It’s no secret that Chicago is in for some dark months ahead. But in every darkness there are flickers of light to be found. Throughout history, the Arts are those flickers of light, providing entertainment, levity, and much needed escapism from everyday struggles and strife. In today’s virus-that-shall-not-be-named world, movies, books, paintings and music all provide the much needed escapism and lightness. Now, theater in Chicago is following suit. Adapting to the new virtual and socially-distanced world, Steppenwolf Theater has created a virtual stage, Steppenwolf NOW, showcasing pieces written, acted, and produced during the pandemic. They have kicked off this season with a bright light in What is Left, Burns. 

The world premiere of What Is Left, Burns, the first of six works that are a part of Steppenwolf NOW virtual stage, was released for streaming this month. The play follows two poets separated by age and distance engaging in a video call rendezvous after fifteen years. Keith, a distinguished poet and professor of literature is moving towards retirement after a recent divorce from his wife. Ronnie, his younger former lover and mentee, has a New York Times bestselling book and a burgeoning career ahead of him. The two men wade through the connection they once had as they struggle with the desires that still bind them. Written by James Ijames and directed by Whitney White, the play was commissioned for the Steppenwolf virtual stage and features ensemble members K. Todd Freeman (Keith) and Jon Michael Hill (Ronnie).

The beauty of What is Left, Burns lies in its effortlessness. This seamless virtual stage plays out like any FaceTime chat, House Party, or any video conferencing app; two men, side by side on screen, their faces sometimes too close or angled oddly, moving casually about their homes, passing the phone from one hand to another while they chat. The play invited you into Keith and ROnnie’s chat, or like House Party, you simply virtually walked in. It could have been any of our friends’ or family’s conversation we were watching. It was simply two people connecting after a long time apart that initially draws you in. It’s then the subtleness of the social queues in their conversation that holds your attention; the compliments mistaken for criticism, the quickness to defense, the brush off with an odd joke or shrug. Beautifully acted, it was all so relatable yet fresh and inviting. What is it that burns between these two men?  Everything about the production demands and holds your attention until...it’s over. As quickly as it began. A short, relatable, and effortless escape from today. 

Associate Artistic Director Leelai Demoz summarizes this play best, sharing, “James Ijames has written this beautiful short play that feels like a complete experience... It feels so completely about the time we are living through now.” Coupled with stunning video and photography design by Lowell Thomas and Joel Moorman and set to an original soundtrack composed by Justin Ellington, this virtual production highlights the incredible talent, dedication and creativity of the ensemble cast and crews at Steppenwolf. Steppenwolf NOW Productions will be released throughout the year and members are able to stream all Steppenwolf NOW content through August 31, 2021.

When sitting in a darkened theater, the light shines brightest on the art of the production on stage. Virtual productions will prove to provide the same light in the darkness we might find ourselves in today. For viewing details, teasers, and more on What is Left, Burns, visit https://www.steppenwolf.org/whatisleftburns. Steppenwolf NOW is a new virtual programming stream featuring breakthrough stories written by America’s most talented voices. For upcoming productions, streaming, and membership details visit: https://www.steppenwolf.org/tickets--events/steppenwolf-now/.

Some reviews are as easy to write as 1, 2, 3; an intro, a body, and a conclusion. Some reviews are more difficult to write, even when following that simple formula. Even time is broken into three parts: past, present, and future. Well, I cannot go into the past to change watching The Queen of Spades, now playing at the Lyrics Opera, and I cannot predict I won’t read the Russian novel the opera is based on sometime in the future. But presently, I find three large issues with this opera that prevent me from simply writing a review.

The Queen of Spades is a story of obsession and deceit, following Gherman (Brandon Javanovich) an officer obsessed with gambling who also fancies a young noblewoman Lisa (Sondra Radvanovsky) who is engaged to another. As luck would have it, Lisa’s grandmother, the countess (Jane Henschel) could hold the secret to Gherman winning the girl and a fortune as the countess holds the secret to 3 winning cards that won her fortune. The countess has already revealed the secret of the cards to two people, and if she tells one more person she will die. Gherman manipulates and uses Lisa to get close to the countess and learn the secret of the 3 cards. These three characters' lives are intertwined and obsession eventually leads to everyone’s demise. 

