Reviews – Page 52 – Chicago Theater and Arts

Classic ‘Peter Pan’ delights a whole new generation

RECOMMENDED

Every child who hears the words from the song, “I won’t grow up” can relate to Peter Pan who runs away from home so he doesn’t have to grow up.

Originally produced on Broadway in 1954, ‘Peter Pan’ has been a traditional favorite in its many incarnations on TV and the live stage throughout the years.

Peter Pan flies high at Music Theater Works in Evanston. Rich Foreman Phaotos — Peter Pan flies high at Music Theater Works in Evanston.
Rich Foreman Photos

Bring your children as well as your inner child to the Music Theater Works (formerly Light Opera Works) to see this wonderful production of ‘Peter Pan,’ now through Jan. 1, 2018.

This family classic includes the songs “I Gotta Crow,” “I Won’t Grow Up,” “I’m Flying” and “Neverland” accompanied by a full orchestra.

‘Peter Pan’ is directed by Music Theater Works artistic director Rudy Hogenmiller, conducted by music director Roger L. Bingaman and choreographed by Clayton Cross.

The sets are purely magical and depict the wonderful imagination of Adam Veness (scenic) and Robert S. Kuhn (costumes).

Aubrey Adams as Peter can sing, dance and keep up with the Lost Boys. She brings high energy and excitement to the role.

The remarkable Larry Adams shines in his role as irrepressible Mr. Darling/Captain Hook, especially as Captain Hook who lives in fear for the time-ticking crocodile.

Stand outs include Elizabeth Stenholt (Wendy Darling/Jane) with her beautiful, sweet voice, Anna Marie Abbate (Tiger Lily) and Cary Lovett (Smee).

The children in the audience were completely mesmerized by Peter and the Darling children as they flew through the air. I heard one child say, “Are they really flying?”

The antics of the Lion, Kangaroo, Ostrich and of course, Nana the dog, brought gales of laughter from the children.

Bring your family and share the ‘Peter Pan’ you loved as a child with your own youngsters.

‘Peter Pan’ is Music Theater Works’ final production of 2017. The 2018 season will begin with ‘The Pirates of Penzance’ (June 9-17), and continues with ‘Anything Goes’ (Aug. 18-26), the concert performance ‘Judy Garland: Come Rain or Come Shine ‘starring Angela Ingersoll (Oct. 5-14) and ‘Into the Woods’ (Dec. 22-31).

DETAILS: ‘Peter Pan’ is a Music Theater Works production at Cahn Auditorium, 600 Emerson St., Evanston. Running time is 2 hours 30 minutes with two intermissions. For tickets or for more information, call (847) 920-5360 or visit Music Theater Works.

Mira Temkin

For more shows, visit TheatreinChicago.

Sammy’s back at the Black Ensemble Theatre

Dwight Neal as Sammy Davis Jr Photo by Alan Davis — Dwight Neal as
Sammy Davis Jr
Photo by Alan Davis

Highly Recommended

Considered the world’s greatest entertainer, Sammy Davis Jr could do it all…sing, dance and act.

Through both dramatic interpretation and high-energy tap dancing, the Black Ensemble Theatre brings this star to life in ‘Sammy: A Tribute to Sammy Davis Jr.’ now through Jan. 21, 2018.

In this dynamic musical revue, the entire cast pays homage to the legendary talent as well as his commitment to fighting bigotry and racism.

Written and directed by Daryl D. Brooks, the show tells the story of Sammy Davis Jr. who started out dancing with his parents at age 2 in vaudeville, through his success in Las Vegas to his achievements on Broadway, films, television and record albums.

The outstanding on-stage hoofing was choreographed by Rueben Echoles, who also appears in the show. Featuring Michael Adkins, Kenny Davis, Dwight Neal, Nathan Cooper, Mark Yacullo, Trequon Tate, and Brian Boler, the cast sings and dances their way through Sammy’s greatest hits.

Not to be undone are the talented ladies who belt it out and narrate the story: Rhonda Preston, Emily Hawkins, Kylah Williams and Linnea Norwood.

Songs like “Birth of the Blues,” “Candy Man,” “Mr. Bojangles” and “I Gotta Be Me” infused with a contemporary beat brought back so many memories.

