Displaying items by tag: Goodman Theatre

Chicago has no shortage of Christmas traditions. In other words, if you’re looking for holiday fun it’s not very hard to find something to do with your friends, significant other or family. Rich traditions such as Zoolights at Lincoln Park Zoo, Joffrey’s Nutcracker, Christkindlmart, Christmas film classics at Music Box, and the official Christmas Tree Lighting Ceremony in Millennium Park are fantastic choices that are sure to put a little zest into your holiday spirit, but Goodman Theatre’s A Christmas Carol might have to top the list.

Celebrating its 40th year of warming hearts through the holidays, this year’s production of A Christmas Carol might just be the best yet. Larry Yando returns to Goodman as Ebenezer Scrooge, a role he has taken on with brilliance for the past nine years. Yando is just about as fun to watch as it gets from his miserable, miserly like behavior to his reborn childlike love of humanity after three spirits visit him to show him his past, present and future.

As the story by Charles Dickens goes, Scrooge is a man with little heart. He is a man who pinches every penny, treats his employee like a flunky without mercy, as he works his fingers to the bone, wants nothing to do with his remaining family and has nothing but miserable rebuttals for those who wish him a Merry Christmas, replying with “Bah Humbug!” When his former, and now deceased, partner, a man much like Scrooge appears to him on Christmas Eve to warn him of his horrid ways and the cost it has on so many and will on himself, we learn that Scrooge will be visited by three spirits – Christmas Past, Christmas Present and Christmas Future.

As each spirit visits Scrooge, more and more is revealed about his nature. He remembers he didn’t start out as he is now. He was a good-natured boy with hopes and dreams once upon a time. In the present he sees how those who know him feel about him. Though mean and cruel to many, they still thank him and toast to him. He see’s the hardships his mistreated employee Bob Cratchit and his family face on his meek salary. He is obviously embarrassed as they still find reasons to be thankful to Scrooge. He sees a future that is bleak. He is just a miserly old man quickly forgotten.

“Are these the things that will be or the things that may happen?” He asks the spirit, hoping for a chance to redeem himself.

While Yando undoubtedly is a tour de force in the role as Scrooge, the entire cast is a powerhouse. Ron E. Rains is highly believable as the tenderhearted Bob Cratchit and is easy to feel for almost immediately. Joe Foust as Jacob Marley is also tremendous as is Lisa Gaye Dixon who wows the audience with her incredibly strong performance as the Ghost of Christmas Present. Kareem Bandealy also gives the production a strong assist as he skillfully fields a handful of roles including that as the show’s narrator, Topper and a hopeful young Scrooge who misses his chance at love choosing a chance at making more money instead -a decision that haunts him his entire life.

The ever-changing set is visually stunning as it changes from Scrooge’s house interior (curtains surrounding his bed and all) to the Cratchit’s humble kitchen where the room is crowded as the family sits around a table to eat a meager portion of roast duck for Christmas. Stars shine amongst the blackness as Christmas Present takes Scrooge on a ride he’ll never forget.

Goodman also breaks the mold casting a girl in the role of Tiny Tim Cratchit. Fourth grader Paris Strickland who delivers the famous line at show’s end “God bless us, every one” is excited to play Tiny Tim telling the Chicago Tribune, “I feel excited and proud of myself for getting a really inspiring role. Tiny Tim can bring hope to everyone, and I can bring hope to everyone.”

Goodman’s A Christmas Carol is not only rich tradition in Chicago, it is a fun-filled holiday treat that is sure to warm the heart and remind us that giving is better than receiving.

Highly recommended.

A Christmas Carol is being performed in the Albert Theatre at Goodman Theatre through December 31st. For more show information visit www.goodmantheatre.org.

Playwright Rohina Malik and director Ann Filmer have reunited and have collaborated on something special. Goodman Theatre’s current run of Yasmina's Necklace is one of my favorite plays of 2017. Here's why. 

In Yasmina’s Necklace, we are treated to a uniquely told love story that is as moving as it is thoughtful. It is funny, and it is beautifully staged. A story this wonderfully crafted and so well acted that delivers such a poignant message only comes around so often.

