Items filtered by date: November 2007

Brett Neveu is a playwright to watch. To call him up-and-coming would be unfair as his work has appeared at The Goodman, Writers Theatre and Red Orchid Threatre. His new play "Her America" is being presented by The Greenhouse Theater Center as part of their Solo Celebration Series. 

Directed by Linda Gillum, "Her America" is single character play starring Kate Buddeke. She gives a riveting performance as a not-all-there Midwestern housewife locked in a basement. Buddeke embodies the character effortlessly. Her delivery is familiar and in many lines, hauntingly real. 

In the hour we spend with this unnamed character, she uses objects in her basement to freely associate memories and stories from her childhood. To whom she is speaking remains a mystery throughout. Neveu's script is highly detailed which serves to dimensionalize Buddeke's character. Through random memories, she explains the various influences in her life and how she became the person she is.

"Her America" files down to a crushing revelation, but along the way uncovers something darker. It says a lot about what life is like in America for those with few options. It's rare when the theater gives a truly empathetic portrayal of rural life. "Her America" was written in a bitterly devisive time and its message is to say that we should be more understanding with each other. 

Through February 12 at The Greenhouse Theater Center. 2257 N Lincoln Ave. 

American Theater Company's  (ATC) regional premiere of Men on Boats, written by Jaclyn Backhaus and directed by artistic director Will Davis, took on the story of the one-arm captain, William Wesley Powell, who was commissioned by the U.S. government in 1869 to map the Green and Colorado rivers of the Grand Canyon.

Davis was recently appointed as ATC artistic director and Men on Boats is his first production for the company. He was also responsible for staging the Off Broadway version of the play in 2015.

The expedition, the first sanctioned in the American West, consisted of 10 grizzled explorers who set out on four boats, courageously riding through the rivers of the Grand Canyon. However, their varied personalities were almost as difficult to navigate as the terrain.

Backhaus' Men on Boats, performed by a genderfluid cast of women and folks otherwise defined, provides an entertaining look this historic journey as well as perhaps providing a statement on just how much American society and the role of women have changed since the 1800's. 

The ATC cast includes ATC ensemble member Kelly O'Sullivan (William Dunn) and ATC youth ensemble alumna Lawren Carter (Hall), with Erin Barlow (Frank Goodman), Arti Ishak (John Colton Sumner), Brittney Love Smith (Bradley), Sarai Rodriguez (Seneca Howland), Avi Roque (O.G. Howland), Stephanie Shum (Hawkins), Kelli Simpkins (John Wesley Powell) and Lauren Sivak (Old Shady).

A simple yet effective set and props, as well as carefully choreographed movements, provide a heightened sense of action, especially when the explorers tackle the imagined vertical drops in the rivers.

Although the cast is really good at selling the quirkiness and reticence of some of the explorers and how those differences lead to small skirmishes among the crews, at times it is not enough to sustain it through the 100-minute performance.

Overall Backhaus provides is an interesting and sobering look at how a group of people can risk everything in the name of adventure and discovery. It speaks to the heroism we often bestow on our early American West explorers, their faith and commitment in their own visions yet it also highlights the vulnerabilities, conflicts and contradictions of blind loyalty. For it is only one person, John Wesley Powell, who reaps the actual benefits of their bravery as a team.

Recommended

Men on Boats is playing at ATC now through February 12, 2017. Tickets are available at the ATC box office or by visiting atcweb.org.

By the end of January, most people are over holiday theater. In the days between holidays, the Loop is a ghost town almost exclusively sustained by last minute ‘Christmas Carol’ and ‘Nutcracker’ matinees. Locals tend to stay local. For Evanston residents looking for quality theater, Light Opera Works is a great Off-Loop alternative. 

For the final few days of the year, Light Opera Works presents the classic Johann Strauss operetta ‘Die Fledermaus.’ Artistic director Rudy Hogenmiller presents an amiable English language adaptation by Quade Winter. One of the show’s best draws is the 30-piece orchestra conducted by Roger Bingaman. 

