Displaying items by tag: Lyric Opera

Do not believe the hype. AI will not replace the arts. By its very definition it is artificial, the antithesis of reality; false, an illusion, an imitator. Every day we are inundated with the advent of AI, how it will not only automate manual tasks, but how it will soon write our new favorite screenplays, comic strips, news articles and fantasy novels. But mark me: AI will never be able to imitate the feeling one gets by walking into a historic opera house and seeing the grandness and majesty of the venue. AI cannot replicate the incredible resonance of an aria or replace the crescendo of a live orchestra of talented musicians. Said succinctly, AI can never encapsulate the arts, the human experience personified. Don’t believe the hype. It’s just a buzzword. And since 2025 airport rules are in effect, let’s rebrand AI to what we should all seek and be lucky enough to be in our lives: AI=Awe Inspiring. Because those are the only words that could possibly come close to describing the experience that was Sandra Radvanovsky’s incredible performance of Puccini heroines at the Lyric Opera.

Soprano Sondra Radvanovsky is a globally celebrated artist. The depth and exquisite color of her voice are matched by her dramatic acting ability and versatility. She is widely regarded as one of the premiere Verdi sopranos alive today, as well as the leading interpreter of Bel Canto, Verismo, and many others. This February, the Lyric Opera welcomed Radvanovsky back to Chicagoland with open arms as she performed several arias from Puccini’s operas. In this tour-de-force premiere, the world-renowned diva brought her magnificent voice, stylistic command, and incandescent dramatic powers to arias that spanned Puccini’s vast repertoire; favorite leading lady moments from Tosca, La Bohème, Madama Butterfly, and Turandot, interspersed with gorgeous melodies from Puccini's more rarely performed works, all supported by the magnificent sound of the Lyric Opera Orchestra led by Music Director Enrique Mazzola.

The moment the lights of the theatre dimmed and the conductor, Mazzola, took his place before the orchestra calling forth the first notes of classic operas, the audience was transported to another time, another world. Unhurried and unbothered by the outside world, for the briefest moment in time we were simply existing in this beautiful theatre, surrounded by lovers of music and the arts. History and art melded together and traveled to every corner of the historic opera house so not a single guest was denied the grandeur of the music. As the Chicago native took the stage, the audience was enraptured by the enchantress, captivated by Radvanovsky’s vocal prowess, and awestruck at the sheer magnitude of her performance. With light banter from the singer to segue between sets, beautiful interludes led by Mazzola, and a double-encore that left audiences wanting more, the Lyric Opera had truly set the tone for what its 2025 season promises to be, nothing short of awe-inspiring, the only true AI we should pursue in the world.

During her final performance in the limited run of Puccini’s Heroines, Radvanovsky alluded of her connection to the arias she chose to perform, remarking on the need for the arts, for love, for kindness and beauty, all the values the Lyric Opera represents through its performances, outreach, and inclusivity. In a year that attempts to erase history, eliminate the arts, and deny the exquisite pleasure of the humanities, let 2025 be the year to double down and embrace all that Chicago has to offer. With performances that celebrate poetry, music, history, and art, the Lyric Opera, located at 20 N. Wacker Dr., Chicago, promises an incredible 2025 year and a reprieve from this fast-paced world. For details and tickets to future performances, please visit www.lyricopera.org with your AI (Awe-Inspiring) heart today.

There is something magical about Chicago at Christmastime. Even if there is no snow on the ground, there is an energy in the atmosphere, peaceful and whimsical. Whether you take in the colorful zoo lights at The Lincoln Park Zoo, or stroll the Christkindl markets downtown, or ice skate in the shadow of Wrigley Field, there is magical nestled in every corner of the city. December winds bring a chill to The Windy City and signals the arrival of the holiday season with lights, cozy fires, warm drinks, and the most cherished of holiday traditions, The Joffrey Ballet’s The Nutcracker, now playing at the Lyric Opera.

For those who are unfamiliar with The Nutcracker, the fairy-tail-like ballet follows the story of a young girl named Clara who receives a nutcracker doll on Christmas Eve from a magical guest at the party. Clara's reality and dreams merge as she and her nutcracker embark on a magical adventure. The nutcracker transforms into a prince, and Clara and the prince travel to the Land of Sweets, where they meet the Sugarplum Fairy.

