and the drama in Luigi Illica and Giuseppe Giacosa’s libretto were also given more depth by English director Richard Jones and Venezuelan-Swiss conductor Domingo Hindoyan then in earlier Lyric productions.
Based on Henri Murger’s “Scènes de la vie de bohème,”the playful interactions of poet Rodolfo (American tenor Michael Fabiano) and his friends, painter Marcello (American baritone Zachary Nelson), musician Schaunard (Puerto Rican baritone Ricardo José Rivera) and philosopher Colline (Romanian bass Adrian Sampetrean), are emphasized as are Marcello’s temperament and Rodolfo’s multi-faceted character.
But what really made the opening a “happening” was Fabiano’s soaring delivery of each aria from “Che gelida manina” to “La più divina delle poesia,” to “Ebenne no, non lo so.”
Thank you, Lyric, for introducing this amazing tenor and his powerfully rich voice to Chicago audiences. Fabiano has already wowed audiences with his Rodolfo at London’s Royal Opera House in 2017 and at the Met earlier in 2018.
Saren Nofs Snyder (Regina Giddens), Alicia Kahn (Birdie Hubbard) and Thom Thomas (Ben Hubbard) in the Little Foxes at Citadel Theatre. (Photo by North Shore Camera Club)
Revived on Broadway in 2017 where it received six Tony Award nominations, “The Little Foxes,” Lillian Hellman’s blistering tale of a Southern family’s greed is replayed at Citadel Theatre with all the destructive power that made this drama a classic.
Brilliantly cast with Jeff Award-nominated Saren Nofs as the ruthless Regina Giddens, frustrated by not holding the family’s financial reins, the drama steam rolls to its necessary conclusion leaving audiences saying “whew.”
Regina is not the only family member who suffers under the accepted norm of male inheritance and domination prevalent at the turn of the last century.
