Displaying items by tag: Buzz News

The “For the Record” series brings John Hughes’ films back to life with a combination of memorable soundtracks and classic scenes from TheBreakfast Club, Pretty in Pink, Ferris Bueller’s Day Off, Weird Science, Some Kind of Wonderful, and 16 Candles. Dear John Hughes is a Broadway concert that showcases talented actors and actresses as they take on the roles of some of our beloved movie characters, all falling under the Hughes’ teenage classification system of the Basket Case, the Athlete, the Brain, the Princess, and the Criminal.

Despite the band being situated on center stage, the cast still makes it seem like they have all the space in the world to perform. They make the stage their own, utilizing its remaining space to the fullest. Ensemble members also make good use of the theater, pushing their way through aisles and high-fiving excited audience participants.

In the costume department, all the obvious steps were taken to make the era come to life - flannels tied around the waist, while leather jackets, suspenders and John Lennon glasses are as vital as ever. Watts is never without her drumsticks as portrayed in Some Kind of Wonderful and there are plenty of Molly Ringwald-esque floral patterns and floppy hats.

Which classic scenes were brought back to life? “Anyone? Anyone?” Ferris’ romp around Chicago in Ferris Bueller’s Day Off to Andrew Clark’s tear jerking monologue in The Breakfast Club and Blane’s “forgotten” prom date leading to a humiliated Andie in Pretty in Pink.

Michael Thomas Grant perfects Duckie’s solo in Pretty in Pink, “Try a Little Tenderness”. Grant’s voice has that quality which allows him to sing any style of music, and this talent makes him shine. He has the most range from character to character and convincingly delivers the over-confident lines of Ferris, immediately followed by the timidness of Anthony Michael Hall’s classic series of “nerd” types.  

Rumer Willis rocks out on the drums during a medley of songs that includes a haunting rendition of Suzanne Vega’s, “Left of Center”.  Jackie Seiden and Patrick Mulvey, the “narrators”, help in guiding us through Hughes’ catalog of films and add strong vocal performances of their own along with timely comic relief in between the heartbreaking scenes. After a highly colorful and visual journey into the world of John Hughes, the show finally goes out with a bang ending with The Breakfast Club’s signature Simple Minds number "Don’t You Forget About Me”.

Encore! Encore! Dear John Hughes is highly recommended. This is an exciting, all around fun production that actually deserves a larger stage with a larger audience - and a louder round of applause!

For the Record: Dear John Hughes, is playing at Broadway Playhouse (Water Tower Place) until March 15th. Tickets are available at all Broadway In Chicago Box Offices or by calling the Broadway In Chicago Ticket Line at (800)775-2000. For more information, visit www.BroadwayInChicago.com.

*(Note that Evan Rachel Wood will be stepping in for Rumer Willis starting March 12th)

The Diary of Anne Frank - Writers Theatre

According to legend, when Albert Hackett and Frances Goodrich's Pulitzer Prize winning stage adaptation made its German premiere, audiences sat in a state of silent shock after the play ended. Nearly sixty years, countless productions, several films and hundreds of books about Anne Frank and the secret annex have made this story one of the most accessible pieces of Holocaust literature. In 1997, Wendy Kesselman adapted the original script for a Broadway revival that heightens intensity and includes more reference to the family's Jewish faith and to Anne's burgeoning sexuality.

Under the suburb direction of Kimberly Senior, Writers Theatre's production of Kesselman's "The Diary of Anne Frank" is as intimate as a story of this nature must be. Inventive staging immediately places the audience within the confines of the attic, fantastically designed by Jack Magaw. The Writers Theatre book store space is already intimate enough, but what Magaw has done to replicate the secret annex is nothing short of theatre magic. The tight quarters of this set paired with the vibrancy of the cast create an atmosphere in which emotional reaction is impossible to avoid.

What Senior extracts from her actors is a perfect storm of the best and the worst of humanity backed into a corner, in which the stakes really are life and death. Heidi Kettenring has the challenge of turning a mostly unlikeable character, Mrs. van Daan, into one of the show's strongest assets.  Kettenring balances warmth and tension in moments so electrifying that its current is contagious.

The title role is played by fourteen-year-old Sophie Thatcher who is the actual age of Anne Frank at the time of her internment. Thatcher plays the role with such surprising honesty and eloquence for an actress of her age. All her choices seem based on genuine instinct rather than what other historical documents tell us about the person Anne Frank was.

