Displaying items by tag: Chicago

“It may be fiction but it’s not fake.” says French revolution-era playwright Olympa De Gouges to Charlotte Corday in a fictionalized meeting between the two in Lauren Gunderson’s play ‘The Revolutionists’. Rounding out the chance encounter are Haitian slave revolt activist Marianne Angell and Queen Marie Antoinette herself. If you find yourself only recognizing Marie Antoinette as a prominent female figure of the revolution, don’t worry, Strawdog’s production of ‘The Revolutionists’ will catch you up to speed in this delightful new comedy.

In the midst of the Reign of Terror, Olympe De Gouges (Kat McDonnell) is struggling to write a play that will leave a legacy. Her friend Marianne Angelle (Kamille Dawkins), needs a place to stay while her family returns to Haiti. A frantic pre-assassin Charlotte Corday (Izis Mollinedo) rushes into her studio to commission some final words before she goes to murder Marat. And then somehow, a lost and nearly condemned Marie Antoinette (Sarah Goeden) wanders in. The four women discuss each other’s ambitions, disappointments, joys and outrage as the French Revolution entered its darkest period.

Director Denise Yvette Serna’s modern vision for this show is very cool. The costumes by Leah Hummel are even cooler. Lauren Gunderson’s dialogue is also very contemporary for her fantasy meeting of these often-overlooked revolutionists. For a script about the condemned to the guillotine, this play is awfully funny. In many ways it’s shining a mirror up to our own world politics and asking us what has really changed. Those familiar with the French Revolution will be tickled by all the trivia thrown in.

The performances here are stellar. Kat McDonell leads this ample cast of Strawdog ensemble members. Her character is the narrative backbone of the play as she tries to write what she’s seeing. The real Olympe De Gouges delivered a powerful rebuttal to National Assembly on the forgotten women’s rights. Sarah Goeden’s somewhat satirical performance as Marie Antoinette is almost a Karen Walker-ish version of the mysterious queen. Most of the evening’s laughs come from her sympathetic but hopelessly entitled shtick. This cast’s secret weapon is Kamille Dawkins whose portrayal of freed abolitionist Marianne Angell is devesting by the end. The play is mostly a comedy, but Dawkins’ touching performance mines the depths of the Gunderson’s script and finds the true heart of the play.

As Sophia Coppola did in 2006, Gunderson’s play attempts to make the French Revolution seem modern or rather, more allegorical to our own times. She succeeds when the women from divergent paths find the common things between them: love, fear, motherhood, and motivations. The ways Gunderson weaves history with fantasy and structures it in such a way that you never want it to end is riveting. Another touch borrowed from Coppola’s cult classic 2006 film is the killer modern soundtrack chosen for this production. St Vincent’s ‘Paris is Burning’ is well placed and well appreciated. Strawdog seems comfortable in their new North Center space and this production of ‘The Revolutionsts’ is very confident. This will likely be a hot show as Gunderson was the most produced playwright in the country last year. If it’s a French Revolution era drawing room comedy you’re after, or even if it’s not, ‘The Revolutionists’ will surely spark your interest.

Through December 29 at Strawdog Theatre Company. 1802 W Berenice Ave. 773-644-1380

When we think holidays in Chicago, we think ‘A Christmas Carol’ at Goodman, Joffrey’s ‘Nutcracker’, Christkindlmarket, Zoo Lights at Lincoln Park Zoo, Winter Wonderfest at Navy Pier and the list goes on and on. We should count our lucky stars, Chicago has a lot to offer this time of year. But perhaps one of the most fun holiday traditions (one I certainly look forward to each year) is Hell in a Handbag’s annual Christmas musicals and this year is no exception. Parody master David Cerda and company, who have brought us such hits in the past as ‘Rudolph the Red-Hosed Reindeer’ and ‘Christmas Dearest’, keep the tradition rolling this year with ‘Snowgirls’. You guessed it – a lampoon on the 90’s cult classic Showgirls.

It’s a tough, dog-eat-dog world out there for reindeer who want to make it to the top of the exotic dancing game. Making a name for yourself in local strip dives is one thing, but Snowmi Malone has her sights set much higher. She’s looking to make it in crowned jewel of the exotic revue world – the North Pole. But to do that, not only does opportunity need to present itself, she needs to be the best she can be. Ice Crystal Connors, the star dancer and Queen of the Scene might have something to say about that.

In “Snowgirls’ we are taken on a journey through the sleazy underworld of the North Pole in a hilarious adventure that rings the holidays in Handbag style.

Directed and Choreographed by Jon Martinez, with book by Derek Van Barham and Music by David Cerda, the world premiere holiday production of “Snowgirls the Musical’ comes with its Handbag stamp and certainly holds its own to other past holiday productions by this talented theatre company. As outrageous, envelope-pushing and downright funny as one would hope for, Hell in a Handbag has yet another hit show on their hands thanks to its witty and devilishly comical script and the company’s skilled ability for casting just the right people in just the right parts.

