Items filtered by date: November 2007

Richly set in the intimate Royal Cabaret Theatre, The Rosenkranz Mysteries: An Evening of Magic to Lift the Spirits is a magic show with its own unique twist, separating itself from the others with its unusual theme and creative adaptations of age old illusions and tricks. Dining tables surround the prop-filled stage, which presents to us a study circa early 1900’s where one could easily see Harry Houdini practicing his arts. Unlike most magicians, renowned national illusionists Ricardo Rosenkranz is also a respected professor at the Northwestern University Feinberg School of Medicine. That he relates magic to healing throughout the show is not just original, it is educational while his performance never loses its entertainment factor.  

The highly-polished show combines astonishing illusions set to haunting music and a series of jaw-dropping acts of mentalism using many audience members as subjects, some eager to participate and some with a nervous acquiescence that only adds to the act’s humor. Rosenkranz’s skillful ability to make his volunteers comfortable, even offering them their own chance of getting their own funny one-liners in, is part of the show’s charm.

The Rosenkranz Mysteries flows well with an even flow of humor, mystery and the seemingly unexplained tricks themselves. Often explaining the origin of an illusion while performing the act, audience members quickly become acquainted with its history, adding even more intrigue while allowing us to grasp a good feel for a turn of the twentieth century era that was rich in magic and the unknown. An era that gave us greats Houdini, Dai Vernon (“The Professor”), Eugene Laurant and Carter the Great to name a few. 

While I won’t go into details into Rosenkranz’s performed feats of magic so as not to soften the blow of their wow factor, I will say that he creates a stunning recreation of the famous Bang Sisters conjuring of spirits from the hereafter that will have you scratching your head in disbelief long afterward. I can also say that each illusion is executed with immaculate precision and done with just the perfect amount of tension building assurance.

As a professor, Dr. Ricardo Rosenkranz, who found magic at a very early age, has been integrating his illusions as a teaching aid for years to help engage his students and inspire involvement. Perhaps an unorthodox way to get your message across, but undoubtedly an effective one. 

Says Rosenkranz, “There is something beautiful and wonderful about the unknown, and I think in that sense magic and medicine share a DNA. I am committed to creating a unique experience that energizes and uplifts every audience.” The Rosenkranz Mysteries does just that.

Whether a magic buff or not, this show comes highly recommended, as it is sure to engage both believers and non-believers of the supernatural unknown. Finely directed by Northwestern graduate Jessica Fisch, featuring Ricardo Rosenkranz as “The Doctor Magician”, Jan Rose as “The Hostess” and a skull named Balsamo, this show offers a night of mystery and suspense one would be hard-pressed to forget anytime soon.

The Rosenkranz Mysteries: An Evening of Magic to Lift the Spirits is being performed at The Royal George Cabaret Theatre through December 24th. Add to the wonder of the holiday season with this true magical phenomenon. For tickets and/or more show information, visit www.TheRoyalGeargeTheatre.com.       

What makes theater so great is its ability to transport you to different worlds. The Curious Incident of the Dog in the Night-Time opened on Wednesday night at the Oriental Theatre in Chicago and it successfully does just that, although where it transports you is not where you may have expected. Based on the bestselling novel written by Mark Haddon in 2013, this play is told from the perspective of Christopher John Francis Boone, a 15-year-old boy who is somewhere on the autistic spectrum and his teacher, the ever-compassionate Siobhan. Christopher lives with his father Ed, who has told him his mother died of a heart condition. One night, Christopher finds a neighbor’s dog, Wellington, dead having been stabbed with a garden fork and he quickly becomes a prime suspect. Adamant of his innocence, he plays detective to find the real murderer and unexpectedly ends up on an adventure full of surprises, shocks, and challenges. 

While his condition is never stated explicitly, it is implied that Christopher is somewhere on the autistic spectrum with savant qualities, especially in the areas of math and science. As the play unfolds the audience experiences the world through Christopher’s mind, realizing how his unique brain makes him an outsider in the world we so often take for granted. These differences are made, all the more evident through stunning visual effects, great use of sound and lighting and a creative approach to telling the story.

