Displaying items by tag: Chicago

Is monogamy dead? S. Asher Gelman's "Afterglow" makes an interesting case for and against it. David Zak directs the Chicago premiere at Pride Films and Plays. "Afterglow" ran off-Broadway for over a year in 2017 to rave reviews. 

Josh (Rich Holton) and Alex (Jacob Barnes) are a married gay couple living in New York City. They enjoy an open marriage until one night they bring home new guy, Darius (Jesse James Montoya). Josh's feelings toward their lover increase as the due date for their surrogate-born child approaches.  While the plot sounds very specific to the LGBTQ community, the themes explored by Gelman feel universal. 

In short scenes (most of which performed naked), we watch the central couple grapple with what it really means to share your partner with another person. Some of the plot points and dialogue are cringe-worthy in their awkwardness. A solidly midwestern audience may clutch their pearls and ask, "can you imagine?" Gelman makes very astute points about the future of commitment as we grow increasingly reliant on dating apps. 

There's a certain sloppiness however to Zak's production. Performances run a bit passionate in this otherwise quiet script. An intimate theater space amplifies the already too loud actors on stage. Some insightful nuggets of wisdom in Gelman's script are overshadowed by strange acting choices. The set includes some impressive feats for a storefront theater (like a working shower), but it also seemed to be falling apart around the cast by evening's end. Technical difficulties aside the cast worked around the challenges gracefully. 

"Afterglow" is a gay play for this time, much like "The Boys in the Band" spoke to a late-70s gay audience. There's nary a single person gay or straight that won't find themselves nodding along with Gelman's observations. There's a lot in this 80-minute drama and the sexual tension runs searingly throughout. David Zak's production is somewhat devoid of the off-Broadway production's sleekness and it tends to undercut the script. Those who enjoy queer theater will be pleasantly surprised by the depth of this new play. 

Through May 5 at Pride Films and Plays - Pride Arts Center, The Buena. 4147 N Broadway. 773-857-02222

*Extended through June 2nd

Nothing beats celebrating New Year’s Eve like being a on ship that capsizes just after the countdown. The 1972 film that features Gene Hackman, Shelly Winters, Red Buttons, and Ernest Borgnine is just that. When a cruise ship capsizes, surviving passengers are forced to travel upwards from floor to floor with the goal of reaching the ship’s bottom where they believe rescuers will be waiting or an escape through the propeller room might be had. The film, a classic disaster flick with several over the top performances, begs to become a victim of parody – and Hell in a Handbag is just the team to make this happen.

Originally staged by Hell in a Handbag in 2002, ‘Poseidon! An Upsidedown Musical’ was a tremendous hit and went on to run for a five-month sold out engagement. Accepted into The New York International Fringe Festival, no other show beat its attendance. When the show was remounted in 2009 at Chopin Theatre, it ran to great success once again and saw yet another extended run. The 2009 production of ‘Poseidon!’ was my very first Handbag experience and I’ve never looked back, enjoying nearly all the ensemble’s shows since. I was immediately hooked on Handbag’s knack for producing pinpoint camp and became a fan of the likes of David Cerda, Ed Jones, Elizabeth Lesinski and company from day one. 

So, great news Chicago! ‘Poseidon!’ is back, this time at the Edge Theatre in Edgewater. The show might be without Cerda and Jones in starring roles but puts forth an incredible funny cast with David Lipshutz leading the motley crew of survivors as Reverend Scott (played by Hackman in the film). Lipshutz is a comedic force, his deadpan delivery and exaggerated dramatic lines spot on. 

The cast is simply littered with talented actors who know how to draw laughs and ‘Poseidon!’ gives each ample opportunity to shine. Lesinski returns to Handbag and is hilarious as Linda, the impatient, self-centered wife of Rogo, a retired detective who often butts heads with the reverend and is played by Handbag newcomer Shane Roberie. Stevie Love takes on the role of Nonnie, the ditzy singer of the ship’s house band and is hysterically funny with just about every line delivered. The cast is tremendous and includes both Handbag veterans and new arrivals – Tommy Bullington takes on Belle (played by Shelly Winters in the film) and knocks it out of the park. Nicky Mendelsohn is sidesplittingly funny as ship employee, Acres (played by Roddy McDowell in the film) while cast members Katherine Bellantone, Michael S. Miller, Frankie Leo Bennet (C’mon sis! It’s a cinch!”), Scott Sawa and others strengthen an already strong cast.   