Harper Leander is adorable in the role of Snowmi where she not only gets the chance to display her well-timed physical humor and droll line delivery, she even gets to bust a few moves as the bratty stripper who will make it at any cost. Handbag favorite Sydney Genco as Ice Crystal Connors is terrifically cast as the top drawing attraction of the North Pole’s exotic dance scene. Conniving and ruthless when need be, Grenco gives us a brilliant Gina Gershon parody that is simply hysterical. So many reindeer so many performances that should be recognized. Patrick Stengle as a grown up and kinda hardcore Herbie (the dentist wannabe in ‘Rudolph’) delivers many laugh out moments as does Max McKune as shady club manager Rudolph (he apparently didn’t grow up as innocent as we thought he would) and Terry McCarthy, who has been with Hell and a Handbag since its inception, as club owner and tough guy, Tony.

Other familiar faces make this production the success that it is with their own stand out performances including Grant Dagger (Zip), Brittani Yawn (Jolly) and Erin Daly as Mrs. Claus.

‘Snowgirls’ is holiday fun and can be enjoyed whether you’ve seen Showgirls or not (but it does help to have seen it beforehand). Go see what everyone is buzzing about and see why Hell in a Handbag just might be the funniest theatre company in Chicago.

‘Snowgirls the Musical: The Other Side of the North Pole’ is being performed at Mary’s Attic through December 30th. For tickets and/or more show information visit www.handbagproductions.org.

As in a perfect storm, where a variety of different factors come together, augmenting the force above and beyond what is imaginable, Lyric Opera of Chicago brought together a group of singers who may, together and individually, define the interpretation of the music of Verdi for our time. The famous tenor Enrico Caruso is quoted as having said, “Il Trovatore is easy to produce, all you need are the five greatest singers in the world”. The Lyric Opera of Chicago has found five outstanding singers, any one of which would have made for a satisfying night in the opera house, but all together they created a perfect storm of thrilling vocalism. Implicit in Mr. Caruso’s statement is that the demands of each of the leading roles require artists at the top of their game. This ensemble delivered a performance which provided the very essence of why we go to the opera. There were moments when just the exquisite sound of their ensemble brought tears to our eyes for no other reason than the pure beauty of the human voice. The sensation wasn’t perceived so much as sustained sound, but more as blow to the chest which leapt across the footlights without warning. If you have never been to the opera, these singers will viscerally make you understand why opera is loved so passionately. If you already love opera, you owe it to yourselves to do whatever it takes to hear these singers.

Il Trovatore, or The Troubador is one of the three pivotal operas of Verdi’s middle period, along with Rigoletto and La traviata (to be heard later this season at LOC) where Verdi begins to move away from the early 19th century bel canto style toward a more through-composed music drama. The stories of Rigoletto and La traviata are more deeply personal and intimate than Il Trovatore, although the story is still based on historical themes of a very human nature, but on a grander, heightened scale. This is no ordinary love triangle - empowered aristocrat / beautiful young noblewoman / dashing rebel - the rivals in love are important adversaries in a major struggle for power which historically occurred in the kingdom of Aragon in early 16th century Spain. It is part of a period in which the common man began to assert his inalienable rights and demand concessions from the aristocracy all throughout Europe. To make it really fun, add to that an old gypsy woman, still obsessively grieving over her mother’s execution at the stake many, many years ago. In her terror and confusion at that horrible event, a baby also ended up in the fire. Ah, but whose baby? Grisly stuff, but not any worse than anything you might have seen on “Vikings” or “Game of Thrones”. Verdi pulled out all the stops to portray these immense passions. The big musical numbers are one blockbuster after another, interspersed with poignant, tender, and mournful music, all of which require every sort of virtuosity to perform.

Yet, in spite of the greatness of this opera, the improbability of the plot is considered fair game for ridicule. You may suspect Gilbert & Sullivan are parodying it in “Pirates of Penzance”, and it was the opera performed in the Marx Brothers film “A Night at the Opera”. Admittedly, there are a few times when, in lesser productions, our suspension of disbelief falls flat. Not so in this revival of the production directed Sir David Mc Vicar, a true master of stage-craft, and faithfully re-staged for Lyric Opera of Chicago by Roy Rallo. The staging challenges are deftly handled by a director who obviously loves the art form, trusts the music, trusts that his singers will communicate with the audience, and that the audience is intelligent, open, and willing to understand the intentions of the composer. Mc Vicar’s staging tells the story simply, yet with a deep understanding which enables the audience to be fully engaged, while making sure that the singers are not left hanging out to dry or trying to pull off unwarranted antics, as theater directors who don’t really understand opera insist upon through their own lack of knowledge or insecurities.

The design and style of the production is reminiscent of the paintings of Goya, conjuring images of the stark contrast between the Spanish nobility and working class. Although Goya’s paintings were of events which happened about 250 years after the historical events of Il Trovatore, the setting, designed by Charles Edwards, is evocative and workable. It is dominated by a huge wall on a turntable revealing different settings, from the fortress at Castellor, to a convent, and to mountainous gypsy encampments, allowing the action to move along without long pauses or multiple intermissions. Marco Armiliato conducted the always wonderful Lyric Opera Orchestra with a great understanding of Verdi and a keen sense of pacing. The musical and dramatic energy never lagged, yet never became frenzied. He was especially sensitive to the extraordinary singers, allowing them to be heard and, most importantly, giving them time to be sublime.

