Items filtered by date: November 2007

Even 40 years later, the AIDS crisis continues to shape American life. Long before Hollywood brought AIDS stories to the cultural mainstream, the theatre was a safe place for actors and writers to explore their fears and sense of injustice for a mass audience.

‘Falsettos’ playwright William Finn began working on what would become the now classic musical in the 1970s, as a response to the gay liberation movement. The play started as a series of one-acts concerning Marvin, the show’s protagonist as he navigates leaving his family for his male lover. Initially the first installment, ‘In Trousers’ was a critical and commercial failure. Finn considered abandoning theatre entirely, but instead collaborated with lyricist James Lapine to create ‘Falsettos’. A musical that would explore both gay liberation and the early years of the AIDS epidemic through the vantage point of Finn’s character Marvin.

Court Theatre and TimeLine Theatre team up for a joint revival of ‘Falsettos’ at the Hyde Park theater. With a 70s-themed set, audiences are transported back to 1979 where they meet Marvin, the play’s central character played by Steven Schellhardt. Not only is this a play about gay culture, but it’s also a celebration of the Jewish-American experience. The show begins with a song ‘Four Jews in a Room Bitching’ that introduces the sing-songy musical style that permeates throughout.

Marvin is leaving his wife Trina (Sarah Bockel) for his new lover Whizzer (Jack Ball). Trina is taking up with the family psychiatrist Mendel (Jackson Evans). Their son Jason (Charlie Long) is caught in the middle as his parents duke it over his approaching bar mitzvah. Marvin wants it all, his perfect nuclear family and his new lover, at whatever emotional cost that comes to his son, his lover and Trina. What’s so striking about the first act is how modern the themes are. Perhaps in a world without the specter of AIDS hanging over it, this odd family arrangement would have eventually worked itself out. Act I essentially lives in a vacuum uninfluenced by the coming epidemic. Act II catches up with the characters two years later. Things have slightly improved for Marvin and his family but another grim reality emerges. Whizzer becomes one of the AIDS epidemic’s first victims. This 11’o clock tone shift admittedly feels jarring especially against the chipper upbeat music. Though, it makes this musical feel unique as far as AIDS literature goes. It’s not the AIDS musical per se, but rather a musical about the gay experience that features AIDS. In this story, the virus is so new it doesn’t even have a name or a course of treatment.

Lyricist James Lapine crafted words for Sondheim classics like ‘Sunday in the Park with George’ and ‘Into the Woods’. His signature rhyming scheme are both a blessing and a curse for ‘Falsettos’. Sarah Bockel is undeniably this production’s strongest asset, especially during  numbers like ‘Trina’s Song’ showcase her talent as a singer and physical performer. However, the lyrics feel outdated as any sort of feminist anthem.

The play is aptly titled ‘Falsettos’ as the characters are often singing in a much more upbeat style than the content of the lyrics. Sometimes it works, and sometimes the rhyming feels like a reach. The musical style works well in big cast numbers like ‘Falsettoland/It’s About Time’, but when the play takes on a more serious tone the format feels contradictory to the plot.

Director Nick Bowling and music director Otto Vogel present a faithful, high-end revival that will delight fans of the musical. The cast rises to the occasion wonderfully, especially child actor Charlie Long as the hopelessly awkward teen caught in the middle of his parents’ drama. Putting ‘Falsettos’ into the context of today’s more accepting world, it feels like a victory lap, a reminder of how far society has come. It’s a celebration of love in all its forms. 

Through December 8 at Court Theatre. 5535 S Ellis Ave. 773-753-4472.

I thoroughly enjoyed Drury Lane's enchanting stage production of Disney’s The Little Mermaid from start to finish. While few are overly familiar with Hans Christian Andersen’s original, darker tale of ill-fated romance, the Disney animated film and this stage adaptation, with a book by Doug Wright and music by Alan Menken, lyrics by Howard Ashman and Glenn Slater, beautifully transform the fairytale into a heartwarming story of love and triumph for the heroine, Princess Ariel.

The mermaid Ariel, portrayed with sunny enthusiasm and skillful vocal stylings by Sarah Kay, is a Princess and the beloved daughter of King Triton, convincingly played by Anand Nagraj. Ariel is captivated by the world above the waves, yearning to experience the sunshine and the joy of walking through green fields. Her fascination with the human world deepens when she falls in love from afar with a human prince.

During a fierce storm, Ariel saves the Prince from drowning, and in that moment, she finds herself falling for him. The Prince, portrayed with sensitivity and earnestness by Patrick Johnson, is captivated by the voice of his rescuer, though he never sees her face as Ariel swiftly returns to the sea, hiding her mermaid identity.

The chemistry between Kay and Johnson enriches their characters, making their blossoming romance both believable and heartfelt. Kay's Ariel exudes innocence and curiosity, while Johnson's Prince captures sincerity and a deep longing to find the mysterious singer who saved his life.

King Triton, wary of humans and deeming them dangerous, has commanded his daughters to stay away from them. This forces Ariel to make a desperate deal with Ursula—her powerful, estranged, octopus-like aunt, who was once banished by King Triton, her brother.

Anand Nagraj as King Titan and Michael Earvin Martin as Sebastian. 

Ursula, portrayed by Sawyer Smith, casts a spell on Ariel, compelling her to give up her extraordinarily beautiful voice in exchange for a chance at love. Ariel must win the heart of the Prince, who must love her so deeply that he is compelled to kiss her. Only True Love's kiss can break Ursula's twisted spell. If Ariel fails to find true love and receive the Prince's kiss, she will be banished to the underworld, and Ursula will claim her soul. Sawyer Smith, as Ursula, is a showstopper! Smith's costumes, makeup and movements are menacing, powerful, yet glamorous all at the same time. Smith’s talent is fully on display during a commanding rendition of “Poor Unfortunate Souls.”

The cast delivers uniformly strong performances throughout. Matt Edmonds also stands out with his impeccable comic timing as Chef Louis, eliciting plenty of hearty laughs with his hilarious solo number “Les Poissons.” 

I valued the emphasis placed on the power of a single woman’s voice and the profound impact of a young woman losing her voice, especially in today’s context. It was heartwarming to see so many young girls in the audience, their faces glowing with delight. They were captivated by the show's humor and romance, yet also deeply moved to tears by the poignant theme of Ariel sacrificing her voice to win the love of a man.

