Manual Cinema’s Christmas Carol started out online during the Pandemic and has now moved live to Writers Theatre.
5 Stars
Hold onto the change-of-life theme of Charles Dickens’ famed holiday story. But toss aside your idea of puppets and a puppet theater before walking into “Manual Cinema’s Christmas Carol” at Writers Theatre in Glencoe, IL.
Manual Cinema is an award-winning film/video and live performance and design company, so be prepared for an unusual theatrical experience.
What to expect: Ghosts, hand-designed shadow puppets and their scenic backgrounds, a puppet theater, zoom on a computer and on an old film screen using an old projector (they call it “vintage),” a complicated sound system and outstanding acting by LaKecia Harris as Aunt Trudy.
Aunt Trudy has been asked by her late husband Joe’s relatives to do the Christmas Carol puppet show that he did annually. She says she’s not really an aunt to the relatives watching on zoom since she never married “husband” Joe.
La Kecia Harris and Jeffrey Paschal in Manual Cinema’s Christmas Carol at Writers Theatre. (Photos by Liz Lauren)
Her unhappiness loudly comes across at the start of the show. An approaching storm arrives, the power goes out, ghostly “puppets” intervene as Trudy realizes she must continue the Christmas Carol story with the shadow puppets, theater and ghosts. She, as was scrooge, is a different person by the end of the play.
The cast is as much behind the scenes as identifiable on stage so shout outs go to puppeteers Lizi Breit, Julia Miller and Jeffrey Paschal and also to Ben Kauffman who does lead vocals, piano, keys, and voice overs, plus Emily Meyer for violin and vocals and Kyle Vegter for cello, keys, bass and voice overs. In addition, Sarah furnace is a puppeteer understudy.
This is a must-see production because Manual Cinema brings extra layers of meaning to stories we think we know.
Joffrey Ballet does The Nutcracker (Joffrey ballet photo)
Two shows, Goodman Theatre’s “A Christmas Carol” and Joffrey Ballet’s “The Nutcracker” top many holiday lists. Whether they are a family tradition or now on the calendar’s bucket list to do this year, they are such good productions that they deserve the annual visit.
“A Christmas Carol,” Charles Dickens’ ghostly tale of the redemption of a miser named Scrooge, is at the Goodman Theatre Nov. 19-Dec. 31. Famed Chicago actor Larry Yando is back for his 15th year in the starring role. For tickets and more information visit Goodman Theatre. Goodman Theatre is at 170 N. Dearborn St., Chicago.
“The Nutcracker,” The Joffrey Ballet’s wonderous story of Marie and the Nutcracker Prince’s adventures choreographed by Christopher Wheeldon to Peter Ilyich Tchaikovsky’s music. Formerly at the Auditorium Theatre, it is on stage at the Civic Opera House, Dec. 3-27, 2022. The Civic Opera House, home of the Lyric Opera of Chicago, is at 20 N. Wacker Dr., Chicago. For tickets and more information visit Joffrey Ballet The Nutcracker. The Nutcracker | Joffrey Ballet.
Cast of Steadfast Tin soldier at Lookingglass Theatre (Photo by Liz Loren)
Two unusual shows to see this season are the “The Steadfast Tin Soldier” at Lookingglass Theatre in Chicago and Manual Cinema’s “Christmas Carol” at Writers Theatre, Glencoe.
Both productions use puppetry, are artistic and creative. Only Manual Cinema’s contains a parental advisory but it could apply to both shows. MC’s advisory reads “brief moments of profanity and themes of grief and losing a loved one. Children under six are not permitted.
“The Steadfast Tin Soldier” is a Hans Christian Andersen tale told with the flare of ensemble member/director Mary Zimmerman. Adults would appreciate her creativity and the high quality of the production. However, the story and ending could be frightening to a young child as the Tin Soldier perseveres through a myriad of trials that ends with him and his ballerina love getting incinerated together. “The Steadfast Tin soldier” is at Lookingglass theatre now through Jan. 8, 2023. Lookingglass Theatre Company
Lookingglass Theatre is at the historic Waterworks at 821 N. Michigan Ave., Chicago. For tickets and more information visit Lookingglass.