Joffrey’s Nutcracker follows a similar storyline with a magical Chicago twist. On a magical Christmas Eve, mere months before the opening of Chicago’s 1893 World’s Fair, Marie and her mother, a sculptress creating the fair’s iconic Statue of the Republic, partake in a festive celebration with a surprise visit from the mysterious Great Impresario. That evening, after awakening to an epic battle between Toy Soldiers and The Rat King, Marie is swept away by a Nutcracker Prince on a whirlwind journey to the dreamlike fairgrounds of the World’s Columbian Exposition with sprawling attractions represented by countries from around the globe. Set to Tchaikovsky’s classic score, The Nutcracker features a celebrated creative team, including two-time Tony Award®-winning choreographer Christopher Wheeldon, Tony Award®-nominated set and costume designer Julian Crouch, Caldecott Medal Award-winning author Brian Selznick, Obie and Drama Desk award-winning puppeteer Basil Twist, Tony Award®-winning lighting designer Natasha Katz and Tony Award®-winning projection designer Ben Pearcy. 

I have been seeing The Nutcracker every holiday season, moving from dancing in the ballet and watching in the wings, to the balcony seats to enjoy the performance. There is nothing quite like The Joffrey’s rendition of the classic ballet. The Chicago World’s Fair of 1893 storyline works incredibly well with the production, from the humble beginnings of fair workers and their families, a kind and wealthy benefactor bequeathing the nutcracker doll, and a dreamlike world with Clara exploring the World’s Fair and all it had to offer. The 1893 World’s Fair inspired Frank E. Baum, utilizing the famed White City of the fair to inspire the Emerald City of Oz in The Wizard of Oz. The fair introduced the world to the Ferris Wheel, brownies, cracker jack popcorn, and the zipper. There were countries and states represented that visitors could only dream to have visited, right in their own backyard. Historical documents and first-hand accounts mention how magical and awe-inspiring the fair was, it’s easy to see how The Joffrey could look at the fair as a backdrop to The Nutcracker and see magic.

But even with the artistic direction The Joffrey took, it still begs the question of why do we see the same performance year after year after year? Artistic Director Ashley Wheater, MBE pondered the same thing. “I have asked myself, ‘How can we make this a special experience for people who have seen the Nutcracker before and for those attending for the first time?’,” says Wheater. “Part of the beauty of this Nutcracker: it is a Chicago story! We set the scene during an important time in the history of our city: the World’s Columbian Exposition of 1892. We identify with the working spirit of the people. We understand that joy can be found in simple things. We appreciate that magic is all around us, if only we look. The real “magic” of this Nutcracker, though, is that it changes every time we watch it. Each of us in the audience is different. We have loved, lost, struggled, succeeded, grown. We bring our own story to the theater. The beauty of live theater is that no two performances will be the same.”

The year’s opening night of The Nutcracker was nothing short of magical. Joffrey’s current company has to be one of their best in years with outstanding principles including Amanda Assucena, the mother and sculptress for the Fair (the Sugar Plum Fairy) and Alberto Velazquez, the Great Impresario of the Fair, and the darling Anabelle de la Nuez as Marie (Clara) and Maxwell Dawe as The Nutcracker. Each scene is a feast for the eyes with the entire company dancing exquisitely amount wreaths, glittering snow, and before giant Ferris wheels. Whether this is your first time seeing The Nutcracker, or your hundredth, there is nothing in the world like Joffrey’s Nutcracker. It is truly one of a kind and the perfect addition to any holiday plans. But much like The World’s Fair of 1893, the magic won’t be here forever, so don’t delay and get your tickets today.

The Nutcracker is now playing at The Lyric Opera House, (20 North Wacker Drive, Chicago) through December 28^th. The Performance run time is 2 hours, includes one 20-minute intermission. Tickets are available at www.joffrey.org.

Sometimes history has a way of repeating itself and it’s not always for the better. Try as we might to learn from history, some of us are simply doomed to repeat it. But not everything that is repeated is necessarily bad. Historical music, art, and opera transcend history, where repetition is not only encouraged, but exalted. There is something magical about watching a live performance of an artform that was performed for audiences over two hundred years ago and think about the audience’s reaction then and now; did they laugh the same way? Did they like it as much then as we do today? Did they really use the word ‘b*$%h?’ There is truly a magical and historical connection happening at The Lyric Opera as they put on one of the most beloved operas of all time, The Marriage of Figaro.

