Theatre in Chicago – Chicago Theater and Arts

No seasickness here

Beck Hokanson (Dick), Joe Bushell (Hennessy), Peter Kattner II (Lucky) and Elizabeth Bushell (Joan) in “Dames at Sea” at Citadel Theatre. (Photos by North Shore Camera Club.)

Highly recommend

Sometimes a show from the past that is not performed much now, is just what we need as a break from the usual holiday fare. Such is “Dames at Sea” a 1966 musical with book and lyrics by George Haimsohn and music by Jim Wise now on stage at Citadel Theatre.

Think of it as a spoof on the over-the-top 1930’s large dance movie productions of Busby Berkely and you will understand what may at first seem as over-emoting by some of the cast.

Also a spoof on “42nd Street,” it is filled with superb tap dancing and fine voices as it follows Ruby, (Melody Rowland) who comes to New York from Utah to, hopefully, star on Broadway.

She is accepted by producer/director Joe Bushell (Hennessy) because one of his chorus girls has just left.

Her just met boyfriend, Beck Hokanson (Dick) a sailor and songwriter is off a battleship in the harbor with sailor Peter Kattner II (Lucky).

To complicate relationships Lucky had met and likes Elizabeth Bushell (Joan) plus the production’s main star, Mona (Ciara Jarvis) really likes Dick’s songs and makes Ruby jealous.

The first half takes place in a tumbling down off Broadway theater that is going to be repurposed. When the roof literally caves in on everyone, the sailors decide they should move the production to the ship. Thus we literally have “Dames at Sea.”

Coincidences keep happening. When Mona gets seasick, Ruby does step in to the starring role.

What is amazing about this show is how choreographer/director Gregg Denhardt has fit the action, including the whole chorus line, onto Citadel’s tiny stage.

I even liked Dick’s funny attempts to keep a kicking girl’s leg out of his face when he “played” one of his songs on the upright piano in the corner.

The funny things is that when the show opened in 1966 in a Greenwich Village coffee house’s performance space, it starred the then, mostly unknown, Bernadette Peters as Ruby because the original star left. The show stayed there for 148 performances.

Peters went on to do regional performances in the 1970s including one at the Academy Playhouse in Lake Forest.

The show did eventually, officially open on Broadway, October 22, 2015 at the Helen Hayes Theatre.

Melody Rowland (Ruby) with soon to be boyfriend Beck Hokanson (Dick),

DETAILS: “Dames at Sea” is at Citadel Theatre at 300 S. Waukegan Road, Lake Forest, now through December 15, 2024. Running time: 90 minutes with a brief intermission. For tickets call 847-735-8554 or visit www.citadeltheatre.org.

Jodie Jacobs

For more shows visit Theatre in Chicago

Did you see Royko

In "Royko: The Toughest Man in Chicago," Mitchell Bisschop plays the hard-nosed newspaper columnist.

Mitchell Bisschop in Royko: The Toughest Man in Chicago. (Photo by Sarah Elizabeth Larsen)

Recommended

Mike Royko was an outspoken Chicago journalist, who in the 1960s through the ’90s railed against the political machine and championed the cause of the underdog with the same zeal he displayed toward his beloved Cubs.

Playwright and monologist Mitchell Bisschop has distilled thousands of Royko’s daily reflections of life in the Windy City to fashion a one-man show he wrote and stars in. It celebrates the person Bisschoph has dubbed, Royko: The Toughest Man in Town.

From the stage at the Chopin Theatre in Wicker Park, Royko’s written words come alive, reminding us of past political battles, every day joys and poignant personal dramas.

Royko had a sense for what was on the mind of Chicagoans. Many agreed with his observations and many did not, causing nearly everyone to say, “Did you read Royko?”

It’s safe to say that Royko disliked Richard J. Daley and his machine politics, catsup on hotdogs and deep-dish pizza, maybe as much as he appreciated Harold Washington, 16 inch softball and his favorite seat at the end of the bar at the Billy Goat Tavern near the newspapers (otherwise known as Royko’s other office).

