Items filtered by date: November 2007

Invictus Theatre’s smashingly good Chicago production of Susan-Lori Parks’ “Topdog/Underdog” brings us a dark comedy that is both gripping and layered. This Tony winner for its current Broadway revival incorporates all the qualities of a well-written play, steadily unfolding details of the brothers who share a derelict apartment—the plaster is falling, the sink is broken, the working bathroom is down the hall—with exposition artfully buried in the dialog.

Under the direction of Aaron Reese Boseman, the audience is drawn in the course of the play to learn these two black brothers were separated some 20 years ago from their parents, who named them as a macabre joke, then walked out when Booth was just 11 and Lincoln 16.

The two have made their way in the world by hustling for money. Booth (DeMorris Burrows) shoplifts and Lincoln (Mikha’el Amin) is a master at three-card monty, where he collects winnings from marks. Younger brother Booth longs to capture Lincoln’s mastery in cards, and when we first meet him alone in his apartment, he is practicing and practicing, struggling to gain his older brother’s finesse.

When Lincoln arrives, though, we learn he has given up cards, and is now working in an arcade, in white face, dressed as Lincoln: tophat, beard, frock coat and vest. Lincoln comes fresh from his work, where customers pay to shoot blank bullets at him, after which he dutifully dies. How’s that for a premise?

Lincoln gives Booth a hard time. "Bathroom's down the hall," Booth tells Lincoln, who needles his brother. "You're living in the third world, Booth."  When Booth asks Lincoln to teach him how to succeed at three-card monty, Lincoln retorts, "I don't touch the cards," and refuses to teach him. Booth complains, "Here I am trying to make a living, and you're standing in my way." We immediately feel that this argument, and Booth's supplicant role, has played out many times. 

Yet Lincoln also helps Booth, dispensing his earnings, yet Booth takes advantage of him, taking all but $13, then asking for five bucks back. What Booth really seeks is the recreation of the family of his childhood, when the two lived with their parents, as carefree children, with a treehouse, running a lemonade stand, playing practical jokes on their dad, and chowing down on their mother’s home cooking. Booth rearranges the furniture, to simulate the table around which they would gather during their upbringing. But Lincoln refuses this sentiment, putting it all back the way it has been when he arrived. 

Into the mix are added intriguing entries: Booth tells his brother of witnessing his parents preparing to leave, a traumatic experience. He secretly retains a stocking filled with a parting gift, which he believes is money, but it is never opened during the play. Booth has a girlfriend, Grace, whom he plans to marry—yet she never appears, and when he returns from visiting her, Lincoln asks Booth for a blow-by-blow of the tryst. His recount sounds unconvincingly made-up, but the inebriated Lincoln only vaguely challenges Booth on this, then passes out.These components point to yearnings Booth holds, which Lincoln only partially shares. 

Eventually, there is resolution of the action, the relationship, everything, that is both satisfying and disturbing. The actors here put everything on the boards; it's hard to imagine them recovering and doing this again, nightly. In his protrayal of Booth, Burrows is exacting, a range from humorous clowning, to high energy plaintive soliloquoy, while Mikha’el Amin's Lincoln gives a more restrained but emotionally evocative performance. This nuanced portrait of a brotherly relationship rings remarkably true. Anyone with a brother, or who knows brothers, will recognize the mix of adulation and aspiration in the younger sibling, and the kindly nurturance and meanness in the older one.

Driven from its tiny 35-seat quarters by a fire, Invictus has landed in the northside site renowned for its big sets and large enough to accommodate some riveting immersive theater. WIth existing lighting, sound, and set capability, this space allows for production values supporting in equal measure to Invictus' tradition of concentrating on the fullest expression of the script. Scenic design by Kevin Rolfs, props by Barbie Brown, costumes by Marquecia Jordan or on the mark. The touches of music by sound designer Petter Wahlback set mood at keep dramatic points, and lighting by Brandon Wardell and Josiah Croegaert illuminate and transition fully in sync with the action.