        
As an audience we are part of a group that watches The Poseidon Adventure regularly. The watching party is hosted by Caitlin Jackson who, along with her guests, comment on moments of the “film” and praises its heroes. Prior to the curtain being raised, Jackson and friends stroll around the theatre, drinks in hand, as they prepare to take their front row seats to watch the epic classic of a lifetime. 

The musical is filled with songs that are as catchy as they are funny like “Just Panties” and “(In the Water) I’m A Very Skinny Lady”. A live band is hidden away in the set that creatively flips upside down once the rogue wave strikes the helpless ship. 
Is it helpful to see the 1972 disaster film before the musical? For sure. Can you enjoy this musical if you’ve never even heard of the film? For sure.

Superbly directed by Derek Van Barham with book and lyrics by David Cerda of whom the latter also is credited for the music along with Scott Lamberty, “Poseidon! An Upside Musical’ is a super blast into comedic heaven. 
Catch the ship-capsizing wave of hilarity! Wholeheartedly recommended as one of the funniest productions you can possibly see.

‘Poseidon!’ is being performed at The Edge Theatre through April 28th. For tickets and/or more show information visit www.handbagproductions.org.

Some theatre is so unique that it defies genre, or even creates its own. 'For Colored Girls/Who Have Considered Suicide When the Rainbow is Enuf' by Notzake Shange is considered a choreopoem, a first and only of its kind to appear on Broadway. This pivotal work debuted on Broadway in 1975 and remains as potent today as it was then. Court Theatre's revival, going on now, is directed by original cast member Seret Scott. 

You may be asking yourself what a choreopoem is. As defined by Shange's work, it's a beautiful combination of spoken word poetry, song and dance. While narrative structure is fluid, there is a central storyline flushed out over the 90 minute run. 'For Colored Girls' tells eight black women's stories of urban life in sometimes joyful, sometimes tragic, but mostly empowering vignettes. The characters are identified only by the color of their dress, but are made distinct by their individual voices and stories. 

This piece isn't produced very often as it requires a solid and specific casting. Seret Scott has assembled a stellar cast for her production. Melody Angel as Lyric creates the rhythmic backbone as she shreds an electric guitar. Though all the women in this ensemble are hair-raisingly spectacular, Anji White's performance is truly transcendent. There's a moment near the middle of the show when White takes center stage as Lady in Red. From there on, you cannot take your eyes off her. The final monologue leaves an audience entirely surrendered to both her sensuality and gut-wrenching story. 

'For Colored Girls' is a timeless exploration of black female themes in American life, but perhaps there is no better time than right now to celebrate being other. If you've always wanted to see this piece performed to the best possible standards, don't skip this powerful production.

 
Through April 14 at Court Theatre. 5535 S Ellis. 773-753-4472

"Nostalgia is a disease." bemoans Lynn Nottage's downtrodden characters in 'Sweat' now playing at Goodman Theatre. This 2017 Pulitzer prize winner examines the ordinary lives of factory workers in a Pennsylvania town in the years leading up to the 2008 recession. 'Sweat' is the second Pulitzer for playwright Lynn Nottage, making her the first woman to ever receive the prize twice. Goodman Theatre premiered her first prize winning play 'Ruined' in 2008. Ron OJ Parson directs an all-star cast in this Chicago premiere. 

'Sweat' switches between 2000 and 2008 as the changing economy finds factory work becoming scarce in traditionally blue-collar Pennsylvania. The play begins with two young men's release from prison for an undisclosed crime. One white (Mike Cherry), has a swastika tattooed on his forehead, the other a young black man (Edgar Miguel Sanchez), crisply dressed holding a bible. We're immediatley swept back to year 2000 when things were as they always had been. Three coworkers of different backgrounds celebrate their friend Tracey's (Kristin Fitzgerald) birthday in a local dive bar. When their friend Cynthia (Tyla Abercrumbie) mentions she's putting in for a promotion at the plant, tensions rise in quick moving scenes. 

The majority of the play takes place in a rundown bar tended by retired plant employee Stan (Keith Kopferer). Kupferer plays a reliable moral backbone of the play as Tracey and Cynthia are pitted against each other when the layoffs begin. Fitzgerald and Ambercrumbi deliver powerhouse performances. Both each other's match as they square off in scenes so intense you nearly forget to breath. 

