Items filtered by date: November 2007

When having non-stop conversations in his head and agonizing over the most mundane decisions becomes daily reality of living with OCD, finding a cure turns into obsession. Of course it does.

The Mushroom Cure is a comedian Adam Strauss’ true tale of his ongoing battle with OCD.  Though he sees a shrink on a regular basis, cognitive therapy doesn’t seem to be working. When Adam learns about a scientific study showing that hallucinogenic mushrooms may help cure OCD, he’s on it. But magic mushrooms are hard to find; his pot dealer doesn’t have any, and inquiries from friends and fellow comedians turn up nothing. His new girlfriend highly recommends a different plant (cactus), so, the two of them spend a long weekend tripping. As a bonus, we learn some useful information about various psychedelics and how to prepare and use them.  Adam even produces a shot glass of already processed cactus concoction, right on stage, and asks if anyone wants to partake. There’re no volunteers, so he proceeds to drink it himself.  

Even the stage is set up to allude to his illness: a small side table next to the performer’s chair has 5 full glasses of water; during the show Adam intermittently drinks from all of them, possibly in some special order. 

It takes real courage to talk (and laugh) about the psychological torment of a one’s mental illness, and Adam’s willingness to have an open conversation about it is remarkable. The show is occasionally funny, but it mostly puts the audience into shrink’s shoes where we just listen to him vent and recall conversations. In the end, he learns how to help himself, and that might be the entire point of his quest.  

The Mushroom Cure is a one man show. Written and performed by New-York based comedian Adam Strauss, directed by Jonathan Libman, it garnered widespread acclaim as well as New York International Fringe Festival’s Excellence Award for Solo Performance.

The Mushroom Cure is being performed at Greenhouse Theater Center through June 9th.

Promethean Theatre Ensemble has brought to stage a very good production of Mad, Beat, Hip & Gone, a play that is a riff on the Beat Generation literary movement – specifically drawing from Jack Kerouac’s 1957 novel, On the Road.

The script by Steve Dietz (Private Eyes) adopts aspects of the free-form writing style Kerouac called “spontaneous prose." Some of Kerouac’s works were drafted in days-long, Benzedrine-fueled writing jags. He famously typed on paper rolls fed continuously through his Underwood typewriter.

Kerouac’s On the Road tells of two young guys thumbing westward in the late 1940’s, on the make, and in search of themselves – aiming to join the Beat’s congregating in San Francisco. (These two guys would be the real life Jack Kerouac and Neal Cassaday, his buddy and fellow writer.) Like Hemingway before him, Kerouac also brought a macho flair to the pursuit of writing – he was a college football star and outdoorsman.

Mad, Beat, Hip & Gone similarly tells of two buddies who have recently graduated from high school in Nebraska – Danny Fergus (Pat King) and Rich Rayburn (Michael Vizzi), who end up on a similar sojourn, but for very different reasons. We meet the boys on their return from a local bar, where Danny was thwarted in his effort to pick up a girl when the real Jack Kerouac (unseen in the play) wows her with some spontaneous poetry – and gets her phone number. "What's the deal with guys like that," asks an astonished Danny. 

On the Road is widely considered a seminal work of 20th Century American literature. Artists including Bob Dylan, Patti Smith, and The Doors credit Kerouac as a significant influence. And successive generations continue to rediscover Kerouac’s accomplishment in this and other writing such as Dharma Bums. Kerouac incorporates stream of consciousness, but with a sufficiently structured plot to bring us along on a story line.

Dietz trades on Kerouac’s tone, but delivers an interesting plot line to hold our attention – working in the back story of Danny and Rich to create a motivation as they depart on a road trip very much paralleling Kerouac’s, but for more personal reasons. (We’ll avoid a spoiler here.) Dietz also captures the post-World War II world where young American’s were hungry for purpose, and seeking themselves.

You don't need to know Kerouac at all to like this play. Dietz has mined the times and developed characters who express the views Kerouac would recognize.Danny's father, Albert Fergus (Ted Hoerl) who runs a gas station, hold's forth on automobiles and their role in the American dream. He sounds poetic, like Kerouac, calling the gas and car a sacrament. 