Speaking of sublime, how can we start to describe the perfect storm of vocalism which was created by an ensemble of some of the greatest Verdi voices of our age? Every singer was ideally cast in these difficult roles. Tenor Russell Thomas, who recently made a fine impression as Pollione in Norma, was well up to the daunting task of the Troubador, Manrico. His clarion tenor, so powerful at full voice, was tenderly sympathetic in the softer moments, when his color became more burnished. Manricos’ aria, “Ah, si, ben mio”, was lyrical, idiomatic and meltingly lovely. The ball-buster cabaletta that follows, the famous and rousing ”Di quella pira” was more than adequate, if not quite equal to Mr. Thomas’ complete command of the totality of the role. In fact, we felt cheated and wondered why the second verse was cut. However, this is fully understandable. Growing up with the sound of Corelli and Pavarotti singing this aria would be daunting to any young tenor, and trying to sing it too soon in one’s career is more than likely to build in habits which require a leap of faith to overcome. Mr. Russell shouldn’t be nervous. If he would approach the aria with the same superb vocalism with which he sings the rest of the role, it would be electrifying!

As Leonora, the woman Manrico loves, Tamara Wilson was nothing less than spectacular in her Lyric Opera debut. A winner of the highly prestigious Richard Tucker Award, she dazzled us with her shimmering voice, full from top to bottom, with exquisite pianissimos, stunning high notes and crystal clear coloratura. A true Verdian soprano, there was no high point to her performance. It was all superb, from her sweet “Tacea la notte placida” to the heart rending “Miserere”. Ms. Wilson presents a Leonora who is ingenuous, vulnerable, and tender, yet who displays a plucky determination, passion, and inner strength missing in many interpretations of the role. Let’s hope she returns to Chicago often!

There are very few Verdi baritones singing today who can match Artur Rucinski (or no longer with us, for that matter). In his first appearance in Chicago (oh please, PLEASE don’t let it be his last!) he was perfect, absolutely perfect, as Count di Luna. Mr. Rucinski is handsome, has a manly, but genuine stage presence, and has a voice, the likes of which we have not heard since Leonard Warren and Robert Merrill. He played di Luna as an entitled member of the nobility, but with the real life feelings of a young man, bereft of his brother, and in love with a woman who, for reasons incomprehensible to him, loves a “nobody”. His rich baritone has the power and color for his moments of agitation and anger, but most astonishing was his rendition of di Luna’s great aria, “Il balen del suo sorriso”. It is one of the sweetest and most passionate of all baritone arias, even while manically obsessing about his love for Leonora. Mr. Rucinski’s interpretation was so elegantly sung, it was like warm honey pouring from a jar. Normally we don’t give a hoot where a singer may breathe or not breathe. If a singer sings beautifully and with meaning, we’re happy, even if one needs to sneak a catch breath or two. But Mr. Rucinski’s feat of breath control in his opening phrase of the aria was beyond comprehension. Not only did he not use the opportunities to breathe during the rests which Verdi wrote into the music, he sustained the line through several phrases which united the text in a way which is unprecedented. With some baritones, it might have been a show-off trick, but Mr. Rucinski was so sincere and pure, it was as if time stood still as his thoughts and feelings flowed out of him. If we hadn’t been seated, we would have become weak in the knees.

The gypsy, Azucena, is a troubled soul. Her mother was burned at the stake for witchcraft, and she lives only for vengeance. She has raised Manrico and loves him as any mother loves her own son. The part is often played with hair-raising intensity, bordering on the grotesque. Jamie Barton was a more sympathetic character and sang the role more beautifully, not in small part due to the pathos inherent in her warm full mezzo soprano. Still chilling, yes, but believable.

The Captain of di Luna’s Guard, Ferrando, usually sung by an older basso, was impressively sung by Roberto Tagliavini. He has a marvelous, ample voice, and it is a rare pleasure to hear all the little passing notes sung so tidily. But a big voice alone is not enough. True artistry requires the expression and inflection of the meaning of the words. Mr. Tagliavini’s spectacular voice poured out in an enveloping stream, but with no variation or indication that he understood what he was singing about, even though he hails from Parma, Italy. He could become a great artist if he stopped trying to impress us with how loudly he can sing, and used the music to help explain the emotions behind the meaning of the words. Let’s hope that his musicality and artistry will develop further as his career progresses.

The small roles of Ines, Leonora’s chaperone, and Ruiz, Manrico’s messenger, were luxuriously filled by Ryan Center artists Lauren Decker and Mario Rojas.

The chorus is a big player in this opera in a Cecil B. deMille cast of thousands sort of way: soldiers, rebels, guards, gypsies, outlaws, nuns etc. All were well sung as prepared by Michael Black and well integrated into the action. The confrontation at the end of Act II was without a doubt one of the most exciting fight scenes we’ve witnessed on the live opera stage. Bravo Nick Sandys, Fight Director!