Then of course there were the ribs. Royko loved to bar-b-que and felt his ribs were the best. This boast led to the establishment of the Royko Ribfest in 1982, a Chicago tradition that continues.

When Australian media magnate Rupert Murdoch bought the Sun-Times (the newspaper where he worked), Royko quipped that “No self-respecting fish would want to be wrapped in one of Murdoch’s publications.”

He proverbially held his nose in protest and reluctantly moved to the more conservative, right leaning Chicago Tribune.

The roughly two-hour performance at the Chopin Theatre serves as a reminiscence for those of a certain age and as an entertaining summary of our recent history for those of a younger generation who might not have first-hand familiarity with events related to the quickly fading recent past.

I tend to feel everyone has a story to tell, but we do not have a record of most of them. Indeed, there is an echo to history and lessons to be learned for those interested enough to listen.

Royko stood up for what he believed and pushed back against bullies like those who felt that they had a right to abuse him simply because he was courageous enough to share his thoughts. I guess this is why Bisschop calls him the toughest man in Chicago.

Details: “Royko: The toughest man in Chicago,” is at Chopin Theatre, 1543 W. Division Street, Chicago, IL now through December 22, 2024. Running time: about 2 hours with one 15-minute intermission. Find tickets at royko.brownpapertickets.com and more information at Chopin or call (847)920-7714.

Reno Lovison

For more shows visit Theatre In Chicago

The Royal Shakespeare Company adds music and dance to Pericles

Zach Wyatt plays the title role, with Leah Haile as the king's wife Thaisa, in a Royal Shakespeare Company production of "Pericles" now at Chicago Shakespeare Theater.

Zach Wyatt, center, is Pericles holding his bride to be, the king’s daughter Thaisa, played by Leah Haile in “Pericles,” a Royal Shakespeare Company production at Chicago Shakespeare Theater. (Photo by Johan Persson.)

Somewhat recommended

Maybe, I was in the mood for a solid Shakespearean play. In “Pericles,” supposedly half penned by William Shakespeare, members of the renown Royal Shakespeare Company flit around the stage as if in a remake of an 18th century enchanted forest dream complete with music and dance.

The production doesn’t get better until the last act which sounds more like the Bard’s thoughts and then it becomes a tearjerker.

Pericles, well depicted by Zach Wyatt, has been wandering the seas and islands with grief for Thaisa, his supposedly dead wife who died giving birth to daughter Marina. The daughter is supposed to be taken care of but isn’t.

He finds that long-lost daughter, nicely portrayed by Rachelle Diedericks, in a brothel. Then, he reconnects with his wife who has been brought back to life as a high priestess.

After everyone lovingly embrace, Pericles and Marina leave to find a suitable sacrifice to goddess Diana.

DETAILS: “Pericles” is at Chicago Shakespeare Theater now through Dec. 7, 2024. Running Time: 2 hrs, 40 minutes with one intermission. Chicago Shakespeare Theatre is on Navy Pier, 800 E. Grand Ave., Chicago.

For tickets and more information visit Chicago Shakespeare Theater.

Jodie Jacobs

For more shows visit Theatre in Chicago.

Chicago Shakespeare Theater | Where the World Comes to Play

Brilliant acting and script move into Writers small theatre

Jessie Fisher stars in “Every Brilliant Thing” at Writers Theatre. Photo by Michael Brosilow.

Four Stars

Number one on the “List” is ….” says Broadway regular Jessie Fisher who hails from the Chicago area. An audience member calls out “Ice Cream.” Fisher has passed out slips of paper with numbers on them and a phrase. They are her “List” and the audience interacts with her on various levels of participation.

By the end of the show, a short, intense 70 minutes of skipping several numbers while she grows up from a young, smart but worried child to a mature adult, she has reached one million things that, even if they sound little, bring joy.

The List which includes “having a piano in the kitchen” is what she writes for her mother who is suicidal but it is also how she copes as she moves through teenage, college years and beyond.