The performers were accompanied by a live 7-piece orchestra perched above the stage with musical direction by Robert Reddrick.

Kenny Davis and Michael Adkins salute Sammy Davis Jr Photo by Alan Davis — Kenny Davis & Michael Adkins salute Sammy Davis Jr
Photo by Alan Davis

The audience enjoyed seeing the Rat Pack on stage once again, mesmerized by the music of Ole Blue Eyes himself, Frank Sinatra (Cooper) and the King of Cool, Dean Martin (Yacullo) who played their roles with suave sophistication. And they were saddened by Davis’ personal setbacks. Interspersed throughout the play were stories of Jim Crow laws, where Davis could perform at the Las Vegas hotel, but couldn’t stay there.

The show, produced by Black Ensemble Theatre Founder and CEO, Jackie Taylor, is a wonderful tribute to an amazing artist and humanitarian.

DETAILS: Sammy – A Tribute to Sammy Davis Jr is playing at the Black Ensemble Theatre, 4450 N. Clark St., Chicago through Jan. 21, 2018. Running time: Approximately 2 hours with intermission. For tickets, and other information, call 773-769-4451 or visit Blackensemble .

Look for the 2018 season to kick off with ‘Hail, Hail Chuck – A Tribute to Chuck Berry’ running February 17 – April 1, 2018.

Mira Temkin

For more shows, visit TheatreinChicago.com

Turandot is a Grand Opera

Photos courtesy of Lyric website — Photos courtesy of Lyric

RECOMMENDED

For shear spectacle “Turandot” at the Lyric Opera of Chicago is worth seeing.

Chinese Princess, Turandot, has proffered a challenge to all eligible Princes, that he who can successfully answer three riddles asked by her shall win her love. Unsuccessful suitors will forfeit their life by beheading at sunrise.

The bigger question is whether Turandot is actually interested in love or is she more interested in exacting revenge on all men for the death of her ancestor Princess Lo-u-Ling?

Enter Prince Calaf, a stranger who is immediately smitten by Turandot. He cannot resist the challenge in spite of the pleading of the Ping, Pang and Pong whose duty it is to prepare all matters related to either the execution or the wedding.

Weary of the many deaths, the trio attempts to lure Calaf with the promise of hundreds of other beautiful women but to no avail. Neither can Calaf be dissuaded by his father’s faithful slave woman Liu whose love for him is pure and deep, based on the fact that he smiled at her.

With an impressive, if somewhat cliché, set by production designer Allen Charles Klein and lighting by Chris Maravich, once the curtain is up and the chorus begins to sing the audience is immediately drawn to the performance.

The large lighted glass sphere center stage adds to the exotic illusion of the intersection of heaven and earth as well as the theme of hot and cold. The use of wood, moonlight and lantern-light combined with the muted tones of the costumes contributes to a feeling of a mythological ancient Chinese experience with an overarching sense of foreboding.

Soprano Amber Wagner who appears in the title role has a powerful voice that soars above the entire company providing the character of Turandot with a commanding vocal presence the role requires.

Unfortunately, she has difficulty projecting the complex dichotomy required to be a convincing alluring “ice princess.” This was compounded by her costume being the only one, including the headdress, that seemed inappropriate and did not contribute to the realization of the essence of her character.

Stefano La Colla as Calaf in his Lyric debut is charming though he never really commands the stage. In Act One he was lost in the crowd and at times he seemed unsure where he should be. In spite of that, the much anticipated “Nessun Dorma” in Act Three does not disappoint.

Also appearing in her Lyric debut is soprano Maria Agresta as Liu who offers what is perhaps the most dramatic performance. This is due in large part to the sympathetic nature of the role itself but also to her sensitive portrayal and beautiful voice.

Ping, Pang, and Pong played by Zachary Nelson, Rodell Rosel, and Keith Jameson are veterans of the Lyric who provide wonderful energy and comic relief.

The Lyric chorus and orchestra are outstanding as always. At times the stage is crowded with more than 75 singers including the addition of more than 20 members of the Chicago Children’s Chorus who contribute another level of texture to the vocal tapestry.