While the book is written solely in Christopher’s voice, the stage production plays with time and employs two points of view for narration, both Christopher’s and his teacher Siobhan. Christopher has been writing a story about his investigation into Wellington’s murder and that becomes a play within a play as we shift between Siobhan’s reading of the story during school time and Christopher telling it in real time. Christopher is played by Adam Langdon who provided a strong performance, although at times it felt a bit forced and ventured into overdone as he embodied a teen struggling with an exceptional brain and different take on the world. Siobhan, played by Maria Elena Ramirez, was excellent as was Gene Gillette as Ed (Christopher’s father). An ensemble cast rounds out the show playing a number of roles to bring the full story to life.

The staging of the show is quite unique, made up of a simple set with digital walls on the sides and back of the stage that boast different visual effects throughout the show, and a series of white rectangle blocks used as chairs, tables, benches, televisions and even a fish tank through creative lighting. Employing creative choreography by Scott Graham and Steven Hoggett, the actors themselves create movements on stage that transport the audience through the various scenes from outer space to a crowded London Tube station. Coupled with the lighting, sounds and an ever-evolving play train set, the simple set design feels energetic and lively throughout the show.

Overall, this play moves along well throwing in some surprises along the way and with brilliant staging it constantly amazes the audience. While there were moments that felt over acted, on the whole it was a strong all-around performance. There is some strong language used and some more mature topics so keep in mind it may not be family friendly for younger children. It is a show that while it entertains, it will also challenge you to think about those among us who experience the world so differently due to their unique brains.  Get your tickets to experience the show for your self, running through December 24th at the Oriental Theater.  

When Mitchell Fain, the star of David Sedaris's eight year long run of "Santaland Diaries" about a broke actor who lands a gig as a Macy's elf first begins his play with the opening lines of said show on a beautifully decked out and magically lit Christmas set - I thought, "Wait a minute I've seen this show already!” 

Quickly, Fain drops the character of Sedaris' Crumpet and becomes the character of Mitchell Fain in one of the most personal and entertaining one man shows I've seen in a long time, “This Way Outta Santaland”, written by Fain himself.

Fain is joined at Theater Wit by his old friend and roommate from years ago, the beautiful red headed Megan Murphy whose work I have enjoyed many times in many of the Marriott and Drury Lane Musical Theater Series. Also, playing the music for his monologues and Murphy's segue way songs is Julie B. Nichols, an excellent pianist who began the show with a hearty toast to which the whole audience raised their cups!

Mitchell really interacts with the audience and brings up the houselights many times as if trying to really see and relate to each person who came out in the cold Chicago weather to see his show. Fain begins by asking how many in the audience came from Chicago from a smaller place to live, and many raised their hands, including me (Miami is smaller). Some just shouted out “Ohio!” “Arkansas!”

He asked one woman WHY she came here and her reply was "to be an actress" to which he ad-libbed "How's that working out for you?"  Her reply got a big laugh, "Well I'm sitting in the audience not on the stage!" 

Then he asked how many of you here are Jewish?

Only me and two others in the packed house raised our hands which surprised even me!

Fain begins his storytelling with his rocky childhood in Rhode Island as one of the only Jews in a very rough all Italian neighborhood, and a petite, 5'3" gay Jew at that! 

Fain recalls that from a very young age he loved Judy Garland's music and especially memorized her version of the song “Chicago (That Toddlin’ Town)”, which allows Megan Murphy to deliver a delicious, tongue in cheek version of the song herself. 

In Fain’s description of his former home base, we learn that Rhode Island is the costume jewelry capital of America and that most of its inhabitants, including his single mother, toiled their lives away in these factories. Fain's mother found a way to work at one place long enough to get unemployment payments just to put food on the table and barely eke out a living, each time succumbing to the rigors of factory's physical demands which caused illness's like carpal tunnel syndrome and swollen feet. 

Mitchell then talks about his move to Chicago as being a move to the BIG CITY! Fortunately, he had a wonderful Christmas loving aunt, who was very generous with him and decorated her house magically each year. He brings up the irony that I have always felt as a Jew as well - that Jews actually appreciate Christmas and the whole glamorous lighting and decorations of Christmas because we never had them as children.

In one of the most meaningful moments for me he describes how people who gripe about having to fly home for the holidays are forgetting how LUCKY they are to have a place to go to (he had none) , how lucky they are to have people who love them enough to want them to come home and also lucky enough to have the MEANS , the money to get home, which most of the time, many actors do not. 

