TheatreInChicago – Chicago Theater and Arts

A meditative look at coping

Photo by Steve Graue

Recommended

A married couple confronts the age-old conflict of logic versus emotion. At first, it’s all academic until they are forced to address the realities of these opposing points of view within their own life and relationship.

It all plays out at the world premiere of Buddha’s Birthday directed by Iris Sowlat is at The Edge Theatre on North Broadway in Chicago.

Pamela (Kristie Berger) is an adjunct professor seeking tenure as an expert in world civilization studies. Husband Lawrence (Christopher Hainsworth) is a philosophy professor at the same university.

The couple have been challenged by an open letter in the school paper calling for the abolishment of areas of study that focus on accepted works of predominantly Euro-centric males whose arguably narrow viewpoints have shaped higher education.

In the meantime, Pamela is preparing an intimate 80^th birthday party for her eccentric, outspoken mother. Event preparation as well as her impending tenure interview is elevating Pamela’s stress level resulting in the resurfacing of old fears. To cope with her anxiety Pamela relies on meditation.

This is another intelligent and thought-provoking work by playwright Amy Crider who recently staged Wells and Welles at nearby CityLit Theatre in 2024.

Crider understands dialogue. Her characters sound like real people having actual conversations that employ a shift in language and cadence that make them sound individual.

Crider is also a good observer of life. It is clear she understands these characters and their situations. She has a knack for getting inside their head and exploring each unique perspective.

A small criticism is that the characterization of Lawrence is somewhat contradictory and less clear than the others. This actually provides some subtle humor at one point but makes the resolution seem excessive.

Pamela’s eighty-year-old emotionally neutral, cigar smoking mother, Roberta, played by Chicago stage veteran Kathleen Ruhl, is also accomplished academically. Roberta is concerned that her granddaughter, Pamela’s niece, is planning to attend beauty college to become a hair stylist.

Niece Jennifer (Amy Grey) is simply following her passion, blithefully accepting life and adapting in a seemingly simplistic way that causes Pamela to reevaluate her own approach to living.

Crider’s utilization of a pesky racoon, skillfully manipulated by Emilie-Helene Wingate, makes periodic appearances that offer an absurdist aspect to the production. This device provides some levity but is in fact a physical manifestation of Pamela’s unresolved fears and persistent anxiety.

The set designed by Kevin Hagan had a striking contemporary feel though I thought the blank walls that dominate the stage could use some further embellishment.

Its two Asian scrolls are the same size as the windows making it look like four windows. This is visually confusing, drawing attention away from the action that periodically occurs inside the windows.

Moving the table on the set a little bit more forward would provide some separation from the wall and bring the action closer to the audience and is where most of the activity takes place. Sound and lighting design of Alvaro Ledesma was very effective especially in the rain and dream scenes.

I saw this on opening night of this world premiere and was overall impressed with its thoughtful content although it would benefit from a little tightening up.

The final scene was awkward and there are a number of minor subtopics, though important issues, that maybe do not necessarily need to be addressed in this play. This is a story of academic prejudice and unresolved fear worth exploring. It was never boring but some segments were longer than they needed to be.

DETAILS: “Buddha’s Birthday,” is produced by Lucid Theater at The Edge Theater, 5451 N. Broadway, Chicago through August 17, 2025. Run time: 2 hours with no intermission. Visit www.lucidtheater.com for tickets and more information.

Review by Reno Lovison

For more reviews visit theatreinchicago.com

Sex and drugs and rocking chairs

L to R Bob Sanders, Ellen Phelps, Kenneth Johnson and Elizabeth Rule. Photo by North Shore Camera Club.

HighlyRrecommended

In case you think that “A Jukebox for the Algonquin” is merely about an old people’s care center, the phrase listed under the title is a hint to what the show at Citadel Theatre in Lake Forest is really about.

Well directed by Scott Westerman it takes place in upstate New York’s Placid Pines Senior Care Center where a recreation room is dominated by a fish tank that you don’t see but can imagine as a handful of residents feed the fish or refer to it.