The Marriage of Figaro continues the plot of The Barber of Seville several years later, and recounts a single "day of madness" (la folle journée) in the palace of Count Almaviva near Seville, Spain. Rosina is now the Countess. Dr. Bartolo is seeking revenge against Figaro for thwarting his plans to marry Rosina himself, and Count Almaviva has degenerated from the romantic youth of Barber, (a tenor in Paisiello's 1782 opera), into a scheming, bullying, skirt-chasing baritone. Having gratefully given Figaro a job as head of his servant-staff, he is now persistently trying to exercise his droit du seigneur – his right to bed a servant girl on her wedding night – with Figaro's bride-to-be, Susanna, who is the Countess's maid. He keeps finding excuses to delay the civil part of the wedding of his two servants, which is arranged for this very day. Figaro, Susanna, and the Countess conspire to embarrass the Count and expose his scheming. He retaliates by trying to compel Figaro legally to marry a woman old enough to be his mother, but it turns out at the last minute that she really is his mother. Through the clever manipulations of Susanna and the Countess, Figaro and Susanna are finally able to marry.

The company of The Marriage of Figaro at Lyric Opera of Chicago.

For those who have never seen an opera before, I could not recommend The Marriage of Figaro enough. The storyline is easy to follow despite the number of colorful characters. The opera is a musical comedy in four acts that first premiered in Vienna in 1786 and follows a comedy of errors as the players scheme and plot to catch each other in lies, all centered around a lascivious man who wants to have his way with a brushing bride, and the many men and women who don’t want that to happen. Mix in some humorous cross-plots and you’ve got yourself a comedy of errors that could have been written today. Composed by Wolfgang Amadeus Mozart, audiences old and young will instantly recognize the harmonies and familiar songs that have been featured in everything from Charlie and The Chocolate Factory and Mrs. Doubtfire, to countless Looney Tunes cartoons, and even viral TikToks. Considered one of the greatest operas ever written, The Marriage of Figaro is consistently ranked as one of the top ten most frequently performed operas. While the opera is sung in Italian, don’t worry, there are English translations displayed above the stage for the audience to understand what is being sung. With a minimalist but grand stage, vibrantly colored costumes, and voices of actors that are remarkably otherworldly, The Lyric Opera pays homage to history of this opera with their production. Helmed by incredible talent from Peter Kellner as Figaro, Ying Fang as Susanna, Federica Lombardi as Countess Almaviva, and Gortdon Bintner as Count Almaviva, this opera is an incredible introduction to the artform for both seasoned and novice operagoers.

When we look back in history, we sometimes wonder if those from the past thought about how they’d be perceived by future generations. Did Mozart know his masterpiece would still be played hundreds of years later? Do the opera singers feel history captured in the libretto they are singing? Not everything in history that repeats itself is bad. The things that bring life, laughter, love, and light into our lives should be repeated, and frequently. When history does inevitably repeat itself, be sure it is pulling you into the light and not into a pit of despair. After all, we could all use a little bit of light and laughter in our lives right about now. So make a night of it in Chicago and see The Marriage of Figaro at The Lyric Opera (20 N Wacker Dr, Chicago) during its limited run through Nov 30^th. Tickets are available at www.lyricopera.org.

Opening in the town square of a small town in Spain, Don Quichotte by Jules Massenet tells the story of a somewhat delusional knight errant, his squire Sancho and their quest to retrieve the stolen necklace of Dulcinée in an effort to win her love and affection. Adventures with the bandit Tenebrun and his bandit gang ensue but Don Quichotte prevails and returns home with the necklace, only to be turned down by his love who wishes to remain unattached and independent. As the opera reaches its fifth act, Don Quichotte and Sancho return to the mountains where Don Quichotte embraces his imminent death much to the dismay of the ever-faithful Sancho. 

Before the start of each of the five acts, quotes from the novel are projected onto a screen covering the stage. As the music - conducted by Sir Andrew Davis – swells, creative lighting starts to bring to life the scene behind the screen. With an elaborate set designed by Ralph Funicello, we are transported from the town square to a mountain side adorned with windmills to the bandit’s lair. The creative use of projected animations, and well-constructed set pieces fill the stage with life and energy. 