Though first produced before Trump won the election, it's as if Nottage knew the outcome. It's a quick descent into blatant racism for these otherwise easy-going characters. Economic stress in these reliably blue states turns those at the bottom of an economy against each other. Nottage captures life for those holding onto the past with compassion but perhaps not dignity. 

It's nice to see a full length play these days. 'Sweat' runs two and a half hours but the scenes are so taught you'd hardly notice. This deeply human story has a long-burning fuse that leads right up to a full-fledge powder keg. In the four walls of a smelly bar we're shown some of the darkest sides of capitalism. In that regard, 'Sweat' is not just an American play, but a universal and timeless play about those left behind. 

Through April 14th at Goodman Theatre. 170 N Dearborn Street. 312-443-3800

In a little floral shop on a New York City skid row, something strange is happening. A never-before-seen plant is attracting customers, all the while certain people in acquaintance with its owner are mysteriously disappearing. The horror of it all is as potent as the comedy. Mercury Theater Chicago’s production of 1982’s Little Shop of Horrors breathes new life into a musical theatre cult classic with a high energy ensemble and standout voices. 

Directed by L. Walter Stearns and with puppets designed by Martin P. Robinson, this production is a tribute to the original stage production and the 1986 film adaptation. The 1960s-style rock, doo-wop and Motown-style music by Alan Menken is showcased beautifully by the strong singers onstage. Christopher Kale Jones as Seymour along with Dana Tretta as Audrey belted and held notes to cheers and applause mid-song, and the three female chorus girls stunned with their on-point harmonies and powerful vocals.

The killer plant, Audrey II, is seamlessly puppeteered by Sam Woods from infant budding through full-on, Super Mario-style piranha plant. And Audrey II’s cheekiness and deep voice come through fantastically from Jonah Winston. It’s a lot of fun, darkly funny, and quality on all levels.

Because of some adult themes — murderous alien plant notwithstanding — this production is recommended for those 10 and older. 

Little Shop of Horrors is playing at Mercury Theater Chicago through April 28th. Tickets here.

*Extended through Sunday, June 30th

Murder in the streets, neighborhoods divided along racial lines, racial and ethnic slurs, glorified mob activities, wise guys, street fights and more. THIS is A Bronx Tale (the musical) on its first national tour after a successful 700 show run on Broadway.

Originally a one person play written and performed by Chazz Palminteri, A Bronx Tale is a 1960s coming of age story of a young Italian-American boy who is lured away from his honest, hardworking, baseball loving blue-collar family by the temptations and glorification of the local mob.

Billed as “a tale about respect, loyalty, love, and above all else: family” it is hard to ignore that the backdrop for the entire story is violence, racism, and dishonesty played to an upbeat, “feel good” doo-wop soundtrack. 

If you’re a fan of West Side Story, Grease, Jersey Boys and other similar stories, you will find A Bronx Tale enjoyable even if it follows a predictable story line where Good wins over Evil in the end. 

Featuring music by Oscar, Grammy and Tony Award winner Alan Menken, and lyrics by Oscar and Tony Award nominee Glenn Slater, the score is light, cheery, and optimistic as it keeps the story and the action moving. 

The design team earned the highest praise from this reviewer for both its authenticity and its simplicity. The set morphed almost invisibly from outdoor to indoor, day to night, without distraction. The choreography and blocking which incorporated set/prop movement was subtle and less intrusive than crew members moving around in the darkness trying to go unnoticed.

The overall performance was pleasant and but possibly a little flat according my row mates. With four of the five leads having performed as part of the original Broadway run, I may have expected too much. From my perspective the vocals lacked depth and at times the orchestra drowned out the vocals.

On a side note: Does every portrayal of an Italian-American have to include a Danny Zuko accent?

A Bronx Tale is currently being performed at Broadway in Chicago’s James M. Nederlander Theater for a limited engagement through March 24, 2019.

It is no wonder that the 9th Annual Winning Works, presented by the Joffrey Academy of Dance Chicago, has been a sold out show since its opening on March 9th through the 10th.  With its talented selection of winning choreographers and their eclectic styles, they brought a show that brings political, cultural and self-awareness, along with insight into different styles of ballet, straight into the artistic heart of Chicago. Each of the 4 performances showcased on the intimate stage of Museum of Contemporary Art Chicago, was introduced with a video, giving the audience members an inside look at the process of creation of each of these performances, as well as into to the inspiration of the artists being featured.

