Lyric Opera of Chicago presents:

Marriage of Figaro

Composed by Wolfgang Amadeus Mozart
Conducted by Sir Andrew Davis
Stage directed by Herbert Kellner
Projected English supertitles by Francis Rizzo
at Civic Opera House through March 27th (more info)

Figaro wants to marry Susanna. Marcellina wants to marry Figaro. Bartolo wants to marry the Countess. The Count wants Susanna. The Countess wants the Count. Cherubino wants everybody.  Arias of lust love are in the air! Lyric Opera of Chicago presents Marriage of Figaro, composed by Wolfgang Amadeus Mozart. A four act opera buffa (comedy) performed in Italian with projected English translations. A sequel to The Barber of Seville, the opera is set in the late eighteenth century. Figaro and Susanna want to marry. As servants of the Count, the union must be authorized by him. In addition, the Count may choose to invoke the custom of ‘having the bride’ before giving her away. The Count is not the only one interfering with Figaro’s marriage. Debts and betrayals have followed him from his The Barber of Seville days. Through a comedic series of tricks and twists, love eventually conquers all.

Check out the rest of the review at Chicago Theatre Blog.

Quest Theatre Ensemble presents:

Evolution/Creation

Written and directed by Andrew Park
Music by Scott Lamps
Musical direction by Gary Powell
At Quest Blue Theatre, 1609 W. Gregory
Thru March 28th (more info)

Science/Religion. Explosion/Organic. Inevitable/Mystical. Quest Theatre presents Evolution/Creation, a theatrical experience for the senses. Upon arrival at the Quest Blue Theatre, each audience member receives a red or green wristband. The red tags enter the doorway marked “Evolution.” The green tags go to door #2, “Creation.” The theatre has been split into two sides with a nine member orchestra straddling the center dividing line. Two different plays perform simultaneously with shared music. After the intermission, the audience goes through the opposite assigned door to experience the flip side. With no spoken dialogue, Evolution/Creation is all about innovative imagery set to music. The show starts with dramatic Latin chorale singing  from scientists and monk types on each stage. They are separated by the band. As the actors stand from the kneeling position, the orchestra sits. Curtains rise on either side. The band and the other stage are no longer visible. In the beginning, there was….

Check out the rest of the review at Chicago Theater Blog.

Peter Pan

Based on the character created by J.M. Barrie
Book and lyrics by Alyn Cardarelli
Music by Steve Goers
Directed by Matthew Gunnels
Thru July 22^nd at Apollo Theatre, 2540 N. Lincoln (more info)

Disney, Depp, Dustin, Duncan, the legend of Peter Pan has been retold and reimagined on stage and screen for over a century. This time its Emerald City Theatre’s adaptation as they present the world premiere of Peter Pan. Based on the character created by J.M. Barrie, Emerald City has created an energetic and colorful musical of the infamous boy who didn’t want to grow up. This version focuses on Wendy’s rite of passage. Mr. and Mrs. Darling want Wendy to move out of her childhood nursery and put on a big girl’s dress. Wendy wants to play! Cue the Pan. Peter arrives to whisk her away. He takes her to Neverland, a magical island where lost boys, pirates, Indians and a crocodile duel it out daily in the ultimate never ending game. Emerald City’s Peter Pan is a fun family pleaser with comedy and sentimentality that reaches the child in all of us.

Check out the rest of the review at Chicago Theater Blog.

Uncle Vanya

At 3829 N. Broadway

Written by Anton Chekhov

Translated by Curt Columbus

Directed by Kimberly Senior

Thru March 27^th

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Running Time: Two hours and twenty minutes includes a ten minute intermission

Vanya loves Yelena. Sonya loves Astrov. Yelena loves excitement. Astrov loves vodka. Strawdog Theatre presents Curt Columbus’ translation of the Anton Chekhov classic, Uncle Vanya. Penned in the late 1890’s, Uncle Vanya is an original depiction of the strife of blended families. Vanya’s sister has died. Because the family estate was her dowry, it passes to her husband, Serebryakov. For twenty-five years, Vanya, his niece Sonya and his mother have managed the estate and supported Serebryakov in his academic endeavors. Serebryakov and his young, beautiful second wife, Yelena have come to vacation at the estate. With willful obtuseness, the couple change life on the estate to suit their own personal whims. No one is working or sleeping and everyone is drinking to excess. Uncle Vanya is what happens when hard working and entitled family members are forced to coexist under the same roof. Its havoc and murder is in the makings.

