Brendon Coyle in the Donmar Warehouse production of St. Nicholas. (Photo by Helen Maybanks
3 stars
“…Power… I was a theater critic…,” says Brendan Coyle in “St. Nicholas.” The show, a one-person play by Conor McPherson is at Chicago’s Goodman Theatre fresh from its success at London’s popular Dormar Warehouse.
An Olivier Award winning actor from McPherson’s “The Weir,” Coyle drew laughter from Goodman’s opening night crowd of theater critics and patrons almost every time he said the word “critic.”
However, given that McPheron’s portrait of a critic contains more than a few resemblances to Oscar Wilde’s philosophical and Gothic “The Picture of Dorian Gray,” it arguably would be better to ask a Goodman Theater patron how that person liked or felt about the play.
Kristin Stokes,l, Chris McCarrell and Jorrel Javier go on a hero quest in The Lightning Thief: The Percy Jackson Musical. (Photo: Jeremy Daniel)
2 ½ stars
Fans of Rick Riordan’s Percy Jackson series about the trials and friendships among children of god and mortal coupling should understand and enjoy “The Lightning Thief: The Percy Jackson Musical” now playing at the Oriental Theatre.
Adults not familiar with the series will get the idea from this low-budget (no real scenery changes), touring show that yeah, what Riordan calls “half-blood” youngsters not only have to please their mortal parent but also put up with and please their Greek god dad or goddess mom.
Because my granddaughter liked the series, I read the books, was hooked on their adventures and thought the show might be fun.
Well, it’s not bad. All it needs are some decent-singing voices aside from Chris McCarrell who does a fine job as Percy and his mom Sally, played by Jalynn Steele, who has the best voice in the cast.
The rest of the cast are certainly in character but it’s hard to understand all the words because they shout-sing in nasally, tinny voices.
Percy fans might not care but if a song is worth writing and singing it ought to be sung so audiences hear more than a couple of words.
And the songs, with music and lyrics by Rob Rokicki, are basically good. McCarrell puts over his frustration well in the “The Day I Got Expelled” and “Good Kid.”
Riordan’s page-turning story-telling, cleverly interpreted in the book by Joe Tracz, keeps audiences wondering what will happen next and how will these “kids” handle the next obstacle.
Director Stephen Brackett, scenic designer Lee Savage and lighting designer David Lander move the story along with obviously low-budget staging. Riordan fans likely don’t care. They just enjoy seeing how Percy, the love-child of powerful god Poseidon, handles his “hero quest” to bring his mom, struck down by a Minotaur, back from the Underworld and also recapture Zeus’ lightning stolen by Hades.
The show is only in Chicago for a short time so Percy Jackson fans who want to see how Riordan’s story is interpreted on stage need to snag a ticket now.
DETAILS: “The Lightning Thief: The Percy Jackson Musical” is at the Oriental Theatre, 24 W. Randolph St., Chicago, through Jan. 13, 2019. Running time: 2 hours with one intermission. For tickets and other information call (800) 775-2000 and visit Broadway In Chicago.
Adler Planetarium is on the eastern edge of chicago’s Museum Campus. (J. Jacobs photo)
No, Lunapalooza is not a typo. The Adler Planetarium is celebrating the total eclipse of the moon late into the night of Jan. 20 with Lunapalooza and Writers Theatre is celebrating Martin Luther King, Jr. Day with a free Civil Rights production Jan. 21.
Pretty much every time our universe puts on a sky show, the Adler celebrates by sharing its astronomers and equipment. During the solar eclipse last August, the Adler was handing out the proper sunglasses and had a companion craft activity to safely watch the event.
For the lunar eclipse the night of Jan 20, Chicago’s world-class planetarium is celebrating with a free outdoor experience, no telescope or glasses needed but PJs are OK because the event goes from 8 p.m. to midnight.
But there’s a lot going on inside.
With the admission pass of $14 adults and $8 children age 3 to 11, guests can go to “Eclipse HQ” in the Space Visualization Lab which has a live feed and chat opportunities with astronomers.
The pass also is good for seeing the Adler’s new show, Imagine the Moon that opens Jan. 18 and charts how the moon was part of people’s lives through the ages.
Indoor activities include a glow-in-the-dark PJ party in the Family Zone and grabbing a cup of hot chocolate before going outside to witness the event.