"A car was a little house you could take along with you," he says. "In a house, your window is your fate. In your car, your window is your vision." 

Kerouac, along with poet Allen Ginsberg’s Howl and William S. Burrough’s The Beat Generation were the seminal literary expressions of non-conformist movement that came to life after World War II, accompanied by free-form jazz, drug experimentation, and sexual liberation. This evolved into the hippie movement, and the continued streams of social change (and reactions to these changes) that brought us to our charged contemporary social landscape.

Dietz uses poetic language that harkens to Kerouac’s style, which doesn’t always provide literal clarity. But it works. 

He also injects (a welcome anachronism given the period of Mad Beat Hip & Gone) a strong female character - Honey Vance (Hilary Williams) – who like the boys is searching for personal answers by hitchhiking to San Francisco. In Dietz’s storyline we are faced with the unconscious machismo that characters like Kerouac (and anti-heroes of the period like James Dean) represent. We also get some choice "Mrs. Robinson" moments between Danny’s mom, Mrs. Fergus (Elaine Carlson) and Rich – well played by Vizzi and Carlson. I especially liked Ted Hoerl as Danny’s Dad; and Hillary Williams’ peformance was excellent.

Strong performances and a script that channels Kerouac make this worthy show, definitely recommended to get a flavor of the period and a sense of how the Beat Generation was greeted by middle America. Promethean Ensemble’s Mad, Beat, Hip & Gone runs through June 1 at The Edge Theater Off Broadway, 1133 W Catalpa in Chicago.

I have to admit up front - I am a full-on West Side Story fan girl. I have seen the movie, released in 1961, probably 100 times. I know the plot, the words to every song, the dance moves, and have viscerally felt the teenage angst that is the underlying basis of the plot...for well over 50 years. I credit Leonard Bernstein, Stephen Sondheim and the original writer, Arthur Laurents with kickstarting my love of all things Shakespeare (West Side Story is an updated take on Romeo and Juliet.) I kneel and utter multiple huzzahs to the brilliant Choreographer, Jerome Robbins who, for crying out loud - came up with moves so outrageous and fluid that every dance inspired child of the early 1960’s spent hours learning how to snap their fingers below their knees as they moved stealthily forward while trying to control their rage.

Yes, I am a fan. And as some would say an obsessively, vested fan...I can honestly state that The Lyric Opera of Chicago’s production of West Side Story is spot on. It will not let you down. While it is comforting in its homage to the original Broadway play and subsequent movie, it adds some little idiosyncrasies of its own that makes you nod and realize that yep, this stuff is still going on-500 plus years after Shakespeare conceived of star-crossed lovers and the intolerance of bigotry.
Now, down to the meat of this production.

Mikaela Bennett as Maria, displays the full range of emotions of a young, protected yet curious girl, new to the reality and struggle of leaving her home and trying to break free to embrace her pending adulthood and new life. Ms. Bennett’s vocal range is mesmerizing. She has a clarity to her notes you rarely hear outside of traditional opera. She also personifies the innocence and joie de vivre of a girl stepping forward to become a woman. She is a lovely actress, and her Maria goes deep to the heart.Corey Cott, as Tony steps up into the role that Richard Beymer stamped into our consciousness. He steps up, and over. Realistically, the role written as Tony is kind of light, dialog-wise. But Mr. Cott’s voice is so deceptively amazing, it leaves one almost breathless. The man has mastered the “Devil’s Triangle” of notes. Kudos, Sir. You made us cry.

Amanda Castro as Anita is edgy, punky and truly inhabits a proud Borinquena taking control of her life and love. She has the fricative vocal ability to really emphasize her strength and make you feel that whatever comes out of her mouth should be stamped with an exclamation point!
Manuel Stark Santos as Bernardo, though he doesn’t really have any musical solos-is a presence on stage in and of himself. His big brother slash gang leader is dominating and realistically embodies the macho-ness of Hispanic culture. This is no George Chakiris in brown face...this is an actor who shows us on stage what cultural machismo entails.