‘Die Fledermaus’ or “the bat,” is a typical farce. The first act sets the stage for philandering husband Eisenstein (Michael Cavalieri) to attend a masked ball on the eve of his impending incarceration. His wife Rosalinda (Alicia Berneche) meanwhile carries on an affair with a former flame, Alfred (Tobias Wright). The real candy of Act I might just be Kelly Britt as Adele, a lovely chambermaid with ambitions of her own. Her comedic strength is consistent throughout. William Dywer holds the attention of Act II as the dashing and strong-voiced host of the masked ball. As happens in all farces, the central couple learns a valuable lesson that rekindles their love. 

Along with great vocals, Light Opera Works’ production is visually pleasing. Costumes and sets by Jana Anderson and Adam Veness work together to showcase Light Opera Works’ impressive budget. Suburban theatre is rarely this polished. 

“Die Fledermaus” at Light Opera Works in Evanston is a good choice for those close to home. The music is soaring and the comedy tickles all ages. A better bet in Evanston surely can’t be found. 

Through January 1st at Light Opera Works. Cahn Auditorium 600 Emerson St. Evanston, IL 

Just two actors share the credits, yet the stage is crowded with characters in Lookingglass Theatre’s Mr. & Mrs. Pennyworth. This fabulist romp is delightful and fully satisfying, conjuring up characters with artful stagecraft and puppetry that remind us of Red Moon Theatre when it was really cranking.

The puppetry of Blair Thomas is indeed impressive - the animated inanimates range from a mini-replica of Mrs. Pennyworth (Lindsey Noel Whiting) to stage-filling boar. And though puppets are plentiful in Mr. & Mrs. Pennyworth, it is the astounding shadow animations that make this such an amazing experience. Both Whiting and Samuel Taylor are outstanding in their many roles (and stage formats).

Shadow characters grow and diminish, the moving silhouettes created by actors, puppets, and cut-outs on a stick playing against a backlights. Shadow animations by Drew Dir, Sarah Fornace, and Julia Miller for Manual Cinema Studios, and projection designs by Mike Tutaj, are stunning as they work this magic.  

Hidden behind screens, actors and puppeteers move fro and aft, upstage and down, shape shifting and changing in size. Going in every dimension, using the full depth of the stage, the actors and puppet masters play against the backlight to generate a unique images. (If there were an award for blocking, someone must nominate this show.)

Mr. & Mrs. Pennyworth has a steampunk flavor to it, as the ostensibly Victorian-era buskers take a portable stage on the road across Europe, with performance-art renderings of classic fairy tales, after which they pass the hat.

The plot thickens as some of the characters disappear from the tales - notably the Big Bad Wolf. Mr. & Mrs. Pennyworth set out to solve the mystery, which also creates a social crisis - children, Red Riding Hood, even the three little pigs, are losing track of these stories.

Lookingglass Theatre has long mined traditional tales for its line-ups - rendering memorable, and dark, versions of Grimm's Fairy Tales, for example. Hara broadens the source material, with appearances of the familiar (Dorothy from the Wizard of Oz) and less so (Sæhrímnir, a boar killed and eaten nightly by the Norse goods). The show lags a little as some of the Norse saga was being unpacked. But there was enough momentum to sustain it. 

Written and directed by Lookinglass Ensemble member Doug Hara, this work is said to be influenced by Neil Gaiman, whose American Gods characters struggle through similar travails.

This is not just for kids - or maybe it's not even for them. I found myself wondering where it was a little too dark at times, but that is true in the Grimm tales as well.

Hara is entertaining us, but there is something reminding us that people lose hold of their culture when they lose their stories.The Pennyworth’s life work helps secure these stories - tales that keeps us all tethered to the collective memories that are the touchstones of civilization.

Mr. & Mrs. Pennyworth runs through February 19, 2017 at Lookingglass Theatre

Throughout the last century, The Phantom of the Opera has taken on many forms. Originally written by Gaston Leroux and published in early 20th century France the Phantom soon found its’ way onto the silver screen right here in the U S of A with Rupert Julian’s silent film depiction. Currently however, The Phantom of the Opera is most well known for the incredibly moving musical adaptation composed primarily by Andrew Lloyd Webber and making its’ debut in 1986 London. The musical received two Laurence Olivier Awards for Best New Musical and Michael Crawford (the Phantom himself) Best Actor, paving the way for a 1988 debut on Broadway where it became an immediate classic and eventually the longest running show in Broadway history. After receiving two Tony Awards for Best Musical and Crawford again achieving Best Actor in a Musical, the Phantom of the Opera would be transcribed into thirteen different languages to be seen by over 130 million people in theaters all over the world.

