Fidelio speaks to modern audiences

 

Dimitry Ivashchenko as Rocco, Elza van den Heever, Leonore and Russell Thomas, Florestan perform in Lyric Opera's production of Beethoven’s 'Fidelio.'

Dimitry Ivashchenko (Rocco), Elza van den Heever (Leonore) and Russell Thomas, (Florestan) in Lyric Opera’s ‘Fidelio.’ (Photo by Todd Rosenberg)

4 stars – Highly recommended

Lyric Opera of Chicago expounds on freedom of expression in this captivating, uplifting production of Beethoven’s Fidelio.

Florestan (Russell Thomas) is being held as a political prisoner for speaking against the corruption of prison administrator Don Pizarro (Brian Mulligan).

Don Pizarro wants Florestan silenced for good and employs the aid of his director of security, Rocco (Dimitry Ivashchenko), who refuses to murder Florestan but agrees to dig a secret grave if his boss will actually do the killing.

Florestan’s wife Leonore (Elza van den Heever) manages to disguise herself as a young man, getting a job at the prison with the intention of finding a way to free her husband.

While working at the prison, Rocco’s daughter, Marzelline (Sydney Mancasola), a secretary in his office, falls in love with Fidelio who is actually Leonore in disguise. (The opera used to be known as “Leonore.”)

Leonore uses Marzelline’s infatuation with Fidelio to gain favor with Rocco who ultimately engages Fidelio to help with the digging of Florestan’s grave. That gives Leonore the opportunity needed to at least see her husband and try to affect an escape.

Fidelio has a happy ending and thus is a story of Good triumphing over Evil. Most importantly, it is a story of hope combined with the courage to speak truth to power and to stand up to tyranny and oppression in order to right a wrong.

Elza van den Heever, Russell Thomas and company in "Fidelio" by Lyric Opera of Chicago. (Todd Rosenberg)

Elza van den Heever, Russell Thomas and company in “Fidelio”at Lyric Opera of Chicago. (Photo by Todd Rosenberg)

Fidelio is the only opera written by Beethoven, which in spite of the storyline, has a lightness that provides each character with lyrical arias and artful contrapuntal trios. It also offers the outstanding Lyric Chorus led by Michael Black, beautifully harmonious choral pieces.

The musicality of the overture has resulted in four versions of various lengths that have become part of the musical canon for orchestras worldwide since it was written. The Lyric has chosen to present the shorter version conducted by Enrique Mazzola in order to proceed with the dramatic performance.

The set design of Alexander V. Nichols is comprised of a gigantic, roughly forty-foot square, two-level cube of assembled gray steel pipes and screens, that rotates to display both the prison office and holding cells.

In Act II, the cube is reset to depict the subterranean basement where the “secret prisoner” is confined. The prison office is decorated with typewriters, filing cabinets, and water coolers while workers and prisoners are costumed in modern dress presenting an overall twentieth century vibe.

Nichols also utilizes projected images during the overture to suggest Leonore’s decision to take on the persona of Fidelio. Onstage video monitors are used to create a more contemporary atmosphere, and in the case of Florestan, to project his inner turmoil and torture induced fantasies.

It’s interesting to see how easily this 18th Century music and story transforms to modern times making this a potentially very accessible opera for younger audiences or those who may be uninitiated to this theatrical genre.

This is aided by the fact that there are no traditional recitatives but rather short bits of easily digestible spoken dialogue that bring the story together between musical numbers.

Twenty-first century audiences will appreciate the portrayal of a strong female hero and the allusions to political oppression that continues to be perpetrated throughout the world.

DETAILS: “Fidelio” is at the Lyric Opera House, 20 N. Wacker Dr., Chicago, on select dates through October 10, 2024. Running time: 2 hours, 25 minutes with one intermission. For tickets and other information visit Lyric Opera.

Reno Lovison

For more shows visit Theatre in Chicago

 

‘Inherit the Wind’ revives fundamental conflicts

 

Prosecutors Tom Davenport (Christopher Kale Jones, left) and Matthew Harrison Brady (Alexander Gemignani) confer with defense attorney Henry Drummond (Harry Lennix) as a potential juror (Terry Bell) looks on in "Inherit the Wind" at Goodman Theatre.

