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Principal Principle (0)

Set in the teacher’s lounge, the four teachers deal with a broken copier, a bureaucracy with minimal assets for the teachers and a survival, often cynical, morale of the veteran teachers. This dark comedy focusing on the adjustment of a new teacher conflicted by her determination to helping her students learn with the conflicting system and the advise from her fellow teachers.

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La Tragedie de Carmen (0)

Cube Ensemble’s first full music production is a bold 90 minute scaled down adaptation of Georges Bizet’s 1875 La Tragedie de Carmen is an efficient affair featuring music from a stand-up piano that produced a unique sound for an opera. This intimate opera is staged in a minute studio space at the Den in Bucktown. Sung in French without super titles, best to read the “director’s Notes’ in the program to get a feel for the story. I must say that the staging does allow for us to understand both the action and the motivation of the opera.


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Our Class (0)

Our Class is told as a memory play by ten classmates, half Catholic and half Jewish. We see them from childhood in school through the devastation through the rest of their lives. Told in a 2 hour, 45 minute drama. Our Class emerges as a “must see” theatrical event that will shake you to your bones. It is a story that begs to be told and the artists at Remy Bumppo, under the creatively bravo leadership from Nick Sandys, invest all their energy into a heartfelt depiction of the various personalities that made the dynamics of mass killing possible. Our Class shows how ordinary common folks can so easily move into the darkness of evil when their society is shaken by military occupation that allows escapist blame to be played out through antisemitism.


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Il Barbiere di Siviglia (The Barber of Seville) (0)

As Barber’s preeminence among his output seems to have been established by a nearly unanimous consensus since its premier, more or less agreed to by Rossini himself, casual opera-goers who are given the chance to get regularly re-acquainted in the theater with this alone among the composer’s vast output may safely assume that it is that most worthy of such attention. And of course it is a delightfully sparkling, lyrical, and mischievous work, even if the music may not quite erase memories of Mozart, whom it often evokes and to which it ultimately yields the last degree of poignancy and memorability – it is hard not to enjoy this lovely opera.


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