This Il Trovatore is, as we so often say in opera, much greater than the sum of its parts. The good news is there are four performances remaining November 30, December 3, 6 and 9. It’s a winner. Don’t miss it. Go to lyricopera.org for tickets now!

Having seen (and adored) Goodman Theatre’s A Christmas Carol 17 years ago, I was thrilled to experience this holiday classic once again this year. Though having undergone many changes over the years, Goodman’s gorgeous production of Charles Dickens’ timeless Christmas tale has kept the most important bit: the message of kindness and redemption. Now in its 41st year, under Artistic Associate Henry Wishcamper’s direction for the sixth year, it’s still a reassuringly uplifting Christmas story.

As the story goes, one Christmas Eve Ebenezer Scrooge, a banker, is visited by four ghosts: The Ghost of his late business partner Jacob Marley (Kareem Bandealy) who died on Christmas Eve seven years ago, The Ghost of Christmas Past (played by Molly Brennan), The Ghost of Christmas Present (by Jasmine Bracey), and The Ghost of Christmas Future (Brean Arzell), in succession. Larry Yando returns for his 11th season as Scrooge, and he’s wonderfully expressive in his portrayal of a stingy bitter old man undergoing character transformations as the Ghost of Christmas Past unrolls Scrooge’s life events, helping him recall himself as a frightened young boy at a boarding school all the way through his failed marriage. Yando’s Scrooge is vaguely aware of how terribly unkind he’s being to everyone around him but seems to see no reasons to change. But that’s because playful Molly Brennan’s Ghost of Christmas Past, dressed in pink and black and wearing pigtails, floating above the stage like a circus acrobat, is a mostly friendly ghost. It is not until Scrooge is presented with grim visions of his future by the cloaked Ghost of the Future that he begs for a second chance.

Children actors are especially wonderful in this production; their singing and dancing, along with live band under the Music Director Malcolm Ruhl, add plenty of charm to the play. The impressive stage design with everything from luxurious bed draped in soft fabrics, props silently appearing from under the stage, and frequent effortless movement of scenes which somehow doesn’t require a pause or light dimming - it’s like a well-oiled Swiss clock. That mastery combined with wonderful acting and beautiful singing make up for a high-quality entertainment. But as I’m watching the show, I can’t help but think of how I could try to be better, nicer and a more generous person. It is indeed the moral of the story that resonates with us all and brings audiences back every year: a reminder that it’s never too late to be better. Not just on Christmas, of course, but that’s a good start.

For more information on showtimes and tickets, visit www.goodmantheatre.org.

The Woman in Black, a retelling of a 19th century gothic ghost story, has already begun electrifying audiences on Halsted Street. This finely-honed, two-man production features strong performances by Adam Wesley Brown as The Actor, and Bradley Armacost as a retired lawyer, Arthur Kipps.

We'll try to minimize any hint of a spoiler in reviewing this suspenseful entertainment, but we can reveal that it is a highly entertaining production with a worthy script. 

Running about 90 minutes with one intermission, the story opens with Kipps standing on stage and reading aloud from a hefty tome. He has hired The Actor to help him retell on stage a horrifying story from his past – hoping both to exorcise powerful, haunting memories, and to warn others to beware and avoid his fate. Kipps needs to gain acting skills to tell the story effectively to audiences – one that happens to be true, and which he knows well, because it happened to him 40 years ago.

But within the first 20 minutes devoted to this scene setting, the The Actor determines that Kipps, plodding woodenly through the script, is no actor.

"I must implore you to have sympathy for your audience," he advises Kipps impatiently. "Performing is an art acquired with tears and time." The Actor thinks the script needs some work, too, as he estimates it would take five hours to deliver.  "If your tale is to be heard, it must become palatable," he says. Kipps reluctantly agrees. 

And so The Actor takes on the role of playing him, and Kipps takes to playing several supporting roles. This transformation is both a study in the art of the theater, and a presentation of the manifest stage skills of Brown, an accomplished Shakespearean performer, and Armacost, who has very completely convinced us that Kipps cannot act at all.

Once they trade roles, and Brown begins playing Kipps (he looks a bit like a young Kenneth Branaugh), Armacost seamlessly sheds his inability to act, transforming into multiple supporting characters right before our eyes. Along with The Woman in Black's other merits, these performances are a delight to behold – and doubtless worth trying to see more than once.

Finely honed after nearly three decades on London’s West End - where it continues to delight crowds – The Woman in Black was originally commissioned as an adaptation from Susan Hill’s 1983 novel. For the Chicago run (through February) the show's London director, Robin Herford, has recreated his original staging for the first time in the U.S. It’s star credentials are further secured by another adaptation made from the book for the 2012 film, starring Daniel Radcliffe of Harry Potter fame.

The Woman in Black also serves as a darker alternative to the traditional Christmas shows. Posed as a scary tale told around the hearth late one Christmas Eve, there are ghostly figures in this story but the surprising outcome is decidedly different than other holiday shows. 