The sheer talent that goes into an opera is astounding. The stage, the orchestra, and most importantly, the singers. It’s such a rare and exceptional gift to sing such powerful lyrics in this way, and Javanovich and Radvanovsky were no different. The audience frequently ooed and awed at their musical prowess. But their acting fell short, and it was difficult to decipher what the characters were feeling through the body language, staging, and acting portrayed. In one scene, it was unclear if Lisa  was fighting her feelings of love for Gherman, or if she was fearful that he would take her virtue. In another scene, it was impossible to understand if someone was paralyzed with fear or simply forgot their lines. The story is intricate but it’s not complex, so it might have been that the opera singers are simply not triple threats in singing, acting, and dancing, but just uniquely talented singers.

Russian is a difficult language. It’s difficult to learn, to speak, and even more difficult to sing in if not a native speaker. Chicago is home to a large Russian population, a population that represented a large portion of The Queen of Spade’s audience. Throughout the opera, Russian speakers could be heard exclaiming, “that’s not what they said,” as the English translation of the Russian lyrics displayed across the prompters for the audience to read. One Russian couple behind me was frustrated with the translation and wanted a Russian or cyrillic counterpart. At times, there was no translation at all. Multiple lines belted out in Russian only for no translation to appear on the prompters, no doubt adding to the confusion around what the audience was hearing and what they were seeing. Did we miss a character’s motivation? Wait, why is she crying? The Russian couple did not return for the second act and the remainder of the play, and intermissions were time for native Russian speakers to remark about how bad the accents and pronunciation were. I have sympathy for the opera singers as the language is not easy to learn and native speakers are not very forgiving to those who do not speak, or sing, the language well. 

The third and final issue of The Queen of Spades is that the opera is very long. The Queen of Spades novella can be read within an hour, so the opera lasting over 3 hours is difficult to sit through. Tchaikovsky as a composer composed a beautiful opera, but it convolutes the story and is challenging to follow. There isn’t a gut wrenching climax or surprise twist, and (spoiler alert) there isn’t much surprise when the three main players die. The opera is just left wanting. Perhaps it was merely this interpretation and production of The Queen of Spades, or perhaps it was a combination of acting, storyline, and translations. Afterall, a good story needs three elements: character, setting, and plot. If one element is lacking, the others won’t be able to support it. All three are needed to put on an exceptional play.

In Russian, the number 3 is “troika” which means “satisfactory.” Unfortunately, even with so much illusion and elements of 3, this play did not satisfy the opera scene in Chicago.

Remaining performance dates for The Queen of Spades are February 23, and 26 and March 1 at the Lyric Opera House, 20 N Wacker Dr., Chicago. For tickets and information visit lyricopera.org/spades. The Queen of Spades is performed in Russian with projected English translations. Estimated running time is 3 hours 45 minutes, including two intermissions.

The holidays bring many traditions for different people. Some rewatch home alone, some bake cookies, some see Christmas lights, and some watch The Nutcracker with family. To me, it isn’t Christmas until I've seen the ballet at least five times. I've always loved the ballet, especially around the holidays. But tap? When tapped to see Tidings of Tap! I was skeptical. But what could be bad about a holiday dance show?

I never gave much attention to tap. It was the other dance. Sort of like rhythmic gymnastics to Simone biles gymnastics. But I'm a sucker for kitschy holiday shows and one that is family friendly is even better. Tidings of Tap! opened much like The Nutcracker where a young girl, performed by nationally ranked rhythmic gymnast Dasha Merkulov, enters into a mysterious and magical winter wonderland where she meets friends who demonstrate the meaning of the holidays. The tap dancers intricately tapped to familiar holiday carols and tunes, accompanied by a five piece band and live vocals. From winter wonderlands and Christmas to Hanukkah and from Black Friday and New Year's Eve, each number was more charming than the last. The young clara-like girl performed rhythmic gymnastics with grace and beauty. I was surprised by the talent of all the performers. The production was simple yet magical, the choreography intricate yet not overdone. The dancers were expressive and graceful, again nothing what I expected from a tap performance.