This production, under the skillful direction of Scott Weinstein, with choreography by Kasey Alfonso and a vibrant set designed by Tijana Bjelajac, excels in providing delightful musical theater entertainment for both children and adults. It is truly a pleasure to watch.

Patrick Johnson as Prince Eric and Sarah Kay as Ariel.

The puppetry in this production was extraordinary, among the finest I've seen on a Chicago stage. For instance, the two eels, Ursula’s sinister accomplices, glide gracefully through the audience and across the stage with glittering lights encased in sheer black chiffon, creating an absolutely magical effect. The puppet characters were all exceptionally well played and designed. Notable performances include Sebastian (Michael Earvin Martin), Scuttle (Landree Fleming), Flounder (Maya Lou Hlava), Jetsam (Ryan Michael Hamman) and Flotsam (Leah Morrow). The impressive puppet design was crafted by Chicago Puppet Studio, Caitlin McLeod, and Zachary Sun. 

The set design, featuring the imaginative light projections by Anthony Churchill and the atmospheric lighting by Ryan O’Gara, brilliantly conveyed the sensation of being under the ocean. Their work uniquely and creatively transported the audience to an enchanting underwater world, making the experience both magical and mesmerizing.

The Little Mermaid is a fantastic ensemble piece, and the entire cast brings the house down with their rousing, colorful, and energetic group number in “Under The Sea.” This performance beautifully captures the splendor of the mermaid's underwater home and castle, making it a mesmerizing highlight.

I highly recommend this colorful, ingenious, and lively production for audiences of all ages who wish to experience one of their favorite Disney fairytales come to life! 

Disney’s The Little Mermaid is being performed at Drury Lane Theatre in Oakbrook through January 12th. For tickets and/or more show information, visit https://drurylanetheatre.com/the-little-mermaid/.

Award-winning Redtwist Theatre is proud to announce the roster of plays for its inaugural Twisted Playfest, December 17 - 22, and the cast and creative team for the headlining production in Twisted Playfest, The Totality of Things, written by Eric Gernand and directed by Enrico Spada, December 5, 2024 - January, 19, 2025, at Redtwist Theatre, 1044 W. Bryn Mawr Ave. Complete schedule and additional details are below. The Totality of All Things single tickets and Twisted Playfest reservations will be available on Monday, Nov. 18 at RedtwistTheatre.org with discounts available for seniors, students and industry professionals and pay-what-you-can for all Friday performances of The Totality of All Things.

Redtwist's inaugural new work incubator, Twisted Playfest features six plays at various stages of development. The plays are presented as staged readings, stand readings and a main stage production of Eric Gernand's The Totality of All Things. In addition to inclusion in Twisted Playfest, Redtwist supports its festival playwrights throughout the new year with additional readings and workshops.

“We look forward to the launch of the first Twisted Playfest at our newly renovated Redtwist Theatre,” said Co-Artistic Director Dusty Brown. “This new festival - six plays, 10 days, 20 performances, all Chicago - will introduce plays from Chicago playwrights and offer audiences a rare opportunity to see these new works.”

“The Twisted Playfest is the first step in these new plays’ incubation,” said Co-Artistic Director Eileen Dixon. “From our headliner The Totality of All Things to the staged readings to the stand readings, the inaugural roster of plays represents a wide variety of styles, ideas and themes. Redtwist is introducing this new work so that the playwrights may hear from audiences and contemporaries to continue the works’ development.”

The 2024 Twisted Playfest includes:

TWISTED PLAYFEST HEADLINER

The Totality of All Things

Headliner of the Twisted Playfest

December 5 - January 19, 2025

Written by Eric Gernand

Directed by Enrico Spada

Previews: Thursday, Dec.5 and Friday, Dec. 6 at 7:30 p.m.

Press Opening: Saturday, Dec. 7 at 7:30 p.m.

Performance Schedule:

Previews: Thursday, Dec.5 and Friday, Dec. 6 at 7:30 p.m.

Performances: Sunday, Dec. 8 at 3:30 p.m.

Thursday, Dec. 12 - Saturday, Dec. 14 at 7:30 p.m. and Sunday, Dec. 15 at 3:30 p.m.

Thursday, Dec. 19 and Saturday, Dec. 21 at 8 p.m.

Thursday, Jan. 9 and Friday, Jan. 10 at 7:30 p.m., Saturday, Jan. 11 at 3:30 and 7:30 p.m. and Sunday, Jan. 12 at 3:30 p.m.

Thursday, Jan. 16 and Friday, Jan. 17 at 7:30 p.m., Saturday, Jan. 18 at 3:30 and 7:30 p.m. and Sunday, Jan. 19 at 3:30 p.m.

Redtwist Theatre, 1044 W. Bryn Mawr Ave.

RedtwistTheatre.org

Tickets: $35 with discounts available for seniors, students and industry professionals and pay-what-you-can for all Friday performances.

The centerpiece of Redtwist's inaugural Twisted Playfest is The Totality of All Things. The Totality of All Things introduces audiences to Judith Benson, “teacher-famous” for the award-winning student newspaper she proudly oversees at her small Indiana high school, a program that extols truth and integrity in journalism. At the start of a new school year, an anti-gay hate crime occurs calling everything Judith believes about inspiring the next generation of reporters and the definition of truth itself into question.

The cast of Totality of All Things is Redtwist Ensemble Member Jacqueline Grandt (she/her, Judith); Suzy Krueckeberg (she/her, DeeAnn); Philip Matthews (he/him, Gregg); Kason Chesky (he/him, Micah); Aundria TreNay (she/her, Ms. Carter); Phil Aman (he/him, Principal Benson); Hilary Sanzel (she/her, Judith understudy); Michelle Perry (she/her, DeeAnn understudy); Nate Brimner Smith (he/him, Gregg understudy); Zachary Cutter (he/him, Micah understudy); Andi Muriel (she/her, Ms. Carter understudy) and Hugo Balta (he/him, Principal Benson understudy).