Brett Thiele as Riff is more talented, vocally pleasing and better looking than the movie version. He shows us a few more layers into a character that has been generally portrayed as depth-light.

The remainder of the cast is talented and on point in their portrayal as followers to the main characters. All are in of themselves wonderful singers and dancers, and they do this production proud.

The production and stage crew were fluid, efficient and cohesive. I really enjoyed how symbiotic the set changes were. It’s probably one of the more demanding jobs and they did it faultlessly.

Lastly...the orchestra conducted by James Lowe was, as to be expected - stellar. Ladies and gentlemen, you took my breath away.

All in all. I highly recommend The Lyric’s production of West Side Story. For a tragic story, it left me full of joy.

Through June 2nd at Lyric Opera of Chicago.

Too Heavy for Your Pocket at TimeLine Theatre is both an important play, and a good one. Powerful, but not too heavy to bear, with a rock-star cast directed by Ron OJ Parsons, it tells the story of the Freedom Riders – groups of blacks and whites who traveled through the segregated South in 1961 on Greyhound and Trailway's buses, asserting the new freedoms set under the Civil Rights Act of 1957.

It is written by rising talent Jeron Breon Holder, currently a writer on NBC’s New Amsterdam, who developed it while working on his MFA at the Yale School of Drama in 2016. This project was triggered by a remark his grandmother made about a young friend who abandoned college to join the Freedom Riders. What followed were weeks touring locations and studying events that transpired more than 30 years before Holder was born.

The buses were met often with violence, and the passengers beaten and jailed. As stories of the lives of black people's experiences in the South are emerging – think The Butler, Hidden Figures, Selma – our awareness of this heritage of injustice grows. This is valuable.

Evelyn (Ayanna Bria Bakari) and Sally (Jennifer Latimore).

The challenge is that however well intentioned, these stories are filtered – even unconsciously - from a viewpoint of white people’s participation. We get what is called White Gaze, or depictions focusing on White Saviors. The overarching cultural perspectives make us feel good about the values, but we miss the full story. Think of the difference between the sentimental The Green Book, and searing works like August Wilson’s Fences, or James Baldwin’s If Beal St. Could Talk.
Holder takes the Freedom Riders as a backdrop to an engaging and rather incisive portrait of two young married couples, best friends living near each other in rural Tennessee. Bowzie Brandon (Jalen Gilbert) has just won a college scholarship; his wife Evelyn (Ayanna Bria Bakari) is the breadwinner. Their best friends are Tony (Cage Sebastian Pierre) and Sally (Jennifer Latimore).

Brandon decides to join the Freedom Riders. Yet this choice is not instantly celebrated, and instead throws this small circle of friends into emotional chaos. Each embodies a facet of that period’s African-American culture. But what elevates the work is that each represents a slice of the human condition.

Sally is a church-bound social conservative, who questions whether challenging the status quo is the moral path. Hardworking Tony, the salt of the earth and Brandon’s best bro, quickly supports his buddy’s choice. Most complex is the response of Evelyn, a former nightclub singer who has settled into the straight and narrow path with Brandon, and has supported his dreams - until this one. Bowzie goes ahead anyway.

"When I get on that Greyhound bus, it's gonna be the first serious thing I've done in my life," Bowzie says.

But what begins as an exhilarating ride, turns into a grind, and Holder  gives us real people, not symbols. Bowzie is broken and he longs for home, the only jailed protester who doesn't hear from his family and friends, while back home, the tides of change, and the pressure of Bowzie's plight, impact his friends and spouse. 

His wife Evelyn cuts off communication for her own emotional protection. Finally Bowzie reaches Tony, who tells him to come home and take care of his wife, "You ain't no Martin Luther King," And we see Sally hit a breaking point, when she realizes she is mistreated in her home, as well as outside it. In a stunning scene, she laments, "Everyone treats you like a dog," she says. "I want a freedom ride for me! Where is my goddam freedom ride!" 

