Items filtered by date: November 2007

There is no better way to get in the holiday spirit than with the classic Christmas ballet, the Nutcracker. Twenty-eight years after Robert Joffrey’s original production, this is the final year that the Joffrey Ballet will perform this Nutcracker (2016 brings us the world premier of Christopher Wheeldon’s Nutcracker!). Even decades since artistic director Ashley Wheater performed in the opening night of the production, this performance retains the timeless magic of this joyous holiday tradition.

For those unfamiliar, the show takes place on Christmas Eve in the 1850s, opening with a party at the house of the mayor, his wife and his two children, Clara and Fritz. In the midst of the lively party Drosselmeyer, the somewhat eccentric godfather to Clara and Fritz, sprinkles in some excitement to the festivities with enchanted life-size dolls that dance and entertain the guests. However, it is his gift of a nutcracker for Clara, which truly ignites the magic.

After the guests have left and the family has gone to bed, Clara sneaks downstairs to gaze upon her beloved Nutcracker. She soon finds herself in the middle of a battle between the Mouse King and his army of mice and the Nutcracker, who comes to life to fight with his band of toy soldiers.  With the toss of a shoe, Clara knocks down the Mouse King saving the Nutcrackers life and as means of a thank you, he takes her through the Land of Snow to the Kingdom of Sweets where the many toys from under Clara’s tree come to life in enjoyable and fantastic dances.

Joffrey’s Nutcracker downplays the traditional romance between Clara and the Nutcracker prince, fortifying the role of Drosselmeyer as the catalyst and guide of Clara’s journey to the Kingdom of Sweets. Performed by Michael Smith, Drosselmeyer is a technically strong role but at times, it felt overpowering for my taste, making the role of Clara more infantile and taking away from the romance between Clara and the Nutcracker Prince. 

Another split from tradition was the introduction of male dancers into the Land of Snow and Waltz of the Flowers scenes, however these deviations I found truly fantastic. The combination of beautiful partnering, endless falling snow and the graceful choreography expertly performed by the snowflakes (ladies) and snow winds (men) transports the audience on their mystical journey with Clara through the land of snow. In the Waltz of the Flowers in the second act, again the partnering added an interesting dimension, as did the constant tossing of fluttering flower petals beautifully worked into the choreography.

Overall, the dancers exhibited a wonderful balance of grace and precision creating flowing lines that perfectly complimented the Tchaikovsky score. The company members were fantastic, performing in perfect unison with a look of joy on their face making everything look effortless as a good ballet should. There were many young performers in the show as well who steal the scene with their cuteness! In the Kingdom of Sweets, each piece was accompanied by a tiny tot dressed in character sitting with Clara to watch the dance unfold. As someone who performed in the Nutcracker a number of times as a kid, I enjoyed this element of the show, as I am sure every aspiring ballerina in the audience did as well.

My favorite pieces by far were the Coffee from Arabia pas de deux, where Dara Holmes captivated us with her flexibility and elegant lines and the Grand Pas De Deux by the Sugar Plum Fairy and the Nutcracker Prince. Instantly entranced by the sparkle of the Sugar Plum Fairy costume, I was continually captivated as Amanda Assucena and Alberto Velasquez brilliantly performed the most iconic piece from the show.  

The Nutcracker runs at the Auditorium Theater through December 27th.  Buy your tickets now! Take your children, take your parents, take your date or take them all for a magical performance that will truly put you in the holiday spirit. 

In a cramped police station in Southern France, a handful of men argue about why they were picked up for questioning. During the Nazi occupation of France in WWII, Germany left Vichy to be governed by France. This didn't exempt the zone from mass deportation of Jews living on false papers. Arthur Miller's "Incident at Vichy" explores the dark themes of a region living in fear, holding a mirror up to our own time.

With direction by Ian Frank, Redtwist gives a faithful production of Miller's under-produced 1964 one-act. Redtwist's best asset from show to show is the intimacy of their performance space. For a claustrophobic play like this, a better space couldn't be found. There are almost as many cast members as audience members and when the room is full, there's an inherent sense of panic.

White men arguing is pretty often seen in mid-century theatre. Usually it's a vehicle for expressing the playwright's world views. "Incident at Vichy" is a play of its time period. That's not to say Arthur Miller's words aren't chillingly relevant. As each character in question slowly divulges the reasons they may be sent away, they prioritize their own right to life over their neighbor's. In those passionate monologues, Miller cuts right to the heart of human nature, which is sometimes primal.

