Items filtered by date: November 2007

Veteran actress Tandy Cronyn, the daughter of legendary actors Hugh Cronyn and Jessica Tandy, helms ‘The Tall Boy’, in a solo performance. The award-winning play centered around the matron of an orphanage and three young boys, all convincingly played by Cronyn, is a meticulous look at what happens to child refugees in the aftermath of World War II.

Written by British playwright Simon Bent and directed by David Hammond, ‘The Tall Boy’ is based on "The Lost," a short story by Kay Boyle. The play premiered in Chicago, Thursday, December 5, at Stage 773 on Belmont Avenue.

The opening scene could easily be depicting the events of today as we see Cronyn, in army fatigues, sitting at a desk attempting to write a memo on how to treat unaccompanied minors or DPs (displaced persons). No force can be used, she notes, but pressure can be applied with carrots – more food rations or other inducements.

The matron is struggling with the situation and what she is required to do. We see her move from one distraction to the next across the simple stage filled with a cot, wooden crates, and makeshift table before finally taking pleasure from a bite of chocolate and settling back at her desk poring over the memo and letters.

The war, which ravaged much of Europe, set refugees – men, women, and small children – on the move in search of shelter, security, and hope. "It's like a puzzle people dropped and broke all over Europe," the matron laments. But as refugees surged across borders, a question that arose among those in power was, "What to do with them?"

That question is perfectly illustrated in the circumstances of the three young boys who have come under the matron's care. The boys, a 15-year-old Czech, a 14-year-old Pole, and a 12-year-old Italian, are vividly portrayed by Cronyn as she seamlessly shifts back-and-forth between each character.

The performance is even more stunning as we watch the ease with which she goes in and out of the varied accents: Not the accents of their native homes, however. The boys, fresh from the care of American GIs before reaching the orphanage, had picked up the accents of their caretakers. They had imprinted with the soldiers, picking up a Southern accent, a Brooklyn accent, and a Jimmy Cagney accent, the matron tells the audience.

And through this compelling point of view, we learn of the boys' powerful connections with those U.S. servicemen and of their desperate desire to join them in the U.S.

One boy, in particular, Tall Boy, the one with a Southern accent picked up from his army buddy, Charlie, a black man from the South, is convinced they will be reunited. Charlie promised him.

But it is up to the matron to gently explain the state of race relations in the U.S.

The young boy, faced with the harsh realities of war for most of his life, is again forced to face another harsh reality: All those who fight for freedom are not necessarily free themselves.

What makes ‘The Tall Boy’ resonate with such an eerie sense of Deja Vue is the feeling that this story could easily lead the evening news today. The anti-immigration sentiments rampant in the U.S. and across Europe in the 40s are just as prevalent in many countries now. And the term, unaccompanied minor, is just as much a part of our lexicon in 2019 as refugees from war-torn countries from all over the world whether in Latin America, Northern Africa, or the Middle East, desperately search for shelter, security and most of all hope.

History is a repetitive teacher, it seems, and the governments of countries worldwide are recalcitrant students when it comes to the state and status of refugees and the ultimate question, "What to do with them?"

In a Q&A session after the performance, Cronyn discussed how she acquired the rights to this story and commissioned a stage adaptation from Bent. She worked with Hammond over eight years developing and tightening up the script as well as working on her ability to assume multiple characters and accents without hesitating or missing a beat.

‘The Tall Boy’ first premiered in August 2012 at the University of North Texas, and in the following year, was presented by The Clarence Brown Theatre restaged for their Carousel Theatre by Bruch Reed.

In 2014 the play moved to New York playing three sold-out performances on Theatre Row on 42 Street as part of the United Solo Theatre Festival, where it won the Best Adaptation Award. In 2015, it played The John Drew Theater at Guild Hall in East Hampton as part of the 2015 JDT Lab new play series.

The award-winning play returned to New York in September at the 10th Anniversary Solo Festival as one of the shows invited to participate in its "The Best Of" category featuring critically acclaimed and audience favorites from previous Solo festivals.