Jireh Breon Holder

Holder has done a great job establishing the settings and building the emotional dynamics of these characters -though at a couple points the exposition through dialog is a tad leaden. My heart was in my throat and my tears surfaced. But between the melodrama and angst, Holder drops in parodies of church life and services – in which Latimore’s gifts for mimicry, and Gilbert’s impersonation of the church pastor are priceless. Bakari’s irrepressibly beautiful voice surfaces immediately in the first scenes, as she simply hums to herself – and eventually in a nightclub scene with a scintillating song.

Shout-outs are due the dramaturg (Regina Victor) and artistic director PJ Powers) who brought this play to TimeLine; and to the scenic designer (Jose Manuel Diaz-Soto) for blending the household and its rural surroundings. And to whomever is responsible for this exceptional casting – the chemistry of these four is electric. Running at the TimeLine theatre through June 29, Too Heavy for Your Pocket is highly recommended.

I know I’m not the target audience of the current production at the Broadway Playhouse (or of the American Girl store nearby), but I suppose my wallet is. What I do know is that my six-year-old daughter was excited for the show, and I was excited to watch her watch it. There’s something about seeing someone else experience joy that’s even better than experiencing it your own self. And that’s what I got to experience while watching a whole audience full of joyful kids watch American Girl Live.

If you’re considering attending this show, then I needn’t educate you on the line of American Girl dolls that have not only built a successful franchise but have now spawned an actual touring Broadway production. And if you’re considering attending this actual touring Broadway production, then I need only tout its impact on the little girls or guys you’ll be taking along. For the wee ones, this show’s a success, mostly thanks to its spunky cast and the onstage world they inhabit for the two hours (yes, two hours) that the play runs.

We’re greeted at Camp American Girl by Monica Poston’s over-the-top counselor, Alyssa. Alyssa not only greets us, but five girls who’ll be attending camp right along with us. Jenna Bruce plays the hesitant newcomer, Tori. Ashley Diane’s Bella is ready to go, though, as are Shelby L. Miguel’s Rosie and Laila E. Drew’s uber-talented Nia. But the camper who bounced and flexed and made the most of her time onstage was peppy Kelsey Pressnall. Each of the actresses got their moment to sing a solo number, and each of them did a nice job on backing vocals throughout.

Gina Rattan’s direction keeps the story going, even when the story drags, and Lauren Helpern’s scenes and Faye Amon-Troncoso’s props and set design keep things moving, as well — from the bunkhouse to the deep, dark woods.

But back to that dragging story…overall, the show’s a nice-enough tale of girls at summer camp. And yeah, I know it’s about American Girl dolls, but the way that the girls’ six dolls were shoehorned into the show was not at all organic or natural. Each of the six actresses are fine when it comes time to appear as one of the toys from another era (we meet, in chronological order, a Russian-Jewish immigrant at the dawn of WWI, a Hawaiian girl in Pearl Harbor as WWII gets underway, a boomer-to-be in sunny 50s Fla., a Motown hopeful from 1964, a hippie in San Fran, and an astronaut from today). But despite me being a history buff, I couldn’t help feel like my beloved history was being used not to educate or inspire young women, but rather to inspire young people’s future consumerism (or their parents’ present purchases).

But I guess I shouldn’t gripe too much. My daughter and all the other kids in attendance absolutely loved the show, and I was charmed by the cast and crew’s dedication and talent. So as long as you can stomach blatant capitalism, then this show’s not a bad trip to Camp American Girl.

"If you're not going to grow then don’t live," says Hazel in Lucy Kirkwood's play 'The Children' now running at Steppenwolf. Directed by Jonathan Berry, 'The Children' makes its area debut after extended runs on Broadway and West End. A well-cast trio of Chicago favorites will surely entice audiences.

