Displaying items by tag: Chicago Shakespeare Theater
Chicago Shakespeare Theater announces casting for the NORTH AMERICAN PREMIERE of a new musical from the producers of SIX - 42 Balloons
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Chicago Shakespeare Theater announces a Bold 2025/26 Season of 12 productions
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Chicago Shakespeare Theater Presents Lively Production of Sunny Afternoon
“It’s not us… all this mucking about with our sound.”
Sunny Afternoon is about many things. This is in so many ways a rock concert – with a score that makes it impossible not to dance and clap along in your seat. It’s vibrant – with a talented design team that simply does not hold back as they bring this musical to life, especially with Costume Designer Miriam Buether’s 60s looks. It’s also joy, with Adam Cooper’s choreography that fills the stage, complete with favorite moves of the decade.
However, at its root, this is the origin story of a rock band. Like so many true stories in this genre, you witness the highs and lows – particularly when the men realize that fame doesn’t quite feel as any of them may have anticipated. As Ray Davies (Danny Horn) frustratingly admits the above on a phone call with his band manager, Larry Page (Sean Fortunato), you may find yourself leaning in, wondering if the group can salvage the heart of their music before it’s too late.
With book by Joe Penhall and music, lyrics, and original story by Ray Davies himself, Sunny Afternoon features the origin story of The Kinks – a British rock band in the 60s. We meet the musicians when they are in essence teenagers – Ray Davies (Danny Horn), Dave Davies (Oliver Hoare), Peter Quaife (Michael Lepore), and Mick Avory (Kieran McCabe). Once they are discovered, their fame skyrockets – with hordes of fans only wanting more with every tour and drop of a new album. Like what many might expect, fame isn’t always easy, and audiences have a front-row seat to the many nuances that can come with that as the story unfolds.
Directed by Artistic Director Edward Hall, Sunny Afternoon is a jukebox musical featuring a number of hits from The Kinks including “You Still Want Me,” “Lola,” “A Rock’n’roll Fantasy,” and “Waterloo Sunset.” The production showcases a strong ensemble – particularly in the four actors embodying the members of The Kinks. It is not easy to find performers who can not only act the roles, but also play their instruments with a high level of expertise and sing in a way that resembles the original members. To say that the casting was spot-on is an understatement, and from the cheers and applause surrounding me at this performance, it seems fair to say that the audience agreed.
The music alone is a blast, and fans of The Kinks or any rock concert are sure to have a fun night. However, especially for the dedicated theater-goers in the audience, you might find that what really sells the show is the chemistry between the performers at the center.
“Dedicated Follower of Fashion” is a prime example appearing early in Act One. The young band members find themselves in a department store confronting one of the first shifts that they would have to endure on the way to stardom – finding their new look. Their new management tries to force them down a specific path of a classy, formal appearance. However, the men cannot help but turn the experience into something else entirely. Throughout the song, we see them having fun with different looks – joking around with different accessories and making it clear to all involved that they are here for the joy. The audience at this performance was clearly along for the ride – laughing alongside the actors and cheering as they made the number increasingly over-the-top.
The Kinks did not have it easy – and Sunny Afternoon certainly makes that clear. Particularly as the pressures become too much for some of the band members, the story can be hard to swallow. However, much of that is due to the genuine friendship we witness unfold on stage. Hall’s ensemble brings an authenticity that you might just find is impossible not to love.
Stellar casting and a rocking score make Sunny Afternoon a theatrical event that you simply do not want to miss. Whether you are a die-hard Kinks fan or this is your first time experiencing the material, the music alone will leave you wanting more.
HIGHLY RECOMMENDED
Run Time: 2 hours and 30 minutes, with intermission
Sunny Afternoon runs at Chicago Shakespeare Theater (800 E Grand Avenue) through April 27, 2025. See the Chicago Shakespeare Theater website for more information regarding tickets.
Disability-inclusive company brings Frankenstein to Chicago Shakespeare Theater
A.B.L.E.—Artists Breaking Limits & Expectations—a Chicago-based nonprofit that creates theatre and film for, with, and by individuals with Down syndrome and other intellectual and developmental disabilities (I/DD) is thrilled to return to Chicago Shakespeare Theater with a re-imagining of the gothic classic Frankenstein running April 25-27, 2025.
