Items filtered by date: November 2007

Charles Dickens wrote A CHRISTMAS CAROL in December 1843, and by February 1844 London stages were mounting productions of the work. A CHRISTMAS CAROL is a classic, encompassing all those things we say about ‘classics’: it is iconic and traditional; it’s popular and precious (I’m flashing on Gollum as Jacob Marley’s ghost) as well as familiar, universal, standard…. In other words, I doubt there’s anyone reading this review who needs the plot described or its message debated.

And surely nobody in this ol’ town need ask: “Where is A CHRISTMAS CAROL playing?” The Goodman Theatre has staged this show annually for forty-five years, and Larry Yando has played Ebenezer Scrooge for the past 15 of those. Traditional and familiar indeed! I’ll warrant Goodman’s new Artistic Director Susan Booth had a few opening-night jitters about how Chicago would respond to her management of this solemn custom; she could get sympathy from Jessica Thebus – this is only the third holiday season she’s been its Director. But I’d say both can rest in heavenly peace – A CHRISTMAS CAROL totally works.

I’m an habitue of the tiny street front theatres in Lakeview and Edgewater, so for me it was an adventure simply perusing the program – in Playbill! rather than skulking behind a QR code icon. I often see a Fight Director in the production staff, but Andrea Gentry’s role as Flight Director is a new one on me. She did it brilliantly with the airborne Ghost of Christmas Past (Lucky Stiff), who flew covered in spangles and wearing a glowing crescent moon crown. Goodman Theatre has made prolific use of modern technology and staging techniques to bring us a truly awe-inspiring production. The sets (Todd Rosenthal) were ingenious, from the homely Cratchit family kitchen to fantastical trips through the sky, all accentuated by Keith Parham’s masterful lighting. And the sound! Choralists frequently appeared singing carols in assorted languages, often accompanied by ensembles including French horn, flute, concertina, accordion, guitar and fiddle. The sound design as a whole was wrought by Richard Woodbury and Pornchanok Kanchanabanca and directed by Malcolm Ruhl. Composer Andrew Hansen provided lovely originals for the occasion. The highest compliment I can pay them is to say I often didn’t hear the soundtrack, but I felt it throughout.

The show opened with Rika Nishikawa singing a Ukrainian carol, “Siva Zozulenka”, whose lyrics speak of a bird offering blessings and peace—a felicitous prayer for the holiday season in beleaguered Ukraine. This acknowledgement of the chaos devastating our world was as appropriate as it was appreciated.

So … alright, already. I could go on devising ways to make lists of names and titles reasonably coherent and interesting, utilizing gigabytes of characters and multitudinous synonyms for ‘fantastic’, but why? You can find all that information in the reviews from the major newspapers. I concur with their judgments of the show’s quality: it was truly spectacular. But why should I reiterate all that? Suffice it to say the production was marvelous, from the steadfast brilliance of the crew to the superb performance by every single member of the cast. Truly a magnificent work … do see it! But for now, I have some other thoughts I’d like to discuss.

Let’s start with appearances. Goodman Theatre is apparently taking the idea of inclusion seriously; the diversity in race, color, nationality, gender, and body type was remarkable. It was not, however, always congruent with the story. For example: I heartily celebrate casting an African American Tiny Tim, and Christian Lucas was terrific, up to and including “God bless us, everyone!”. But I found it jarring to see him surrounded by the totally white bread Cratchit family. Nobody knows just what affliction caused his lameness (polio? rickets?) – are we to believe this arcane ailment also produces cutaneous hyper-melanation?

And as one who’s spent a lifetime battling love of food and sedentary habits, I applaud the inclusion of cast members who don’t conform to the Barbie ideal of feminine habitus… but weren’t some of those characters supposed to be tubercular? These dissonances tend to make the casting appear motivated more by diplomacy than thematic consonance. There’s a fine line between celebrating diversity and being PC.  We each define that line’s position individually, and we all feel a twitch when venturing too close to that line. I twitched a bit during A CHRISTMAS CAROL.

(L-R) Daniel José Molinaand Amira Danan in Goodman Theatre's 'A Christmas Carol'

Dickens wrote A CHRISTMAS CAROL occurring in the present – the 1844 present. I don’t wish to cast aspersions on the aptitude of the average theatregoer for deciphering a metaphor, but you’ll notice Dickens hadn’t that sort of faith in his audience – he kept it simple, setting the action in the present as a social commentary on the present—1844.