Puccini’s score riddled with Asian influences is not driven by melody but is rather a complex nuanced series of compositions more reminiscent of a symphony. This really gives the orchestra an opportunity to shine because they are as important as the singers not simply accompanists.

The third act is dominated by “Nessun Dorma” which is perhaps the most melodious number. It is cleverly reprised for the finale leaving the production with a powerful musical finish and the audience with a tune we can all hum on the way out the door.

This “commercial” ending is a bit out of step and perhaps belies the fact that composer Giacomo Puccini died before he could finish the opera.

The story has a few moral and ethnocentric issues that may be considered to be in conflict with modern sensibilities. This can be a distraction for some but consider using it as an opportunity for thoughtful contemplation and discussion of social change while you simply enjoy the music and the shear spectacle of a grand tradition.

“Turandot” is at the Lyric Opera House, 20 N. Wacker Dr., Chicago, through January 27, 2018. Running time: 2 hours, 50 minutes with two intermissions. For tickets and more information visit Lyric Opera.

Guest Reviewer: Reno Lovison

For more shows, visit TheatreinChicago.

‘Beautiful’ – a tapestry of Carole King’s music

Carole King (Sarah Bockel) at Carnegie Hall (Photo Credit - Matthew Murphy) — Carole King (Sarah Bockel) at Carnegie Hall
(Photo Credit – Matthew Murphy)

HIGHLY RECOMMENDED

It’s a love story, a tale about friendship and a jukebox musical that will have you singing right along. ‘Beautiful – The Carole King Musical,’ tells the inspiring story of singer-songwriter Carole King from her teenage passion for composing music to becoming an award-winning solo performer.

Co-writing with partner and then husband, Gerry Goffin, this prolific team wrote some of the most popular songs of the 60s and 70s era including “Will You Still Love Me Tomorrow,” “The Locomotion” and “One Fine Day.”

Most of their hits were performed by other artists, launching their success such as “Pleasant Valley Sunday” by the Monkees, “A Natural Woman” by Aretha Franklin and “Up on the Roof” by the Drifters.

Not until King finally had the strength to go solo with her 1971 hit album, “Tapestry,” was her own voice finally heard.

The music of friendly competitors and best friends, Cynthia Weil and Barry Mann, also made up part of the story with their own popular hits like “Walking in the Rain,” “We Gotta Get Out of this Place” and “You’ve Lost that Lovin’ Feeling.”

More than 400 of King’s compositions have been recorded by over 1,000 artists and earning six Grammy awards. Many audience members were surprised at the sheer number of songs she composed.

The book, written by Tony and Academy-Award nominee Douglas McGrath, is directed by Marc Bruni with high-energy choreography by Josh Prince. Outstanding set design that moves with total precision was by Derek McLane.

Friends: Don Kirshner (James Clow), Gerry Goffin (Andrew Brewer), Carole King (Sarah Bockel), Barry Mann (Jacob Heimer) and Cynthia Weil (Sarah Goeke) Matthew Murphy photo — Friends: Don Kirshner (James Clow), Gerry Goffin (Andrew Brewer), Carole King (Sarah Bockel), Barry Mann (Jacob Heimer) and Cynthia Weil (Sarah Goeke)
Matthew Murphy photo

This National Tour of Beautiful, featured the excellent Sarah Bockel as Carole King. Bockel’s sheer energy and enthusiasm was absolutely infectious. Her beautiful voice and pure joy had the audience celebrating her triumphs and sharing her pain.

Andrew Brewer as the troubled charmer, Gerry Goffin, carried the role with strong vocals and a confident swagger. Funny, poignant and heart-breaking, the show will have you leave truely singing a love song to Carole King.

DETAILS: ‘Beautiful’ is playing at The Cadillac Palace Theatre, 151 W. Randolph Street, Chicago through January 28. Running time: 2 hours, 30 minutes with intermission. For tickets and other information, call Broadway in Chicago Ticket Line (800) 775-2000 or visit Broadway In Chicago.

Mira Temkin

For more shows, visit TheatreinChicago.

A deep promise of what’s to come . . .