“Topdog/Underdog” carries all the ingredients of the formula for a hot production: an eminently incredible play, in its Chicago revival at the capacious and versatile Windy City Playhouse, the new digs for one of Chicago’s top acting troupes, Invictus. Definitely a must-see on all counts, "Topdog/Underdog" runs through March 31 at Windy City Playhouse, 3014 W. Irving Park Road in Chicago.

Mozart’s masterpiece, and one of the world’s most frequently performed operas, The Magic Flute, is given a modern-day makeover in award-winning director and writer Mary Zimmerman’s production of The Matchbox Magic Flute, now playing at The Goodman Theatre on its Owen stage.

In this world-premiere production, Zimmerman has adapted the traditionally lavish and grandiose opera with full company and orchestra and has created what has been dubbed an opera-in-miniature with a cast of ten and an orchestra of five. The results are nothing less than triumphant.

From the orchestra members dressed in costume with candles flanking their music stands to the delightful Spirit (wonderfully performed by Reese Parish) who guides us through the performance, to the Zimmerman-trademarked scenery which effortlessly flows from forest to palace and back again, every detail contributes to the overall ambiance of the production to create an intimate theatre experience. The audience feels as if they are part of the performance as the actors frequently turn to us and bring us into the action and let us in on the jokes.

The production follows the traditional story line of Prince Tamino (Billy Rude) who finds himself lost in the forest pursued by a dragon. He is rescued by three woodland ladies, who show him the portrait of Princess Pamina (Marlene Fernandez), the daughter of the Queen of the Night (Emily Rohm), who has been abducted by Sarastro (Keanon Kyles) and his sidekick, Monostatos (Russell Mernagh).

The Prince falls in love with the Princess instantly, and when the Queen of the Night commissions him to rescue her daughter, promising him her daughter’s hand in marriage, the Prince is only too happy to oblige. Aided by a magic flute and accompanied by the lovelorn half-bird, half-man, Papageno (brilliantly played by Shawn Pfautsch), the Prince commences his magical mission.

In adapting this classic opera, Zimmerman has gone line by line, not only condensing the plotline to fit a two-hour running time, but also updating the libretto to include unexpected and humorous references to modern life. For instance, when the three woodland ladies (Lauren Molina, Monica West, and Tina Munoz Pandya) discover the unconscious Prince, they coo over his physique as one who has obviously gone to the gym.

Later when Papageno and the Princess meet and sing about “the bird and the girl,” they encourage one another to persevere and not be discouraged “as when you are waiting in the grocery line.” These references are so cleverly embedded throughout the performance that you find yourself waiting and listening for them.

Even though only one of the ten cast members is a trained opera singer (Kyles who plays Sarastro), all have the musical theatre credentials to do justice to Mozart’s soaring operatic scores. Rohm as Queen of the Night gives an outstanding performance of one of the opera’s most well-known arias, Der Hölle Rache, with its fast repetition of High C’s, that challenges most sopranos. And the superbly comedic duet of Pfautsh’s Papageno and his newfound love, Papagena (also played by Lauren Molina), Pa pa pa, is a show-stopper. Also, not to be missed is Kyles’ impressive baritone, whose lower range wows the audience.

Rude as Prince Tamino and Fernandez as Princess Pamina shine in their respective roles, both vocally and in their character portrayal. Fernandez has a particularly beautiful soprano that is magnificent to hear. The three woodland ladies (Molina, West, and Pandya) are outstanding in their roles, adding humorous commentary on the action to both those on stage and to the audience. Mernagh’s Monostatos, as the one real villain in the story, is played with just the right comedic touch in his clumsy attempts to seduce the Princess.

What ensues is a thoroughly engaging and entertaining production that is fast-paced and lively. Toss in a few woodland creatures, whose dancing border on the hilarious as they throw in a little soft shoe, and you have a family-friendly show perfect for all ages. Even some of the musicians get involved and join the action on stage, as when flautist Dalia Chin, leads the Prince and Princess through their final trials with her “magic flute.”

Zimmerman herself sums up the production as a fantastical, adventuresome journey with something for everyone – dancing animals, magical instruments, lessons learned, along with a bit of humor, all set to Mozart’s time-honored classic score. What’s not to like?