Christopher Kale Jones, Alexander Gemignani, Harry Lennix and Terry Bell in “Inherit the Wind” at Goodman Theatre. (Photo by Liz Lauren)

Recommended

The Goodman Theatre reminds us that the more things change the more they remain the same in this production of “Inherit the Wind,” a classic courtroom drama directed by Henry Godinez.

The 1955 play by Jerome Lawrence and Robert E. Lee was written as a vehicle to shed light on the anti-communist proceedings of the McCarthy era. But, the story resonates with us again in 2024 as many of the same and several new public conflicts are debated between those holding opposing political ideologies as well as fundamentalist religious beliefs versus scientific discovery. (Think book-banning in some libraries and schools>)

Small town schoolteacher Bertram Cates (Christopher Llewyn Ramirez) is on trial for breaking a state law that prohibits the teaching of evolution.

The prosecution is aided by the bombastic self-important fundamentalist, bible thumping Matthew Harrison Brady (Alexander Gemignani).  Cates is represented by famed Chicago lawyer Henry Drummond (Harry Lennix), a publicly demonized, clever defense attorney known for taking on difficult and controversial cases.

The premise is a fictionalized version of the infamous 1925 Scopes Monkey Trial where three-time presidential candidate and former secretary of state William Jennings Bryan argued for the prosecution and Clarence Darrow served as defense attorney for science teacher John T. Scopes.

The authors do not suggest that religion and science are irreconcilable but rather that this chasm has occurred because one group strives to stand still, hanging on to the status quo, while the other strives to advance human knowledge with a willingness to see where it leads.

For over a half century this play has been produced by hundreds (maybe thousands) of production companies of every size and skill level, including one movie and three television versions. Drummond and Brady are epic characters every serious actor would be happy to have a chance to play. It is a clash of titans utilizing witty, thought provoking, well written dialogue as their chosen weapons.

In this production Harry Lennix as Drummond wears the part well, articulating every word with clarity as though they have sprung extemporaneously from his own mind. It is the kind of performance we have come to expect of a Goodman production.

Alexander Gemignani as the dogmatic Brady is a worthy adversary for Lennix. When the two are on stage together you can feel the charge of energy flowing between them.

Ryan Kitley provides a stirring performance as hellfire and damnation preacher Reverend Jeremiah Brown.

Alexander Gemignani and Harry Lennix (Photo by Liz Lauren)

The use of the young boy, Howard (Thomas Murphy Molony), as a witness to proceedings was not something I remember in previous productions. Yes, he is literally a witness for the prosecution but he is also present virtually throughout the play witnessing the interactions of the principal players both in and out of the courtroom. He represents the future and it is his responsibility to bring forth the “truth,” whatever it may be, to the next generation.

There are a few actors on stage who provided acceptable performances but might take this opportunity to tune into Mr. Lennix masterclass on dialogue. Getting the lines out is admirable, and luckily, Lawrence and Lee provide lines that are difficult to mess up, But taking it to the next level requires understanding exactly what you are saying so that the words sound like they are your own and the audience understands the nuance behind them. No doubt this will improve over the run of the play.

The interesting set design by Collette Pollard features a suspended circular diorama lowers the ceiling. It contributes to the sense that the action is taking place within a confined space but also within the context of a small town someplace in the universe.

A beautiful parquet floor similarly grounds the actors providing a sense of place that keeps the action in the center of a rather large stage. The furnishings are sparse allowing us to stay focused on the actors. 

Back in 1925 the trial was about Darwin’s theory of evolution versus religious fundamentalism. And now, in 2024, almost 100 years later, we are again hearing from similarly opposed factions as they, once more, argue what should and should not be covered in schools.

DETAILS: “Inherit the Wind” is at the Goodman Theatre, 170 N Dearborn Street, Chicago, IL through October 20, 2024. Runtime is around 2 hours and 15 minutes, including a 15-minute intermission. For tickets and more information visit www.goodmantheatre.org

 Reno Lovison

For more shows visit Theatre in Chicago

Noises Off might not be your cup of tea

 

James Vincent Meredith, Rick Holmes, Amanda Fink and Audrey Francis in "Noises Off" by Steppenwolf Theatre Company. (Michael Brosilow)

James Vincent Meredith, Rick Holmes, Amanda Fink and Audrey Francis in “Noises Off” at Steppenwolf Theatre Company. (Photo by Michael Brosilow)

Recommended

 A rather incompetent troupe of actors are expertly portrayed by a considerably expert cast in Steppenwolf’s revival of Michael Frayn’s classic British comedy, “Noises Off.”  Directed by Anna D. Shapiro the farce kicks off the ensemble theater company’s 49th season.

