Theatre in Chicago – Page 2 – Chicago Theater and Arts

For the Love of Dance

(Maddy Shilts, Whitney Wolf, Ben Isabel, Ben Paynic, Luis Del Valle, Elizabeth Bushell, Madelynn Oztas)

Recommended

Directed by Wayne Mell, this Madkap Production of “A Chorus Line” at the Skokie Theatre, is on pointe. It taps into the essence of love and dedication to the art of dance.

“A Chorus Line” is an anthology of songs and monologues bringing to light the collective motivations and inspirations that keep people involved in a mentally and physically demanding occupation.

Through the individual stories and seemingly endless rehearsals we are reminded of the hard work and athleticism required to make moving to music look artful and effortless. All of that requires intense dedication while offering only rare substantial successes.

Onerous choreographer Zach played by Sean M.G. Caron, cajoles a select group of hopeful chorus applicants into revealing some of their deepest secrets while continually drilling them on numerous dance routines. He is barking orders all the time to lift their chin, raise their arms and smile less while looking like they’re having fun.

From those who survive the ordeal only a handful will be selected.

In the song “What I Did For Love,” (music by Marvin Hamlisch and lyrics by Edward Kleban) beautifully sung by Diana (Marcela Ossa Gomez), she says of the grueling work and unmet promises “We did what we had to do – – Won’t forget, can’t regret — What I did for love.” In this context it’s the love of the craft, the love of dance.

It may be a useful reminder that when first staged in in 1975, frank conversations about sexuality in general and homosexuality specifically were unusual and a bit shocking for theater goers. In “Hello Twelve, Hello Thirteen, Hello Love” the ensemble shares stories of puberty, adolescence and sexual awakening.

But in “Dance 10: Looks 3” (a reference to her performance score) dancer Val (Lili Javorka) lightens the mood in a song more commonly referred to as “Tits and Ass” where she reveals that surgically enhancing those assets improved her career.

It cannot be overlooked that the intense, nearly nonstop two-hour score by Hamlisch is a workout for the production pianist, in this case, the extremely capable musical director Jeremy Ramey who must also be credited with the precision of the ensemble vocal numbers and that the musical subtleties and multi-voice harmonies within the songs were preserved and celebrated.

Though there were a few obvious “ringers” the vocal capabilities of the cast exceeded their dancing “chops.” But that does not detract from their earnest effort led by choreographer Susan Pritzker.

The production is a substantial aerobic workout that requires continual attention to complicated footwork and challenging movements, all while singing, talking or being otherwise engaged with what is happening on stage

The onstage leadership of dance captain Ben Paynic, echoed by his character of Larry, was amusing and quietly assuring. In a sense he represented the ideal that all of the rehearsal was supposed to finally achieve.

Set design by Scott Richardson could not be more minimal, consisting of a few mylar sheets as mirrors on the back wall flanking an opening that exposed the backstage area and pianist.

I get that this was supposed to be a rehearsal area and admittedly the Skokie Theatre stage is already a bit small for a show with a large dance ensemble. But when there were only one or two people in a scene, they seemed lost in space.

For instance, in the scene between Zach and Paul (Luis Del Valle) a simple chair might have grounded them and given them a reference point. Likewise, the lighting was virtually nonexistent, being fully up most of the time. This made me as an audience member feel like I was watching a rehearsal and not in a good way

Again, in the previously mentioned scene or during Cassie’s (Sarah Sapperstein) solo dance, some isolating lighting might add to the intimacy of these moments.

Sadly, the costumes by Patti Halajian were overall a miss for me, in this show, where there is so much fun and interesting off-the-rack potential.

The biggest faux pas was the finale which aside from being generally ill-fitting was way too much bling for this small space. What’s important in the finale is that the chorus line be uniform and synchronized. Save the glitter for a larger venue.

Each individual cast member did an outstanding job on their spotlight performances. A standout for me was Emma Drazkowski as Maggie while my wife thought Whitney Marie Wolf as Judy “was the real deal.” I also thought Del Valle’s scene was very moving.