In 'The Children', Hazel (Janet Ulrich Brooks) and Robin (Yasen Peyankov) are living in a seaside cottage on the English countryside. The location and set seem idyllic until a surprise visitor Rose (Ora Jones) comes to ask a favor. Soon we found out that they have been forced to relocate after an accident at the power plant they used to work for. In witty dialogue, Hazel and Rose discuss their current lives after having not seen each other in years. Both are older and are easing into lives of comfort in their late middle age. Hazel is impossibly optimistic and in a constant state of self-improvement, while Rose has grown cynical about the end years of her life. Robin is somewhere in the middle, literally as it's quickly revealed there's old passion between he and Rose.

It's hard to think of a play that addresses climate change and nuclear disaster quite like 'The Children'. In fact, the playwright said she struggled to think of a compelling way to relay the horrors of climate change while the whole world does nothing. Theatre is a difficult medium in which to teach scientific facts. Instead, Kirkwood focuses on character. This is a story about three characters each unique in their outlook of death.

Since this play is so reliant on character, Berry is wise to bring in heavy hitters Janet Ulrich Brooks and Ora Jones. Both have such commanding stage presence and likability that audiences are drawn in from the very first word. There's a comforting quality to Brooks' Hazel that soothes the harsh realities of rising sea levels. Jones walks a difficult line with Rose, she's able to make extremely unpleasant subject matters humorous.

'The Children' is an intimate play the confronts the issues facing humanity head on. Kirkwood isn’t afraid to touch on subject matters that make you squirm in your seat. She's taken an event like the Fukushima disaster in Japan and put it right in the western world's lap. Without being preachy, she spins a story that ordinary Chicagoans can see themselves in. While it may not be a direct call to action, it's strongly encouraged here. Despite the darkness, she gives her play an optimistic ending. As long as there are good people, there is hope.

Through June 9th at Steppenwolf Theatre. 1650 N Halsted St. 312-335-1650.

I saw this adorable show on the night of the recent APRIL snowstorm in Chicago and, as per usual, the Fab Four - Dorothy, Rose Blanche and Sophia - instantly warmed up my night with explosive laughter! 

“Golden Girls Vol. 3” features two great episodes, the first being "Caged Miami Heat" - where all of the Golden Girls get thrown in jail for possibly killing their cook, Coco. The second episode is “Murder on the Sicilian Express,” a delightful Murder She Wrote/Golden Girls crossover episode which include the fabulous real life singing and dancing skills of Hell in a Handbag star and director David Cerda as Dorothy, Ed Jones as Rose, Ryan Oates as Sophia and Grant Trager as Blanche. 

Ed Jones as Rose was especially daffy and blonde on this night and stole the show with one spot on impersonation of Betty White after another - just divine!

As with all Handbag productions, the laughs are rapid fire thanks to hilarious scripts and the talented cast members that just keeps getting better and better with every show. This team just never stops pumping out ridiculously funny productions, “Golden Girls Vol. 3” coming fresh off a fantastic run of Poseidon! The Musical” at Edge Theatre.

 
If you haven't been to Mary's Attic in Andersonville to see one of the “Golden Girls” productions, you are missing out on the best camp in Chicago. Hell in a Handbag is always a good bet to give more bang for your buck in the theater because every show they do is FILLED with great laughs, fun audience interaction, and a nice relaxing intermission to change your Depends, or grab more drinks and delicious food from the bartenders and staff at Mary’s Attic and Hamburger Mary's.

Highly Recommended for good, clean, naughty fun! 

“Golden Girls Vol. 3” is being performed at Mary’s Attic in Andersonville through August 31st. For more info on what could be the hottest ticket this summer, visit www.handbagproductions.org.

Language Rooms is a convincing portrait of the hidden world of government interrogators. These individuals use cajolery and flattery, or fear and intimidation, to persuade individuals to spill their secrets – all on behalf of securing the safety of the state.

This two-act piece (one intermission) flies by, as the characters go about their work. But we see as well the impact that these information-gathering activities have on those doing the questioning. Their personal integrity is compromised as they lie to get truthful answers. It also faces us with a distasteful prospect: if our government and our society condones using intimidation and even physical abuse to gather data, are we not complicit?