“Noises Off” is a three act play within a play spoofing the genre of the popular mid-century English drawing room comedy while simultaneously poking fun at the actors and crew that produced them.

In our first act, director Lloyd Dallas (Rick Holms) labors valiantly to guide his cast through the dress rehearsal of this unknown play. It is immediately obvious that the cast is having serious difficulties remembering their stage directions and lines while struggling to understand the motivation behind their character’s activities.

In Act II we experience, essentially, the same first act but from a backstage perspective where it has become increasingly clear that during their time on the road interpersonal dramas between and amongst the cast has led to further confusion on stage and beyond.

The term “noises off” refers to noises heard offstage but ironically much of this act is done in very energetic pantomime.

Ora Jones, Francis Guinan, Rick Holmes, Audrey Francis, Amanda Fink...

Ora Jones, Francis Guinan, Rick Holmes, Audrey Francis, Amanda Fink and Vaneh Assadourian in “Noises Off” at Steppenwolf Theatre Company. (Photo by Michael Brosilow)

In Act III, the characters’ acting has not improved and neither has the relationship of the company as the play devolves into hilarious chaos.

This is broad comedy not unlike a television sitcom full of sophomoric jokes and slapstick physical humor. In this way it is just pure laugh-out-loud fun which this opening night audience seemed to appreciate and enjoy. But it might be safe to say that this may not be everyone’s cup of tea.

Conceived in 1970 and first performed in 1982, the humor is largely derived around poking fun at the quickly fading middle class morality and the stuffiness of the 1950s exemplified by a woman in underwear with falling pants, nose bleeds and false pomposity, plus, allusions to the high tax rate in the U.K. that was causing people to flee the country.

I saw “Noises Off” about thirty years ago and my recollection was that I thought it was okay. I was anxious to see if my opinion had changed. Essentially it has not. It’s fun. It’s funny. But with one or two exceptions it is not the kind of humor that makes me laugh out loud.

The character of Garry Lejeune (Andrew Leads) has an unmistakable, scattered, John Cleese (Fawlty Towers) vibe which is quite comical and a kind of staple of the period – a fellow who is outside his depth and working earnestly to participate in things often beyond his understanding or ability.

The well-constructed, attractive set designed by Todd Rosenthal is a Tudor style country house with many doors offering an opportunity for much coming and going typical of a farce. It definitely contributes to the confusion and comedy.

The genius of “Noises Off” is the rapid pacing and repetition which is why I believe this play is attractive to actors. Much of the same dialog is repeated in each act but each time with much different action going on that requires a wide range of performance skills.

In the end, I recommend seeing this because it is simply a laugh-a-minute classic comedy well performed but with the caveat that the broad humor might seem dated and too obvious for some.

DETAILS: “Noises Off” is at Steppenwolf Theatre, 1650 N Halsted Street, Chicago, IL, through November 3, 2024. Runtime: 2 hours 40 minutes with 2 intermissions. Fir tickets and more information visit Steppenwolf.org.

Reno Lovison
For more shows visit Theatre In Chicago.

Must see this amazing show at Writers Theatre

“Natasha, Pierre & the Comet of 1812” at Writers Theatre with cast and Evan Tyrone Martin, center, as Pierre. (Photo by Liz Lauren)

 4 stars

The title, “Natasha, Pierre & the Comet of 1812,” doesn’t offer a clue that this show, taken from a segment of Tolstoy’s “War and Peace,” is not a play but an operetta. Just don’t expect only classical music.

Writer/composer Dave Malloy has created a witty, period piece worthy of any opera house but he combines a variety of musical beats including hip-hop. And, instead of hidden in a pit, the orchestra is up high, divided into stage left and right boxes.

Magnificently sung with grand costuming by Raquel Adorno and backed by inspired scenery design by Courtney O’Neill, “Natasha…” looks and sounds like an award winner. The Broadway production won two Tony Awards in 2017.