The production team for Totality of All Things is Erik Gernand (he/him, playwright); Enrico Spada (he/him, director); Taylor Mercado Owen (he/him, stage manager); Emily Newmark (she/her, assistant director); Madeline Felauer (she/her, costume designer); Redtwist Ensemble Member Jeff Brain (he/him, props designer and technical director); Camille Pugliese (she/her, dramaturg); Nicholas Svoboda (he/him, sound designer); Brandii Champagne (they/them, scenic designer); Raine DeDominici (they/them/she/her, production manager) and Cat Davis (she/her/they/them, lighting designer).

TWISTED PLAYFEST STAGED READINGS

Fiona

Written by Zack Peercy

Directed by Jessica Love  

Performance schedule: Tuesday, Dec. 17 at 8 p.m. and Saturday, Dec. 21 at 4 p.m.

Tickets: Pay-What-You-Can

Fiona is the performance of a lifetime. What starts as an examination of 25 letters all addressed to an unknown "Fiona" rapidly evolves, expands, contracts and explodes into an exploration of belief, reality, presentation and legacy.

Man Cave

Written by Caroline Kidwell

Directed by Co-Artistic Director Eileen Dixon  

Performance schedule: Friday, Dec. 20 at 8 p.m. and Sunday, Dec. 22 at 3 p.m.

Tickets: Pay-What-You-Can

Guess what? The world ended. And Hannah, a lifestyle vlogger, has been living alone in a bunker for five years. She’s an influencer with no one to influence until Wanda, a survivor, knocks on her door.

Keep It Light

Written by Toby Inoue

Directed by LeKecia Harris

Performance schedule:

Tickets: Wednesday, Dec. 18 at 8 p.m. and Saturday, Dec. 21 at 12 p.m.

Pay-What-You-Can 

To find their way back to each other, two mixed-race half-sisters are forced to grapple with the complicated ways in which their mother's racism broke them apart. Winnie, half African-American, is a famous but canceled celebrity stand-up comedian and Tomi, half Asian-American, is an elementary school art teacher who stayed in their hometown. Tomi calls Winnie home when their mother becomes seriously ill and the sisters sort their mother's house as they accommodate her last wishes, including a comeback show for Winnie and a hospital wedding for Tomi.

TWISTED PLAYFEST STAND READINGS

You Sit Down and You Cry

Written by Ruben Carrazana

Directed by Joshua Servantez

Performance schedule: Thursday, Dec. 19 at 10 p.m and Sunday, Dec. 22 at 1 p.m.

Tickets: Pay-What-You-Can 

The play is about a break-up. A really bad break-up. Like the worst. And about time. And how time heals. And how, sometimes, it doesn't. A play about moving on. And not moving on. An anti-romantic comedy about toxic masculinity and pain and suicide and pizza rolls and the United States Postal Service. A love letter to getting your heart crushed, because sometimes, you deserve it.

Murder in Residence

Written by MT Cozzola

Directed by Hannah Blau

Performance schedule: Friday, Dec. 20 at 5:30 p.m. and Sunday, Dec. 22 at 5 p.m.

Tickets: Pay-What-You-Can

When a brilliant young poet disappears from an artist’s colony, her fellow writers weave alibis to shield their secrets from an unseen inspector who digs relentlessly for the truth. In a secluded mountain retreat, six ambitious women come together to write their masterpieces but switch to alibis when brilliant young Kenna meets a mysterious demise. As they struggle to shield their secrets, a relentless inspector digs for the truth. Everyone is lying - Kenna’s lover Mandy, rival Fern, would-be bestie Lynette…even the kindly cabbie who saw her last. In a race against time to unmask the killer, each must confront their deepest desires and wrestle with the bonds of love, art and community.

Deserted

Written by Melanie Coffey

Directed by Co-Artistic Director Dusty Brown

Performance schedule: Tuesday, Dec. 17 at 5:30 p.m. and Saturday, Dec. 21 at 2 p.m.

Tickets: Pay-What-You-Can

Jodie and Emma are the lucky winners of the Project's Soil competition, where they receive a truckload of soil and are to garden it with prairie grasses, native flowers and the vegetables of their choosing. But their well is drying up, the Neighbor keeps sneaking over and eating the soil and the couple is becoming less and less the good team they thought they were. Putting roots down in desertified land is never easy.

Following

Written by Ben F. Locke

Directed by Devin Christor

Performance schedule: Wednesday, Dec. 19 at 8 p.m., and Saturday, Dec. 21 at 10 a.m.

Tickets: Pay-What-You-Can

Darnell is an up and coming app designer. His popularity attracts a lot of fame and attention. It all seems great until he finds out that he's being stalked. Can Darnell solve the mystery before it's too late? Following explores what exactly it means to be an ally. Do we do what we do because it's the right thing to do or do we all have our own selfish motives that dictate what we deem as what's right and wrong?

Strange Fruit

Written by Brandon Wright

Directed by Rashaad A. Bond

Performance schedule: Friday, Dec. 20 at 10 p.m. and Sunday, Dec. 22 at 11 a.m.

Tickets: Pay-What-You-Can

In quiet suburbia, a group of five come across the body of a black boy hanging from a tree. They take it upon themselves to figure out whodunit, but as they explore the nature of this violent hate crime true secrets start to become uncovered within themselves.

Short Changed

Written by Jordan Gleaves

Directed by Aja Singetary

Performance schedule: Wednesday, Dec. 18 at 5:30 p.m. and Saturday, Dec. 21 at 10 p.m.

Tickets: Pay-What-You-Can

Stan is homeless in the West End neighborhood of Atlanta and estranged from his brother. To make matters worse, Stan is about to lose his beloved “Mother,” Friendship Baptist Church, which is to be demolished and replaced by a new football stadium for the Atlanta Falcons. In the midst of the neighborhood’s rapid gentrification, Richard returns into Stan’s life with hopes of helping his younger brother get a leg up out of homelessness and avoid displacement. First, however, they must work to amend their relationship and work past moral differences. Is reconciliation possible and how much will it matter when the community around the brothers is changing with or without their participation?

Stage managers for Twisted Playfest are Marisa Langston (she/her), Eliot Colin (they/them/he/him) and Charlie Levinson (they/them/she/her).

Productions, participants and dates are subject to change.

