By Martin McDonagh

Directed by Kimberly Senior

At Redtwist Theatre, Chicago

Wicked humor and savage truths mark dark Irish comedy

The folks at Redtwist Theatre continue to mount fine shows featuring terrific sets (here by Jack Magaw), expert Irish brogues (dialect coaching by Eva Breneman) and tight staging by Kimberly Senior with an outstanding cast. We are taken back to one of the Aran Islands off the Irish coast at Inishmaan in 1934 as an American film crew shoots “Man of Aran” around Inishmaan. Kate (Jan Ellen Graves) and Eileen (Debra Rodkin) run a little store on the island.  Johnnypateenmike (Brian Parry) is the village gossip who barters “news” for eggs. His daily visits relieve the boredom of rural Irish life.

When Johnnypateenmike tells about the arrival of the American movie makers, Helen (Baize Buzan) and her brother Bartley (Patrick C. Whalen) are determined to get Babbybobby (Chris Rickett) to row them ashore to Inishmaan so they can audition for the Yanks. Cripple Billy (Josh  Salt) is also determined to leave the island and search for a new adventure as a possible film star. He congers up a plot to motivate Babbybobby to allow him aboard the boat to Inishmaan. Billy is tired of all the verbal abuse and ridicule from the villagers concerning his deformed hand and crippled leg.

This often darkly funny story is filled with vicious drama, extreme truths with doses of poignant humanity and violent reactions. We see the realistic side of the ignorant rural Irish. McDonagh’s plays are devoid of the idealistic rustic sentimentality often associated with Irish drama. The Cripple of Inishmaan contains several surprising turns among twists of fate. The work contains mythic Irish fatalism as it uses lyrical language to convey cruel yet heartwarming events. McDonagh blends humor with brutality to tell his honest slice-of-life Irish stories.

The characters here are colorful, eccentric and so Irish. From Mammy (Kathleen Ruhl) Johnnypateenmike’s 90 year old drunken mother – to Kate who talks to a stone  -to cruel Helen who enjoys breaking eggs over her brother’s head -to Billy who has to endure  the savage jokes and nasty name calling–all are struggling to escape the boredom of rural life. Josh Salt’s empathetic Cripple Billy and Brian Parry’s hilarious turn as the town gossip are the featured performances among the fine ensemble work contained here.

It is a pleasure to see a major work being so well staged and performed as The Cripple of Inishmaan is at Redtwist Theatre. They continue to mount outstanding works at their intimate Rogers Park theatre. No wonder that their last eight shows have been Jeff Recommended.

Highly Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: May 13, 2012

Jeff Recommended

For more info checkout The Cripple of Inishmaan page at theatreinchicago.com

At Redtwist Theatre, 1044 W. Bryn Mawr, Chicago, call 773-728-7529, www.redtwist.org, tickets $25 – $27 -$30, Thursdays thru Saturdays at 7:30, Sundays at 3 pm, running time is 2hours, 10 minutes with intermission, through June 24, 2012

My Kind Of Town by John Conroy

Directed by Nick Bowling

At TimeLine Theatre, Chicago

Truthful drama puts a human face on police torture in Chicago

Investigative journalist John Conroy’s cover story for the Chicago Reader in 1990 – “House of Screams” alleged use of torture on suspects in major crime investigations by the Chicago Police Department.  (Full disclosure: I was a Chicago Police Officer in the 1970′s working in Patrol, Traffic and Training.) Over the course of that time, I heard rumors of a rogue bunch of detectives and their lieutenant using torture as a means to getting confessions. Since I never worked as a police officer on Chicago’s South Side,  I had no direct knowledge or contact with homicide detectives.

But I must say that John Conroy’s world premiere My Kind of Town aptly captures the police mentality that was used to justify the use of torture. After being conditioned by the Vietnam War, some officers became so mean and so hateful of violent criminals that they used torture among other “means to justify their ends.” Rather than doing legitimate investigate police work, these rogue officers resorted to physical and emotional torture  to both garner confessions and to inflict punishment on suspects.  More than once, as a rookie cop, I heard things like “that gang-banger deserved and got a beating after all he did…” Conroy’s play covers both sides–the victims and the detective’s point of view.