I’d like to see Bob Cratchit’s role taken by LaToya Jones, a single mom of three who’s working at Walmart til closing on Christmas Eve and doesn’t dare ask for the day off for fear she’ll lose her job. Her meagre salary isn’t so much the issue as the benefits. Without health insurance what would become of her youngest son with cerebral palsy?  Defining the role of Ebenezer Scrooge is the real puzzle—the casting call would be humongous. Do we use her boss? Walmart’s CEO? Senator? Too many possibilities!

With these traditional productions it’s a challenge to inject something new. Larry Yando contrives to offer new (and effective!) comedic twists to his Scrooge. We saw delightful innovations from costume designer Heidi Sue McMath and mask designer Sarah Bendix. But I’m talking about a much bigger variation: how about a modern interpretation? Joffrey Ballet gave us a Chicago-based Nutcracker (and it’s brilliant!). I’m suggesting a more complex alteration, relocating the story in time as well as locale. Hundreds of playwrights have applied that sort of exegesis in adaptations of The Bard – how about Boz?

Highly Recommended.

Just in time for the season’s first snowfall and the holidays, the Marriott Theatre in Lincolnshire serves up a delightful rockin’ adaptation of Hans Christian Andersen’s The Snow Queen, perfect for the entire family as its finale for the 2023 children’s theatre season.

Billed as the story that inspired the Disney megahit Frozen – indeed, there were many young audience members in full Elsa garb – the story follows the adventures of the brave, young Gerda, who is determined to find and rescue her best friend, Kai, who is trapped forever in the Snow Queen’s winter palace.

The Snow Queen is one of Andersen’s most highly acclaimed fairy tales, with its timeless story of the struggle between good and evil. In this production, Andersen’s beloved tale is transformed into a musical, set to an original pop-rock score that has something for everyone’s musical tastes.

The story itself is a bit complicated. Struck in the eye and heart by the splinters of a mirror stolen from the Snow Queen and cursed by a malevolent troll, Kai forgets his friendship with Gerda and becomes cruel and mean-spirited. Undaunted by her beloved friend’s rejection, the intrepid Gerda begins her journey to reclaim her friend, which takes her into a magical world filled with singing flowers and a zany group of talking crows, a wicked witch, who casts a spell to trick Gerda into becoming her daughter, a kind-hearted prince and princess, a hard-rockin’ punk robber girl and mother, and more!

Whether the Frozen devotees were disappointed that their favorite princess, Anna, Olaf, or Kristoff, were not on stage (there is a talking reindeer!), it didn’t appear to be the case. The mostly under-ten audience paid rapt attention throughout the hour-long production.

While the staging was kept to a minimum, with scene changes accomplished through a well-placed prop (cleverly camouflaged alongside the Marriott Theatre’s signature circular stage) and through two video screens flanking the stage, the talented ensemble kept their young audience engaged through non-stop action onstage and foot-tapping music that ranged from soulful ballads to a dance-party beat to a homage to punk rock.

This was my first time seeing a production at Marriott Theatre as well as my seven-year-old granddaughter’s first live theatre performance. It is the perfect venue for introducing children to live theatre as the sightlines are good and the audience is close to the actors and action. There’s even a question-and-answer session after the performance with the actors to further educate the next generation of theatregoers.

The production comes to life under the sure-handed direction of Landree Fleming with music direction by Michael Mahler and choreography by Katie Johannigman. The ensemble of five actors works hard throughout the show with the majority playing multiple roles through a deft change of costume – a hat, a coat, change of shoes – or a change of accent.

Veteran Chicago actor Caron Buinis (who’s also appearing in Marriott Theatre’s production of the Carole King tribute musical Beautiful) is simply wonderful as Gerda’s grandmother, the wise woman of the North, the witch, and the robber mother. Also returning to Marriott Theatre stage is Jeremiah Alsop, who plays the troubled Kai, as well as the prince and a singing flower.

The ensemble is rounded out with three actors making their debuts at the Marriott. Ryan Stajmiger captivates the audience in his multiple roles as the troll, the reindeer, the rose, and the head crow, Reginald, which he hilariously portrays as a droll, but proper British soldier. Add to that Alanna Chavez, who dazzles as the Snow Queen (my granddaughter’s favorite character), but who also can rock as the lonely, punk-rocker robber girl.

But it is Joryhebel Ginorio, in her debut at Marriott, who shines as the loyal and devoted Gerda. Ginorio brings a sweet soulfulness to her portrayal of Gerda and charms the audience with her vocal versatility and range. She has a beautiful voice, and I, for one, hope that this will not be the last Ginorio will be heard on Chicago’s stages.