The choreographers featured, hail from the United States (Tomie-Waheed Evans and Marissa Osato), Mexico (Edgar Zendejas) and China (Xian Xu,) featuring just as varied themes to their choice in music, style of dance and purpose of their presentation as their cultural backgrounds.

Beginning the afternoon of performances, was Edgar Zendejas’ Lineas. A silent introduction featuring a single dancer, joined by the other performers in gauzy white shirts and white shorts- performing in a cannon, invoking an ethereal beauty. The interaction between the dancers as they interacted within the group, but also as moving bodies. The representation of these interactions, showcased how are attention can shift between groups and interactions, but how we are all intertwined together within these experiences. 

Coup De Grace choreographed by Tomie-Waheed Evans, was an intense representation of the current political climate of our present day, imagining the reactions we would have if we faced an apocalyptic event. The intensity of the music, vibrant colors and movements of the costumes- portrayed how diverse we are in our current world, all struggling to survive, however if we can embrace our community and those around us- how much we can overcome these obstacles and crisis that seem to plague us all.

Xian Xu’s, Vessels Bearing was an expression of Asian culture and how it is defined by rice, through the representation of rice bowls.  With influences of Asian movement and design with Xu’s choreography, the essence of rice, as a provider of energy, sustenance and warmth is what binds so many of us together.  The impact is has on those who have enough to rely on, as well as those who do not have enough.

  
Give the People What They Want choregraphed by Marissa Osato, was another stunning representation of the quality of talent being featured by Joffrey.  This particular ballet reflected how the façade we carry into our everyday life can eventually or may take its toll on us as we try to present our best face forward.  With music created by a local Chicago composer, Elliot Callighan, the vibrancy of this piece, was uplifting in that we are not all individually facing the challenge of our inner realities and how we present them in real life.  

All four pieces, as their 4 choreographers are so diverse in their backgrounds, ballet styles and musical inspirations, it is exciting to watch as the cultures and perspectives combine on the stage. It is a thrill that the 'Winning Works' has continued to provide us with so many opportunities to view the talented works of these choreographers and an insight into the growing styles of ballet. We look forward to what is coming next, as we relish in the talent we have been shown.

I’ll let you all in on a little secret: Whenever I’m having a lousy day, I pull up YouTube and take in Mahalia Jackson’s performance of “Just a Closer Walk with Thee” at the 1970 Newport Jazz Festival. This performance is notable, of course, for the special guest who joins Mahalia onstage near the end: Louis Armstrong. It’s also notable for the fact that Satchmo would be dead in less than a year, and Mahalia would join him on “thy kingdom’s shore” in less than two. With that in mind, seeing this musical icon in the last bit of her life not only still in complete control of her stage and her audience (I dare you to find me any rock ‘n’ roll singer from that era, or any era, with such a commanding presence!), but exuding such joy, makes whatever gripes I might be imagining on any given day disappear.

That command, that presence, and that joy that Mahalia spread around the world are on display throughout the Black Ensemble Theater’s current production, Mahalia Jackson: Moving Thru the Light. Written and directed by the theater’s indefatigable, inspired, and inspiring founder, Jackie Taylor, the show is framed as a series of dialogues between a recently deceased Mahalia and a trio of heavenly beings there to welcome her to the afterlife. These scenes are fine — giving the audience biographical information about Mahalia’s life and her relationships both personal and political (MLK, JFK, and RFK, among them) — but mostly act as a breather between the show’s 18 wonderful musical numbers. Because, in a show about one of America’s finest musical talents, the music should be the message, right?

In the role of Mahalia, Robin DaSilva certainly has a large gospel robe to fill. But spread the gospel, she does. DaSilva’s voice is a beautiful instrument, ranging from a rich alto to shimmering highs, emoting pain and, yes, frequently spreading joy. She fills the stage and her vocals fill the theater. Joining DaSilva onstage throughout the show are Cynthia F. Carter, Dwight Neal, and Stewart Romeo as the “Masters,” three heavenly beings welcoming Mahalia to her heavenly reward. Carter charmed last year in the Theater’s tribute to Chuck Berry, and both Neal and Romeo are her equals, the trio’s voices blending effortlessly as they harmonize with Mahalia and with one another. The three also each shine on their own, with Carter’s voice showing quite a range, Neal’s tenor piercing the room, and Romeo’s energy and enthusiasm equaling his vocal prowess. During the show’s first half, an ensemble acts as the story’s narrators, but near the end of the second, they join us in a tribute to Mahalia’s life and music.