Language Rooms involves two Arabic-speaking men on an unnamed government investigating team, quartered in a windowless vault with motorized doors that slide open with a whoosh at the touch of a button. Ahmed (Salar Ardebili) is a rookie, and his work is being closely watched by his supervisor, Kevin (Bradford Stevens). His co-worker, Nasser (Bassam Abdelfattah) is apparently even more fluent in Arabic than Ahmed, and is doing his best to help Ahmed with his weaker command of the language.

It soon becomes evident that the same hidden cameras and observational techniques used in questioning suspects are also trained on the men doing the questioning. They speak to each other with siielding their mouths from view, as they try to carry on private conversations. – just like any office, except that they have the continuous impression they are being watched. The manipulative techniques used on the subjects are also part of the office communication.

All of this provides a set up for a workplace wherein paranoia runs rampant. And as a subtext, these Arab-Americans feel they must not only do a good job, but prove their worthiness and loyalty to the government agency they work for - not to mention to society at large. The plot thickens dramatically as a new suspect is brought in, hooded and shackled: Samir (Bilal Dardai). This one, says Kevin, will be the great test for Ahmed, to prove both his loyalty and his competency. To avoid a spoiler here we can only say this sets up a dynamic, powerful tete a tete between the questioner Ahmed and his subject, Samir.

Samir (Bilal Dardai).

As the probe into his "suspicious" behavior goes on, Samir offers truthful answers, but not convincing ones. "You know the problem with being innocent is the facts don't serve you well," he says. "Innocence is not a good story."

This worldly, sophisticated script by Yussef El Guindi feels as though it will become a classic in the existentialist-absurdist roster, along with works like Miss Margarita’s Way or Master Harold and the Boys, plays in which a sinister undercurrent froths just beneath the surface. El Guindi provides a valuable service to us all just by telling this story. That he does it in such a timeless, universal way, will allow it to be told widely – and we hope it will be.

The production boasts extremely strong performances, especially Ardebili as Ahmed, the rookie; and Dardai, who delivers a perfect portrait of a good-hearted immigrant under a torrent of unfair questioning. I had a chance to see this show twice, April 22 and April 26 – and can say Ardebili had refined and heightened his delivery, and the dynamic between Ahmed and Nasser was even more intensely expressed. Director Kaiser Zaki Ahmed specializes in actor-driven new American plays, and has assistant director credits on two recent, illustrious productions: Guards at the Taj (Steppenwolf) and Hand to God (Victory Gardens).

The script is strong, but the first act could have been streamlined just a little, perhaps to give a stronger thrust to the dramatic rise and moment of suspense as it ends. The Broken Nose Theatre production of Language Rooms runs at The Den Theatre through May 18. It is highly recommended. www.brokennosetheatre.com.

Chicago Opera Theater presented the new opera, Moby Dick, by Jake Heggie and Gene Scheer, in a brave, intelligent, and strikingly beautiful performance last Thursday at the Harris Theater in Chicago. Usually, the old adage that “the whole is greater than the sum of the parts” seems well suited to most COT productions, but what can one say about a production in which all of the parts were truly excellent, yet the work itself did not quite live up to its disparate elements? Moby Dick is a well-crafted, entertaining and enjoyable opera, performed with a wealth of talent in an impeccable production, yet it never delivered the impact which could be expected from such an epic work of literature. Perhaps it is like Shakespeare’s “King Lear” in that respect, a work which is so epic, and which has a central character which is so complex that it defies transliteration. Even Verdi wouldn’t touch it. There are a few epic operas which have complex characters, Verdi’s Don Carlo and Samuel Barber’s Anthony and Cleopatra come immediately to mind, but there are many epic operas whose characters are not that complex, and there are many complex characters in operas which are not particularly epic in scope. It is really, really hard to do both.