Yasmina and her father, Musa, are refugees from Iraq and they meet an upper middle-class family in Chicago who are looking for a wife for their divorced son Sam. We are reminded that it is very common in the Muslim faith to have an arranged marriage, prompting one of my favorite lines from the play, "real love comes after marriage, not before." 

Sam, played to perfection by Michael Perez, had moved away from the Islamic faith and married a non-Muslim American. He talks a bit about the challenges he had after the marriage and the many medications he had to be on due to his infidelity. Yet he strives for all things you would see in someone who is first generation like acclimating to the Western culture by changing his name, as well as pushing himself in his career. 

The true magic happens in the connection Sam makes with Yasmina, who is wonderfully played by Susaan Jamshidi, but the two didn't start off so smoothly. Yasmina is a thirty-four-year-old woman who is empowered, self-aware, an artist. This is not a common perspective you see of Muslim woman and I loved how Yasmina pushed back on what she wanted and strived to help others not only in Baghdad but also in Chicago. 

What drew me to the play immediately was the simplicity and peace shown around the Islamic faith. In today's society, I believe this is the most misunderstood religion even with close to two billion followers globally. The journey Yasmina and her father made to the United States from war torn Baghdad was something no human should ever experience. War is ugly, cruel, and unjust. The play is able to highlight the challenges of being a refugee and painted a vividly raw picture of what they went through. 

You have a bit of everything in this play that I could go on and on about but want you to experience for yourself. All the ingredients are in place for a thoroughly engaging production that will touch your heart, make you laugh and is sure to enlighten. I highly recommend Yasmina's Necklace.

Yasmina’s Necklace is being performed at the Goodman's Theatre through November 19th. Tickets range from $10-40. Yasmina’s Necklace has an approximate running time of two hours including one intermission. Oh, there is a special surprise at the closing for all the Bruce Springsteen fans out there. 

For more show information visit www.goodmantheatre.org.

The Goodman Theatre almost never includes a show in their subscriber season that they haven’t developed themselves. Dutch director Ivo van Hove began his vivid production of Arthur Miller’s “A View from the Bridge” in London before bringing it to Broadway in 2016. It went on to win the Tony Award for best revival. Goodman artistic director Robert Falls requisitioned the work for Chicago prior to the Broadway run. Some may remember van Hove’s contribution to the Goodman’s 2009 Eugene O’Neill Fest. His arresting version of “Mourning Becomes Electra” performed entirely in Dutch was a sure stand out.

Ivo van Hove’s vision for Arthur Miller is uniquely his own in that it’s nothing like you’ve ever seen. If a standard Miller production bores you, then imagine an electric guitar version of Miller. The scenery and scene changes have been cut and what’s left is a minimalist masterclass in strong directorial choices. Minimalism doesn’t mean a lack of spectacle. The white cube contains the play to a small portion of the stage, allowing for audience members to sit right on stage. Each movement of this highly choreographed production creates a stunning visual.

Suffice it to say, you’ll never see “A View from the Bridge” like this again. van Hove’s intention is to create an “ultimate” version of classic American works through a European lens. What he reflects back is interesting. The concluding scene is a work of installation art, and leaves you with an unsettling feeling that we are but animals battling it out at the bottom. As with his interpretation of O’Neill’s “Mourning Becomes Electra”, van Hove is unafraid of heightening the subtle sexuality in the script. The blocking between Catherine (Catherine Combs) and Eddie Carbone (Ian Bedford) is highly suggestive and pushes the envelope even further than Miller had in 1953.

There’s no scenery, no costumes and no tricks for this cast to hide behind. Since the New York production, some of the parts have been recast, but many have not. Catherine Combs reprises her role as Catherine, but is no stranger to the Goodman stage. Combs’ performance is transfixing. She’s able to balance the juvenile qualities of a young girl in a falsetto, but convey the deep-voiced desires of a woman with an unexpected control. Playing her adoptive mother Beatrice, Andrus Nichols, commands each scene. The script would make this character a weakling, unable to stand up to her hulking husband. Nichols brings a hardened strength to the role that propels the final scenes to full throttle.