The Royal George subtly proffers The Woman in Black as a candidate for holiday-entertainment, the kind of scary story shared by Edwardian families. The tradition of sharing ghost stories around Christmas can be traced to pagan times, as the longer nights approaching the Winter Solstice conjured such tales while villagers huddled for warmth. This show also wards off the ennui some find in repeated efforts to extract seasonal cheer from Charles Dickens' Victorian-era ghost tale. 

Along with the spine-tingling excitement, this highly polished production restores to life to another sleeping specter, the main stage of the Royal George Theatre, one of the city’s most congenial performance venues. Dark for months (and just across the street from the heavily trafficked Steppenwolf Theatre) it’s now bound to be packed for this excellent show.

The play is a thriller, with many of the chills delivered the old fashioned way, through lighting, sound and props. It falls within the bounds of comfort for more sensitive viewers (like my companion) who will find it just below that threshold of covering-the-eyes scary). It's also hip enough to appeal to young adult audiences, who filled a third of the seats on opening night. 

The Woman in Black is highly recommended. Booked through February 19, 2019 at the Royal George Theatre, it plays Wednesdays through Saturdays at 7:30 p.m.; with matinees at 2:30 p.m. on Saturday and Sunday; and Sunday night performances at 7:00 p.m. 

When Schönberg and Boublil’s Miss Saigon made its original run in the early 90s, I missed it — too far away to catch a traveling performance, and too young to have seen or even afforded to see it. And back then, I was way too young to have really understood the big, Important (with a capital I) issues the musical raised, or which were raised by its very being. Sure, I knew many of the show’s songs, from the ubiquitous double-CD soundtrack that seemed to exist in the music collection of nearly every person I knew. But like they say, that Miss Saigon was wasted on the young.

So given the chance to see the current touring production currently playing at the Cadillac Palace Theatre, I sat down not so young, but ready to finally see the show I thought I’d known all those years. And while it was every bit the spectacle I imagined, my experience — and the experiences our world has had — added even more substance and complexity to an already substantial and complex tale.

First, the spectacle. Many of the touring productions coming through Chicago are great but feel pared down compared to shows that would stay for extended periods. Perhaps it’s also the style of recent shows, as well, to be economical and sparse when it comes to stage design. But that’s not the case with this Miss Saigon.

The sets dazzle, with red-light signs flashing, American flags waving, Ho Chi Minh glaring, and chopper blades throbbing. The costumes, too, transport you, to brothels catering to America GIs, huts housing the Vietnamese whose land they’ve overrun, and embassy gates closed to some.

The ensemble dazzles, as well, making the cast seem even larger than it is. Whether it’s said servicemen out for a bit of R&R or the women whose lot in life is to provide it, whether it’s postwar Communist soldiers marching in file, or postwar American men looking to provide for the children fathered half a world away, the cast fills all the roles the show requires, and they fill them well.

The ensemble really earns its pay during the showstopper near the end when Red Concepcion’s pimp, The Engineer, champions that elusive “American Dream” — high-stepping and singing as The Engineer preens and prances. Concepcion’s Engineer takes on even more meaning than perhaps he would have 25 years ago, as the fast-talking, macho-walking archetype who’ll use others — particularly those less powerful than himself — is one fully come to life. So, too, do some of his lines hit hard, especially the added bit about “Cocaine, shotguns, and prayer—hallelujah!” being the American dream, of then or now. But whether portraying the awfulness of yesteryear or that which we now face, Concepcion steals the show.

That’s not to say the rest of the cast isn’t wonderful. Starting the second act, J. Daughtry’s John changes from a typical young Marine at war to a man who’s been changed by the things he saw and did while there. Leading a men’s chorus in “Bui Doi,” a song about the children fathered by American soldiers and “born in strife,” Daughtry’s voice rises above the chorus and the moving pictures of children projected behind him, reaching for the rafters even as it laments the lows of humanity’s inhumanity.

Anthony Festa, as John’s fellow Marine Chris, also subverts the macho American infantryman one would expect. Whether it’s the touching “Wedding Ceremony” he shares with Kim (hauntingly chorused by the female ensemble members into something like a hymn) or his duet with her on “Last Night of the World,” a “song played on a solo saxophone, a crazy sound, a lonely sound,” he cries “a cry that tells us love goes on and on.”

But it is Emily Bautista as Kim whose cry is the loudest, the loveliest, and goes on and on across the Cadillac’s stage. Bautista brings both vulnerability and strength to a role that in lesser hands might very well be engulfed by such a grand staging. From singing to and with Chris of the sun and moon, to telling the son she had with him that “I’d Give My Life for You,” Kim’s life is the focus, from her entrance to her exit.

And everything in between is what will surely take the breath away and break the hearts of anyone in attendance of this production of Miss Saigon, a production that not only shines a light on an unfortunate international moment of the past, but on the continued problems with humanity and inhumanity with which our world still struggles.

Marriott Theatre brings yet another high-energy, song and dance production to its audience, this time mounting the regional premiere of ‘Holiday Inn’, a sentimental musical based on the 1942 film of the same name featuring the music of Irving Berlin and starring such great as Fred Astaire, Bing Crosby and Marjorie Reynolds. Directed and choreographed by Tony Award nominee Denis Jones and musically directed by Jeff Award winning Ryan T. Nelson, ‘Holiday Inn’ might just be one of Marriott’s greatest triumphs over the past few years.