There is hardly a dry eye in the audience. Depression is a deep, real emotion and response. But in this play, there also is joy.

Directed by Kimberly Senior, Fisher is brilliant and so is the play. Written by Duncan Macmillan with Jonny Donahoe it likely touches many lives as it balances depression with hope.

The set, accommodated in Writers’ intimate Gillian Theatre, is a back yard with grass, tables and lawn chairs for the audience. The casual setting is perfect for encouraging the level of understanding needed for tackling suicide.

DETAILS: “Every Billiant Thing” is at Writers Theatre, 325 Tudor Court, Glencoe, IL extended now through Jan, 12, 2025. Running time: 70 minutes, no intermission. For tickets and more information visit Writers Theatre.

Jodie Jacobs

For more shows visit Theatre in Chicago

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 18^th 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 49^th 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

Love Jealousy War in Aida

Artistic designer Marquis Lewis, aka RETNA, brings a calligraphy motif to the sets of "Aida."

‘Aida’ at Lyric Opera of Chicago (Photo by Todd Rosenberg)

Highly Recommended

“Aida” by Giuseppe Verdi has returned to the Lyric Opera of Chicago after more than a decade. Under the direction of Francesca Zamnello and conducted by Enrique Mazzola, it is opera in the grand tradition but interpreted through a nontraditional lens.

Military leader Radames (tenor Russell Thomas) is in love with the captive Aida (soprano Michelle Bradley) who is enslaved in the household of princess Amneris (mezzo-soprano Jamie Barton) who happens to be in love with Radames. Therein lies the love triangle and principal conflict of this epic tragedy.

Rather than opening with a traditional crowd scene with an explanation of where we are and what is to come, this opera has a cold start with Radames ruminating on his love for Aida while sitting in what is apparently the war room of the unnamed kingdom. The highlight of this scene is Radames singing of “Celeste Aida” arguably the most lyrical aria in this opera and a favorite solo piece of tenors.

Amneris passes through the room and inquires as to why Radames is so distracted. When Aida enters, Radames’ demeanor changes and Amneris begins to suspect there may be something going on between the two.

The first two acts of the four-act opera are concerned largely with the armed conflict between the kingdom in which Radames serves and the kingdom of Amonasro (baritone Reginald Smith, Jr) who, unbeknownst to everyone, is the father of Aida.

The roughly sixty-voice men’s ensemble performs a thrilling chorus of preparation for battle, and shortly thereafter, a celebration of victory with Radames as the conquering hero.

Likewise, six dramatic trumpets play an impressive, well known, Verdi fanfare that at the end of Act Two, culminates in an impressive surprise celebration with 200 cast members on stage.

The preparation for battle and victory are further punctuated by ballet scenes choreographed by Jessica Lang that feature dancer Anne O’Donnell Passero who seemingly floats across the stage with dramatic lifts and leaps in a flowing white gown with golden lining that is truly angelic.

Originally conceived as a conflict between ancient Egypt and the kingdom of Ethiopia this updated version has a dystopian post-modern and mid-century vibe.

The costumes by Anita Yavich are a kind of mixed bag with some colorful gowns and drab dresses. Military uniforms are reminiscent of the fascist regimes of WWII with some more decorative officers looking like part of the Russian Imperial Army and the priests seeming to be part of the Greek Orthodox or ancient Jewish pharisees.

The mostly monochromatic set design led by set-designer Michael Yeargan is primarily a steely gray with tone-on-tone impressions of cryptic symbols reminiscent of hieroglyphs or Chinese pictographs.

Creating a dramatic and assaulting pop of color that commands your attention, the symbols also appear painted in blood red during powerful moments and at the tops of the ceremonial staff carried by the high priest Ramfis (bass Önay Köse).

The production’s striking original concept is conceived by artistic designer RETNA, a celebrated street artist based in Los Angeles.

As Radames is celebrated, a tormented Aida admonishes herself for praying for his victory at the expense of her father and homeland.

