Displaying items by tag: Alicia Berneche

City Lit Theatre is currently bringing the swordplay world of Scaramouche to vivid life, offering audiences a rare chance to experience this spirited tale of wit, rebellion, and theatrical daring onstage. With its blend of political intrigue, romance, and commedia‑dell’arte flair, City Lit’s production captures the adventurous sweep of the story while showcasing the company’s signature literary focus. It’s a lively, sharply drawn staging that reintroduces a classic hero to modern audiences with style and verve.

Scaramouche tells the story of André‑Louis Moreau, a quick‑witted young lawyer in pre‑Revolutionary France whose life is shattered when his closest friend is killed in a duel by an untouchable aristocrat. Forced into hiding, André‑Louis slips into a traveling commedia dell’arte troupe as an out‑of‑work actor, where - thanks to the help of Pierre Binet, who immediately takes a liking to him - he quickly rises to lead the company. Donning the mask of Scaramouche, the nimble, sharp‑tongued clown whose satire cuts deeper than any blade, he begins crafting and performing daring political farces that transform him from fugitive to folk hero. His journey winds through romance, duels, disguises, and the rising tide of revolution, all while he uncovers long‑buried truths about his own identity.

Though the story is best known from Rafael Sabatini’s 1921 novel, its most significant early-stage incarnation came through Jean Sibelius’s ballet‑pantomime Scaramouche, written between 1912 and 1913. Sibelius’s adaptation brought the mischievous commedia figure to life through music and movement rather than spoken dialogue, emphasizing the character’s blend of humor, danger, and political bite. The work premiered on May 12, 1922, at the Royal Danish Theatre in Copenhagen, marking the first major performance of Scaramouche as a fully staged ensemble-shaped piece.

A century later, City Lit Theatre’s stage version captures the heart of the tale with clarity and affection, leaning into the story’s text‑centered expressiveness, wit, and emotional undercurrents rather than its spectacle. True to the company’s long‑standing mission of elevating literary works for the stage, City Lit approaches Scaramouche with a storyteller’s precision - honoring Sabatini’s narrative sweep while foregrounding the character‑driven humor and humanity that make the piece endure. Their production bridges the novel’s adventurous spirit and Sibelius’s expressive theatricality, reminding audiences why Scaramouche remains one of literature and theatre’s most enduring trickster heroes - “born with the gift of laughter and a sense that the world was mad,” and destined to turn both into his greatest weapons.

City Lit’s Scaramouche marks a genuine world premiere as a full musical, and what’s remarkable is just how naturally the saga takes to the form. Though Sabatini’s tale has lived for a century in novels, films, plays, and even Sibelius’s ballet pantomime, it has never before been realized as a traditional book musical with a sung score. City Lit recognized that the story’s imaginative DNA - its commedia dell’arte roots, its heightened characters, its blend of satire, romance, and political danger - was already begging for musical expression. That insight became the foundation for this adaptation, with music and lyrics by City Lit Artistic Associate Kingsley Day and book by Day and James Glossman, shaping André Louis’s journey with straightforwardness, wit, and story-forward verve. The result is a surprisingly seamless transformation, one that feels less like an experiment and more like the form the adventure had been waiting for.

What truly sells the concept is the sheer musical ambition of the production. With 30 musical numbers, the show fully commits to musical theatre, using songs to heighten character, hone satire, and propel André‑Louis from out‑of‑work actor to revolutionary folk hero. And the cast meets that challenge with uniformly excellent vocal performances. Ensemble members shift effortlessly between comedic patter, heartfelt ballads, and rousing ensemble pieces, giving the score a richness and variety that continually surprises. The vocal work is strong, expressive, character‑driven, and emotionally grounded, the kind of singing that makes the musical form feel not only justified but essential. City Lit’s gamble pays off: Scaramouche thrives as a musical.

Ethan Smith and Laura Michele Erle in CIty Lit Theatre's Scaramouche.

Ethan Smith anchors Scaramouche with a performance that is as nimble as it is commanding, capturing André‑Louis Moreau’s evolution from wounded idealist to razor‑sharp revolutionary with remarkable definition and charisma. Smith moves through the character’s many transformations - lawyer, fugitive, actor, firebrand - with an ease that makes the journey feel inevitable, even thrilling. His wit lands on point, his emotional beats resonate, and he carries the production with the kind of presence that makes it impossible to look anywhere else. It’s a standout turn that gives the tale its pulse.

Henry Michael Odum brings rich texture to each of the Manager/Gavrillac/Pierre Binet, shifting between roles with a grounded authority that deepens the world around André‑Louis. Laura Michele Erle offers a luminous, heartfelt Aline, playing her with a sincerity that makes her scenes glow. She balances innocence with quiet resolve, giving Aline a sense of inner life that elevates every moment she’s onstage. Conor Ripperger’s Phillipe (among other characters) is equally compelling - earnest, principled, and deeply sympathetic. His early scenes with Smith establish the emotional stakes of the structural arc, and Ripperger’s performance makes Phillipe’s fate feel genuinely affecting. Kent Joseph delivers a taut, formidable De La Tour, embodying the character’s aristocratic menace with razor precision and a chilling sense of entitlement.