As with all proper fairy tales, love, goodness, and friendship triumphs in the end – to the delight of the audience. And who knows? Maybe the young Elsa fans in attendance have found another heroine in the kindness, bravery, and determination of young Gerda.

The Snow Queen provides families with the perfect holiday entertainment with shows on most Fridays through Sundays at 10 am through Dec. 31. There are select 12:30 pm performances and plenty of holiday week performances scheduled.

After stuffing myself with a fat plate of Thanksgiving leftovers, I made my way over to Theater Wit for the Who’s Holiday! opening show. The show kicks off with a grand entrance of a much older Cindy Lou Who in a dinky trailer home. Cindy gets comfortable with the crowd and even offers a famous Chicago drink as she takes you back in time. She retells the childhood story of her and the Grinch, and also shares the untold stories of her adult life with R-rated commentary and endless rhyme.

After her introduction and drinks are poured, Cindy shares her plans for hosting a Christmas party that evening with some famous Dr. Seuss friends. As her friends flake out on her party, she takes you back in time with her life’s stories. Cindy’s monologue carries you beyond her childhood as you journey through her memories of her bizarre relationship with the Grinch, her struggles with her family, and her adjustment to a not-so cheery lifestyle. Her life story takes a turn for the worst when cops are called, and she finds herself behind bars. Something none of our inner-child selves could have imagined.

Who’s Holiday! directed by Christopher Pazdernik is now in its third outing and continues to draw in large crowds. The comedy by Matthew Lombardo is bawdy and full of holiday and Grinch themed references. Many people in the crowd were filled with laughter and enjoyed the twists and turns of Cindy’s life story.

The show has just one actress, Veronica Garza who plays the 40-year-old Cindy Lou Who. Garza does an outstanding job playing Cindy and never misses a beat. She is captivating, hilarious and has fun engaging with the crowd. She brings the character to life with unclassy mannerisms and a trailer park twang in her speech. She captures her emotions as they rollercoaster through eagerness, sadness, and Christmas cheer. Trailer park Cindy feels like your long lost childhood friend, someone you can totally let loose with.

Despite having a rough life and a few more years under her belt, Cindy still has amazing hair. The wig, makeup and costume design were all on point. Her blonde hair is fabulous and is pinned up with Christmas colored bows that match her red dress. She also has beautiful makeup that aligned with the holiday theme. Not to mention the eye-catching sparkly Crocs and ruffled white ankle socks.

The first thing I noticed when entering the theater was the decked-out trailer home covered in Christmas decor. It looked like an old 70s shack on wheels with red, green, and white accents along with twinkling lights and tinsel garland. The set was perfect for the show. It was cozy and gave an intimate look into Cindy’s trailer park life.

Something that totally shocked me was the music. A Christmas show isn’t complete without a few Christmas songs, and I have to say this Cindy Lou Who delivered. In one of her songs, she breaks out into a hilarious rap about her parents’ disapproval of their “Green Son-in-Law”. It was an impressive performance with a smooth holiday flow. Later on, Cindy wowed the crowd with a beautiful performance of a sad song of her past traumas. After each song she sang, the crowd filled the air with clapping, cheering, and even snapping.

Following this show, I will probably never look at The Grinch Story the same. However, I did enjoy a good laugh and holiday cheer. If you’re looking for some raunchy comedy, a Christmas-themed cocktail and love the Grinch, I recommend checking out Who’s Holiday. Just make sure to leave the kids at home. The show is playing at Theater Wit located in the Lakeview Neighborhood at 1229 W Belmont Ave. Showtimes continue from November 25-December 30th, at 7 p.m. The show runs for about 60 minutes with no intermission. Tickets are $39-$48. Purchase tickets at theaterwit.org or call the Theater Wit box office, (773) 975-8150.

It was such a pleasure to see a Chicago not for profit dance company, Identity Performing Arts, now in its seventh season, meet such high levels of ballet and modern dance!

With several choreographed pieces by Founder and Artistic Director Ginny Ching-Yin Lo under her belt, the premiere of Enliven will mark her 10th creative work. Lo, born in Hong Kong and trained with the Hong Kong Ballet, is both a choreographer and dancer whose works have been performed in the US as well as in China, France, and Germany.

I can't say enough about the sensual and energizing choreography by Ginny Ching-Yin Lo!

