With so many shows in Chicago it is easy to miss one you really meant to see. So here is a reminder of really fine productions that end this month of January, 2018.
‘Turandot,’ Puccini’s glorious fantasy musical portrayal of a cold-hearted princess in ancient China is at the Lyric Opera for just two more performances: Jan. 21 and Jan. 28. For tickets and more information visit Lyric Turandot and Lyric Opera.
‘Wicked,’ that musical story about the two witches of OZ, closes at the Oriental Theatre, Jan. 21. For more information and tickets visit Broadway in Chicago Wicked.
‘BLKS,’ a play that tells about a day in the life of four young black women in New York City is at Steppenwolf just through Jan. 21. For more information and tickets visit Steppenwolf.
‘Beautiful: The Carole King Musical’ has its final performance at the Cadillac Palace Theatre Jan. 28. For more information and tickets visit Broadway in Chicago Beautiful.
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.
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 Terazawaand 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.
Many Chicago museums have free admission for MLK Day.
Fortunately when schools close for Martin Luther King Jr. Day, several Chicago museums answer the what-to-do question with free or discounted admission for Illinois residents. In addition, the Black Ensemble Theater and the Chicago Children’s Theatre also have programs.
Here are some places to spend quality time Jan. 15, 2018.
Museums
On Chicago’s Museum Campus, Adler Planetarium, 1300 S. Lake Shore Dr., (312) 922-7827, The Field Museum, 1400 S. Lake Shore Dr., (312) 922-9410 and the Shedd Aquarium, 1200 S. Lake shore Dr., (312) 939-2438, all have free general admission to Illinois residents. (Not included: all access to special exhibits).
At the Art Institute of Chicago, the Ryan Learning Center (entrance at the Modern Wing, 159 East Monroe St. is doing “Say it Loud” program of story telling, arts and discussions from 10 :30 a.m. to 3 p.m. No registration needed. However, admission to the museum is also free that day for all Illinois residents as part Free Winter Weekdays, January 8–February 15, 2018.
Chicago History Museum, 1601 North Clark Street (312) 642-4600, has free programs all day with free general admission to Illinois residents on MLK Day.
Theater
Chicago Children’s Theatre, 100 S. Racine Ave. at Monroe, has a free Martin Luther King Birthday party from 11 a.m. to 2 p.m.
Black Ensemble Theater at 4450 North Clark St., celebrates “And still we rise,” from 6 to 9 p.m. with programs by the African American Arts Alliance. Tickets are $20 and includes a reception.
Four Chicago doings, call them the ABCDs, are here to chase away January gloom.
Winifred Godfrey ‘Flowers’ show is at Beverly Art Center
A is for an amazing art show of the works of homegrown, internationally known artist, Winifred Godfrey. Running from Jan. 14 through Feb. 25, 2018 at the Beverly Art Center, 2407 W. 111th St., Chicago, the show brightens the indoor landscape with her famed flowers. The opening reception is Jan. 14 from 2 to 4 p.m.. For more information call (773) 445-3838 and visit Beverly Art Center Events.
Chicago Boat Show is on now with lots of fun activities
B stands for boat show. The annual Chicago Boat, RV and Sail Show is back in town. Held now through Jan. 14, 2018 at McCormick Place, 2301 S. Lake Shore Drive, the show becomes a fun family day. There’s hands-on activities ranging from fishing and paddle sports to lessons, seminars and virtual reality experiences. For tickets and more information visit Chicago Boat Show.
SketchFest is in Stage 773’s various spaces including the Pro. Stage 773 photo.
C banishes the doldrums with comedy. The Chicago Sketch Comedy Festival returns to the city Jan. 11 through 21, 2018 at Stage 773. The venue is a theater complex at 1225 W. Belmont Ave. What to expect: 130 shows by returning troupes and new artists. Among the highlights is “ The Future is Female: A discussion with women about the climate of Chicago comedy,” Jan. 20, 3 p.m. in the Thrust theater with panelists from The Second City, Susan Messing of Annoyance Theater and WGN Radio’s Patti Vasquez. For schedule, tickets and other information call (773) 327- 5252 and visit Chicago Sketch Fest. www.chicagosketchfest.com.
Writers Theatre in Glencoe Jodie Jacobs photo
D is for that important word “discount” because $10 and $15 or less tickets are now available for Chicago Theatre Week. The annual week when Chicago area production companies have tickets for their shows at special prices is Feb. 8 through Feb. 18, 2018. But tickets for shows that week went on sale Jan. 9 and they go quickly. To snag the show you want visit Chicago Theatre Week. To see a list of all shows visit League of Chicago Theatres at Chicago Plays.