Over hundred years ago, Anton Chekhov created characters that are still relatable in their quests to find happiness. Balancing between bitter and love struck, Tom Hickey (Vanya) is authentically depressing as a 47 year old bachelor with nothing of his own. Sonya (Michaela Petro) has a vulnerable earnest as the optimistic forgotten daughter. Throughout the show, there is a repeated sympathy for “poor plain Sonya” that doesn’t quite connect. Petro needs to ugly it up a bit! Kyle Hamman (Astrov) is hilarious as a drunk, tree loving doctor. Shannon Hoag (Yelena) drifts aimlessly through scenes with men throwing themselves at her. It is hard to find the empathy for a victim of pretty girl syndrome until Yelena describes her marriage to an older man as “being a minor character in the final act.” The object of affection and annoyance, Tim Curtis (Serebryakov) plays his role with pompous, self absorption. Under the skillful direction of Kimberly Senior, the cast find the humanity and the humor in unrequited love between a man and a woman, mother and son, husband and wife, father and daughter, doctor and tree.

Not quite in the round, Uncle Vanya is more of a semi circle with audience viewing from two adjacent sides. The set, designed by Tom Burch, is charming, country elegance. The walls are a lace type mesh which when lit (Sean Mallary) reveals minor action offstage. It adds to the illusion of a house where a family member is just in the next room. Senior stages the play with characters entering and exiting together in conversation. This also builds an intimate rapport between the audience and the family’s inner workings. After the shock of a particular chaotic scene, Senior paces the final scene in slow mode to show the effect of life returned to “normal.”

Uncle Vanya could be considered a downer, especially because the characters’ relate-ability could force you to examine your own life’s shortcomings. Certainly, I can see myself as a passionate tree loving, plain, 47 year old bachelor who attracts the affection of the wrong men. But it doesn’t make me feel bad, it makes me laugh. Theatre wants to connect with you in life changing ways. In Anton Chekhov’s own words, “The truth is less terrifying than the unknown.” Experience Uncle Vanya at Strawdog Theatre, then return to your life already in progress and make changes or don’t. Your choice!

Managing my estate for over ten years, Bill describes the show as “depressing, gloomy, witty.”

WAITING FOR THE SHOW

On a snowy Sunday evening, I decide on dining at Finley Mahoney’s, 3701 N. Broadway.  It’s en route to the theatre.  I love the Cubano sandwich.  Plus, they have wi-fi with a side of cabernet!  By taking pleasure in the simple things in life, I avoid becoming a tragic figure in a self-created Anton Chekhov drama.  This skill has stopped me from shooting my brother-in-law on many occasions.

Uncle Vanya photograph courtesy of Chris Ocken.

Wilson Wants It All

At The Chopin Theatre

1543 W. Division

Written by Michael Rohd and Phillip C. Klapperich

Conceived and Directed by Michael Rohd

Thru March 27^th

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Running Time: Two hours and twenty minutes includes a ten minute intermission and fifteen minute delayed start.

It’s 2040. The country is a mess. Government regulated pregnancies. States threatening civil war. Leonard DiCaprio is Governor. Americans are in desperate need of Hope! The House Theatre of Chicago presents the world premiere of Wilson Wants It All. The show starts in present day. A prominent Senator and his pregnant wife have been murdered. Amidst the turmoil, the Senator’s handler, Wilson, announces the baby, Hope, has survived. Fast forward to the future, Hope is now turning thirty years old. The country has been waiting for Hope to continue her father’s legacy. Hope wants out! She meets an identical lookalike, Ruth. Ruth wants in. They decide to secretly swap lives. But the secret is on them. Wilson Wants It All is a futuristic political comedy. It’s Primary Colors meets The Truman Show meets The Parent Trap as reported on by CNN Headline News.

With high energy, the talented cast entertains through mass media. Truly an ensemble, six of the actors play multiple parts as reporters, school kids and secret-service-that-double-as-maids type.   As one of the main characters, Rebekah Ward-Hays (Hope 1) plays the disgruntled childhood celebrity unable to speak her mind.  Leslie Frame (Ruth/Hope 2) is the long suffering woman who believes she was born for greatness.  John Henry Roberts (Wilson) is the mastermind puppeteer selling Hope to the world.  Carolyn Defrin (Meredith) is a cross between loving mother and patriot.   Edgar Miguel Sanchez (Remy) adds a little zany hip-hop as the anti-establishment boyfriend.  It’s the combination and co0rdination of the human visuals with the technology that is an amusing feat of political intrigue. 