RECOMMENDED

Dion Johnstone (Ira Aldridge) playing Othello (Photo by Liz Lauren) — Dion Johnstone (Ira Aldridge) playing Othello
(Photo by Liz Lauren)

‘Red Velvet’ transports audiences to the tumultuous world backstage in the mid-1800s of London’s Theatre Royal in Covent Garden. Written by Lolita Chakrabarti and directed by Gary Griffin, the award-winning play reminds us of who is veiled into the history of Shakespearean performers.

‘Red Velvet’ tells the story of a black actor, Ira Aldridge, who leaves New York in 1822 as a teenager and heads to London because actors of color were not being hired to perform in Shakespearean plays in the United States. Aldridge’s life on stage confronts the belief that Shakespeare is for everyone.

In 1833 at London’s Theatre Royal, Edmund Kean, a great Shakespearean actor, collapses on stage while performing the lead in Othello. Edmund’s son, Charles, wants to take over his father’s role, but Edmund is replaced by the young black American actor, Ira Aldridge, who had portrayed Othello in the provinces with much success.

Aldridge’s performance in one of London’s most prestigious theaters was mesmerizing. But the reviews by many of London’s theater critics were conflicting, revealing their racial prejudices as they pointed out Aldridge’s physical features and unusual accent that made it difficult for him to pronounce English impeccably.

Following Aldridge’s first two performances, the production was cancelled. Unfortunately, other major theaters in London were closed to him, so Aldridge launched his first continental tour in 1852, becoming one of the most famous and celebrated actors of the nineteenth century in eastern Europe.

Dion Johnstone who portrays Aldridge in ‘Red Velvet’ said, “Ira Aldridge used his platform on the stage to convince European audiences that people of color had souls and intellects as wise and as deep as theirs.”

Aldridge became known across the continent for other great Shakespearean roles, including Shylock, Macbeth and King Lear. As was customary at the time, he played what were held as traditionally white roles in “whiteface.”

‘Red Velvet’ makes audiences ponder about racial performances. There are few black Hamlets, King Lears, and others. Shakespeare’s plays are powerful, but actors of color can make them seem political. In ‘Red Velvet,’ Aldridge deliberates at length that there is “something about velvet . . . a deep promise of what’s to come.”

Dion Johnstone (Ira Aldridge) as Othello and Chaon Cross (Ellen Tree) as Desdemona (Photo by Liz Lauren) — Dion Johnstone (Ira Aldridge) as Othello and Chaon Cross (Ellen Tree) as Desdemona.
(Photo by Liz Lauren)

In addition to Dion Johnstone’s outstanding performance as Ira Aldridge, Chaon Cross plays the famous stage actress Ellen Tree, who appears as Desdemona opposite Aldridge’s Othello. The rest of the remarkable cast includes Greg Matthew Anderson, Michael Hayden, Jürgen Hooper, Tiffany Renee Johnson, Roderick Peeples, Annie Purcell and Bri S udia.

DETAILS: ‘Red Velvet’ is at the Chicago Shakespeare Theatre, 800 E. Grand Avenue, Chicago, through January 21, 2018. Running time: 2 hours and 15 minutes. For tickets and other information, call 312-595-5600 or visit www.chicagoshakes.com .

Francine Pappadis Friedman

For more shows, visit TheatreinChicago

‘Illumination’ transforms Morton Arboretum into an enchanted forest

HIGHLY RECOMMENDED

Bundle up, and take a hike through a woodland of bedazzling lights and synchronized sound. The “Illumination: Tree Lights at the Morton Arboretum” spectacle is more brilliant than ever. Now in its fifth year, it is fast becoming a family tradition.

At this holiday light show in west suburban Lisle, the landscape is painted with a rainbow-hued palette of beaming, chasing, twinkling, flashing, cascading and rolling LED lights. Visitors traverse a one-mile paved trail after dark to encounter various sensory experiences created by a combo of modern-day technology and Mother Nature. The trail meanders around the arboretum’s Meadow Lake, up and down gentle hills and through lush forest.

“Illumination” not only lights up the trees, it entices visitors to engage with them. Along the trail are a dozen stops, some with interactive elements. Sing to the trees at Tinsel Harmony, for example, and you’ll alter the light patterns and colors scaling their trunks.

