Reviews – Page 52 – Chicago Theater and Arts

Scathing and honest are interchangeable with ‘Traitor’

HIGHLY RECOMMENDED

The World Premiere of ‘Traitor’ at A Red Orchid Theatre is an adaptation of Henrik Ibsen’s ‘An Enemy of the People. Red Orchid ensemble member and playwright, Brett Neveu, adapted Ibsen’s drama and placed it in a fictional northern suburb of Illinois called East Lake.

Directed by Michael Shannon who is also an ensemble member, a founding member of A Red Orchid Theatre and a Tony Award-nominated and Oscar-nominated actor, ‘Traitor ‘is filled with one dozen inter-related characters whose different opinions and goals lead to heated discussions, sudden humor, angry arguments, profanity, and physical fights.

Dr. Tom Stock (Guy Van Swearingen) is the play’s lead, a science teacher who was raised in East Lake, moved away, and returned to his hometown many years later to help establish a new charter school to revitalize the small suburb of East Lake and bring others to the suburb.

Frank Nall, Guy Van Swearingen in 'Traitor' at A Red Orchid Theatre. Michael Brosilow photo — Frank Nall, Guy Van Swearingen in ‘Traitor’ at A Red Orchid Theatre. Michael Brosilow photo

His wife, Karla (Dado), is a book editor. Their two children, Molly (Missi Davis) is a first-grade teacher and Randal (Nation Henrikson), is a student at the new charter school.

While teaching at the charter school Tom notices the sluggishness and apathy of some of his students. That leads him to send samples of the school’s area soil to another scientist who finds it contaminated with dangerous levels of lead.

Tom is adamant to bring this severe problem to the town’s attention. He is convinced that with many of his contacts he will be successful.

His outspoken sister, Patty Stock (Kirsten Fitzgerald), is the town’s mayor. A close friend of his is Walter Hove (Larry Grimm), a newspaper editor. Madison Bills (Kristin Ellis) is an associate editor.

Most of the play’s scenes take place in Tom and Karla’s home where their friends and family are constantly coming in and out to visit, share meals, have drinks, and smoke.

But when Tom learns that many local investors in the charter school, including his father-in-law, Howard Kihl (Frank Nall, do not want to expose the school’s lead contamination, he realizes that he alone must release the truth.

Tom is reminded by his wife that many people in his past didn’t like his energy, especially when he stood up for what he believed in, regardless of others’ opinions.

Tom’s retort compares “scathing with honesty” and calls them “interchangeable,” as he devotes every minute to exposing the soil’s contamination.

Following intermission, the audience is led from Red Orchid Theatre to an empty storefront a few doors down. It is set up as the location for East Lake’s town council meeting which grows from verbal arguments over the school’s lead contamination to physical violence.

After feeling like town residents attending the council’s meeting, the audience is led back to their seats at the Red Orchid Theatre for the final scene which focuses on Tom’s goal to convince the East Lake residents to face their town’s serious health issue.

Tom’s wife, Karla, finally sides with her husband when their son, Randal, is rushed to the hospital with lead poisoning.

The rest of the very talented cast includes Jenn Sheffer (Natalie West), a shop owner and council member. The other council members are Fran Wysocki (Mary Jo Bolduc), Bill Strand (Stephen Walker) and Eric Rhyde (Jacob Alexander).

DETAILS: ‘Traitor’ is at A Red Orchid Theatre, 1531 North Wells Street, Chicago, through February 25, 2018. Running time: 2 hours and 30 minutes. For tickets and other information, call (312)943-8722, or visit A Red Orchid Theatre.

Francine Pappadis Friedman

For more shows, visit TheatreinChicago

‘Nevermore’ musical delves into the life of Poe

HIGHLY RECOMMEND

If you are a fan of macabre humor you will love this insight into Poe offered by Black Button Eyes Productions’ talented ensemble.

Cast of 'Nevermore' at The Edge Theater. The show runs through Jan. 28, 2018. Photo by Cole Simon. — Cast of ‘Nevermore’ at The Edge Theater. The show runs through Jan. 28, 2018. Photo by Cole Simon.

A musical written by Jonathan Christenson (book, music and lyrics), it investigates the life of one of America’s favorite poets and novelists purported to be the father of the modern detective mystery as well as a talented spinner of tales of horror and suspense.

Act One covers separation and death in the young boy’s life as well as his proximity to mental illness which together with an active imagination combined to create horrific visions and fantasies.

Act Two continues to explore the impact of his youthful experiences on his life and his work culminating in a suggestion of mystery surrounding his abrupt and unexplained demise.

Though the material is dark it is skillfully balanced by a lighthearted tongue-in-cheek humor that keeps it entertaining and fun.

The production is brilliantly cast. Each of the seven performers Kevin Webb as Edgar Allan Poe with Megan DeLay, Jessica Lauren Fisher, Ryan Lanning, Matt McNabb, Maiko Terazawa and Jeremy Trager could not be more perfect for their respective roles.