Aside from a few minor gaffs as mentioned this show was great fun and very enjoyable. The full house is a further indication that Madkap provides an important function in Skokie, offering competent entertaining live theater experiences to the Northshore communities in a convenient, comfortable, modern venue.

DETAILS: “A Chorus Line” is at the Skokie Theatre, 7924 Lincoln Ave, Skokie, IL through October 8, 2023. Running time is 2 hours with no intermission. For tickets and information visit http://skokietheatre.org or call (847)677-7761.

Reno Lovison

For more shows visit Theatre in Chicago

Photo by MadKap Productions

Everything is coming up roses for Gypsy

3 Stars

Lauren Maria Medina as Louise (Photos by Liz Lauren).

A musical fable comes to life at the Marriott’s fine production of GYPSY. Its all-star cast showcases the tale of the ultimate stage mother, Rose, who fights for her daughters’ successes while really wanting her own moment in the spotlight.

Opening on Broadway in 1959, Arthur Laurents’ GYPSY was nominated for eight Tony awards and has been a beloved classic for generations.

Taking her daughters across the country in search of that next big gig in the waning days of vaudeville, Rose continually dreams of seeing daughter June’s name in lights. A three-times divorced mamma, nothing will get in Rose’s way, not even a new suitor by the name of Herb, who is kind and loyal.

Make no mistake, this is a woman’s show, empowering and emotionally problematic.

When June tires of the act and runs off to get married, Rose channels her interest in her other daughter, Louise, to make her a star.

The musical features Broadway star Lucia Spina as Rose whose loud, brassy, and booming voice perfectly captures the pushy stage mother. She belts out every song, reminiscent of Ethel Merman who played Rose on Broadway.

Lucky for the audience, a warm welcome back to the Marriott stage is given to the Jefferson award-winning Nathaniel Stampley as suitor Herbie who is charming and authentic. But having seen Stampley in other Marriot roles like “Man of La Mancha” and “Ragtime,” his amazing talent seems somewhat wasted.

Nathaniel Stampley (Herbie) and Lucia Spina (Rose )

The audience watches as Lauren Maria Medina who plays Louise is transformed from a mousy little girl into a confident, successful burlesque superstar, the legendary Gypsy Rose Lee. Her voice is powerful and strong.

With music by Jule Styne and lyrics by Stephen Sondheim, the show boasts a memorable score including: “Everything’s Coming Up Roses,” “Let Me Entertain You,” “Some People,” and “Together Wherever We Go.”

Kudos to J’Kobe Wallace who plays Tulsa and an ensemble member for his outstanding dancing that took the house down.

The Marriott production will likely feel different from other GYPSYs because director Amanda Dehnert working with choreographer Stephanie Klemons and music director Jeff Award Winner Ryan T. Nelson emphasized its emotional toll and darker side.

On a different note: Fans of Nathaniel Stampley will be happy to know he takes the stage in an intimate evening of solo songs and stories for one night only, October 15 at 7:30 p.m. In Songs & Stories: Nathaniel Stampley in Concert, Mr. Stampley traces his career from Milwaukee to Chicago, Broadway, London and beyond.

DETAILS: GYPSY is at the Marriott Theatre, 10 Marriott Drive, Lincolnshire, IL through October 23, 2023. Running time: 2 hours, 40 minutes with one intermission. For tickets and other information, visit www.marriotttheatre.com or call the Marriott Theatre Box Office: (847) 634-0200.

Myra Temkin

For more shows visit Theatre in Chicago

Music Theater Works produces a fun time out

(Photo courtesy of Music Theater Works)

Highly recommended

The North Shore Center for the Performing Arts’ Center Theatre is the perfect space for Music Theater Works’ The Producers.

Unlike the company’s “Camelot” which was crammed into the small theater, it has the space for Producers director Walter Stearns,’ choreographer Darryl K. Clark’s’ and scenic designer Jonathan Berg-Einhorn’s interpretations of Mel Brooks Tony Award winning musical comedy. They need the space for their terrific dancers and talented cast.