They decide a much better use of the space would be a jukebox they could use to play tunes and dance to. They hear of a second-hand Wurlitzer but how would they pay for it? You get the how idea at the end of Act I as they learn what is among the stuff being cleaned out of a room there just vacated.

They are residents Johnny ( Kenneth Johnson) somewhat of a leader of the group, his good friend Dennis (Bob Sanders), Annie (Ellen Phelps) who has an over-the top personality and BTW is Citadel’s co-producer, and Peg who bakes cookies (Elizabeth Rude who also plays Mrs. McDarren, a visitor who is checking out the facility).

Also on the set are Chuck, a knowledgeable and funny janitor (Patrick Thornton), and the facility’s staff members, Josefina who often pops in (Karla Corona) and Tyler (Joshua Thomas).

Written by Paul Stroili, the plot reminds us there is more to senior citizens and growing old than gazing at the TV or a large fish tank.

I like that scenic designer Catalina Nino kept the setting simple and that costume Danielle Reinhardt stayed with normal, wearable clothes so that the audience could focus on the words and actions.

DETAILS: “A Jukebox for the Algonquin” is at Citadel Theatre, 300 S. Waukegan Rd., Lake Forest, IL. now through May 25, 2025. Running time: 2 hours with one intermission. For tickets and other information call 847-735-8554, x1, or visit www.citadeltheatre.org.

Jodie Jacobs

For more shows visit Theatre in Chicago

A political horror story

Highly recommended

Charles Dickens’ expose of the French Revolution produced by the Shattered Globe Theatre at the Wit is cleverly performed by a cast of eight and seems a little too close to home in today’s political climate.

This story of love, politics, mob action and self-sacrifice demonstrates how collective passion for social change can ensnare even the innocent in a net of violence that is intended to punish those guilty of creating financial crises, promoting social inequality and suppressing the ideals of enlightened thinking.

A well-conceived adaptation of “A Tale of Two Cities” adapted by Brendan Pelsue and directed by Mikael Burke, tells a big story on a small stage with a minimal cast that encourages the audience to express their emotions as various incidents occur.

This vocalization from “the mob” adds energy to the production providing a visceral feeling of being part of the events and perhaps even some responsibility for decisions that are made and actions that take place.

A cautionary tale that depicts injustice masquerading as justice, this shows how those in power can manipulate the system to exact revenge and to accomplish their political objectives, illustrating how the manipulated emotions of the mob can incite violence and add credibility to the injustices being perpetrated.

Dickens weaves a fictional chronical that begins with a love triangle involving Lucie Minnet and two men who bear an uncanny resemblance to one another, Charles Darnay and Sydney Carton.

Ultimately the three are engulfed in “the terror” that results in guillotine executions of thousands of aristocrats and their perceived associates and sympathizers including the king and queen.

Lucie’s father, Dr. Minnet, has been falsely imprisoned in the notorious Bastille because he was witness to a horrible crime involving two aristocrats who used their power to silence him.

Dr. Minnet becomes a hero of the “Storming of the Bastille,” an event that sparked the beginning of the French Revolution.

Darnay, a member of the French aristocracy, has denounced his favored position as a Marquis in sympathy with the revolutionaries who seeks to put more power into the hands of “the people.”

The status of Dr. Minnet as a revolutionary hero and Darnay’s sympathetic stance cannot totally insulate them and their family from the madness of the mob personified by the character of Madame Defarge. As an overzealous and vengeful revolutionary, she even manages to whip this rather passive audience at The Wit into a frenzy.

The talented ensemble moves seamlessly from role to role as each of the actors portray multiple characters. The cast is comprised of Daria Harper (Actor 1), Diego Vazquez Gomez (Actor 2), Demetra Dee (Actor 3), Glenn Obrero (Actor 4), Penelope Walker (Actor 5), Jazzma Pryor (Actor 6), Jeff Rodriguez (Actor 7), and William A. S. Rose II (Actor 8).