ABOUT REDTWIST THEATRE RENOVATIONS

Redtwist partnered with the City of Chicago Department of Planning and Development to build back better following the COVID quarantine. Redtwist was selected as a finalist for a 3-to-1 matching grant from the City of Chicago, which provided up to $250,000 in funding to renovate its performance space, lobby and street frontage.

These renovations mean a fresh face for Redtwist’s corner of Bryn Mawr, drawing in audiences from across the city and bringing new life to a Historic District that has been devastated by COVID-19. On the Western side of the building, the lobby was reimagined; increasing accessibility and installing a new cafe to provide concessions for all Redtwist shows. Finally, it means a revived performance space with added production capabilities, which will allow the Company to continue creating thrilling performances in its intimate black box space.

ABOUT REDTWIST THEATRE

Redtwist, now celebrating its 20th anniversary, is an award-winning theatre company that stages up close and personal contemporary dramas annually in its intimate black box theatre housed proudly within the heart of Edgewater’s Bryn Mawr Historic District.

Intimate performances at Redtwist are designed to place the theatre patron in the midst of the stories being told, making them accessible and riveting. Redtwist strives for excellence with every project and endeavors to take risks while offering opportunities for up-and-coming actors, designers and directors to work with established talent. Redtwist provides the very best Chicago storefront theatre experience from excellence on stage, to warm hospitality in a clean, friendly environment.

Award-winning Redtwist Theatre is proud to announce the roster of plays for its inaugural Twisted Playfest, December 17 - 22, and the cast and creative team for the headlining production in Twisted Playfest, The Totality of Things, written by Eric Gernand and directed by Enrico Spada, December 5, 2024 - January, 19, 2025, at Redtwist Theatre, 1044 W. Bryn Mawr Ave. Complete schedule and additional details are below. The Totality of All Things single tickets and reservations for Twisted Playfest will be available Monday, Nov. 18 at RedtwistTheatre.org with discounts available for seniors, students and industry professionals and pay-what-you-can for all Friday performances.

“Every Brilliant Thing,” places unusual demands on its lead character, Narrator. Jessie Fisher delivers a carefully calibrated performance from a comedic script that is deceivingly simple, but deeply emotional and upon reading it afterward, I saw that it is beautifully structured, as well. 

Fisher is the center of our attention in this 70 minute monologue that evokes the gamut of emotions—at times poignant and tearful, at others boisterously funny. She relates a sampling of thoughts of people, places and things intended to capture life’s happy and satisfying moments. This was Narrator's lifelong quest, begun in childhood, to stave off her mother’s suicidal tendencies by coaxing her to dwell on the brighter side of things.

In this demanding role, Fisher must be onstage 30 minutes before the “curtain” rises formally, welcoming each audience member with numbered slips of paper, each bearing a charming thought evoking joy: 1. Ice Cream. 2. Water fights. 3. Staying up past your bedtime and being allowed to watch TV. In the course of the performance, we are each called upon to read aloud the item we received. (My companion had #1654: "Christopher Walken's voice." mine was #1655: "Christopher Walken's hair.")

Fisher also eyes the incoming ticket holders as potential stagemates, and several will be called from their seats to play an array of characters from her life: a school counselor, a lecturer, a veterinarian, her father, her spouse, even herself, at one point. As the formal show begins, Fisher narrates the story of her life, and calls on these individuals and others, and all of us eventually, to voice items from the list, or to play the bigger roles. She becomes both actor, and director, and we are transformed from spectators to players, the fourth wall continuously dissolved in this unusual play.

So reliant on the audience is “Every Brilliant Thing,” that each performance varies significantly—yet reading the script afterward, things that I imagined must have been spontaneous or ad libbed, are in fact detailed by the British playwright Duncan Macmillan (with comedian Jonny Donahoe, who played Narrator in the original productions in London and New York). Director Kimberly Senior has guided Fisher to a remarkable performance that is deceivingly natural and immensely convincing. I had a chance to see “Every Brilliant Thing” a couple years ago at WIndy City Playhouse, and this production, in Writers Theatre's more intimate Gillian space is every bit as good as that one.

We see Narrator through stages of her life, in college, getting engaged, married, divorced—all the while growing and maintaining this list of “brilliant things” that make life worth living. In her earlier life, she shared it with her mother, but it made little impact on her. The audience members are cued to read their assigned thoughts by number. As she courses through life, Narrator’s list grows into the tens of thousands, and hundreds of thousands, deepening in complexity. The pace of Narrator's recitation of brilliant things hastens, and she recites many of them herself.

We see that ultimately, this list is for the Narrator, a lifeline to which she clings as a vision of a happier life. 

 “Every Brilliant Thing” runs through January 5, 2025 at Writers Theatre in Glencoe, IL, and comes highly recommended. 

*Extended through January 12th

Sometimes history has a way of repeating itself and it’s not always for the better. Try as we might to learn from history, some of us are simply doomed to repeat it. But not everything that is repeated is necessarily bad. Historical music, art, and opera transcend history, where repetition is not only encouraged, but exalted. There is something magical about watching a live performance of an artform that was performed for audiences over two hundred years ago and think about the audience’s reaction then and now; did they laugh the same way? Did they like it as much then as we do today? Did they really use the word ‘b*$%h?’ There is truly a magical and historical connection happening at The Lyric Opera as they put on one of the most beloved operas of all time, The Marriage of Figaro.

The Marriage of Figaro continues the plot of The Barber of Seville several years later, and recounts a single "day of madness" (la folle journée) in the palace of Count Almaviva near Seville, Spain. Rosina is now the Countess. Dr. Bartolo is seeking revenge against Figaro for thwarting his plans to marry Rosina himself, and Count Almaviva has degenerated from the romantic youth of Barber, (a tenor in Paisiello's 1782 opera), into a scheming, bullying, skirt-chasing baritone. Having gratefully given Figaro a job as head of his servant-staff, he is now persistently trying to exercise his droit du seigneur – his right to bed a servant girl on her wedding night – with Figaro's bride-to-be, Susanna, who is the Countess's maid. He keeps finding excuses to delay the civil part of the wedding of his two servants, which is arranged for this very day. Figaro, Susanna, and the Countess conspire to embarrass the Count and expose his scheming. He retaliates by trying to compel Figaro legally to marry a woman old enough to be his mother, but it turns out at the last minute that she really is his mother. Through the clever manipulations of Susanna and the Countess, Figaro and Susanna are finally able to marry.