With the excellent singer-actor Thomas M. Shea in the lead as Max Bialystock and David Geinosky as the nerdy accountant-turned producer sidekick, the show rollicks from a scheme to make millions with aBroadway flop to their unintentional, probably disastrous, success as a hit. Kelsey MacDonald as their Swedish bomb/secretary/receptionist Ulla, is a bonus.

The show, which would likely not appeal to conservative theater goers, is what anyone who attends should expect from Mel Brooks who rejoices in off-color dialogue, surprising topis and action. So blame him and co-book writer Thomas Meehan. The funny, rousing, music and lyrics are also by Brooks.

The Producers is a fun break in the theater season.

DETAILS: The Producers is at The North Shore Center for the Performing Arts” Center Theatre, 9501 Skokie Blvd., Skokie, IL through Aug. 20, 2023. Running time:2 hours, 30 minutes with one intermission. For tickets and other information visit MusicTheaterWorks.com or call Music Theater Works Box Office: (847) 673-6300.

Jodie Jacobs

For more shows visit Theatre in Chicago

Marriott keeps the music alive

Marriott Theatre's joyful revival of "Buddy -- The Buddy Holly Story" stars Kieran McCabe, left, as the titular rocker, Jed Feder as drummer Jerry Allison and Shaun Whitley as bass player Joe Maudlin.

(Kieran Mcabe, Jed Fedder and Shaun Whitley)

4 Stars

After seeing “Buddy – The Buddy Holly Story,” an extraordinary musical production that opened at Marriott Theatre in Lincolnshire, June 28, it’s hard not to think of Don Mclean’s version of ” American Pie” (see Rolling Stones and the “Day the Music Died) .

Of course, the show ends with a darkened stage for the tragic plane crash that took the lives of Holly, two other performers and the pilot. But the lights come back on, the music returns to high intensity and the audience knows Holly’s music lives on.

With “Buddy,” Marriott Theatre introduces another generation to Holly’s rock ‘ n’ roll style and songs. In doing so, the Marriott brilliantly cast Kieran McCabe as Buddy.

Written by Alan Janes, directed and choreographed by Amber Mak with music direction by Matt Deitchman, the production deserves the long, standing ovation it received on opening.

Other versions of the show have been mostly on national and international tours, but if it returns to Broadway where it opened at the Shubert Theatre Nov. 4, 1990 (and ran for 225 performances), it should star the exceptionally talented McCabe as Buddy.

More than a “jukebox musical” featuring the songs of Holly, those of the “Crickets,” as they were known when they backed Holly, and later, after he died, other rock n’ roll songs of the 50s and 60s time period, it’s clear it takes more than just knowing how to play a guitar. A lot of “Buddy” is showmanship.

You see Holly turn audiences onto rock’n’roll as he moves from a less than successful start in Lubbock, Tx at age 19 where a recording studio manager wanted country, not rock’n’roll, through Nashville, TN and on to the NorVaJak Studios in Clovis, NM, where his and the Crickets “That’ll be the Day” recording was released, May 1957, reached number three on the Billboard Top 100 by mid-September and went on to future successes including in Harlem.

By the end of the show you see McCabe play his guitar backwards, over his head and stop at the piano to add a riff similar to what audiences see in “Million Dollar Quartet.”

Indeed, some of the musicians in Buddy” have played in that show. McCabe was Fluke, the drummer/ Crickets’ bassist Joe Maudlin was Carl Perkins.

The show, a rocking 100 minutes without intermission, magnificently proves, once again, that Buddy Holly’s musical vision, personality and ground-breaking style made him the super star that would live on past his tragic plane crash in 1959 at age 22.

DETAILS: “Buddy – The Buddy Holly Story” is at Marriott Theatre, 10 Marriott Dr., Lincolnshire, IL, now through Aug. 13, 2023 Run-time approx 100 minutes with no intermission. For tickets and other information visit Buddy.