This production will stick with you. With our nation’s president touting severe immigration reform, this play comes at a critical point in history. Arthur Miller wrote plays that addressed social issues. In many ways Eddie Carbone is how Miller saw America, as something afraid of change. When we hear white supremacists chanting “You will not replace us” on national TV, it’s hard not to draw comparisons. This is an essential play for our times. Ivo van Hove has created a striking and extremely intense version of “A View from the Bridge” that Arthur Miller himself would applaud.

Through October 15th at the Goodman Theatre. 170 North Dearborn. 312-443-3811

*Now extended through October 22nd

In Ah Wilderness, Eugene O’Neill tackles the emotional struggles of an upper middle class family, with sibling rivalries and marital and romantic dynamics that ring true today.

Goodman Theatre’s current production struck gold, however, with Niall Cunningham - he's a TV star of Life in Pieces - in the lead role as a teenage boy struggling to establish his independence from his family, amid the discovery of romance.

The play is set on July 4, 1906, though it was written in 1932, and was said to be dashed off rather quickly by the playwriight. O’Neill is more familiar for his darker, plays like The Iceman Cometh, Mourning Becomes Electra, or Long Day’s Journey into Night. Ah Wilderness is a lighter affair, O’Neill’s only comedy and produced less frequently, it throws a different light on his mastery as a playwright.  

With a 15-member cast, Ah Wilderness centers on the tribulations of the 16-year-old Richard Miller (Niall Cunningham's role), whose fevered passions have been ignited by emotionally charged and sexually suggestive writing of Byron and Wilde. Their poetry was considered risqué in small town America. At the time the country was swept up in efforts at prohibition, driven by the rise of evangelical Protestantism and its view of saloon culture as corrupt and ungodly.

It’s a perfect summer play, set at a waterside cottage, and Ah Wilderness contrasts this young love with the unrequited passion by the teen’s Uncle, and the mature and settled love of his parents. The show is a major production, and Steve Scott’s direction is pitch perfect.

The big score, though, is Cunningham as a poetry-obsessed teenager who is driven to a night of rebellion, expressed in this case by accompanying a buddy of his older brother (Travis Knight plays that pretentious, pipe-smoking collegiate brother, Arthur Miller) to a bawdy house – where he drinks and gets himself into trouble.

Cunningham, 22 in real life, gives a most credible and informed performance to the conflicted teenager riddled with angst. He is butting against the newly found hypocrisy of everyday life, and has been driven off the edge when his young neighbor and romantic interest, Muriel McComber (Ayssette Muñoz) sends a Dear John letter. As we suspect, her father made her write it, and the two are later reconciled, with Shakespearean-flavored romantic jousting.   

The rest of the cast is evenly excellent. While the characters on some levels must play foils for Cunningham's Miller, O'Neill explores with some tenderness the seasoned love of the family patriarch (Randall Newsome as Nat Miller) and matriarch (Ora Jones is wonderful as Essie Miller), and that of the unrequited love of the maternal uncle (Larry Bates as Sid Davis) and paternal aunt (Kate Fry brings depth to Lily Miller).  

The set (Todd Rosenthal) is classic and beautifully portrays its time, while also functioning seamlessly (along with lighting by Aaron Spivey) to move us from scene to scene. Costumes (Amy Clark) are exquisitely detailed.

Ah, Wilderness!, which runs at the Goodman through July 23, shows off O'Neill's skillfulness and his ability to charm the audience. It is highly recommended.

Objects in the Mirror, an outstanding play having its premier at Goodman Theatre, will soon have you wanting to know more about its author, Charles Smith, a Chicago playwright.  

Starring Daniel Kyri as Shedrick Yarkpai, this play springs from the true story of the real life Yarkpai, a refugee who fled Liberia in the aftermath of its first Civil War, struggling for 12 years across hostile terrain and through refugee camps in Guinea and Cote d’Ivoire.

Excellent performances and a creative set and lighting make this a show not to miss, especially for the wonderful writing of Charles Smith. Breon Arzell plays cousin Zaza Workolo; Ryan Kitley is Rob Mosher; and Lily Mojekwu as Shedrick’s mother Luopu Workolo is just spectacular – she steals all her scenes.