“I am completely elated to revisit my work from the Broadway production of ‘Holiday Inn’ at the Marriott Theatre,” says Jones. It’s an honor to celebrate some of the greatest works of Irving Berlin and join forces with some of the most talented actors in theatre. With mesmerizing costumes and equally enthralling performances, audiences will leave with a few holiday surprises and a whole lot of holiday spirit.”

And though classics such as “White Christmas”, “Easter Parade”, “Blue Skies”, “Heat Wave”, “Be Careful, It’s my Heart” and “Shaking the Blues Away” are performed to perfection, it is the dance numbers in this production that truly steal the audience’s breath.

Jim Hardy (Michael Mahler) and Ted Hanvover (Will Burton) are best friends. The two entertainers have found a tremendous amount of success in New York as a song and dance trio that also stars Lila Dixon (Kimberly Immanuel). Lila and Jim are also quite the item and Jim wants nothing more to marry her. But the New York scene has run its course with Jim, so he also wants to hang up his tap shoes and take to the country. He proposes to his Lila, who accepts, and then shows her the deed to a farmhouse in Connecticut that he has just purchased in the hopes she would also want to give up show biz for a quiet life in the country. So, maybe he should have discussed such a major decision with Lila prior to making such a large purchase. When the three are offered a six-month touring engagement, Lila breaks Jim’s heart and hits the road with Ted. So it’s off to the country, alone, for Jim.

Dejected, Jim soon arrives at his newly purchased farmhouse ranch only to find Louise (Marya Grandy), a self-proclaimed “fixit man”, kind of comes with the house. In exchange for room and board, Louise will tend to the farmhouse but her title of “fixit man” extends much beyond the home itself. It isn’t long before the daughter of the previous owners, Linda Mason (Johanna McKenzie Miller), stops by to pick up some of the things that were left behind when the farmhouse was foreclosed upon. It isn’t long before a friendship develops and perhaps a spark ignites between them. It also isn’t long before Jim realizes farming might not be for him and longs for the stage again. And, as it turns out, Linda just so happens to have some performing experience of her own. But why go back to New York when you can bring New York to you? Just after Jim gets a surprise visit from a large group of performing friends, he comes up with the idea of turning the farmhouse into an entertainment getaway. After all, he’s got the floor space and plenty of rooms for guests. When his performer friends cannot commit to regular shows because of their own hectic schedules, it is decided shows will only be staged over the holidays – thus, ‘Holiday Inn’.

As chemistry builds between Jim and Linda, a drunken Ted reappears during opening night who briefly dances with Linda and soon has his sights on her as his new dance partner since Lila has left him for a Texas millionaire. Jim quickly finds himself in a similar situation, so we can only hope things will turn out differently for the all-around nice guy who may have found love once again.

‘Holiday Inn’ is filled with big, spirited dance numbers that are pure visual delights and the highlights are many. Will Burton’s recreation of Astaire’s “Let’s Say it with Firecrackers” is certainly one of them as he brilliantly taps his way around the stage with a bang – several bangs in fact. Johanna McKenzie Miller also leaves a strong impression, beautifully showcasing her amazing voice in such songs as “Nothing More to Say” and “White Christmas”. And throughout the talented dancing and singing offered in this production, Marya Grandy balances out the show with her incredibly funny performance as Louise, adding plenty of laugh out loud moments. A world-class ensemble that includes the familiar faces of Joe Capstick, Adam LaSalle, Laura Savage and Alejandro Fonseca pushes this musical into overdrive, while Lorenzo Rush Jr. as agent Danny Reed is a pleasure to watch in every scene he graces and child actor Patrick Scott McDermott also adds several moments of well-delivered humor.

Marriott Theatre presents a gem of a holiday treat that can be enjoyed by everyone. ‘Holiday Inn’ runs through January 6th and is highly recommended. For tickets and/or more show information visit www.MarriottTheatre.com.

Chicago Opera Theater opened their 2018-2019 season with the Chicago Premier of Peter Tchaikovsky’s ‘Iolanta’. Since this performance was also the Chicago debut of Lidiya Yankovskaya, COT’s new Stanley Music Director, it was an auspicious occasion for the company embarking on their 45th season. It also marked the first full season of Chicago Opera Theater’s Vanguard Initiative, committed to bringing newer and lesser known works to Chicago on the stage of the charming Studebaker Theater in the Fine Arts Building. In collaboration with Roosevelt University, COT has a respected young artist program, giving opportunities to promising singing actors. For Chicago audiences, it is a welcome complement to the much grander Lyric Opera of Chicago.

When one thinks of Tchaikovsky’s operas, and Russian opera in general, epic stories, casts of hundreds and massive choruses come to mind. Not so in Tchaikovsky’s final opera, ‘Iolanta’. As with last season’s offering, Donizetti’s final opera, Rita, (is this a theme?) ‘Iolanta’ is a more intimate work, and runs about an hour and a half. Nevertheless, it has the romantic sweep of Tchaikovsky’s style that tugs at the heart strings while rousing large as life passions, presaging the later works of Stravinsky and Rachmaninov.