Manual Cinema takes a different path to the telling of Dickens ghost story in “Christmas Carol” at Writers Theatre. Using puppets, cinematography, modern themes and music, the story starts when Aunt Trudy is asked to put her diseased husband’s Christmas cheer on a family Zoom call. The action changes as the puppets move into Ebeneezer and Dickens storytelling. Manual Cinema’s “Christmas Carol” runs Nov. 29-Dec. 24, 2022.
Writers Theatre is at 325 Tudor Court, Glencoe. For tickets and more information visit Writers Theatre.
(Top l-r) Aimee Kleiman, Debra Rodkin, Declan Poll bottom David Whitlock and Tim Walsh) Photo by North Shore Camera Club
Recommended
Instead of going the Dickens or Christmas Story route, Citadel Theatre is doing “It Runs in the Family,” a classic British farce by comedic playwright Ray Cooney of “Run For Your Wife” and “Funny Money” fame.
Its setting is a London hospital right before Christmas where presents for children are hidden like a body beneath a covered gurney and references to a Christmas Panto (a nutty pantomime) give it the requisite holiday note.
But anyone familiar with farces know that what really is important is a fast-paced rhythm of entrances and exits, revelations, mistaken (or not) identities and flow of ribald, fat fanny and rear-end gags.
The Citadel cast is excellent but on the Sunday I went, the first half of the first act felt slow and the audience didn’t pick up the gags until later.
Timing and pace is everything in a farce. It finally picked up speed and the characters threw their lines out with gusto during the second half of the first act which the audience appreciated with loud snickers, guffaws and applause.
All the action takes place in the doctors’ common room where Dr. David Mortimore is trying to prepare for his important, possibly career-making, speech to a conference of neurologists- when.
The not-so-morally-good doctor, played by Tim Walsh, had lots of reasons to be overly anxious. Walsh is believable as Mortimore if this were a regular play and not a farce. It’s actually OK to overplay anxiety.
Former nurse Jane Tate (Aimee Kleiman who also played her role as if it were a regular play) confronts Dr. Mortimore with the reason she had to quit 18 years and 9 months ago. Their illegitimate son, Leslie, is downstairs with a policeman because he drove drunk but wants to meet his father.
Mortimore’s wife, Rosemary Mortimore, portrayed by the consummate actress Ellen Phelps, shows up, is not supposed to know about the nurse or Leslie but sympathizes with all the tall tales her husband tells to cover up everything that is going on.
Matron, a terrific foil for all the goings on is perfectly played by Debra Rodkin as she is in and out with the gurney, holds a needle to subdue Leslie who has made his way upstairs to the doctors’ room, and she is yelling outside the window that she can’t hold on any longer while stopping Leslie from falling, entering or leaving.
Dr. Hubert Bonney, a good friend of Dr. Mortimore, well-portrayed by David Whitlock is also an excellent foil for the shenanigans and agrees to temporarily pretend he is Leslie’s father.
Leslie, the misbegotten reason for the action, is done by Declan Poll as a punk-rocker-style teenager who elicits sympathy because he just wants to meet his Dad.
Pompous Sir Willoughby Drake who wants to go over Dr. Mortimore’s speech, is well-handled by Ed Kufferft and elicits a fine chuckle when he sees Leslie bending in front of Mortimore.
Dr. Mike Connolly whom we meet early on when he tries on a tutu and other costume items for the Panto is delightfully portrayed by Philip J. Macaluso.
Police Sergeant. Don’t most farces need a policeman? Chris Bruzzini takes on that role but he could be played as more befuddled or with more personality than shown.
Scenic designer Eric Luchen makes full use of the small Citadel stage with two hospital-like doors, two regular doors and a window that is just right for some hilarious scenes.