With a large cast and a short play, it's unusual to have so much character development. The ensemble distinguishes themselves well. The play hangs on a stand-out performance by Jeremy Trager as Von Berg (an Austrian nobleman). His character is the only one who seems to express empathy and guilt about what's happening to the people around him. David Giannini and Tim Parker balance out the cast as Bayard and Leduc and turn in strong performances as well.

"Incident at Vichy" is a story of people living in fear. It's a cautionary tale of what can happen when people are apathetic. With all this history, it's shocking in America that some would-be politicians are touting mass deportations of minority groups. To that end, Miller's play has never been more essential.

Through January 10th at Redtwist Theatre. 1044 W Bryn Mawr. 773-728-75329

Everyone's mom has a copy of "Tapestry," and by now the songs are almost as familiar as the Star Bangled Banner. What many may not know is that composer Carole King and lyricist Gerry Goffin literally shaped the sound of early rock 'n roll with their songs made popular by The Drifters, The Shirelles and Little Eva. 

"Beautiful" is a musical based on Carole King's incredible rise in the music business as a teenager. While the show is a fairly succinct tale, it does neglect that Miss King ran in the same circles as many other music heavy weights such as Art Garfunkel and Paul Simon. Impressive even still is that she sold her first hit song when she was sixteen years old. In an age when many careers were off limits to women. 

Douglas McGrath's book is charming and witty. It begins with Carole (Abby Mueller) playing "So Far Away," at a piano, her long frizzy hair moves along with King's signature playing mannerisms. From there it revolves back in time to a less sure of herself King, telling her story through her own songs. McGrath's book has a sincerity not often found these days in blockbuster Broadway shows. He provides heartbreaking context for all the well-known hits written by not just King and Goffin, but also their close friends and competition, Cynthia Weil and Barry Mann. 

The numbers are somewhat formulaic in their presentation, moving from real life story to full-scale performances (as they would have appeared on American Band Stand) but the songs are incredibly well sung and choreographed by the ensemble. It's nearly impossible not to sing along under your breath, or in full-voice as some audience members were. Mcgrath and director Marc Bruni have struck a perfect balance that both tickles and leaves the audience feeling an emotional attachment to the characters, so that in the end, "Beautiful" isn't just about Carole King and it's also not just about the music industry. 

Local actress Abby Mueller does an impeccable job filling the shoes of Carole King. If you close your eyes, you wouldn't know you're not actually listening to "Tapestry." Mueller's performance pushes past the gimmick of imitation. She connects to the audience and makes the familiar story of a bad marriage very real. When she turns from frumpy housewife into the bohemian California-chic (the Tapestry look) it feels very cathartic, which makes her success as a solo singer all the more triumphant. 

Through February 21st at The Oriental Theatre. Broadway in Chicago. 800-775-2000

Broadway in Chicago and producers Starvox Entertainment and June Entertainment present “Sherlock Holmes”, starring the often very funny David Arquette in the title role that is based on the shrewd detective in the Sir Arthur Conan Doyle mystery novels.

Now, I like David Arquette, I think he’s a talented comedic and dramatic actor and obviously he has the chops to pull of this role but so many things conspired to make this production an overly long, campy but not funny mess. I’m at a loss to describe them all. 

I’ll just keep it short. First, the stage which was very modern, stark, and cold did nothing to clarify where any of the characters were at any time in the show. The set was accented only by slightly different chairs and red, black and grey lighting changes. Although Arquette, as Sherlock Holmes, struggled to pull off a few laughs here and there with his flamboyant drug using character, everyone else seemed to just be shouting at each other and racing about willy-nilly like the Keystone Cops the whole play, as if pretending to be an old 20’s movie version of the play. Perhaps there may be room to turn Sherlock Homes into a comedy, but the writers missed the mark on this one.

James Maslow, stars as the legendary Dr. John Watson, along with Renne Olstead as the well-to-do-American, Lady Irene St. John. Olstead is best known for her roles as Lauren Miller in the TV sitcom "Still Standing”, and as Madison Cooperstein in "The Secret Life of the American Teenager”.