In the main role, Ferruccio Furlanetto is a standout of the show. Capturing the eccentric character of Don Quichotte with his interestingly coifed hair and handle bar mustache, and his somewhat outdated armor all atop his trusty horse Rossinante, Furlanetto brings the role to life. For all the emotion and drama he brings to the show, his loyal squire Sancho, played by Nicola Alaimo in his Lyric Opera debut, brings the comic relief.  The pair together was a joy to watch and had great chemistry on stage throughout the performance to where the final scene will truly tug at your heartstrings. 

There is a large chorus for this show and amazingly the moments where only 2-3 actors shared the stage were just as powerful as when there were 20-30 people crowd the stage raising their voices together. The choreography and stage direction by August Tye was well done, with natural movement of large groups on stage that captured the feelings and emotions being portrayed in the scene whether it be the joyous celebration of the beauty Dulcinée, or Don Quichotte’s final prayer to the group of bandits. 

Overall, this was a great performance that tells a moving story. Although the show is 5 acts the story moves along quickly, and will keep you entertained. Sung in French, there are subtitles over the stage in English to follow along. While not over the top, the production is quite a spectacle and should be enjoyed by opera lovers and newbies alike.  Be sure to get your tickets soon as the production is only running at Lyric Opera of Chicago through December 7th. 

In 2013, The Lyric Opera of Chicago made a commitment to produce five Rogers and Hammerstein musicals and on Saturday night, they opened The King and I – the fourth show of the five – directed by Lee Blakeley in his Lyric Opera directorial debut. 

The King and I tells the tale of Anna, a young widow who travels to Siam with her son to serve as English teacher to the King’s multitude of children. In a country where patriarchy and old traditions prevail, Anna - referred to as “sir” by the King’s wives – is a strong, independent and well educated woman whose strength challenges a king who has never been challenged before. As the strict but loving teacher gets to know her pupils, her relationship with the King grows and despite their differences, she soon finds herself working with him to help convince the western world he is not a barbarian.

Kate Baldwin makes her Lyric Opera debut as Anna and was truly the star of the show, although the youngest of the Kings children certainly gave her a run for her money with a few beyond cute moments! Baldwin swept across the stage in her magnificent hoop skirts and brought strength and beauty to her songs. Unfortunately, Paolo Montalban – also in his Lyric debut – could not quite match Baldwin’s presence on the stage as the King of Siam. His singing was light and needed more power, as did his portrayal of the King which did not quite resonate the the intense and intimidating authority expected of this role.

It was an immense production overall with a massive cast once all of the wives, children, dancers, ensemble and main characters are accounted for. The sets and costumes are direct from the Théâtre du Châtelet in Paris. Everyone was dressed in colorful and glittering costumes, designed by Sue Blane, that filled the stage with magnificence. The sets, by Jean-Marc Puissant, were rich and intricate bringing the audience from the opulent palace to the classroom and the ship that brought Anna to her new home. 

For dance lovers, the ballet production of “The Small House of Uncle Tom”, choreographed by Peggy Hickey, was excellent with a beautiful blend of traditional ballet and an influence of traditional eastern dance styles. The production within the production incorporated puppets and creative use of props. Lisa Gillespie brings life to the role of Eliza in the ballet which is beautifully narrated by Ali Ewoldt as Tuptim. 

Overall, the Lyric Opera created another magnificent production with The King and I. While not perfect, the sheer magnitude of this show and some excellent performances are sure to please audiences. The show lacks some emotional depth but it still has moments that elicit laughter, bring a gently smile to the surface and even call up some light but somber memories of lost loves. The show runs at the Lyric Opera through May 22nd with weeknight, weekend and matinee performances. Get your tickets and enjoy your trip to Siam.

On the 400th year anniversary of William Shakespeare's death Lyric Opera of Chicago appropriately chose to commemorate the famed playwright’s life by putting on an outstanding production of Romeo and Juliet. Helping to make this such a special piece of operatic theatre, Joseph Calleja and Susanna Phillips as the tragically famous lovesick couple do a magnificent job vocally and emotionally throughout the show to bring the real spirit of youthful, love at first sight to life. 

The show begins with the stage curtain up and the entire cast ominously moves towards the audience singing the overture which was very effective in setting the tone of the times the play is set in. 