Longing for her homeland, Aida sings the emotional aria “O patria mia.” She soon learns that her father is among the captives.

Meanwhile, the King (bass Wm. Clay Thompson) announces that he will give his daughter Amneris to Radames as reward for his victory and furthermore, will grant him any wish he desires.

In spite of his victory, Radames has pity on the countrymen of Aida for her sake and asks the King to grant the release of the prisoners of war. The King agrees to grant his wish with the caveat that Aida and her father must remain as ransom against any further reprisals.

Aida and her father conspire to persuade Radames to flee with them back to their home country. In doing so, they have him reveal further military plans. Aida is motivated by her sincere love for Radames and him for her and thus wins him over.

Almost immediately, Radames regrets his action from the point-of-view of his love of country that is in direct conflict with his love for Aida. He is shortly arrested and sentenced to death by the high priest.

The nature of Radames’ execution is to be entombed alive to suffer an agonizing death by suffocation and starvation. When his fate is sealed, he finds that Aida has hidden herself away and is entombed with him. Thus, the two are united in death while Amneris prays for the end of conflict, the peace of her lost love and peace for her grief-stricken self.

Unfortunately, this theme of conflict on a national level juxtaposed with the most intimate desires of individual lives has its roots in the ancient world and sadly no doubt is repeating itself in the world today.

Details: ‘Aida’ is performed in Italian with projected English titles at the Lyric Opera House, 20 North Wacker Drive, Chicago through April 7, 2024. Running time is about 3 hours with one intermission. For tickets and information, call 312.827.5600 or go to lyricopera.org/aida.

Reno Lovison

For more shows visit Theatre in Chicago

‘James and the Giant Peach’ is a sweet treat at Marriott Theatre

Cast of “James and the Giant Peach” at Marriott Theatre. (Photo by Liz Lauren)

Recommended

Introducing young theatregoers to the delights of musical storytelling leaps off the page of the famous Roald Dahl novel at the Marriott Theatre for Young Audiences in Lincolnshire.

“James and the Giant Peach” is the perfect way to introduce young theatergoers to enjoying live musical theatre. The hour-long performance is suited for audiences of all ages as they watch the fantastical musical come to life.

In traditional Roald Dahl fashion, James is an orphan forced to live with his two screechy aunts who are anything but nice to him. When he is sent to chop down their old fruit tree, he discovers a magic potion that turns an ordinary peach tree into a gigantic peach.

All of a sudden, he finds himself among a group of larger-than-life insects who quickly become the family he is missing. They go on adventures in the ocean ending up at the Empire State Building in New York City. Along the way they learn that they must work together to survive.

Humor, music, and comedic antics weave their way through this wonderful performance. The music by the Tony Award-nominated team of Pasek and Paul (La La Land, Dear Evan Hansen) is catchy and fun.

Starring is the always wonderful Alex Goodrich as Ladahlord. Lucy Godinez as Aunt Sponge and Leah Morrow as Aunt Spiker are hysterical with quirky costumes to match. The young James is played by the talented Kai Edgar.

The show is directed and choreographed by Tommy Rapley with music direction by Ryan T. Nelson. Kudos to costume designer Amanda Vander Byl for her amazing insect and character costumes. They are colorful and fun.

Each performance is followed by a question-and-answer session with the cast.  The show plays most Wednesdays through Sundays at 10 am with select 12:30 pm performances and plenty of Spring Break performances.

Also currently playing at the Marriott is Lin Manuel’s “In the Heights” now through March 17, 2024. Next up is The Music Man opening April 10.

“James and the Giant Peach” is the perfect way to introduce young theatergoers to enjoying live musical theatre.

Details:” James and the Giant Peach” runs through March 30 at the Marriott Theatre, 10 Marriott Drive in Lincolnshire. For tickets, call Marriott Theatre Box Office at 847.634.0200 or visit  www.MarriottTheatre.com.

Mira Temkin

For more shows visit Theatre in Chicago