We are introduced to the story of his mother's passing in Phoenix when he reveals that during his eight great years playing Crumpet, he only missed two performances - once when he was almost hospitalized for the flu, but that he did not miss a show when his mother died. Fain received the call that his mother was dying right after performing his Sunday show but did not have enough money for a last-minute airline ticket to Phoenix and so his kind Chicago theatre family helped him raise the money to catch a red eye. Mitchell did get to Phoenix in time to say goodbye to his mother and said as he finally arrived at her bedside, and asked how she was doing, that one single tear rolled down her cheek – a tear he recognized as “Uh oh, Mitchell’s here. This must be bad”, rather than a tear that loving Mitchell was at his dying mother’s bedside. 

Fain and his siblings had to make the terrible decision to remove life support just as their mother clung to life just a little while longer, recovering well enough to be moved to hospice. But soon the inevitable took place and she passed away.

The comedy of errors began when the three siblings rush to get her cremated as is the Jewish tradition and are faced with a crummy mortician picked out of the phone book by Fain’s oldest brother. When they opened the comically large doors, the place reeked of smoke, death and CVS perfume, Fain tells us. The funeral director was crabby, short and constantly reminding the Fain’s how backed up they were before going into a relentless pitch for the family to purchase a casket, which was not in their plans remotely. Mitchell then asked to be directed to the washroom and was told the door to find just down the hall. After passing one door after another he passed an open room where his mother was laid out on a slab fully naked. Mitchell lost it, returning the tell the director he’d like to punch him in the nose. He then demanded that she get the paperwork in order for a cremation before he finishes his cigarette, then rushes outside for a cigarette - even though he doesn't smoke. 

Fain's siblings rush out to see if he was okay and, as he told the story of what had just happened, enjoyed a laugh together, the kind of laugh only those in mourning can appreciate when they all realize this crazy situation is the "most fun they have had with their mother in a long time". 

As a Jew who moved to Chicago from Miami Florida in the 80's after visiting my mother's side of the family at Christmastime, longing to experience the miracles of snow and seasonal changes and well, Christmas itself, I felt many connections to Mitchell's tales about his life in the city.

The Chicago theater scene with all its faults really is wonderful and is different from any other city like Los Angeles or New York in its BIG smallness, including how the poverty of actors and artists living in cheap studios, all of us totally broke for years on end paying off student loans forever. But through it all we eventually yield lifelong friendships, friendships that have become an extended family for us that no other BIG city would have fostered. And just like we learn in the inscription in George Bailey’s book at the end of It’s A Wonderful Life – “No man is a failure who has friends.” 

It seems playing the role in the award-winning writer David Sedaris's play for so long has rubbed off on Fain because in “This Way Outta Santaland (and other X Mas Miracles)”, Fain has written another play, also deserving of many awards, which for a Jew from the mean streets of Rhode Island is a Christmas miracle of its own! 

Fain is a true delight! Be sure to catch “This Way Outta Santaland” during its run through December 23rd for a warm, humorous and uniquely delivered show that features tremendous storytelling and wonderful music. To find out more about performance times and show information, visit www.TheaterWit.org.

Serious theatergoers may well want to see Maxwell Anderson’s Winterset, which in 1935 won the first New York Drama Critic’s Circle Award for Best Play. Specializing in mining historic gems, Griffin Theatre Company’s production at The Den Theatre gives it the full Monty.

Though Winterset is a period piece, unlike 1930s works like Mother Courage or Waiting for Lefty, the social agenda in Anderson’s work doesn’t supersede the story. In this tragedy, the star-crossed lovers Mio (Maurice Demus) and Miriamne (Kiayla Ryann) suffer the slings and arrows of an ill-fated romance.  

The challenge for audiences made up of you and me is the language and structure. Written largely in verse, in three acts with two intermissions, Winterset is work to watch. The performances that director Jonathan Berry draws out carry the story well enough. But the language, especially Act I, is so stylized that I wondered if the playwright were really any good. He wrote the 1954 hit The Bad Seed, and in 1947 Anne of a Thousand Days - both also successful as films.

Winterset is another matter. Impossibly poetic lines are tossed into moments of climactic action. Actors sometimes resorted to continuously declaiming, or soaring away on wings of poetry, in their delivery. That being said, you can totally follow the story of young Mio, who wants to clear the name of his father, unjustifiably executed for a murder. Miriamne learns that her brother Garth (Christopher Acevedo) knows enough to clear Mio’s father. But he is intimidated from doing so when two accessories to the murder arrive: Trock (John Odor conjures up Killer Joe) and Shadow (Bradford Stevens as Trock’s ominous partner).