Costume designer Elizabeth Monti had us believing we were in a hospital and Leslie was a nutty punk rocker.
Directed by Pat Murphy, the show is a nice change from the tear inducing Christmas dramas trying to make a statement this time of year.
DETAILS: “It Runs in the Family” is at Citadel Theatre, 300 South Waukegan Rd, Lake Forest, IL., through Dec. 18, 2022. For tickets and more information visit Citadel Theatre. Citadel Theatre or call (847) 735-8554.
Norman Teague at The Art Center of Highland Park opening reception (J Jacobs photo)
Visitors to The Art Center of Highland Park are treated to three different aspects of three-dimensional art in “Objects Oriented,” TAC’s latest exhibition.
Opened Nov. 18 and up through Dec. 30, 2022, the show features the designs and furniture of Norman Teague, the collages, designer kites, metal and ceramic sculptures of Michael Thompson and the unusual vessels of Zachary Weber.
TAC’s exhibition is a chance to see the works of the three artists at the same time. They’re all graduates of the Art Institute of Chicago and have reviews and gallery shows.
Teague is also an educator and an enabler of emerging artists. He was the lead craftsman and co-founder of the Design Apprenticeship Program at the University of Chicago’s Arts Incubator and is an adjunct professor at the University of Illinois Chicago’s School of Industrial Design.
Walk into the Center Gallery to view Teague’s “Objects for Change” exhibit.
Thompson likes to see the possibilities in objects other folk may discard or use differently. He cobbles them together as ceramics and interwoven designs.
Take a left turn into the Cindi Elkins Gallery to see his “Re-Oriented” exhibit.
Vessels and ceramics in TAC IObjects exhibit ( J Jacobs photo)
Zachary Weber is facinated by vessels and how they may be used. He says you may call them pottery). See his works “UnContained” in the Meryl Levenstein Gallery.
The Art Center of Highland Park is at 1957 Sheridan Rd., Highland Park, IL
You don’t have to be a professional in the theater industry to feel like one.
Goodman theatre is holding its 18th annual New Stages Festival showcasing new works Dec. 1-18, 2022. The Festival is free and audience input is welcome because the works, ranging from full productions to readings, are in different readiness stages so have yet to be premiered.
“There are two ways of presenting them,” said New Works Director Jonathan L. Green who curated the 2022 selection.
“Some have gone through developmental work and others are readings,” Green said during a recent phone interview.
“Readings are in their early development where you listen to the dialogue and storytelling. Developmental works are plays that are further along and need to be on their feet,“ he said and explained. “Sometimes it’s a matter of sequences of scenes and transitions. It’s a chance to see it in 3D.”
Alec Silver in a New Stages developmental waork in 2021 (Photo by Liz Lauren)
“It’s easy to imagine how exciting it is to see how it works in front of a Goodman audience,” said Green. “It’s a nice feeling to see your work in front of a packed house”
His criteria when choosing works for the Festival are “a good balance,” that means “a great mix of stories, topics and structure” and also a mix of “emerging and longtime” writers.
He finds them in a variety of ways. “We look for a balance works by those who are local, out of town and nationally known. Some plays and playwrights have been drawn to our attention.”
About a third of the works from past festivals have made it on to the Goodman’s season schedules.
“We’ve had people who say they have seen the play at a Festival and now, two years later, see it as part of the Goodman season and see how it has changed.”
His assessment of this year’s Festival? “I think this year’s batch is well-balanced and there is a wonderful array of stories.”
What can Festival goers expect? The Developmental plays run 90 minutes to two hours. Readings range from 75 minutes to three hours. Audiences are generally made up of subscribers and others who have heard of the Festival with the third week primarily consisting of theater industry professionals.
Two staged developmental productions: “This Happened Once at the Romance Depot off the I-87 in Westchester”by Gina Femia, directed by Kimberly Senior and “Rust” by Nancy García Loza, directed by Laura Alcalá Baker.