There is no competition on stage or mugging for the spotlight. Director, Ed Rutherford seems to have a clear vision that is well executed including important lighting (Liz Cooper) and sound effects (Robert Hornbostel). The surprise treatment of Poe’s great love “Sissy” is charming.

Music Director Nick Sula with the aid of his three piece band including synthesizer does an outstanding job setting and maintaining the fast pace that keeps the action moving.

If you are familiar with the works of Poe you cannot help but anticipate what they will do with his famous poem the “The Raven” which does not disappoint.

If you are a fan of vocal harmony you will love this score. Though lacking a real breakout number, Christenson’s music is very sophisticated and has a modern but slightly nostalgic feel that lends itself perfectly to the historic storyline.

Every performer has a beautiful voice – so much so that I would be willing to watch this as a concert without the splendid costumes of Beth Laske-Miller and campy choreography of Derek Van Barham.

The venue is super comfy with great sightlines and sound system operated by Kirstin Johnson was well modulated making the rapid musical dialogue easy to hear and understand.

This is a short run so get tickets before it can be seen “nevermore.”

DETAILS: Nevermore: The Imaginary Life and Mysterious Death of Edgar Allan Poe, is at The Edge Theater, 5451 N. Broadway Ave., Chicago through Jan. 28, 2018. For tickets and other information visit Black Button Eyes Productions.

Reno Lovison

Guest reviewer Reno Lovison is a proud alum of the Egdar Alan Poe Elementary School (K-5) in Chicago’s historic Pullman neighborhood.

For more shows, visit TheatreinChicago.

Top Chicago area shows of 2017

Theatergoers in the Chicago area are blessed with more good shows then can be seen given normal time schedules of work and play. And given that people’s interests are as varied as the offerings from the area’s approximately 250 companies, one person’s idea of paradise may be someone’s purgatory.

So it’s OK to write in the comment space your favorite show of 2017 whether our reviewers included it here in our Chicago Theater and Arts’ list or not.

The shows listed here are by no means the only great productions mounted in 2017 by Chicago’s talented theater community. The list could easily extend to the top 10 or 20 shows. It was hard for reviewers to pick just one but several factors were taken into consideration. Now, let’s hear your choice.

Ragtime – The Griffin Theatre Company, Chicago

Last summer’s production of ‘Ragtime’ by Griffin Theatre provided audiences with a new take on the Tony Award-winning musical. This spectacular production featured new orchestrations of the play performed with two pianos, a wind instrument and 20 actors. Created by director Scott Weinstein and music director Matt Deitchman, this All-American musical brought new perspectives on racism, immigration, social justice and other issues in a changing America, and literally, brought the house down!

Mira Temkin

'Silent Sky' at First Folio was a powerful play — ‘Silent Sky’ at First Folio was a powerful play

Silent Sky – First Folio Theatre, Oak Brook

‘Silent Sky’ by Lauren Gunderson is a touching, true story of Henrietta Swan Leavitt, a historic but unsung astronomer at Harvard University’s observatory in the early 1900s who was never allowed to use a telescope. Leavitt was a “hidden figure” before the female African American human computers whose work made the early NASA space launches possible. In this production, both the cast and the faux sky sparkled brilliantly at First Folio Theatre on the Mayslake Peabody Estate. (The property is in a forest preserve in Oak Brook).

Pam McKuen

Sean Fortunato and Jacob Kaiser in 'Billy Elliott. Photo by Michael Courier — Sean Fortunato and Jacob Kaiser in ‘Billy Elliott. Photo by Michael Courier

Billy Elliot – Porchlight Theatre, Chicago

I love the story and music of ‘Billy Elliot’ and Porchlight really did
justice to it on a very intimate stage.

Reno Lovison

Fun Home – Victory Gardens, Chicago

While I sat on the edge of my seat at the Victory Gardens Theater watching ‘Fun Home,’ I experienced a plethora of emotional family issues on several levels—from parent/child relationships and sibling interactions to growing up, coming out, and leaving one’s family. That’s what set the stage for ‘Fun Home,’ a musical adaptation of Alison Bechdel’s 2006 personal, graphic novel of the same name. It was presented on a sparse stage that easily allowed the audience to focus on the family’s characters. And the show’s music, especially its finale, “Flying Away,” brought the audience to its feet.

Francine Pappadis Friedman

Cast of 'Fun Home' at Victory Garden Theater. (Liz Lauren photo) — Cast of ‘Fun Home’ at Victory Garden Theater. (Liz Lauren photo)

The Book of Will – Northlight Theatre, Skokie

In ‘The Book of Will,’ playwright Lauren Gunderson shows how an appreciation of William Shakespeare’s works by his players, friends and families likely led to the publication of the Bard’s works in the 1623 First Folio. Scholars and playgoers understand the importance of the First Folio but its significance is truly felt in the show’s last scene when brilliant staging brings it all together.

Jodie Jacobs

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