I honestly think if they cut the show down to 90 minutes from 2 and one half hours, people might have left saying that it was an interesting and modern take on an old classic. However, this cold, campy and dark version of the show did little to satisfy real fans of Sherlock Holmes. The head-scratching crimes were not as engaging as one would have hoped and the laughs not as big. Though nice to see Arquette on the stage, I hope to see him return in a more entertaining production. You can only do so much with the material given. 

This new and original adaptation inspired by Doyle's classic detective tales by playwright Greg Kramer and directed by Andrew Shaver is scheduled to play Chicago's Oriental Theatre (24 W Randolph) November 24 - 29, 2015. For tickets and more show information visit www.broadwayinchicago.com.

What do you do with your family over the holidays? Stay at home? Eat a meal together? Dress the tree? Give gifts to your work family?  How do you show your loved ones you care for them?

Step Up Productions and its HoliDaze one-acts continues its 3^rd season and supports awareness for Seasonal Affected Disorder (S.A.D.S.) at the Athenaeum Theatre 29366 N Southport Avenue, from November 26^th – December 20^th. These six short one-act plays written by six different playwrights bring awareness for the different kinds of feelings and emotional dynamics within families during the holidays, of what some families are willing to do without, and how much others just wish for things to change.  

Mia McCullough writes ‘Temperance vs. Tolerance’ about Sabrina, a young woman who asks her family to assist her in helping get through the holiday without drinking.  There is more than one change that the family works through to sit at the table for a holiday dinner. Discovering her family’s depth for tolerance is a learning experience for everyone.

‘Christmas Eve’ by M.T. Cozzola, touches on the work family relationship between two new co-workers.  One of which exudes an abundance of holiday spirit and generosity in gift giving. 

The expectations of relationships, to brave the Chicago cold or even family members that may not like you are presented in ‘Your Better Half’ by Jake Carr. The hesitancy to start a family and to share the news is the theme of ‘Someplace Warm’ by Steven Peterson.

‘This is that Moment’ by Joshua Rollins examines the night that a relationship changes, the regrets one has and the question of how you can make a change.

Finally, ‘Later in the Strange’ by Steven Simoncic, tells a story of how one family tries to get through the holidays without the one person who made every holiday so special for them all. 

Each of these stories touches on the dynamics that many families struggle through each year.  From the loss of a family member, to reestablishing relationships and questioning how relationships have changed.  Poignant and aware of the different families and relationships that the world has, HoliDaze has created a group of one-acts that make you enjoy the hope of the holidays and crave the nearness and dearness of your families.    It will make you reach out for those you love and remind them of how truly thankful you are for them.

For more show information visit http://athenaeumtheatre.org/.

Chicagoans' love for historical dramas and our ghost and gangster bus tours are very popular here, so it is not surprising that this very well written and performed ensemble play about the very real, tragic Iroquois Theater fire in 1903 that killed over six hundred people packed in for an oversold Christmas winter matinee would be such a popular production even during the Holiday season. Powerful, heart-rending, imaginative and filled with dark humor, “Burning Bluebeard” is wonderfully directed by Halena Kays, who is able to so effectively take us back in time to revisit one of the greatest Chicago tragedies in this haunting and magical production.

The luxurious brand new and it turns out, unfinished building, The Iroquois Theater, was supposed to be the new "Titanic" of theaters – in this case luxurious and fireproof. So many important things relating to theater safety came out of this tragedy it almost seems destined to have happened in order to teach the world how NOT to construct and maintain theater safety for generations. 

Around 3:15 p.m. on December 30th, not long after the second act began, sparks from faulty wiring in a large lighted moon ignited several of the highly flammable scenery props. The stage manager frantically tried to separate the audience from the burning stage by lowering the massive asbestos flame proof curtain, but when it became stuck it did not take long before the quick and furious blaze spread throughout the theater.

The theater, which had a max capacity of thirteen hundred, was packed to the gills for this particular matinee performance of Bluebeard with over sixteen hundred audience members, most of whom were women and children. It was so packed that patrons sat in the aisles, squeezed in where they could, blocking doorways in the process. The upper levels were separated from the higher priced seats on the main floor by doors locked with chains so that the children could not "sneak' down to better seats or, as it turned out, escape in case of fire. There were fake doorways covered with heavy black curtains whereas if a perseverant theater goer did manage to break open during an escape attempt, they would find a brick wall on the other side. Wall after wall of glamorous mirrors in the lobby created a funhouse effect further confusing the panicked crowd when they could not find any real windows or unlocked doors.  The fire escapes were not yet completed and reached only halfway down the four story building.