The production will transform the Upstairs Studio into a run-down punk club called The Arctic. Music journalist Roberta Walton (played by Ryan Foley) is on site to cover the closing of the club, but instead finds a disoriented Victor Frankenstein (played by Marissa Bloodgood and Andrew Kosnik) and a much more interesting story! The neurodiverse ensemble - composed of 9 actors with varying disabilities and a team of facilitators - will play multiple characters as they bring Frankenstein's memories to life. The production blends music, movement, and scenes devised by the group into a powerful exploration of ambition, isolation, and the balance between the head and the heart.
Writer and co-director Lawrence Kern, anchored this version of Frankenstein in the punk world to honor the rebellious spirit of the disability community. "Most people have a very clear picture in their head of what this story looks like with green makeup and neck bolts," says Kern. "We always want to challenge assumptions at A.B.L.E., to surprise our audiences, and leave room for our actors to put their own spin on things."
Through the 10-week rehearsal process, Kern and co-director Katie Yohe led a highly collaborative process that included actors developing their own choreography, infusing personal reflections and storytelling into the script, and developing scenes in the manner that best suited each individual performer. The result is a deeply personal production. "The Creature is really misunderstood and I know how that feels," says actor Zach Wandel. "When you move through the world with a disability, people treat you like a kid. And when you're an artist, like me, people don't take you seriously, or think your art is less than. But we deserve a chance."
Before the show on Saturday April 26th, the public is invited to participate in a free 75-minute interactive workshop with the ensemble to learn more about how A.B.L.E. developed this adaptation. Audiences can experience some of the games and activities A.B.L.E. used to bring their ideas to the stage, get a touch tour of key costume pieces and props, and try A.B.L.E.'s signature "dropping in" method. This exclusive opportunity is only available to 20 ticket holders - space can be reserved when purchasing tickets.
A.B.L.E. is committed to ensuring everyone feels they belong in the theatre. In addition to supporting disabled actors onstage and backstage, all 3 performances include numerous accessibility supports for audience members of all ages and abilities. Open captioning is integrated into the design of the show. All performances are relaxed, and audience members will receive a social story before the show to help audience members know what to expect from their trip to the theatre. The performance on April 27th will be dual ASL interpreted. Yohe says, "We hope we can set an example for our community of what true inclusion looks like both onstage and off."
Performances:
Friday April 25 at 7pm
Saturday April 26 at 2pm (free pre-show workshop at 10:30am)
Sunday April 27 at 2pm (ASL interpreted)
Run-time approximately 90 minutes
Chicago Shakespeare's Courtyard Theater
800 East Grand Avenue
Chicago, IL 60611
Tickets: Pay-what-you-can general admission ranging from $15-$45
Online: chicagoshakes.com/frankenstein
Phone: 312.595.5600
In person: at the Chicago Shakespeare Theater Box Office
Accessibility at all performances:
- Open captioning
- Relaxed performance including a designated movement zone
- Sensory support tools
- Wheelchair Access
- Masks are required for all attendees out of consideration for our immunocompromised community members
Frankenstein is sponsored by Charcoalblue. A.B.L.E.'s 2024-2025 Season is partially supported by The Arts Work Fund for Organizational Development, The Chicago Department of Cultural Affairs and Special Events, FunFund, Fs Foundation, The Illinois Arts Council, The LaChapelle Family Foundation, The Paul M. Angell Family Foundation, The Poor Handmaids of Jesus Christ Ministry Fund, The National Endowment for the Arts, and generous individuals like you!
ABOUT A.B.L.E.
A.B.L.E. - Artists Breaking Limits & Expectations - is celebrating their 9th anniversary of creating theatre and film for, with, and by individuals with intellectual and developmental disabilities. Whether in person or online, all A.B.L.E. programs strive to foster agency, and nurture lifelong skills like communication, collaboration, and creativity. A.B.L.E.'s ensembles have produced more than 30 projects for the stage and screen, ranging from original work devised by the group, to Shakespearean classics, to award-winning feature films. A.B.L.E. also shares their unique approach for creative arts programming through workshops and residences with schools, community centers, and other organizations that serve people with disabilities, and also disability inclusion training for businesses. By placing disability in the spotlight, A.B.L.E. strives to shift societal preconceptions, and build more inclusive, empathetic communities. Watch past shows, meet the team, and go behind the scenes at ableensemble.com
ABOUT CHICAGO SHAKESPEARE THEATER
A Regional Tony Award recipient, Chicago Shakespeare Theater produces a bold and innovative year-round season that includes Shakespeare, original plays, musicals, family programming, and international theatrical events. CST is committed to serving as a cultural center across its three stages—the 700+ seat Yard, 500-seat Jentes Family Courtyard Theater, and the 200-seat Carl and Marilynn Thoma Theater Upstairs as well as in classrooms, neighborhoods, and venues around the world. CST has a deep commitment to education and lifelong learning with robust programming for students, teachers, and lifelong learners, and engagement with communities across the city. Onstage, in classrooms and neighborhoods across the city, and in venues around the world, Chicago Shakespeare is a multifaceted theatre—inviting audiences, artists, and community members to share powerful stories that illuminate the complexities, ambiguities, and wonders of our world. www.chicagoshakes.com.