Now, considering the rich history and evolution in production throughout the many tours The Phantom has undergone, I can’t help but feel my reviewing this most recent version of Lloyd Webber’s adaptation to be somewhat arbitrary. You see, until I experienced this new production by Cameron Mackintosh, my knowledge of the Phantom outside of the Las Vegas version at Venetian was limited solely to Joel Schumacher’s 2004 film depiction and because this film was written and produced by Webber himself it, of course, is a masterpiece. That being said, having only had the pleasure of witnessing only the Vegas-ized production of this beloved theatrical classic, I offer you a fresh perspective on this spectacular new production by Cameron Mackintosh.

Nostalgia filled the air that night at the Cadillac Palace Theatre as the auctioneer presented old relics of an opera house long past. Spirits rose as the enchanting melody emanated from that silly little music box where that bellhop monkey we’ve all grown to adore played the cymbal. Hearing those notes served as a firm reminder of all the gripping music that so effectually captivates the heart and delivers that sense of stirring emotion that comes with much anticipation. But as we all know, the show doesn’t truly begin until the auctioneer presents “lot 666”… as the trademark chandelier is lowered, uncovered and illuminated.

The magnificent display proves a worthy reflection of the production to follow as the stage is, to say the least, impressive. A set such as this, nearly thirty years in the making and after grossing somewhere in the neighborhood of $6 billion dollars worldwide, certainly shows its extraordinary progress in quality and an unmistakable attention to detail is visible throughout the set. The integration of tracks and mobile parts made for an engaging display. The set itself however, as impressive as it was, merely emphasized the wardrobe which brought life to each character in an undeniably authentic fashion that the audience into the romance and magic of it all. The Phantom of the Opera was brought to life in a truly striking new light and I couldn’t imagine a better venue to bare witness to such a spectacle. The Cadillac Palace offers a wide range of seating options all of which provide an excellent view of the stage and the décor, in one word, grandeur.

I soon took note that some characters added a sense of lightheartedness to this new production that caught me by surprise. Carlotta Giudicelli (performed by Trista Moldovan) and Ubaldo Piangi (Phumzile Sojola) for instance, immediately jumped out to me and the audience both, carrying an untraditionally high-spirited weightlessness that is otherwise uncharacteristic to their personalities. Even amid the wake of the ominous Phantom, Carlotta and Ubaldo’s playful touch manage to lift the audience to a blithesome state of ignorance receiving laughter and applause in nearly every appearance from Scene 1 “The Dress Rehearsal of Hannibal” to Scene 7 “Don Juan Triumphant” in the second act. There is never a dull moment while either shines on the stage.

Nevertheless, their characters serve merely as a distraction only building suspense while The Phantom (exceptionally performed by Derrick Davis) lies wait beneath the stage. Finally making his first appearance in Scene 3 “Corps de Ballet Dressing Room” while singing the masterfully conducted “Angel of Music” his voice struck me as even more than expected from the man chosen to portray The Phantom. It is only in the scenes following that The Phantom must prove his love to Christine (beautifully performed by Katie Travis) and Davis’ portrayal to the audience, for it is in these moments that one falls in love with The Phantom of the Opera. Davis taking on the roll of The Phantom and doing so as well as he has is truly an admirable accomplishment, a milestone to be proud of for the rest of ones’ life. My hat goes off to you sir, for as you led Christine deeper into the labyrinth and ever closer to The Phantoms’ lair I was no longer watching the portrayal of Derrick Davis, but The Phantom himself had entered my mind. Davis and Travis' are brilliantly paired, their chemistry a strong building block for this fervent, heartfelt and beautiful production.  