Despite the fact that everyone going into this play knows the tragic ending, and the unfortunate irony that Europe was liberated just a few months after their betrayal, it's easy to catch the show's infectious message of hope. The reason why this story lingers in our minds throughout the generations is its optimism. That no matter how dire the circumstances, faith in the good of people is what keeps the world in balance even when all seems lost.

The Diary of Anne Frank at Writers Theatre. 664 Vernon Ave, Glencoe. 847-242-6000. Through June 28th. 

The Royal Society of Antarctica is a very unique story that comes equipped with a powerful cast and a rich blend of humor, drama and intrigue that constantly move the play forward without the interest lulls you would think would be found in a three act show with a two hour and fifty-five minute run time. Playwright Mat Smart’s world premiere takes place at the intimate Gift Theatre in Jefferson Park where its forty-something cramped seats (unless you are sitting in the first row) actually adds to the overall intimate experience. The set, though simple, creates a potent illusion of a base site interior used as cover for its workers at the bottom of the world where temperatures are always below freezing and winds can pick up to 100-plus degrees in the right circumstances. We feel cozy and warm in our seats and protected from the cold as the characters feel the same when they enter set from the outside dangerous wintry conditions.  

In The Royal Society of the Antarctica, twenty-something Dee returns to her birthplace at the McMurdo Station in Antarctica to seek answers to her mother’s suspicious disappearance that took place when she was a child. Surrounding Dee’s investigation, many characters are also focused upon with their own back stories. The team is comprised of janitors, utility technicians, scientists and food workers.  Workers are at the station for several month engagements at a time.  As one worker puts it – the first year you are there for the adventure, the second, you are there to see their friends again, the third, it’s probably for the money and if you come back for a fourth year it’s because you no longer fit in with normal society. We see the latter in the social awkwardness displayed by some of the characters. We also find some are there to run from their past.

Considered something of an untouchable holy ground due to its purity and the global agreement not to tarnish its earth by chemicals or otherwise, there is a certain magic present that cannot be found anywhere else in the world. Strict rules are in place to safeguard the sanctity of the land. The sun and snow are so bright it can create a blinding effect and if a blizzard occurs, one could get permanently lost just walking twenty feet due to its zero visibility. Temperatures are so low limited skin exposure is dangerous. A hole in the ozone sits directly above them making it unsafe to remove their sunglasses for even just a minute. Daytime lasts for months followed by endless night time.  

There is a collection of strong acting performances that help in bringing this story to life headed by Paul D’Addario as “UT Tom” and Aila Peck as “Dee”. Jay Worthington is a blast to watch as “UT Tim”, the animated utility tech and team lead, while John Kelly Connolly is flawless as “Ace”, a man who has visited each continent, had sex on each continent and strives to be the first to have sex on each continent with someone native to that continent. Kyle Zornes also gets a lot of laughs with his deadpan delivery as “Jake”, the love-stricken science researcher who just can’t seem to get it right.

As Smart puts it, “I went to the bottom of the world to find this play—working as a janitor for three months at McMurdo Station in Antarctica. It’s perfect that it will premiere in my hometown at The Gift.”

All in all, The Royal Society of Antarctica is an entertaining experience with a distinctiveness to be remembered, opening up a new world that for most would likely go undiscovered.

The Royal Society of Antarctica is playing at The Gift Theatre through April 26^th. Visit www.thegifttheatre.org for show information or call 773-283-7071    

*Photo - Jay Worthington (left) as UT TIm and Aila Peck as Dee                 

Kicking off their 25^th anniversary season, Theatre at the Center makes a strong impression by presenting Ernest Thompson’s touching classic On Golden Pond. This 1979 Tony-Award winning play was later adapted for the big screen where it starred Henry Fonda, Jane Fonda and Katharine Hepburn and won an Oscar. On Golden Pond is a warm and moving story that deals with the challenges an elderly couple are going through during their twilight years and also focuses on a tempestuous relationship between father and daughter. It is also a story of reconciliation and rebirth.  