 

A young woman and a man stand in profile facing each other. She has long dark hair gathered at her neck and wears a white dress with a tapestry shawl. He has dark hair gathered in a bun with white streaks on top of his head and wears a red frock coat with a large embroidered heart visible on the back.

Aurora Penepacker (left) as Natasha and Evan Tyrone Martin as Pierre. (Photo by Liz Lauren)

Basically, a romantic tale of looking for love (and sometimes sex), the operetta is set in the upper society of Moscow in 1812 where a naive Natasha waits for Andrey (Matthew C. Yee) to whom she is engaged, to return from the Napoleonic Wars.

It starts off with Mary (Julia Wheeler Lennon) trying to care for hers and brother Andrey’s ornery father, Prince Bolkonsky (Rob Lindley). 

But wait, there are also some fun and well sung “arias.”

In Act I, a dissolute Pierre (Evan Tyrone Martin) brings the house down with his soaring “Dust and Ashes.” In contrast, in Act II Maya Rowe as Natasha’s friend and cousin Sonya, beautifully sings “Sonya alone.”

Working their magic behind the scenes are director /choreographer Katie Spelman and music director Matt Deitchman, the duo from Writers Theatre’s award winning “Once.”

DETAILS: “Natasha, Pierre & the Comet of 1812,” is at Writers Theatre, 325 Tudor Ct. Glencoe, now through Oct. 27, 2024. Running time: 2 hours plus one intermission. For tickets and more information visit writerstheatre.org, and call (847 242-6000.

Jodie Jacobs

For more shows visit Theatre in Chicago

Superb voices and music plus creative staging make Rigoletto a must see

 

Igor Golovatenko sings the title role in "Rigoletto," with Mané Galoyan as Gilda, in Lyric Opera's current production of the Verdi classic.

Igor Golovatenko as Rigoletto and Mané Galoyan as his daughter, Gilda, at the Lyric Opera of Chicago. (Photos here by Todd Rosenberg)

 

Four Stars

Even non-regular opera goers would recognize “La donna è mobile.” Among the genre’s most famous arias, it is sung by acclaimed Mexican tenor Javier Camarena making his Lyric Opera debut as the Duke of Manua in Verdi’s Rigoletto. It translates as “Woman is fickle.”

But audiences have to wait for it. The opera has several good arias appreciated by the audience. However, “La donna è mobile” comes in Act III.

Instead of fully turning the lights on and off, director Mary Birnbaum, artistic director of Opera Saratoga and also new to the Lyric, has divided Act II into basically two scenes.

That works beautifully with the dark and tense mood she has created in what is an exceptional Lyric production. The second scene becomes Act III which takes place at a dwelling owned by an assassin.

The aria sums up one of the opera’s two main themes – the duke’s attitude towards women and that vengeance is dangerous.

 

(The Duke’s palace)

They bring down Rigoletto, the Duke’s hunchback jester sung by Russian  baritone Igor Golovatenko who appeared at Lyric as Rodrigue in Don Carlos, and Rigoletto’s daughter, Armenian soprano Mané Galoyan who makes her Lyric debut as Gilda, the lass who falls for the Duke when he comes to her disguised as a penniless student.

Both are outstanding in their vocal and acting interpretations. Plus, Gilda gets her own aria, “Caro nome” in Act I, (“Caro nome che il mio cor” (Sweet name that made my heart) that sets her character in spite of the Duke’s later betrayal of her love.

Originally a Victor Hugo play called Le roi s’amuse (“The King Amuses Himself”) Verdi turned the story into a drama-tragedy that moves back and forth between the Duke’s frivolous loves and lifestyle and Rigoletto’s hatred of that lifestyle and his worries about the previous Duke’s curse. Indeed, one of the early titles to this opera referred to the curse.

Add in Rigoletto’s over-protected, naive daughter and audiences know this can’t end well.

Conducted by Music Director Enrique Mazzola with superb insight and shading, the Lyric Orchestra skillfully brought out Verdi’s perfectly colored contrasts in mood during the story’s fateful progress. Kudos also to the entire company

In addition, the opera’s contrasting atmosphere was enhanced by costume designer Jane Greenwood and set designer Robert Innes Hopkins. 

Details: “Rigoletto” is at the Lyric Opera of Chicago, 20 N. Wacker Dr., Chicago specific times now through Oct. 6, 2024. Language: Sung in Italian with projected English titles. Running Time:2 hours and 35 minutes, including 1 intermission. For tickets and more information visit Lyric Opera.

