Displaying items by tag: John Williams

As a lifelong Hitchcock fan, Dial M for Murder has always been one of my comfort film thrillers - the kind of tightly wound mystery where every glance, every pause, and every seemingly harmless detail becomes a loaded clue. I’m a sucker for a well-crafted whodunnit, especially the kind that balances elegance with danger and wit with dread. That’s why October feels like a gift for mystery lovers: a chance to watch Frederick Knott’s classic story step off the screen and onto the stage in Glenview, where its suspense sharpens and its twists land with fresh immediacy.

Although Hitchcock’s 1954 film remains the most widely known version of the story - with Ray Milland’s suave menace, Grace Kelly’s cool radiance, and John Williams’ unforgettable turn as Inspector Hubbard - Dial M for Murder began its life onstage. Knott’s play premiered in 1952 at London’s Westminster Theatre before transferring to Broadway later that year, where its tight structure and chamber thriller design quickly earned acclaim. It’s easy to forget that Knott’s play came first, but remembering its theatrical origins makes Oil Lamp Theater’s staging feel like a return to the story’s true form rather than just a nod to the famous film.

Oil Lamp Theater’s production of Dial M for Murder, adapted by Jeffrey Hatcher and sharply directed by Daniel King, taps into into that live wire energy. The plot remains deliciously tense - Tony Wendice’s meticulous plan to murder his wife Margot, the hired killer who fumbles the job, and the spiraling cover up that follows - but Hatcher’s adaptation trades Hitchcock’s cool, camera-controlled precision for something more intimate and kinetic. Without the film’s polished detachment, the danger unfolds mere feet away, every shift in tone or tactic happening in real time. Character motivations sharpen, pacing tightens, and the unraveling of Tony’s scheme feels more visceral, more human, and far less theoretical than it does on screen.

(L to R) John Chambers and Robert Austin Love in Dial M for Murder at Oil Lamp Theater.

The result is a sleek, modernized thriller that honors Knott’s original structure while embracing the momentum and immediacy only theatre can deliver. Oil Lamp Theater transforms a familiar classic into an edge of your seat experience - one that rewards Hitchcock devotees, satisfies whodunnit purists, and proves that some mysteries are even better when you can feel the strain in the room. It’s outstanding.

This is a dialogue driven thriller, and the ensemble handles its quick witted, fast paced exchanges with remarkable ease, building off one another so fluidly that the charge and rhythm feel almost effortless. The production finds its center of gravity in the icy cool poise and controlled calculation of Tony Wendice, played with crisp precision by John Chambers – Roger Moore-esque charm and all. His performance has an almost surgical sharpness - every pivot, every adjustment in tone feels intentional - making Tony’s manipulations both believable and unsettling. Chambers gives the show its spine, grounding the thriller in a performance that’s quietly dangerous and consistently compelling.

Margot Wendice emerges as far more than a plot device thanks to Paige Klopfenstein, who brings emotional clarity and a welcome sense of agency to the role. Her Margot is vulnerable without ever seeming fragile, and Klopfenstein’s grounded presence deepens the stakes of Tony’s scheme. The unease in her scenes feels lived in, giving the unraveling mystery a human pulse.

Adding a modern spark, Charlotte Foster’s Maxine Hadley offers wit, intelligence, and a refreshing directness. Foster leans into the character’s independence, making Maxine feel like a genuine complication in Tony’s carefully engineered world rather than a narrative accessory. Her scenes crackle with contemporary energy that complements Hatcher’s adaptation. Hatcher’s decision to gender swap the film’s Mark Halliday into Maxine shifts the dynamic in a fresh, contemporary way, transforming the romantic outsider into a sharper, more dynamic presence without altering the story’s core tension.

(L to R) Paige Klopfenstein and Charlotte Foster in Dial M for Murder. Production Photos by Gosia Matuszewska/Gosia Photography.

Robert Austin Love’s Lesgate brings grit and unease to the production. He captures the desperation of a man who knows he’s in over his head but can’t resist the lure of Tony’s offer. There’s a standout moment when what begins as an innocent visit to purchase an automobile suddenly twists into a realization that he’s being backed into a treacherous corner, and Love plays that shift with gripping precision. His tense exchanges with Chambers are among the show’s most suspenseful moments, adding texture to the thriller’s middle stretch.

And then there’s Inspector Hubbard - perhaps my favorite character to watch throughout - played with warm, grounded intelligence by James Sparling. It’s a role forever associated with John Williams’ cool, amused detachment in Hitchcock’s film, but Sparling wisely avoids imitation. Instead, he offers a more human, quietly charismatic take that suits the intimacy of Oil Lamp Theater. His Hubbard is observant, methodical, and confident without showiness, proving the character can be just as brilliant without echoing the film’s iconic performance.

The mid-century modern set design instantly establishes the play’s refined, high-stakes ambience, transforming the theater’s cozy space into a stylish apartment in one of London’s ritziest neighborhoods. Scenic designer Spencer Donovan leans into clean lines, warm woods, and period perfect décor to create a room that feels both elegant and quietly confining - an ideal environment for a thriller that unfolds entirely within this single space. Rachel D. Hemm’s lighting sculpts the atmosphere with strategic shadows and crisp highlights, guiding the audience through every shift in power, while Taylor Pfenning’s costumes reinforce the era’s sophistication with subtle, character driven detail. Rick Reid’s sound design is spot on, adding just the right atmospheric touches to heighten suspense without ever overwhelming the room. Ellen Markus’ meticulous props complete the illusion, grounding the world in tactile authenticity. The design team crafts a mid-century setting that not only sets the mood but becomes an active part of the unfolding drama. Oil Lamp’s finely scaled space is a perfect match for this particular thriller.