‘The Tall Boy’ is now in a limited run at Stage 773 through December 15. For more information, visit www.stage773.com.

Many of us already know the story of the spirited, loveable orphan girl who is saved from an abusive orphanage after a billionaire takes a liking to her and decides to adopt her. Daddy Warbucks is that billionaire, Miss Hannigan is the abusive, alcoholic who runs the orphanage and the musical is ‘Annie’. Yet, if you know the story or not, it is a musical that inspires, offers hope and shows us that positivity can go a long way.

Citadel Theatre, located in Lake Forest, is the latest to bring ‘Annie’ to the stage. Directed by Robert D. Estrin, ‘Annie’ is a fun production for the whole family to enjoy.

It’s 1933 and Annie (Sophie Kaegi) and her gang are often mistreated at the orphanage by Miss Hannigan (Ellen Phelps), who finds sadistic pleasure in disciplining the kids. Miss Hannigan drinks openly, flirts with every serviceman that enters the orphanage and resents Annie most of all. The only thing the kids can do is hope they get adopted and, in the meantime, praise Miss Hannigan on command and sing “It’s A Hard Knock Life” while scrubbing floors. But everything changes when a billionaire’s assistant, Grace Farrell (Chamaya Moody), drops in unexpectedly to pick out a child to spend with the powerful Oliver Warbucks (John B Boss) over the holidays. And guess who she picks? Yep. Annie.

After Mr. Warbucks takes a liking to Annie he offers to adopt her, but Annie is determined to find her real parents. So the billionaire offers a huge monetary reward to the father and mother that come forward and claim Annie as their own - though he must be careful of imposters.  When Miss Hannigan finds out the reward offerd by Mr. Warbucks, she, her jailbird brother Rooster (Kyle Ryan) and his girlfriend Lily (Becca Duff) begin scheming. But can they fool Mr. Warbucks and his sharp assistant, Miss Farrell?

Citadel makes the best of their space to accommodate such a large cast and include a changing set that that takes us from the orphanage to Warbucks giant mansion – and it works quite well. With this production you also get strong ensemble and individual vocal performances, particularly from lead Sopia Kaegi, Chamaya Moody and Bill Chamberlain who plays Franklin D. Roosevelt, Oliver Warbucks very good friend. The children actors add much of the show's charm while players of multiple roles like Nick Mendelson (who killed it in Hell in a Handbag's 'Poseidon! The Musical'), Alexander Rubin and Emily Lewis (to name a few) lend strong credibility to the ensemble's sturdiness.

The show's many catchy song and dance numbers (music by Charles Strouse and lyrics by Martin Charnin) are admirably performed by its ensemble and there is a lot to like in this production although I would have liked to have seen a bit more put-up-your-dukes-spunkiness out of Annie, more gruffness from Oliver Warbucks so that we can more effectively feel him gradually soften to Annie's warmth and good-heartedness, and a bit more tongue-in-cheek, over-the-top, cruel and erratic behavior out of Miss Hannigan (not sure if there is a reason she is not portrayed as an alcoholic as much as we are used to seeing her, outside of her opening appearance in the orphanage). I also didn't feel that a romance was blooming between Miss Farrell and Mr. Warbucks until near the show's end scene. Still, the leading characters are effective, each having their share of fine moments, while the entire cast pulls off a solid all around performance and delivers a nice fun-filled production providing one hit after another including “Tomorrow,” “I Don’t Need Anything But You” and “Easy Street,” a deliciously pleasing song and dance number that has Miss Hannigan, Rooster and his girlfriend Lily (Becca Duff) setting their scheme into place.

‘Annie’ is an entertaining production that reminds us of the things we should not take for granted and the little things in life to be thankful for – sometimes it takes a special kid to show us the way. Extended through January 5th, ‘Annie’ is being performed at Citadel Theatre in Lake Forest.

For tickets and/or more show information, visit www.citadeltheatre.org.

Please note that Kayla Norris plays the role of Annie on alternating nights. 

