Led in revels by the First Fairy (Adrienne Storrs) and Puck (Sam Kebede), the fairy ensemble gather to “Rock the Ground” in Chicago Shakespeare Theater’s production of ‘A Midsummer Night’s Dream’ (Liz Lauren photo)
4 stars
Shakespeare Theater Chicago puts a slightly modern twist to an old favorite, one of “The Bard’s” most well-known and beloved plays, “A Midsummer Night’s Dream.”
As is not unusual for Shakespeare this story is something of a three ring circus.
Oberon, King of the Fairies (Edward O’Blenis) directs his minion Puck (Sam Kebede) to put a spell on Titania, Queen of the Fairies (Alexandra Silber) to teach her a lesson.
The spell uses the essence of a special flower that will cause Titania to fall madly in love with the first being she sees whether it be man, beast or fairy. Oberon prefers the more beastly the better.
Adults and youngsters alike should easily laugh, applaud and fall in love with “Cendrillon,” Jules Massenet’s operatic interpretation of “Cinderella.”
Certainly the version now at the Lyric has been traveling the opera circuit since opening at the Santa Fe Opera in 2006, but the telling clue to its humor is that when it premiered in 1899 it was at Paris’ Opéra-Comique where it was also remounted in 1911.
That the opera is a fairy tale comes across immediately with Barbara De Limburg’s delightful storybook set design.
That this opera, unlike Gioachino Rossini’s operatic drama “Cenerentola” (Cinderella), is a lighthearted version of the familiar fairy tale, becomes obvious with Laurent Pelly’s hysterical, balloon-shaped costumes for the step sisters and the comedic costumes worn by the step mother and other female hopefuls at the prince’s ball.
From left: Kayleigh Decker, Elizabeth Bishop and Emily Pogorelc in “Cendrillon.” (Todd Rosenberg photos)
And that the prince also stepped out of an amusing story book comes across when Pelly, who is also the opera’s director, introduces him as somewhat peevish, uncooperative, hardly charming, pajama-wearing kid in his bed chambers.
Revival choreographer Karine Girard (and original choreographer Laura Scozzi) play up the opera’s nose-thumbing, pseudo-sophistication side with wonderful marching steps by palace couriers and the introduction of females who hope to win the prince.
But humor aside, the Lyric’s Cendrillon is still an opera that requires fine voices. And they are.
English mezzo-soprano Alice Coote is superb in the “trouser” role of the prince and a good contrast (as it should be) to Australian soprano Shobhan Stagg’s quieter, sweet, Cendrillon in her American debut.
Bass-baritone Derek Welton, another Australian making his American operatic debut, convincingly portrays Cendrillon’s comically pathetic father, Pandolfe. And French-Canadian coloratura Marie-Eve Munger stands out in her Lyric debut as the Fairy Godmother.
Cinderella (Siobhan Stagg) far left, Fairy godmother (Maie-Eve Munger) atop the books center and Prince charming (Alice Coote) far right kneeling with cast of Cenrillon at the Lyric Opera.
In the step family, American mezzo-soprano Elizabeth Bishop making her Lyric debut is a perfect Mme. De la Haltiere. She’s backed up by daughters Noémie sung by American soprano Emily Pogorelc, and American mezzo-soprano Dorothée sung by Kayleigh Decker, both a Ryan Opera Center members.
As with many fairy tales there still is a poignant side, but the story still turns out well.
Although Rossini’s “Cenerentola” has appeared at the Lyric, Massent’s “Cendrillon” has only now come to town. It’s magic is perfect for the holiday season or anytime.
DETAILS: “Cendrillon” is at the Lyric Opera of Chicago, 20 N. Wacker Dr., Chicago through Jan. 20, 2019. Running time: 2 hrs. 45 minutes with one intermission. For tickets and other information visit Lyric Opera.
Cast of The Play That Goes Wrong. (Photo by Jeremy Daniel)
2 1/2 stars
The “clues” are all there before “The Play That Goes Wrong” supposedly starts that the title is justified.