Thinking of tap my mind fills with figures like Gene Kelly and Fred Astaire. It's an older dance, one that hasn't kept up with the times. But Tidings of Tap!'s charm and spirit changed this tap-grinch's heart and made her a convert. The whimsical production of two hours and countless numbers offered plenty for the whole family. It was impossible not to smile and it'll be impossible to imagine next holiday season without this in the holiday line up.

Make Tidings of Tap! part of your holiday season next year. It's sure to become a mainstay on the North Shore and a tradition the whole family can enjoy. For more information on Chicago Tap Theater (CTT) visit www.ChicagoTapTheater.com.

Has anyone ever knocked on your door trying to sell you something? Magazines? Cookies? What about religion? No? Me neither. A new Chicago musical-comedy utilizes a familiar character-driven plot line of two Mormon missionaries knocking on doors, only to discover a new friendship, and themselves along the way. It’s not The Book Of Mormon, this is The Book of Merman, the off-Broadway show showing in select cities across the country.

Two missionaries spreading the word about The Church of Jesus Christ of Latter-day Saints, they find themselves at the door of Ethel Merman, hilarity ensues in a diva-driven journey featuring original songs by Leo Schwartz. The Book of Merman did not have much substance. There was a familiar story line of a closeted gay Mormon man who secretly loves musical theater who meets one of his idols (and he just happens to have her biography in his backpack next to his bible!). Then there’s something about Ethel Merman (the undisputed first lady of musical theater who died in 1984) is- spoiler - not who she says she is! She’s only pretending to be Ethel Merman. The characters find themselves in each other, complete strangers, and they shimmy and box step their way into no ones hearts while using jazz hands. To top it off, the vocals could hardly make it past the second row of of the 50-person music box theater at Stage 773.

With the The Book of Mormon’s monumental success, it’s easy to see how utilizing a similar character-driven plot could work. But switching out character development for stereotypes and bad vocals does not make a great production. And I have to wonder if religious soliciting is still a thing or if it’s a dying fad. Unfortunately for The Book of Merman, I think it too is a dying fad.

Presented by Flying Elephant Productions, The Book of Merman is playing at Stage 773 through January 6, 2019. Run time: 90 minutes, no intermission. For showtimes and tickets visit https://www.stage773.com/show/merman.

As the house lights dimmed and the actors took to the stage, an odd play began to unfold at Steppenwolf’s 1700 Theater. Lights appeared to direct the actors where to go, the actors didn’t act as though they were acting, and perched on my corner aisle seat actresses raced by to leap onto the backs of other actors. I wondered if having that second glass of wine was a good idea. But what was unfolding before me was a beautiful, complex, original, and exquisitely choreographed production of The Better Half presented by Lucky Plush Productions.

The Better Half is a dance-theater spin on the 1944 psychological thriller Gaslight, directed by George Cukor. Launching from this classic film, layers of fiction and reality accumulate, revealing the elusive boundaries between performer and character, actual and scripted relationships, life versus borrowed plot lines. Ultimately a new narrative emerges, capturing the habitual patterns, escapist tendencies, and resilience in contemporary relationships through a complex mix of dance and theater languages.

Rhoads and Danzig approached the staging of The Better Half with a commitment to actual experience. The performers are first and foremost themselves. They are assigned characters. The thriller plot is handed to them. The imposed elements cause the performers to react, and their reactions further the plot. The actual effects on the performers in trafficking between the composed plot and the live circumstances deliver a coherent narrative arc that grapples with fact and illusion, life and art and the way these opposites can get entangled.