There are certain theatrical events that I look forward to attending each season and Hell in a Handbag's Holiday shows are always at the top of my list. ‘The Golden Girls: The Lost Episodes – The Holiday Edition, Vol 2’ should be on the top of everyone’s list.  

When I'm sitting in the super cozy Mary's Attic filled with Christmas lights watching one of their wonderful camp parodies, I always feel like I am at home and in the company of great friends and family. This time I love everything about this show, including the opening when host Lori Lee (sidekick Flo) leads the audience in singing the theme song from Golden Girls TV show set in sunny Miami where I grew up. 

Thank you for being a friend.

Travel down the road and back again.

Your heart is true, you're a pal and a confidant

.And if you threw a party,

invited everyone you knew.

You would see the biggest gift would be from me

and the card attached would say,

thank you for being a friend.

This year’s 'Lost Episodes,' written with cheeky humor- as well as great compassion by Artistic Director David Cerda has especially sweet plotlines that remind me again how lucky one is to have friends and family around you... particularly during your golden years. 

Ed Jones as Rose Nylund, who still believes in Santa Claus is a scene stealer, as always delivers his spot on and totally endearing portrayal of the character made famous by the still "golden" Betty White. 

Grant Drager as Blanche delivers the sass and unabashedly sexy spice that shows even golden girls still have sexual needs that they should not be ashamed of! David Cerda as Dorothy and Ryan Oates as her mother Sophia bring home the dry humor that makes me laugh out loud every time. But I am also reminded of the true bond between mother and daughter when Sophia breaks her poker face and gently asks her daughter, "What's wrong pussycat?"  

Directed and choreographed by the very talented Stevie Love, each scene has a huge variety of great physical comedy and lighting surprises that make you wish the play was longer. Lori Lee is the host of the evening and gets acquainted with the audience between episodes with fun Golden Girls trivia that includes prizes for the audience members. Having the house lights up and interacting with Lori and others as they try to guess the answers lets you actually get to mingle with the audience you are sitting in and is a lovely part of the show.

If you've already been to a Hell in a Handbag Production and are addicted to their special brand of camp humor and music like I am, you already know how unique and fun their shows are. If you haven't been to one yet, ‘The Holiday Edition, Vol 2’ of Golden Girls is a PERFECT production to attend. 

Tis the season to curl up on one of the comfy couches at Mary's Attic with a hot toddy in hand and have a long, hard... laugh with your favorite family of friends! 

‘The Golden Girls: The Lost Episodes – The Holiday Edition, Vol 2’ is being performed at Mary’s Attic through December 29th. For more information visit www.handbagproductions.org.

Rutherford and Son tells the story of an early 20th century glass making factory in northern England. It’s run by rough a tumble owner, Rutherford – played convincingly and powerfully by Steppenwolf’s Francis Guinan. Under his thumb are hundreds of workers, who he treats as recalcitrant peasants; and his three children – all of whom chafe under his rule, which has forced them into unrewarding lives. Yet Rutherford is driven only to keep the glass furnaces blasting, oblivious to his tyrannies petty and grand.

This Chicago premiere of the 1912 play by Githa Sowerby is handsomely produced, and relatively engaging, especially considering the antique nature of the work. In its day this first script by Sowerby, a children’s author, was a sensation – though she did not manage to write a successful sequel.

That’s surprising, given how fully drawn and realistic the characters are in what is essentially a melodrama. Perhaps the author could not have a follow-on success because it is somewhat autobiographical, since Sowerby’s family operated a similar glassworks, this was the only play Sowerby had in her. It is not so different than a PBS upstairs and downstairs style drama, as Rutherford and Son tracks three generations of the glass manufacturing dynasty. 

Rutherford and Son is also is regarded as an early feminist work.For example, the female protagonist, Mary (Rochelle Therrien is excellent), challenges and bests her father-in-law, Rutherford, in a nicely turned dramatic closing. Mary is the wife of John (Michael Holding), the older son seen - portrayed as a ne’re do well impractical dreamer who is heir to the Rutherford fortune. Holding gets this role just right.