This is a story of a reality that seems impossible. The set design by Eleanor Kahn & Milo Bue features an array of smoky semi-gilded mirrors that dominates the backdrop from floor to ceiling. It provides an otherworldly distorted reflection of the action as well as an eerily distorted view of the audience who are part of the ensemble.

The lighting by Eric Watkins is subdued augmented by clusters of candles around the perimeter of the stage that contribute to the indistinct and unsettling nature of events taking place.

The candlelight along with the costumes by Kotryna Hilko indicate that this is a period piece that historically represents an actual place in time.

The overall cadence of the dialogue has a contemporary vibe with moments of humor and levity that lighten the atmosphere a bit. Its gallows humor reminds us of just how absurd things can get when they have gotten completely out of control.

The actors make no attempt to affect either a British or French accent which would only unduly complicate the message.

This modern approach no doubt makes the production more accessible to younger audience members who may find a more traditional telling of the story somewhat oppressive and remote.

My first impression was that Pelsue’s approach harks back to what we might have called a “Cliff’s Notes” version of Dickens’ original story. That is to say, an abbreviated retelling designed primarily to touch on the main themes in order to pass a literature test.

But thinking back to the 1958 film, it took about the same amount of time to tell as this version. The advantage of a movie is you can get more information in the time provided because you can tell with moving images details that you cannot include on stage.

Dickens’ writing traditionally is fraught with minute details that draw you into the time and place. In a book, he can take as much time as he wants to set the scene and explain the backstory. I would compare this version to that of an operatic libretto. The story is complete but stripped to the essentials. In this case a narrator or one of the characters often fills in some of the details in order to keep the plot line moving.

The overall effect of this version of a “Tale of Two Cities” was quite satisfying and thought provoking. I would highly recommend this to Dickens fans; anyone unfamiliar with the story; anyone unfamiliar with the history of the French Revolution and anyone interested in how a political movement run amok can affect the lives of every person involved resulting in unfathomable horrors perpetrated in the name of justice.

Details: “A Tale of Two Cities” by Shattered Glode Theatre is at Theater Wit, 1229 W. Belmont, Chicago, IL through May 31, 2025. Running time: About 2 hours plus a 15-minute intermission. For tickets and information visit sgtheatre.org, call the Theater Wit box office, (773) 975-8150, or purchase in person at Theater Wit.

Reno Lovison

For more reviews visit TheatreInChicago

Joseph and his dreams

Devin Desantis sings “Close Every Door” in Act I of “Joseph…” (Photo courtesy of Marriott Theatre)

Somewhat Recommended

With music by Andrew Lloyd Webber, lyrics by Tim Rice and the Bible story in the Book of Genesis, there is arguably enough substantive material in “Joseph and the Amazing Technicolor Dreamcoat to produce a fine, upbeat musical without having to turn it into a high school style production.

Avelyn Lena Choi and Kaitlyn Davis

The story starts out well with Devin Desanti as a father reading bedtime stories to Avelyn Lena Choi. Then, it moves into the Bible story of Joseph with Kaitlyn Davis as narrator accompanied by Choi.

But the atmosphere changes when Joseph’s brothers turn into cowboys at a hoedown. Later, the girls in the ensemble become school cheerleaders. If you don’t mind these story interpretations you may like this production directed and choreographed by Amber Maknownow.

However, Desantis singing “Close Every Door” is a highlight of this production and Choi is a delightful sidelight of several scenes.

DETAILS: “Joseph and the Amazing Technicolor Dreamcoat” is at Marriott Theatre, 10 Marriott Drive, Lincolnshire, IL now through March 30, 2025. For tickets and more information visit Marriott Theatre.

Jodie Jacobs

For more shows visit Theatre in Chicago

Another look at Hedda Gabler

Brookelyn Hébert, John Mossman, (Photo by Joe Mazza/Brave Lux).

Recommended

“Hedda Gabler” by Henrik Ibsen is a story of morality, manipulation and despair. Presented by Artistic Home at The Den Theater, it is a well-crafted story by one of the most influential playwrights of all time.