In her own words…

Perpetual

This piece premiered in Spring 2023. Perpetual reveals the delicate balance between our dual natures. Experience the angelic and the demonic, all under the veil of ethereal love, harmoniously juxtaposed and eternally connected. While precisely executed, this piece was beautifully fluid and, in many moments, hypnotic, and was the perfect opening segment for what the rest of the performance was to offer. 

Ginny has a great gift for staging and creating multiple levels of emotional depth and the feeling of synchronicity in action for her talented group of nine dancers.

Kindred

There was an interesting and refreshing 15-minute multi-media short film presentation by director Spence Warren of the premiere of Ching-Yin Lo's piece titled Kindred.

Kindred is a celebration of the merging and new possibilities that arise when individual artists get together to collaborate creatively.  

The short film was shot in one 8-hour day in a sunny private home with dancers striking beautiful and sometimes somber poses on common objects like stairwells, tabletops and even on top of beds, which gave this piece a modern identifiable setting that made you realize that our homes can also be a place for the physical expressions of creative dance.

Enliven

The final third of the program was Lo's premiere of her newest piece Enliven.

I am including the music choices for this piece because they were so striking and perfect with Ginny Ching-Yin Lo’s flowing, powerful and sexy choreography; Enliven Music: “Lemon Tree” by Jingxuan (Guzheng) and Felix Nunes (Cello), “China Wind” by Zhuolin Wang, “Fusion” by Estas Tonne”, “Abundance” by Future of the Forestry, “Glittery Green Vibrations” by Wilson Hicken and “Mortise & Tenon” by Young Yan.

I would like to acknowledge the dancers, all of whom were classically trained and surpassed my high level of expectation for a dance troupe under Lo's direction. The dance ensemble included Josephine Castillo, Mark Gonzalez, Mackenzi Bolyard-Pizaῆa, Amelia Harris, Audrey Hartnett, Wilson Hicken, Hayley Midea, Hanley Simpson, and Tiana Thompson.

While the two male dancers were clearly skilled and dynamic in their own right, it was the seven women in this troupe that really exuded full expression of this stunning and complex choreography and were just fascinating to watch. Also, the use of lighting for both live works performed was perfectly managed to effectively heighten the experience, creating dream-like sequences.

Ginny Ching-Yin Lo states that her mission is to create dance that addresses "universal societal issues and affirms the values of our individual and community diversity with the intent to heal and restore." And I really felt a sense of meditative restoration and exuberance while enjoying this program. Lo has achieved and will continue to achieve her goal of "healing and restoring" the senses by reminding her audiences of the healing qualities of eternal and ethereal love in motion.

Recently performed at Ruth Page Center for the Arts and again this past weekend at Studio5 in Evanston, I highly recommend this exciting, stimulating yet peaceful dance program and future performances by Identity Performing Arts to audiences of ALL ages for dance lovers who are accustomed to seeing high quality ballet and modern dance.

For upcoming events and more information on this wonderful dance company, visit www.identityperformingarts.org.

This December 16th and 17th, immerse yourself in the joyous spirit of the season with "A Christmas Cabaret - Thee Ricky Harris Way" at the Mercury Theater. Thee Ricky Harris is not only an accomplished musical theater professional but also the host of the online series “Places”.  This delightful evening promises a unique take on your favorite Christmas songs, delivered with Thee Ricky Harris' signature flair and charisma.

Expect a heartwarming blend of holiday classics and soulful interpretations, sure to get you swaying and singing along. The intimate setting of the Venus Cabaret Theater ensures an unforgettable experience filled with warmth, laughter, and festive cheer.

Whether you're looking for a romantic date night or a fun outing with friends, "A Christmas Cabaret" is the perfect way to escape the winter chill and embrace the magic of the holidays. Don't miss out on this heartwarming celebration that will leave you feeling merry and bright!

HIGHLY RECOMMENDED

When: Through Oct. 15

Where: Mercury Theater at The Venus Cabaret Theater 3745 N. Southport Avenue Chicago

Tickets: $25

Info:  (773)360-7365

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From Twelfth Night’s well-known opening lines “If music be the food of love, play on …,” the stage is set for Shakespeare’s madcap comedy of misplaced love and mixed-up identities. Woven throughout this production are the colors, culture, and Caribbean-inspired music that play almost as important a role as the actors on stage.

There are those who prefer their Shakespeare straight up and true to the Bard’s written word and intended setting. I, however, am not one of them. I enjoy seeing Shakespeare’s plays reimagined and reset into different settings and time periods, and I was thoroughly enchanted and entertained by director Tyrone Phillips’ interpretation of Twelfth Night.