Chicago Shakespeare Theater announces the cast of its NORTH AMERICAN PREMIERE Production Sunny Afternoon
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Avaaz: A Powerful and Personal Tribute to a Mother’s Journey
One of the things I have always enjoyed and admired most about Chicago Shakespeare Theatre is their willingness to bring fresh ways to experience Shakespeare’s classic works as well as bringing new works and voices to the stage. Avaaz, which opened on Jan. 24, is no exception. And we are the better for it.
It is the first time that Chicago Shakes has welcomed to its stage an Iranian-American playwright, Michael Shayan, as he shares the story of his mother, an Iranian-Jewish immigrant, and her deeply personal journey from Tehran to “Tehran-geles,” California.
Shayan, who is an Emmy-nominated and Harvard-trained writer and actor, not only wrote the play, but he also is the star of this one-person production with his energetic and engaging portrayal of his larger-than-life mother, Roya. It is funny, life-affirming, joyous, yet at times, tragic, as Shayan grapples with his mother’s experiences in forging a new life in America, while also exploring his complicated relationship with his mother.
We first meet Roya before the show even begins as she sashays through the audience in her glittering gold kaftan, welcoming playgoers and encouraging them to join her in shimmying their shoulders to the pulsing Iranian music. (In fact, before the performance on Jan. 28, there is a free workshop to learn Middle Eastern dancing.) We are there to party with Roya, as she prepares for the celebration of Nowruz, the Persian New Year, which is all about renewal and rebirth.
The centerpiece of Nowruz is the Haft Sin table, and indeed, that elaborate buffet is also the focal point of the set. Throughout the 90-minute production, Roya moves about the Haft Sin table, explaining the symbolism of seven food items on the table while interweaving her story.
Appropriately, Avaaz means “voice,” and we are hearing Roya’s voice as she shares about her life growing up in Teheran (the best city in Iran, she affirms), her beloved father’s imprisonment for his activism during the Iranian revolution, her loveless arranged and abusive marriage, and her underlying desire to make a better life for her son. As Roya, Shayan brings her story to life with equal doses of humor and compassion and the audience is immediately captivated.
For Shayan, the production is his heartfelt tribute to his mother. While growing up, Shayan said his mother never really talked to him about his past. At one point, he asked if he could interview her, and once the recorder was turned on, Roya opened up. The subsequent interview became the impetus for the piece. In fact, the play closes with snippets from that original recording and we hear Roya’s own voice as well.
While Shayan says the play is at its core about the mother-son relationship, is also touches on the ongoing women-led revolution happening in Iran right now. In many respects, Shayan says, what Roya experienced 40 years ago in Iran parallels what is going on now.
“One call coming out of Iran is to ‘be our voice,’ and I think that’s part of what we can contribute as artists – in some small way, I can help amplify the voices of those who are crying out for ‘Woman. Life. Freedom,’” he said.
Chicago Shakes is one of the many planned stops for the production on its inaugural national tour. Directed by Tony Award nominee, Moritz Von Stuelpnagel, Avaaz is one of those theatre experiences that lingers with you long after the performance is over. You leave the theatre grateful you were invited to be part of Roya’s world and culturally enriched because of it.
Avaaz is playing at Chicago Shakespeare through Feb. 9. Visit here for more information.
"Braids, Dreams, and Resilience: JaJa’s African Hair Braiding Shines at Chicago Shakespeare Theater"
JaJa’s African Hair Braiding, written by first-generation Ghanaian American playwright Jocelyn Bioh and directed by Obie Award-winning Whitney White, is a vibrant celebration of the resilience, community, and complexity of West African immigrant women striving to establish their place in New York City. Currently receiving an acclaimed production at Chicago Shakespeare Theater, the play offers a poignant, colorful, and often humorous exploration of identity, survival, and aspiration in the face of challenges such as undocumented status, systemic inequities, and cultural displacement.
