Displaying items by tag: Austria

What would you do if you found out your heritage wasn’t what you thought it was? In Tom Stoppard’s case, he wrote a sweeping, epic play about it. Glencoe’s Writers Theatre brings Leopoldstadt to the Chicago area for the first time since its West End and Broadway runs in the early 2020s. Directed by Carey Perloff, a longtime friend and collaborator of Stoppard’s, this final stage play proves to be among his best.

Stoppard passed away late last year but he left a decades-long cannon of seminal stage and screenplays. When his semi-autobiographical play “Leopoldstadt” began performances in the West End in early 2020, he was sure it would be his last. Though he wrote it in a year, it took nearly 30 years to find the narrative. Stoppard, who was raised as a gentile most of his life, was told by a family member in 1993 he was of Jewish heritage and that many of his family members were murdered in the Holocaust. Stoppard escaped Czechoslovakia as a child and was raised in the UK entirely unaware.

A blended Jewish-Catholic family’s history in 20th century Vienna is divided neatly into four pivotal scenes with a sizeable cast of some of Chicago’s best. In the first scene, a Christmas party (1900), we’re shown a Vienna in which Jews were considered equals. Families had interfaith marriages and shared holiday celebrations. By the second scene (1924), WWI has redrawn the maps of Europe. Austria, as well as the family, finds itself in a precarious place. Scene three (1938) portrays an Austria fully committed to the Third Reich and family alliances are put to the test when the family is forced out of their home by the Nazis. The final scene (1955) happens in the aftermath of Austria’s reunification following WWII. This last scene mirrors Stoppard’s own life and serves as an emotional climax to a play that is often dense with political and historical theory.

The cast of Leopoldstadt. Photo by Michael Brosilow.

Writers Theatre’s production is as faithful to the original as you can get. Carey Perloff directed the Boston and D.C. premieres too. Along with an all-star cast of Chicago heavy hitters, Perloff’s production will likely be remembered as the definitive Midwestern revival. Between Ken MacDonald’s set and Alex Jeager’s costumes, audiences are sure to be swept away to a different time and place that can feel eerily reminiscent to the present.

As the eras change so do the actors playing the characters. Stoppard’s script trusts that the storytelling is so engaging that audiences will figure out who’s who by the context clues, and he was right. Some may find the story hard to follow but thankfully a helpful lobby installation catches everyone up on the history of Austria during this time period.

Writers Theatre favorite Kate Fry plays a Catholic woman, Gretl, who marries into a prominent Jewish family. Her performance is at first charming but by the end heartbreaking. Jessie Fischer delivers a transformative performance, particularly during the final scene. Rounding out the male ensemble is Ian Barford as Hermann who plays a converted catholic, but it’s his deterioration that is unforgettable. Justin Albinder is given the meatiest part of the final scene and his ability to switch from one emotion to the next is some of the most natural acting of the evening.

Leopoldstadt is every bit as epic as something like Gone with the Wind. Much like the famed novel and movie, this play tells the story of a civilization, a family, lost to the tragedy of war. It’s a story of a family’s near extinction. Stoppard’s brilliance is on full display and how lucky are we to have this capstone for his illustrious career?

Through August 16 at Writers Theatre. 325 Tudor Ct, Glencoe, IL.  847-242-6000

The beloved Rodgers and Hammerstein classic The Sound of Music returns to the Windy City in a dazzling stage revival now playing at the James M. Nederlander Theatre. This timeless tale of love, courage, and music unfolds with renewed vibrancy, inviting audiences of all ages to fall in love all over again.

Whether you're a lifelong devotee of the film or stage version or stepping into Maria’s world for the very first time, this production offers a theatrical experience that’s as rich as it is resonant. From its sweeping alpine backdrops and meticulously crafted sets to a cast that radiates warmth, wit, and vocal brilliance, every element is designed to stir the soul.

At its core, The Sound of Music remains one of the most enduring love stories ever told - between Maria and Captain von Trapp, yes, but also between a family and their homeland, between music and the human spirit. With iconic songs like “Edelweiss,” “My Favorite Things,” and “Climb Ev’ry Mountain,” this revival doesn’t just revisit a classic - it reawakens it.