The play takes place in the family mansion, where Rutherford’s sister Ann (Jeannie Affelder is good as the skinny dowager), daughter Janet (Christina Gorman is compelling), and other son, a hapless Anglican chaplain Richard (August Forman) are generally at odds with each other about how to manage the volatile patriarch, Rutherford.

Notable as well is Janet's surreptitious love interest, Martin (Matt Bowden), the quintessence of a dutiful plant manager who goes all to smouldering in an elicit affair with Janet. (The scandal eventually drives both of them away from the factory town.) The assertive Janet is also an empowered female, asking Martin to elope with her, and when he refuses, heading off on her own - certainly an unusual woman stage character, especially in its day.

Under Rutherford’s dominion, hundreds of employees churn out bottles and jars, and inexpensive consumer products in a classic, 19th century style unenlightened capitalist setting. Unwelcome or un-understood by Rutherford are emotional or spiritual matters, or even innovative thinking – nothing but grinding harder to get more and more work done. But the business operations and the family wither under his dark indifference.

The production and sets are excellent, though this is a wordy play. Director Mechelle Moe has chosen to have the players use the regional north country dialect, which may be precise, but is laid on a little too thick at times, impairing understandability. With all that, it is somewhat recommended, though feminist sympathizers and theatre buffs will want to see what is listed by Royal National Theatre “100 best plays of the century.” Rutherford and Son runs through January 12, 2020 at the TimeLine Theatre in Chicago.

Disney’s 1991 Award-winning musical Beauty and the Beast was an instant hit. Its songs were memorable, and its story considered one of Disney’s best. With music by Alan Menken and lyrics by Tim Rice and Howard Ashman, a live musical took the Broadway stage in 1994 that successfully ran for thirteen years (Broadway’s tenth longest run) and has since been stage in theatres all around the world. Fairy tale lovers in the Chicago area now get their chance to see this highly acclaimed fantasy-musical once again, this time at Aurora’s Paramount Theatre, in what is truly a visually stunning, heart-warming and vocally charged adaptation of the modern classic. 

A spell is cast on a handsome prince that turns him into an unsightly beast after his horrible behavior and selfish ways have gone too far. He now lives in a dark mansion deep in the woods along with a once human staff that are slowly turning into household items - a candlestick, a clock, a dresser and a teapot. The more time that passes the closer each is to losing their human likeness altogether - forever. Only one thing can save them – should the beast fall in love before the last pedal of a magic rose falls, the spell would be reversed, and all would be come human again. But…the love must be returned to him. For a hot-tempered beast that lives hidden in the middle of a vast forest, this is much easier said than done.

 
Belle (Beth Stafford Laird) is a beautiful village girl who is courted by town hero Gaston (Emmett O’Hanlon) but she repeatedly fends off the egotistical hunter’s aggressive advances. But Gaston doesn’t give up so easily and he, along with his comical sidekick Lefou (Nick Druzbanski) are always scheming their next move. Belle’s kind-hearted father Maurice (Ron E. Rains) is an inventor whose keen ideas are often looked at as kooky by the fellow villagers. He loves his daughter more than anything but stumbles into trouble when he gets lost in the woods and Belle goes on the daunting task of searching for him on her own. After a series of happenings have the two crossing paths deep within the trees, Belle then Beast’s last chance for love before time runs out.

Paul-Jordan Jansen, who recently left a strong impression on theatre goers for his strong performance in Drury Lane’s ‘And Then There Were None’ is magnificent as Beast. His deep, strong speaking voice and precise annunciation of every syllable lends to his regal background, so we never forget who he was despite his beastly appearance. Jansen effectively delivers rage as well as he does tenderheartedness, making Beast a well-rounded counterpart to Belle. And Beth Stafford Laird is well cast as the musical’s leading lady, charming, warm and adventurous when need be, she so effortlessly captures the essence of our fairy tale Belle. Both Jansen and Laird complete the package also showing off their powerhouse vocals in many numbers throughout the show.