Jodie Jacobs

For more shows visit Theatre in Chicago

COVID gave birth to a remarkable play

The Porch on Windy Hill, Morgan Morse, Lisa Helmi Johanson, David M. Lutken. (Photo courtesy of Northlight) — **The Porch on Windy Hill,**
**Morgan Morse, Lisa Helmi Johanson, David M. Lutken. (Photo courtesy of Northlight)**

It is impossible not to move the shoulders or tap the feet when Lisa Heimi Johanson as the bi-racial Mira, David M. Lutken as her Appalachian grandfather, Edgar “Gar,” and Morgan Morse as her boyfriend, Beckett, pick up their instruments and treat audiences of “The Porch on Windy Hill” to a couple of hours of well-played, traditional bluegrass.

The three actors, make up the cast of a show playing now through May 14, 2023, at Northlight Theatre in Skokie.

Lisa, a Broadway, national tour, regional and tv actress/singer/musician, David Lutken, a noted Broadway, Carnegie Hall, Nashville, musician/actor, and Morse, a talented musician and popular regional actor, are also three of the show’s four writers.

They are led by international, off Broadway and regional playwright/director/choreographer Sherry Lutken who conceived the play.

Arguable, there is another cast member: the play’s traditional Appalachian music.

“We used music to tell the story,” Sherry said, noting that people from different backgrounds could amicably come together when appreciating music.

And thus, “The Porch On Windy Hill” was conceived to incorporate a beloved regional music form into a fragile family reunion as a healing lotion. Its writers hope the show will spark discussions on COVID’s disturbing byproduct of anti-Asian sentiment.

A recent telephone interview with Sherry delved into how the show and its theme came to be. After all, except for one-person celebrity interpretations, most theater productions don’t have the play’s writers doubling as the cast.

Sherry Lutken (Photo courtesy of S Lutken)

It started with COVID changing what Sherry could substitute in her theater schedule. The venue wanted something small, instead of the multiple set and costume changes required by the slated production.

“It was a scary time for a lot of people. There was all this messiness. We had a show scheduled for 2021. We still hope to do it. It had a large cast.”

The “we” are Sherry and husband David. He co-devised and starred in the multi-award-winning Woody SEZ: The Life and Music of Woody Guthrie which included other talented musician/actors and has played internationally and in the United States including Chicago.

So, while stuck indoors, sheltering from COVID but looking for a different play, “a story that would resonate,” Sherry said, her thoughts turned to how a close, bi-racial friend would be feeling given all the hate expressed against Asians and what her friend would tell her children.

“There was a mindset out there leading to rising aggression,” she said.

Explaining that Lisa who was passionate about justice was biracially white and Korean, Sherry said, “We thought of Lisa and how she expressed herself in her poetry on social media.”

The Lutkens then added Morgan, an actor/musician, writer they knew from his regional work. The four of them started developing what became the script for “The Porch on Windy Hill.”

“We’d dive into ideas developing the basic premise,” Sherry said. “We were on zoom with long discussions on the subject matter, adding and then cutting. It was creative. It became magical.”

She compared the process to a sculpture that starts with a block of wood or stone. “You whittle and chip away until a bird emerges,” she said.

She added that during this time, “David was mining the American landscape of music. Its roots.”

Lisa Helmi Johanson, David M. Lutken, Morgan Morse in The Porch on Windy Hill

“We often talk about how music melds the sounds carried to this country. Music is part of our culture. There are the indigenous peoples, the enslaved, the folks who try to forge a better life. Music speaks to people at a very deep level.”

She thought it brought people “who deserve to be in the same space, together.”

“In our personal life, I was thinking of my friend and what she experienced and that started me thinking about using the idea of Korean/white, and what it means to be different, to be biracial… what it feels like. I imagined my friend whom I dearly loved, speaking to her children.”

She added, “This story needs to be told.”

That became a seed for the basic plot of feeling different. Plus it could combine with music and see where music could lead.