Four script-in-hand staged readings: “White Monkey” by Charlie Oh, directed by Eric Ting, “Fever Dreams” (of Animals on the Verge of Extinction) by Jeffrey Lieber directed by Susan V. Booth (Goodman Theatre Artistic Director), “Modern Women” by Omer Abbas Salem, directed by Lavina Jadhwani, and “What Will Happen to All That Beauty?” by Donja R. Love, directed by Malika Oyetimein.
Leg lamp award dance sequence featuring Lorenzo Rush Jr at the Old Man (Photo courtesy of Mariott theatre)
3 Stars Recommended
In a city filled with theater companies producing traditional holiday fare, Marriott Theatre has chosen a show usually seen as a film replayed on TV but seldom performed live.
First, what it’s not. “A Christmas Story Is not a moralistic Dickens’ style redemption piece that appeals to the whole family or a Jane Austen type upstairs, downstairs manners piece with sophisticated appeal.
Marriott Theatre’s “A Christmas Story: the Musical,” is a comedy that captures some of the frustrations and coping mechanisms of the middle-class, Midwestern Parker family, and particularly, those of its nine-year-old boy named Ralphie. Middle school aged kids and their parents would appreciate Ralphie’s and the Old Man’s challenges.
Based on a 1983 movie by Jean Shepherd, Leigh Brown and Bob Clark and Shepherd’s collection of vignettes published in 1966 as “In God we trust: All others pay cash,” the musical version has a book by Joseph Robinette with music and lyrics by Benj Pasek and Justin Paul.
The songs, such as “The Genius on Cleveland Street” and “When You’re a Wimp,” are insightful instead of memorable and hummable.
Playing during the holiday season through Jan. 1, 2023, the show introduces another generation to Shepherd’s famed, sexy “Leg Lamp” that sits in the Parker family’s front window in Homan, IN.
Actually, filmed in Cleveland, OH in an old yellow house that has since been turned into a museum, the “Lamp” is still there and can be seen despite having supposedly been broken and buried during the play.
Won by “the Old Man,” the Parker family dad who means well, works hard, battles neighbors’ dogs and is not as smart as his wife, he is excited to receive the lamp as a “Major Award” for a contest he entered and won. To the Old Man, the lamp award redeems his self-worth.
The Parker family, in A Christmas story the Musical at Marriott Theatre (Photo courtesy of Marriott)
More importantly, Marriott has introduced another generation to nine-year-old Ralphie who desperately wants a Red Ryder BB Gun for Christmas. Made by the Daisy company, it is named for a heroic comic strip cowboy.
Ralphie fantasizes how he can stop the terrorizing by bullies Scut Farkus and Grover Dill of him, friends, Flick (of tongue stuck on icy pole fame) and Schwartz and classmates if he had a bb gun that looks like a Winchester rifle.
Set about the early 1940s, warnings by his mom, teacher and the Santa at Higbee’s Department Store that you’ll “shoot your eye out,” would have been a sufficient talking point.
However, given today’s anti-gun legislation and school shootings attributed to bullying, families seeing the show may either object to a bb gun that looks like a rifle or want to take the discussion several steps further.
Directed perfectly by Scott Weinstein as both entertaining and perceptive of family and school dynamics, “A Christmas Story: the Musical” has several funny incidents, excellent character portrayals, terrific dance sequences and wonderful vocals.
Kavon Newman who has appeared on TV and New York’s Radio City stage, is amazing as Ralphie
Local theater veteran Sara Reinecke is the can-do mother the Parker family needs and has a terrific voice. Her role is well matched with that of the Old Man, delightfully portrayed by another local veteran, Lorenzo Ruch, Jr.
Levi Merlo who has a string of TV credits, is adorable as Ralphie’s young brother, Randy. He will likely be remembered by audiences as the kid who couldn’t move his arms or get up because of his ballooning-style snowsuit.
The fun, over-the-top character of teacher Miss Shields was deftly handled by local veteran Jenna Coker-Jones.