The 1700 Theater is Steppenwolf’s newest theater; a casual, intimate and flexible 80-seat space dedicated to showcasing the work of ensemble and emerging local theater companies. With the entrance conveniently located through the bar, it set the mood perfectly for the avant garde production. This surprising, confusing, and intriguing play made for a more unusual theatrical experience than the normal Chicago theater soon. It pairs best with a crisp chardonnay.

On November 10 and 17, take advantage of a discounted Lucky Plush Saturday double feature with a work-in-progress showing of Rink Life at 5 pm, and the signature Lucky Plush work The Better Half at 8 pm. Tickets are available through November 17th and can be purchased at https://www.steppenwolf.org.

The anti-fairytale is something everyone can get behind. Though there have many of these attempts over the years, Shrek is still the stand out, the one that broke the mold, the OG. Now everyone's favorite ogre is back in an  hilarious stage spectacle, based on the Oscar-winning, smash-hit film.

An unlikely hero, Shrek, is determined to reclaim his precious swamp from exiled fairytale misfits with the help of his wisecracking sidekick, Donkey. Together, they find themselves on a life-changing journey to rescue a princess who is locked away in an isolated castle guarded by a fire-breathing, lovesick dragon. Throw in a short-tempered bad guy, a royal wedding, and an evil curse and you've got the kind of mess only true love's kiss can fix!

The musical closely followed the movie, at times nearly line for line, even capturing the original line’s cadence and inflection. But the repetitive was broken up by clever musical numbers such as What’s Up Duloc?’,  ‘I Think I Got You Beat,’ and ‘Freak Flag,’ that enabled the show to stand out on its own. The musical adapted the magic of the play well with a life-sized version of the gingerbread man, a fire breathing dragon, and the stand out of the day, riding a motor-powered horse, Lord Farquaad played perfectly by Steven Strafford. As the actors, stagehands, and technical crews moved throughout the theater and on stage, the audience was transported to Duloq seamlessly.

The green anti-hero first premiered in 2001 and seventeen years later it still holds up in a form that young audiences can embrace and enjoy.

SHREK THE MUSICAL runs on most Wednesdays through Sundays at 10 a.m. with certain performances at 12:30 p.m. Visit MarriottTheatre.com or call 847.634.0200 for exact schedule, as show times and dates may vary. Single ticket prices are $18.23 per person. Groups of 20 or more receive a discount by calling 847.634.5909. Free parking is available at all shows. To reserve tickets, call the Marriott Theatre Box Office at 847.634.0200 or visit www.MarriottTheatre.com.

The theater was clad in every hue of pink your eyes have ever seen: baby pink, fuschia, blush, rose, peach, flamingo, ballet slipper, I didn't know that was an official color until an audience member corrected me (I googled it, she's right). My husband and I did not get the memo and dressed our family in yellows and blues of summer. We should have known better. This was Pinkalicious after all, the dress code was not subtly implied. Luckily my daughter sported her pink unicorn shirt and her enthusiastic bouncing in her seat more than made up for the faux pas. After some technical difficulties and an announcement from the director the pinktastic, pinkeriffic, pinktacular show began.

Adapted form the beloved series of children's book by Victoria and Elizabeth Kann, Pinkalicious tells the story of Pinkalicious Pinkerton, a young girl with a penchant for pink cupcakes. Her parents warn her about the dangers of eating too many sweets, but her hunger can't be stopped. One morning she wakes up with pink hair, pink skin and pink clothes - yes, she's come down with pinkititis! It's up to her family to teach her moderation, and get her back to her normal color.

This play was surprisingly enjoyable. The Marriott theater's talented ensemble provided the perfect blend of professional acting combined with the laissez faire air of live children's theater. In short, they don't take themselves too seriously. While the beginning of the play post tech issues was a bit over the top, the lead too fake and utilizing a sickly too high-pitched fake kid's voice, the cast eventually settled into their roles, interacted more with the audience, and performed the second half with an ease and lightness that wasn't forced. The play also incorporated heavier themes like how boys can like pink too, and wove a unique story into the story with catchy numbers like “I got the pink blues,” and “Buzz Off.” At times it was the parents laughing more than the children, which only  the best children's shows can pull off. Overall, the overtly cute gave way to an adorable and simple story filled with good lessons and some one-liners we can repeat to our kids to continually reinforce good habits. That's right, you get what you get and you don't get upset kiddo!