Norm Woodel in his supporting role as Esdras has the vocal skills to overcome Maxwell’s challenging script, putting cadence, timber, emphasis and whatever else the pros know into delivering lines greatly. And Larry Baldacci as Judge Gaunt also has the seasoning to carry it off. But this is a tough script for today.

The retro industrial set by Joe Schermoly is a standout. Despite the constraints of space, Schermoly has created a properly noir environment with backlit fog (lighting by Alex Ridgers). The stage tilts forward, with huge steam pipes that fit the script and are so convincing I thought they were part of the Milwaukee Avenue loft building that Den calls home. Schermoly’s recent credits include Steppenwolf’s Constellations and Victory Gardens Hand to God – all very different and all very creative. 

In its time, Winterset was celebrated for its topicality. Audiences did not miss parallels to efforts to exonerate Sacco & Vanzetti, two Italian immigrants executed for murder in 1927, in a case that resonates with today’s social activist movements. In real life, nearly every major city on the globe saw protests in 1927 in support of the two. That subtext combined with the romantic tragedy was boffo at the box office. Ticket buyers ponied up to keep the retelling the tale in Winterset's 190-performance run on Broadway.

This show is recommended. See Winterset at the Den Theatre through December 23, 2016.

Underscore Theatre and Harborside Films hearkens back to a simpler time, when the biggest national tragedy was a young Olympic figure skater getting clubbed in the knees. The year was 1994 and the world couldn't get enough of Tonya Harding versus Nancy Kerrigan. Some twenty-two years later, this scandal is ripe fodder for a campy rock opera. 

Written by Elizabeth Searle and Michael Teoli, "Tonya and Nancy" is exactly what it sounds like. A sharp, 90 minute campfest akin to "Mommie Dearest." There's no dressing this up as anything other than satire. It almost feels like an extended SNL sketch, but that's not to say it's not interesting. It's questionable how much of this skate tale is true, but it certainly serves to humanize both Tonya Harding and Nancy Kerrigan. 

Since this is billed as a rock opera, the soaring vocals make good sense. In the role of wrong-side-of-the-tracks Tonya Harding is Amanda Horvath, and she lands it well. Despite everything, Horvath's performance gives Harding some extra layers. She's also hilarious. Courtney Mack co-stars as Nancy Kerrigan. Mack also has a tremendously strong voice and it comes across in such campy songs as "Why Me?" While the show may be about two figure skaters, Veronica Garza actually steals the show playing dual-characters, Tonya and Nancy's moms. She seems to relish in playing Tonya Harding's down-on-her-luck mom, and the audience eats her spot-on accents right up. Garza also has an impressive voice. 

Director Jon Martinez's choreography stands out as a high point in a show about ice skating that doesn't actually feature any ice skating. It's almost a surprise to see so many group dance numbers in a small space. In fact, the show features ensemble members in a perpetual state of motion which adds a nice visual element. It pairs well with all the lyrcra costuming, which reminisces of a thankfully bygone era. 

For those entering this fray with some skepticism, approach this work with confidence. "Tonya and Nancy" is highly polished and well-staged. There's some real potential here. The show may be a little crowded with solos, but otherwise this is a solid script. It's always fun to see a new musical in its debut production. 

Through December 30th at Theatre Wit 1229 W Belmont Ave. 773-975-8150.

Do you remember the holiday spectacular TV specials in the early 1980's? I do. They were a wacko mix of old timey singing groups mixed with the “hottest” stars of the day and all were decked out stage-wise in cheerful, colorful and yet, in retrospect, disturbing fake Christmas sets.

Just in time for our election bruised souls here comes the grandmammy of Christmas Spectaculars to our emotional rescue! Hell in a Handbag’s “The Rip Nelson Holiday Spectacular” is just the anecdote.

Ed Jones stars as Rip Nelson taking over at the eleventh hour for the host Paul Lynde who has just passed away. Ed Jones is absolutely hands down the most talented yet somehow unknown comedic actor in Chicago today and just takes the role and runs with it. Jones always manages to take whatever character he is given, leading or supporting, and gets a laugh and/or tear out of every little line and gesture having the same effect throughout this terrifically funny ninety-minute extravaganza of camp delight.