Jake Heggie is an immensely popular, talented and accomplished composer. His canon of nearly 300 art songs has become a staple of the vocal repertoire, and his operas, such as Dead Man Walking, have achieved worldwide acclaim. However, with Moby Dick, while Heggie has mastered the musical language of opera, it seems as though he has not quite found his full operatic voice. Every scene is beautifully written, well suited to the human voice, gorgeously orchestrated and theatrically complete, much like an art song. However, they are more like individually luminescent pearls, rather than one magnificently encircling necklace. Heggie’s music is through-composed, yet the scenes feel as though the next one is of a different style, almost as though it was from a separate work, than the scene before. There is a jumble of styles which are reminiscent of Vaughan Willams, Britten, Stravinsky, Rutter and even the film score of “Lawrence of Arabia”, among a number of others. The result is that moments of tension are lost in transition between scenes, and the work as a whole never achieves the overall dramatic arch leading to the penultimate scene’s destruction of Ahab and his ship. This may be because it is never made clear what the opera is really about, or how any of the several relationships which are explored effect the others in driving the dramatic action to its tragic end. Is it about Starbuck’s struggle with morality and opposition to Godless authority? Is it about the friendship between Ishmael (here called Greenhorn) and Queequeg which bridges racial and religious chasms? Or is it really about Ahab’s self-absorbed and tragically maniacal obsession with exacting his revenge upon the great white whale? Whatever it is about, the audience should have walked out feeling as though they had just been kicked in the gut, not as if they had just seen a Broadway musical. It all seemed rather sanitized and prepackaged to please, rather than move or challenge the audience.

The tragic character in Moby Dick is without question Captain Ahab, with his unreasoning and implacable hatred of the “fish” which took his leg. Ahab’s manic-depressively single-minded focus upon finding the whale is the force which provides the dramatic tension in both the novel and the opera. Although he gave a splendidly well sung performance, Tenor Richard Cox seemed much too well adjusted and reasonable, portraying only a hint at the driving compulsion which takes Ahab and all the men of the Pequod to their watery graves. His aria, “I leave a white and turbid wake” eloquently explained his morbid fascination, but did not express its inherent dread.

Providing the foil to Ahab’s insane fixation, Aleksey Bogdanov as Starbuck was spectacular. Possessed of a booming, velvety smooth bass-baritone voice which easily soared through heavy orchestration, Bogdanov’s performance was powerful, committed, and nuanced. Bogdanov has the kind of voice usually associated with villains, such as Scarpia or Iago, yet his Starbuck was approachable and sympathetically touching.

As Greenhorn (Ishmael), the sweet-voiced tenor Andrew Bidlack was ideal. His thoughtful portrayal progressed from the naïve and unexperienced youth in search of knowledge of the world to the emotionally savaged sole survivor of the voyage with honest sincerity. Wallace’s Greenhorn was the mate every sailor wishes to have as his fellow oarsman.

Bass baritone Vince Wallace as Queequeg was exuberantly vigorous and entertaining, while never allowing the character to become a parody or stereotype. His straightforward humanity provided the structure for Queequeg and Greenhorn to bridge their cultural and religious divide and forge a deep friendship. However, Queequeg’s mysticism which foresees his death and the tragic confrontation with Moby Dick, is rather strangely portrayed as a heart attack, not as the ennui resulting in a spiritually broken heart. Perhaps the composer or director didn’t feel that having Queequeg simply waste away from a broken heart would be obvious enough to hold the audience’s interest.

A curtain speech announced that role of Stubb would be sung by cover Nick Ward. This is usually an ominous sign that the audience should be prepared for a somewhat under-rehearsed and tenuous performance. Not so, in the case of Mr. Ward. He sang impressively, and danced and cavorted around the stage with assurance and gusto, providing a great deal of comic relief with his sidekick Aaron Short as Flask. The physicality of the two was amusing and impressive.

The music for Pip requires the powerful adult voice of a pants role, and as the cabin boy, Summer Hassan sang with a luminous voice, soaring above the combined forces of the all-male chorus and orchestra. Equally impressive were the other male soloists and chorus. Each one was an outstanding singer and actor. They were supported by four male dancers who provided vigorous physicality to many scenes. Chicago Opera Theater does not have a full time professional chorus like the Lyric Opera of Chicago, so to be able to bring together an ensemble of such high quality speaks volumes concerning the commitment of the company to the highest performance standards. Kudos go to Chicago Opera Theater for its casting choices.