“Once music was in (the play), we still had to start a conversation. It became what we’re hoping to achieve. We all wrote together. And we worked on it some more in a workshop with dramaturg Christine Mok”.

There was a lot of the talk is not in the play.”

In “The Porch on Windy Hill,” music led Mira, a biracial Korean-white classical violinist, to “Gar,” her estranged Appalachian, banjo-strumming grandfather and change their conceptions and misconceptions of previous family interactions.

The music and action is facilitated by Mira’s boyfriend, Beckett who is doing his doctoral dissertation on American folk music.

“David and I were talking about it – what was in my head. It’s how different people coming to America brought their music and how indigenous people and enslaved people had theirs. Music evolved in this country,” said Sherry.

“We all wrote together. And we worked on it some more in a workshop with dramaturg Christine Mok.”

The play premiered at the Ivoryton Playhouse in Connecticut, fall of 2021.

“It’s an exciting way to create theatre. We were living the theater process when we were all stuck inside wondering what would happen to theater.

“Music can be really purposeful. As a healing concept, it’s perfect.”Sherry said.

“The Porch on Windy Hill” will be at Northlight Theatre in Skokie through May 14, 2023 before moving to Weston Theater in Vermont in August and Merrimack Repertory Theatre in Lowell, MA, April 2024.

Jodie Jacobs

For tickets and other information visit Related: The porch where music reconnects a family

The porch where folk music reconnects a family

4 Stars

Maybe I’m a sucker for how folk music tells stories of other cultures while also leading to life changing experiences.

I loved “Once” since seeing it downtown Chicago years ago and just recently at Writers Theatre in Glencoe.

Steeped in Irish folk music and movement, the play brings an Irish musician/songwriter back from the brink of self-destruction as “Girl” whom he meets, convinces him his music is listening-worthy.

Then, this weekend, I fell in love with “The Porch on Windy Hill,” a bluegrass musical presented by Northlight Theatre in Skokie.

The play reunites Mira, a classical violinist, with Edgar, her Appalachian grandfather, a noted blue-grass musician living in the North Carolina mountains.

Ostensibly, the reason they see each other again is because Mira’s partner Beckett’s doctoral dissertation is on folk music cultures and they needed a break from their Brooklyn apartment where they were cooped up during the pandemic.

All three characters are really fine musicians and Mira, played by Lisa Heimi Johanson, has a terrific voice. So basically, audiences are treated to an exceptional “wingding” or “hootenanny.” But there is a backstory.

Beckett, portrayed by Morgan Morse, keeps trying to get Mira to explain why there appears to be a disconnect between her and her grandfather, called “Gar,” played by David M. Lutken.

Clues are dropped along the way by Mira who is biracial as she notices some changes around the old homestead. When Gar mentions that new families are moving into the area, she wonders if and how they are accepted.

When pressed again by Beckett, Mira, whose mom is from Appalachia and whose father is Korean, finally said, “It’s complicated.” Later, she admitted she felt her grandfather didn’t approve of the union because of his behavior towards her and her family.

Conceived and directed by Sherry Lutken, “The Porch on Windy Hill,” was written by Sherry Lutken and its actors: Lisa Heimi Johanson, Morgan Morse and David M. Lutken.

Set designer Mara, Ishihara Zinky, came up with the perfect porch and housefront for the play’s joyful music and serious discussion.

Details: “The Porch on Windy Hill” continues through May 14, 2023, at Northlight Theatre in the Center for Performing Arts, 9501 Skokie Blvd, Skokie. Running time: 2 hrs., 10 min. with one intermission. For tickets and other information visit Northlight Theatre.

Jodie Jacobs

For more shows visit Theatre in Chicago

Marriott show hits it out of the ballpark

Daniella Dalli and Ron E. Rains as Meg and Joe Boyde in Damn Yankees at Marriott Theatre (Photos by Liz Lauren)

Highly Recommended

The choreography and dancers in Marriott Theatre’s “Damn Yankees” were so amazing opening night (April 19, 2023) I could have sworn that Rachel Rockwell, an extraordinary director and choreographer who died in 2018, had somehow returned.