Set in a bustling Harlem hair braiding salon, the production immerses the audience in a world where conversations flow as freely as the braiding hands of skilled stylists. David Zinn’s set design meticulously recreates a Harlem salon, complete with brightly painted walls and posters of intricate braid designs. A steady stream of music fills the space, creating an environment that pulsates with life. Whitney White’s direction ensures every corner of this intimate setting remains vibrant with activity, embodying the controlled chaos where clients, stylists, and commerce intersect.
Bioh’s talent for crafting razor-sharp dialogue between women is fully realized here—no surprise from the playwright behind School Girls; or, the African Mean Girls Play. She skillfully weaves together a rich tapestry of personalities and cultural backgrounds, resulting in an ensemble that crackles with authenticity and charm.
At the heart of the story is JaJa, portrayed with commanding presence by Victoire Charles, and her daughter Marie, played with youthful vigor by Jordan Rice. Both Senegalese women have aspirations that stretch beyond their circumstances. Aisha Sougou’s Ndidi, a Nigerian with an encyclopedic knowledge of the soap operas playing in the salon, serves as a comedic anchor. Meanwhile, Awa Sal Secka’s Bea, a proud Ghanaian and longtime employee, offers a compelling foil to Ndidi’s antics, resisting with simmering resentment but asserting herself as the true Queen Bee when necessary. Tiffany Renee Johnson, last seen in Blues for An Alabama Sky, delivers a standout performance as Aminata, Bea’s devoted gossip partner, now preoccupied with her own troubles.
Bisserat Tseggai infuses Miriam, a Sierra Leonean longing for lost love, with a tender wistfulness, while Mia Ellis’s Jennifer spends the entire day getting her hair done and dispensing advice. Special mention must be made of the chameleon-like talents of Melanie Brezill, a standout in Stokley: The Unfinished Revolution, and Leovina Charles, who nimbly juggles six different customer roles between them, injecting each with distinct personality. Yao Dogbe, whom I last saw in Intimate Apparel, is the lone male in the cast and effortlessly steps into various roles with charm and versatility.
Illegal immigration is a central theme in JaJa’s African Hair Braiding, and Bioh handles it with nuance and compassion. The fear of deportation and the pressures of living in the shadows are palpable, yet these issues are presented with sensitivity, avoiding one-dimensional portrayals. Instead, the play highlights the characters' individuality, dreams, and relationships, reminding the audience of the humanity behind the headlines.
The artistry of Hair and Wig Designer Nikiya Mathis truly steals the spotlight in this production. As the first wig designer to receive a special Tony Award for her groundbreaking work on the Broadway production, Mathis brings her award-winning expertise to Chicago Shakespeare Theater with stunning results. Each intricate braid and carefully styled wig not only enhance the authenticity of the characters but also serves as a visual testament to the cultural richness at the heart of the story. Complementing Mathis’s work is Costume Designer Dede Ayite, whose keen eye for detail and vibrant selections beautifully capture the essence of each character, reflecting their personalities and cultural heritage with remarkable precision. Together, Mathis and Ayite create a visually immersive experience that elevates the production to new heights.
JaJa’s African Hair Braiding is a testament to the power of storytelling in illuminating the lives of those often overlooked. Through its richly drawn characters, sharp writing, and dynamic direction, the play captures the essence of a community striving against the odds, celebrating their culture while forging paths toward a better future. It’s a timely, heartfelt production that leaves audiences not only entertained but also more empathetic and informed about the realities faced by so many immigrants in America and today, don’t we need more empathy
Highly Recommended
When: Through Feb. 2
Where: Chicago Shakespeare Theatre 800 East Grand Avenue in Chicago.
Tickets: $30 - $90
Info: www.chicagoshakespeare.com
Pericles: Royal Shakespeare Company refreshes an obscure tale at Chicago Shakespeare Theater
They do abuse the king that flatter him
For flattery is the bellows that blows up sin
These days, fireplace bellows tend to be a specialty item. But most of us know that blowing the hot air of flattery into leaders comes to no good. With the presidential election just days away and the globe exploding in violence, Pericles’ nobleman Helicanus reminds us that the habits of powerful people and their sycophants have changed little in 400 years.
In case you missed Pericles, the Prince of Tyre in college lit class or on stage, you can now fill in the gap with the Royal Shakespeare Company’s visiting production at Chicago Shakespeare Theater. The Bard’s message about power in this play is as strong as in more familiar works like Macbeth and Richard III. However, its authorship remains in dispute – scholars suspect another writer contributed the first two acts – and its dramaturgy presents some challenges.