The real life Shedrick Yarkpai eventually made his way to Adelaide, Australia, and as fate would have it became an actor. And so, playwright Smith met him and heard his tale while staging another of his plays there - Free Man of Color (it won a 2004 Jeff Award and has been staged widely, including the Goodman).

Shedrick Yarkpai’s passage through the wilderness alone would be a worthy story, bringing our attention to the privation in Liberia wrought by years of civil chaos. But this play would not succeed as it does, unless it can hold our attention and keep us in our seats. 

And here Smith’s skillful craft shines through, along with director Chuck Smith and the creative team, who have turned the years-long odyssey of the protagonists, Shedrick and his uncle John Workolo (Allen Gilmore is terrific) – they ate grass, lived in the bush, both life and limbs, literally, endangered by violent, machete wielding warriors – and condensed it into an engaging trek, showing geography, educating us on the history, but all in an entertaining way, unlikely as this may seem.

Objects in the Mirror is so much more than a topical recount of Liberian suffering and struggle. Smith also puts before us the psychological and emotional toll on all refugees who must give up so much of their culture, and themselves, in resettling. Among the things so striking about Smith’s play is how he holds our interest in Shedrick’s odyssey. But he subordinates it to a more charged dramatic concern: the personal compromises refugees must make in escaping, and losses that can never be reclaimed.

In a way that only theater can, we engage and experience the personal emotional stress. And while we know of the trauma, what Smith conveys is the suffering from loss of identity, and of dreams. Shedrick has adopted a false identity to make it through border crossings – but he regrets the loss of his name.

Shedrick is a dreamer. He is also a storyteller, as is Smith, and the characters he has created. "Through storytelling, the play ascends to a powerful examination of truth and falsity, and the powers of persuasion. All good stories tell a strand of the truth," says Uncle John.

Once in Adelaide, Yarkpai finds work with a supportive Australian government agent – but Shedrick’s uncle John is fearful it will blow their cover. The debate through several scenes in which different characters tell their version of the parts of Shedrick's story is the stuff of great theater. 

The creative team includes Riccardo Hernandez (set design), Mike Tutaj (projection design), John Culbert (lighting design), Birgit Rattenborg Wise (costume design), Ray Nardelli (sound design). Briana J. Fahey is the production stage manager.

Objects in the Mirror runs through June 4 at the Goodman Theatre. It is highly recommended.

King of the Yees, now playing at the Goodman Theatre through April 30, is full of laughs and wisdom. Both touching and endearing, the play - with themes of family, community and tradition - takes a look at one Chinese-American family’s attempt to bridge the generation gap.

Written by Lauren Yee and directed by Joshua Kahan Brody, King of the Yees features Lauren and her father Larry Yee as central characters in this off-beat, quirky, yet totally relevant production that explores the history of patriarchal family groups like the Yee Fung Toy association in San Francisco’s Chinatown.

“King of the Yees is only kind of true—just like the stories your father once told you as a child,” said Lauren. “Growing up, I never understood what the Yee Fung Toy – a club of Yees – was, or why people were a part of it. With this play, I’ve been able to explore not only my own self-consciousness within my community, but it’s also shed light on how that is a universal experience. With every generation, there is a feeling of being unworthy and being unprepared to take up the cultural mantle. In a way, this play is a hero’s quest that celebrates those feelings of inadequacy.”

Established hundreds of years ago, family associations were a way to provide resources and community in the face of the discrimination that so many Chinese-American families experienced. These mainly men’s clubs became very powerful over the years. However, as a new generation began to take its place in world, these groups that limited the roles of women among other things, were often viewed as obsolete and unappealing.

King of the Yees examines that waning influence and the emotional impact on families in a performance that is infectious, interactive, metaphysical but always heartfelt.

Larry Yee, brilliantly played by Francis Jue, is the gregarious and engaging head of the Yee family association, which is dedicated to the preservation of the Yee line. Lauren (Stephenie Soohyun Park) is dismissive of the purpose and necessity of such a club and to the surprise and dismay of her father plans to move to Berlin with her Jewish husband. A disappointed Larry suddenly goes missing and Lauren’s frantic search for him takes her to an abstract world full of symbolism from the past with lessons for the future. That journey leads her not only to her father but to a better understanding of the family association and the community and traditions he is trying to preserve.