The company of The Marriage of Figaro at Lyric Opera of Chicago.

For those who have never seen an opera before, I could not recommend The Marriage of Figaro enough. The storyline is easy to follow despite the number of colorful characters. The opera is a musical comedy in four acts that first premiered in Vienna in 1786 and follows a comedy of errors as the players scheme and plot to catch each other in lies, all centered around a lascivious man who wants to have his way with a brushing bride, and the many men and women who don’t want that to happen. Mix in some humorous cross-plots and you’ve got yourself a comedy of errors that could have been written today. Composed by Wolfgang Amadeus Mozart, audiences old and young will instantly recognize the harmonies and familiar songs that have been featured in everything from Charlie and The Chocolate Factory and Mrs. Doubtfire, to countless Looney Tunes cartoons, and even viral TikToks. Considered one of the greatest operas ever written, The Marriage of Figaro is consistently ranked as one of the top ten most frequently performed operas. While the opera is sung in Italian, don’t worry, there are English translations displayed above the stage for the audience to understand what is being sung. With a minimalist but grand stage, vibrantly colored costumes, and voices of actors that are remarkably otherworldly, The Lyric Opera pays homage to history of this opera with their production. Helmed by incredible talent from Peter Kellner as Figaro, Ying Fang as Susanna, Federica Lombardi as Countess Almaviva, and Gortdon Bintner as Count Almaviva, this opera is an incredible introduction to the artform for both seasoned and novice operagoers.

When we look back in history, we sometimes wonder if those from the past thought about how they’d be perceived by future generations. Did Mozart know his masterpiece would still be played hundreds of years later? Do the opera singers feel history captured in the libretto they are singing? Not everything in history that repeats itself is bad. The things that bring life, laughter, love, and light into our lives should be repeated, and frequently. When history does inevitably repeat itself, be sure it is pulling you into the light and not into a pit of despair. After all, we could all use a little bit of light and laughter in our lives right about now. So make a night of it in Chicago and see The Marriage of Figaro at The Lyric Opera (20 N Wacker Dr, Chicago) during its limited run through Nov 30^th. Tickets are available at www.lyricopera.org.

Throughout our busy lives we often seek out the new. It is easy to see the allure. Beginnings offer a bit of magic, a clean slate, a chance to start anew. The opportunity brings with it a sense of hope and optimism that maybe this time we’ll be lucky, maybe this time things will change. But there is also just as much magic in endings as there are beginnings, sometimes moreso. The end of a bad relationship, the final day at a toxic job, the final chapter of a good book, the end of a chaotic and disappointing year, endings provide us a rare opportunity beginnings cannot, the opportunity to let it go. And what more fitting way to let it all go and end 2024 than with a bit of magic and a bit of nostalgia with Disney’s Frozen: The Broadway Musical, now playing at Paramount Theatre.

Nominated for a Tony Award for Best Musical, this sparkling Disney fairytale has been reimagined for the stage. The theatrical production of Frozen brings Disney’s beloved animated film to life and fills the stage with winter magic. Set in the magical kingdom of Arendelle, the story follows two royal sisters, Elsa and Anna, as they navigate love, loyalty, and magic. In her struggle to understand her identity, Elsa questions her talents, confusing them for character flaws but ultimately finds strength in her identity and gifts, looking both inward and to those she loves to let it go and be who she was born to be.

Emily Kristen Morris plays Elsa in Paramount Theatre’s Midwest Regional Premiere of Disney’s Frozen the Broadway Musical.

The stage adaptation of the beloved movie brings Disney magic to the stage. The musical has breathtaking scenic designs that transport us to the kingdom of Arendelle, lighting and sound and stage designs that bring magic to life, and an incredible cast of performers to include, but not limited to, Young Anna played by Avelyn Choi, Hans played by Jake DiMaggio Lopez, and Anna played by Beth Stafford Laird. Audiences young and old will feel a sense of nostalgia as the musical is filled with popular songs like “Love Is an Open Door” and “Do You Want to Build a Snowman?” and older audiences will appreciate songs that showcase internal monologues to move the musical forward like “Hans of the Southern Isles” and “I Can’t Lose You,” and all audiences will love the fun musical numbers like “Hygge” and revel at the iconic earworms like “Let It Go.”

It was fitting that the first act of the 2 hour musical ends with “Let It Go.” The audience needed the breather to the climactic beauty of the number helmed by the breathtaking Elsa played by Emily Kristen Morris. The staying power of “Let It Go” lasted long after the curtain calls and final bows. The magic lingered, the message more profound, communicating wordlessly what Director Trent Stork wanted the audience to take away from the performance. “I hope our show gives you the courage to be as bold as Elsa,” says Stork. “I hope you find a renewed sense of bravery from Anna…I hope you remember that love means putting others above yourself.”

Beth Stafford Laird (left) plays Anna and Emily Kristen Morris is Elsa in Paramount Theatre’s Midwest Regional Premiere of Disney’s Frozen the Broadway Musical.

As the year comes to an end, be bold, be courageous, and above all be kind to others and to yourself and let it all go. Good or bad, things inevitably come to an end, a close, a final curtain close. It is not weakness to let something go that no longer serves us or things that are beyond our power to control, it is kindness, and at the heart of it is love. Love yourself and love your neighbors to simply let it go. And if you need a little help to let it go, let Elsa and some incredible theatre magic help you do just that. Frozen: The Broadway Musical is now playing at Paramount Theatre (23 E. Galena Blvd. Aurora, IL) and runs through Jan 19, 2025, tickets are available at https://paramountaurora.com/.

I've always had a deep fondness for the two timeless films Holiday Inn and White Christmas. These movies feature outstanding soundtracks composed by the legendary Jewish American immigrant Irving Berlin. With a repertoire of 1,500 remarkable songs, including the iconic 'God Bless America', Berlin also sparked a Christmas revolution with his deeply emotional and sentimental classic, 'White Christmas'. Few are aware that Irving Berlin experienced a personal tragedy when he lost one of his children to sudden death on Christmas Day in 1928. Despite this, Berlin, an immigrant, always conveyed his profound love for America through his music. Like in 'God Bless America,' he consistently expressed his deep belief in the nation's potential for goodness, unity, and global leadership. Marriott Theatre's White Christmas is a heartfelt tribute to Irving Berlin and offers a wonderful opportunity for audiences to embrace the Christmas spirit.