A man sits on death row after being convicted of murder based on limited circumstantial evidence and hiss confession to the police and to the  States Attorney.  Otha Jeffries (terrific work by Charles Gardner) is an angry, loud-mouthed petty criminal who riles everyone he encounters making it easy for sadistic, close-minded cops to use torture on him to get him “to come clean” about a murder. We meet his family: his mother Rita (Ora Jones) who is determined to help prove Otha innocent. Albert Jeffres (Trinity P. Murdock) is Otha’s estranged father and Chicago Police officer – he is not sure of Othra’s innocence.

We see an attorney, Robert Morales (Derek Garza), doing legal defense work as part of an anti-death penalty group. He endures much anger as he tries to get a new hearing for Otha. Next, we get glimpses into the home life of detective Dan Breen (David Parkes) one of Otha’s tortures.  We see that Breen is a human and a family man who hides his evil tactics from his wife. He is part of those who believe that have a mission to rid the world (and Chicago) of all evil. In his mind, Breen justifies torture as necessary. Breen’s sister and wife eventually wonder what Dan did as the stories become public.

We also see how the Felony Review States Attorney, Maureen Buckley (Maggie Kettering) while visiting the police station neither witnesses nor wants to know how the police got Otha to confess. She only wants to hear his confession. A veteran black police detective George Dawson (A. C. Smith) goes along but doesn’t participate in the dubious interrogation tactics.   He is among many who don’t want to “rock the boat” about immoral practices.

Conroy uses interlocking story lines and smartly constructed flashbacks to humanize the issue and effects of corruption and coverup on all players. Who is responsible and how is justice corrupted by use of torture is vividly depicted. All side of the issue are explored including references to the guilt or innocence of Otha and other torture victims. Is society better served with keeping possibly guilt people , especially those with a long history of violent actions, behind bars  despite their convictions being tainted by police misconduct? In today’s culture of fear that asks for more law and order, My Kind of Town presents the human cost of immoral police tactics. We see that all sides of the question are destroyed by use of torture–guilt from those cops who went along to get along; to the cops families who question the humanity of their spouse; and, of course, to the incarcerated and their families. The social cost of torture demands that justice be served. Thankfully, new training and oversight mechanisms by the Chicago Police Department make such practices difficult to be used today.

But, My Kind of Town is a power, yet balanced, drama that is free of  polemic, rather it should stimulate a means of provocation and catharsis that can be helpful in placing moral responsibility to those who were a part of those terrible days. We never really know the end of Otha’s story yet we do.  I can see this play as a film or a cable TV show.

Highly Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: May 11, 2012

Jeff Recommended

For more info checkout the My Kind of Town page at theatreinchicago.com

At TimeLine Theatre, 615 W. Wellington, Chicago, IL, call 773-281-8463, www.timelinetheatre.com, tickets $32 – $42, Wednesdays & Fridays at 7:30 pm, Fridays at 8 pm, Saturdays at 4 & 8 pm, Sundays at 2 pm, running time is 2 hours, 20 minutes with intermission, through July 29, 2012

A Little Night Music at Writers' Theatre

Book by Hugh Wheeler

Directed by William Brown

Music Direction by Valerie Maze

At Writers’ Theatre, Glencoe

Elegant, charming, superbly sung intimate chamber operetta – A Little Night Music – unfolds as a sumptuous celebration of romance

Writers’ Theatre’s intimate space on Tudor Court in Glencoe is the perfect venue for Stephen Sondheim’s gem of a chamber operetta, A Little Night Music. With a cast of  superb actors with gorgeous voices, director William Brown’s musical soars to the heavens.  It is so refreshing to hear every word enunciated and sang so fully in character exuding all the wit, cynicism of 1900 Sweden without any amplification. Yes, it is possible to mount a musical without mics – but – it takes singers who can belt and project. This cast sure does – and – they produce wonderful harmonies and coral work as needed.