Now at the Oriental Theatre the farce that goes over-the top to be wrong begins with audience interaction when the “manager,” says something about ticket problems and the guy at the controls and his stage crew member point out problems with the set and auditorium as needing more duct tape.
More than duct tape is needed to fix this farce, a touring “hit” of a show that began in England then moved to Broadway.
But audiences are warned that what they will see is supposed to be an amateur production by a university drama society of “The Murder at Haversham Manor,” an Agatha Christie- “Mousetrap” style mystery somewhat akin to the “Noises Off” farce.
Thus scenery mishaps and missed lines and are to be expected. After all, this is supposed to be farcical take-off of an amateur college production. And some of the antics are funny.
The problem is that the longer the show goes on, sophisticated theater audiences will find it less witty and more juvenile. It probably does belong in the category frat house entertainment for visiting parents.
That said, designer/prop maker Chris Bean who is also the director, costume designer, voice coach, etc. etc. etc. nicely creates a flawed British manor house where doors don’t work, pictures fall of the walls and windows don’t open as they should.
DETAILS: “The Play That Goes Wrong” is at the Oriental Theatre, 24 W. Randoph St., Chicago through Dec. 16, 2018. Running time: 2 hours with one intermission. For tickets and other information call (800) 775-2000 or visit Broadway in Chicago Shows.
(left to right) Adam Mengesha, Jack Schultz, Audrey Gladson and Regina Linn (Photo by Katie Reynolds)
1.5 Stars (out of 4)
This popular play by Will Kern has been trotted out by several companies since its debut in the nineteen- nineties and was even made into a movie in 1998.
“Hellcab” is comprised of a number of vignettes all taking place within the confines of a cab trolling the streets of Chicago during an evening leading up to the Christmas holiday.
There are highs and lows, there is happiness and sadness, violence and love. Some people are in good cheer, others not so much. Through each experience the stoic cabbie (in this case played by Regina Linn) absorbs the emotional impact of each encounter. Continue reading “This ‘Hellcab’ not worth the ride”
Matt Crowle as Crumpet the Elf in the Santaland Diaries at Goodman Theatre. (Erik Erik Scanlon photo)
3 stars
“The Santaland Diaries,” a humorous, naughty-nice take on the holidays now at Goodman Theatre, evolved more than 25 years ago from an essay written by the then unknown comedian David Sedaris. Coupled with other stories, he told on the nightclub circuit, it was picked-up by the National Public Radio broadcast in 1992 as the “Santaland Diaries.”
The rest, as they say (whoever they are) is history. Sedaris published the collection in 1994 and his reputation took off as a humorist, comedian, author, and radio contributor.
Adapted by Joe Mantello, “The Santaland Diaries”presented in Goodman’s more intimate Owen Theatre, is a one-man, hilarious tale about becoming a department store elf for the season.
Played by Matt Crowle, the fabulous actor talks non-stop to the audience as he tells them he has decided to take a job at Macy’s in New York City as a Santaland elf by the name of Crumpet.
The audience gets to know Crumpet very well, as he changes his clothes on stage from casual, worn clothing to the elf’s red-and-white striped tights, attractive green velvet jacket, adorable elf boots and flashy hat.
Crumpet portrays the different elf jobs that he takes on—appearing in Macy’s windows, greeting visitors, and directing the people waiting in line to see Santa.
No one is spared as he describes what’s happening with the various parents who bring their children to sit on Santa’s lap.
The challenge is to keep a smile pasted on as the job becomes less enchanting and more boring.
Directed by Steve Scott, the play’s humor is endless. The audience feels as if they are traveling every minute with Crumpet, an elf whose imperfect behavior and naughty remarks make everyone laugh out loud.
“The Santaland Diaries” gives audiences a break from their overwhelming pre-holiday schedule.
DETAILS: “The Santaland Diaries” is at the Goodman’s Owen Theatre, 170 N. Dearborn St., Chicago, through Dec. 30, 2018. Running time: 65 minutes with no intermission. For tickets and other information, call (312) 443-3800 or visit Goodman Theatre.