In his debut as a director at Chicago Shakespeare Theatre, Phillips brings his personal background to the stage as a first-generation Jamaican America. The island kingdom of Shakespeare’s Illyria comes to life under Phillips’ direction as a Caribbean paradise, complete with swaying palm trees, a sandy shore, and a reggae-inspired beat that pulses throughout the show.

There’s no way you can leave the theatre without a smile on your face, as if you’ve just been on a mini-vacation.

We first meet the Duke Orsino, played by Yao Dogbe, a talented veteran of Chicago Shakespeare, lamenting his unrequited love for Countess Olivia, who has declared a seven-year period of mourning for her brother. The duke’s emissaries have all been rejected, and he is at wit’s end.

That is, until a spectacular storm at sea deposits the young Viola, aptly played by Jaeda LaVoone in her debut at Chicago Shakes, on the beach of Illyria. Believing that her twin brother, Sebastian, has drowned in the storm, she disguises herself as a young lad, Cesario, and seeks employment with the duke. There’s something about the well-spoken Cesario that prompts the duke to send him to Olivia to proclaim the duke’s love to her.

Viola is immediately smitten by the duke, but vows to serve her master, and so as Cesario, goes off to see Olivia, wonderfully played by Christiana Clark. Craziness ensues as Olivia becomes love-struck with Cesario, and comically, Viola finds herself trying to extract herself from this awkward love triangle.

Throw into the mix the subplot of characters, led by Olivia’s uncle, Sir Toby Belch, (Ronald L. Conner), and his sidekick, Sir Andrew (Alex Goodrich), who plot to prank the uptight Malvolio, Olivia’s stalwart steward, by leading him to believe that his mistress is deeply in love with him. Add the surprise appearance of Olivia’s twin, Sebastian, who in actuality also survived the shipwreck, and the series of mistaken identities that result add to the chaotic comedy.

 But, as with all Shakespeare’s comedies, all is resolved in the final scenes. Brother and sister are reunited. The Duke and Olivia, at last, find their true loves (and not with each other!), and even the mistreated Malvolio realizes that “everyone is fragile,” and makes his peace with his adversaries.

The production is a homecoming of sorts for Phillips, who first visited Chicago Shakespeare as a teen and later performed on its stage in A Midsummer’s Night Dream.  He has assembled a talented group of predominantly African-American actors who bring an energy and authenticity to the show. For me, the performances by Clark’s Olivia and Paul Oakley Stovall’s Malvolio stood out. Clark’s Olivia is bold, beautiful, and determined to win Cesario’s love. I was captivated by her larger-than-life presence whenever she was on stage. And Stovall shines as the puritanical prude, Malvolio, who underscores his performance with a subtle gesture or a raised eyebrow.

From the opening scene where Olivia’s jester Feste (Israel Erron Ford) invites islanders to stroll with him to a reggae-inspired beat to the curtain-call where the entire cast dances to that same exuberant rhythm, Twelfth Night is an energetic, joyous, laugh-out loud romp that is sure to entertain – a perfect escape for a couple hours from the holiday stress.

You can still get in on the fun as Chicago Shakespeare extended its run through Dec. 3.  

I thoroughly enjoyed this colorful, sumptuous, and romantic production of Rogers + Hammerstein’s Cinderella at The Drury Lane Theatre from beginning to end.

Directed and choreographed with lively and complex numbers by Amber Mak, with musical direction by Carolyn Brady, I felt that the spirit and female empowering themes of the original Cinderella were kept intact. Cinderella is the unlikely and supernatural story of a girl who is treated like a house servant once her stepmother takes charge after her well-to-do father passes away. No longer protected by her father, Cinderella is at the mercy of her resentful stepmother and her two stepsisters. But much to the chagrin of the stepmother, Cinderella’s inner beauty and strong character does not go unnoticed by the kingdom’s prince, who is seeking a bride.

Lissa deGuzman as Cinderella is a genuine delight as the sensitive and "unique" Cinderella. deGuzman has a beautiful voice and really captures the innocence and ingenuity that Cinderella is supposed to exude. The chemistry between her and Prince Topher, played by Jeffrey Kringer, was palpable and they have several romantic embraces and kisses that might have fallen flat if not for their genuine chemistry onstage. Jeffrey Kringer is a multifaceted Prince with a strong masculine yet sensitive presence as the handsome but confused Prince who is forced by his Viceroy to choose a Queen to marry. Viceroy Sebastian is played with good humor by Jeff Parker.