The supporting ensemble adds color, humor, and texture throughout. Alicia Berneche brings elegance and sly intelligence to Madame de Sautron (and how she can sing!), shaping each moment with a knowing touch. Shea Lee’s Columbine sparkles with playful charm, her physicality and timing giving the commedia sequences real lift. Ed Rutherford makes Chapelier delightfully sharp‑edged, grounding the satire with controlled delivery. India Huy’s Climene is vibrant and expressive, adding a burst of stage-driven flair whenever she steps into the spotlight. Rushil Byatnal rounds out the troupe with a wonderfully nimble Pierrot, blending innocence and mischief in a way that feels perfectly tuned to the world of the play.

Together, this ensemble creates a dynamic, fully inhabited world - one where satire, romance, and revolution collide with irresistible spirit of invention.

Beth Wolf, a two‑time Jeff nominee, leads the production with a deft, imaginative hand, weaving together its comedy, romance, and revolutionary spirit with remarkable ease. Her direction gives the piece a vibrant pulse that carries through every scene.

City Lit Theatre has spent the past several seasons reaffirming its reputation as Chicago’s home for smart, text‑centered storytelling, offering audiences everything from tightly rendered literary adaptations to rediscovered gems that rarely see the stage. Their recent productions have leaned into that mission with renewed confidence, showcasing the company’s knack for transforming complex narratives into intimate, actor‑driven theatre. In that context, Scaramouche feels like an inspired and perfectly aligned choice - a swashbuckling tale rooted in literature, rich with political intrigue, theatricality, and character depth. It gives City Lit the chance to flex its strengths: crisp ensemble work, narrative coherence, and a love of stories that balance adventure with ideas. As part of their ongoing commitment to bringing literary worlds to life, Scaramouche fits not just well, but exceptionally well.

City Lit’s production is elevated by a design team working in striking harmony to evoke the texture and artistic boldness of late‑18th‑century France. Jennifer Mohr’s costumes - supported by her expertise as a commedia consultant - bring a vivid blend of historical detail and playful character expression, while Meg X. McGrath’s props add tactile richness to every corner of the stage. Jackson Mikkelsen’s lighting sculpts the world with warmth and shadow, shifting effortlessly between intimate moments and broader swashes of adventure. Scenic designer Trevor Dotson provides a flexible, purpose‑built environment that lets the action unfold with clarity and momentum, and Music Director Kevin Zhou does an impressive amount with a limited‑sized band. Maureen Yasko’s violence and intimacy design adds yet another essential layer, shaping moments of danger and vulnerability with precision, safety, and emotional truth. Together, they craft a world that feels cohesive, imaginative, and wonderfully alive.

City Lit’s Scaramouche is an easy production to recommend - a smart, spirited world‑premiere musical that embraces the adventure, satire, and dramatic flair of Sabatini’s plotline with real imagination. The company’s intimate Edgewater home adds to the charm, though audiences should know that parking in the neighborhood can be challenging, especially on weekend evenings. The theatre itself is located on the second floor of the Edgewater Presbyterian Church and is fully ADA accessible via elevator, making the space welcoming to all. For anyone who loves literary adaptations, new musicals, or simply a night of inventive storytelling, Scaramouche is absolutely worth the trip.

For tickets and/or more show information, click here.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

By the end of January, most people are over holiday theater. In the days between holidays, the Loop is a ghost town almost exclusively sustained by last minute ‘Christmas Carol’ and ‘Nutcracker’ matinees. Locals tend to stay local. For Evanston residents looking for quality theater, Light Opera Works is a great Off-Loop alternative. 

For the final few days of the year, Light Opera Works presents the classic Johann Strauss operetta ‘Die Fledermaus.’ Artistic director Rudy Hogenmiller presents an amiable English language adaptation by Quade Winter. One of the show’s best draws is the 30-piece orchestra conducted by Roger Bingaman. 

‘Die Fledermaus’ or “the bat,” is a typical farce. The first act sets the stage for philandering husband Eisenstein (Michael Cavalieri) to attend a masked ball on the eve of his impending incarceration. His wife Rosalinda (Alicia Berneche) meanwhile carries on an affair with a former flame, Alfred (Tobias Wright). The real candy of Act I might just be Kelly Britt as Adele, a lovely chambermaid with ambitions of her own. Her comedic strength is consistent throughout. William Dywer holds the attention of Act II as the dashing and strong-voiced host of the masked ball. As happens in all farces, the central couple learns a valuable lesson that rekindles their love. 

Along with great vocals, Light Opera Works’ production is visually pleasing. Costumes and sets by Jana Anderson and Adam Veness work together to showcase Light Opera Works’ impressive budget. Suburban theatre is rarely this polished. 

“Die Fledermaus” at Light Opera Works in Evanston is a good choice for those close to home. The music is soaring and the comedy tickles all ages. A better bet in Evanston surely can’t be found. 

Through January 1st at Light Opera Works. Cahn Auditorium 600 Emerson St. Evanston, IL