 
Though our leading characters are nearly flawless and are simply a pleasure to watch from scene to scene, the musical gets a lift from a very solid supporting cast. Emmett O’Hanlon’s rich baritone gives us a showstopping moment or two while he is also able to pull of the needed over the top cockiness that makes his role so humorous (Trevor Vanderzee will be playing the role of Gaston January 8th through 19th). Druzbanski as Lefou is just plain funny nearly every time he takes the stage while other notable performances would have to include Jackson Evans as Lumiere (the candlestick) whose comedic timing is just superb, Ron E. Rains as Maurice, the highly-imaginative inventor, and Becca McCoy who delivers big as Madame de la Grande Bouche, the former singing star who is slowly becoming a dresser thanks to the spell cast upon them. So many great performances grace the stage in this all-out production that includes an impressive ever-changing set, astonishing costumes and several memorable numbers including the instant classic “Be Our Guest”.

Directed and co-choreographed by Amber Mak, ‘Disney’s Beauty and the Beast’ is a colorful, exciting and thoroughly engaging adventure filled with fun surprises and outstanding vocal performances.

Recommended for theatre goers of all ages.

‘Disney’s Beauty and the Beast’ is being performed at Paramount Theatre in Aurora through January 19th. For more information visit www.paramountaurora.com.  

What can be said about a show that's been running every Christmas in Chicago for forty-one years? Other than it must be pretty good if it continues to play to sold out audiences year after year. There have been theatre versions of 'A Christmas Carol' nearly as long as the novella has been published. Goodman Artistic Director Robert Falls introduced his signature production in 1978. While nearly everything has remained the same, over the years some minor changes have been made to reflect current times.

The little changes year to year are what make this a fun Chicago holiday tradition. Director Henry Wishcamper made a more significant change this year by changing Scrooge's nephew Fred in Scrooge's neice, Frida. A welcomed change with Ali Burch cast in the new role. The revised character has a certain empathy that's been unknowingly missing from Dicken's version. Ali Burch makes Frida an emotional anchor of this telling, and that almost gives Fall's production a new story arc.

What has always been impressive about 'A Christmas Carol' are the special effects. It's a ghost story after all. There's plenty of high gloss staging to suspend even the more ardent disbelievers. Some genuinely frightening images and moments conjured in the first act.

It's easy for an institution like 'A Christmas Carol' to become worn out. What keeps Goodman's take on Dickens fresh is casting. Larry Yando will likely play Scrooge until they tell him to stop, and why shouldn't he? He's a delight. With that exception, Goodman mostly recasts each year. New actors in the roles allow for discovery on both the creative side and the audience side. You'll never see the same production twice.

There are so many holiday theatre options in Chicago, and many are legacies. Some companies make a significant portion of their yearly operating costs from their Christmas shows. The competition can be stiff, but for the family-friendly standby, Goodman is always a solid bet. 'A Christmas Carol' adaptions can feel like a dime a dozen, but Goodman sets itself aside by managing to give a faithful but also refreshing take on the classic tale.

Through December 29th at Goodman Theatre. 170 N Dearborn. 312-443-3800

Patsy Cline was only 30 years old and at the peak of her career when she died in a plane crash in 1963. But her sweet voice and music lives on in Firebrand Theatre's 'Always...Patsy Cline', a story written by Ted Swindley and based on true events.

After hearing a Patsy Cline (Christina Hall) record on the radio, housewife Louise Seger (Harmony France) became an immediate and avid fan of Cline's and she constantly called in to the local DJ to play Cline's records on the radio.

In 1961, when Louise and her friends show up early to see Patsy Cline sing live, it’s only by fate that Cline shows up early too.

The two women hit it off and the meeting culminates with Cline spending the night at Seger's house. Over a few too many drinks, the two women shared stories (happy and sad) late into the night. Shortly after Cline left, Seger received the first of many letters from her. The two exchanged letters over the next two years, right up until the plane crash that ended her life. Featuring over two dozen songs, 'Always…Patsy Cline' is both a musical and a concert rolled into one. While Louise Seger narrates the story, Patsy Cline moves on and off the stage singing tunes that still evoke emotions today.  “Walkin' After Midnight”, “She's Got You”, “Sweet Dreams”, and “Crazy” are just a few.