This family friendly musical, which teaches the value of family and healthy living, is an enormous hit. It took off on Off-Broadway and their tour is quickly becoming a local theatre favorite. Every playdate and park trip has someone raving about it as much, if not more, than Hamilton. So get your seats today and  just remember dressing up in pink is highly encouraged! The tour plays Marriott Theatre in Lincolnshire, IL, until August 19, 2018. Tickets can be purchased at http://www.marriotttheatre.com/show/pinkalicious.

It’s nearly summertime in Chicagoland. As the weather turns warm, our minds inevitably turn to music festivals, picnics, and long lazy nights filled with cold drinks, good friends, and somewhere that combines all of these into one experience: Ravinia. Ravinia opened their 2018 season in May and has since had a continuous string of award winning and talented artists of all genres. The first week of June brought cool offbeat rhythms with Stephen Marley and Matisyahu.

Stephen Marley, the Jamaican-American reggae artist opened the evening as the warm air began to turn cold. Guests bundled under blankets and sipped warming liquors from the new Lawn Bar as the eight-time Grammy award winning musician took the stage and filled the night with the unmistakable elements of calypso, blues, and jazz filled the night air. The musical prowess of the Marley family never ceases to astound me. Like his father, Bob Marley, Stephen plays so naturally. The slow tempo of the music lent itself perfectly to Ravinia’s laid back charm.

After the sunset, and the temperature dropped, Matisyahu took the stage to a thinning crowd; a colorful light show emanated from the stage and a man flooded in white light took the stage. His beatboxed segued into a heavy bass, fast paced song complete with electronic keyboards and the familiar calypso from the previous performance. While stylistically his set had some familiar reggae elements, the blending of hard rock and hip-hop beats distinctively changed the mood and feel of the night. Matthew Paul Miller, most commonly known by his stage name, Matisyahu, is a Jewish-American reggae artist blending Orthodox Jewish themes with reggae, rock, and hip hop beatboxing sounds. The music was far more quick paced than Marley’s opening set, and didn’t quite fit the feeling of Ravinia. Listening to Matisyahu’s music alone with headphones you can hear where he draws his inspiration. From the Jamaican inspired rhythms with klezmer elements it is as unique as Reggae’s initial influence in the sixties. Unfortunately, it didn’t translate well in this venue. Given the chance to see him perform at The Riv, Metro, or Aragon Ballroom, again with Stephen Marley, I’d jump at the chance.

To be a good show, the artist and the venue must be a good fit. Both are needed otherwise the experience falls short. Still, the feeling of summer is alive and well at Ravinia. With the impressive 2018 lineup scheduled, be sure to put Ravinia on your 100 days of summer list. Scheduling and tickets for Ravinia can be found at https://www.ravinia.org/.

It could have been any other Friday night for me; coffee, friends, and a few brief moments away from the responsibilities of motherhood, to talk and vent about the responsibilities of motherhood. But it wasn’t a Friday night with my friends, but Cry It Out, a new play written by Molly Smith Metzler. Like most evenings out, there were laughs, shared emotions and connections, and it ended far too soon leaving me wanting more.

Cooped up on maternity leave and eager for conversation, Jessie invites the funny and forthright Lina for coffee in their neighboring backyards. They become fast friends, quickly bonding over their shared “new mom” experience—and arousing the interest of a wealthy neighbor hoping for a similar connection. This insightful comedy takes an honest look at the absurdities of new motherhood, the dilemma of returning to work versus staying at home, and how class impacts parenthood and friendship. A comedy with dark edges, Cry It Out takes an honest look at the absurdities of being home with a baby, the power of female friendship, the dilemma of going back to work, and the effect class has on parenthood in America.