Produced by Writers Theatre, the annual, one-person- show written by Yolanda Androzzo and featuring Angela Alise, will be performed free at the Chicago History Museum Jan. 21, 2019 at 10:30 a.m. The Chicago History Museum is at 1601 N. Clark St. and Lincoln Park. The hour-long show will be followed by a discussion.
Writers Theatre takes the show, a meshing of interviews of Chicago-based Civil Rights activists with poetry and hip-hop expression that is directed by Tasia A. Jones, to 35 Chicago Public Schools, community centers and juvenile detention centers during a 6-week tour.
The production can also be seen earlier at Writers Theatre, 325 Tudor Ct., Glencoe,on Feb. 2 at both 4 and 7 p.m. Those tickets are Adults $20, students $10. They are available by calling (847) 242-6000 and at WritersTheatre MLK Project.
Fillet of Solo Festival brightens January. (Fillet of Solo photo)
What to do in long, blah January? These three festivals: Chicago Sketch Comedy, Fillet of Solo and Rhinoceros Theater turn that gray month between red and green December and red and pink February into a multi-colored vision of comic moments, heartfelt songs and thought-provoking stories.
The Chicago mayor’s race may be a local subject for sketch comedy or politics in Britain and the US may be skewered from the stage but part of the fun of attending the annual festival is to hear how comedic entertainers view what is going on in the world or in families or in their own lives that may turn out to be similar to yours.
Started in 2002 with 35 comedy groups sharing their thoughts, the festival now attracts more than 180 groups from all over. They will be performing about 200 shows beginning Jan 10 and going through Jan. 20, 2019. So check out the performers and their dates at Chicago Sketch Comedy Lineup, get tickets and head over to Stage 773, a multi space venue at 1225 W. Belmont, Chicago.
Fillet of Solo celebrates storytelling by groups and solo performers. The performances are at Lifeline Theatre 6912 N. Glenwood Ave. and the Heartland Studio Theatre, 7006 N. Glenwood Ave. (Free parking and shuttle available). To find out who is performing where and when visit Performances.
Begun in 1988 as the Curious theatre Branch, this fringe theater festival brings together music and theater performers. Originally located in Wicker Park and then moving to Rogers Park, the festival took root at Prop Thtr in 2009 which co-produces the festival with Curious. Events are at Prop at3502-04 Elston Ave., Chicago.
For music, stories and plays schedules visit Rhinofest titles. For more information call visit Rhinofest.
For his world premiere of “La Ruta” at the Steppenwolf Theater, Chicago based playwright Isaac Gomez has commandeered a bus transporting “maquila” workers to and from their jobs in Juarez, pointing its headlights into the vast darkness. It exposes the despair and anguish of the mothers and sisters of an estimated 1,400 women kidnapped, used as sex slaves, murdered and disposed of like trash in the Mexican desert.
According to Gomez this is a story that has been systematically silenced through intimidation and adherence to a Latin American culture of toxic masculinity, or “machista.”
Based on a true story and directed by Sandra Marquez, “La Ruta” is performed by an all Latinx cast of eight that centers around the few days leading up to and the nearly three years following the disappearance of Brenda (Cher Alvarez).
Gomez is careful to point out in the program notes that this is not a docu-drama but rather a “creative re-imagining.”
Cast of Into the Woods at Music Theater Works. (Brett Beiner photo)
4 stars
Music Theater Works in Evanston has put together a visually stunning production of Stephen Sondheim’s fairy-tale musical mashup, “Into the Woods.”
The opening tableau is like the first page of a richly illustrated children’s picture book that literally sets the stage for the primary characters.
Stage right is Cinderella (Kelly Britt) tending to the fire; center stage is the Baker (Daniel Tatar) and his wife (Alexis Armstrong) in their kitchen; and stage left is Jack (Christopher Ratliff) of beanstalk fame with his mother (Anne Marie Lewis) and cow Milky White (Milky White).
Behind the vignettes are the slightly ominous birch tree “woods” accented against a deep blue twilight sky hung with the words “Once Upon a Time.” But of course, this is not your child’s version of the stories presented.
The exceptional voice and expressive movements of Israeli actor, dancer Yehezkel Lazarov, alone, make the “Fiddler on the Roof,” the 2015 Broadway revival, worth the ticket.
Add in the fine cast, Michael Yeargan’s creatively low-contrasting set design, Catherine Zuber’s dream-scene costumes and Christopher Evens’ recreated choreography inspired in part by Jerome Robbins, and audiences see a memorable, highly charged, redo of the 1964 Tony-Award winning musical.