Actress Christina Hall brought Patsy Cline to life. She perfectly captures Cline’s emotions, accents and sound. She shows off her strong vocal chops with "It Wasn’t God Who Made Honky Tonk Angels" while also perfectly capturing the heartbreak in "She's Got You."

Harmony France shines equally bright as Louise Seger. She pulls off the difficult task of being both a character and narrator in this story. Her transition from star struck superfan to close friend and confidant felt real and believable.

Growing up in a home where Patsy Cline’s records were in constant rotation, I really enjoyed this walk down memory lane.The only “problem” with this production of 'Always…Patsy Cline' is that you’ll want to see it a second time since France and Hall swap roles on alternating nights.

Extended through February 23rd, 2020 at The Den Theatre. This is an excellent show which I highly recommend.

Drury Lane Theatre has put together perhaps the most visually stunning and vocally finessed production of ‘Mary Poppins’ one could possibly see.  An imaginative, ever-changing bright and colorful set with loads of special effects surrounds a most remarkable cast, highlighted by Emilie Lynn who wows theatre goers as Mary Poppins.     

Now, fifty-five years after the release of the classic Disney film starring Dick Van Dyke and Julie Andrews, comes this new heartwarming and spectacular production of ‘Disney and Cameron Mackintosh’s Mary Poppins’ directed and choreographed beautifully by Marcia Milgrom Dodge.

A family is in trouble, the children are spoiled and bored and as troublesome as can be. Their mother, Winifred Banks (Alexis J Roston), is neglected and feels unappreciated. Winifred’s husband George (Matt Crowle) is cold and overworked and pays little mind to his wife and two children. Completely consumed by his work, life at the bank has been stressful for Mr. Banks. They could use a little help. They need a nanny – a new nanny. They have had many before, but none have ever been effective.  

The children, George (Hunter Dimailig or Sebastian Merlo) and Jane (Grier Burke or Nicole Scimeca), write a list of the qualities they’d like in their new nanny. Nothing too outrageous, they ask that she be kind, care about them, give them candy and be rosy cheeked and pretty to look at. Mr. Banks does not take his children seriously and destroys their little help wanted ad. However, not long after, Mary Poppins appears quite magically at their door ready for work – with the handwritten ad. She is stern and no-nonsense but is kind and good-hearted. 

She quickly wins over the children – and audience - with the charming number “Practically Perfect (I Am Perfect in Every Way!)”. From there the story is one fantastic adventure and life lesson after another as Mary Poppins works to get the household in ship shape despite dealing with a cranky Mr. Banks, a frazzled housekeeper and clumsy, but loveable butler who just wants to help. 

We really see who Mary is when she and the children run across Bert (James T. Lane), a friendly artist who sells paintings in the park. He knows who Mary is and is aware of the magic she brings.

Mary Poppins has true supernatural abilities that she uses to convert the children. A game she plays called “walk in the park” shows them the wonder of simple things from being out in nature. The simple, yet joyfully enchanted “walk in the park” also introduces the children to the concepts of accepting others of lower social standing like the chimney sweeps, and the poor old lady who finds joy in feeding the birds from a park bench.

In time, maybe Mary can bring out the child in Mr. Banks once again.

Emilie Lynn is splendid as Mary Poppins. She has the poise and rosy-cheeked prettiness to carry the role in itself, but it is Lynn’s sensational voice that really gives Drury its perfect Mary Poppins. Charming and graceful, as well, Lynn epitomizes the characteristics one would expect to see as Mary Poppins. She even channels Julie Andrews with her vocal prowess. At the same time, Bert is well cast with James T. Lane a true delight to watch. Lane’s singing and dancing are impressive, but it’s his energy and sense of kindness felt throughout the theatre that really gives us our Bert. Together, Lynn and Lane are unstoppable. 