A 2018 recipient of the Solti Foundation Career Assistance Award, Maestra Yankovskaya’s debut in the pit was promising and gratifying. She brought out all the pathos and grandness in the lush score, without ever overpowering the singers, quite an accomplishment in an intimate theater with such an exposed orchestra pit. This is most encouraging. If she can just get her strings to play in tune, under her leadership it will be an outstanding ensemble. We were fortunate for the heavenly harp played by Lillian Lau, a measure of a truly professional opera company.

The story of ‘Iolanta’ could be a simple fairy tale; Princess ‘Iolanta’ has been blind from birth. Her father, the loving and powerful King René, has kept this a secret from her, and instructed, upon pain of death, that the fact that she is blind never be revealed to her. Since childhood, ‘Iolanta’ has been betrothed to Robert, the Duke of Burgundy, but Robert has since fallen in love with another. Because the marriage of Robert and ‘Iolanta’ is pending, King René has engaged the services of an exotic doctor, Ibn Hakla, to try to cure his sightless daughter. Dr. Ibn Hakla, who employs the metaphysical and the psychological in his treatments, proclaims that ‘Iolanta’ will never be able to see unless she knows that she is blind. Honoring his betrothal, Robert comes to claim his bride, but his friend, Vaudemont, gets a glimpse of ‘Iolanta’ and is instantly enchanted. Vaudemont sneaks past a No Trespassing On Pain of Death sign to try to meet ‘Iolanta’. As they engage in a mild flirtation, Vaudemont professes his love. As a remembrance, he asks her to give him a red rose from the bouquet of red and white rose which ‘Iolanta’ carries. When ‘Iolanta’ is not able to pick out a red rose, Vaudemont discovers that ‘Iolanta’ cannot see and reveals it to her. Predictably, the two are discovered together, and Vaudemont is condemned to death. ‘Iolanta’’s love for Vaudemont makes her choose to allow Dr. Ibn Hakla to operate. The operation is successful, Vaudemont is pardoned, and all live happily ever after. Aside from the obvious, “you can’t solve a problem until you acknowledge it” the myriad possible interpretations make this opera a fascinating study in how we deal with all that comes along with being human.

The cast is stellar without exception. Katherine Weber, assuming the title role, is a singer to watch very closely. She is much more than just another cookie-cutter soprano, her large, distinctive voice is sweet and sturdy, with a wide spectrum of color, and burgeoning with tremendous promise. Her characterization was sympathetic and touching.

Mikhail Svetlov as King René is a spectacular true Russian bass. He tempered the role of René with understanding and presence. It is hard to imagine anyone singing the role any more beautifully than Svetlov. He had the regal bearing of a king and the tenderness of a father suffering for his daughter’s plight. His performance, alone, would make this production a must-see.

As Vaudemont, John Irvin has a slightly stiff stage presence, but he sang with vocal ease and treated us to some of the best high notes we’ve heard anywhere this season. In his aria, which was not part of the original score, he seemed a little uncomfortable, but once that was out of the way, he has a natural charm which made his performance entirely compelling and believable.

Operas with two major Baritone roles are quite unusual. Christopher Magiera, as a deliciously randy Robert, Duke of Burgundy, tossed off his devilishly difficult aria with aplomb. Magiera has the natural stage presence and effortless high notes demanded by the most difficult Bel Canto baritone roles. Bill McMurray, as Dr. Ibn Hakla, delivered a slightly more dramatic sound which suited the mystically transcendental requirements of that role. His aria was vocally spectacular, even if the staging was somewhat obtuse.

Important smaller roles were well sung and capably acted by Emma Ritter, Katherine Peterson, Annie Rosen, David Goversten and Aaron Short. It is gratifying to see that young singers of this quality are receiving professional mentoring in Chicago which is all-important to launching successful careers.

The sets designed by Alan E. Murakova were intriguing, and as lit by Lighting & Projection designer Driscoll Otto, occasionally quite stunning, but served little useful dramatic purpose. And they moved around all night. Not just between scenes, but during scenes too, being pushed around by the singers to no real purpose, achieving nothing. At times it seemed as though the opera was more about set pieces dancing around, than anything else. Oh please, it’s an opera, not a ballet for flats. In spite of that, when the set pieces were allowed to stay still and accept Mr. Otto’s visuals, they did ignite the imagination. However, that wonder was unfortunately squashed by the dull and dreary costumes, which looked like recycled costumes from last year’s The Consul. You can design a production cheaply that doesn’t look cheap. And rather than tease us with an interesting setting, then keep moving it around, why not just focus on good stage craft? Famed director Paul Curran let us be distracted from an otherwise honest and meaningful reading with all this unnecessary shuffling around of castered corner pieces. And although Curran did tell the story well, he did not help his young cast with the elementary stage movement. Too often, to use a nautical phrase, singers were caught in irons, with nowhere to go, or having to make an awkward La Scala cross from down-stage left to up-stage right while singing. A director of Curran’s reputation should know how to do better for his actors.