Vents in the ceiling were nailed shut and the top of the theater was filled with highly incendiary silk set pieces. The very seats themselves were basically just flammable velvet material stuffed with straw hemp like tinder.

Amidst the chaos, unfortunately one of the show’s actors ordered the children, especially those packed shoulder to shoulder in the upper balcony, to sit back down and stay seated until they could exit slowly and safely.  But that was the worst thing they could have done. There were hundreds of performers in this show trapped backstage and when they finally were able to break down the back door which of course was chained and padlocked shut from the outside, it created a backdraft fireball that literally incinerated all of the children and their mothers in the front and upper rows of the balcony so quickly that all of their watches were stopped at precisely the same moment. 

Superbly written by Jay Torrence and performed by an outstanding ensemble consisting of Jay Torrence, Leah Urzendowski, Ryan Walters, Pam Chermansky, Anthony Courser and Molly Plunk, one cannot help but feel the desperation of the original theater crowd along with the relief of being alive in a world where lit EXIT signs and having working fire extinguishers are just part of what one expects for normal audience safety.

Every member of this troupe plays a unique role but I have to especially point out Molly Plunk who plays the role of an imaginary faerie queen capable of turning back time and causing the whole event to unfold without danger. Plunk’s delicate and whimsical interpretation of this role is key to keeping hope in the audience alive that somehow reliving this tragedy over and over will cause it not to happen again. 

I have recommended this show highly in the past and every friend I've sent young or old has had the same magical experience watching this unique, darkly funny, and fantastic production. Now in its fourth year, due to the show’s growing popularity, “Burning Bluebeard” has moved to yet a larger venue in The Den Theatre. Performed through January 10^th, The Ruffians’ collaboration with The Hypocrites’ “Burning Bluebeard” has become a holiday hit in Chicago and is a sure-fire must see.

More show info can be found www.the-hypocrites.com. The show last approximately one hour and forty minutes with no intermission.

Check out the Barrel of Monkeys on a first date, see if your date has a sense of humor. Take your 4th grader and laugh over ice cream after the show. Drag the whole office to the Neo-Futurist Theater and forget about the overwhelming stress for an hour, then return to the stressful office. Hey, you could also buy a ticket for your Grandma.

After seeing the Barrel of Monkeys present THAT’S WEIRD, GRANDMA a second time, my attendance is guaranteed a third time. If you’re looking for hilarious, here it is. Since there’s snow on the ground, Barrel of Monkeys celebrates with THAT’S WEIRD, GRANDMA: The Holiday Special. Santa, Thanksgiving, and winter inspired subject matter make up the new lineup of stories this season. The Chicago Public School students write amazing stories, so amazing, they are brought to the stage and performed by Barrel of Monkeys Company Members! 

Barrel of Monkeys is a Chicago-based arts education theater ensemble, who give 3rd through 5th graders the confidence, and an outlet, to be creative. Creative writing workshops are conducted in underserved Chicago Public Schools, and then students’ stories are turned into professionally performed theater and shared beyond the school’s walls. 

THAT’S WEIRD, GRANDMA is for everyone. Everything about Barrel of Monkeys is amazing, their talent for teaching and acting, their mission and vision, their impact, and how they put a smile on everyone’s face.

Location: Neo-Futurist Theater, 5153 N. Ashland Ave. in Chicago

Running: November 16 - December 28, 2015

Curtain Times: Mondays at 8:00 p.m.

Tickets: $12 for adults; $6 for children under 12. Tickets are available at www.barrelofmonkeys.org

Use the bathroom before you take your seat at Theater Wit for Joe Mantello’s stage adaptation of David Sedaris’ now-classic holiday essay, Santaland Diaries. Trust me. The show runs one hour 20 minutes without an intermission.

But more to the point, you will laugh your jingle bells off!

Mitchell Fain tears down the fourth wall as “Crumpet,” a dishy, disgruntled, forty-four-year-old elf at Macy’s department store. Dressed in stripy tights and crushed velvet, he deftly channels Sedaris’ wry, acerbic wit and gives us an all-access pass into the underbelly of the North Pole.