Fresh out of the Betty Ford Clinic for the seventh time, Rip Nelson declares "Betty Ford's eyes turn to dollar signs when she sees me."

As was the fashion on those days, a Holiday special usually joined together a WIDE variety of well-known variety stars, in this case, Rip Nelson gets to play host to  Patti LaBelle (RoBert Williams), Liza Minnelli (Alexa Castelvecchi), magician Doug Henning ( David Lipschutz), Bruce Jenner (Chazie Bly), rival girl groups The Lennon Sisters (AJ Wright, Anna Seiburt and Kristopher Bottrall) and the King Cousins (Terry McCarthy, Grant Drager and Adrian Hadlock) and, finally, Rip's ex-lover Dom DeLuise who we learn was a dear lover of Rip's who left him for a woman, having children in order to  stay in the closet. 

The show is a riotous camp-fest of the early 1980's Christmas specials, yet as funny the pokes to the era and characters, it also carries a strong tribute to such. Underneath, is a warm reminder of an amazing period like no other. 

Now one by one, the supporting cast need some special mentions. 

Patti LaBelle played by RoBert Williams brings down the house with her vocally superb and emotionally resonant rendition of Cats’ “Memories" along with Jones. 

Liza Minnelli played beautifully by Alexa Castelvecchi is the most lovely and convincing Liza Minnelli I've seen on the stage - ever!  And I've had the pleasure of seeing the real Liza perform in Miami Florida twenty years ago. When Castelvecchi sings "Have Yourself a Merry Little Christmas" shortly after trashing Rip's dressing room while looking for cocaine, it is with true vocal chops that she brings a happy yet warmly melancholic tear to everyone in the audience.

Doug Henning played by David Lipschutz has just the same amount of crazy-eyed optimism and skinny, ball bearing costumes that made me flash back hysterically to that time period in entertainment every time he was on stage. Lipschutz delivers a spot-on imitation of Henning that made me laugh nonstop every time I looked at his starry-eyed glazed smile. 

Gladys, the longtime faithful hair stylist and makeup artist for Rip played by Lori Lee has a big warm and genuine way of taking each moment or turning point as it occurs to Rip and translating it into a real sweet message that subtly weaves the whole play together like a ball of knitting yarn left over for the stringing of popcorn ornaments by your favorite aunt. 

All the members of each girl group made a fun-tastically ensemble for each big dance and song number while Dom Deluise keeps us laughing and routed in the year 1982. Also, Bly as Bruce Jenner delivers another spot-on laugh riot with his red nylon short shorts and overly-emphatic delivered lines. 

I'm not sure how David Cerda, writer and Artistic Director of Hell in a Handbag Productions does it. The costumes and casting are always top notch, the singers can REALLY sing and the dancers can REALLY dance. Cerda has a way of injecting each of his scripts with both the strongest parts of each character with the weakest most vulnerable, loser parts to create a world of self-empowerment both funny and full of pathos that anyone our age who has seen a few dreams come and go can really appreciate. 

In Ed Jones as Rip Nelson, we relate to his struggle NOT to start drinking again while under the most pressurized job of his life we all see ourselves. Faded glories of what we hoped we'd be, yet with new possibilities opening right before our eyes, if we can only hang in there and believe in ourselves long enough. 

There were also a couple of really fun appearances by Kermit the Frog, which in the 80's was de rigueur to suddenly have a puppet "star" appear on a TV show as well. 

The finale song by Kermit and the cast which tries to reconcile the Santa Claus view of Christmas, a fantasy of consumerism gone mad and the Jesus Christ is the "reason for the season" view, culminates in an urgent and heartfelt wish that someday the two views of Christmas will finally make sense and be as ONE - of a happy Christmas time.

I highly recommend this adorable, funny, PARTAY for the senses that will start your Holiday Season with a wet sloppy kiss, a big warm hug and pat on the ass to keep on keepin’ on! 

The Rip Nelson Holiday Spectacular is being performed at Mary’s Attic in Andersonville through December 30th. For tickets and/or more show information visit http://www.handbagproductions.org/. 

Erika Sheffer’s The Fundamentals is a powerful tale of the struggles of a service industry worker. It is also a parable for our times. Director Yasen Peyankov has taken what we see all the time, and really shows it to us. 