Jodie Jacobs

For more shows visit Theatre in Chicago

 

Love and marriage are all in an extended family in the hilarious ‘The Cottage’

 

L-R   Joel Ottenheimer, Shannon Bachelder, Melody Rowland, Elizabeth Bushell (Standing), and Philip J. Macaluso. (Photos by North Shore Camera Club)

 

Four Stars

You practically need a score card to keep track of who is doing “it” with whom even though two brothers and their current and past lovers and spouses all makeup somewhat of an extended family. They all pop into “The Cottage,” a small but attractive country house 90 minutes outside of London.

The year is 1923. The tone is that of a British farce but don’t expect a strong English accent or a lot of popping in and out different doors. Guests properly enter from the front door.

What we have is a very funny play by Glenview native Sandy Rustin that has come to Citadel Theatre in Lake Forest straight from its Broadway run.

At first, we see the morning after a once-a-year affair between Sylvia (Elizabeth Bushell) and her brother-in-law, Beau (Philip J. Macaluso). Before Beau can dress and leave for his office others in this casual, but unanticipated gathering come knocking at the door.

First to pop in is Beau’s regular lover, Dierdre (Melody Rowland) because Beau’s office told her he could be found at the family Cottage. Next to stop by are Beau’s brother, Clarke (Joel Ottenheimer), with his sister-in-law, Beau’s wife, Marjorie (Shannon Bachelder). Sylvia, who’s slightly ditsy, thinks she may have sent a telegram to Clarke about wanting a divorce.

They hear Diedra’s husband, Richard (John Dooley), knocking on the door. The problems now is that Sylvia said her first love was called Richard but she believes he died and Diedra admits that her Richard keeps killing her lovers.

And so, Act I ends with everyone hiding and Richard coming in with a gun.

 Well directed by Jack Hickey, the entire cast is terrific. In addition, there is superb scenic design by Eric Luchen and properties design by Audrey Tieman. The house is charming and those cigarettes that Beau keeps snagging turn up everywhere.

No letting on here what happens in Act II. Go see this wonderful, comic play but don’t tell anyone else what happens. 

Details: “The Cottage” is at Citadel Theatre, 300 S. Waukegan Rd., Lake Forest, IL now thro0ugh Oct. 13, 2024 Running Time: Two hours. For tickets and other information visit Citadel Theatre.

Jodie Jacobs

For more shows visit Theatre in Chicago.

Around town looks for apples and a pumpkin patch

 

Before celebrating everything pumpkin remember how fall has also been the time to go apple picking.

So, think country drive. A lot of apple orchards have given way to subdivisions and shopping centers but there are still a few surrounding metropolitan Chicago.

Among them is Royal Oak Farm in northwestern Harvard, IL at 15908 Hebron Rd. There’s apple picking and other activities outside and fudge to get inside. Call (815) 648-4141 for more information.

Or closer to Chicago go over to Long Grove, IL the weekend of Sept. 20 for the village’s famed Apple Fest. The event spreads out apple and other food tables downtown plus has three band stages.

Hours: September 20, noon to 11 p.m., September 21, 10 a.m. to 11 p.m. and September 22, 10 a.m. to 6 p.m.

 

For pumpkin picking, corn maze, rides, fudge and finding great fall items go over to Didier Farms, 16678 Aptakisic Rd. Lincolnshire for its Pumpkin Fest, Sept. 12-Oct. 27.

There’s a lot to do and get figure spending time outdoors and in the shop.

Jodie Jacobs

Balmy breezes of South Pacific blowing in Skokie

 

The girls are “going to wash that man right out of their hair” at the Skokie Theatre (Photo by Emily Silber)

Recommended

This timeless classic on stage now at the Skokie Theatre, deserves to be seen and heard.

Whether it is for the first time or you are coming from a place of nostalgia, the musical, “South Pacific” directed by Pat Henderson, includes some of the best and most recognizable tunes of the composing team of Richard Rodgers and Oscar Hammerstein II.

The action takes place in the waning days of WWII at a military encampment on a south sea island. Based on a novel by James Michener and adapted by Hammerstein and Josh Logan the 1949 play boldly addressed the notion of learned prejudices, and confronted changing post-war attitudes about inter-racial marriage and mix raced children.