King of the Yees is filled with a small but versatile cast (Daniel Smith, Angel Lin and Rammel Chan) who capably play a variety of roles during the two-act production.

The set design is simple but effective, mainly consisting of a large ceremonial door that is very significant to the storyline. Also, the use of projections on the back wall of the stage was very creative. The design team includes William Boles (set), Izumi Inaba (costumes), Heather Gilbert (lighting), Mikhail Fiksel (sound) and Mike Tutaj (projections).  

Recommended.

King of the Yees runs through April 30 in the Owen Theatre at the Goodman. Tickets are available online at GoodmanTheatre.org/Yees.

Destiny of Desire begins with the actors breaking the fourth wall, walking among the audience, encouraging them to relax and have fun. As they complete their tasks setting up the empty Goodman soundstage on which the telenovela we are about to watch is being shot, the entire cast announces with glee, “We are here to change the social order! Deal with it!”

And change the order they do, especially where the reputations and struggles of the Latino community are concerned. Playwright Karen Zacarías so grew weary of the way many plays written by Hispanics were dismissively compared to "telenovelas”, a form of soap opera-like entertainment. We are informed during the show that telenovelas are watched by a third of the world’s population - a full two billion fans around the world. Zacarías succeeds marvelously in parodying a true telenovela for the stage full of twists and turns and sexy passionate, and sometimes tragic, stories while using the play to advance feminist values in a subtle but very important way.

For example, when two young girls are struck in the face by their father when they are caught kissing, the father, Armando Castillo (Castulo Guerro), quickly laments his violence and cries that a woman should never be hit by a man - never be hit with anything more harsh than a single rose petal. 

Likewise, when the rich villainess of the piece, Fabiola Castillo (played to perfection by the elegant and serpentinely sexy Ruth Livier) seems to make you totally disgusted with her gold digging, self-centered un-motherly behavior, the audience finds out that Fabiola was herself a poor girl subjected to repeated sexual abuse before escaping the farm life and painstakingly transforming herself into a blonde bombshell, eventually marrying to the richest man in the town.  

The story starts simply enough when two women (one rich and one poor) give birth at the same time at the same hospital. When the baby belonging to the privileged family is found sickly, the mother begs the doctor to make a switch so that she can have the healthy infant – and he does, pawning the other off on the farmhands. The plot thickens at virtually every corner in this hilarious in this oft steamy, oft scandalous Spanish soap opera set for stage – a show that literally keeps the audience plugged in from its opening scene. The journey follows the happenings as these women take destiny into their own hands. 

There are so many twists and turns, it would be a disservice to reveal the plot-lines but the most important message that runs throughout the show from the first scene to the last is that each mother and each daughter born to each family (one poor family and one rich) is the most precious miracle, a blessing bestowed by God and that no matter what the daughter's talents, beauty or graces or mistakes, they should all be protected from abuse or health neglect at any cost. 

The set detail truly creates an atmosphere to which we can easily become lost, sit back and just enjoy the story. Each of the men and women are dressed to sexy perfection in Julie Weiss’ true to telenovela form in dazzlingly modern costumes. The costumes by Julie Weiss are so VERY the typical telenovela, the lighting by Pablo Santiago floods the stage with oink, and the golden lights and large swathes of white fabric are ingeniously used to symbolize the desert sands, which is perfectly romantic and also constantly changing. I adored the swiftly moving and beautifully lit set by Francois-Pierre Couture.

Although, this is not a musical a pianist provides the score and there are songs, beautiful rich songs sung with passion in Spanish by many of the characters. Not knowing the lyrics in English makes no difference as these lovely pieces bond the show together and send the emotions soaring in a way that deepens the love you feel for each character's plight without stopping the comedy flow.  

Now that I know that two billion people are watching and enjoying this form of entertainment, I sincerely hope the huge success of this show makes its feminist message a regular part of telenovelas being produced right now, more than ever. 