Drama unfolds at Symphony Woods, where lights appear to dance in time to musical selections from Pyotr Ilyich Tchaikovsky’s “The Nutcracker” recorded by the Chicago Symphony Orchestra. At Crystal Promenade, the soft glow of crystal chandeliers radiate through a grove of fir trees. On Ornament Hill, tiny sparkling lights and 32 giant orbs intermingle with pulsating intensity and hue.

Firepits and concession tents selling snacks and hot beverages help ward off the winter chill.

Augmenting the light show are roaming carolers, dancers and musicians on select nights.

The exhibit was designed by Chicago-based John Featherstone, founder of Lightswitch lighting and design firm and a veteran lighting designer for museums, theaters and concerts. It was built in partnership with lighting and rigging production company Intelligent Lighting Creations in Arlington Heights.

Visitors should note that tickets are for a specific date and time, starting at 4:30 p.m. and every half hour thereafter through 8:30 p.m. The exhibit closes each night at 9:30 p.m.

DETAILS: “Illumination” is at Morton Arboretum, 4100 Illinois Rt. 53, Lisle, through Jan. 1, 2018. Closed Mondays (except for Jan. 1), Christmas Eve and Christmas Day. For tickets and other information, call 630-725-2066 or visit www.mortonarb.org.

Pamela Dittmer McKuen

For more shows, visit TheaterinChicago.

At Goodman Theatre: A Dickens tale worth repeating

HIGHLY RECOMMENDED

Even if you have seen Charles Dickens’ “A Christmas Carol” before at Goodman Theatre, the current production is a show not to be missed. It has aged like fine wine.

Cast of 'A Christmas Carole' at Goodman Theatre. ACC Productions — Cast of ‘A Christmas Carole’ at Goodman Theatre. ACC Productions

On its 40th anniversary, the Goodman production was perfect from Todd Rosenthal’s set, Keith Parkham’s lighting and Heidi Sue McMath’s costume design to appropriately scary, tear jerking and joyous scenes played by many “Christmas Carol” regulars.

Right from the start, you feel the holiday spirit while walking into the lobby and hearing carolers serenading from the balcony (at scattered performances).

The singers were terrific but opening night was even more special as it was filled with an audience that appreciated each scene, ghostly special effects and actors’ monologues with enthusiastic applause.

In his 10th year as Scrooge, Larry Yando was at his bah humbug best in the first third of the play and delightfully nutty with joy as a reformed Scrooge in the last third. In between you felt his gradual character change.

Molly Brennan, the Actors Gymnasium’s director of physical theater, was fun to watch as she managed her flying apparatus as Christmas Past with acrobatic ease. She guided Scrooge with empathy to his school yard and past employment at Mr. Fezziwig’s establishment.

In the Fezziwig scenes Kareem Bandealy, as Scrooge as a Young Man, believably battled with his character’s interest in money, choosing it rather than love.

Joe Faust (Ghost of Jacobs Marley) warns Larry Yando (Ebenezer Scrooge) to change his ways. Acc Productions

Lisa Gaye Dixon once again portrayed Christmas Present with an appreciation of holiday abundance.

It was balanced with dart like precision when Dixon threw Scrooge’s bad attitude towards holiday giving back in his now drooping face.

Breon Arzeli was imposing as the deathly, towering figure of Christmas Future. Of course, by this time Scrooge is ready to do anything to make amends for his anti-humanity outlook.

He now understands what the Ghost of Jacob Marley, perfectly portrayed again by Joe Foust, said when admonishing him that humanity was his business, not the business of money changing.

He now cares about his clerk, Bob Cratchit, played with humor and tenderness by Ron E. Rains, and for Tiny Tim, portrayed by a girl for the first time here, fourth-grader Paris Strickland.

On another note, the live on stage music plus the singing and dancing bits really added to the show’s uplifting aura.

Adapted by Tom Creamer and directed by Henry Wishcamper, Goodman Theatre’s “A Christmas Carol” is not just for youngsters. It really is a show for the entire family.