Instead, we are now lucky to have Broadway and TV choreographer/actor/dancer Tyler Hanes and film/ theater/actor/director James Vasquez taking on a Marriott production.

In their hands, “Damn Yankees,” a musical comedy from 1955, still connects with baseball fans who love their team and hate the umpires’ calls. It also brings to life the dreamers who want a chance to hit it out of the ballpark.

With a clever book by George Abbott and Douglass Wallop and memorable music and lyrics (You’ve gotta have “Heart”) by Richard Adler and Jerry Ross, the show’s timing is so right for baseball’s spring season when anything can happen including the Chicago Cubs’ winning streak as of opening night.

Sean Fortunato. as Applegate in Damn Yankees

And that true but improbable fact is without the help (we believe) of the show’s Faust-like character of Applegate played with perfection by long time TV, film, regional and Marriott actor Sean Fortunato.

He makes a deal with avid Washington Senators fan Joe Boyd, well portrayed by TV, Marriott and regional theater performer Ron E. Rains, to be transformed into the Senators’ savior.

Enter the new Boyd who is now young baseball phenom, Joe Hardy, brilliantly interpreted by Andrew Alstat, (Papermill, MUNY, et al), in his Marriott debut.

The kicker for Applegate and the connecting cord that makes Joe Hardy totally believable is love of Joe Boyd’s wife, Meg, played by Daniella Dalli.

Anyone who saw Marriott’s 2022 Jeff Award winning “The Sound of Music” will remember Dalli’s powerful voice as the Mother Abbess.

, Andrew Alstat as JJoe Hardy tries to back off from Lola played by Michelle Aravena. — ,Andrew Alstat as Joe Hardy tries to back off from Lola played by Michelle Aravena.

The other notable part is Lola as in the song, “Whatever Lola wants.” Brought on board by Applegate to diffuse Joe Hardy’s love for Meg, the plan backfires as Lola, played by Broadway and National Tour star Michelle Aravena, changes from sexy vamp to an understanding girl who has fallen for Hardy.

The production has a large (more than 20 members), experienced supporting cast that includes Porchlight Music Theater and Drury Lane Theatre regulars Lorenzo Rush, Jr as Van Buren, the team’s manager, and Erica Stephan as the persistent reporter, Gloria Thorpe.

The Washington Senators in Mariott theatre's Damn Yankees — The Washington Senators in Mariott Theatre’s Damn Yankees

It’s easy to get caught up in the action on stage. But audiences should pay attention to the really fine music produced by conductor/keyboardist Noah Landis and his orchestra.

In addition, costume designer Theresa Ham nailed the period and baseball uniforms.

Details: “Damn Yankees” is at Marriott Theatre, 10 Marriott Dr., Lincolnshire, now through June 4, 2023. Running time: about 2 hours, 15 minutes with one intermission. For tickets and other information visit Damn Yankees | Show (marriotttheatre.com) or call (847) 634-0200.

Jodie Jacobs

For more shows visit Theatre in Chicago

Masterful ‘Cherry Orchard’ at Goodman Theatre

(L-R) Francis Guinan, Kate Fry and Christopher Donahue in Anton Chekhov’s 'The Cherry Orchard' Photos by Liz Lauren — :(L-R) Francis Guinan, Kate Fry and Christopher Donahue in Anton Chekhov’s ‘The Cherry Orchard’ Photos by Liz Lauren

Highly Recommended

Rich and masterful, “The Cherry Orchard” serves as a triumphant curtain for Robert Falls’ Goodman Theatre tenure.

If one had to choose a perfect ending for Robert Falls’ three-decade career as Artistic Director at the Goodman Theatre, his production of “The Cherry Orchard” would be it.

Anton Chekhov is Falls’ favorite playwright next to Shakespeare, and he purposely chose this play to close out his illustrious career.