White Christmas revolves around two talented entertainers, Bob Wallace (Ben Mayne) and Phil Davis (Tyler Johnson-Campion), who form a successful song-and-dance duo after World War II. They encounter singing sisters, Betty and Judy Haynes (Jacquelyne Jones and Kelly Felthous), and follow them to a Vermont lodge owned by their former army commander, General Waverly (Rom Barkhordar).

With the lodge facing financial difficulties due to a lack of snow, the group decides to stage a spectacular show to attract guests and save the establishment. Along the journey, romance blossoms between Bob and Betty, as well as Phil and Judy. The film is filled with memorable musical numbers, including the iconic "White Christmas," and concludes with a heartwarming and festive celebration.

Linda Fortunato directs and choreographs this dynamic in-the-round production, seamlessly transitioning from one spectacular showstopper to the next throughout the evening. The show is further elevated by its four exceptionally talented leads, who bring delightful moments of romance, dancing and humor to the stage.

Ben Mayne initially portrays a slightly stoic Bob Wallace, the character originated by Bing Crosby in the 1954 film. However, as the performance progresses, Mayne’s sensitive acting beautifully reveals Wallace’s transformation from a man guarded and wary of love to one who is deeply and undeniably in love. Meanwhile, Tyler Johnson-Campion dazzles as Phil Davis, a role originally brought to life by Danny Kaye. His immense talent as a singer and dancer repeatedly brings the audience to their feet, with tap-dancing performances that seem to defy gravity and overflow with the exuberance of newfound love. 

Jacquelyne Jones, playing Betty Haynes—a role famously portrayed by Rosemary Clooney—delivers a poignant and heartfelt performance in 'Love, You Didn’t Do Right By Me,' capturing the depth of female grief with striking authenticity. Together, Mayne and Jones enchant the audience as their characters fall in love, beautifully showcased in their renditions of Berlin's exquisite love song, 'How Deep is the Ocean.' While Jones treats the audience with a wonderful performance, Kelly Felthous shines as Judy Haynes, a role played by Vera-Ellen in the film version, bringing an infectious joyous energy and singing with great glee and charm. Felthous and Tyler Johnson-Campion, both exceptional dancers, leave the audience in awe with their expert hoofing in the hugely romantic and fun number 'The Best Things Happen While You’re Dancing.'

Jacquelyne Jone and Ben Mayne in Marriott Theatre's 'White Christmas.'

Rom Barkhordar shines as General Henry Waverly, Wallace and Davis’s retired commander, bringing a blend of humor and warmth despite his gruff exterior. Meanwhile, Robin R. McGee delivers a truly breathtaking performance as Martha Watson, Waverly’s dedicated helper and hotel manager, with her rendition of 'Let Me Sing and I’m Happy.' McGee possesses an indescribable vocal range, delivering her performances with the power and grace of a seasoned star who dazzles brighter than ever. 

White Christmas is a delightful musical, brimming with wit and fun, featuring memorable song and dance numbers that truly leave a lasting impression. Among the numerous standout moments, the entire cast's rendition of “Blue Skies,” set against the breathtaking backdrop of real snow falling in Vermont, is a spectacular and uplifting highlight that will stay with me throughout the winter season.

I wholeheartedly recommend this timeless yet refreshingly vibrant production, brimming with Irving Berlin's endlessly inspiring and romantic music. It's perfect for audiences of all ages who wish to take a joyous journey into the past and fully savor the upcoming Holiday Season.

"Snow, snow, snow, snow, snow!"

White Christmas is being performed at Marriott Theatre through December 29th. For tickets and/or more show information, click HERE.

Invictus Theatre Company’s latest production of The Tragedy of Macbeth, adapted and directed by Sarafina Vecchio, delivers a potent, intense experience that brings Shakespeare’s tale of ambition vividly to life. This production leans into the raw and brutal aspects of the play, creating an atmosphere thick with dread and foreboding. With excellent performances and a thoughtfully designed set, Invictus’s Macbeth stands out in the Chicago storefront theatre scene as a bold approach to one of Shakespeare’s most famous works.

At the heart of the production is Mikha él Amin in the title role. Amin brings a formidable presence to Macbeth, portraying a general-turned-tyrant with both vigor and subtlety. His portrayal balances Macbeth’s inherent ferocity with moments of doubt, remorse, and even fear as he descends into madness. Amin’s performance is well-matched by Carolyn Kruse as Lady Macbeth, who brings a fierce, complex energy to the character. Kruse’s Lady Macbeth is haunting, ambitious, and unyielding, yet she skillfully peels back layers to reveal her character’s vulnerability and psychological unraveling. Amin and Kruse ignite the stage with their magnetic performances, creating scenes of palpable intensity that hold the audience spellbound.

Adding to the haunting atmosphere are the three witches, portrayed by Christy Arington, Tessa Dougherty, and Julia Rowley. Their performances are eerie and grounded, capturing the supernatural essence of their characters while also bringing an almost elemental quality to the stage. Their dynamic movements and interwoven voices create a sense of otherworldly presence that lingers throughout the play, underscoring the tragic path Macbeth chooses.

The supporting cast is equally impressive, with Michael B. Woods as Macduff and Diego Longoria as Malcolm delivering strong performances. Woods’s portrayal of Macduff is both intense and deeply felt, particularly in his reaction to the tragic news about his family. His confrontation with Macbeth is powerful, filled with a mix of righteous anger and despair that grounds the play’s emotional climax. Longoria brings a sense of resolve to Malcolm, effectively conveying his transformation from a hesitant prince to a determined avenger. Joshua Razavi as Lennox, Aimee Kleiman as Rosse, and Charlie Diaz as Banquo also add depth to the story, each bringing unique qualities to their roles.