Each year Norman and Ethel Thayer spend the summer at their quaint home on Golden Pond. Norman, pushing eighty-years-old is quite the curmudgeon and is still armed with a quick wit while Ethel, ten years his junior, finds all the little things in life wonderful. The pairing is super and utterly complementary to each other. While planning out his 80^th birthday party, the often cranky Norman constantly speaks to Ethel as though it will be his last, which is taken with a grain of salt by his always optimistic wife. Norman’s memory is slowly fading and he has heart palpitations, which doesn’t help his outlook on the future. When his daughter, Chelsea, and her boyfriend, Billy Ray, come up to the lake house to join the party, we realize the tension that exists between father and daughter and slowly begin to understand that it stems from Norman’s desire to have had a son. Soon, Norman and Ethel’s summer is interrupted when Chelsea asks that Billy Ray’s thirteen-year-old son stay at the lake house for a month while they travel to Europe. Norman, who was reluctant at first on the idea, quickly bonds with the boy and we see a change of heart and a new attitude on life begin to manifest.

On Golden Pond is filled with many life lessons and we are better for having seen it.

Dennis Kelly is superb as Norman. The veteran actor is able convey a truckload of meaning in just a simple line. Equally as impressive is Ami Silvestre as Norman’s bouncy and vibrant counterpart, Ethel, Silvestre is so cute you just want to shrink her and tuck her away in your shirt pocket. But together the two are simply off the charts. Their playful zinging back and forth and the concern and love for each other they are able to display is not only believable it is magical. Norm Boucher also delivers in a key contributing role as Charlie, family friend and neighborhood mailman by boat.  

Set in the interior of the Thayer’s summer lake home, we get plenty of heartfelt moments and surprisingly a good share of laughs that really balances out the show. This insightful love story is rich and the characters are perfectly layered creating an all-around well-themed, highly entertaining play that anyone of any age is sure to enjoy.

A quick thirty or so minutes from downtown Chicago, On Golden Pond is being performed at Theatre at the Center (1040 Ridge Road, Munster, Indiana) through March 29^th. For tickets and/or more information visit www.TheatreAtTheCenter.com or call 800-511-1552.

*Photo - Dennis Kelly and Ami Silvestre as Norman and Ethel Thayer

As Samuel Beckett once stated, "Nothing is funnier than unhappiness, I grant you that. ... Yes, yes, it's the most comical thing in the world. And we laugh, we laugh, with a will, in the beginning. But it's always the same thing. Yes, it's like the funny story we have heard too often, we still find it funny, but we don't laugh anymore.” Unhappiness and the complete surrender to misery is found aplenty in Beckett’s Endgame now being performed at The Den Theatre and though humor can be found in the dialogue and in the mundane actions of its characters, we can’t help being overwhelmed by the story’s hopelessness.    

The set is almost too good – the interior of a nightmarish, dilapidated house complete with a water-stained ceiling, worn, dirt-filled walls that are peeling, boarded up windows and bottles of urine lined up in the rear of the living room. The characters are as dilapidated and bizarre as the house. It is a dwelling of utter neglect – something you might imagine that has gone terribly wrong in the B.J. Gigglesnort hotel or perhaps a home you might expect the family from Texas Chainsaw massacre to live in. Director Halena Kays explains, “Our design team is full of long-time collaborators who will create an absurdist landscape that will involve and heighten the audience’s experience with this classic.” Not only is the set visually lush in itself but the theatre is decorated with hanging lighted picture boxes, a seating area that closer resembles a birthday party and carnival-like assortments scattered throughout the floor.

This one act, four character tragicomedy stars Kurt Ehrmann as the aging “Hamm” who is blind and cannot use his legs. He is bound to a makeshift wheelchair comprised of a beat up sitting chair atop a wooden cart with wheels that he obsessively insists be placed in the center of the room. He whistles for his caregiver “Clov” (Brian Shaw) to whom he barks one order after another and in his despair of existence is always asking if it is time for his next painkiller. “Clov” too is broken down, a creature of compulsive routine. When asked by “Hamm”, who recognizes the verbal abuse he so often dishes out, why he doesn’t leave, “Clov’s” response is simply “Where would I go?” It’s hopelessness at its best.

Ehrmann skillfully rips into one soliloquy after the next with rampant passion and we laugh at his anguish yet are haunted by his words at the same time. “Hamm” often speaks with his parents who appear from two garbage cans while “Clov” uses a kaleidoscope to check the on goings by the sea through a small, exposed portion of window that he can only access by hobbling awkwardly up his stepladder. In all, we see a frightening story of two decrepit men who have completely lost touch with anything normal about life who are trapped with each other and feed on pain and bleakness. And, in true Beckett fashion, we somehow find humor in that.

The Hypocrites production of Endgame is playing at The Den Theatre in Wicker Park through April 4^th. For tickets and/or more information visit www.the-hypocrites.com.