Those high standards are also demonstrated by the striking, and extremely functional set by Erhard Rom (whose remarkable whale’s eye at the end was a stroke of genius), the effective, yet atmospheric lighting by David Martin Jaques, and the clean and imaginative stage direction by Kristine McIntyre. McIntyre is a director who truly understands the unique needs of opera and opera singers, never pandering to the audience with unnecessary stage business or requiring the actors to go beyond the limits of good singing. Everything that happened on stage was both interesting and important. However a curious statement in the director’s note in the program may explain the seeming ambivalence of the opera. Ms. McIntyre states, “At its core, Moby Dick is a story about friendship.” While it is certainly true that the friendship is an important part of the story, and we want to find some form of redemption and growth of the human spirit in the story, it is not the driving force which impels the drama or precipitates the tragic end.

Moby Dick was masterfully conducted by Lidiya Yankovskaya. Under her baton the 60 piece orchestra played beautifully with a sumptuous sound. The one quibble is that with such dense orchestration at the beginning of the piece, the really loud playing might have been restrained so that the climax could have been more effective. By the end, the loud bits had become a bit tiresome. However, that is by no means entirely the conductor’s fault. The positive influence of Ms. Yankovskaya’s direction continues to impress in a business which is highly competitive for better orchestra players. Again the commitment to excellence from COT is to be commended.

City Lit Theater artistic director Terry McCabe brings us an inspired pairing with Two Days in Court, a double-bill of one act plays with a legal theme - and pieces not often seen.

The Devil & Daniel Webster is a 1938 play about the famed 19th century orator who reclaims the soul of a client who has ill-advisedly sold it to the devil; and Gilbert & Sullivan’s breakthrough 1875 operetta, Trial By Jury, brings us a woman who sues for breech of promise when her fiancé abandons her for another woman.

The legal themes aside, the works couldn’t be more different. Gilbert & Sullivan serve up sly wit in a marvelous parody of society, and skillful mimicry of operatic forms, in a highly polished, high caliber musical work. The Devil & Daniel Webster is interesting as a bit of Americana, a decidedly rustic and really rather primitive morality play that originated as a 1936 story in the Saturday Evening Post by Stephen Vincent Benet.

Despite being stilted and laced with phrases like “Tarnation!” The Devil & Daniel Webster is also packed with still-biting commentary on American social foibles, and a backcountry wit. (It’s set in rural New Hampshire sometime after 1830.) And it trades on the abiding respect and affection felt for Daniel Webster, whose oratorical skills were legendary – and thus the reason the character was tapped to argue the case to save a soul. The story is also a cultural meme, reappearing regularly including in a Simpson’s episode and in a video game by Cuphead.

Terry McCabe added one more insightful touch: he found a cast that could sing, dance, and mine period language for its humor. Trained voices are required for any Gilbert & Sullivan piece, and this cast has them. To bind the two works in Two Days in Court more securely, McCabe inserted two songs from a 1938 folk opera version of The Devil & Daniel Webster - a nice touch.

City Lit does a lot with limited props and sets, and successfully relies on its devoted players who turned in strong performances. The polished pro Bill Chamberlain, as Daniel Webster, displayed his notable voice in “I’ve Got a Ram,” a song from the opera version of the play. Playing the Devil – known as Scratch – with an otherworldly style, was Lee Wechman. Though at certain moments his style seemed a little bit out of synch with the rest of the players, overall it worked.

On the Gilbert & Sullivan side we had a chance to really hear some voices, with Ryan Smetana a standout as Counsel for the Plaintiff and Sarah Beth Tanner as the Plaintiff. The one-act Gilbert & Sullivan work left me wanting more – a good feeling to depart with from any production. City Lit Theatre’s Two Days in Court runs through May 26. It ‘s highly recommended for those who don’t want to miss two rarely-played works that are important cultural touchstones.