And again, it’s the music that is the star of the show. As I said, 18 different songs are featured, and many are the favorites that gospel fans would expect. From “How Great Thou Art” to “How I Got Over,” from “His Eye Is on the Sparrow” to “Precious Lord, Take My Hand,” all of Mahalia’s “hits” are there. The show ends with the crowd singing along to “Down by the Riverside” and “When the Saints Go Marching In.” And near the end of the first act, perhaps DeSilva’s finest performance comes as her Mahalia sings Rodgers and Hammerstein’s “You’ll Never Walk Alone.” But for me, it’s the tune that ends the first act that filled me with joy. As DaSilva’s Mahalia sings “When my feeble life is o’er” in her rendition of “Just a Closer Walk with Thee,” my heart soared as I was able to spend a beautiful spring Sunday afternoon with the music of this legend and the legions of likeminded fans who’d come to the Black Ensemble Theater to hear it.

Mahalia Jackson: Moving Thru the Light - through April 14th at Black Ensemble Theater.

Chicago great legend Marshall Brodien has passed away at 84 after battling Alzheimer’s since he was diagnosed in 2007. Brodien, who started out as a carnival barker for traveling freak shows then later established himself as a hypnotist, was probably best known for his 27-year run with The Bozo Show as “Wizzo the Wizard”. Since his debut on the popular WGN powerhouse, Brodien became one of the most respected magicians – and he simply loved the art. He dedicated the downstairs of his Geneva home to magic memorabilia, making it pretty much a museum of his life and other famous magicians. From Harry Houdini’s famous collapsing birdcage, “Wizzo’s costume and elaborate self-designed illusions to magic kits created by himself (and of course, TV Magic Cards, perhaps his most popular invention), each room was a journey into the world of wonder he loved so very much.  

The Emmy Award winner and recipient of the Chicago TV Academy's Silver Circle Hall of Fame was not just a Chicago favorite but a national treasure as well, designing illusions for David Copperfield and other top magicians. Both Criss Angel and Lance Burton, whom we interviewed in the past, referred to Brodien as on of the greats and a big influence on their careers as a magician.

We wanted to celebrate Marshall Brodien by posting one of our all-time favorite interviews when the great magician invited us into his Geneva home with much pride and enthusiasm. Marshall gave us the full tour of his home and, with the excitement of a child, wowed us with several magic tricks. The interview is also a magical journey that gives viewers an inside look at Brodien's impressive, personal collection of magic throuout his career and also shows the kind, friendly man he will always be known for. Marshall truly enjoyed performing for others and watching the astonished looks on people's faces after each amazing feat. Visiting his home was one of my highlights as a member of the Buzz Center Stage team, and thankfully, he wouldn’t let me leave without a signed copy of his book “The Magical Life of Marshall Brodien” and a deck of TV Magic Cards – two items I will always cherish. Marshall will be missed. 

Good news! The future of American opera is looking very bright, indeed! The beautiful and moving new opera, The Scarlet Ibis, was presented last Saturday and Thursday by Chicago Opera Theater as part of their Vanguard Initiative, a program to mentor emerging opera composers, commission and develop new operas, and connect audiences to exciting new works and creators.

The opera, with music composed by Stefan Weisman and libretto by David Cote, is based on the short story of the same name by James Hurst. If this touching, extraordinary production is indicative of what we can expect in the future from COT’s Vanguard Initiative, this is a great day for opera!

Lyrical and atmospheric, the music draws upon the best of 20th century American opera, not in a derivative way, but as you might say that Verdi’s style organically grew out of the Bel Canto tradition of Donizetti and Bellini, which depended upon compositional elements of Mozart and Gluck, which were spawned by Handel, Vivaldi, and Lully. The greatness of these composers was entirely dependent upon those who came before, and established a knowledge base of how to compose for the human voice. Much of the difficulty that many audiences have had with modern American opera, especially mid to late 20th Century opera, is that the compositional styles of those composers were created out of whole cloth, with no prior vocal tradition which allowed their music to be sing-able. The Scarlet Ibis, however, shows a burgeoning maturity in the compositional style and technique of modern opera. Although scored for a small ensemble, the open harmonies and folk-like strains of Weisman’s music are reminiscent of Copeland. Arpeggios and repeated patterns (don’t call it “minimalism”) hint at influence from composers such as Philip Glass and John Adams, although this work is mostly melodically sweet and flowing, without those driving rhythms associated with works by Adams or Glass. And when called for theatrically, the music becomes nearly Stravinskian, with more complex harmonies and lush texture. However, Mr. Weisman has found a voice of his own, guided by the demands of the drama, and the abilities and needs of the human voice. The vocal writing seemed tailor made for the remarkable cast, and lines that were eminently sing-able carried the listener along for an enthralling ride.