Narrator Kevin McKillip as Jean Shepherd (Marriott photo)
A “Christmas Story” is narrated by Kevin McKillip who as Jean Shepherd, reminisces as he somewhat relates to each scene and experience as a much older, adult Ralphie.
After seeing a very strong Marriott production of “Sound of Music” with a terrific cast of child actors, I was not surprised by the high quality of the “Kids” ensemble that appeared in several sequences.
Which brings us to Tiffany Krause’s choreography. Marriott typically has superb dance numbers. But they are usually performed by the main characters backed by a dance ensemble. In “a Christmas Story,” it’s the talented Kids and Ralphie who primarily take center stage.
That is except for Rush, Jr’s exuberant dance celebration of “A Major Award” and talented song and dance actor Jackson Evans delights audiences in the second act as the Higbee’s department stores’ disgruntled Santa Clause in “Up on Santa’s Lap.”
A shout out has to go to costume designer Izumi Inaba for setting the period and mood.
Details: “A Christmas Story: the Musical,” is at Marriott Theatre at 10 Marriott Dr. Lincolnshire, off Milwaukee Avenue just south of Rt. 22, through Jan. 1, 2023. For tickets and more information visit www.marriotttheatre.comor call (847)- 634-0200.
Note: A Christmas Story Christmas begins streaming Nov. 17 on HBO Max with Peter Billingsley reprising his Ralphie, who is now an adult, a struggling writer and the head of the Parker household.
Skillfully presented, this streaming audio play “A murder in the court of Xanadu” presented by A Theater in the Dark is a jumble of characters and events that in the end I simply did not care about.
I truthfully cannot give you a synopsis of this play. I enjoyed listening to it but ultimately do not understand anyone’s motivation for doing whatever they did and am not sure why it was interesting or important.
It was kind of like listening to a Chinese opera. I do not speak Chinese but I might walk away understanding that someone was rich, someone was a conniving trusted advisor, someone got killed, and in the end, someone got something of value that maybe was surprising and undeserved. But I could not catch the details. In the meantime, it was oddly enjoyable to listen to because the vocal tones and rhythm of the presentation with its evocative incidental music was pleasing.
The place of Xanadu is known to most of us a symbol of utopian excess perhaps best remembered from the Samuel Coleridge poem of the same name. In fact, as a result of a recent Jeopardy question on the popular TV game show, I was able to immediately recall the opening words “In Xanadu did Kubla Khan
A stately pleasure-dome decree,” though I have no recollection of ever reading the entire poem.
We might also be familiar with “Xanadu” as the name of the mansion in the well know movie “Citizen Kane.” In this case I can tell you that Kane was a Khan-like business ruler with a strong desire for beauty and excessive wealth. I know this because I learned as much through the storyline. The story of Citizen Kane challenges us to try to understand the motivation behind the main character’s actions.
In “A murder in the court of Xanadu” we are basically told, though a narrator, who the characters are rather than have them reveal themselves to us. There is no discernible mystery to unravel and no reason to be interested in the fates of a number of greedy self-centered individuals who do not seem to have derived their wealth or status through any particular talent or ability of their own.
The standout performance for me was Erin Lin as Marla who acts as a kind of narrator. Her voice was clear, expressive and well modulated with a kind of musical quality. I would be happy to listen to her read or recite virtually anything.
The theater’s website suggests that the character of Marla is inspired by Marco Polo who incidentally provided the earliest description of the Khan’s pleasure retreat. However, this relationship is totally lost to the uninformed listener, and one or two periodic allusions to Venice in my mind only added to the confusion. I feel strongly that a theatergoer should not have to bring any previous knowledge to the experience in order to understand the action.
Nessa Amherst as Marigold provided nearly all of the much needed auditory contrast, providing a kind of comic quality and strong characterization.