Tamara Harvey, recently appointed co-artistic director of the RSC, directs Pericles with a sure hand that brings clarity to its intricate plot and cohesion to its stylistic disparities. Flowing yet unfussy costumes by Kinnetia Isidore and a set of sweeping ropes by Jonathan Fensom match the pace established by Harvey. She often places ensemble members in frozen tableau upstage during a downstage scene and lets action from one scene continue silently on the outskirts of another, thus bouncing the story along quickly.
Still, Pericles is a rough ride, beginning with an appalling sin: a king having incestuous relations with his daughter. This could happen in the humblest to the grandest families, but King Antiochus turns it into a competitive royal sport. Whoever can solve a riddle will win the hand of his nameless and wordless daughter. Though many suitors have previously failed and lost their lives, Pericles decides to give it a shot and, in solving the riddle, exposes the king’s depravity. To escape Antiochus’ murderous plan for him, Pericles begins a journey involving strange lands, major storms and wayward ships, a beloved wife and daughter lost and recovered, men using earthbound force and women wielding priestly powers that ultimately result in a happy conclusion.
No surprise, the RSC’s legendary ensemble shifts roles as naturally as breathing, inhabiting each character simply and fully. Zach Wyatt gives a solid performance in the title role despite its limitations. The main characters of Shakespeare’s later romance plays – specifically Prospero in The Tempest and Leontes in The Winter’s Tale – grip our imagination because of their flaws. Pericles, on the other hand, has no noticeable failings that push him into trouble. Trouble finds him without dampening his virtue or his courage. Whether solving the immoral riddle, bringing food to famished people or besting his competitors in a joust with only a worn armored vest while they hold shiny shields, Pericles triumphs. Nothing digs below the man’s smooth surface, and Wyatt doesn’t add any surprises.
The reward of this seldom-produced play is not a specific character’s path to greater humanity, but instead a timeless commentary on leadership. As we wade through this election season, enduring politicians who blow flattery into voters at home and hearing reports of sins from abroad, Pericles’ exotic narrative seems frighteningly familiar.
Pericles, a Royal Shakespeare Company production at Chicago Shakespeare Theater, is playing now through December 7th. For tickets, go to www.chicagoshakes.com/pericles
Chicago Shakespeare Theater’s HENRY V Features Stunning Design and Standout Cast
It’s the top of Act IV, and King Harry (Elijah Jones) stands alone on stage. The lights are dim – save for a spotlight, leaving the surrounding empty benches in shadow. His soldiers have all exited, each more excited than the one before him as they run off to battle against the French. Harry is left with nothing but his thoughts. With a long, deep breath, he takes a moment to pray. As he kneels down in the darkness, he whispers:
“O God of battles! steel my soldiers' hearts;
Possess them not with fear; take from them now
The sense of reckoning, if the opposed numbers
Pluck their hearts from them.”
Up until this point, we have witnessed countless speeches from Harry. At every turn, he is ready to inspire his soldiers – his friends as he calls them, preparing them with the hope they require to go fight on his behalf. However, in this moment, we see something different. As Jones stands alone, we see a new physicality take form – one filled with vulnerability and fear. You might find that in this moment, like for me, the story shifts. Harry has carried an impressive, heroic air throughout. However, in this scene, he finally feels human. The language felt so heightened but suddenly, there’s something a little more relatable. He finally has something to lose. If you’re anything like myself, you might feel yourself leaning in - almost worried to see what danger befalls him with what is to come.
Directed by Artistic Director Edward Hall, William Shakespeare’s history play follows King Henry V, or Harry, (Elijah Jones), as he leads his army to invade France. Full of some of Shakespeare’s most famous speeches, the play explores what makes a king, as well as what obstacles might stand in the way – even if they are brought on by the individual himself. Hall’s talented ensemble brings this theme to life as we watch them bond and grow over the course of the story. In contrast to France, Harry’s army is meant to have everything standing against them – from experience to literal numbers. However, Harry’s ability to inspire carves a path forward, and we see how a natural gift like language can help a king survive.
As much as Shakespeare’s play can be one of hope, there is also a darker side as we see the ramifications of the seduction of war – one that Hall and Music Director Jon Trenchard cleverly highlight through live music.
The play itself carries a highly serious tone. The lighting overall is quite dark, with a muted set as we settle into England’s army base (filled with impressive detail from Scenic Designer Michael Pavelka that consumes Chicago Shakespeare’s Yard Theater). Sound Designer Emily Hayman does not hold back with the war scenes – successfully immersing the audience in the fear surrounding the soldiers on stage. Particularly with the heightened language of Shakespeare’s text, the production feels as if it will be clouded in death and all that comes with it.