Custer, Cameron, Robinson, Dahlquist, Joseph, Mohrlein (Photo by Michael Brosilow)
4 stars
If you haven’t been invited to a holiday party yet or are just feeling ready to get into the Christmas spirit, you can’t do much better than the American Blues Theater’s staged radio show version of Frank Capra’s classic “It’s a Wonderful Life-Live in Chicago!.”
In this production, the theater is set up to give the illusion that you are part of the studio audience for a live radio broadcast in 1944 at WABT Studio on Belmont Avenue in Chicago.
There is a spinet piano, stage left, and three old-timey microphones on stands across the front where most of the action takes place.
Stage right is an array of apparatus where Foley artist Shawn J. Goudie will add sound effects. Above the piano is a lighted sign which displays the words “On Air” and “Applause.”
Cara Marie Gary (Marie) and The Joffrey Ballet. (Photo by Cheryl Mann)
4 stars
Imagine what if. What if Marie Stahlbaum’s nutcracker Christmas gift and her dream, a tale by E.T. A. Hoffmann, and adapted by Alexandre Dumas that was first presented with Tchaikovsky’s music in 1892, changed location and style.
What if it moved from a wealthy, European estate to Chicago where dreams were possible for a young girl who lived in a shack. And, what if the story kept the late 19th century date.
What was going on in Chicago that year was preparation for the 1893 World’s Columbian Exposition also called the Chicago World’s Fair. It celebrated the 400th anniversary of Christopher Columbus’1492 landing in the “new world.” Indeed, the Chicago World’s Fair dedication was in 1892 but the fair didn’t open until 1893.
Imagine all the possibilities the fair with its multi-cultural pavilions and its noted (first) Ferris Wheel as a background might hold for a ballet.
marssie Mencotti, L. and Kat Evans in City Lit’s The Safe House. (Photo by Steve Graue)
3.5 Stars
This world premiere slice of life drama is sure to strike close to home.
For many, the place they have lived and raised a family is more than an assembly of bricks and wood, it is a repository of memories and the physical manifestation of a life’s work. When it comes time to consider leaving it behind there are more considerations than a change of address.
“The Safe House,” commissioned by City Lit and based on a true story by Chicago playwright Kristine Thatcher, is expertly supervised by Producer/Artistic Director Terry McCabe.
You get a feeling you know where the cookie jar is in designer Ray Toler’s cozy retro kitchen/dining room stage setting It brings us right into the domain of “Grandma” Hannah (marssie Mencotti) who must confront the realities of her changing condition and abilities. Continue reading “‘The Safe House’ at City Lit is a safe bet”
Chris Smith, Megan DeLay, Chris Woolsey (Photos by Tim McGrath, TCMcG Photography)
3.5 Stars
“Arcadia” begins with thirteen year-old Thomasina Coverly (Meghann Tabor)asking her tutor Septimus Hodge (Chris Woolsey) the meaning of the term “carnal embrace.” Hodge replies essentially that the word carnal is derived from the Latin “carne” meaning meat and it is therefore referring to an embrace with a “side of beef” or “leg of mutton.”
From this opening dialog playwright Tom Stoppard is creating an atmosphere of inquiry and humor. He is sending a message that though this may be challenging at times, we are going to have fun with it.
The action takes place around a table in an historic and aristocratic English manor house in which there are two intersecting story lines set roughly two hundred years apart.
The cast of “The Steadfast Tin Soldier” at Lookingglass Theatre. (Photos by Liz Lauren)
4 stars
At Lookingglass Theatre audiences see a charming screen a few minutes before Hans Christian Andersen’s “The Steadfast Tin Soldier” story is pantomimed on stage.
The actors, dressed as figures that might be found in a young European child’s nursery or at a “Panto,” take turns on stage opening windows that reveal children’s toys – except one that shows a fire.
And thus, perceptive audiences might pick up the clue that as with many of the famed Danish author’s fairy tales such as “The Little Mermaid,” life will not be very smooth for the lead character but the ending can offset what appears to be devastating consequences. Continue reading “Lookingglass takes ‘Steadfast Tin Soldier’ to another level”