*Photo - (left to right) Kurt Ehrmann, Brian Shaw and Donna McGough in The Hypocrites production of ENDGAME by Samuel Beckett, directed by Halena Kays.  Photo by Evan Hanover.

American Theatre Company and veteran TV writer Marco Ramirez collaborate to bring this boxing drama to life. Loosely inspired by the real life of Jack Johnson, 'The Royale' tells the story of a young African American heavyweight champ, Jay Jackson, and his rise to fame for usurping a title from the standing white champion. Set against the backdrop of the turn-of-the-century Jim Crow era South, we’re shown a world in which fame can transcend political boundaries, or at least provide the illusion of such.

'The Royale' stars Jerod Haynes as Jay, the fast-talking fighter who brings a unique clarity to the mindset of a character who would likely be pretty punchy after fifteen years of professional boxing. We meet Jay in the spotlight of the ring in a fight against his soon-to-be sparring partner Fish (Julian Parker). Parker's subtle performance is an unexpected gem in this slightly overwrought drama. The eleven o'clock performance in this short-lived epic is that of Mildred Langford in the role of Nina, Jay's sister who comes to warn him about the potential race war his win could cause.

The major issue plaguing this play is not the fascinating direction by Jaime Castaneda nor the incredible sets designed by Brian Sidney Bembridge. What this script suffers from is brevity. A troubling new trend in playwriting, perhaps borrowed from TV writing, is the 90 minute drama. It works when the script can fill the entire hour and a half block, but when it cuts closer to 70 minutes, it makes it nearly impossible for an audience to invest.

Still, despite the length of this new play, Ramirez's succinctness tells a complete story, however brief. The achievement is to tell such a short story without sacrificing depth, of which there is plenty here.

The Royale at American Theatre Company. 1909 West Byron Street. (773) 409-4125. Through March 29th

*-Jerod Haynes as Jay in Chicago premiere of The Royale at American Theater Company. Photo by Michael Brosilow

Redletter is the latest creation by the Neo-Futurists, this piece written by ensemble member Lisa Buscani and directed by Jen Ellison.  As Buscani puts it, “Everyone’s bemoaning about the ‘death of news’. But the news will never die, not as long as humans do newsworthy things.” That’s true…to a point as we see in Redletter when a news team covers a burrito.

Redletter hits on many media related issues such as how the rise of technology has affected the way news is delivered over the years, the mistakes in reporting and transferring the news along with the corrections that go unnoticed (if corrections are even made), the silly stories that have now become news, story oversaturation and the manipulation of media - it’s cause and effect. What you get in Redletter are samples of each while each issue is worthy of its own story and then some. As a viewer I felt a bit teased by the multiple issues brought to the table rather than watching a story that solely focuses on any of the above mentioned subjects. It’s mentioned at one point that a reporter is asked to make up the news leaving hope that corporate and government media manipulation would be addressed in depth, but instead the story jumps back to another questionable form of news delivery. Still, it’s nice to see attention paid to these unethical media practices that go unnoticed by many due to laziness, ignorance, complacency or simply the belief that our trusted news carriers would never purposely dupe the public. Kudos to Buscani for taking the initiative to tackle such a brave subject.

In true Neo-Futurist fashion we get a nice blend of witty humor and subject matter that we can take home and think about afterwards. Buscani is joined by ensemble members Bilal Dardai, Trevor Dawkins, Lindsay Muscato and Thea Lux who together combine for a very amusing cast, each contributing their own unique comic talent to collectively create a smart amalgam of absurd fun. Projections are plenty used in adding oomph to the show’s story including a comical montage of 1970s Robert Redford who Buscani sees as a real media man.

Trevor Dawkins steals much of the show with his genius transformation into his dad, an overly exaggerated portrayal of a hard-nosed CBS news man from the early 1980s who can be found partying at night in the clubs living it up with cocaine and Jack Daniels, but can also just as easily be found at his own “pity party”. Dawkins performance is as energetic as it is hilarious receiving one belly laugh after another from the crowd and in itself is a good enough reason the see Redletter: The News Done Medium Well.  

The bottom line is this play has plenty of funny moments, and though Redletter might be trying to cram in too many issues at once with news and media, it does raise awareness to this important subject and makes us question what we deem as “news” and question the trust that we so often blindly put in the hands of “professional broadcasters and writers”.  