We’re all aware of The Phantom’s infamous nature behind the mask, while precarious and fraught with danger at the turn of a hat, still somehow affording a mysterious and even seductive quality that continues to draw you in. However, once unmasked, I find that Davis’ portrayal elevates to even a higher realm, capturing the hurt and passion one would so desperately feel as a disfigured “phantom” who longs to be loved so badly. 

From ballet dancer to center stage, Miss Christine Daaé carried the innocence of an angel. Travis’ portrayal of Christine is outstanding. Her voice did more than match that of The Phantom’s, and carried an unwavering familiarity that held true to the classic. Song and word alone could never do her justice and the nature of her performance can only be experienced firsthand. For it is only our beloved Christine, that can bring The Phantom to his knees and the crowd to their feet. 

The Phantom of the Opera is playing at Cadillac Palace through January 8th. For tickets and more information, visit www.BroadwayInChicago.com.

PigPen’s “The Hunter and the Bear” is one of the best theatre productions of 2016. It’s really that simple. Staged at the state of the art, newly constructed, Writers Theatre in Glencoe, audience members are in for a unique experience that is as haunting as it is moving. The story follows a group of loggers that find themselves camping in a densely wooded area sometime in the mid-1800’s. It’s not long after a mysterious stranger arrives that unexplained occurrences begin to take place that leads to an unbelievable chain of events, affecting each the loggers, a hunter and a boy with a wild imagination. Exciting, suspenseful and often heartfelt, we are thrust into a ghost story like no other that not only explores the afterlife but also delves into the darkness in all of us.

Impressively staged within a striking set complete with flickering campfire light, “The Hunter and the Bear” uses very clever puppetry and shadow imaging to enhance the play’s powerful storytelling. Adding to its originality are the many extras that go a long way from the authenticity of each costume, and sound effects created solely by instrumentation. The story is intertwined with a handful of songs and backing music reminiscent of a hybrid folk and jug band sound. Each talented actor doubles as an equally talented musician forming quite the formidable band.

The production’s strong acting performances are many. Alex Falberg impresses as the fast-talking Prescott, who, as the boss of the operation, often throws caution to the side concerned mainly with his company’s bottom line. Tobias, whose emotional search for his son becomes a focal point, is very well played by Ben Ferguson who is convincing as the scared, anguished father. While Curtis Gillan (Pete), Matt Nuernberger (Bailey or “Sheriff”), Arya Shahi (John) and Dan Weschler (Lewis) all put forward notable performances, Ryan Melia stands out in his role as Elliot, Tobias’ son, masterfully working a puppet that portrays the boy. 

Moving at a perfect pace, the engaging story is not only memorable, thanks to its fine acting and its haunting music and lighting, it also raises many questions about life after death, giving hope that there is a path we can follow to a peaceful existence, but warning that some can be lost, needing a little nudge in the right direction, perhaps from the living. It is profoundly asked at one point if the dead guide the living or if it is the living who guides the dead. 

Pigpen Theatre Co. masterfully co-directs this enthralling campfire tale along with Stuart Carden. Says Artistic Director Michael Halberstam of PigPen’s return to Writers Theatre “The gifted gentlemen who make up PigPen Theatre Co. brought us a sense of energy and excitement the last time they were here in Glencoe, and we look forward to their signature style of storytelling in this new world premiere.” PigPen had performed in the theatre three years prior in their production “The Old Man and the Moon”. 

“The Hunter and the Bear” is a story that justly makes an impression on its audience getting help from creative team members Collette Pollard who presents to us an incredible visual as the Scenic Designer and Lydia Fine whose costumes and puppetry truly bring this gripping tale to life.

Highly recommended as one of the year’s best plays, “The Hunter and the Bear” is being performed at Writers Theatre through January 22nd. For tickets and/or more show information visit www.WritersTheatre.org.

Pigpen will also be performing a concert at The Old Town School of Folk Music on December 19th at 8pm. More information can be had at www.oldtownschool.org. 

A tragedy is unfolding at Steppenwolf Theatre, a good thing for audiences, less so for the denizens of Lucas Hnath’s The Christians. In this show, with powerful performances by Glenn Davis, Shannon Cochran, Tom Irwin and Robert Brueler, the show stopper is Jacqueline Williams’ marvelous turn in the role of Congregant - she is a revelation.

