Tag: 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

 

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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 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

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

Reclamation of Invisible Lives

 

Manny Buckley and Jon Hudson Odom in "The Reclamation of Madison Hemings" by American Blues Theater. (Michael Brosilow)

(L to R) Manny Buckley and Jon Hudson Odom in “The Reclamation of Madison Hemings” at American Blues Theater. (Photo by Michael Brosilow)

4 Stars

Can you free yourself from the past, particularly if your past was filled with unhappiness? Can you find the good times you remembered? Can you shake loose the pain or reclaim your legacy? These are some of the themes explored by playwright Charles Smith in “The Reclamation of Madison Hemings” on stage at the American Blues Theater. 

Shortly after the end of the Civil War two former slaves ruminate on their experiences living and working within Monticello, the estate of former President Thomas Jefferson.

Arriving at Monticello as a boy, Israel Gillette Jefferson (Manny Buckley) was originally assigned to making nails in the nailery with his brother, Moses. Eventually he was moved into the house as a fetcher, rising to the position of footman at the time of Jefferson’s death.

Madison Hemings (Jon Hudson Odom), together with his siblings, lived a life of comparative privilege by slavery standards. They were the product of the union between the former President of the United States and his slave, Sally Hemings.

Brothers Israel and Moses were auctioned off after the death of Jefferson and had vowed to meet at Montecillo on the anniversary of their purchase date if ever they were freed. Madison was freed as part of a stipulation in Jefferson’s will. After emancipation they found themselves as neighbors settled in Pike County, Ohio.

Madison has now agreed to accompany Israel to reclaim a bit of their past. In doing so they are reunited in spirit with family and friends who lived and died alongside them in bondage and provided what little love and support they were able to find in a cruel and oppressive system.

Centered around a campfire, the banter between the two is reminiscent of Samuel Beckett’s “Waiting for Godot” as the two men, seemingly suspended in time, conjecture and bicker about whether Moses has come and gone, whether he is delayed or whether he will come at all.

The playwright’s dialog in this well produced production gives voice to a traditionally unheard side of American History. It is peppered with humor that establishes an obvious underlying bond between the two men who do not always share the same point-of-view regarding the effects of the war, their new station in life, their view of the man who controlled them, nor how much longer they should linger.

Credit to director Chuck Smith who no doubt contributed to the natural cadence and rhythm that comes to life from the mouths of Odom and Buckley. Their conversations enlighten us as to the peculiar realities of the Monticello household, including the obvious hypocrisy of the person who penned “All men are created equal” into the Constitution of the United States. This is all done without preaching or lecturing.

There is the matter of a reference to a blind white mule often heard braying offstage. I am going to go out on a limb and suggest that this device represents echoes of slavery. Though out-of-sight, starving and debilitated it is not easily silenced and not yet dead.

In regard to stagecraft the scenic design and props by Jonathan Berg-Einhorn were suitably evocative, with the presence of a large buckboard wagon offering an imposing sense of time and place.

The costumes of Lily Wallis demonstrated an appreciative attention to detail down to the bow-tied gatherings of Israel’s long-johns. I did however find the lighting by Jared Gooding and Rachel West to be flat. With the exception of an impending storm it did not add much to the atmospherics or mood.

This was my first visit to the new home of the well-respected award-winning American Blues Theater one block north of Bryn Mawr on Lincoln Avenue.

It was refreshing to see that the theater’s board, under the leadership of Executive Artistic Director Gwendolyn Whiteside, elected to add a bit of style to the design rather than go with a simply barebones “get away as cheap as we can” approach. The seats are comfortable and relatively spacious in terms of leg room.

The proscenium stage proportionally seems unusually wide compared to its depth especially as the theater seating area is also more wide than deep. Though not technically a thrust the generous apron provides a gentle curve that adds an even greater sense of intimacy for the 137-seat audience.

The spacious contemporary look of the lobby and theater, sporting wood paneling with metal detailing, belies the building’s humble history as a former Walgreen’s and most recently a Dollar General. I live only about three blocks away and am happy to have ABT as a new neighbor.

DETAILS: “The Reclamation of Madison Hemings” is at American Blues Theater, 5627 N. Lincoln Ave., Chicago, through March 24, 2024. Running time is a little more than 90 minutes with a short intermission. For tickets and information visit  www.americanbluestheater.com or call (773) 654-3103.

Reno Lovison

For more shows visit Theatre in Chicago

 

Two diverse cultures wonderously offer support during an accidental overnight visit

 

Egyptian band members, Rom Barkhordar and Armand Akbari, hear Israeli cafe owner Dina’s (Sophie Madorsky) thoughts in “The Band Visit – The Musical” at Writers Theatre. (Photo by Michael Brosilow).

Highly Recommended

When an Egyptian Police Unit’s professional band ends up in the desert Israeli town of Bet Hatikva overnight instead of at the cultural center in a large Israeli community due to the similarity in town names, both sides, the musicians and town residents, take away a better understanding of their own lives by dawn. That is the basic plot of “The Band’s Visit.”

I loved the show when it was simply a 2007 screenplay by Eran Kolirin because it delicately entered the life situations of the band members and of the residents.

Audience members of Writers Theatre in Glencoe where it is now appearing through March 17, will find the basic premise is still there but the production, now a 2018 multi-Tony Award-winning Broadway musical by composer David Yazbek and book writer Ithamar Moses, has drastically changed the show. I don’t think it is better or worse. It’s just different. There is even a roller-skating rink (with appropriate musical number) in this desert town.

Audiences who saw “Once” at WT will recognize and love the introductory musical number and closing number as similar in beat, musical instruments and choreography. Not sure why they were used here unless they somehow represent the music at the destination’s cultural center but they don’t change the story line.

Directed by Zi Alikhan, the characters present their situations with sensitivity and also compassion for each other.

Dina, a cafe owner interpreted by Sophie Madorsky, is both sensual and empathetic as she interacts with Tewfiq, the band’s leader played by Rom Barkhordar. They sing “Something Different.” By the story’s end you learn of  Tewfiq’s tragic family story.

During the show you watch other band members getting to know and interact with residents who are having relationship problems. However different the musical is from its original intent, ‘The Band’s Visit” is a heartwarming and beautiful short story of two cultures coming together with support for each other.

DETAILS: “The Band’s Visit” is at Writers Theatre, 325 Tudor Court, Glencoe, IL., now through March 17,2024. Run time: 95 minutes with no intermission. For tickets and more information call (847) 242-6000) or go to www.writerstheatre.org.

Jodie Jacobs

For more shows visit www.theatreinchicago.com.