Redletter is playing at The Neo-Futurarium through March 28^th Thursday through Saturday at 7:30pm and tickets are very reasonable at just $20 ($10 for students and seniors). For tickets and/or more information visit www.neofuturists.org or call (773) 275-5255. 

*Photo - Trevor Dawkins

Despite the typical Chicago weather Friday evening, Ravinia audience members on the lawn donning raincoats and umbrellas in case of further torrent, enjoyed their candlelit dinners and drinks in preparation for the on stage arrival of The Moody Blues.  Celebrating The Moody Blues’ 50^th anniversary this year, 26 different albums, and 29 hit singles steadfast, dedicated fans filled the pavilion and lawn areas.

Eager anticipation paid off for the thousands in attendance. The band was tight as ever and played each song with passion and precision to old fans and newer alike. One thing was evident within the first couple of songs - band members Justin Hayward, John Lodge and Graeme Edge all still know how to rock a crowd and put on a show!

The program included such all-time favorites as “Tuesday Afternoon”, “The Story in Your Eyes”, “Isn’t Life Strange” and “I’m Just a Singer (In a Rock and Roll Band)”.

After a very entertaining set full of Moody Blues faves, the band’s finale was a perfect ending to a magical evening, pleasing the crowd even more so with the classic “Knights in White Satin”.

You can hear the influence of the time periods in their lyrics, in their music and even in the background screen images and photos, a vibe felt throughout the crowd.  Within their music a strength of understanding of their definitive age that became so influential. You can even hear tunes and melodies created by the Moody’s that are in songs you hear on the radio today - a lifetime of influences heard from this other British Invasion. 

Ravinia has been home to many great concerts this summer and still has many coming up including Joss Stone, Poi Dog Pondering, John Mayer and Five For Fighting to name a few. For more information, visit www.ravinia.org.

The Scottish city of Glasgow wallows in economic depression, as this laborer’s family struggles through the hardships of basic survival. “All we’ve done wrong is to be born into poverty,” the father says in comforting the overworked wife wrapped in his arms. A crash look into the real housewives of Glasgow circa 1930, overcrowded and unsanitary apartments, unfaithful relationships, being unemployed and broke, rebellious teenagers, and human rights verse human cruelty clash in this epic three-act play at Edgewater’s Raven Theatre.

A complex tale of interweaving lives, Robin Witt impeccably directs a strong cast in the creation of this fast-moving family drama, sure to be a summer hit! Touching on many modern issues, this story carries its audience through a roller coaster of fears and tenderness: the joys of raising children, the sorrows of disaster befalling loved ones. Family, even society, pull together as economic struggles break them apart.

Especially touching is the graceful performance of Lori Myers playing Maggie Morrison, the matriarch who leads her family through this desperate saga. She clings to love although gossip, fighting, rejection, and illness nearly break her heart in two. A masterful portrayal, Myers carries the show with a touch of genius, inviting the audience to share her trauma and rejoice in her triumphs. 

Great talent work in Chicago, nowhere more so than in this production.  A slice of life, featuring excellent costuming by Kate Murphy and ingenious audio effects by Victoria Deiorio contribute to making this charming production an evening that leaves its audience with hope and enjoyable entertainment.

Griffin Theatre Company’s Men Should Weep runs July 5 to August 10 at 7:30pm at the Raven Theatre Complex, 6157 N Clark St in Chicago. The show runs 2:40 with two 10 minute intermissions. Tickets are available at www.griffintheatre.com or by calling 866-811-4111.

Twitter@birunjibaby

Throughout the last century, The Phantom of the Opera has taken on many forms. Originally written by Gaston Leroux and published in early 20th century France the Phantom soon found its’ way onto the silver screen right here in the U S of A with Rupert Julian’s silent film depiction. Currently however, The Phantom of the Opera is most well known for the incredibly moving musical adaptation composed primarily by Andrew Lloyd Webber and making its’ debut in 1986 London. The musical received two Laurence Olivier Awards for Best New Musical and Michael Crawford (the Phantom himself) Best Actor, paving the way for a 1988 debut on Broadway where it became an immediate classic and eventually the longest running show in Broadway history. After receiving two Tony Awards for Best Musical and Crawford again achieving Best Actor in a Musical, the Phantom of the Opera would be transcribed into thirteen different languages to be seen by over 130 million people in theaters all over the world.