Between director and co-writer Michael Rohd and choreographer/movement Tommy Rapley, the pacing shows progression over time in an engaging and innovative manner.  In one frenzy sequence, chairs and tables are twirling. People are scurrying. Then for one synchronized moment, four characters simultaneously sit in chairs with heads jerked back to show they are on a plane. Then they rise and go onto another movement.  Wow!  Another powerful human visual is when Carolyn Defrin (Meredith) and John Henry Roberts (Wilson) age thirty years in less than a minute. All these mimed pieces are enhanced by a great soundtrack composed by Kevin O’Donnell. The use of video (designer Lucas Merino) is also an intriguing tool to show the media’s influence. At times, the audience views a video projection of the actor speaking while staring at his back. Fascinating visual!

Wilson Wants It All is co-written by Rohd (story conceiver) and Phillip C. Klapperich. It’s a comedic tale of political optimism under duress. The choice of “Hope” as a name seems so perfectly contrived for a political campaign. “Hope 2” adds to the amusement. Some of the best dialogue moments are delivered by a variety of reporter caricatures. Some of the less than desirable discourse is the redundant Hope speech that really doesn’t say anything. Or is that a part of the political farce? The story jumps to a climatic fury without true explanation. It’s all fluff and fun right before threats of war.  Did I miss something?  I also doubt any red-head is going to freely pick that red dress to wear.  Two of them did?  Much like the notion of Governor Leo DiCaprio, it’s highly improbable!

All in all, Wilson Wants It All is all you want in a dramedy.  It’s a fun, high-energy, technology explosion of entertainment.  If you want it all, Hope is waiting for you at the Chopin Theatre (both of them!).

A political optimist in his own right, Tom describes the show as “imaginative sci-fi allegory.”

WAITING FOR THE SHOW

In the Chopin Theatre district, Pizza Metro, 1707 W. Division is a great choice for quick, cheap, tasty eats.  The atmosphere is no frills, small but with delectable baking ambiance.  I order a slice with mushrooms and chicken.  The thin crust is a mouth melt away.  They also serve Italian sparking waters in lemon and orange, a nice alternative to American pop.   The bill for two is under $20.  Before we head to the future, it’s nice to have a bill reminiscent of simpler times in America.

Wilson Wants It All photography courtesy of John Taflan.

Abigail’s Party

At 1531 N. Wells

Written by Mike Leigh

Directed by Shade Murray

Thru March 28^th

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Running Time: Two hours includes a ten minute intermission

Neighbors are like your family. You don’t get to choose them but you have to live with them. What helps you get through the awkward gatherings? Alcohol. Lots of alcohol! A Red Orchid Theatre presents the Midwest premiere of Abigail’s Party. Playwright Mike Leigh has penned a 1970’s British comedy about what happens when you mix alcohol and conversation. All the guests have hit the three year mark. Either married or divorced three years. Drinking and driving the party, Beverly is a wannabe swinger struggling with her classical music-loving husband, Lawrence. Newcomers Angela and Tony eagerly step across the welcome mat to Bev’s world. Trapped between parties, Susan can’t go home because her daughter is having her own bash. Abigail’s Party puts you under the influence with free flowing comedy and shots of relationship mayhem.

Pushing the drinks and cocktail party boundaries, Kirsten Fitzgerald (Beverly) is a hilarious hostess without any self awareness. Dancing to her own tune, Fitzgerald assumes an air of familiarity with strangers, “Ang”, “Tone”, and “Sue” while distancing herself from her spouse “Lawrence.” Fitzgerald is side-splitting magnificent as she goes from buzzed to trashed. Head bobbing, scab talking, Mierka Girten (Angela) is the party diz. Girten’s wide-eyed innocence is a delightful comic balance to Fitzgerald’s bullying. Natalie West (Susan) is amusing as the party victim. As the timid lightweight, West channels her old Roseanne roots with a British-speaking Crystal.

The sets (Daniel Stratton) and costumes (Melissa Torchia) are 1970’s groovy. Yellow leather, bright colored polyester, record player, it sets the mood for the party flashback. Unfortunately, the furniture is also the party pooper. Most of the action takes place with characters sitting down. In a space with visual challenges, I miss a big chunk of the show from my middle theatre vantage point. In fact, when a pivotal scene goes to the floor… forget about it! Luckily, the dialogue is brilliant and I pretend it’s a radio program.

Substitute “seriously” for “honestly” and “right?” for “yeah?” and the show transcends the fifty years across the pond. Simply put, it’s a hoot! Sometimes you just want to drink too much and have a good laugh, seeing Abigail’s Party is just that minus the hangover!

Always the perfect party planner, Jen says this about the show, “It’s good to be reminded why you shouldn’t have too many toppers (whether you decide to heed the warning or not).”