Throughout the nearly non-stop humor in the show, there are also current day ad libs which refer to Donald Trump, the life expectancy of Hispanics in America (the highest despite financial and health insurances challenges) and the fact is pointed out that one out of every hundred Americans are behind bars because we incarcerate more of our citizens than any other country - messages all of which are delivered in a very funny and brief way which makes each fact that more clear without sounding preachy or out of place. Some are humorous while others are strong in message, one of the more shocking factoids divulging that one person is found dead each day in the desert between Mexico and the United States attempting to cross the border.

Karen Zacarias’ parody of the telenovela both does the art form justice and “cleans it up a little” in terms of political correctness in the most palatable way. 

Zacarias knows exactly how the pure unadulterated passion of men for the women in their lives can devolve into a passionate rage against the daughters and mothers of OTHER men without distinction in the man’s mind. 

Destiny of Desire is a very funny lampoon on telenovelas that perfectly exaggerates the absurdities while giving us an entertaining story where nothing is predictable. 

Finely directed by Jose Luis Valenuela, a talented cast from top to bottom perform to perfection this highly amusing script. Esperanza America and Ella Saldana North are just dynamite as the two sisters separated from their true families at birth while Eduardo Enrikez engages the audience each time he appears on stage with his campy portrayal of Sebastian Jose Castillo. Maurico Mendoza and Elsa Bocanegra flawlessly play the poor Del Rio parents as do Ricardo Gutierrez and Fidel Gomez in the roles of father and son doctors, Dr. Jorge Ramiro Mendoza and Dr. Diego. Adding to what is already Well-thought comedic touches are littered throughout the production, the actors performing ballet moves as they switch out the props.   

Destiny of Desire is highly recommended as a sexy production that keeps a rapid pace, delivers buckets of comedy and engrosses from the word “Go”.  

Destiny of Desire is being performed at Goodman Theatre through April 16th. For tickets or more show information, click here. 

In 2010, Goodman Theatre Artistic Director adapted "The Seagull" by Chekhov. An all-star cast, a stellar script and unique staging made for a memorable production. For this season, Robert Falls returns Chekhov to the Goodman with a new adaptation of "Uncle Vanya" by Annie Baker. This production of "Uncle Vanya" could be seen as a companion piece to 2010's "The Seagull." There's a stylistic similarity and another all-star cast breathing new life into this classic work. 

Like any Chekhov play, "Uncle Vanya" is about the everyday boredom and sadness of bourgeois Russians living on a country estate. Vanya (Tim Hopper) and niece Sonya (Caroline Neff) have toiled away their youths keeping the estate afloat and subsidizing the academic career of Sonya's aging father Alexander (David Darlow). When Alexander and his much younger wife Yelena (Kristen Bush) decide to move in with Vanya, their simple lives reach confrontation. 

Chekhov has a knack for dynamic female characters. "Uncle Vanya" is no exception. Caroline Neff's performance as Sonya sneakily becomes the focal point. Neff infuses Baker's already modern dialogue with an almost tangible sense of emotion.  Playing off her in the role of Yelena is Kristin Bush. This character is complicated and cold but Bush deftly shifts between moods without ever losing her audience. 

Adapter Annie Baker won the Pulitzer in 2014 for her play "The Flick." Her interpretation of "Uncle Vanya" was based on a literal word-for-word translation as she wanted her version to sound as fresh to a modern American audience as the original Russian had in 1900. To that end, Baker is successful. The script is quiet, but the dialogue seamlessly flows into our century. There's a timelessness to the entire production. Certain conventions, costumes and set pieces span generations, yet are of no specific historic era.  This stylistic choice only reinforces the ever-relevant themes of Chekhov's complex works. 

"Uncle Vanya" can neither be described as a comedy or a drama. There are moments of lightness and even dark humor, but overall the play is not particularly funny. On the other hand, while there's a well of unhappiness just beneath the surface, nothing truly cataclysmic happens. In the end, Chekhov makes his nihilistic point that perhaps none of us are happy and that death is the only respite we'll know. 

Through March 19th at Goodman Theatre. 170 N Dearborn St. 312-443-3800