Don’t miss your chance to introduce the younger generations – or even yourself -- to opera in a most winsome and captivating way. The Matchbox Magic Flute is playing through March 24 at the Goodman Theatre.

It’s been almost 80 years since the publication of Anne Frank’s Diary, and yet it remains one of the most significant personal accounts of the Holocaust on record. Though ‘The Diary of A Young Girl’ is a well-established work of young adult literature, it continues to be challenged by parents and school boards. The irony is that maybe there’s never been a more important time for children to read this haunting personal narrative.

Young People’s Theatre of Chicago presents a new adaptation of the 1955 Pulitzer Prize-winning play by Frances Goodrich and Albert Hackett. This is a secondary adaptation as Wendy Kesselman considerably trimmed the play down for the 1997 Broadway revival. Her updated script is generally considered the standard now. This new, 75-minute version was developed by the Nashville Children’s Theatre along with the Anne Frank-Fonds and is making its Chicago premiere at Greenhouse Theater Center. The goal of the shortened running time was to make the play more impactful for younger audiences. This is not to say this new version has been sanitized to appeal to conservative audiences. In fact, this script keeps the play’s most challenging moments intact.

Randy White directs this intimate production with an impressive young cast. Given that this is one of the most produced plays in the world, it’s reasonable to assume this cast could maybe be influenced by other actors’ portrayals of the two families in hiding. Instead, it feels like this cast decided to depict these real-life figures in their own way. Shelley Winters won an Oscar for her somewhat over-the-top performance as Mrs. van Daan, whereas Amy Stricker plays the part with a realistic coolness. One of the production’s most upsetting moments is when she must sacrifice her beloved fur coat so they can afford rations.

Despite its dark subject matter, ‘The Diary of Anne Frank’ endures because of Anne Frank’s ceaseless optimism in the face of the unimaginable. This fast-paced version moves quickly from scene to scene, but it doesn’t lose any depth. Rather, this is a version that children can identify with. For many children, ‘The Diary of a Young Girl’ is their first exposure to the Holocaust, so while it’s important not to traumatize a younger audience, it’s also important for children to know the truth so that it can’t happen again. This production hits all the emotional high points that make this play so essential. It was touching to see how affected some tiny audience members were by the play’s chilling conclusion.

‘The Diary of Anne Frank’ is a play that everyone should see at least once in their lifetime. While it’s certainly Holocaust adjacent, there’s a lot in this script about that human condition, and what it means to be a misunderstood teenager that everyone can relate to. Though Anne Frank never saw the impact her work had on generations of people, she achieved what she set out to do. Her diary is more than just a record of her time in hiding, it’s a work of literature wise beyond its author’s years and reminds us all to be gentler with each other.

Through March 24 at Young People’s Theatre of Chicago at Greenhouse Theater Center. 773-404-7336

Blade Runner Live? Don’t worry, it’s not a musical adaptation of Ridley Scott’s 1982 sci-fi classic. It’s the inaugural film in The Auditorium Theater’s new series, Auditorium Philms, in which five films will be live scored by the Chicago Philharmonic. Performances are scheduled throughout the year and include a special 35th anniversary presentation of Tim Burton’s Batman Returns as well as Francis Ford Copolla’s 1992 version of Dracula.

Likely inspired by the success of Chicago Symphony Orchestra’s live scored film events, The Auditorium’s new series offers a unique way to enjoy classical music performance. In many ways, Hollywood film composers have kept the spirit of classical music alive, or at the very least made orchestra music more accessible to the masses. And who doesn’t sometimes put on their favorite film scores to get some work done?

The Chicago Philharmonic brings a small troupe of performers to the grand stage of The Auditorium, but however small they’re just as mighty. The score leaps off the stage and into the highest rafters of the enormous, gilded hall. Huge shows of percussion give an audience the feeling that the score is as big of a character as either Harrison Ford or Daryl Hannah. A musician also doubles as the vocalist, bringing a three dimensional element to the action-packed score.