Then, in a key moment, the notes of The Clash’s “London Calling” starts to play. The musicians on stage come forward as Lighting Designer Marcus Doshi fills the stage with flashes of pink and red. The soldiers – all quite solemn to this point, begin to jump and dance as they yell the lyrics with the musicians. The vibe quickly shifts to one of a rock concert. Looking around at the guests surrounding me for this Opening Night performance, it was clear the audience was just as excited – especially as they danced along in their seats. This was only the first of many musical interludes, and each was met with more excitement than the last.
Henry V can be quite heavy. The story of a young king forced to grow up too quickly as he rounds up his soldiers to fight on his behalf is not easy. While poetic, Shakespeare’s series of extended monologues could make this history a tougher one for folks who are less used to his work. However, with the incorporation of the music and tonal shifts, Hall and his team do their part to ease in the audience. You might find that breaking up the text in this way allows you to catch your breath, recalibrate, and prepare yourself for the next stage of the journey.
Impeccable design and cleverly crafted, Henry V makes for an accessible entry point to Shakespeare’s histories. Hall is still new to his position, but he is certainly one to keep an eye out for.
Henry V runs through October 6 at Chicago Shakespeare Theater – 800 E Grand Avenue. Check out Chicago Shakespeare Theater’s website for tickets and information.
RECOMMENDED
Spend an evening in Middle Earth - THE LORD OF THE RINGS: A MUSICAL TALE at The Yard at Chicago Shakespeare Theater
I first read JRR Tolkien’s trilogy, The Lord of the Rings, when I was eleven; since then I have reread the entire story almost every year. My birthday is September 22, same as Bilbo and Frodo. The quote [NOT that of the One Ring!] tattooed on my arm is in Sindarin, the Elvish language. I travelled to New Zealand on an LotR tour and later lived in NZ for 2 years. So, understand that I’m not just a fan of, but fanatical about The Lord of the Rings. Believe me when I say I most definitely know Tolkien’s type.
In 1999 when the first of the three movies came out, I was terrified, as I’ve never seen a movie based on a book I loved that was not totally calamitous. But Peter Jackson is a god, and he did as wonderful an adaptation as humanly possible (though I’ll never forgive him for Faramir).
So, when I first learned that the Chicago Shakespeare Theater was producing Lord of the Rings onstage, I immediately put in a request to review it for Buzz Center Stage. As the event drew closer, however, I started getting anxious: LotR a musical?! But my misgivings lightened as, about ten minutes before the production began, costumed characters started larking about together onstage and off-. And the opening song, ‘The Road Goes On’, melted my doubts (as well as my heart) altogether: it was beautiful, and so right!
From the start it was clear there were two distinct groups in the sold-out house: those who were LotR fans (though I daresay few as monomaniacal as myself), and those who were meeting hobbits, elves, and wizards for the first time. My companion was of the latter group – he knew the basics of the story but had no true familiarity with it – so exploring his views made an interesting counterpoint with my own.
The cast and company were enormous; forgive me if I don’t praise everyone individually but only comment on the standouts.
Only the expertise and artistry of Directors Edward Hall and Kimberly Motes could produce such a monumental show. I’ll always see Aragon as quintessentially Viggo Mortensen, but Bob Mason’s casting was spot on: Will James Jr. fully engaged me in the role. Sir Ian McKellan is a tough act to follow, but Tom Amandes’ Gandalf was magnificent. The Hobbits – Eileen Doan as Merry, Ben Mathew as Pippin, Michael Kurowski as heroic Sam Gamgee, and Rick Hall as Bilbo – were all sensational – though I wish we’d heard more from them and gotten to know them better. Frodo’s is a very complex character, from the lighthearted Frodo of Bag End to the tormented Frodo on Mount Doom; a challenge for any actor. Elijah Wood nailed it of course, and so amazingly did Spencer Davis Milford. [It’s true Spencer isn’t (quite) as cute as Elijah, but then few folks are.]
The highest kudos I must reserve for Tony Bozzuto, whose portrayal of Gollum was phenomenal. Bozzuto accomplished the physical gymnastics of that kinetic creature and faultlessly enacted the contradictory mindset of that haunted, driven … what? not a person, more a wraith or an apparition, and a groveling vassal of the unholy trinity: the Ring, the Dark Lord, and Frodo Baggins, simultaneously and irreconcilably. Poor Gollum! Bozzuto managed to incite in me both Sam’s cynical aversion and Frodo’s compassionate empathy. He owned the stage whenever he appeared.
