The Nutcracker by the House Theatre. (Michael Brosilow photo)
4 stars
Ten years have passed since The House Theatre of Chicago first presented their original, contemporary version of E. T. A. Hoffman’s classic story, “The Nutcracker and the Mouse King.”
Whenever theatergoers hear that iconic title, forever associated with Christmas, they envision fairies and a toy that comes to life to bravely battle a Mouse King to rescue a little girl named Clara.
They imagine a dazzling spectacle, a lavishly-produced ballet, featuring dozens of lithe, magnificently skilled dancers. They picture lush, imaginative costumes and a story set in a magical land of snowflakes and flowers.
But with neither a tutu nor a toe shoe in sight, the House Theatre once again revives its popular production of their modern, family-friendly adaptation, loosely based upon the original tale.
Patricia Racette top center, Ryan McKinny bottom left, Susan Graham bottom right and parents of murdered teens bottom center at Angola in Dead Man Walking at the Lyric Opera of Chicago. (Ken Howard photo)
Every season opera houses around the world include at least one story of murder and often, its consequences. But whether clothed in lyrical or dramatic music by famous composers, their librettos typically focus on mythology or historic tales. Those productions seldom produce the kind of gut-wrenching reactions and post opera discussions sparked by “Dead Man Walking,” now at the Lyric Opera of Chicago through Nov. 22, 2019.
L-R: Megan DeLay, Lucinda Johnston. (Photo by Heather Mall)
‘The Suffrage Plays’
3 stars
It might be difficult for some to conceive of a notion that denied roughly fifty percent of the population from having a say in what was considered to be a modern democratic process. But indeed, this was the case deep into the first part of the twentieth century, both here and in Britain.
These three pithy, well performed, one-act plays directed by Beth Wolf and presented by Artemisia Theatre as “The Suffrage Plays” provide insight through a good deal of levity and snarky repartee that give voice to the debate that 100 years ago provided women with the right to vote.
Before the age of TV and the Internet, people looked to the theater for entertaining political commentary the equivalent of Stephen Colbert, The Daily Show, or Saturday Night Live’s Weekend Update. Continue reading “Political humor is nothing new”
(left to right) Kelly Combs, Lena Dudley and Charlie Irving in New American Folk Theatre’s world premiere of My Life is a Country Song.. Photo by Joseph Ramski Photography.
3.5 stars
Country music has been described as three chords and the truth. The world premiere of Anthony Whitaker’s “My Life is a Country Song” presented by New American Folk Theatre has taken that adage to heart and crafted a well told musical tale of love, friendship, and personal triumph.
Donna (Kelly Combs), a receptionist at the Lincoln Ford dealership, has divorced her abusive husband, Gary (Kirk Jackson), and rented an old mill house from Shirley (Judy Lee Steele) who is a photographer for the local paper.
After explaining that she has never before had keys of her own which weren’t also shared with her parents or husband, Donna sings the poignant ballad “My Front Door.”
Soon thereafter ex-husband Gary tries to suggest that he has changed, worming his way back with “A New Coat of Paint.”
L to R: Megan Kaminsky, Morgan Laurel Cohen, Barbara Roeder Harris, Richard Cotovsky. (Photo by Michael Brosilow)
4 stars
The year is 1925 in the deep South and the KKK is expanding its reach to include the women folk who will spread their doctrine of racism against African Americans, Jews, immigrants and Catholics in Mounds, Mississippi.
Making its world premiere at Her Story Theatre, “Invisible” is an imaginary tale of one woman who can’t rationalize her involvement in the Women’s Ku Klux Klan movement with her own moral compass and sense of decency.
Mabel Carson’s friends have convinced her that this is the path to take to make America great with the slogan, “America for Americans.” Yet when a reporter from the Chicago Tribune arrives on the scene, Mabel begins to question their ideals, methodology and the nature of true friendship.
L-R: Jack Morsovillio, Mitchell Spencer, Chuck Munro, Erik Schiller. (Photo by Brian McConkey)
3 stars
“The Merchant of Venice,” presented by Invictus Theatre Company, has William Shakespeare’s words but is done in a more contemporary staging by director Charles Askenaizer.
The story is about Venetian merchant Antonio (Chuck Munro) who provides his friend, Bassanio (Martin Diaz Valdes), money needed to woo Portia (Julia Badger), a very wealthy young whom he feels he has a very good chance of marrying.
The problem is that Antonio does not have the ready cash on hand, so he agrees to borrow it from the local moneylender, Shylock (Joseph Beal).
(L to R) Hollis Resnik as Norma Desmond and Billy Rude as Joe Gillis in Sunset Boulevard at Porchlight Music Theatre .(Photo by Michael Courier )
3 1/2 stars
Popular Chicago stage veteran Hollis Resnik has joined such leading ladies as Glenn Close and Patti LuPone to inhabit the delusional figure of Norma Desmond in the musical version of “Sunset Boulevard.”
Resnik does so with such believability and panache as to make viewers wonder if she is able to shed the role when leaving Porchlight Music Theatre each night.
A 1993 Andrew Lloyd Webber musical with book and lyrics by Don Black and Christopher Hampton, the stage show is based on a 1950 Billy Wilder film noir about a one-time silent screen star desperate for a comeback.
Her unwitting victim is Joe Gillis (Billy Rude), a struggling Hollywood movie writer who needs the script rewrite job Desmond offers so he can pay off his car loan.
A zebra, giraffe, hippo and lion escape from a NYC zoo in Madagascar A Musical Adventure at Marriott Theatre. (Photos courtesy of Marriott Theatre)
3 stars
if you were an animal in a zoo, what would you would wish for as you blew out candles on your birthday cake?