Auditorium Philms creates a new hybrid movie theater-going experience. They’re blending the traditional theatre model (including a short intermission) with the “Imax” type rollercoaster ride audiences seem to clamor for with every passing superhero movie. The pandemic further cemented people’s love for not just film, but for also the sense of community that certain films create. Think ComicCon.  Blade Runner, Batman, etc there’s a fan-base that loves to cosplay and generally get to know each other. This series will provide a perfect place for film, theatre and music lovers to “nerd out” among like-minded folks.

Auditorium Philms run throughout 2024, check out the schedule here.

Imagine being Jewish and attending a White Nationalists meeting undercover. Sounds crazy, right? In the award-winning comedian Alex Edelman’s acclaimed Broadway Solo Show, Just for Us you get to hear the story of how Edelman does the unthinkable by putting himself in an extremely uncomfortable situation among White Supremacists. It seems very serious but happens to work perfectly for this comedy show.

The show begins with a few cheesy jokes about gorillas and horses, and how Edelman is dedicated to his craft by spending $800 on sign language classes. Things quickly take a dramatic turn when Edelman shares the blatant anti-Semitism he began to face on Twitter years ago. The scenario gets even more interesting when he finds out there’s a meeting for White Nationalists seeking to “answer questions about their whiteness”. This finding leads to Edelman making a brave and possibly stupid decision to attend the meeting in an apartment located in Queens, New York.

Edelman’s experience attending the meeting carries through the rest of the show as he weaves in childhood stories and random funny lines about our society today. His jokes and anecdotes are brilliantly written with clever punchlines that even made himself laugh. This show is disturbingly relevant to the events unfolding in the world today. And as Jew, who was raised Orthodox, Edelman gives you an inside look of his life experience grappling with his Jewish identity and the hardships of anti-Semitism.

Alex Edelman is a stand-out comedian and is entertaining to watch on stage. He is actively moving around and has quirky movements as he shares his strange experiences and ridiculous thoughts. Comedy seems to come naturally to him as he quickly delivers joke after joke. Edelman did an amazing job engaging the crowd and made us feel like we were a part of his story. He even added a few quiet moments for us to feel how uncomfortable it was for him to be in the room full of anti-Semites at the White Nationalist meeting.

Throughout the show the crowd was on the edge of their seats as laughter echoed in the packed theater. Edelman keeps the audience hooked through ups and downs of laughter and intense silence as he unpacks the depths of serious topics of racism, anti-Semitism, and sheer ignorance. Following the show, audience members were raving with a standing ovation, clapping and cheering.

I spoke with a few of them, and many loved the show. A young man named Asher said, “The show was funny, but relatable, especially if you have experienced any form of being different.”

Another crowd member named Margo said, “It was surprisingly hilarious, endearing and came full circle in the end.” She continued, “It was universal for everybody, something we will take with us and carry from here on out.”

“Just For Us” directed by Adam Brace is hilarious and thoughtfully pieced together with each joke. It’s easily one of the best comedy shows I have seen in a long time. I highly recommend everyone attend this show, no matter your background. The jaw-dropping ending is worth every penny.

The Steppenwolf Theatre was the perfect setting for the comedy show. The theater was sold out and offered a variety of drinks at the bar. The Downstairs Theater has two levels of seating including main floor and balcony areas. The theater is accessible for everyone and is intimate enough so that you don’t feel like you are miles away from the stage.

The Just for Us show runs from Thursday, February 15 to Saturday February 24, 2024. The running time is a quick 85 minutes with no intermission. Showtimes vary day to day from 3:00 pm to 7:30 pm. It’s located in the Downstairs Theater at Steppenwolf Theatre Co. located on 1650 N. Halstead St. in Chicago. Tickets start at $52 and are on sale now at steppenwolf.org/justforus or at the Box Office at (312) 335-1650. Make sure to get your tickets soon as they are selling out fast!

I’ve loved the Joffrey Ballet for almost its entire lifetime (it was begotten just two years after I was). My first memories of seeing the Joffrey Ballet in performance date back to … the Eighties? Seventies? Any road, I’m not a joanie-come-lately fan of the Joffrey Ballet.