What I liked about this version of the classic tale is that it included the extended storyline wherein Cinderella is not just a victim of her greedy stepmother and a discovery of the Prince, she actually helps the entire village and the prince resolve a longstanding situation regarding the growing starvation and taxation of his subjects and the Royal families reluctance to address these issues fairly until Cinderella asserts herself and is able to open the prince’s eyes. The prince then deems the kingdom as a village of the people and uses their voice to make decisions regarding its management. 

Cinderella's stepsisters, Gabrielle (Christine Mayland Perkins) and Charlotte (Alanna Lovely) were at first ugly on the inside though some people can change as seen by Gabrielle’s lovely extended storyline where she and her secret boyfriend, Jean-Michel (Christopher Llewyn Ramirez) a villager who cries for fairness among the people, end up helping Cinderella to escape the grasp of the abusive gold digger, Madame/Stepmother, masterfully played by Gisela Adisa. Gabrielle, spoiled and bratty at first, turns out to be very sweet and her evolving character is played with glowing depth by Christine Mayland Perkins, who also lands several funny lines to perfection. 

I also have to acknowledge the superb performance by veteran actress McKinley Carter as the Fairy Godmother named Marie. It isn't until Carter's appearance as the wise and beautiful Fairy Godmother who leaves her beggar woman rags behind and sings the song "Impossible" that the young cast seemingly melts into cohesion and radiates collectively.  At the same time, we as an audience then get our first glimpse of the magical power of falling into true love thanks to Carter’s majestic voice and sparkling smile, conveyed as only a mature award-winning actress can pull off. 

I really enjoyed the flowing and heartfelt group dance numbers by the talented ensemble cast including Emily Ann Brooks, Leah Casey, Sophie Liu David, Margot Frank, Dani Johns, Kevin Kuska, Austin Nelson Jr., Justin Payton Nelson, Nolan Robinson, Elizabeth Romero, David Sajewich, Brian Selcik, Andew Tufano, Shelbi Voss, Amanda Walker.

My favorite songs next to "Impossible" include the adoring duets between Prince Topher and Cinderella "Do I Love You Because You’re Beautiful”, “Now Is the Time” and (I Held You) "10 Minutes Ago," which had a great sense of youthful, loving urgency and graceful romance. I only wish they had included the Disney film song "So this Is Love,” as it is recognizable to audiences of any age and to me represents the ultimate love song between the Prince and new Princess that marks their first dance together as a newly smitten couple falling in love for the very first time. 

Riw Rakkulcon’s scenic design is a tiny bit dark but very large in its scope and complex changes. It is luxurious and grand when it needs to be so you really feel that the castle is a castle. I also enjoyed the way the carriage and horse men portrayed the journey to the castle as even Cinderella needs a ride to attend the ball. 

I loved the costumes by multi–Jeff Award-Winning Theresa Ham for everyone in the cast except perhaps for Cinderella. The unique classic style and colorful well-fitting gowns and tuxedos etc. for the ensemble were very well done and varied. The only problem I had with Cinderella's costume changes was with the big reveal when the Fairy Godmother tells her it is not impossible for her to attend the ball and gifts her with a ticket and gown. The effect to do this this was impressive, Cinderella spinning her way from rags to ball dress, though the dress could have been more fairytale-esque. However, to Ham’s defense, in order to make this "magical" change onstage in full view of the audience, Cinderellas magnificent ball gown needed to be hidden under her day dress and as such lacked the largesse and sparkling, puffy wedding gown feeling that little girls have come to expect from that scene. 

With plenty of humor, impressive special effects, brilliant set and costume design and led by sensational performances from Gisela Adisa, Lissa deGuzman, Jeffrey Kringer, McKinley Carter, Alanna Lovely, Christine Maryland Perkins and Jeff Parker, I highly recommend this lush and well-acted and beautifully danced and sung production of Cinderella for audiences of all ages. Rogers + Hammerstein’s Cinderella at Drury Lane is a show that will lift your heart for the holidays and make you believe that finding true love and making it work is most definitely possible! 

Rogers + Hammerstein’s Cinderella is being performed at Drury Lane in Oakbrook through January 7^th. For tickets and/or more show information, please click here.

The Conspirators latest show is an absolute laugh fest, and may just be their funniest so far. Subversive in its social commentary, which hits you in your funny bone, The Conspirators have chosen Dante’s Divine Comedy for their latest show, “Divina Commedia: It’s Worse Than That.” They lead us through those circles of hell in which we find ourselves today, perhaps without realizing it.