I felt that all of the male actors including Robinson J. Cyprian (Kane), Van Ferro (An Actor Who Plays Many Parts), and Gabriel Fries (Ahmad) understood what they were saying (even if I did not), delivering their lines with conviction. I would have enjoyed more vocal variety between the three of them and a little more resonance from Cyprian who I remember gave us more vocal depth in his performance of Ahab in the company’s performance of “Moby Dick.”
If there is any fault to be assigned it belongs to the author Cory Bradberry who has demonstrated through his previous works a real ability and commitment to this genre. That said, this is not a disaster but rather a miss. Perhaps with a bit more work and revision he can overcome whatever it is that is lacking.
Bradberry does partially cover his tracks through his exceptional direction. The performance does have an overall lyrical quality and pleasing tone that is enhanced through just enough foley work to provide some needed ambiance with a very enjoyable use of an original musical score by Paul Sottnik.
DETAILS: “A murder in the court of Xanadu” presented by A Theater in the Dark is available for streaming beginning November 3, 2022 at www.atheaterinthedark.com Runtime is about 90 minutes.
It’s hard to believe that October’s 31 days are about over this weekend. But if you still need another pumpkin to carve, yummy kettle corn or cider donut to eat, funny photo cutout or Halloween stuff and costumes, then head to Didier Farms on Aptakisic Road in Chicago’s northwestern suburb of Lincolnshire.
Every year, the farmstand, started over a century ago in 1912, gets larger for Halloween with more playground space, more rides, more farm animals and more holiday stuff.
Along with the all the fun Halloween yard signs and decorations inside Didier’s large barn, there is another barn with baby chicks, educational farm info and an old tractor.
Go further on the property to visit more animals, find the corn maze a pumpkin patch, a children’s playground and a carnival-style ride.
But as quick as a broomstick can fly away, it all ends Oct. 30. For more information visit Didier Farms.
Glunz on Open House chicago tour (reno Lovison photo)
Open House Chicago is a great way to see some of the city’s landmarks and neighborhoods. The following Old Town / Gold Coast Open House Tour was taken by videographer/podcast editor Reno Lovison during Oct. 15-16 but it is specific enough to copy down and take anytime. )
You don’t need to be an architectural expert to simply look around and enjoy the various styles, building materials and artistic elements that combine to make up Chicago’s diverse urban landscape.
A perfect place to start observing is the Old Town / Gold Coast area where you can find an abundance of 19th century buildings, dating to the city’s early post Great Fire roots, side-by-side with modern, post-modern, late modern and millennium modern building examples.
Here in the heart of the city, you will easily find single family homes and multi-family structures ranging from two story brick and wood structures to over twenty story high glass and steel high-rises, as well as assorted commercial structures built for specific purposes as well as many that have been redeveloped to meet the changing needs of the city’s current inhabitants.
Open House Chicago takes place every year in October featuring more than 150 locations in over twenty neighborhoods across Chicago and suburbs. During the weekend event, visitors are treated to special access and information provided by onsite experts, however there is no reason that you cannot tour these locations yourself at any time during the year.
The choices I made were made from a list that was part of the 2022 Open House Chicago Program. I also included a few stops that I knew of that I spotted along the way. As a result my tour is not intended as a comprehensive look at the area but simply an opportunity to take note of some interesting gems that are lurking just under our noses on a daily basis.
At roughly three miles total I began my self-guided walking tour in Old Town at the corner of Wells and Evergreen in front of the former Dr. Scholl’s factory aka Cobbler’s Square. There is a plaque on the south-east corner that provides a brief history of the original building. Walking south to Division Street you will find the House of Glunz Wine and Spirits, operated by the Glunz family for over 100 years, and one of the few remaining, largely untouched, late 19th century commercial storefronts in the area.
An old building on Rush Street the Old Town-Gold Coast Chicago tour. (Photo by Reno Lovison)
Continuing south a few blocks you you will see the millennium era Walter Payton College Prep with its almost 80-foot-high glass and steel atrium joining two brick structures on either side. Compare that with the Ruben Salazar Bilingual Center directly across the street. This elementary school building was originally built in 1882 and provides an opportunity to compare the two structures while considering similarities and changes in attitudes regarding education over a one hundred year span.