The Joffrey never disappoints. I’ve reviewed Joffrey Ballet several times here at Buzz Center Stage and my reviews reflect this: Joffrey Ballet never disappoints. But saying the Joffrey Ballet never disappoints is inadequate to the task of launching a review of STUDIES IN BLUE. I was transported; I was captivated; I was ensorcelled and entranced. In short, STUDIES IN BLUE is the finest program I’ve ever seen Joffrey Ballet perform. 

But I can’t just say that and go on about my day, yeah?  Right then: STUDIES IN BLUE, how do I love thee?

Hungry Ghosts - The Joffrey Ballet Ensemble

The program is three acts, Yonder Blue, Hungry Ghosts, and Hummingbird. I’ve seldom seen three ballets more dissimilar, yet each in its own unique way uplifted and harmonized with the other two to compose a perfectly unified program. Wowie.  

I’m going to snatch this opportunity to thank Artistic Director Ashley Wheater, CEO Greg Cameron, and anyone else who played a part in re-homing Joffrey Ballet at the Civic Opera House. I’ve been seeing and loving shows at the Auditorium Theatre since the early 1970’s, and it’s still a magnificent venue. I, however, have gone a bit to seed over the years, and find the Aud just a leeetle bit challenging to navigate. COH is far more user-friendly now I’m no longer quite so spry. Thank you!  

Yonder Blue was choreographed by Andrew McNicol, premiering in 2019. Yonder Blue’s music was composed by Peter Gregson, performed by the Lyric Opera Orchestra, directed and conducted by Scott Speck. It was delightful, joyful and vivacious but without straying into cloying or syrupy. McNichol reminds us that ‘yonder’ is a word that wobbles, tangible yet hard to grasp.  Yonder implies distance – from here to there – yet it remains imaginary, as once you reach ‘there’ it becomes ‘here’, and ‘yonder’ again withdraws. Jack Mehler (Scenic and Lighting Designer), captures this from the opening curtain – the dancers are silhouetted against a misty sky of blues which is slowly covered by a solid backdrop, creating the illusion of the horizon receding into the distance 'over yonder' as we are drawn deeper into the piece. 

We feel that shifting sense of space and place through both McNicol's choreography and the exquisite execution of the dancers. At one moment their movements are creaky, fractured, straining, and the next they float weightlessly through impossible lifts. If you know me, you’ll know I’m very partial to boy-on-boy dance; McNicol did one better for me with a perfectly splendid pas de trois featuring Jonathan Dole, Alberto Velazquez and José Pablo Castro Cuevas.  

‘Blue’ is another mercurial word, referring now to nature, now to human qualities and even emotions, from ‘feeling blue’ to bawdy ‘blue humor’. Yonder Blue encapsulates these many and disparate associations. The piece ebbs and flows, including an extended full-ensemble unison section which builds from a simple start of stationary forms to a full-stage cascade of whirling exuberance. 

An aside here: reading the program, I was marveling at the company’s diversity:  from Cincinnati to Jacksonville, Indiana to Utah, from Cuba, Japan, China, Estonia, Brazil, Russia, Australia. This diversity was visually evident during Yonder Blue, exposing all that winter-white skin!   

I was excitedly anticipating Hungry Ghosts, choreographed by Stina Quagebeur, as this is the first performance art I’ve attended that is inspired by ‘one of the most seismic human tragedies of modern times’: America’s opioid epidemic. See, opioid addiction is my thing – for 35 years I’ve been an addiction psychiatrist working on the streets with needle exchange programs and other outreach to the human beings ravaged by this unspeakable disease. Unspeakable indeed – there is no advocacy for addicts, and a death toll exceeding 100,000 annually elicits much editorial handwringing but virtually no direct action: jail is still, by several orders of magnitude, the standard (affordable/available/accessible) treatment for addiction.