The Fundamentals (at Steppenwolf Theatre) tells the story of Millie (Alana Arenas), a housekeeper in The Bakerville, a New York boutique location of a premier luxury hotel chain. Classic dramatic tension arises as Millie, aspiring to a better job and compensation, tries to move up from cleaning rooms to front desk.

In the course of the story, Millie learns she can get ahead by feeding her manager profit enhancing ideas gleaned from a housekeeper’s perspective. Arenas’s Millie is completely convincing as the innocent feeling her way through a corporate environment, and learning as she goes.

Millie soon discovers her manager puts the highest value on dirt about long-time workers that will let her fire them and hire cheaper replacements. You will readily recognize the lifer in the thirty-year hotel veteran Abe (played to a 't' by Alan Wilder). He ends up in the crosshairs.

In the role of Eliza the manager, Audrey Francis is flawless as an avatar of the steely corporate operative. She captures your attention, yet makes your skin crawl.

Another tension arises in the play around a class divide between workers, and the more moneyed class of managers and customers. This gap is even expressed in the language: Arena’s Millie, speaking in a thoroughly natural Manhattan brogue, contrasts sharply with the crisp Connecticut language of manager Eliza. Tanera Marshall coached dialects.

The private life of the struggling housekeeper spills over into workplace conflicts with her beau, hotel janitor Lorenzo (a strong performance by Armando Riesco). 

Like many contemporary service businesses, this hotel has developed a detailed strategy for maximizing the satisfaction of guests, carefully training employees in seven “fundamentals.” 

In this scenario natural expressions of interest and concern are replaced with uniform gestures of graciousness, and an interest in a customers welfare that is artificial, even clinical. Millie questions aloud the conflict in offering generosity and graciousness to customers, but not to colleagues. 

The Fundamental’s serious reflection of these societal concerns is a tribute to the developers of this work – more than a year in the making it was commissioned by Steppenwolf, funded by the Zell Foundation, parts were read at the Guggenheim Museum in New York, and an earlier version was performed at Steppenwolf’s First Look series last year.

Steppenwolf’s prodigious marketing skills were also put to dramatic use fashioning media props in this work. The play is sprinkled with highly polished advertising interludes (Stephan Mazurek) that are shockingly authentic. This was the first time I have ever been shaken from suspending disbelief, to really believing. 

The set by Collette Poward also deserves great praise. The millworked trim and  commercial lighting of a hotel hall make a great backdrop for the multimedia interludes. The elevator from the subterranean locker room to guest services is completely convincing.

The Fundamentals at Steppenwolf Theatre comes highly recommended. It runs through December 23, 2016.

Northlight Theatre’s Miss Bennet: Christmas at Pemberley is deftly crafted, a thoroughly engaging comedic riff on Pride & Predjudice, Jane Austen’s early 19th century classic. 

It is also a refreshing antidote to a truth universally known: that Chicago stages yield slim pickin’s for legitimate drama this time of year. Nothing against A Christmas Carol, but, bah humbug.

Even better, though: Miss Bennet is laugh out loud funny. It picks up two years after Pride & Predjudice left off. Bookish spinster Mary Bennet (Emily Berman) meets her match in a scholarly young Oxford grad Arthur de Bourgh (Erik Hellman). The chemistry between these brainy characters is vividly rendered on stage by Berman and Hellman.

In short order the two become the center of the action, and the life of the play. (I was reminded of Big Bang Theory’s Sheldon & Amy) Another real stand out is Bri Sudia as Anne de Bourgh, who commands attention and obedience as she competes unsuccessfully with Miss Bennet for Arthur.  

Must one be conversant in Austen's ouvre to get this show? Decidedly not. You just need a funny bone.

Playwrights Lauren Gundeson and Margot Melcon have concocted a classic comedy of manners, with a dash of farce. They tread lightly on the Regency English while keeping it clever and witty, injecting various comic tropes - misplaced letters, props imbued with humor in the course of the action - and offering a dramatic intrigue that builds to pique the audience's interest as Act I ends. Just like the old days. 

This play is set in a time when the English people were first adopting the tannenbaum from Germany, allowing a Christmas tree to reasonably appear on stage - conveniently enough for seasonal marketing purposes. Anne de Bourgh showers the spruce in whithering disdain, to great comic and dramatic effect. Perhaps that is why I liked her so much. 