On opening night, the joy didn’t end with the first curtain call. Artistic Director Robert Falls, walked out, mike in hand, to bring on stage more than 40 past participants in Goodman’s “A Christmas Carol.”

By the way, some attendees tend to collect play programs. However, this edition of Goodman’s “On Stage” should be kept even if not a collector. It contains, history and important notes.

DETAILS: “A Christmas Carol” is at Goodman Theatre, 170 N Dearborn St, Chicago, through Dec. 31, 2017. Running time: 2 hours, 15 minutes with intermission.

For tickets and other information call (312) 443-3800 and visit Goodman Theatre.

Jodie Jacobs

For more shows, visit TheatreinChicago

A new twist on Dickens – ‘Scrooge and the Ghostly Spirits’

Recommended

Who says you can’t change tradition? Certainly not Doug Post, who wrote this world premiere musical based on Charles Dickens’ “A Christmas Carol.”

Cast of 'Scrooge and the Ghostly Spirits' Citadel Theatre. North Shore Camera Club photo — Cast of ‘Scrooge and the Ghostly Spirits’ at
Citadel Theatre.
North Shore Camera Club photo

‘Scrooge and the Ghostly Spirits,’ now playing at the Citadel Theatre in Lake Forest, is delightful family entertainment that is perfect for the holiday season.

Once again, Scrooge is the main character, but the ghostly spirits go deeper into why he’s grown into such a flawed soul.

When Scrooge sees what people really think of him and his actions, he takes steps to redemption, transforming from darkness and gloom to joy and love for humanity.

In between, the beautiful, haunting music played by three on-stage musicians, serves to uplift the characters and the story.

Veteran Chicago actor, Frank Farrell, leads the cast as Ebenezer Scrooge, mean and miserly as ever. He previously played the role of Scrooge in Citadel’s 2011 non-musical production of “A Christmas Carol” and understands the role and its transformation.

The show is masterfully directed by Citadel Artistic Director Scott Phelps with music direction by Benjamin Nichols and choreography by Ann Delaney.

Post’s all-new musical score pays homage to 19th Century English songs in a highly theatrical way. Post says, “The first song that came to me, and it practically wrote itself, is called ‘Mankind Was My Business.’ It’s Jacob Marley’s lament to Scrooge that in life, Marley neglected his “business” of concern for others.”

Stand outs include Coco Kasperowicz in multiple roles with a magnificent voice that beautifully interprets the score, and baritone Will Rogers, an affable delight every time he appears on stage.

DETAILS: ‘Scrooge and the Ghostly Spirits’ is at Citadel Theatre, 300 S. Waukegan Rd., Lake Forest, through Dec. 23, 2017. Running time: 90 minutes without intermission.For tickets and more information call(847) 735-8554 and visit Citadel Theatre.

Mira Temkin

For more shows, visit TheatreinChicago

‘Pearl Fishers’ soars at Lyric

HIGHLY RECOMMENDED

No question that opera goers and even many members of the general public are familiar with the music of Georges Bizet’s “Carmen.” Arguably less known is his earlier work, “Les pêcheurs de perles” (The Pearl Fishers).

Now appearing at the Lyric Opera of Chicago, the opera is particularly known for “Au fond du temple saint,” my favorite duet for tenor and baritone. Its gorgeous, lyrical strains are delightfully repeated at the end of the opera.

Marina Rebeka and Mariusz Kwiecien in The Pearl Fishers at Lyric Opera. Todd Rosenberg photo — Marina Rebeka and Mariusz Kwiecien in ‘The Pearl Fishers’ at Lyric Opera. Todd Rosenberg photo

But, featuring Evanston born tenor Matthew Polenzai as Nadir, Polish baritone Mariusz Kwiecien as his friend, Zurga, and Latvian soprano Marina Rebeka as Leïla, the priestess both men love, what the Lyric production really accomplishes is to remind music lovers that the entire opera contains one beautiful aria after an other.

There is Polenzai’s bravissimo rendering of “Je crois entendre encore” and Rebeka’s passionate “Comme autrefois dans la nuit somber,” then her duet with Nadir, “Léïla! Léïla!…Dieu puissant, le voilà!”.