Manuel Ortiz’s scenic design and Cindy Moon’s costume design work in harmony to create a visually arresting production. Ortiz’s set—a sparse, Scottish clearing with stone carvings—evokes the stark beauty and rugged landscape of the Highlands. The carved stones suggest an ancient, mythic past that mirrors the play’s themes of fate and inevitability. Meanwhile, Moon’s costumes are richly layered, providing insight into each character’s status and role. Her war outfits are particularly notable, with armor and fabric choices that reflect the grueling, blood-soaked conflicts in the story. The costumes not only enhance the period feel but also convey a sense of realism, showing the wear and tear of lives shaped by relentless battle.

Under Vecchio’s direction, the production maintains a taut, relentless pace. The play feels almost claustrophobic in its intensity, with each scene building steadily toward the tragic climax. Vecchio’s staging highlights both the psychological turmoil of the central characters and the brutal violence that punctuates their journey. The fight choreography by Violent Delights is visceral and realistic, adding to the bloody, unforgiving tone of the production. In many ways, Vecchio’s direction echoes the grandeur and darkness typically associated with larger, more established theaters, making it clear that Invictus Theatre is a force in the storefront theatre community.

Overall, Invictus Theatre Co.'s Macbeth is a triumph. With exceptional performances, evocative design, and tight, effective direction, the production successfully brings Shakespeare’s tragedy to life in a way that is fresh yet faithful to the original text. It’s an immersive and unforgettable experience that cements Invictus Theatre’s place among the top-tier Chicago theatre companies.

Highly Recommended
When: Through Dec. 15
Where:  Invictus Theatre @ Windy City Playhouse, 3014 W Irving Park Rd, Chicago
Tickets: $25 - $38
Info: invictustheatreco.com

Ngozi Anyanwu’s Leroy and Lucy, in its electrifying world premiere at Steppenwolf Theatre, takes the legendary tale of Robert Johnson’s fateful night at crossroads and infuses it with the powerful mysticism of Yoruba spirituality. Forget the familiar Christian devil—instead, Anyanwu conjures Eshu, a complex Orisha (god) from Yoruba mythology who rules over sin and consequence, fate and chance, life and death. Directed by the fantastic visionary Awoye Timpo, this production doesn’t just retell a story; it transforms it, offering a dynamic cultural perspective that pulses with life and spirit.

Anyanwu’s storytelling is steeped in Yoruba tradition, with each line brimming with lyrical beauty and mythic depth. Lucy, played with fierce magnetism by Brittany Bradford, is Eshu personified—a playful, vain, argumentative trickster whose allure is irresistible. Leroy, played by the exceptional Jon Michael Hill, thinks he’s stumbled upon Lucy by chance, but the truth is far more chilling: Lucy has been waiting, watching, and weaving her magic to ensnare him—and the audience is captivated right along with him. Bradford’s portrayal of Lucy is utterly mesmerizing, casting a hypnotic spell that lingers long after scenes fade.

In one unforgettable scene, Legba—the Orisha known in Yoruba religions as the divine messenger and guardian of roads, paths, fate, and life—possesses Leroy’s body to confront Eshu in a thrilling clash of wills. As the master of destiny, Legba’s challenge to Eshu is charged with intense energy and revelation. The production also weaves in reincarnation, a core belief in Yoruba spirituality, adding a profound layer of spiritual depth making the play as thought-provoking as it is captivating.

Bradford and Hill’s chemistry is electric, their performances so raw and dynamic that they alone would be worth the ticket. Bradford, recently seen in Julia, The Watcher, and Dead Ringers, brings a complexity to Lucy that is fierce and enigmatic, while Hill, a Tony-nominated Steppenwolf ensemble member, infuses Leroy with vulnerability and resolve, torn between his aspirations and the spiritual forces at play.

Under Timpo’s masterful direction, Leroy and Lucy immerses the audience in a world that feels at once familiar and otherworldly. Andrew Boyce’s stunning set design, Heather Gilbert’s evocative lighting, and Conner Wang’s immersive soundscape create an atmospheric crossroads where visions flicker and secrets seem to breathe. Every element blurs the line between the earthly and the supernatural, drawing the audience into a world where they, too, must confront forces beyond comprehension.

Ultimately, Leroy and Lucy is a transcendent theatrical experience that bridges worlds—both cultural and spiritual. Anyanwu, Timpo, and the cast have created something profound and stirring: a play that speaks to ancient truths while challenging Western narratives, leaving its mark as a significant addition to contemporary theater.

Highly Recommended
When: Through Dec. 15
Where: Steppenwolf Theatre, 1650 N. Halsted
Tickets: $20 - $92
Info: steppenwolf.org

I’ve delighted in Babes with Blades since they began in 1997, and they are never more delightful than when slashing and sauntering their gender-flouting way through Shakespeare. Apt, that: MAGA really should condemn all the Bard’s works as rooted in cross-dressing! The Babes would thumb their noses at that, though! And here they give us a lighthearted gambol through enchanted woods in the ever beloved A MIDSUMMER NIGHT’S DREAM.

Lauren Katz (she/her) directed, with Assistant Kelsey Kovacevich (she/her).  Jillian Leff (she/her) is BWBTC’s premiere fight choreographer, assisted by Madison Hill (they/them). Fight choreographer is a critical role in any BWBTC production, as the Babes’ raison d'être is ‘using stage combat as a storytelling tool that elevates underrepresented identities to center stage’.  Cool, yeah?

I wondered how the Babes would pull off Shakespeare’s famously light-hearted comedy – I last saw them in their 2022 production of Richard III (stupendous!) and I usually associate BWBTC with more … well … combative productions. But the Babes are nothing if not versatile, and this MIDSUMMER NIGHT’S DREAM presents the enchanted story with the unique perspective only BWBTC can bring.

The story, you’ll remember, is a bit complicated: the wedding of Athens’ Duke Thesus (Jalyn Greene [they/she]) to Amazon queen Hippolyta (Hayley Rice [she/her])  is the central theme around which several subplots revolve. One involves two pairs of lovers: Lysander (Christine Chang [they/she]) loves Hermia (Cat Evans [they/she/him]), whose bestie Helena (Patty Roache [they/them]) loves Demetrius (Kim Fukawa [she/her]) – who’s in love with Hermia. How could anything go wrong there, huh? The two pairs plan severally to meet tonight in the Woods of Fairyland.