This delightful musical has so many star performances that cannot be overlooked. To name a few, Matt Crowle brilliantly captures the essence of Mr. Banks to precision while Alexis J Roston is the ideal counterpart to Crowle as Mrs. Banks, both delivering vocally and adding a nice comedic touch when asked upon. Joe Capstick gets to show off his ability to take on a humorous role as the Park Keeper as does Sawyer Smith as Robertson Ay, the house staffer.

But not only are we treated to an extremely talented leading cast and ensemble that amazes from one scene and song/dance number from beginning to end, the set itself is a spectacular sight and the special effects are many and will fascinate adults as much as they will children.Filled with many classic hits that include “A Spoonful of Sugar,” “Step in Time,” “Supercalifragilisticexpialidocious” and “Let’s Go Fly a Kite”, this production does not stop entertaining from the word “Go”.        

‘Disney and Cameron Mackintosh’s Mary Poppins’ is being performed at Drury Lane Theatre in Oakbrook through January 19th, 2020.

For tickets and/or more show information visit www.drurylanetheatre.com.

Goodman’s treasured director Robert Falls directs the Lyric Opera’s new production of Don Giovanni, the tale of that lustful, destructive Spanish sexual predator, Don Juan. Falls has wisely exercised restraint in this production, letting the sumptuous music of Mozart prevail. The musical high points will be familiar to anyone who has seen the movie or listened to the soundtrack Amadeus.

The story is another matter – in contemporary #MeToo society Don Giovanni does not quite fit the Weinstein-Epstein model of using leverage and power in his conquest of women. The dramaturgs struggle to find some way to explain Don Giovanni’s behavior to us. But there is none; he is not exactly a realistic character, but an exaggerated fiction who lays waste not to the objects of his desire, but to his posse of servants and friends as well. But there is a contemporary realism to Don Giovanni's destructive force and his entitlement to forcing himself on women. He doesn't accept that no means no, and we are still trying to change that heritage of patriarchy in the 21st century. 

In his day, Don Juan was a libertine. He also seems to be a sociopath and sex addict, cataloging the hundreds of women he has seduced, country by country. Like Epstein he seems to inspire profligacy and among his cohorts, but he takes advantage of them a few too many time. He is stalked by one double-crossed lover - - who makes it her mission to warn other women away from him. All this builds up to generating an enmity that finds an angry crowd of vigilante’s out to kill him.

Mozart’s formal full title of Don Giovanni is “The Rake punished, or Don Giovanni.” This indicates the story was conceived as a moral fable (the libretto in Italian is by Lorenzo da Ponte). Fall’s key touch, aside from a perfect closing scene (more on that later) was to reset the time frame from the 1600’s to the 1920s. This allows the women to reasonably be a bit more empowered, pursuing their own sexual destiny. But the original libretto clashes with this revisionist approach, since loss of reputation and fall from respectability is among their chief complaints against Don Giovanni. The 1920s setting is almost laughable during a ball in which the deco-inspired gowns (knockout costumes here and overall) when the flappers do minuettes rather than Charlestons. But it's opera. 

The music redeems it largely, though the garden bacchanal and Don Giovanni’s machinations are frankly, boring and drag on. Mozart’s music carries on a masterful counterpoint, with the characters given complexity expressed through this most lush score. The Lyric Opera Orchestra is reliably excellent, and this production is no exception. They just know how to play in support of the opera– a full, rich, underpinning for the great singers. 

Finally comes the climactic scene in Don Giovanni is his retribution for all this bad behavior – he is dragged down to hell. Falls did this so powerfully, opening a smoking pit on the stage and upending the banquet table, with Don Giovanni struggling against his fate as he slides into oblivion. It is one of the most satisfying final scenes I have witnessed, and helps cap the story of Don Giovanni, The Rake Punished. It runs at the Lyric Opera in Chicago through December 8.

*Ryan McKinney will portray Don Giovannio December 3rd through 8th

I am from Miami, Florida and after moving to Chicago there was a time when I genuinely looked forward to the first snow of the year. I’d also wish for snowfall each year to bring us a white Christmas here in Chicago and this lovely production of ‘White Christmas’ at Theatre at the Center brought that joy back into my mind for the first time in years.