In “Hedda Gabler” Ibsen gives us a well-crafted story in two hours that reveals the inadvertent dangers of social pressure and a lifetime of pain. The primary themes on a macro level are morality and propriety. On an individual level we find manipulation and despair. It reaches its logical conclusion through events over roughly 48 hours.

Hedda Gabler (Brookelyn Hebert), is the self-absorbed, only daughter of a military officer. She has a grandiose sense of her own importance and a lack of empathy for others.

She feels trapped in a world of bourgeois values full of expectations she cannot control. It is her perception that the men around her seem to enjoy much more freedom to pursue their own public and private interests with less scrutiny and fewer consequences.

This is not entirely true however. Ejlert Lovborg (Dan Evashevsi) is the opposite side of the same coin. He is a gifted writer and deep thinker plagued by alcoholism with a penchant for uncontrollable debauchery. His reputation makes him prone to self-loathing. But tales of his exploits are a way for Hedda to vicariously participate in this apparent freedom

When challenged to join in, she retreats to the safety of social norms because she would not be able to bear public scandal and the rejection of society. It is this external pressure and inner conflict that drives her narcissistic behavior.

Her husband, Jorge Tesman (Todd Wojcik), is an academic consumed by his work and lost in a world of his own. Ejlert’s muse, Thea Elvsted (Ariana Lopez), is oblivious to the world around her and acts on her own impulses with little regard as to consequences.

These two are blithe spirits who seem to move more easily through life and Hedda hates them for it.

As a story of morality Judge Brack (John Mossman) should represent the moral high ground. But instead, he reflects the dichotomy and hypocrisy inherent within the illusion of propriety.

On the other hand, Aunt Julie (Lynne Baker) is the picture of the societal ideal. She is nothing but pure love and goodness whose very presence is anathema to Hedd, as Aunt Julie is the reflection of everything Hedda is not.

Though it is a bit of a spoiler, signs in the lobby alert patrons to acts of violence and themes of suicide. Through careful dialogue Ibsen moves us through the events that lead to the ultimate tragic conclusion involving the presence of a pair of dueling pistols.

Some see this as a story of sexual repression and changing values which is true, but Ibsen poses another question that is unfortunately still relevant today. How culpable is the person who puts a gun in another person’s hand? What is the responsibility of a bully who urges another person to take an action with tragic consequences? Is the narcissist responsible for their own actions or does society bear some of the blame for their feelings of alienation?

Ibsen skillfully walks us through this minefield of emotions and thought-provoking challenges. Directed by Monica Payne, this production featuring Mark O’Rowe’s adaptation, seems to lean a bit more toward a modern interpretation in acting style.

For the most part, the characters lacked a requisite formality toward one another that is representative of the repressed attitudes of the time. It is this very formal behavior that illustrates the level to which the greater society interjects itself into even the private lives of individuals.

It is partly this formality that Hedda finds so oppressive. Its presence is important to fully experience the level of Hedda’s rebelliousness. It is also important for it to be obvious in order to provide a contrast that will allow the audience to fully appreciate the times when people let their guard down and begin communicating more intimately.

I could sense that the actors had internalized this idea but it was not being overtly or physically expressed. This is a period piece that deserves a sincere reflection of the behaviors and nuances of the times, especially since it is integral to the message.

Rachel Lambert’s costumes regarding the ladies’ dresses were very nice and added to the period ambience. The striking set design of Kevin Hagan provided the right mood in terms of time and place. The deep blue monochromatic coloring seemed luxurious and lush. The diminishing concentric panels that framed the space lent a feeling of claustrophobia that enhanced Hedda’s feeling of being trapped. The repetitive nature initially made me think of a house of mirrors that gives you an uneasy feeling of infinite sameness and unknown escape.

If you are a lover of classic theater interested in experiencing an excellent story written by a master playwright this production offers a rare opportunity.