Soprano Susanna Phillips, perfectly complimenting tenor Calleja, is especially great in her role. Dressed all in pink with gold sparkles, she embodies the very essence of springtime love in her opening number.  When, at one point, she begs her nanny to stop talking about her impending marriage to an older man that Juliet does not love you really want her to get her wish, as her fresh hopeful desire to just dance and enjoy life is very infectious.

Joshua Hopkins as Romeo’s best pal Mercutio and Jason Slayden as Juliet’s short-fused cousin Tybalt also take to their roles with vigor and precision, really capturing the two sworn enemies’ disdain for each other while baritone Christian Van Horn is well cast as Friar Laurence, who means well though his efforts only end in tragedy.   

I loved ALL the costumes by Jennifer Tipton!  The rich, fabrics and colors, her hats and accessories for the women brought the whole stage to life. Also, the swashbuckling style of leather and velvet for the men was extremely entertaining and fitting to watch both their swordplay and Romeo’s lovemaking to Juliet.

Michael Yeargan's unit set is foreboding and appropriately towers over the cast as if to say there is no escape from this time period and its rules. However, I was looking forward to several set changes. Instead, the central platform served as a ballroom dance floor, Friar Laurence's cell, a town square and the crypt where the young couple meet their fate. I felt this modern touch of using a single large white sheet to signify Juliet's bedroom, then the church, and the burial shroud, etc., etc., was very one dimensional. The cast, so visually stunning, is so large even the hefty set seemed to barely contain them in various scenes. Still, overall, the production is a grand spectacle that is as colorful and enchanting as it is memorable.

Directed with fierce and daring force by Bartlett Sher, the Tony Award-winning Broadway director who's making his Lyric debut with this French piece by Charles Gounod, Romeo and Juliet succeeds marvelously on many levels. Of course this can only be accomplished with the comprehensive orchestral conducting of Emmanuel Villaume, who leads the often powerful and sometimes dreamy soundtrack to create a truly hauntingly tragic yet beautiful experience.  The romanticism of the writing is so beautiful, so poetic, I found myself watching the screen high above the stage trying to memorize some of the pure poetry as the play went along. The lines of love and adoration spoken by Romeo and Juliet to each other were so exquisitely written, I have never seen an American adaptation of this or any love story which compares to this poetic version of the play.

No spoilers but there is a slight change to the ending scene that might throw off a few viewers but I still found it quite enjoyable. 

This is a perfect opera to take your date to for an evening of romance that will thrill and delight. Your children will love this show because it renders the story of forbidden love and the destruction of such love because of unforgiving, ignorant family feuding and brings it to life in a compassionate and ever so romantic way.

Romeo and Juliet is being performed at Lyric Opera of Chicago through March 19th and is sure to please the casual and more adventurous theatre and opera lovers alike. For more information on this piece so wonderfully adapted for stage, visit www.LyricOpera.org. 

Lyric Opera of Chicago is proud to present the all-new exhibition “Creating Carousel” at the Civic Opera House. It opens on Friday, April 10, coinciding with the preview matinee performance of Lyric’s new production of Carousel. The exhibition, on the lower level of the Civic Opera House, will be open for all performances of Carousel through May 3. It is free to performance ticketholders.

“Creating Carousel”features the work of Italian visual artist and set designer Paolo Ventura. When Carousel director/choreographer Rob Ashford saw Ventura’s Winter Stories exhibition about six years ago, he “just fell in love with it,” Ashford recalled. “Part of it was set around a circus, a carnival. It was so moving and so beautiful and I was so captivated by it. I said, ‘If I ever do Carousel, that is the person who must design it.’ Then when Anthony [Freud, Lyric’s general director] approached me about it I said, ‘Can you get this guy?’ We made an all-out effort and we succeeded. We’re very excited to work together, to have Paolo make his theater and opera debut with Carousel in Chicago.”

Ventura accepted the invitation enthusiastically. “My work was already theatrical,” noted the artist. “I was just making theater on my table, so to have the chance to work on a much bigger scale really excited me. I immediately built the caravan, which became the key for the entire show.” That piece will be part of the Opera Club exhibition at Lyric.

“Creating Carousel” features eight set-design paintings, several mid-scale scenic elements that were part of the original design presentation, and a video interview with Ventura. The video element explores Ventura’s photo series Winter Stories, scenes he created as de facto set models and then photographed.