Marty the zebra, charmingly portrayed by Ron King, wanted to leave New York’s Central Park Zoo to return to the wild. But he wasn’t the only one. A handful of like-minded penguins also pined for their icy climes.
And so, Marty, accompanied by his friends who don’t want him to go alone, Alex the lion, Gloria the hippo and Melman, a hypochondriac giraffe, head out of Manhattan to find paradise in the Marriott’ Children’s Theatre production of “Madagascar – A Musical Adventure.”
Penguins and a lion escape a zoo in Madagascar A Musical Adventure at Marriott Theatre
The penguins also seem to end up there.
Based on DreamWorks’ animated film, Marriott’s stage version zips along in an easy-for- youngsters, sit-through hour filled with zany, fantasy fun.
The show’s sub-theme, that friends stick together, is enhanced by George Noriega and Joel Somellian’s score for the stage musical.
Liam Quealy as Alex, king of the zoo, is terrific as he hungers for steak but his roar also comes in handy as he scares away dangerous creatures where they land on Lemur King Julien’s side of Madagascar.
Directed by Johanna McKenzie Miller, the Marriott show features Jesus Perez’ wonderfully creative costumes and Sarah E. Ross’ terrific puppets.
The lemur king and his subjects live in Madagascar.
However, I wish the actors moving the penguins would remember they need to fade more into their puppets instead of the penguins fading into the actors. After all, kids love penguins.
Also, if ordering tickets, try not to sit where I did in the low number area of Section 2 because many of the characters will have their backs to you.
DETAILS: “Madagascar – A Musical Adventure” is at Marriott Theatre, 10 Marriott Drive, Lincolnshire, through Dec. 19, 2019. Running time: one hour. For tickets and other information visit Marriott Theatre.
Greg Matthew Anderson and Cher Álvarez in “A Doll’s House” at Writers Theatre. (Michael Brosilow photo)
‘A Doll’s House’
3 stars
Arguably, a play that has been cut down to some of its basic tenets and character features works for some audiences and with some scripts. However, the 95-minute, one-act Sandra Delgado-Michael Halberstam adaption of Henrik Ibsen’s “A Doll’s House (also called “A Doll House”) now at Writers Theatre, left me yearning for the original, three-act play.
To me, what makes the adaption worth seeing is its superb acting and directing.
The show nicely fits into scenic designer Arnel Sancianco’s charming Victorian parlor in WT’s intimate Gillian Theatre. It brings the action so close to the audience that no characters’ telling facial expressions, nods and shoulder shrugs are missed.
Well helmed by Lavina Jadhwani, the characters’ body language is as important as what they are saying and not saying. Both those points are essential in this version because of the missing character development that is found in Ibsen’s original play.
Music Theater Works presents the clever lyrics and memorable mid-century melodies of Alan J. Lerner and Frederick Loewe in “Lerner and Loewe’s Greatest Hits” at Evanston’s Nichols Concert Hall.
Directed by Rudy Hogenmiller with musical director Linda Madonia the show is an enjoyable trip down memory lane. It starts in the Highlands of Scotland, goes over the bumpy trails of the American West then travels through the streets of London, the salons of Paris and ends up in the woods and palaces of historic old England.
This cabaret style performance begins with the ensemble of Samantha Behen, Alicia Berneche, Billy Dawson and Martin L. Woods harmonizing to the theme from the far off sleepy village of “Brigadoon” which rising from the Scottish mist, awakens once every one hundred years.
Songs include “I’ll Go Home with Bonnie Jean” featuring tenor Dawson, “Almost Like Being in Love” and “Heather on the Hill.”
Part one continues before a fifteen minute intermission with selections from the Western themed “Paint Your Wagon” with Woods’ powerful baritone rendition of “They Call the Wind Maria” and an ensemble version of “Wand’rin’ Star.”
The production continues in Part Two with perhaps Lerner and Loewe’s most successful musical, “My Fair Lady,” in which virtually every song was a hit.
The audience enjoyed hearing “Wouldn’t It Be Loverly,” “On the Street Where You Live,” “I’ve Grown Accustomed to Her Face,” and the insomniac favorite “I Could Have Danced All Night” belted out by the soprano, Berneche.
The story of “Gigi” deals with love and romance in a most Parisian way and includes a nod to mature romance in songs like “I’m Glad I’m Not Young Anymore” and “I Remember it Well,” charmingly performed by Berneche and Woods.
He opens the final segment with Lancelot’s self-aggrandizing “C’est Moi” from “Camelot” that tells the story of a brief and shining moment from the legendary court of Arthur.
Behan as the ingénue gets a few slightly bawdy moments in “Lusty Month of May” before the emotional “Camelot” Finale Ultimo which I am certain brought the majority of this audience back to memories of a hopeful time in 1960 when the show premiered.
The singers are accompanied by Madonia (piano), Nina Saito (violin), Joseph Krzysiak (bass), and Joey Zymonas (drums).
Music Theater Works will end the 2019 season with “Joseph and the Amazing Technicolor Dreamcoat opening Dec. 21, 2019.”
The company’s Founder/General Manager Bridget McDonough and Artistic Director Hogenmiller are retiring on New Year’s Eve this year. Hogenmiller has personally told me he intends to travel and relax.
Incoming Producing Artistic Director Kyle A. Dougan assumes management of MTW on Jan. 1, 2020 when the new season will include “Mamma Mia!,” “Ragtime” and “Billy Elliot.”
DETAILS: “Lerner and Loewe’s Greatest Hits” is at Nichols Concert Hall, 1490 Chicago Ave., Evanston, IL through Oct. 13, 2019. Running time: about 2 hours with one intermission. For tickets and information call (847) 920-5360 or visit musictheaterworks.