The production’s charmingly bold sets and costumes, both designed by British fashion artist Zandra Rhodes, reflect the joyous, sunlit culture of an exotic Ceylon (now Sri Lanka).

Directed by Andrew Sinclair, the Lyric production was first staged at the San Diego Opera in 2004.

Comparatively short at two hours, 25 minutes including a 30 minute intermission, it is sung in French aided by English subtitles using a libretto by Michel Carré and Eugene Cormon.

This opera, like many of the genre’s plots, whirls around forbidden love and its consequences. The story pits two friends against each other as they grapple with the consequences of loving the priestess who is supposed to protect Ceylon fishermen from the island’s treacherous waters. If she breaks her vow she could die and so would the man she loved.

When it happens and is witnessed by the high priest of Brahma sung by Italian bass, Andrea Silvesrtrelli, he decrees the lovers’ death.

The orchestra led by Andrew Davis and the chorus under Michael Black were both superb. The only problem I had with the production were the dance scenes. They may be true to the culture but they detract from rather than add to the opera.

DETAILS: ‘The Pearl Fishers’ is at the Lyric Opera House, 20 N. Wacker Dr., Chicago, through Dec. 10, 2017. Running time: 2 hours, 25 minutes with one intermission. For tickets and more information visit Lyric Opera.

The production, seen on Nov. 22, 2017, was dedicated to Siberian baritone Dmitri Hvorostovsky whose death by brain cancer was announced in London that morning.

Jodie Jacobs

For more shows visit TheatreinChicago.

Windy City Winds American Originals

RECOMMENDED

The Windy City Winds recently celebrated their Third Season Fall Concert at St. Paul’s United Church of Christ in Chicago, playing a selection of American Originals. The program covered a thoughtful selection of American music suitable for wind, brass and percussion.

Windy City Winds is a not-for-profit adult community concert band founded on the premise that many accomplished musicians who were music majors or played instruments in college have little opportunity to play seriously after graduation, particularly if they do not pursue musical careers.

The 55 talented volunteer players age twenty-one and over are all experienced playing at the college level.

Mark and Sarah Mosley co-founded Windy City Winds in September 2015 and serve together as Music Directors.

Mark Mosley is an articulate and engaging conductor. He enthusiastically opened the first half of the concert with the very familiar and playful “Overture to Candide” by Leonard Bernstein partly in homage to the composer’s upcoming 100th birthday being celebrated in 2018.

They continued with “Night Song” by Joliet native Ron Nelson featuring a rare euphonium solo by Eon G. Cooper. The rich basso instrument takes charge of the central theme and sings sweetly with a low lyrical line through the entire piece.

You almost can’t get more uniquely American than Charles Ives, in this case the “Fugue in C.” The program notes describe Ives as “nostalgically quoting popular, patriotic and church music from his youth, while boldly embracing dissonance and experimenting with polytonality, rhythmic complexity and tone clusters.”

The band concluded the first half with “Chester” based on the patriotic tune of William Billings which became the unofficial hymn of the Revolutionary War. This variation is composed by Pulitzer Prize winning American composer William Schuman who in 1961 became president of the NYC Lincoln Center for Performing Arts.

After a brief intermission Sarah Good Mosley conducted the six movement “Divertimento for Band, op. 42” by Vincent Persichetti described as “…distinctly urban and American – energetic, lonely, humorous, and nostalgic.”

She followed next with ”October” by popular contemporary composer Eric Whitacre who is largely known for his choral music as the artist-in-residence at the Walt Disney Concert Hall in Los Angeles. His composition “Sleep” inspired the work of Dutch born artist and current Wisconsin resident Anne Horjus ..

Mark Mosley closed the concert with “Chorale and Shaker Dance” by John Zdechlik. “The short chorale theme is original, while the Shaker melody ‘Simple Gifts’ is familiar to many.”

Windy City Winds will perform two concerts in 2018 at St. Paul’s United Church of Christ, 2335 N. Orchard St.in Chicago: March 9, “Cityscapes” Winter Concert, and May 11, “Adventures” Spring Concert. Admission is free (donations welcome). For more Information visit Windy City Winds.

Reno Lovison

Related: Ann Horjus article.