Additionally, the exhibition includes 28 costume-design drawings from the production by Catherine Zuber. Also on view will be vintage objéts on loan from Architectural Artifacts: an illuminated rounding board (the top of a carousel) and three antique carousel horses. Eight 40 x 60” rehearsal photos will be on display in the bar area of the Opera Club.

Carousel ticket holders can visit the “Creating Carousel” exhibition before curtain and during intermission of all performances.  It is co-curated by Michael Schoenig, Lyric’s technical finance manager, and Scott Marr, Lyric’s production design director PAOLO VENTURA is an internationally acclaimed artist who makes his theatrical debut with Carousel. A native of Milan, his work has been exhibited at the Forma International Center for Photography (Milan), Rencontres de la Photographie (Arles), and Maison Européenne de la Photographie (Paris). In 2012 he created a series of works for the Italian national pavilion at the 54th Venice Biennale. His works have been acquired by prominent public collections, including Boston’s Museum of Fine Arts, the Library of Congress, and Miami’s Martin Margulies Collection. Four monographs of his work have been published: War Souvenir (Contrasto, 2006), Winter Stories (Aperture and Contrasto, 2009), The Automaton (Peliti Asociati, 2011), and Lo Zuavo Scomparso (Punctum Press, 2012). Ventura was raised by a celebrated Italian children’s book illustrator, and a sense of childlike wonder pervades all of his work, which often features images of street performers, theaters, and cinemas, evoking the fanciful compositions of Toulouse-Lautrec. But Ventura’s work is also imbued with a disquiet that is all the more jarring for the superficially playful nature of his subjects, perhaps reflecting his unease about our changing, increasingly technological world.

CATHERINE ZUBER debuted at Lyric Opera in 2013-14 with costume designs for The Barber of Seville. Her successes in opera include six Metropolitan Opera productions (all seen in HD transmissions), as well as La forza del destino (Washington), Faust (Baden-Baden),Carmen and Nico Muhly’s Two Boys (English National Opera), Roméo et Juliette (Salzburg), and the Ring cycle (Washington, San Francisco). Zuber has been equally acclaimed on Broadway in musical theater (The King and I, Gigi, The Bridges of Madison County, How to Succeed in Business Without Really Trying, Women on the Verge of a Nervous Breakdown, Cry-Baby, Dracula, Little Women, Triumph of Love, The Sound of Music, The Red Shoes), comedy (Born Yesterday, The Royal Family, Dinner at Eight, Twelfth Night), and drama (Golden Boy, Seascape, Joe Turner’s Come and Gone, Oleanna, A Man for All Seasons, Mauritius, Doubt, Little Women, Dracula, Frozen, Ivanov). The eleven- time Tony Award nominee has won for South Pacific, The Coast of Utopia, Awake and Sing!, The Light in the Piazza, and The Royal Family. Her costumes were seen by a vast television audience in NBC/Universal’s broadcasts of The Sound of Music and Peter Pan.

Lyric’s new production of Carousel stars Steven Pasquale as carousel barker Billy Bigelow; Laura Osnes as his true love, millworker Julie Jordan; Jenn Gambatese as Carrie Pipperidge; Matthew Hydzik as Enoch Snow; Denyce Graves as Nettie Fowler; Jarrod Emickas Jigger Craigin; Charlotte d’Amboise as Mrs. Mullin; and Tony Roberts as the Starkeeper. 

Carouselis the third Rodgers and Hammerstein musical to be presented as part of Lyric’s American Musical Theater Initiative. The King and I and South Pacific follow in the 2015-16 and 2016-17 seasons, respectively. Past productions were Oklahoma! in the 2012-13 season and The Sound of Music in the 2013-14 season.

Lyric’s new production of Carousel and the exhibition “Creating Carousel”honor the 70th anniversary of this iconic American musical, which premiered on April 19,1945.

Carousel runs Friday, April 10 through Sunday, May 3, 2015 (26 performances, including one preview matinee and one student matinee) at the Civic Opera House, 20 N. Wacker Dr., Chicago. Tickets start at $29, and are available at lyricopera.org/carousel or at 312-827-5600.  The official press opening for Carousel is Saturday, April 11 at 7pm.

The opening-night performance of Carousel will be broadcast on 98.7WFMT and streamed on wfmt.com on Sunday, April 12 at 7:15pm.