Lt. Cable (Max Perkel) has fallen in love with an “Island Girl,” Liat (Megan Mariko Boggs). In the song, “You’ve Got to be Carefully Taught,” he expresses that prejudice and hate are not innate but rather, “You’ve got to be taught before it’s too late, before you are six or seven or eight…” This is the pivotal message of the play.

In a parallel plot line, nurse, Nellie Forbush (Willow Schneider) is falling in love with a more mature, local plantation owner, Emile De Becque (Tony Calzaretta), a French national with a young daughter conceived by a “native” woman who has died.

Emile, several years Nellie’s senior, longs for her companionship and to have her share his paradise. After learning of his previous relationship, Nellie is not sure she can live with the realities of his past.

As an actor, Calzaretta is the real deal. He understands this character of De Becque and every moment on stage is absolutely believable. With a beautiful baritone voice, he sings of his love in “Some Enchanted Evening” then later in “This Nearly Was Mine.”

Willow Schneider attacks the character of Nellie with requisite spunk, without going over the top, belting out “Cockeyed Optimist, I’m Gonna Wash that Man Right Outa My Hair, and I’m in Love with a Wonderful Guy.”

Mariel Saavedra’s characterization of local entrepreneur Bloody Mary is spot on. Mary’s primary objective is to fully capitalize on the windfall opportunities presented by the sudden arrival of the American Navy

Her haunting rendition of “Bali Hai” was sensuous and mystical, while the up tempo “Happy Talk” set the mood for an alliance between her daughter Liat and Lt. Cable.

The lanky Andrew Buel nailed his portrayal of “procurement officer” Luther Billis which included the much-anticipated coconut bra, mop haired, drag rendition of “Honey Bun” performed as a duet with Nellie as part of the company’s Thanksgiving celebration.

Luis De Valle was notable as the gravelly voiced basso Stewpot and Molly Hamada was perfectly adorable as De Becque’s French speaking daughter Ngana.

Musical accompaniment was expertly provided by Jeremy Ramey and Andrew Milliken, both on keyboards. It was rather amazing that every cast member had outstanding solo voices and the ensemble numbers were tight and harmonious.

The biggest miss for me was the set design. Basically, I got the impression that the actors were walking around a bunch of stuff that had been left on stage.

The lighting did not help but interestingly it got better in the second act so maybe an opening night SNAFU. The silhouette background was effective but perhaps could have been moved forward and utilized more to create a sense of place and some much-needed atmospheric effects. I would have been quite satisfied if this production had been performed as a concert or radio play.

I’m fond of this theater and its potential to provide quality entertainment to the Skokie area. They deserve your support and typically offer solid productions, this one included.

Yes, you might find something a little slicker as you move south toward the Loop but in this particular case it is worth attending “South Pacific” simply to enjoy the great music expertly performed.

Rodgers and Hammerstein are to the American Musical what Verdi is to opera. Today musicals like “South Pacific” can come off as “dated” but they should be viewed within the context of the time. The stories are often based within a specific historical timeframe with messages that often sadly need to be repeated but the music and lyrics are based on the structural backbone of Western musical composition that can and should continue to be enjoyed and appreciated.

DETAILS: “South Pacific” presented by MadKap Productions is at the Skokie Theatre, 7924 Lincoln Ave., Skokie, IL through October 6, 2024. For tickets and information phone 847-677-7761 or purchase in person 90 minutes before each performance. Tickets are available at SkokieTheatre.org

Reno Lovison

Art fairs are not over

Summer is over but Chicago area art fairs in 2024 are not gone.

While covering Art on the Square in Lake Forest this past weekend for an article, I came across a booth with stunning glass pieces by Robert Lagestee of Crete IL. When asked where he will be showing next in the area he mentioned Art in the Barn Barrington (artinthebarn-barrington.com)

Robert Lagestee

An excellent fine art show of 150 juried-in exhibitors, Art In the Barn isn’t until September 28-29. It is an annul art fair held on the grounds of Advocate Good Shepherd Hospital, 450 W. Highway 22, Barrington, IL. Hours are 10 a.m. to 5 p.m. Admission $5 with no charge for children under age 12. No pets.