Details: Ibsen’s “Hedda Gabler” presented by Artistic Home is at The Den Theater 1331 N. Milwaukee Ave., Chicago through March 23, 2025. Tickets available at www.thedentheatre.com, or by phone at (773) 697-3830. More information at www.theartistichome.org

Reno Lovison

For more shows visit Theatre In Chicago

Fool for Love questioned at Steppenwolf

Nick Gehlfuss and Caroline Neff in “Fool for Love” at Steppenwolf Theatre

Somewhat Recommended

Full of potential, the set design by Todd Rosenthal is the highlight of this drama by playwright Sam Sheppard at Steppenwolf.

A sparsely furnished motel room dominates the stage. Along the perimeter an empty swimming pool, an imposing neon MOTEL sign, a massive telephone pole and bits of scrub grass suggest this is essentially the bottom of the barrel in the middle of nowhere somewhere at the end of the line.

The massive sky in the background adds to the idea that this is a story of two people stuck in a small room focused on their problems while there is a whole big world outside that really doesn’t care.

As the lights come up, Eddie (Nick Gehlfuss) is fussing with a bit of some kind of saddle gear as May (Caroline Neff) sits despondently at the edge of the bed.

Decked out in a western shirt, jeans, cowboy hat and boots and the ensuing dialogue all suggest that he is a semi-accomplished rodeo stuntman. She is a lost-soul living in squalor trying to disappear.

Eddie quickly reveals he has travelled more than two thousand miles because he cannot live without her. May lets him know she does not care and is not going to be sucked in once more to this on-again, off-again relationship that includes his wild dreams of a home in the country which she does not desire.

Outside, an old man (Tim Hopper) sits in a chair silently listening to their story unfold. Who are they? What is their previous relationship? Why is it so intense and volatile? Who is the old man?

These are the intriguing devices setup to draw us in, but I simply did not care about these ill-behaved, self-indulgent, self-obsessed characters.

I quickly felt they deserved whatever mess they were in, derived largely by their inability to communicate effectively with each other and to resolve their prior history. Move on.

Is this the best either of them can do? Apparently not because in a poorly developed subplot, Eddie is being pursued by an unseen “Countess” in a Mercedes limo who, in a fit of jealousy, has tailed him across half the country to destroy his pick-up truck and burn his horse trailer outside this remote dump. Really?

May is developing a perfectly normal dating relationship with Martin (Cliff Chamberlain), a respectable local man who wanders into this chaos for no good reason other than to bear witness to their madness and provide Eddie an opportunity to spill his guts about the secret behind the long-term affair.

In the end, Martin is left alone in the motel room presumably as bewildered as I am.

Since the truth involves the identity of the old man outside and is something of a spoiler, I will not reveal it here. After all it is the turning point of all the fuss and bother and I suppose might be or have been shocking at some point.

Making it more confusing is that the dialogue is vague about at what point May and Eddie understood the secret truth.

The purpose of the old man’s presence is unclear but he speaks to us of reality and fantasy. It is my opinion that the entire scene is an attempt for him to resolve the events that he put in motion through his own actions and misdeeds. He is the reality, the rest is his fantasy. The ambiguity might be related to the fact that old man does not really know if this relationship is resolved or not.

There is a sort of mythic tragic quality to the whole thing but not nearly as interesting.

The performances by this capable cast were fine. At best this is a mildly interesting character study involving two basically shallow people trapped in a relationship from which they feel unable to escape. It involves emotional highs and lows which might be useful in an acting class but which are not all that compelling as a full-blown production.

Forty years ago when it was first produced, this story might have been a bit more edgy, but I’m not sure it feels fresh today. Perhaps we are exposed to too much. I do not feel a sincere bond between Eddie and May or an intense compulsion to be together. There is no real heat. It is implied but does not have the fire.

Steppenwolf is the very pinnacle of dramatic theater in Chicago and I was excited at the prospect of seeing something thought provoking and memorable. Of all of the plays in the world including those of Sam Sheppard, why this? At seventy-five minutes it did not even satisfy as a night out.

If you are interested in the history and craft of playwriting, you might find some value, but I cannot in good conscience suggest that this is where my readers or podcast listeners should invest what might be limited theater dollars. Wait for a better production here, which will undoubtably come along soon.