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 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.
Captain Hook and Peter Pan
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.
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)
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 .
Listen up if you haven’t yet snagged tickets to ‘Hamilton.’ Yeah that mega hit show whose seats are still hard to get, is now extending performances through Sept. 2, 2018, Producer Jeffrey Seller announced Dec 1, 2017.
That means a new, 18 week block of tickets, are now available.
Cast of ‘Hamilton’. Photo by Joan Marcus.
The new tickets go on sale, 10 a.m. Dec. 5, 2017 at its venue, CIBC Theatre, 18 W. Monroe, according to Broadway in Chicago officials.
Tickets will also be sold at the Chicago Ticket Line (800) 775-2000 and on line at Broadway In Chicago.
Prices go from $75 to $195 for regular performances. Some premium seats are available for all performances. The online lottery of 44 seats at $10 will continue.
The maximum number of tickets per household from May 1 through Sept. 2 is 12 for seats.
Tip: Don’t be fooled by non official ticket offers. Best plan is to buy through one of the authorized outlets mentioned above.
In case your kids haven’t been singing the lyrics to ‘Hamilton’ and haven’t now shown more interest in the history of the United States of America’s founding, you should know the show is tells that story as put to hip-hop, rap, jazz, pop, R&B beats by Lin-Manuel Miranda, based on Ron Chernow’s biography of Alexander Hamilton.
BTW, Hamilton was an immigrant from the West Indies who then served George Washington and became the the country’s first Secretary of the Treasury.
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
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.
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’ 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.
First a caveat, this critic loved Paramount’s 1954 movie and the musical’s theme’s of romance and military camaraderie and caring so was prepared to also love the show, now touring with a stellar cast of Broadway and tour veteran actors, singers and dancers. It didn’t disappoint. Instead, it seemed to this writer to be a perfect holiday ornament.
‘White Christmas’ at Cadillac Palace has a great “Snow” scene. Photo: Jeremy Daniel
Based on the book by David Ives and Paul Blake with music and lyrics by Irving Berlin, the musical has some fun songs such as “Snow” sung on a train ride from New York up to Vermont.
There are also some dated but fun pieces such as “What Can You Do With a General,” sung about the post-army job market for high-ranking officers.
But it’s the famous ones that audiences will likely be humming as they leave such as “I’ve got My Love to Keep Me Warm,” and of course, “White Christmas.”
The story pairs Bob Wallace(Sean Montgomery) and Phil Davis (Jeremy Benton), two very successful male entertainers who served in the same unit in WWII, with Betty (Kerry Conte) and Judy (Kelly Sheenan) Haynes who have a sister act.
The gals are headed to a holiday gig at a Vermont ski resort where there is supposed to be snow. Davis tricks Wallace into joining them.
When they arrive, the gig turns into an effort to keep the resort, an inn owned by General Henry Waverly (Conrad John Schuck), from going bankrupt.
“Blue Skies” is a fun, Fosse-style dance number in White Christmas. Photo: Jeremy Daniel
How they pull it off and the general’s reaction still brings tears to my eyes.
Along the way you meet inn receptionist Martha Watson (Karen Ziemba), a former Martha Raye style entertainer who also is too nosy for anyone’s good.
Plus there is inn employee Ezekiel who is also the train’s snoring man (Cliff Bemis who has a great voice and originated the Broadway role), Gen. Waverly’s granddaughter Susan (delightfully played in the opening by Makayla Joy Connolly), Stage Manager Mike Nulty (Aaron Galligan-Stierle who is also the Ed Sullivan and Regency Room announcer), and Davis and Wallace promoter Ralph Sheldrake (Gil Brady who always has a “million dollar proposition”).
The musical is also a showcase for exceptional dance numbers including “Blue Skies.” Kudos to Director/ Choreographer Randy Skinner. In addition, Anna Louizos’ creative scenic design really helps tell the story.
Cast of “White Christmas” at Cadillac Palace Theatre.
DETAILS: ‘White Christmas’ is at the Cadillac Palace Theatre , 151 W. Randolph St., Chicago, through Dec. 3, 2017. Running time: 2 hours, 25 minutes. For tickets and other information call (800) 775-2000 and visit Broadway in Chicago.