Current audiences may not remember that this musical with book by Joseph Stein based on tales by Sholem Aleichem including his “Tevye and his Daughters,” end with the villagers being forced by the Russia’s tsar to leave their homes.
But this revival has Lazarov, somewhat clothed contemporary-styled and holding a book, looking at the village’s railroad sign against the background noise of a speeding train.
Remember it because the show ends with Lazarov back in his opening apparel, pulling the “fiddler,” nicely done by Paul Morland, in to the exodus with him to the station.
And that is just the opening and closing of what Lincoln Center Theater Director (“My Fair Lady”) Bartlett Sher has wrought. Every song and every dance number elicited highly appreciative applause. Every interaction of the daughters fighting tradition in their quest for happiness had the audience worriedly wondering how Tevia would react and handle breaks with tradition.
Lazarov as a philosophical Tevye didn’t disappoint. What was disappointing was Maite Uzal’s shrewish interpretation of Tevye’s wife, Golde. The director ought to have her dial back her harsh, mean-spirited sounding responses. She can be strong-willed and even demanding without sounding nasty.
Of course the show features such memorable Jerry Bock (music) and Sheldon Harnick (lyrics) songs as “Tradition” “If I Were A Rich Man,” “Sunrise Sunset” and “To Life,” with new orchestrations by “Ted Sperling.
However, except for Lazarov and the wonderful voice of Ruthy Froch as second oldest daughter Hodel, the voices blend well instead of standing out on their own. Jesse Weil as Motel the tailor, sounded particularly weak making me wonder if he was nursing a cold.
The touring revival was the best-staged “Fiddler” I’ve seen in a long time. Just expect a long first act and a total 2 hours, 55 minutes (one intermission).
It’s an excellent production but given the musical’s length of almost three hours (15 min intermission) because of well-executed but too long dance sequences, a few minutes could be cut from the dances in both the first and second act and still have an exciting show.
DETAILS: “Fiddler on the Roof,” presented by Broadway in Chicago, is at the Cadillac Palace Theatre, 151 W. Randolph St., Chicag0, through Jan. 6, 2019. Running time: 2 hrs, 55 minutes (one intermission). For tickets and other information visit Broadway in Chicago.
Led in revels by the First Fairy (Adrienne Storrs) and Puck (Sam Kebede), the fairy ensemble gather to “Rock the Ground” in Chicago Shakespeare Theater’s production of ‘A Midsummer Night’s Dream’ (Liz Lauren photo)
4 stars
Shakespeare Theater Chicago puts a slightly modern twist to an old favorite, one of “The Bard’s” most well-known and beloved plays, “A Midsummer Night’s Dream.”
As is not unusual for Shakespeare this story is something of a three ring circus.
Oberon, King of the Fairies (Edward O’Blenis) directs his minion Puck (Sam Kebede) to put a spell on Titania, Queen of the Fairies (Alexandra Silber) to teach her a lesson.
The spell uses the essence of a special flower that will cause Titania to fall madly in love with the first being she sees whether it be man, beast or fairy. Oberon prefers the more beastly the better.
With everything you have to do, places to go, people to visit there might not have been time to fit in everything you hoped to see by Dec. 31. No worries. Some of the fun shows, exhibits and festivals will still be around in January, 2019.
Siobhan Stagg in Cendrillon at the Lyric Opera
Shows
Lyric Opera’s delightful “Cendrillon” (Cinderella ) runs through Jan. 20 and its exceptional “La boheme” continues at the Lyric Opera House, 20 N. Wacker Dr., Chicago, through Jan. 31. For tickets and more information visit Lyric Opera.
“Steadfast tin Soldier at Lookinggglass Theatre in the Chicago Water Works at 821 N. Michicagn Ave. runs through Jan. 13. For tickets and other information visit Lookingglass.
“ A Midsummer Night’s Dream“ at Chicago Shakespeare Theater on Navy Pier, opens this weekend (Dec. 14 2018), and runs through Jan. 27. Tickets and more information at Chicago Shakes.
At Steppenwolf Theatre Company, 1650 N. Halsted, “Familiar” continues through Jan. 13 and “”La Ruta” goes through Jan. 27. Visit Steppenwolf.
Zoo Lights at Lincoln Park Zoo
Festivals
“Illumination” at the Morton Arboretum, 4100 Il Hwy 53, Lisle, goes through New Year’s Day, Jan. 1.
“Winter Wonderfest” continues at Navy Pier, Chicago, through Jan. 6. For tickets, parking and other information visit Navy Pier.