Details: “Fool for Love” is at Steppenwolf Theater, 1650 North Halsted Street, Chicago through March 23, 2025. Tickets and other information available at steppenwolf.org or by calling (312)335-1650.

Reno Lovison

For more shows visit TheatreInChicago

Exceptional performance helps us know Frida Kahlo

Vanessa Severo is Frida Kahlo at Writers Theatre (Photos by Zach Rosing taken at Indiana Rep)

4 Stars

You don’t often see costume changes right on stage against a backdrop of apparel hanging on clothes lines. But then, you don’t often see a highly charged, exceptional, one-person performance such as the one that opened in Writers Theatre on Jan. 31, 2025.

It is Frida-A Self Portrait directed by Joanie Schultz and written and performed by Latino actress Venessa Severo.

You may start off thinking you know who Kahlo is. But by the end of the show you will also think you understand how this famed Mexican artist saw herself.

Upon entering the lobby look at the board near the entrance to the Alexandra C. and John D. Nichols Theatre, Writers’ main show space, to read the happenings and accomplishments chart during Kahlo’s short life.

Born July 6, 1907 to Guillermo, a German father, and Matilde, a Mexican-Purepecha-Spanish mother, she died July 13, 1954.

During that time she married artist Diego Rivera in 1929, painted, tried to carry their offspring (see tiny clothes on the line), painted, divorced, remarried Diego and painted.

The show’s premise is that Kahlo is being interviewed by a writer from an architecture magazine. (The house later became a museum)

You hear her explain her life but Severo also speaks to the audience. She shows her left hand with its missing fingers (a congenital disorder), as a way to express how she relates to Kahlo. (Kahlo had polio that affected her legs and also survived a bus accident that left her severely injured.)

However, by the show’s end you really do feel you have met Kahlo and better understand her life and how she saw herself.

BTW, in 1990 Kahlo’s painting Diego and I became the first work by a Latin American artist to sell for more than $1 million ( US dollars). In 2001, Kahlo becomes the first Hispanic woman on a U.S. postage stamp.

DETAILS: Frida-A Self Portrait, is at Writers Theatre, 325 Tudor Ct. Glencoe, IL now through Feb. 23, 2025. Running time: about 75 plus minutes. For tickets and more information Visit Writers Theatre or call 847-242-6000.

Jodie Jacobs

For more shows visit Theatre in Chicago

Love is fragile and often transparent

Recommended

Is love like glass? Can you recognize and embrace love when you see it? This is a story about getting in touch with our better nature, rejecting a poor self-image, self-doubts, negative inner dialog and indeed the opinions of others based on their view of us.

Also, what are you willing to sacrifice to be the light in someone else’s life? Are you able to look past the superficial and artificial barriers that cause us to disregard and reject those who may be deserving of affection?

These themes are wrapped in a fantastical dramady written by Chicago-based playwright Reina Hardy and directed by City Lit Executive Artistic Director Brian Pastor.

Now on stage at City Lit Theater, “Glassheart” is a modern-day reimagining of the well-known tale of Beauty and the Beast.

Aiofe (Cailyn Murray) is a young woman from Michigan newly arrived in Chicago. She’s moved into an apartment managed by Elaine Carlson who, unbeknownst to her new tenant, happens to be a witch.

Aifo’s new neighbors are a cheerful woman about her own age living with a disagreeable, reclusive and unsightly brother.

In actuality, the brother or “the Beast” (Mark Pracht) is a European prince who has been put under a spell that has resulted in his overall repulsive countenance and behavior. The sister aka “Only” (Kat Evans) is in fact a former lamp that has been animated with human qualities to act as his servant and overall caregiver.

Only has taken it upon herself to move them to America in order to seek a fresh start in finding someone who might love the prince, thus freeing them both from the curse they are under.

City-Lit has assembled an all-star cast to introduce this Chicago Premier.

Mark Pracht’s beastly performance was perfectly sorrowful and requisitely aggressive providing much needed contrast in volume to the otherwise mostly conversational tone.