Now, considering the rich history and evolution in production throughout the many tours The Phantom has undergone, I can’t help but feel my reviewing this most recent version of Lloyd Webber’s adaptation to be somewhat arbitrary. You see, until I experienced this new production by Cameron Mackintosh, my knowledge of the Phantom outside of the Las Vegas version at Venetian was limited solely to Joel Schumacher’s 2004 film depiction and because this film was written and produced by Webber himself it, of course, is a masterpiece. That being said, having only had the pleasure of witnessing only the Vegas-ized production of this beloved theatrical classic, I offer you a fresh perspective on this spectacular new production by Cameron Mackintosh.

Nostalgia filled the air that night at the Cadillac Palace Theatre as the auctioneer presented old relics of an opera house long past. Spirits rose as the enchanting melody emanated from that silly little music box where that bellhop monkey we’ve all grown to adore played the cymbal. Hearing those notes served as a firm reminder of all the gripping music that so effectually captivates the heart and delivers that sense of stirring emotion that comes with much anticipation. But as we all know, the show doesn’t truly begin until the auctioneer presents “lot 666”… as the trademark chandelier is lowered, uncovered and illuminated.

The magnificent display proves a worthy reflection of the production to follow as the stage is, to say the least, impressive. A set such as this, nearly thirty years in the making and after grossing somewhere in the neighborhood of $6 billion dollars worldwide, certainly shows its extraordinary progress in quality and an unmistakable attention to detail is visible throughout the set. The integration of tracks and mobile parts made for an engaging display. The set itself however, as impressive as it was, merely emphasized the wardrobe which brought life to each character in an undeniably authentic fashion that the audience into the romance and magic of it all. The Phantom of the Opera was brought to life in a truly striking new light and I couldn’t imagine a better venue to bare witness to such a spectacle. The Cadillac Palace offers a wide range of seating options all of which provide an excellent view of the stage and the décor, in one word, grandeur.

I soon took note that some characters added a sense of lightheartedness to this new production that caught me by surprise. Carlotta Giudicelli (performed by Trista Moldovan) and Ubaldo Piangi (Phumzile Sojola) for instance, immediately jumped out to me and the audience both, carrying an untraditionally high-spirited weightlessness that is otherwise uncharacteristic to their personalities. Even amid the wake of the ominous Phantom, Carlotta and Ubaldo’s playful touch manage to lift the audience to a blithesome state of ignorance receiving laughter and applause in nearly every appearance from Scene 1 “The Dress Rehearsal of Hannibal” to Scene 7 “Don Juan Triumphant” in the second act. There is never a dull moment while either shines on the stage.

Nevertheless, their characters serve merely as a distraction only building suspense while The Phantom (exceptionally performed by Derrick Davis) lies wait beneath the stage. Finally making his first appearance in Scene 3 “Corps de Ballet Dressing Room” while singing the masterfully conducted “Angel of Music” his voice struck me as even more than expected from the man chosen to portray The Phantom. It is only in the scenes following that The Phantom must prove his love to Christine (beautifully performed by Katie Travis) and Davis’ portrayal to the audience, for it is in these moments that one falls in love with The Phantom of the Opera. Davis taking on the roll of The Phantom and doing so as well as he has is truly an admirable accomplishment, a milestone to be proud of for the rest of ones’ life. My hat goes off to you sir, for as you led Christine deeper into the labyrinth and ever closer to The Phantoms’ lair I was no longer watching the portrayal of Derrick Davis, but The Phantom himself had entered my mind. Davis and Travis' are brilliantly paired, their chemistry a strong building block for this fervent, heartfelt and beautiful production.  

We’re all aware of The Phantom’s infamous nature behind the mask, while precarious and fraught with danger at the turn of a hat, still somehow affording a mysterious and even seductive quality that continues to draw you in. However, once unmasked, I find that Davis’ portrayal elevates to even a higher realm, capturing the hurt and passion one would so desperately feel as a disfigured “phantom” who longs to be loved so badly. 

From ballet dancer to center stage, Miss Christine Daaé carried the innocence of an angel. Travis’ portrayal of Christine is outstanding. Her voice did more than match that of The Phantom’s, and carried an unwavering familiarity that held true to the classic. Song and word alone could never do her justice and the nature of her performance can only be experienced firsthand. For it is only our beloved Christine, that can bring The Phantom to his knees and the crowd to their feet. 

The Phantom of the Opera is playing at Cadillac Palace through January 8th. For tickets and more information, visit www.BroadwayInChicago.com.