Meanwhile, elsewhere in the wood, a decidedly amateur group of thespians rehearsed a play to perform at the royal wedding. The wannabe troupe includes over-enthusiastic Nick Bottom (Sarah Scanlon [she/her]), Starveling (Jessica Goforth [she/her]), Snout (Lauren Paige [she/her]), Flute (Cee Scallen [they/them]), Quince (Morgan Manasa [she/her]) and Snug (Logan UhiwaiO’Alohamailani Rasmussen [she/her]).  Their collective stagecraft was far more droll than depictive, especially after ….

 Oops! I forgot to introduce the Fairies!

Fairy king Oberon (Hayley Rice [she/her)) and queen Titania (Jalyn Greene [they/she]) are experiencing consanguineous confutation and botheration; specifically, Titania is in possession (?) of a changeling boy that Oberon wants  (his purpose left to the audience’s imagination nudge nudge wink wink), but Titania is disinclined to relinquish the dainty. Fuming, Oberon calls upon his ‘shrewd and knavish sprite’ Puck (Hazel Monson [she/her]) to concoct a magical juice that, applied to the eyes of a sleeping person, causes them to fall in love with the first person (or whatever) they see. Thus, he will retaliate against his ungenerous wife.

Puck happens upon the theatric rehearsals and, taking Bottom’s name to mean jackass (a reasonable misapprehension), transforms his head into that of a donkey. Puck then scampers off to his appointed task of anointing the eyes of Titania and arranges that Bottom(ass!) be the first creature whom Titania espies … and instantly falls in love with!

Puck has a bit of remaining oobleck (yes, it’s a word, it means ‘a non-Newtonian fluid’) and, finding the lovers Lysander and Hermia, Demetrius and Helena slumbering under the trees, he sprinkles it on the blokes. They, naturally, are gazing upon the ‘wrong’ lady when they wake. The resulting convolution of affections triggers a spectacular Hermia/Helena catfight (as only Babes can fight!). King Oberon is delighted that Titania is enamored of an ass but appalled at the plight of the lovers: “What fools these mortals be!”. He casts a forgetfulness spell so that all four will awake remembering the whole mishegoss as but a dream.

Act the Final has Oberon, Titania and Puck, with a bevy of other fairies, wishing blessings on the audience then leaving Puck, who slyly implies that, “as I am an honest Puck” we may have dreamed it all as well.  

Where to begin my paeans of praise?!

Director Lauren Katz reflects in her Director’s Note that the first task of a director is to decide: ‘How is this production to be different?’; a critical question for a play so celebrated as A MIDSUMMER NIGHT’S DREAM. 

The differences begin, of course, with the company. Babes With Blades Theatre Company is a theatrical troupe like no other and leaves its singular imprint on anything they do:  BWBTC is the world’s only company using stage combat as its primary storytelling tool. I don’t know if they’re the world’s only all-woman stage fighting company, but they’re certainly the only one in Chicago. More fundamentally, BWBTC’s mission is to bring underrepresented voices onstage. For example, in the Babes’ 2022 production of Richard III the woman playing Richard was blind and the director deaf, and that show lives in my memory as the finest theatrical program I’ve ever seen.

That inclusivity extends to the audience. The night we attended A MIDSUMMER NIGHT’S DREAM was one of their ‘sensory friendly’ performances:  to accommodate people with sensory challenges the house lights remained halfway up, theater doors stood open throughout (to facilitate lobby breaks); the volume was decreased for certain scenes; and (my favorite) the box office offered ‘sensory kits’, containing noise reducing earmuffs, notebook/pen, and fidget toys. How incredibly cool is that?

Scenic Designer Marcus Klein (he/him) effectively combined simplicity with actuation. Together, Light Designer Laura J Wiley (she/her), Technical Director Line Bower (they/them), and Sound Designer Hannah Foerschler (she/her) collaborated to create a truly magical Fairyland Forest. Victoria Jablonski’s (she/her) costumes were perfectly in character, even when several actors played multiple characters! Intimacy Choreographer Sydney Cox (she/her) was not stymied by the ever-changing kaleidoscope of intimate couplings, and Props Designer Persephone Lawrence (she/they) made sure Puck had their magic potion whenever it was needed! A good dialect coach is essential to make iambic pentameter comprehensible, and Carrie Hardin most emphatically did so.  

Everyone, absolutely everyone was superb, but there are always a few standouts. I once asked a theatre-savvy friend, “Just what does a Stage Manager do, anyway?” their reply: “Everything.” Essau Andaleon (he/him) did Everything and did it well; he and Production Manager Rose Hamill (she/her) produced a smooth flow of splendiferous energy.

The cast was also globally superb, with a couple of notables to shout out. I knew I’d seen Patty Roache (they/them) before – on that very stage, in fact, as Queen Margaret in Richard III. They were equally magnificent as Helena: I purely love it (and clearly, they do too!) when they can yowl and shriek and caterwaul their fool head off!  The actors’ troupe of Snug Snout, Quince and Starveling meshed beautifully, and Sarah Scanlon was an admirable Bottom as well as a terrific ass!

I play favorites – so sue me. After all, Puck is everyone’s favorite character! And, if you’ve been reading my reviews, you know I’m a diehard, down-to-the-bone fanatic (not just fan!) of Lord of the Rings. So how could I help but be ensorcelled when Hazel Monson (she/her) played Puck as though she was channeling Andy Serkis? How could I fail to be enraptured by so Gollum-like (Gollum-ish? Gollum-esque?) a Puck? who capered and gamboled, rollicked and larked, skipped and sprang about the stage, often ending crouched before Oberon, head quizzically atilt, awaiting Fairy King Oberon’s next decree. Brava Hazel!

If you’ve never seen a Babes with Blades production before, A MIDSUMMER NIGHT’S DREAM is a perfect place to start. If you’ve followed the Babes for years, don’t let this one get by! And if you’ve seen A MIDSUMMER NIGHT’S DREAM a dozen times already, by all means come see what the Babes can do in Fairyland!

A MIDSUMMER NIGHT’S DREAM plays through November 23 at The Edge Theater. You can find the schedule of special performances on the Babes’ website.

HIGHLY RECOMMENDED