Reviews – Page 47 – Chicago Theater and Arts

Puppet Master: Global Fest returns

Huber Marionettes Gypsy Dancer. (Photo courtesy of Huber Marionettes)

Depending on your generational reference, the word “puppet” may elicit memories of Shari Lewis’ adorable Lamb Chop or the stage-managing Kermit the Frog of “The Muppets Show.”

But puppetry actually is an ancient tradition of storytelling that is rooted in diverse global cultures. More recently, technical and creative innovations have launched the art to new heights of theatrical expression.

The 3rd Chicago International Puppet Theater Festival celebrates this renaissance through Jan. 27. More than 100 performances of 24 shows and events are being given at 19 Chicago venues by professional puppeteers from 11 countries.

The 2019 edition of the biennial Festival showcases an entertaining and eclectic array of experiences and cultures from around the world. A wide range of puppet styles and approaches are presented including marionettes, shadow puppets, Bunraku puppets, paper scrolls and even anthropomorphized plastic shopping bags.

Some of the productions are lighthearted and family-friendly, while others are dramatic or political. Some incorporate dance, song, multimedia, live music, kites–or total silence. All are thought-provoking and moving examples of the power of puppetry to foster compassion and spark insight into lives beyond our own..

A few of the shows that are coming up

“Pescador/Fishermen” by Silencio Blanco of Chile is a series of quiet portraits of men at sea. Engrossed in their solitary work, fishermen absorb nature’s overwhelming immensity.

In “Suspended Animation,” the stunning Huber Marionettes from Cookeville, Tenn., dance, play musical instruments and perform complex acrobatic tricks.

“Schweinehund” is inspired by the true story of Pierre Seel, a Frenchman deported to a concentration camp in 1941 on suspicion of homesexuality. Performed on a wooden table, skeletal puppets interact with projected video-animations evoking powerful snapshots of the atrocities Seel endured juxtaposed with wistful memories of yesteryears. It was produced by puppeteers Andy Gaukel of New York and Myriame Larose of Montreal.

This year’s schedule also includes the Neighborhood Festival Tour, a series of 12 free performances by Italian and Puerto Rican puppeteers.

The Chicago International Puppet Theater Festival was formed in 2014 to establish Chicago as a center for the advancement of the art of puppetry. Founder and artistic director Blair Thomas, known for his work in spectacle theater, previously co-founded the now-defunct Redmoon Theater.

DETAILS: The Chicago International Puppet Theater Festival runs in various city theaters and venues through Jan. 27. For tickets and a full schedule, visit ChicagoPuppetFest.

Pamela Dittmer McKuen

(Ed note: McKuen saw the first show, “Ajijaak on Turtle Island” but because it isn’t on the continuing agenda, she didn’t write a review for readers who might want to go. However she said she would have given it our top rating of 4 stars.)

For more shows visit Theatre in Chicago

Theater critic reviews own acts

Brendon Coyle in the Donmar Warehouse production of St. Nicholas. (Photo by Helen Maybanks

3 stars

“…Power… I was a theater critic…,” says Brendan Coyle in “St. Nicholas.” The show, a one-person play by Conor McPherson is at Chicago’s Goodman Theatre fresh from its success at London’s popular Dormar Warehouse.

An Olivier Award winning actor from McPherson’s “The Weir,” Coyle drew laughter from Goodman’s opening night crowd of theater critics and patrons almost every time he said the word “critic.”

However, given that McPheron’s portrait of a critic contains more than a few resemblances to Oscar Wilde’s philosophical and Gothic “The Picture of Dorian Gray,” it arguably would be better to ask a Goodman Theater patron how that person liked or felt about the play.

Continue reading “Theater critic reviews own acts”

Delightful ‘La boheme’ revisited

Parisian street scene in "La boheme at Lyric Opera of Chicago. (Todd Rosenberg photo) — 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.

Continue reading “Delightful ‘La boheme’ revisited”

Greek gods and monsters populate Percy Jackson musical

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.

Jodie Jacobs

For more shows visit Theatre in Chicago

Thoughts about how print and podcasts tell a story

Cecelia Iole (Little Red Riding Hood) and Benjamin Sprunger (Wolf) In Music Works production of Into the Woods. (Brett Beiner photo) — 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) — (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)

To hear Click podcast

Jodie Jacobs

‘La Ruta’ exposes a dangerous journey

4 stars

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.”

Continue reading “‘La Ruta’ exposes a dangerous journey”

A pleasant adventure ‘Into the Woods’

Cast of Into the Woods at Music Works. (Brett Beiner photo) — 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.

Continue reading “A pleasant adventure ‘Into the Woods’”

Reflective and joyous ‘Fiddler’ deserves applause

3.5 stars

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.

Jodie Jacobs

For more shows visit Theatre in Chicago

‘A Midsummer Night’s Dream’ gets a contemporary vibe

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) — 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.

Continue reading “‘A Midsummer Night’s Dream’ gets a contemporary vibe”

Top 10 shows of the year

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.