Kat Evans literally lights up the stage with her ebullient optimism and pleasing nature. Generally, I was not sure about the need for two short songs she sings, which seemed a bit out of place in this non-musical. But Evans’ angelic voice make the interludes more than worthwhile.

Cailyn Murray, new-to-Chicago having moved from Washington DC in 2023, is hereby invited to stay. Though I hope she has found, less eccentric lodgings.

Elaine Carlson as the witch was both humorous and menacing, think Aunt Clara (Bewitched) meets Rosemary’s Baby.

By the way this is not a child’s version of the popular tale.

“Glassheart” is a bit cerebral as it does not hit you over the head with its message. Indeed, I overheard two attendees saying, “I am not sure what it was all about” as they exited the theater. The other commented they were not certain of the name “Glassheart” and why it was not revealed until the end. I have my own thoughts on that, but it might be a criticism worth reflecting on as the writer and production team take notes.

This is essentially a one-set drawing room production, well written and well directed with solid performances by everyone.

Details: GLASSHEART at City Lit Theater, 1020 W. Bryn Mawr, Chicago, now through February 23, 2025 (on the second floor accessible via elevator of the Edgewater Presbyterian Church). Running time: about 2 hours with one 10-minute intermission. Tickets available online at www.citylit.org or by phone at (773) 293-3682.

Reviewer: Reno Lovison

For more theater reviews and info visit Theatre in Chicago

White Christmas soothes the soul

Kelly Felthous as Judy Haynes and Tyler Johnson-Campion as Phil Davis pair well as dancing partners in Marriott Theatre’s “Irving Berlin’s White Christmas” (Photo by Liz Lauren)

Three Stars

“Irving Berlin’s White Christmas,” an old fashioned song and dance musical, seemed just the right antidote opening night following the more than a month of high pitched and sometimes contentious presidential and legislative campaigns.

Songs such as “Count Your Blessings Instead of Sheep,” “Blue Skies” and “White Christmas” lifted the spirits. The costumes designed by Sally Dolembo were integral to the show and beautifully enhanced the spare scenic design.

Perhaps you have seen the 1954 movie with Bing Crosby or the show performed before now but if not you should know that it revolves around the entertainment scene and a post WWII general who now has a Vermont ski vacation. It originally was written for a 1942 film called Holiday Inn.

Tyler Johnson-Campion is outstanding as Phil Davis, the dancing half of a popular song and dance pair with Bob Wallace as the songster. It’s just hard to believe that Johnson-Campion, a very talented actor/dancer from Disneys “Aladdin” is just now making his Marriott Theatre debut.

Kelly Felthous as Judy Haynes is a good romantic dance partner of Phil Davis. She is also have of the Haynes Sisters that also features Jaquelyne Jones as Betty. Felthous has appeared in Marriott’s “Music Man” and GoodmanTheatre in Roxie Hart in Chicago.

Also shout outs to Robin R McGee who as inn keeper Martha Watson, is also making her Marriott debut. and Olivia Grace O’Sullivan, the General’s granddaughter from the International and Marriott’s run of “The sound of Music.” Both actors are really enjoyable mainstays of this show.

Well directed and choreographed by Linda Fortunato, artistic director of Peninsula Players Theatre in Door County Wi, she previously choreographed Marriott’s “Into the Woods.” Music Direction is by Brad Haak. Music and lyrics are by Irving Berlin with book by David Ives and Paul Blake”

On a sad note:This production is dedicated to former Executive Producer Kary M. Walker (1944-2024). I remember him fondly.

Details: “Irving Berlin’s White Christmas” is at Marriott Theatre, 10 Marriott Dr., Lincolnshire, IL now through Dec 29, 2024. For tickets and more information visit Marriotttheatre/ irving-berlins-white-christmas

Jodie Jacobs

For more shows visit Theatre In Chicago

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

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

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

Four Stars

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

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

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

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

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

(The Duke’s palace)

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

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

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

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

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

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

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

Jodie Jacobs

For more shows visit Theatre in Chicago