“The Cherry Orchard” is Chekhov’s final play, written before his death in 1904. It deals with a failing Russian aristocracy, love, loss, and issues of class in society.

Make no mistake, “The Cherry Orchard” is billed as a comedy through witty dialogue, fall-down laughing antics, and squeaky boots.

Yet the audience is consumed with sadness throughout the production due to memories of painful loss from the generations who lived and died on that estate.

L-R) Matt DeCaro, Janet Ulrich Brooks, Kate Fry, Alejandra Escalante and Kareem Bandealy in Anton Chekhov’s The Cherry Orchard

The plot revolves around widow Madame Lubov Ranevskaya who has just returned to her crumbling estate right before its auction to pay off her debts. She is lamenting the loss of her precious cherry orchard.

Her family surrounds her in support, yet they all have issues of their own.

Chekhov’s strategic use of foreshadowing is evident in many places, letting the viewers know that something bad is about to happen.

The ending is somewhat shocking, but enriches the story and its deeper meaning.

Kate Fry as Lubov Ranyevskaya is the perfect matriarch, showcasing a variety of emotions from frivolity and joy to deep melancholy and despair as to what the future holds. She is exuberant.

Standouts also include Janet Ulrich Brooks as Carlotta, the governess who also has a few magic tricks up her sleeve, and Stephen Cefalu as perpetual student Petya Trofimov who represents the play’s moral compass of social justice.

Note the off-stage music played by the Maxwell Street Klezmer Band led by Alex Koffman, in their first collaboration with The Goodman. Their arrangements lend 19th-century authenticity and warmth to the production.

Kudos to set designer Todd Rosenthal for his exquisite settings that move about the stage in absolute precision. Ana Kuzmanic’s costumes are gorgeous, colorful when need be with themes of red, black, and ivory. Memories of these costumes will stay with you long after the show.

For more background, attend Behind the Curtain (April 22 at 4:30pm)—led by Goodman’s resident dramaturg Neena Arndt. She will lead a conversation with former Goodman artistic director Robert Falls about his fresh take on the last of Chekhov’s four major plays.

Details: The Cherry Orchard” is at Goodman Theatre through April 30, 2023 in the Albert Theatre. Running Time: 2 hours and 15 minutes with one intermission. For tickets and more information, go to GoodmanTheatre.org/Cherry or call (312) 443-3800.

Mira Temkin

For more shows visit Theatre in Chicago

Rumors abound at a Neil Simon party

'Rumors' cast at Skokie Theatre. (Photo by MadKap Productions) — ‘Rumors’ cast at Skokie Theatre. (Photo by MadKap Productions)

Highly Recommended

The “Rumors” Are True…Skokie Theatre’s Neil Simon Farce is a Smash Hit!

In the years before social media was a “thing,” local gossip was the way to go. How else could people gauge the real social order? Who was cheating on whom? What was true and what was just a rumor?

Add in that when several people are also politically involved with something to lose if the truth gets out you’ve got real mayhem – or “Rumors,” a hilarious farce from the master of American comedy, Neil Simon.

Welcome to an upscale dinner party hosted by a wealthy New York couple who are celebrating their 10^th wedding anniversary. Unfortunately, the party goes terribly wrong.

Guests arrive to discover the host has been shot, the hostess is missing, and the servants have quit.

Produced in 1988, “Rumors” still holds the same caustic bite as when it first came out. The brilliant, fast-paced dialog gives all the actors a chance to shine.

The play stars Erin Renee Baumrucker, Landon Cally, Luke Coleman, Peter Goldsmith, Julie Peterson, Maddy Shilts, Nathan Dale Short, SarahAnn Sutter, Katherine Wettermann, and Lee Wichman.