We are introduced to a sleepless clergyman who has come to his sanctuary to work on tomorrow’s sermon. An upper middle class matron—described as a suburban Atlanta business heiress—wanders into the church in these wee hours seeking comfort over a dream plaguing her, and with this conceit, the humor ramps up.

First circle we meet is an unrelenting packaging line in an Amazon warehouse, with the cast moving those familiar boxes at a rapid pace. Our protagonist for the set needs to pee, but the line can’t stop. Soon perhaps everyone in the line is in the same predicament. No stopping to pee! The contortions and jumpiness of the denizens of this circle of hell suffer on endlessly with no relief. And we realize in our laughter they are stuck there, forever!

Another circle finds us at a community meeting chaired by a Karen, that meme of entitlement and complaint that is familiar to us all. After a modest proposal to spend a small sum on a group project, the discussion opens, and Karen the chair discovers all in attendance have an opinion, negative of course, and each happens to also be named Karen. The chair Karen is in her circle of hell, as each attendee carps and whines with no possibility to resolve these Karens' issues, they just want to complain, each in their own take on unresolvable “problems” with the proposal.

There are seven more osuch circles (one is "Ron Paul's Drag Race" with a remarkably funny appearance by Senator Mitch McConnell and Cher), all devised by the sharp pen of Sid Feldman and directed by Wm. Bullion, running at what seems to be a most congenial place for the Conspirators, the Otherworld Theatre at 3914 N. Clark St. in Chicago. Between each circle the heiress reflects acidly on the suffering with the clergyman, who serves the role of Father Virgil to guide her, a witty take on Dante’s original.

The production is in The Conspirator’s distinguished take on traditional Italian Commedia dell'Arte, which they dub “The Style,” with thick make-up drawn from Kabuki, “and with a dash of Bugs Bunny.” The exaggerated delivery, punctuated by drum rolls from an onstage percussionist, leads the audience to savor the lines—giving them added impact.

This time around the make-up has an added embellishment of very expressive lines, giving each character a distinctive mask that lends itself well to the roles. The Conspirators productions are deceivingly erudite, seriously referencing weighty underlying material, and bringing them to bear on contemporary life.

But the most important thing is how funny it is. You don’t need to know anything at all about the intellectual underpinnings of their shows, because the laughs are involuntary and completely overwhelming. Audiences will applaud dutifully at many shows. But you can’t fake laughter, the most honest of responses. “Divina Commedia: It’s Worse Than That” is an almost exhaustingly funny show. The Conspirators’ runs are typically very short. Absolutely don’t miss this one, through November 19 at Otherworld Theatre.

“Once On This Island” is receiving a spirited and lively revival by Pulse Theatre at the once venerable ETA Creative Arts Foundation, now a rental space on the Southside of Chicago.

Set in the French Antilles, namely Haiti, this vibrant production rivals any Broadway In Chicago production. It is a large production with a cast of 25, including young children. The story follows the star-crossed love between Ti Moune, (the captivating Alexandria Simone Irby) a young peasant girl with a yearning for something more than her humble existence would allow and Daniel Beauxhomme (the gifted David Taylor) the son of the lighter skinned grand hommes who are rich and comfortable. Their romance is challenged by class and racial prejudices, quite a lot for a fairytale, luckily the gods are there to guide them. The gods, inspired by Haitian Vodou are Asaka (Marquetta Jackson) mother of the earth, Agwe (Kendall Devin Bell) God of Water, Erzulie (Paige Rene Brown) Goddess of Love and Papa Ge (Isis Elizabeth) the Demon of Death.

These four gods, each with their unique domains and influences, play a significant role in shaping the narrative of “Once on This Island” They test the characters faith, challenge their choices, and ultimately determine their fates.

Director Aaron Reese Boseman and Associate Director and Choreographer Florence Walker-Harris masterfully weaves dance and movement into the narrative, creating an immersive and captivating atmosphere. The audience is swept away by the energetic calypso rhythms, ecstatic ritual dances and even a jazzy French quadrille. All are seamlessly integrated into the storytelling.