Directed by Jeremy Wechsler and performed in the intimate theatre space of Theatre Wit, Fain stars as Crumpet and flawlessly delivers a seventy-five minute monologue that is dark, witty and often will have audience members doubling-over with laughter. Fain's performance is deliciously wicked whether spouting off hysterical dialogue or improvising with the audience in his own, unique and devilish way. Fain is able to get his point across with the tiniest gesture or most subtle facial expression.   

Now returning for over five years straight, Santaland Diaries has become a true Chicago holiday tradition. However, due to its mature content, the show is not recommended for kids, though it will be sure to please the adult crowd.

If you’ve ever wondered what your mall Santa and his elves are really thinking, see Santaland Diaries at Theater Wit until December 30, 2015. A must see, you can order tickets online at https://www.theaterwit.org/plays/santaland/. 

Sex sells as the old adage goes. It may be marketable, but you have to ask yourself what it has to say. Likely sex will dominate the discussion among patrons of Thomas Bradshaw's new play at American Theater Company. With bold direction by Ethan McSweeney, Fulfillment will undoubtedly ruffle some subscriber feathers. 

The play begins with Michael (Stephen Conrad Moore) purchasing a multi-million dollar apartment in Soho and describing his sexual relationship with his coworker, Sarah (Erin Barlow). She soon puts the idea in his head that he isn't being made partner at the law firm because of his race. Whether it's true or not becomes subject to interpretation as the rest of Michael's life begins to spiral out of control. 

Bradshaw's script is flawed in that it's not enough about any one thing to really grasp at a central narrative or question. If it's a play about the inequality of underrepresented groups (African Americans and women) it never really connects the dots in the way that say, Disgraced does. If it's a play about American desire for more and more, why isn't the main character greedier? 

The scenes are too copious and too short to get down to anything significant. In fact, there's never really any rational conflict between characters, or at least none that lead to anything consequential. More often it's a story about a man who has trouble with his neighbor and the occasional drinking binge. The unfortunate part is that the dialog is actually really strong and incredibly well-acted, but in the end, it doesn't really add up to much. 

Perhaps even more distracting are the numerous instances of gratuitous stage sex and full frontal nudity that cross the line of good taste. It seems to be an overused, if not unnecessary, gimmick on which this play too heavily relies. Maybe if the material was edgy enough to justify the graphic content, it would seem more vital. Mostly it just comes off as a desperate attempt to shock audiences. 

Through December 13th at American Theater Company. 1909 W Byron Street. 

Apparently thrill-killing isn't a new sign of the gradual breakdown of society. John Logan's historical thriller "Never the Sinner" explores the trial of wealthy, local killers Leopold and Loeb in what was once hailed as the crime of the century. Director Gary Griffin brings this story to life in an exciting new production at Victory Gardens Theater. 

Logan's wordy script has the potential to be really dull, even with the gory details. That's not the case with this quick-moving production. Set against a minimal set draped in peacock damask, Griffin's staging makes the telling active. Each twist and turn in the tabloid drama is accented by slick reporters. The cheeky headlines pose the question whether there's profit in crime? And if so, who benefits from a court room sideshow? Certainly not the victim. It also serves to underscore that in America, we're all just rubber-neckers happy that a crime didn't happen to us. 

A play like "Never the Sinner" is really only as strong as its Leopold and Loeb and luckily they’ve got two great actors. Japhet Balaban plays the part of introverted Nathan Leopold and he's unnervingly creepy. His attention to diction is a wise character choice. While Loeb technically carried out the crimes, Balaban's Leopold has the Norman Bates-type aloofness that most serial killers tend to possess. Jordan Brodess' Loeb balances the rage and panache which likely serves Logan's point that some people will sink to deplorable depths for fame in America. 

The true surprise of this story is their country lawyer Darrow played Keith Kupferer. Kupferer is known for his "every man" roles, and this show will prove a high point for him. Of course the knee-jerk reaction to brutal murder committed by two remorseless college boys makes us demand the ultimate penalty: death. Logan uses this real-life instance to debate the ethics of the death penalty. In high profile cases up to this point in history, rarely was the philosophy of capital punishment ever questioned. Even in our times it’s a hard question without an easy answer. Ultimately Logan uses this shlockey murder trial to ask the audience, is killing in the name of justice, just? 

Through December 6th at Victory Gardens Theater - 2433 N Lincoln Ave.