I made my way east to the Palette and Chisel Academy of Fine Arts at the corner of Dearborn and Oak Streets. Jammed with interesting architectural features inside and out this former single-family residence was built circa 1870 and was converted to a boarding house before transforming to an artist’s work space and gallery in 1921.
From here I meandered over to Rush Street taking time to regard the remaining architectural shadows of the street’s not too distant past.
Moving north, Rush Street changes its name to State Parkway entering into the heart of the Gold Coast. A quick dip inside the Ambassador Hotel provided a chance to catch the cool mid-century vibe of the former Pump Room, a famed night spot that entertained celebrities and legends though the nineteen forties, fifties and sixties.
While you’re still in the swinging mood, continue north to find the former Playboy Mansion on the west side of the next block before making your way a few blocks further to the Cardinal’s Residence at North Avenue opposite Lincoln Park. On your way you can speculate about the amount of wealth created caterinig to the needs of individuals both sacred and profane.
Standing in the park opposite the Cardinal’s residence you can take in the expansive front lawn of this impressive piece of property. To the west near the corner, there is a plaque on the edge of the park at Dearborn and North that explains a bit about this location’s history as a former cemetery.
You never know what interesting building or sculpture lies around the corner in the Old town/Gold coast area of Chicago (Photo by reno Lovison)
Looking to the north is an impressive statue of Abraham Lincoln, to the west of which is the Chicago History Museum with its glass and steel façade and across Clark Street the most interesting shape of the Moody Bible Institute Tabernacle.
Turning back south at North and Clark take a moment to enjoy the historic Germania Club building at Germania Place which currently houses the Lighthouse Immersive Artspace.
Ending my travels was a stroll through Carl Sandburg Village a virtual city within the city. The collection of high-rise and low-rise multi-unit residences are interspersed with single-family townhouses offering a variety of living spaces to accommodate a diversity of middle-income residential needs. Built in the 1960s, Sandburg was intended to be a kind of social buffer separating what was then the lower income Old Town neighborhood from the more affluent Gold Coast. Today it stands as an important example of mid-century urban planning.
Consider following my tour on foot or by bike or make a tour of your own taking time to look around and enjoy the visual spectacle that is Chicago.
Reno Lovison
Reno Lovison has also recorded this as a podcast walking tour at ChicagoBroadcastingNetwork.com
Christine Mayland Perkins (Guenevere)) and cast in Music Theater Works’ “Camelot” (Photo courtesy of Music Theater Works)
Recommended
The good part of “Camelot” now playing at the North Shore Center for the Performing Arts in Skokie, is the beautiful voice of Christine Mayland Perkins as Guenevere and such wonderful Lerner and Loewe songs as “Camelot,” “How to Handle a Woman,” “If Ever I Would Leave You” “What Do the Simple Folk Do? and “I loved You Once in Silence.”
The problem this writer has with the show is that even though it is put on by Music Theater Works it has nothing like the scope and theatrical impact that the company’s productions had at Kahn Auditorium in Evanston which included a memorable “Mame” and “Pirates.”
The current slim-down, post pandemic offering is held in the Performing Arts’ smallish North Theatre which works well for Northlight’s plays, but is likely to disappoint Music Theater Works longtime subscribers.
Ann Davis’ set worked well for the stage and small cast of nine but the production felt more like good community theater than the excellent full-scale musicals and operettas that gave Music Theater Works its reputation.
However, current audiences might look beyond scale and appreciated director Brianna Borger’s focus on ideals clashing with desires.
DETAILS: “Camelot” presented by Music Theater Works, runs now through Nov. 13, 2022 at the North Shore Center for the Performing Arts, 9501 Skokie Blvd., Skokie, IL. Running time: 2 hours with one intermission. For tickets visit Musicaltgheaterworks/camelot or call (847) 673-6300.