The production is exceptionally detailed, with intensively styled Regency finery for men and women by Melissa Torchia, and a set by Rick and Jacqueline Penrod that would be at home on the cover of Architectural Digest. 

Running through December 18 at Northlight Theatre, this show comes highly recommended for the season.  

Opening in the town square of a small town in Spain, Don Quichotte by Jules Massenet tells the story of a somewhat delusional knight errant, his squire Sancho and their quest to retrieve the stolen necklace of Dulcinée in an effort to win her love and affection. Adventures with the bandit Tenebrun and his bandit gang ensue but Don Quichotte prevails and returns home with the necklace, only to be turned down by his love who wishes to remain unattached and independent. As the opera reaches its fifth act, Don Quichotte and Sancho return to the mountains where Don Quichotte embraces his imminent death much to the dismay of the ever-faithful Sancho. 

Before the start of each of the five acts, quotes from the novel are projected onto a screen covering the stage. As the music - conducted by Sir Andrew Davis – swells, creative lighting starts to bring to life the scene behind the screen. With an elaborate set designed by Ralph Funicello, we are transported from the town square to a mountain side adorned with windmills to the bandit’s lair. The creative use of projected animations, and well-constructed set pieces fill the stage with life and energy. 

In the main role, Ferruccio Furlanetto is a standout of the show. Capturing the eccentric character of Don Quichotte with his interestingly coifed hair and handle bar mustache, and his somewhat outdated armor all atop his trusty horse Rossinante, Furlanetto brings the role to life. For all the emotion and drama he brings to the show, his loyal squire Sancho, played by Nicola Alaimo in his Lyric Opera debut, brings the comic relief.  The pair together was a joy to watch and had great chemistry on stage throughout the performance to where the final scene will truly tug at your heartstrings. 

There is a large chorus for this show and amazingly the moments where only 2-3 actors shared the stage were just as powerful as when there were 20-30 people crowd the stage raising their voices together. The choreography and stage direction by August Tye was well done, with natural movement of large groups on stage that captured the feelings and emotions being portrayed in the scene whether it be the joyous celebration of the beauty Dulcinée, or Don Quichotte’s final prayer to the group of bandits. 

Overall, this was a great performance that tells a moving story. Although the show is 5 acts the story moves along quickly, and will keep you entertained. Sung in French, there are subtitles over the stage in English to follow along. While not over the top, the production is quite a spectacle and should be enjoyed by opera lovers and newbies alike.  Be sure to get your tickets soon as the production is only running at Lyric Opera of Chicago through December 7th. 

Harris Theater's first ever Choreographer in Residence, Brian Brooks, is ready to make his mark in Chicago. “It’s not just what I might be bringing to the Harris theater, but what Chicago is showing me and being exposed to all of these new dancers and choreographers.” 

Brooks residency at the Harris is set last for three years, and so far, collaborations planned include the Miami City Ballet and Brooks own dance group, Brian Brooks Moving Co. Each piece commissioned will be performed at the Harris Theater. “The potential for artistic growth is very liberating. This particular structure of this residency, working with very different and diverse companies, the Hubbard Street versatility and contemporary work that they do, my own company that gets quite adventurous with athletic physicality and pre avante garde original music compositions, and then Miami City Ballet, the classical ballet, and where they want to head in this new era. The range of dancers and aesthetics that his residency is encouraging me to work with, it’s a huge step and a platform I am very honored to be a part of.”  

In Hubbard Street Dances Fall Series, Brooks premiered his first work, Terrain and if this is any indication of what is to come the next three years, Chicago is in for a treat. 

Terrain certainly lives up to Brooks description. With 17 Hubbard Street Dancers taking the stage “I’m playing a bit with imagery, all of the dancers are integrated with a call and response and cause an effect. Every dancer is navigating in their cave of space in relation of the group” There is constant movement, one dancer always reacting to another’s movement or touch. As if energy is being passed through them, the performance is bright and energetic. 

Throughout the piece, the dancers are continuously coming together and moving apart. Brooks says, “The piece is slightly an abstraction, the dancers work as individuals and a community, it has overtones of simple and community integration, using the rapid response and quick fire partnering creating a moment to moment imagery.”

Terrain is an exciting and spirited piece from this Chicago newcomer. Chicago should keep their eye on Brooks as he is sure to bring some fresh perspective and inventive collaborations to the Harris Theater over the next three years.