Sorry, I just couldn’t hold that in. I’ll step down from my soapbox and return to Quagebeur’s far more eloquent litany. Her fittingly titled Hungry Ghosts has it all:  hope and longing, failure and despair, ambivalence and impotent rage and resignation. The disease is embodied by Anais Bueno and Hyuma Kiyosawa in a running pas de deux while the company animates the course of the disease: the swoop to dizzying heights and the inevitable plummet into the Slough of Despond. Jack Mehler’s brilliant Scenic and Lighting Design made ingenious use of vertical scrim panels to portray the addict’s isolation, the urgent necessity but lack of community; hunger and destitution and craving and loathing … all so poignantly expressed by Quagebeur’s choreography and the dancers’ mastery. 

Jeremy Birchall’s music was absolute perfection: alternately discordant and mellifluous; simultaneously strident and harmonic. I trust I’m not trespassing when I say that clearly neither Quagebeur nor Birchall learned about addiction by reading about it in a book – their intimate sophistication can only be gained the hard way. Thus, Quagebeur doesn’t succumb to the banal platitude of wrapping it all up with a pretty bow; rather, the ending reflects the ambivalence and uncertainty of the disease itself; death is the sole unequivocal outcome.  I was leaking tears by the end and was so glad for the standing ovation Quagebeur received for this world premiere performance – may her work advance to stages worldwide!

I was grateful for the intermission as I definitely needed time to recover after Hungry Ghosts, and my ballet buddy and I agreed to be underwhelmed by the final ballet, Hummingbird. I guess Hungry Ghosts rattled us enough to forget the cardinal rule: the Joffrey Ballet never disappoints.

Hummingbird - The Joffrey Ballet Ensemble

Liam Scarlett choreographed Hummingbird, and Lauren Strongin staged it a bit differently to the first two offerings. While Jack Mehler was Scenic and Lighting Designer for both Yonder Blue and Hungry Ghosts, David Finn’s lighting and John MacFarlane’s Scenic and Costume Design imparted a very different tableau for Hummingbird. Check out the photo – your eyes are not deceiving you; the stage truly is tilted up sharply at the rear, creating unique entrances and exits against the abstract backdrop.

Philip Glass’ music animates nine couples, in pas de deux and in company, into choreographed movement that comes from deep within: “Like an earthquake epicenter it ripples out… It has a human quality because it’s using everything you have.” Scarlett plays with our expectations – like an actor breaking the fourth wall with an aside to camera, he 'breaks' the dancers into unexpected movement. The ensemble entering with gracefully pointed limbs, only to crouch into a quick, flat-footed run-in-place garnered quite a few chuckles. Ending a fraught and emotional pas de deux with the dancers bent over and gasping for breath rather than perfectly poised added an emotional punch of realism.

I mentioned at the outset how these three pieces harmonized with each other - the treatment of the pas de deux by each piece offers a prime example. In Yonder Blue it was thematic, in Hungry Ghosts, narrative. In Hummingbird, the pas de duex sits somewhere in between - evocative, intertwining, and emotional as they thread their way in and out and around and through the ripples of movement around them.

Joffrey Ballet will perform STUDIES IN BLUE until February 25 on Thursday, Friday, Saturday evenings, and matinee shows on Saturday and Sunday, so you have no excuse to miss it! 

JOFFREY BALLET STUDIES IN BLUE at the Civic Opera House through February 25

VERY HIGHLY RECOMMENDED!!

Review by Sarz Maxwell with thanks for assistance from Eva Hare

There are but a few evenings in life that can ultimately change your destiny, David Yazbek’s The Band’s Visit tells the story of one such evening in the lives of those residing in a small Israeli town. When a lost bus drops off an Egyptian Police Band, a community offers to put them up for a night and in return, the band offers them a new perspective. All set to Yazbek’s gorgeous music created on stage by an impressive cast of actors and musicians.

Under the direction of Zi Alikhan in a co-production between Writers Theatre and TheatreSquared, this exciting new revival feels like exactly what the world needs right now. Too often the Middle East is portrayed as a war torn, chaotic region of the world and what this musical shows is that the human spirit is far more complex than ephemeral political moments.