The staging is further enhanced by the extraordinary work of scenic designer Russell Hogenson’s interpretation of the Palace of Sans-Souci in Haiti. Although I would have liked to see an actual gate separating the peasants from the leisure class, the artistry of the set cannot be denied. The same can be said for the lighting design by Levi Wilkins. The light show was unbelievable. The storm scene was so realistic. My issue is when the actors are performing in the voms, they must be lit. There are beautiful tableaus happening in the voms, unfortunately they are happening in darkness. Costume designer Terri Devine’s creations were otherworldly. They brought a tropical wonderland to life. I especially loved the dancers with magical lit umbrellas indicating a rainstorm.  All these elements blended beautifully together to tell this story.

The music of “Once on the Island” is a delightful fusion of Broadway showtunes and Caribbean styles. The melodies are catchy and memorable, the lyrics witty and insightful. Pulse’s three-person band headed by Elliott Bell creates the idea of a much larger band. Every song is a production number. There are times when the band overpowers the singers especially in the song “Some Girls” sung By Daniel. Percussion isn’t needed. David Taylor, who has a beautiful voice, is competing with the arrangement.

The talented ensemble cast delivers powerful performances, each bringing their unique energy to the stage. Liane Williams as Mama Euralie, Keenen Wilson as Ton Ton Julian and Paige Rene Brown as Erzulie was quite impressive in a phenomenally talented cast.

“Once on This Island” is more than just a musical; it’s an enchanting tapestry weaving together love, loss and the enduring power of storytelling. It reminds us of our lives are shaped by the stories we tell ourselves and the stories we share with others. Pulse Theater’s “Once on This Island” transports their audience not only to a distant tropical island but to the depths of their own heart.

This production should really have a much longer run. It is a excellent production and many more people should be seeing it. Why such a short run is beyond me.

Highly Recommended

When: Through Nov. 19   Sat 3:30 and 8 pm Sun 3:30 pm

Where: eta Creative Ars Foundation 7558 South Chicago Avenue

Tickets: $45 – $35 seniors / $25 Students and children under 18

This show, performed at the Ruth Page Center for the Arts, was promoted in Buzz Center Stage (www.buzzcenterstage.com) last month as an upcoming event, and here’s the skinny on the actual performance. Spoiler alert! It was terrific – but let me share some details.

We were greeted at the door by the choreographer, Ginny Ching-Yin Lo – she was obviously thrilled about this premiere of her tenth and latest work, ENLIVEN. This friendly personal introduction was characteristic of the entire show – IDENTITY is committed to connecting with their audience. Filmmaker Spence Warren took time to speak with us both before and after the show. He sat near us and I loved watching as he bopped and wriggled through the performance, clearly very invested in the action.

IDENTITY PERFORMING ARTS is a very diverse company:  Josephine Castillo, Mark Gonzalez, Mackenzi Bolyard-Pizaῆa, Amelia Harris, Audrey Hartnett, Wilson Hicken, Hayley Midea, Hanley Simpson, and Tiana Thompson were all onstage variously through the evening. Their minimalist costumes brought uniformity to their diversity, rendering each individual genderless and monochromatic, it is characteristic of IDENTITY to showcase each dancer’s personal brilliance while melding them into a unified whole.

The choreography was totally unique: balletic, gymnastic, flexible, and asynchronous. My companion was reminded of Cirque du Soleil – though I’ve not seen Cirque myself, I find his comparison apt. Individually and corporately, the dancers were agile, buoyant, and ever graceful. Even their most ethereal and flowing passages were imbued with a singular vivacity, a brio and zeal that spoke eloquently of each artist’s love for what they do.

Spence’s fifteen-minute film KINDRED was sandwiched between performances. In it they danced through various rooms of a (perfectly gorgeous) modern home: Pliés and port-de-bras using the dishwasher as a barre, fold overs in the living room, and several maneuvers in the bathroom. Oh dear – I’m not making this sound very good, but it was absolutely magical! Seeing the dancers perform in a home rather than on a stage personalized the work, ‘bringing it home’ in a literal sense. Eit seemed even more magical when Spence admitted to us that the entire series had been filmed in a single 8-hour day!

Ginny Ching-Yin Lo is IDENTITY’s founder, choreographer, and Artistic Director. Her works have been performed in France, Germany, and China as well as the US. It is IDENTITY’s mission to ‘connect, create, and affirm’, using dance to express societal issues and heal the community.  Since its founding in 2016 IDENTITY has striven to carry dance to the underserved, to those who have limited access to its magnetic appeal.  

There is but one additional performance of ENLIVEN, Saturday 18 November at Studio5 Dance Center in Evanston. And keep watch for Spring and Fall performances in 2024!

HIGHLY RECOMMENDED