Despite the technical distractions, ‘Iolanta’ is delightful, beautifully sung and movingly performed by a supremely talented cast of young singers.
The Doctor’s orders: See ‘Iolanta’!

There are two additional performances – Thursday evening November 15 at 7:30 pm and Sunday afternoon November 18 at 3 pm. Don’t miss it! Go to chicagooperatheater.org.

It’s a rare treat to get to experience anything as unique as Manual Cinema’s production of ‘Frankenstein’ at Court Theatre. With several productions of ‘Frankenstein’ going on this year, one might wonder how they’re each distinguishing themselves. Manual Cinema’s original adaptation is just that, a manual cinema. Told with intricate shadow puppets on classroom overhead projectors, ‘Frankenstein’ is like spending the evening in a toy box.

In a collaboration with Court Theatre as part of their season, Manual Cinema returns to University of Chicago where they started. The company was formed in 2012 by University of Chicago faculty members and has since evolved into an internationally acclaimed performance art troupe. Manual Cinema still resides in Chicago.

This theatrical production of ‘Frankenstein’ is unlike anything you have ever seen. Drew Dir’s concept closely follows Mary Shelley’s novel and even includes an intermittent story arc about how Mary Shelley came to write ‘Frankenstein’. Unlike a traditional play, this production contains no spoken dialogue. Instead, the cast furiously dashes around the set creating a visual splendor on several overhead projectors. Though, there are scenes of more traditional acting or, pantomime, layered into the play as well. The show is projected onto a main screen but it’s nearly impossible not to sneak away glances to the corners where the visuals are being created. A live orchestra beautifully scores the play with original music composed by Kyle Vegter and Ben Kauffman.

This production is riveting. Not only are the projections and music sumptuous but the shadowy atmosphere created by Manual Cinema is haunting. The staging is set up in a way that encourages the audience to watch how the projections are created. The story is somewhat simplified but in that simplicity is an almost pop-up book version of Shelley’s classic horror story. The cinematic score propels the action and provides an emotional component to the piece. The two-hour run time seems to breeze by and you’re left not wanting the excitement to end.

‘Frankenstein’ is Manual Cinema’s sixth full length show but hopefully that means there will be plenty more. If you’re wondering which ‘Frankenstein’ to see this fall, this is the one. There is surely nothing else like it.

Through December 1st at Court Theatre. 5535 S Ellis Avenue. 773-753-4472

The setting is a drought-stricken Midwest cattle town. Sheriff File (played by Denzel Tsopnang) and the town folk set the mood as they lament that “the earth is burning, crops is bad, and land is dry” in opening number “Another Hot Day” of BoHo Theatre’s presentation of 110 in The Shade.

But it’s not all bad news as one cattle ranching family, H.C.(Pops), Noah, and Jimmy get the welcome news that sister Lizzie’s Coming Home. Lizzie (played by Neala Barron) has been visiting kin, in the hopes of finding a husband. Her quest for love however was as fruitless as the drought-damaged trees.

When fast talking charismatic Starbuck (played by Tommy Thurston), a self-proclaimed “rainmaker”, comes rolling into town proclaiming that for a measly $100, in advance of course, “it’s gonna rain all through the mornin’. It’s gonna rain all through the night. It’s gonna rain all day tomorrow, Now, won’t that be a sight!” the town is whipped into a frenzy.

Beyond the frenzy and excitement (and tension) as we await the promised rain, we witness many layers of emotion in the characters, including insecurity and self-doubt, internal conflict, family conflict, and ultimately love and hope.

Neala Barron (Lizzie) gives a very emotionally raw performance. Her body language and facial expressions were honest and believable. In “Simple Little Things”, I had tears in my eyes. I truly felt compassion towards her character. Her vocal performance was superb!

Tommy Thurston (Starbuck) gave an equally strong though less emotional performance. His charisma and energy were perfectly matched to his portrayal of the fast-talking con-man, yet he successfully and believably toned it down for the more intimate scenes. Vocally, I felt that the fast pacing of some his songs challenged his depth of breath and dropped off just a little.

Denzel Tsopnang (File) was strong as the third lead. While his role didn’t command as much attention his performance was reserved as the role required. His vocal performance however was first class from the opening number and throughout.

H.C. Noah, and Jimmy (Peter Robel, Billy Dawson, and Christopher Ratliff) were excellent in their supporting roles. They each played an important role in the emotional depth of the story.

The production design and technical direction was outstanding as well, specifically the use of lighting to either set a mood, the special effects of thunder, lightning and rain, and the working windmill were more than I expected in this mid-size venue.

Directed by BoHo Theatre Artistic Director Peter Marston Sullivan, this production is rich in emotion, converting this simple romance into a deeply moving story of family conflict, loneliness, love and hope. While this entire production, because of its strength, could transfer easily to a bigger stage, I am happy to have been able to experience the intimacy and the emotion in this mid-size venue. The ensemble size fit the production and filled the stage nicely; the production never felt cramped in this sized theatre.

BoHo Theatre’s production of 110 in The Shade is a MUST SEE for this theatre season!

At Theater Wit thru Dec 16, 2018.