Justin Albinder (Legolas), Ian Maryfield (Gimli), and Matthew C Yee (Boromir) completed the Fellowship of the Ring, appointed by Jeff Parker as Elrond (and later pursued by Parker as Saruman). Unfortunately, we never got a chance to know any of them, aside from a few quips (“Never trust an Elf!”)
LotR is no chick flick; it’s totally a bloke’s story, but the sensual Arwen (Alina Taber) injected a bit of estrogen. I was disappointed at Galadriel: Lauren Zakrin played the terrifyingly beautiful elven queen, but the sound / mic system (Chicago Sound Designer Nicholas Pope) failed to capture the full range of Zakrin ‘s lovely soprano voice.
Spencer Davis Milford as Frodo and Lauren Zakrin as Galadriel in Chicago Shakespeare’s US premiere of The Lord of the Rings – A Musical Tale, based on J.R.R. Tolkien’s beloved trilogy of books.
The most awesome scene in the movie Fellowship of the Ring is when Gandalf defies the Balrog, and by far the most wrenching scene is the desolation of the Fellowship, most especially Frodo, when Gandalf falls. This production gave us none of that. We barely hear Gandalf’s final gasp of “Fly, you fools!”. Then, when the Fellowship reconvenes afterwards, there is no reaction from the characters. Aragorn rather reminded me of the monitor on a primary school trip: “Everyone get to the bathroom? All here? Ok, let’s go”.
It was necessary, of course, to cut a great deal of material to bring the production in at three hours. One thing they cut was Book Two, The Two Towers. There’s no mention of Rohan at all, only nominal lines from Treebeard (voice by John Lithgow). They don’t go to Minas Tirith, no acknowledgement of (let alone depiction of a battle) Helm’s Deep. I don’t mind skipping Tom Bombadil, I never much liked him any road, but why on earth does Gandalf mention him at the end? Those unfamiliar with the books were left thinking ‘Huh? Tom Bombadil? Who dat?’
Scenic and Props Designer Simon Kenny, working with David Castellanos’ Stage Management crew, had a monumental task enacting the myriad venues and tableaus the characters move through, from the buoyant gaiety of the Shire, through the mystical glory of Lothlorien, to the malevolent horror of Mordor, with all number of epic battles generously interspersed. These phantasmagorias were enhanced by Light Designer Rory Beaton (albeit with a couple of glitches). Many of Kenny’s costumes were superb – the Black Riders in particular were truly terrifying – but not so much with the monsters, Balrog et al. And I’m not sure about Galadriel’s outfit; I kept losing track of the action in speculating whether it was a dress or a catsuit.
Oh! The Music! … yeah, that’s right; this is a musical. Book and lyrics were written by Shaun McKenna and Matthew Warchus, and the music composed by AR Rahman, Värttinä, and Christopher Nightingale. Each composer’s background and style was evident within the whole.
Christopher Nightingale is a prolific composer, orchestrator, director, and conductor, celebrated in the UK as well as the US. AR Rahman is said to have ‘redefined contemporary Indian music’. His music has been brought to national attention by multiple Academy Awards, Grammys, a Golden Globe and a BAFTA, and he brought his Eastern imprint to bear on the music of THE LORD OF THE RINGS. Värttinä is a contemporary Finnish group with a folk music/roots-based style, using multiple vocals and instrumentalists to combine traditional Finno-Ugric elements with traditional and original compositions.
I can’t pinpoint which portion of which songs derived from which composer, but it’s my private opinion that Värttinä’s folkloric imprint was what brought special charisma and bewitchment to my favorite compositions in THE LORD OF THE RINGS. For example, the introductory The Road Goes On and both enactments of Song of the Traveller were exquisite. And in Act 2, Now and for Always was resplendent, coupling Sam’s poignant lines with Gollum’s piteous voice.
Other numbers, unfortunately, did not rise to this level. Some I must describe as saccharine and others vapid: trite, repetitive, and/or simply too damn long. The production could benefit from using some of that unproductive time by deepening other portions of the show.
The Finale was, in a word, jarring. The message throughout Act II is that, after such frightful trials and momentous events, however triumphant, life simply cannot “go back to normal”. Yet Finale seems to be attempting to bring the story full circle, returning to the celebratory ambience of the Birthday Party in the Shire. A song that combined consolation with hope would, to my mind, be more harmonious with the canon.