There’s no definitive plot to The Band’s Visit but rather, a series of vignettes between the band members and the townspeople. Instead of the characters dissecting their political or religious differences, they focus on what makes them human.

The stirring music and performances make this immersive musical an unforgettable experience. The incredibly talented Sophie Madorsky leads the Israeli cast as Dina, a cynical widow who has given up on the idea of real love. Her touching evening with band conductor Tewfiq (Rom Barkhordar) is bittersweet and serves to remind us that you can find glimmers of hope at any age.

Optimists will choose to believe the band’s visit saves villagers Iris (Dana Saleh Omar) and Itzik’s (Dave Honigman) flailing marriage, reminding them too that love is complicated but worth it in the end. Their scenes together are at times heartbreaking and Dana Saleh Omar’s performance is one of the strongest assets of this production.

Youthful trumpet player Haled (Armand Akbari) is a bit of a casanova and spends the play helping young lovers find romance, despite his own predestined marriage. This is a musical about love, in all its many forms.

“The Band’s Visit” is not only thought provoking, but also a lot of fun to watch. It’s a rare departure from the ordinary musical theatre traditionally churned out by Broadway. For a musical based on a movie, this is not your typical jukebox musical adaptation that have become all too grating these days. Winner of 10 Tonys including Best Musical, The Band’s Visit is a unique, once-in-a-generation musical that requires just the right casting, direction and audience.

Writers has a hit on their hands. The show perfectly forms itself to the intimate Glencoe theater space. While audiences may shed tears, they’re not tears of pathos, they’re tears of joy. This show may not have all the toe-tappin’ songs that leave audiences singing their way home, but it certainly will leave audiences buzzing with a spirit of connectedness and hope.

Through March 17 at Writer’s Theatre. 325 Turdor Court, Glencoe. 847-242-6000

*Extended though March 24th

Court Theatre culminates its "Oedipus Trilogy" with a captivating production of "Antigone," marking an exhilarating conclusion. For those who witnessed the illuminating "Oedipus Rex" and the soulfully performed "Gospel at Colonus," the profound experience of "Antigone" brings a bittersweet moment of reflection. A fitting finale to the house of Oedipus.

Director Gabrielle Randle-Bent brilliantly implores us to consider another woman who defied unjust authority despite the potential consequences. The action starts with a recording of women discussing someone (Rosa Parks?) who refused to give up her seat on public transportation in the south. It sets the mood for the arguments we will hear.

The action starts after the death of Eteocles and Polyneices. Their uncle, now King, Creon (stoically played by Timothy Edward Kane) has decreed while Eteocles shall be buried a hero, anyone who buries Polyneices’s body will be put to death. He feels to bury Polyneices, a traitor, would be an afront to the Gods, Creon wants to solidify his power and assert his absolute authority and demonstrate his unwavering rule.

Antigone (the wonderful Aeriel Williams) feels it is her duty to her family and to the Gods to give her brother a proper burial regardless of what he may have done. This is the classic argument of divine authority over earthly jurisdiction, separation of church and state. Creon's decree forbidding Polyneices' burial directly contradicts divine laws. By burying him, Antigone asserts religious obligations over human-made laws, challenging Creon's authority and upholding the divine order.

Antigone shares her grief and her plans to bury her brother with her sister Ismene (Ariana Burks is sublime). Sharing her burden with her sister allows Antigone to express her grief, anger, and determination. Ismene's understanding and possible support could validate her decision and provide emotional strength.

The two-person chorus of Demophilos (Danielle David) and Euboule (Cage Sebastian Pierre) serves as the pulse of the community. They provide essential background information; they offer social and moral commentary. Speaking directly into microphones, they created a charged atmosphere that amplified the power of their voices. They used facial expressions, call and response and movement to bring their words to life, connecting, us, the audience, to the text on an emotional level unheard of in classical Greek plays.

Haimon's (Matthew C. Yee) tragic suicide serves as an indictment of Creon's relentless inflexibility, highlighting the devastating consequences of his flawed choices.