Pastor Paul (Tom Irwin) is operating a mega- church, one that has grown exponentially from fundamentalist storefront to a building so big it has a coffee shop, retail store, and a parking lot you could get lost in. Exponential expansion incurred debt, which the board of directors, led by Elder Jay (Robert Breuler) has struggled to discharge.

The play opens amid a mega-church service rendered so faithfully - huge backlit cross, melodious music, passionately performed; a serious scripture read - that a number of audience members joined in the prayers. Pastor Paul then delivers the sermon that sows chaos: the church, he says, is at a turning point – it is now debt free; but something else has gone awry. He no longer believes in that pillar of dualist theology, hell fire. Irwin’s discursive recount of this radical change in heart is delivered with a hint of irony, and at a pace faster than a real sermon – reminding us we are not in church, but in a theater.

In due time, the congregation starts to come apart at the seams. Associate Pastor (Glenn Davis) challenges this heresy, and is released of his duties. Elder Jay counsels Pastor Paul, in an eldering, indirect monolog, advising him of the folly of turning out his very popular associate preacher.

Then Congregant (Jacqueline Williams) arises during worship, and reads a letter of her reflections, begun in a self-effacing and unassuming manner, then swelling to emotional poignance, even majesty, as she picks apart Pastor Paul for forsaking the congregation’s need for faith, accusing him of a lack of sincerity in waiting until the after the mortgage was paid off.

The wind-down of the drama finds Pastor Paul again challenged by his Associate Pastor. Glenn Davis’ performance of a combative theological and emotional challenge rivaled that of Williams. And finally, Pastor’s Wife Elizabeth (Shannon Cochran) takes Pastor Paul on her own terms, struggling with the compromises he has inflicted on his family. And asserting she does not share his belief.    

These performances all on their own justify a trip to Steppenwolf Theatre, and the writing of this play. Directed obviously so well by K. Todd Freeman, The Christians runs through January 29, 2017, and is highly recommended. 

There's nothing more cloying than an evening of bad holiday theatre. Each December countless Chicago theaters put up their annual Christmas shows. Some are better than others. For a reliable standard, Joffrey Ballet's "Nutcracker" is a safe bet.

For 2016, Joffrey presents an entirely new version of the classic Tchaikovsky ballet. Conceived by English choreographer Christopher Wheeldon, this new production is sleek and tailor-made for Chicago. An interesting variation on ETA Hoffman's original Russian fairy tale. In this version, Marie is from a working class family and it's set during the construction of the Chicago World's Fair. The dance sequences in the second act are Clara's dreams of what the Columbian Exposition will hold. Wheeldon's aesthetic borrows from holiday favorites like "A Christmas Carol" and "Meet Me in St. Louis" Sets by Julian Crouch combine the classic imagery of the original and newer conventions like projections. Accompanied by the Chicago Symphony Orchestra, this "Nutcracker" is a little more grown up than the pastel versions you might remember.

The talent will be of no surprise to Joffrey regulars. Dancing the part of Marie is Amanda Assucena. Her performance portrays the lead character with a more teenage curiosity about romance. Miguel Angel Blanco dances a variation of Uncle Drosselmeyer, otherwise known as the Impresario of the Fair. It's playful and a little creepy. In the dream sequence, Christine Rocas and Fabrice Calmels turn up the heat as the Arabian Dancers. Wheeldon's choreography creates quite a spectacle and the large cast sequences are magical.

For those bored with run-of-the-mill "Nutcrackers" (a dime-a-dozen this time of year), this brand new production at The Joffrey will leave an impression. It's refreshing to see a local cultural institution take what they know works and turning it on its head. If only more of Chicago's tried and true holiday shows would take the same path, maybe we wouldn't dread them so much.

Through December 30th at Joffrey Ballet. 50 East Congress Parkway. 

Mozart’s The Magic Flute, now playing at the Lyric Opera of Chicago is an enchanting and charming performance - a perfect family outing especially for the holiday season.

Based on Mozart’s final and majestic opera, The Magic Flute is a timeless tale of good versus evil, perseverance, and love conquering all.