However, there are also a couple of art fairs coming up earlier. They are:

Paint the Prairie, a small, fun, casual fair of 30-40 exhibitors Sept. 7 & 8 at Techny Prairie Park & Fields, 1700 Techny Rd., Northbrook.
Hours: Saturday, painting 7:30am-4:30pm, exhibit & sale, Sunday with painting 7:30 a.m.-1 p.m. Judging begins at 2 p. m. with awards, reception, show and sale from 3:30 p.m.-6:30 p.m. For more info: www.nbparks.org

The 68th Annual Park Forest Art Fair, Sept. 21 – 22 in the
Village Green at Main Street, downtown Park Forest. Hours are
Saturday and Sunday, 10 a.m. to 5 p.m. featuring 80 artists. For more info: www.tallgrassarts.org.

Jodie Jacobs

 

 

 

 

Independence brilliantly portrayed

 

File 1.jpg

L-R Tyrick Wiltez Jones as Samuel Adams, Lucy Godinez as Richard Henry Lee and Richard R. Henry as Benjamin Franklin in “1776” at Marriott Theatre. (Photo by Liz Lauren)

Four Stars

The first act of “1776” at Marriott Theatre merely sets the scene for this Broadway hit that has music and lyrics by Sherman Edwards and book by Peter Stone. But then comes Act II.

It’s magnificent. Audiences might wonder what there is to say about the Declaration of Independence, a document written by Thomas Jefferson of Virginia, modified by some of the delegates to the Continental Congress and whose wording we presumably learned in elementary school. But under Nick Bowling’s direction the scene comes alive with terrific acting by a well-chosen cast and Tanji Harper’s choreography.

Marriott’s in-the-round stage is perfect for the scenery design by Regina Garcia. Not least is the period’s costume design by Theresa Ham.

In one corner of the stage, the names of the original 13 colonies are listed as delegations on a board, ready for a vote.  They are the members of the Continental Congress who are meeting in Philadelphia at what would become knowns as Independence Hall.

A date calendar is hanging on a post at the opposite corner. Congressional custodian, Andrew McNair, (played by Karl Hamilton) usually brings in liquid refreshment for the delegates and changes the date.  It’s countdown time.

As mystery books often say when a situation sounds almost easy – “what can go wrong?” After all, we know the outcome.

12 - Tyrick Wiltez Jones, Heidi Kettenring.png

L-R Tyrick Wiltez Jones as Massachusetts delegate John Adams confronts Heidi Kettenring as the staunch British loyalist and anti-independence voter from Pennsylvania named John Dickinson. (Photo by Liz Lauren)

Early on, the delegates vote. Coming from different backgrounds and different viewpoints, six are for independence from Great Britain and six appear to be against, with New York politely passing on the vote.

However, even if a majority is obtained, John Dickinson throws out what may become the most important obstacle to overcome. Dickinson says the vote for independence must be unanimous.

Kudos to popular Chicago theater actor Heidi Kettenring who shoulders the vociferous Pennsylvania delegate John Dickinson’s anti-independence stance. She does her usual exceptional acting in a tough role that makes no friends among the Marriott audience.

Wiltz, who is making his debut at Marriott, may not be familiar to its audiences. He has mostly been in regional productions and on Broadway. But after his commanding performance as the “difficult” John Adams, he is likely to be back. 

Audiences may remember Richard R. Henry in Marriott’s Man of La Mancha.” As a Massachusetts delegate, he delightfully replicates Ben Franklin’s humor.

Chicago and Regional actor Erik Hamilton returns to Marriott as the brilliant but reluctant writer, Thomas Jefferson, a role he underplays rather than dominates. 

Mathew Hommel as South Carolina delegate Edward Rutledge becomes a pivotal vote for independence but will be remembered in this production for his “Molasses to Rum” song rendered in a “Les Mis” operatic style. 

A note has to be included on Jay Westbrook as the Courier who quietly, sadly sings “Momma Look sharp.”

Fall 2024 is developing as a full theater season of excellent shows. However, Marriott Theatre’s “1776” should definitely be on that “don’t miss” list.

Details: “1776” is at Marriott Theatre, 10 Marriott Drive, Lincolnshire, IL now through Oct. 13, 2024. For tickets and more information visit Marriott Theatre.

Jodie Jacobs 

For more shows and reviews visit Theatre In Chicago