Julian Parker provided important information as well as lighthearted laughs as the Watchmen who becomes Messenger. I’ve been following his career for some time, and he’s only gotten better.

Cheryl Lynn Bruce as the Blind Prophetess, Tiresias was the embodiment of truth and wisdom. Warning of the potential dangers of pride and hubris, she gave an air of unquestioned authority.

The costume design by Raquel Adorno ran the gamut from Creon’s money green suit to the mud-cloth inspired ensemble worn by The Watchmen who becomes messenger. Antigone silver studded blouse was in stark contrast to Ismene muted soft colors. The costumes were a feast for the eyes.

Even in the face of dire consequences. Antigone's willingness to sacrifice her life underscores the importance of honoring family and divine obligations above all else. Her death serves as a powerful testament to the strength of individual conviction and the consequences of challenging authority. Additionally, Antigone's martyrdom solidifies her legacy as a symbol of resistance against tyranny and a defender of moral righteousness.

No, I’m not giving up this seat! No, My brother will not rot in the sun!

When: To March 2
Where: Court Theatre, 5535 S. Ellis Ave.
Tickets: $40-$70
Info: courtheatre.org
Running time: 1 hours and 35 minutes with no intermission

“May God bless and keep you always
May your wishes all come true
May you always do for others
And let others do for you
May you build a ladder to the stars
And climb on every rung
May you stay forever young
May you stay forever young”

For many, if they are unfamiliar with the music of Bob Dylan, they have at least heard the one. As the opening cords of “Forever Young” start to play, Elizabeth (Jennifer Blood) takes center stage. She sits on the bench and sings – backlit by a screen of light blue. Aside from her husband, Nick (John Schiappa), who sits frozen by her side – the stage is empty. The room is silent save for her stunning vibrato. We are left with nothing but her and the lyrics on which to focus, allowing us to join in her somber, reflective journey.  

Juke-box musicals can often run into challenges. In trying to fit an entire score of pre-made material, it can become tough to craft a story that flows and feels authentic. Girl from the North Country is a Bob Dylan juke-box musical, and you may just find that the creators found the perfect balance of storytelling to match his folk/rock genre.

Written and directed by Conor McPherson, Girl from the North Country centers on a group of wayward travelers in Duluth, Minnesota in 1934. When these characters meet at Nick’s old guesthouse, we catch glimpses into their lives – past relationships, hopes for the future, and all of the regrets leading them to this moment. Much of McPherson’s musical is told in a vignette style – moments in which we see these characters briefly interact before moving on to their rooms for the evening. Scenic and Costume Designer Rae Smith heightens the theatricality with her design. Rather than featuring a full house on stage, we see the structure in segments – with walls dropping in various places as a way to highlight the characters’ interactions before moving to a different space in the house. 

The musical showcases a list of famous songs by Bob Dylan including “Forever Young,” “All Along the Watch Tower,” “Hurricane,” and “Like a Rolling Stone.” With the story moving so quickly, Dylan’s slower musical style allows the audience to catch up as the songs unfold – giving us just enough pause to catch a window into the characters’ true feelings before speeding back up again. This especially rings true in the more heartbreaking, romantic storylines of the show.

“Tight Connection to my Heart (Has Anybody Seen My Love)” appears early in Act One and features Marianne Laine (Sharaé Moultrie) – the adopted daughter of the innkeeper. We learn that she is pregnant but refuses to let anyone know the identity of the father – including her parents. As we see her break away after guest after guest pushes for that answer, the music starts to play. The lights shift. Moultrie is backlit by a bright green screen as she begins to sing – creating a haunting presence as her powerful belt rings throughout the theater. After seeing so many characters move in and out of the space, you may find that Marianne’s isolation on stage almost feels like a shock, but also offers a much-needed moment of backstory before quickly moving on to the next.

A moving story and jaw-dropping vocalists alone make Girl from the North Country a night to remember Conor McPherson and his artistic team celebrate Bob Dylan’s music in a way that I can only imagine is exciting for long-time fans to experience first-hand.

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Running through February 25, 2024 at the CIBC Theatre – 18 Monroe Street.