WAITING FOR THE SHOW

Before heading to a party where there will be a lot of drinking, it’s always a good idea to eat something.  We choose Eivissa, 1531 N. Wells, A Red Orchid Theatre neighbor.  Not wanting to be fashionably late to the party, we inform the bartender/server that we have a forty-five minute to enjoy his recommended tapas.   Eivissa is not busy and he delivers our drinks and first of six tapas instantly.  Grilled octopus with roasted potatoes… delicious.   Eivissa is still not busy but #2 and #3 arrive twenty minutes later.  The goat cheese in tomato sauce is yummy but the marinated vegetable stack is bland and cold.  #4 tapa, a calamari casserole with an overpowering hot sauce, appears with ten minutes left.  We cancel the remaining two and ask for the bill.  Eivissa is the kind of party that initially dazzles with all kinds of possibilities (1/2 price tapas before 7pm) but later duds out because it can’t deliver the good times fast enough. 

Production photographs from “Abigail’s Party” by Michael Brosilow

Mrs. Caliban

At 6912 N. Glenwood

Based on the novel “Mrs. Caliban” by Rachel Ingalls

Adapted by Frances Limoncelli 

Directed by Ann Boyd

Thru March 28^th

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Running Time: Two hours includes a ten minute intermission

If a guy can fall in love with a blue tailed female alien, why can’t a woman fall in love with a green reptile man? Lifeline Theatre presents Mrs. Caliban, a play adapted from Rachel Ingalls’ magical realism novel. Dorothy is a lonely housewife. She is trapped in a loveless marriage. Too unhappy to divorce, her life becomes a series of dull rituals. Then one day, she meets a tall, dark and green male reptile. He’s from another world without emotional baggage, societal pressures (except being hunted as an escapee from the Marine Institute) or relationship expectations. This affair is simple and complicated. But what’s normal anyway? Among the wreckage of bad relationships, Mrs. Caliban introduces an alternative lifestyle choice: sex with a fish.

Is it the play or book? Something about the story doesn’t thoroughly engage. “Mrs. Caliban” is a novel written in 1983 and acclaimed as one of the greatest post-war American novels by the British Book Marketing Council. Which war is that anyway? Even in a society tuned into “Desperate Housewives,” the concept of a ‘housewife’ isn’t timeless. Especially in this economy, you’re bored? Get a job! Casual affairs and relationship struggles do cross the forty year gap from conception to production. So, it must be the play adaptation.

There is a clunky translation from print to stage. Starting with the basics, where does the title come from? There is a small reference to a “Mrs. Somebody,” who advocates on behalf of the reptile man. It’s assumed the advocator is Dorothy and she is anonymously rallying under “Mrs. Caliban.” Post play, I determine “Caliban” is the antagonist character in Shakespeare’s The Tempest, described as a fish-man combo. It’s this type of omission that seems like a missed opportunity to link the audience with the story. The first act labors over illustrating the daily routine of the husband going to work but then fails to build the connection between Dorothy and the reptile.  For a gal stuck in routine, she screws a sea monster pretty fast. It’s another missing link. Treat the first act like an awkward blind date where the dinner conversation was weird but you still had hot sex!  The second act is much more satisfying as Dorothy’s complicated relationships are revealed. With all the crazy drama around her, sex with a fish seems the most authentic bond she has. 

The cast trudges through the sluggish material.  Despite the limited transition time, Brenda Barrie (Dorothy) goes from mousy to sea nymph with a strong erotic energy. Smashing grocery carts, Jenifer Tyler (Estelle) is fun as the loud and aggressive best friend. Speaking in a deliberate flat cadence, Peter Greenberg (Larry aka reptile man) delivers some funny lines without any emotion.   Mrs. Caliban, the book and sometimes the play, broadens the mind to true humanity in alien form.

A sci-fi enthusiast (geek), Shawn describes it as “stranger from a strange…ocean?”

WAITING FOR THE SHOW

Shawn and I decided to celebrate a single pals’ Valentine’s Day by going to Avatar followed by Mrs. Caliban.  The similarities are astounding.   Mythical tale with betrayal.  Hurtful humans, helpful aliens.  Clunky script.  Human-Alien lust.  Blue/Green. If  Shawn and I learned anything this holiday season, it’s too not limit yourself with defining Mr. Right.  Interspecies dating certainly broadens the prospect pool.  It’s a new twist on the old saying “there are plenty of fish in the sea!”

Mrs. Caliban photographs courtesy of Suzanne Plunkett.