As in Copeland’s The Tender Land, the libretto is artfully crafted to capture the colloquial time and place of the story with succinct economy of language. Nevertheless the narrative is clear, with defining voices for each individual character. Every scene is simple, but imbued with a deep sense of poetry and humanity.

David Hanlon conducted with sensitivity and expertise, bringing out the loveliness and power of the score. Under his capable direction, the nine piece orchestra played superbly, without some of the pitch problems in the strings which have been disappointing in earlier productions. Hanlon was always there for the singers, fluently in control as if The Scarlet Ibis was an opera he’d known and loved for years.

Stage and Movement Director Elizabeth Margolius is the kind of opera director who seems to be more and more rare, these days. She is a director who completely trusts her singers and her material to be inherently interesting on their own, without the need to add a lot of meaningless stage business and movement because she is afraid that the audience will become bored. She understands that a singer does not have to be in constant motion, and that a good singer can remain perfectly still, that time can slow down and stretch, yet there will still be intense focus and attention from the audience. This is especially useful when the leading character can’t walk. Doodle’s “Lie” aria, in which he sat nearly perfectly still, was a stellar example. On the extremely simple, but versatile and attractive unit set, Ms. Margolius used the space with great imagination and skill. Nothing ever happened which didn’t make sense. Every movement, every sound, was expertly motivated and realistic.

Set in the home of the Armstrong family in the north-eastern Piedmont region of North Carolina, just after the Wright brothers had made human flight successful at nearby Kitty Hawk, the imagery of the possibilities of the flight of the human soul pervades The Scarlet Ibis. It is comprised of 13 brief titled scenes in one act, and runs just over an hour and a half, although it seemed to take only half that time. Each scene featured an event in the lives of the small rural family over the course of about six or seven years. The opera opens in a fairly straightforward manner. Six year old Brother, the family’s only child, is joyfully anticipating the birth of the family’s second child, who he hopes can be a companion with whom he can run, and jump, and fight, and play. The focus then shifts to his mother. In a scene unique in opera, in our experience, she is having a difficult childbirth. It is quickly apparent that if the baby survives, something will be terribly wrong. It is a boy, but he is a “caul” baby, a child who is born with part of the amniotic sack covering its head like a cowl. Many mystical qualities are attributed to caul babies and to cauls, themselves. Caul babies are reputed to have abilities such as second sight, great creativity, and unfettered imaginations. Cauls themselves, are prized by sailors to prevent drowning, by lawyers to help them win cases, and are thought by some Adriatic cultures to aid in the peaceful passing of the dying. Most disappointing to Brother, the baby also has a severe, but unspecified disability which leaves him incapable of walking and being the playmate that Brother wanted. In a fit of pique, Brother gives the baby the nickname, Doodle, because the only thing a doodlebug can do is push itself around backwards. However, Doodle is special in other ways, teaching himself to read by the age of four, with a flawless and prodigious memory, and an unparalleled imagination.

Jordan Rutter, as Doodle, was a revelation – a term we do not use lightly. He radiated pure innocence with an underlying poetic soul. His countertenor voice, soaring above all the others as the highest vocal part in the opera, is unusually pretty for the type. Mr. Rutter’s singing was moving and affecting throughout, especially in the ensembles and the duets with Brother. Equally remarkable, are Mr. Rutter’s acting skills. As an adult playing the role of a very young child to the age of about seven, he has a directness, simplicity, and economy of movement which are riveting in their expressivity.