Cayleigh Capaldi (Maria Rainer) in The Sound of Music.

The Sound of Music is a luminous and emotionally stirring stage musical set against the breathtaking backdrop of pre-World War II Austria. At its heart is Maria, a spirited and unconventional postulant at Nonnberg Abbey whose zest for life and spontaneous bursts into song set her apart from the cloistered world of the convent. When she is sent to serve as governess to the seven children of the widowed and emotionally distant Captain Georg von Trapp, Maria finds herself in a household governed by strict discipline and silence. Though initially met with skepticism and resistance, her warmth, imagination, and infectious love of music gradually break through the children’s defenses - and eventually, the Captain’s as well.

As Maria reawakens the household with laughter and melody, the von Trapp family begins to rediscover one another. The children, once regimented and joyless, blossom under her care, and the Captain, long hardened by grief and duty, finds himself drawn to Maria’s vitality and compassion. Their growing affection unfolds tenderly, culminating in a romance that feels both inevitable and hard-won. The family’s transformation is mirrored in the music they create together - joyful, tender, and deeply human. Songs like “Do-Re-Mi,” “My Favorite Things,” “Sixteen Going on Seventeen,” and “Edelweiss” become not just musical numbers, but emotional touchstones that chart the family’s journey from isolation to unity.

Yet, as the hills come alive with music, the world beyond their villa darkens. The Anschluss—the annexation of Austria by Nazi Germany - casts a chilling shadow over their newfound happiness. When Captain von Trapp is ordered to accept a commission in the German navy, he is faced with a moral reckoning. Refusing to serve a regime he cannot support, he and his family must make a harrowing decision: to flee their homeland in search of freedom. Their escape, staged during a public music festival, becomes a moment of breathtaking suspense and quiet heroism, culminating in their flight across the mountains under cover of night.

Premiering on Broadway in 1959, The Sound of Music marked the final collaboration between legendary composer Richard Rodgers and lyricist Oscar Hammerstein II. It remains a cornerstone of American musical theater, cherished for its soaring melodies, heartfelt storytelling, and its enduring message: that love, courage, and the human spirit can triumph even in the darkest of times. Its legacy continues to resonate with audiences around the world, reminding us that music can be both a refuge and a rallying cry.

Cayleigh Capaldi brings a luminous vitality to Maria, infusing the role with a captivating mix of innocence, mischief, and emotional depth. From her first entrance, Capaldi radiates warmth and charisma, embodying the spirited young woman whose heart leads her from the abbey to the hills of Austria. Her Maria is not just charming - she’s refreshingly authentic, with a spark of wit and a tender vulnerability that makes her journey feel deeply personal. Capaldi navigates the character’s emotional terrain with finesse, shifting effortlessly between playful exuberance and introspective grace.

Vocally, she is nothing short of commanding. Her voice glides through the Nederlander Theatre with shimmering clarity and expressive nuance, embracing the full emotional spectrum of Rodgers and Hammerstein’s iconic score. In ensemble numbers like “Do-Re-Mi,” she leads with transmittable energy and precision, while her solo moments—especially the titular “The Sound of Music” - reveal a soul-stirring resonance that lingers long after the final note.

Capaldi doesn’t just play Maria - she inhabits her, offering a performance that is both technically masterful and emotionally alive. It’s a portrayal that anchors the production with heart, humor, and undeniable star power.

Kevin Earley delivers a commanding and emotionally resonant performance as Captain Georg von Trapp, offering a portrayal that evolves with striking depth and humanity. At first glance, Earley embodies the Captain’s military precision and stoic reserve with effortless authority. His posture, tone, and presence reflect a man shaped by discipline and loss—a widower clinging to order in a world that feels increasingly uncertain. Yet beneath that stern exterior, Earley allows glimmers of vulnerability to emerge, setting the stage for a gradual and deeply moving transformation.

As Maria’s influence begins to thaw the Captain’s guarded heart, Earley’s performance shifts with subtlety and grace. His rediscovery of music, paternal warmth, and romantic possibility is portrayed with such sincerity that the emotional payoff feels both earned and profound. In moments of quiet reflection and tender connection - especially with his children and Maria - Earley reveals the soul of a man learning to live and love again.