The basic storyline revolves around Princess Pamina, daughter of the Queen of the Night who has been captured by the high priest Sarastro. Prince Tamino falls in love with a portrait of Pamina he receives from the queen’s three ladies. The queen tells Tamino that if he finds Pamina, she will be his. Papageno, the queen's birdcatcher, joins him on the quest. Aided by Tamino’s magic flute and Papageno’s magic bells, they face numerous challenges separately and together, including an encounter with the comically savage Monostatos, who lusts after Pamina. Three genies are their guides. Eventually, the Queen of the Night is vanquished, Tamino and Pamina are united, and Papageno finds love with Papagena as the queen's forces of evil yield to the forces of good. 

Directed by Neil Armfield, the staging of the Lyrics’ version of the Magic Flute is not only inventive with the use of the “play within a play” technique but it also is accessible with a warm familial glow, making it an enjoyable experience for opera lovers and newcomers alike.

With the theme of a backyard party, the show opens with a lovely 1950's Midwestern-style colonial home, designed by Dale Ferguson, filling the stage and slowly rotating as bright stars glitter in the backdrop like spotlights shining down on the performance that is taking place.

The house buzzes with activity as a diverse group of people arrive carrying packages and other items as they prepare for a bit of “backyard community theater” in a production put on by the neighborhood kids.

Perfectly designed rooms from the upstairs bedroom to the dining room and kitchen below are glimpsed through the windows revealing small vignettes of preparation for the evening performance. One neighbor hangs lights along the backyard deck and others set up chairs for the audience and operate the spotlights.

Then finally, after every piece is in place, the neighbors are seated. The kids' show begins and the real audience is transported into a land of fantasy with soaring arias. In particular, soprano Kathryn Lewek in her Lyric debut as Queen of the Night and bass-baritone Adam Plachetka, as Papageno (the queen's birdcatcher) were vocal standouts but the entire cast was sublime.

Highly recommended.

The Magic Flute runs until January 27 at the Lyric Opera of Chicago. There is a free 30-minute pre-performance talk in the theater starting an hour before each performance. For tickets and information call (312) 827-5600 or go to www.lyricopera.org/Flute.

Davina & the Vagabonds' rollicking New Orleans-inflected jazz, gospel, and R&B delighted fans at a packed City Winery in Chicago this week. The retro stylings of this Minneapolis group carries a 1960's vibe, underscoring lyrics packed with an ironic take on songs of the “you done me wrong” and “don’t steal my man” variety.  

While the band features cornet and trombone, bass, drums and keyboard, there is added brass in the high powered vocals of lead singer Davina Powers, who along with her band mates, wins fans because she “brings it” to every performance.

Imagine Bette Midler impersonating Amy Winehouse, with a dash of Madeline Peyroux thrown in, and you get a sense of Davina Sowers. And while she has a lot of control of her vocal instrument - going from breathy to belting, with a light rasp that softens the delivery - she’s affecting as a pianist as well.

The  enthusiasm and turnout at City Winery - Wednesday's windchill notwithstanding - also delighted Sowers: nearly everyone yowled in the affirmative when she asked if they’d seen the show before. The band had begun this day before dawn to make an appearance at WGN Studios in the morning, and was to be up at dawn the next day for a show in Lincoln, Nebraska.

Sowers writes most of the songs, and her performance is loaded with showmanship as she mugs her way through the breaks and as songs unfold – but at a point in most songs she gets captured by the music, and really delivers. 

The group is much more than Davina, though, as each member – trombonist Steve Rognes, trumpet Zack Lozier, and drummer Connor McRae Hammergren - sings and writes original songs. Rognes and Lozier take the lead as they swing into Dixieland and Bourbon Street jazz. (The bass at City Winery is not a permanent member of the group.) Drummer Connor Hammergren, with big muttonchops, seems to have a lot of street-style percussive techniques up his sleeve.

Chicago’s City Winery is the perfect setting both in terms of intimacy and sound – and because the elegant noshes and paired with house wines harkens back to the glory days of 1950s and 1960s night clubs. As do Davina & the Vagabonds.