Likewise, mezzo-Soprano Annie Rosen was thrilling in the “overalls” role of Brother, playing a boy who ages from about six to thirteen throughout the opera, with a total commitment to her character. She has a gorgeous, clear voice with an extraordinary color palette. She sang with talent, intelligence, and sensitivity, going from boyishly silly or mocking tones to a full, rich sound in moments of deep expressivity. Ms. Rosen is not a large woman, yet she exhibited an impressive physicality and strength as she lifted and carried the adult male actor playing Doodle around in the kind of stage action not usually expected from a female singer. Her future in opera should be brilliant. Both Ms. Rosen and Mr. Rutter made us completely forget that they are adults playing the roles of very young boys.

We have been continuously delighted and impressed with the talent of baritone Bill McMurray. His sturdy baritone is capable of a range of color that bordered on fearsome as Ibn-Hakia in Iolanta earlier this season, but was warm and paternal in this role. He portrayed the role of Father with pathos, dignity, and an uncanny honesty. Every time Father is faced with a crisis, either of sadness or joy, he goes to his shop to build something by hand for Doodle. He is a proud and loving man with little education and few resources, but he has knowledge and talent with wood, so he does the best he can with what little he has. He is not fluent or articulate with words, so he expresses himself through his craft. Each time Mr. McMurray went to his shop, it brought tears to our eyes, either from sadness or gladness. His “Coffin” aria was heart wrenching in the direct simplicity of a father’s pain. Later, when Doodle’s physical disability threatens to also stunt the growth of his mind by confining him to his home, Father expresses his frustration at not being able to afford a bicycle for his son by building him a red wagon in which to explore the world. In his “Red Wagon” aria, McMurray perfectly captures a simple working man’s determination to make his son’s life better than his own.

COT Young Artist alumni Quinn Middleman brought tenderness and a gentle presence to the role of Mother. Her fine, warm mezzo-soprano voice easily met the challenge of vocal demands which included musically notated high notes for sung screams and groans during the first scene’s difficult childbirth. Ms. Middleman musically gave us all of a woman’s pain, fear, agony, joy, and strength while in the throes of one of life’s essential moments. It is common for singers to die on stage, but we have never heard one give birth. However, when Mother discovers a newspaper article about a doctor in Chicago who might offer the possibility of a cure for her son’s disability, Ms. Middleman touchingly exchanged excitement and optimism for the pathos of the forlorn hope of an unattainable goal.

Contralto Sharmay Musacchio sang the role of Auntie. She seemed hesitant at times, as if she needed a little more time with the role to get it into her voice and find the truth in the character. Her performance, while not quite up to the high standard of her colleagues on stage, was more than adequate and did not detract. It’s just that the rest of the singers were so darn perfect in their roles.

It should be noted that music written for three female voices of the same general type and range could have been muddy and undistinguished. However, Mr. Weisman’s excellent vocal part writing, abetted by perfect vocal casting choices on the part of COT, was always marvelously clear and distinct, allowing each of the voices to shine with characterization.

The singers were joined by dancer Ginny Ngo, who portrayed the Bird, the title role, if you will, physicalizing the opera’s overarching and multifaceted theme of flight. Ms. Ngo appeared variously as a doppelgänger for Doodle, a rather spooky owl, as the actual scarlet ibis, and as Doodle’s soul free from the confines of his deformed earthly body. Whether representing the flight of imagination, the flight of the human spirit, or the flight of the human soul, Ms. Ngo’s movement was birdlike, but brimming with human emotion. In the disquieting penultimate scene, the ibis finally appears, storm blown far from where it should be and out of place in an inhospitable environment, like the not-normal little boy.

Scenic Designer Jack Magaw provided the creative and workable set. Charlie Cooper’s breathtaking lighting design was at once clean and atmospheric, while actually being illuminating. Even in scenes which were dark, emotions on the singers’ faces could still be seen clearly. The costumes designed by Brenda Winstead were appropriately plain, yet never uninteresting. An especially nice and amusing touch was Doodle’s goofy pilot’s helmet subtly reinforcing the flight symbolism. How gratifying to see all elements of a production come together in service to the whole of the work. We laughed, cried, hoped, celebrated and mourned with the Armstrong family.

Only one performance remains, Sunday, February 24 at 3:00 p.m. at The Studebaker Theater in the Fine Arts Building. If this review gets posted (without typos) and you are reading this before then, change whatever plans you may have and go see this marvelous production. Let’s hope it will be presented soon and often by other companies. It is a worthy addition to the American Opera repertoire.

Go to www.chicagooperatheater.org or call (312)704-8414.