[Sorry, can’t help it; I’m a hopeless LotR nerd! Geek]
Jeff Parker as Elrond and Spencer Davis Milford as Frodo, at center, with Will James Jr. as Aragorn, Ian Maryfield as Gimli, Eileen Doan as Merry, Michael Kurowski as Sam, Alina Jenine Taber as Arwen, Ben Mathew as Pippin, Tom Amandes as Gandalf, Justin Albinder as Legolas, and Matthew C. Yee as Boromir.
The acting was universally excellent, from the pivotal roles of Frodo, Gandalf and Gollum to those of Rosie Cotton (Suzanne Hannau) and the Ensemble: Joey Faggion, Mia Hilt, James Mueller, Jarais Musgrove, Hannah Novak, Adam Qutaishat, Laura Savage, Bernadette Santos Schwegel, and Arik Vega. Amandes was absolutely magnificent in Gandalf’s confrontation of the Balrog at the Bridge of Khazad-dúm. James’ Aragorn was regally magnetic; he brought Aragorn’s character deftly and smoothly from the rude Ranger of the North to the august High King of Gondor.
Frodo … Frodo Frodo Frodo. One of my favorite characteristics of Frodo is that of a reluctant hero – a small and insignificant person who finds himself a hero by simply doing what must be done. Milford’s acting was compelling and poignant, capturing this subtle but crucial quality. And I’ve already spoken of Bozzuto’s brilliance as Gollum. These two actors delivered Tony-level performances.
The choreography and movement, directed by Anjali Mehra, with Fight Captains Ian Maryfield and dance captain Laura Savage, were less impressive. Again, the opening scene and song was very well done, but that good first impression was not sustained. In several scenes the ‘dancing’ consisted of merely keeping the bodies in motion with no rationale or allure, particularly with the orcs. Granted, orcs possess negligible symmetry, not to mention allure. However, the Nazgul’s maneuvers and actions in the early scenes [Flight to the Ford] were quite effective in communicating menace. [NOTE: A Maori haka* illustrates how eloquently movements can convey threat.] The center turntable was helpful in some scenes, but it doesn’t work to simply send the actors in circles as they make duplicative gestures.
The fight scenes were augmented by Beaton’s light shows, though they must be carefully coordinated to enhance without obscuring – a couple of poorly-timed light effects left the principals in the dark. And the special effects were not very special: once the Nazgul lost their horses we never saw them again (though the shriek was very well done). The Balrog … meh. And worst of all was at Mount Doom; we saw no trace of the Ring, and the explosion was decidedly anticlimactic.
The most important omission was the emotion. I mentioned the absence of grief at Gandalf’s fall, but the more important exclusions were in defining the characters and their interpersonal relationships. Sam’s love and devotion to Frodo was barely hinted at, though this relationship is of paramount importance from the beginning, in his insistence on accompanying his Master, to the end, where he is essential to Frodo’s ability to complete his Quest. Instead, it’s simply puzzling when Sam volunteers to carry the Ring. Nor do we see Frodo’s gradually falling under the Ring’s enchantment, so the climactic scene where he declares he will keep It became a ‘where’d that come from?’ moment. Similarly, we have no clue that Boromir is coming under the Ring’s spell until suddenly, at an inappropriately hectic moment, he makes a grab for it.
I could go on and on – but don’t panic, I won’t. Suffice to say that THE LORD OF THE RINGS - a Musical Tale has hobbits and elves, wizards and dwarves in the cast, but the story isn’t about them. The characters and their stories get lost, becoming merely a placeholder between songs, many of them with minimal relevance to the action (and variable quality).
In summary: I simply can’t evaluate THE LORD OF THE RINGS - a Musical Tale objectively. I’m not merely familiar with Tolkien’s work, I’ve spent countless hours immersed in it. I’m not simply knowledgeable about Middle Earth, I’ve lived there. And in this venue, I won’t elaborate on just how intimately acquainted I’ve been with the characters, as well as with the actors whom Peter Jackson selected to portray them. My companion, unfamiliar with the Trilogy, was enraptured by most of THE LORD OF THE RINGS - a Musical Tale. For myself, I was too knowledgeable about (and I daresay too emotionally invested in) Tolkien’s stories to simply enjoy the show.
So, I’m telling you that, on the heavily-weighted scale of my judgment, THE LORD OF THE RINGS - a Musical Tale failed to tip the balance. However, I still RECOMMEND the program. So long as you’re not a total Tolkienophile, obsessed with the Canon and unable to tolerate even minor infringements, you will enjoy THE LORD OF THE RINGS - a Musical Tale.
Recommended!
* The haka is a ritual dance that Maori warriors perform when commencing a fight. The New Zealand Rugby team, theAllBlacks, performs a haka on the field before each match.
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