The Ring Cycle

At 412 N. Carpenter

Adapted from the operas of Richard Wagner

Directed by Blake Montgomery and Joanie Schultz

Saturdays and Sundays thru March 14^th

Special Monday performance on February 22nd

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Running Time: Six hours includes two ten minute intermissions and a forty-five minute dinner break

Four operas, four nights, 15+ hours, sung in German with projected English subtitles, the traditional production of The Ring Cycle in an opera house is the original dramatic television mini-series. One opera, one day, 6 hours, spoken in English with rock music accompaniment, The Building Stage’s The Ring Cycle on stage is a Netflix marathon in high-def. It took over twenty-five years for Richard Wagner to complete his Der Ring des Nibelungen, a collection of four operas: Das Rheingold, Die Walküre, Siegfried and Götterdämmerung. It’s the story of a ring with special powers. The ring is stolen, bartered, pledged and eventually returned. It’s what happens in between when gods and mortals and creatures compete for power. Greed and lust lead to dwarves gone bad, giants killing kin, a brother marrying his sister and gods cursing abuses. With the combined genius of the creative team at The Building Stage, this world premiere of The Ring Cycle is a concise, visual explosion of entertainment.

Perhaps, it’s the pending Oscars but there are so many people I need to thank for having received this experience.

First, to co-directors Blake Montgomery and Joanie Schultz and dramaturg Stephen Raskauskas for having paced this epic tale into manageable nuggets. Not only are the intermissions and dinner break perfectly timed between the four sagas, the material itself has been condensed and made succinct. I’m a fan of opera. I’ve seen Der Ring des Nibelungen performed at the Lyric Opera. But it wasn’t until yesterday, I completely got it. One of my favorite moments is the brief recap after the dinner break. Outstanding! Thank you!

Next, the phenomenally energetic cast, without your talents there wouldn’t be a show. Sarah Scanlon, Lindsey Dorcus, and Lucy Carapetyan as the Rhein sisters and woodbirds: your ribbon dancing and singing are beautifully whimsical. I don’t know how you do it… especially singing and talking suspended upside down. Amazing! Mandy Walsh (no relation), Darci Nalepa, Daiva Bhandari: Wagner wrote strong female roles. You backed them up with robust and sometimes sassy performances. Brava! Wm. Bullion, Chris Pomeroy, Nick Vidal, Pat King: for finding the humanity and humor in the lengthy orations, thank you! Special nod out to Bill O’Connor as Mime: your mind dual with yourself was hysterical!

And the production team and their crews, wow! Lee Keenan, Meghan Raham, Chantal Calato and ETC: all the elements were there fire, water, air, and dragon! Trap doors, special lighting, projections, puppets, the creative deliberation paid off with fantastic imagery.  You had the dragon head and

the tail. Who does that? The costumes were a wonderful balance of contemporary deity, underworld severity and playful whimsy. The attention to detail with uniform headgear was an incredible asset in the storytelling.

And the band under the direction of music composer Kevin O’Donnell, sunken into the stage and ever present to the action, you rock!

Big shout out to stage manager, Lindsey Miller. The flawless coordination of the multiple cast, costume changes and cues over the duration must have been exhausting!

I know I’m forgetting many people who backed this production with blood, sweat and money. So a big combined “Kudos” to all connected. Your journey to secure The Ring will be enjoyed by generations to come. Thank you for giving me the opportunity to experience your vision!

Having packed Twizzlers for the long haul, M-Vo describes The Ring Cycle as “well-executed, thorough, engaging.”

WAITING FOR THE SHOW

The Ring Cycle needs to be approached like a marathon. To go the distance, be prepared! Arrive early, there is no reserved seating. Immediately secure your seats with coats but don’t sit down yet. Walk around the lobby area, take in the literature, use the bathroom and hydrate! Repeat this ritual during the two ten minute intermissions. For dinner, there is a 45 minute break and you have some options. 1). Preorder (and that doesn’t mean during the show’s bathroom break) a boxed dinner from The Building Stage. Bari Italian Foods is serving up deli sandwiches on crusty bread with your choice of sides. 2). Buy snacks from the concession area on the day of the performance or 3). Bring your own dinner (and wine if you like). If you brought a picnic lunch, stow it in the storage area by the bathrooms. There is absolutely no extra room in the theatre aisles. During the dinner break, it’s a gods and mortals  mingling moment! The cast and audience lay out blankets across the stage and coexist in a communal fourth wall destruction. The entire day is a theatrical experience reminiscent of simpler times. It’s a commitment to block out distractions and be off the grid for six hours for the sake of art enjoyment! It’s worth the effort! Go and don’t forget to hydrate!

The Ring Cycle production pictures by Michael Brosilow.