At a time when new mothers have little time off to care for their newborns, and even less time to mentally and physically recover from the trials of giving birth, this play shines a light on how depressingly similar our situations are. Three mothers represent three different economic situations. Each struggle with having a significant other who doesn’t fully understand their decisions and desires, discovering and accepting their new roles as mothers, and each face their own self judgement and worry about making the right choices for their families and themselves.

What Metzler does so well with this play is keeping it simple and unabashedly honest about what mothers go through, and how they deal with the challenging newborns, new bodies, and new friendships. From subtle references to NoseFridas (accurately referenced as the greatest invention of all time), to more tragic realities like breech deliveries and life-altering injuries. Cry it Out is a painfully beautiful story that will leave you crying for more. Its talented cast includes Laura Lapidus (Lina), Gabriel Ruiz (Mitchell), Darci Nalepa (Jessie) and Kristin Valada-Viars (Adrienne).  

Cry It Out runs through June 17th at Northlight Theatre. Tickets are available at https://northlight.org/

Forget everything you know about A Midsummer Night's Dream. Don't recall images of the classical ballet, or lines from Shakespeare's play, and definitely don't think about how often the singular possessive noun is used incorrectly by putting the possessive on the wrong word. A Midsummer Night's Dream at the Joffrey Ballet trumps any rendition of the classic you’ve ever seen. It is a trip, and needs to be experienced in order to fully appreciate it.

The artistic direction was inspired not by the play but by the actual tradition of Midsummer, specifically celebrated in Sweden. In Sweden, Midsummer's Eve is one of the most important days of the year, rivaling Christmas with its festive spirit and traditions. Traditionally, Midsummer was celebrated on June 24, the feast day of St. John the Baptist, but the holiday has its roots in a pre-Christian solstice festival.

The play opens with a sleeping man who awakes in a dream like state to take a roll in the hay. The curtain rises revealing the Joffrey corps beating and rolling in the hay in perfect unison. They are jubilant, frolicking before an enormous sun, the entire stage and wings exposed to lend the scene a rustic, industrial feel. After cleaning up the hay, the midsummer festivities begin, there is laughter, kissing, sunbathing, dancing around a maypole, wearing crowns of wild flowers, toasting to the audience, all culminating in a Gatsby like way until they pass out, crawl, or drag each other home. Americans needs to adopt this holiday immediately. Accompanied by a haunting, ethereal vocalist, the ballet took us on a fantastic and hilarious trip.

Contrasting the first act’s dreamlike party, the second act was a trippy nightmare complete with a passionate pas de deux, dead fish, and Wild Wild Country-like expressions of raw emotion (those who've watched the documentary know what I’m talking about). The trip was a slow burn, building in intensity and complexity, leaving the audience to exclaim, “I have no idea what I just watched, but I loved it.”

Sitting behind the Swedish ambassador to the United States and her delegation, Rahm Emmanuel and his wife in attendance, and a packed house, the Joffrey's premiere of this production could not have been more well received. The swedish guests beamed and marveled at the ballet, and were the first to rise and give a standing ovation. Ashley Wheater, the ballet’s artistic director, celebrating his 10th year with the company, has created a modern festival that encapsulates the fervor and the magic of the Midsummer holiday. The jubilation is not lost in translation even though Americans do not have an equivalent holiday to reference, instead they are exposed to what seems to be the greatest holiday since Halloween. With choreography and set design by Alexander Ekman, and music by Mikael Karlsson, they've developed a piece that showcases not only the ballet dancers contemporary prowess, strength, and grace, but also gave them room to act, and laugh, and show their personalities in a way that I've never seen in any other ballet production. It's nothing short of a modern masterpiece.

There's an old Swedish proverb that says “Midsummer night is not long, but it sets many cradles to rock,” which accurately summarizes this ballet. I encourage you to let your imagination interpret the proverb, think about this when viewing this marvelous and magical production, and to lobby Rahm to adopt this holiday as Chicago’s newest summer tradition.

A Midsummer Night’s Dream plays at the Auditorium Theater through May 6th, tickets can be purchased at http://www.joffrey.org/midsummer.