Mystery lovers and Hitchcock devotees should make a point of catching this production while it’s still onstage. Dial M for Murder at Oil Lamp Theater delivers all the elegance, tension, and twisty satisfaction of the classic story, but with the added thrill of watching the entire scheme unfold in an intimate space where every glance and shift in strategy feels immediate. It’s a rare chance to experience a whodunnit not from the safe distance of a screen, but right in the room as the danger tightens around the characters. Playing through November 1st, this is exactly the kind of smart, tightly crafted thriller that makes you grateful to see the story come alive just a few feet away.

Highly recommended - one of my personal standout productions of the year, driven by a stellar cast, precise direction, pitch‑perfect design, and pacing that keeps you on your toes from start to finish.

For tickets and/or more information, visit https://www.oillamptheater.org/mainstage-productions/dial-m-for-murder.

Auditorium Philms’ presentation of Steven Spielberg’s 1981 classic Raiders of the Lost Ark with the Chicago Philharmonic Orchestra transforms a beloved blockbuster into a full‑body cinematic jolt. Indiana Jones’ adventures play out across the towering Auditorium Theatre screen, but it’s the live orchestra that makes the familiar feel astonishingly new. John Williams’ legendary score doesn’t just sit beneath the film—it surges through it, electrifying every frame. Each chase, each narrow escape, each sweeping desert vista lands with heightened force as the Philharmonic unleashes the “Raiders March” and the score’s darker, more mysterious undercurrents with breathtaking clarity. The result is an experience that feels both nostalgically rooted in movie history and thrillingly alive in the present moment.

Set in 1936, Raiders of the Lost Ark follows archaeologist and adventurer Indiana Jones (Harrison Ford) as he’s recruited by U.S. Army Intelligence to locate the Ark of the Covenant, a biblical artifact believed to hold immense supernatural power. The Nazis are already searching for it, hoping to harness its destructive force for their military ambitions.

Indy’s quest takes him from the jungles of South America to the snowy mountains of Nepal and the bustling streets of Cairo. Along the way, he reunites with his tough, resourceful former flame Marion Ravenwood (Karen Black), and together they battle traps, treachery, and relentless Nazi agents. Standing in Indy’s way is his rival, the suave and morally slippery archaeologist René Belloq (Paul Freeman), who has aligned himself with the Nazis to claim the Ark for his own purposes.

The adventure barrels toward a race‑against‑time finale as Indy fights to keep the Ark out of enemy hands—culminating in one of the most unforgettable climaxes in action‑adventure cinema.

The stunning Auditorium Theatre amplifies the magic, its grand acoustics allowing the orchestra’s sound to bloom without ever overpowering the action onscreen. The coordination between musicians and film is so precise that it feels as though the score is being created in the moment, perfectly synced to every crack of Indy’s whip and every pulse‑pounding twist. The result is a seamless blend of concert and cinema, a reminder of just how essential Williams’ music is to the film’s spirit, humor, and sense of adventure.

Conductor Thiago Tiberio.

Brazilian conductor Thiago Tiberio brings remarkable artistry and precision to the podium, making him one of the standout talents in the world of film‑in‑concert performance. Known for his expert live‑to‑picture synchronization, Tiberio has led orchestras in acclaimed presentations of Star Wars, The Nightmare Before Christmas, Coco, Lord of the Rings, and other major studio projects across the globe. His background spans opera, multimedia productions, and award‑winning work recognized by organizations including the United Nations. What truly distinguishes Tiberio is his dynamic presence and emotional clarity - he draws rich, expressive playing from musicians and elevates every score he touches, turning familiar soundtracks into thrilling live experiences.

Each time Indy charges onto the screen with a burst of heroism - or the Chicago Philharmonic unleashes a perfectly rendered cue from Williams’ score - the audience responds as one. Cheers ripple through the theatre, a spontaneous wave of energy that makes the experience feel communal and electric.

Whether you’ve seen Raiders a dozen times or are discovering it for the first time, this live‑orchestra presentation is a joyous celebration of movie magic - an electrifying tribute to one of Hollywood’s most enduring collaborations.

As a newly crowned favorite way to experience a film classic, Auditorium Philms makes a strong case for returning again and again. Their upcoming slate keeps the magic alive, offering even more opportunities to see iconic movies reimagined through the power of live orchestral performance. Keep an eye on their calendar - you won’t want to miss the cinematic treasures still to come.

Saturday, May 16, 2026 • 7:30 PM
Auditorium Philms Presents
Rocky In Concert – 50th Anniversary
with the Chicago Philharmonic

Saturday, September 26, 2026 • 7:30 PM
Auditorium Philms Presents
Top Gun: Maverick

Saturday, October 24, 2026 • 7:30 PM
Auditorium Philms Presents
Edward Scissorhands In Concert – Live to Film
with the Chicago Philharmonic

Saturday, December 19, 2026 • 7:00 PM
Auditorium Philms Presents
Home Alone 2: Lost in New York – Live in Concert

For tickets and/or more information, visit https://www.auditoriumtheatre.org/events/buy-tickets/auditorium-philms.