Together, he and Cayleigh Capaldi share a chemistry that is both grounded and electric. Their dynamic breathes fresh life into this iconic love story, anchoring the production with emotional truth and theatrical finesse. These are not just roles well played - they are characters fully lived, making their journey as stirring as the music that carries it.

Supporting players bring depth, power, and polish to this production of The Sound of Music, with standout performances that elevate the emotional and comedic stakes.

Christiane Noll commands the stage as Mother Abbess, delivering a performance that is both spiritually grounded and vocally transcendent. Her rendition of “Climb Ev’ry Mountain” is nothing short of breathtaking - a soaring, soul-stirring anthem that anchors the show’s emotional core. Noll’s presence exudes wisdom and warmth, portraying the Abbess not just as a religious figure, but as a guiding force in Maria’s journey toward self-discovery and love. Her voice, rich and resonant, fills the Nederlander Theatre with a sense of hope and conviction that lingers long after the final note.

Nicholas Rodriguez is pitch-perfect as Max Detweiler, the savvy and socially nimble Third Secretary of Education and Culture. Rodriguez leans into Max’s charm and opportunism with delightful precision, capturing the character’s comic timing and moral ambiguity without ever tipping into caricature. His rapport with the von Trapp family feels genuine, and his scenes crackle with energy—especially as he navigates the shifting political landscape with a mix of wit and self-preservation. Rodriguez’s Max is a man who knows how to play the game but never loses sight of the music that gives life its meaning.

Kate Loprest brings elegance and edge to Elsa Schraeder, the sophisticated socialite poised to become the Captain’s second wife. Loprest’s portrayal is layered - cool and composed on the surface, yet subtly revealing the cracks beneath as Maria’s influence grows. She captures Elsa’s ambition and vulnerability with finesse, making her more than just a foil to Maria. Loprest’s performance adds complexity to the romantic triangle, reminding us that even the “would-be” wife has her own story to tell.

Together, these performers enrich the production with texture, tension, and vocal brilliance - ensuring that The Sound of Music resonates far beyond its central love story.

Ian Coursey (Rolf Gruber) and Ariana Ferch (Liesl von Trapp) in The Sound of Music.

The von Trapp children light up the stage with charm, precision, and musicality, bringing warmth and vitality to every scene they inhabit. From the moment they appear, the young performers captivate with their seamless harmonies, crisp choreography, and infectious energy. Each child brings a distinct personality to their role, yet together they form a cohesive and endearing ensemble that anchors the emotional heart of the production. Their comedic timing and heartfelt interactions with Maria add levity and tenderness, making their scenes some of the most memorable in the show.

Leading the pack is Ariana Ferch as Liesl, the eldest daughter navigating the cusp of adulthood with grace and curiosity. Finch delivers a beautifully layered performance - equal parts youthful exuberance and emerging maturity. Her voice is clear and expressive, and she moves with a dancer’s ease, especially in the show-stopping number “Sixteen Going On Seventeen.” Paired with Ian Coursey as Rolf Gruber, the two share a chemistry that sparkles with innocence and flirtation. Coursey brings a boyish charm and vocal strength to Rolf, and together, their duet becomes a highlight of the evening - playful, romantic, and visually delightful.

This production doesn’t just rely on nostalgia - it reinvigorates the von Trapp children with fresh talent and heartfelt performances, reminding us why their story continues to resonate across generations.

Brilliantly directed by Jack O’Brien, I have nothing but high praise for this wonderful production of The Sound of Music. Broadway in Chicago’s offering is a glorious revival that sings with heart, harmony, and timeless magic! With its grand, meticulously crafted sets, powerhouse vocals, and standout performances across the board, this production of The Sound of Music is nothing short of a theatrical triumph.

Highly Recommended.

The Sound of Music is being performed through November 2^nd at the James M. Nederlander Theatre. For tickets and/or more show information, visit https://www.broadwayinchicago.com/shows/the-sound-of-music/.