Ken and_Chris: played by Nathan Sale Short and Erin Renee Baumrucker in Rumors. (Photo by Madcap Productions) — Ken and Chris: played by Nathan Sale Short and Erin Renee Baumrucker in Rumors. (Photo by MadKap Productions)

Standouts include Peterson as Claire Ganz who recently appeared as Ethel Merman in the “Book of Merman” at Skokie Theatre. She is a bubblehead with lots of great lines that keep the audience in stitches

Cally as Lenny Ganz plays a range of emotions. In his final monologue. he makes up an entire story of what really happened to the hosts, Charley and Myra and his performance is stellar.

Kudos to Police Officer Welch, played by Shilts, as no-nonsense in law enforcement as they come.

Directed by Wayne Mell and produced by Wendy Kaplan of MadKap Productions, “Rumors” takes the audience on a hysterical romp through a case of mistaken identity, the constant opening and closing of doors, and a little bit of slapstick thrown in.

The women’s costumes, headed by custom designer Wendy Kaplan and wardrobe mistress Patti Halajian, are exquisite and elegant. How lucky, the actresses get to wear them all night long.

Details: Rumors is playing at the Skokie Theatre, 7924 Lincoln Avenue in Downtown Skokie through April 23. Running time: 2 and a half hours with one 15-minute intermission. For tickets, go to skokietheatre.org or call 847-677-7761. The 2023-24 season starts in June with “Hair.”

Mira Temkin

For more shows visit Theatre in Chicago

Voices make this Carmen shine

Carmen at Lyric Opera now through April 7. (Photo by Todd Rosenberg)

3 stars

Carmen, George Bizet’s brazen break with opera traditions when it debuted in Paris in 1875, is the perfect vehicle to introduce high school students to the genre. Indeed, I saw two student groups when at the Wednesday matinee March 15.

An opera that portrays a colorful, independent female who makes her own life and lover choices and that is filled with beautiful duets, solos and powerful musical themes, Carmen changed minds from its originally negative reviews to become among the most popular operas of all time.

Few listeners, even non-opera goers could disagree that Act 1’s “Habanera” “L’amour est un oiseau rebelle “ (Love is a rebellious bird), a song with a Cuban beat explaining Carmen’s temperament, and Act 2’s “Toreador Song” sung by the bullfighter Escamillo who would become Carmen’s lover, are easily identifiable as from Carmen.

In addition, the voices are superb. Lyric’s former Ryan Opera Center star, mezzo-soprano J’Nai Bridges, is the sultry Carmen. Famed tenor Charles Castronovo is Don José who drops his home-town girlfriend, Micaëla, and his regiment when seduced by Carmen.

Although audiences are familiar with most of Act 1’s music, the duet of Castronovo and soprano Golda Schultz as Micaëla about a letter and kiss from his mother (“Parle-moi de ma mère!”), drew applause from those listeners who appreciated Schultz’s voice. (She was definitely appreciated in Act 3 when singing her aria, “Je dis que rien ne m’épouvante” as she gathered courage to try to pull José away).

Baritone Andrei Kymach is fine and appropriately confident as bullfighter Escamillo.

The set design nicely evoked a Spanish square and I still liked the mountains and moon I saw in an earlier Carmen at the Lyric. Of course, Bizet’s music dramatically tells the story. So why did the production feel that something was missing?

The voices were excellent, but except with Schultz, there seemed to be a gauze screen between the singers. I remember when years ago they stood still to sing their arias. Now, opera stars are expected to act their roles so I was looking for more intensity.

Maybe it was the music’s tempo. It’s not supposed to overpower the singers but it wasn’t strong enough in parts.

Or maybe Bridges, who is gorgeous, could up the sultry moves and maybe Castronovo could seem reluctant to leave Micaëla as Carmen tries to pull him in with her teasing.

I definitely recommend this Carmen because the voices are excellent but I left feeling something was missing.

Details: Carmen is at the Lyric Opera House, 20 N. Wacker Dr., now through April 7, 2023. It’s in French with projected English titles. Running Time: 3 hours 25 minutes with 2 intermissions. For more information call (312) 827-5600 or visit lyricopera.org/carmen.

Jodie Jacobs

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