The story is about two servicemen, Bob (Matt Edmonds) and Phil (Justin Brill), who become big time entertainers after their army days. From performing in USO shows for fellow military troops during World War II to becoming a featured act on the Ed Sullivan show, the two pals are now looking for a "sister act".  It isn’t long before the two stumble upon Judy and Betty (both played wonderfully by Casiena Raether and Erica Stephan) and wind up not only finding two talented women to perform with but also finding true love. The tale is a timeless one thanks to Irving Berlin's classic music – and this cast does the book and lyrics of Berlin justice.

When Bob and Phil run across their old General, Henry Waverly (Neil Friedman), they happily offer to help out by lending their star presence by performing at his lodge in the hopes of attracting more guests. The retired General is on hard times having sunk his entire life saving into the lodge. Thankfully he has been keeping his head just above water thanks to the help he receives from his ever-loyal lodge hand Martha Watson (brilliantly played by Glory Kissel). It isn’t long before Bob and Phil enlist Judy and Betty and a host of fantastic dancers to put on the show of a lifetime at the General’s lodge. It is nothing short of touching to see the dedication Bob and Phil have towards General Henry Waverly.

I would totally see this production twice just to hear the everlastingly touching “How Deep is The Ocean”:

"How much do I love you? I'll tell you no lie

How deep is the ocean? How high is the sky?

How many times a day do I think of you?

How many roses are sprinkled with dew?

How far would I travel to be where you are?

How far is the journey from here to a star?

And if I ever lost you, how much would I cry?

How deep is the ocean? How high is the sky?"

“Blue Skies” was another showstopper with the entire cast tapping in blue and white to Irving Berlin's classic song about the very real exciting effects of new love taking place on the loving new couples:

"Never saw the sun shining so bright

Never saw things going so right

Noticing the days hurrying by

When you're in love, my how they fly

Blue days

All of them gone

Nothing but blue skies

From now on!"

(from lerft) Erica Stephan as Betty and Casiena Raether as Judy. Photo by Guy Rhodes

There was a palpable chemistry in the humorous courtship between the wry, dry Phil and slightly uptight and business-oriented Betty, which the whole audience picked up on and really enjoyed watching develop scene by scene.

Director Linda Fortunato is wisely able to draw out the fun in her own unique way from each song and also includes a few numbers cut from the motion picture, like "Falling Out of Love Can be Fun,” sung by Martha, Betty and Judy. The song gives the thoroughly modern advice, way ahead of it's time, that if you are heartbroken by one man you can pick yourself up and try again without shame.

"When you've find your lover has gone

Get your second wind and go on

There's an old affair that is there for renewing

In your grief, do you know what you're doing?

Falling out of love can be fun

Soon, you'll be swinging in a hammock on a porch

One arm wrapped around someone else

The other arm carrying a torch

Love can give a lady a clout

And she may be down but not out

Get yourself a date, don't you wait for the count of ten, then

Falling out of love can be fun!"

Talented Artistic Director Linda Fortunato wears multiple hats not only directing this production but providing its dazzling choreography. William Underwood gives this show its musical direction. 

Special kudos must go to Glory Kissel as the rowdy Senior hotel concierge for her entire performance and especially the showstopper "Let me Sing, I'm Happy." Kissel shows the youngsters in the cast just how it's done with her amazing dance and superb physical comedy skills while singing out about the pure Joy of being alive and happy.

The super talented ensemble blows everyone away with one fantastic tap or dance number after another.

It is truly thrilling to watch all those tapping feet moving in perfect unison. Other great numbers include “Heat Wave,” “I Love a Piano” and of course, the title song “White Christmas”, a song that Matt Edmonds sings to perfection as he captures the period so well with both his singing and acting.    

I can't recommend this production highly enough for audiences of all ages who are looking for a happy, fun-filled and joyous celebration of LOVE and of course SNOW, during this cold and oft-strenuous Holiday season. 

‘White Christmas’ is being performed at Theatre at the Center in nearby Munster, IN through December 22nd. For more information visit www.theatreatthecenter.com.