“Wonderland Express” is at the Chicago Botanic Garden, 1000 Lake Cook Rd., Glencoe (just east of Edens Expressway) through Jan. 6. (This is a time and date ticketed show) For tickets and other information visit . For parking check Chicago Botanic.
“Zoo Lights” at Lincoln Park Zoo, 2001 N. Clark St.,, Chicago, is open New Year’s Day and continues through Jan. 6.
Chicago area theaters put on so many excellent productions that picking our top 10 shows is not merely challenging, it also reflects individual points of view, entertainment preferences and theater and music backgrounds. Readers are welcome to disagree and comment with their own suggestions.
This year, we also are including Broadway in Chicago and Lyric Opera contenders because Chicago audiences attend those productions and support those organizations with subscriptions.
A bit about our reviewers: Reno Lovison, Pam McKuen, Francine Friedman, Mira Temkin and editor Jodie Jacobs are professional writers who have contributed over the years to a variety of publications. Read more in the About section of Chicago Theater and Arts. Their selections could each have extended to five and more but were narrowed down to two apiece.
Reno Lovison
“Haymarket”
“Haymarket” was an important Chicago story, well performed and included appropriate Bluegrass music reminiscent of labor-oriented folk songs. See review of this Underscore Theatre Company’s production at Haymarket.
“The End of TV”
“The End of TV” made me a Manual Cinema fan, offering a fresh way to experience live performance utilizing old and new technologies. See review of the Manual Cinema production at The End of TV.
(***: In spite of my two picks I find myself periodically thinking about “Arcadia” and “Fear and Misery in the Third Reich” but probably more as a result of the playwright than the players.)
Pam McKuen
“Once”
A Paramount Theatre production, “Once” is a sweet but short-lived romance with an imaginative set and an upbeat cast of congenial music-makers that was put on at a suburban jewel. See review of Once.
“On Your Feet”
A Broadway in Chicago presentation at the Cadillac Palace, “On Your Feet” is the life story of Emilio and Gloria Estefan. It has everything you’d want in a musical: global hits, glitzy costumes, dramatic lows and comedic punches. I’d see it again. See review at On Your Feet.
Francine Friedman
“Miss Saigon”
Loosely based on the opera “Madame Butterfly,” the musical “Miss Saigon” embraces the relationship between an American GI and a young Asian woman while it follows the final days of the Vietnam War. The play’s touring company of wonderful actors, singers and dancers, along with real photos of orphaned, war-born American/Asian children displayed in its second act, brought the musical to life. See review at Miss Saigon.
“Women of Soul”
At the Black Ensemble Theater through Jan. 21, 2019, “Women of Soul” is a tribute to many well-known female singers, covering their different genres and numerous years. In addition to the wonderful performers who sing their famous tunes, many newly-revealed details of how their careers blossomed and how some of their lives ended adds insight to their backgrounds. And the closing tribute to the Queen of Soul, Aretha Franklin, brought everyone to their feet. See the review of Women of Soul.
Mira Temkin
“The Buddy Holly Story”
An American Blues Theater production, this high-energy biopic of singer/songwriter Buddy Holly kept the music going at a frenetic pace as a testament to the amazing talents of star, Zachary Stephenson and the entire cast. Even though “it was day the music died, according to Don McLean,” the audience never wanted it to end. See review at Buddy Holly Story.
“A Shayna Maidel”
What is family? Can it be created or reborn? “A Shayna Maidel” performed as a revival by TimeLine Theatre, answers these thoughtful questions in a most profound way. See review at A Shayna Maidel.
(*** Also agree that “Miss Saigon” is among the year’s best. This new versio, now on on tour ,takes out all the stops in theatrics, wowing audiences as one of the most spectacular musicals ever written and produced. Contemporary theatre goers can’t help but get caught up in the past, knowing how the war ended with the cost in human life and how many Vietnamese orphans the U.S. left behind.)
Jodie Jacobs
“La boheme”
Lyric Opera of Chicago’s “La boheme” was extraordinary theater. It had everything from inventive scenery and creative staging to exceptional acting, singing and orchestration. Fortunately, it continues in January, 2019. See the review at La boheme.
“Steadfast Tin Soldier”
Audiences have come to expect unusual presentations from Lookingglass Theatre. However, Mary Zimmerman’s adaptation and direction of the “Steadfast Tin Soldier,” has to be seen to really appreciate its outstanding pantomime and puppetry. See the review at Steadfast Tin Soldier.