Stephen Sondheim’s 1973 musical–operetta really–A Little Night Music – won 6 Tony Awards yet it only played Broadway for 601 performances! With a smart, witty book and biting dialogue by Hugh Wheeler, A Little Night Music contains a lush, romantic waltz-time score by Sondheim.  Based on the Ingmar Bergman film Smiles of a Summer Night, the play is set in Sweden at the turn of the century.

We meet Madame Armfeldt (Deanna Dunagan) who tells her grand daughter Fredika (Shannon Corey) that the summer night “smiles” three times: first on the young, second on fools, and third on the old. Fredrika vows to try and watch the smiles occur. Next, comes Fredril Egerman (the commanding  and golden voiced Jonathan Weir), a middle aged lawyer and his trophy wife–the 18 year old and still virgin Anne (Kristen French) with Henrik Egerman (Royen Kent)–the son who struggles with religion and lust.

Add Desiree Armsfeldt (the fabulous Shannon Cochran) lost love, rekindling romance and passion.

The costumes (by Rachel Anne Healy) on Kevin Depinet’s original set with Jesse Klugr’s lighting made a sensual atmosphere to a long Swedish summer night in the country. Sondheim’s eloquent score contains songs like “Remember,” “The Glamorous Life,” “A Weekend in the Country” and the signature tune “Send in the Clowns.”  Jonathan Weir, Shannon Cochran, Brandon Daahlquist, Brianna Borger (as Petra) easily nailed their songs with aplomb and heart. I especially enjoyed the honest performance by Deanna Dunagan as the wise old grandmother. Brianna Borger, as Petra, delivers “The Miller’s Son” in a movingly emotional tone.

But, ultimately, A Little Night Music, is a most romantic chamber piece devoted to the awakened passions of the players as they evoke the harmonies of Sondheim’s waltz time score. Valerie Maze has her five member orchestra nimbly  extolling the hauntingly beautiful score.  The signature song, “Send In The  Clowns’ (one of my all-time favorite show tunes) was marvelously sung by Shannon Cochran as she landed all the emotions, all the angst, and all the nuances of Sondheim’s appropriate lyrics. Cochran sent chills down my spine with her rich rendition.Where are the clowns?

Writers’ Theatre creative prowess and strong attention to production values gives their production of A Little Night Music the elegance and presence that exudes enough charm to warm the soul. Writers’ A Little Night Music is a major tour de force not only for Jonathan Weir but for the production itself. This may be the finest production of Sondheim’s chamber operetta yet to be mounted on a Chicago stage! This gorgeous work begs to be seen.  You’ll not hear finer singing anywhere.

Highly Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: May 10, 2012

For more info checkout the A Little Night Music page at theatreinchicago.com

At Writers’ Theatre. 325 Tudor Court, Glencoe, IL, call 847-242-6000, www.writerstheatre.org, tickets $45 – $65, Tuesdays & Wednesdays at 7:30, Thursdays & Fridays at 8 pm, Saturdays at 4 & 8 pm, Sundays at 2 & 6 pm, running time is 2 hours with intermission, through July 8, 2012

Written by Mark St. Germain

Directed by Tyler Merchant

At the Mercury Theater, Chicago

A mesmerizing look at two extremes that brims with wit and humor.

Note: Recently extended due to the extremely successful run of this dual portrait that has been a smash with audiences and critics, Session has been recast with Chicago natives, replacing the original New York cast (read Tom Williams’ review of the original Chicago premiere here). Full disclosure: Keen observers may note that I also reviewed it for another publication. That review can be read here. This makes it a fascinating look at how a recasting can oh-so-subtly change the dynamic of a show even while retaining the same director. I think it’s safe to say it’s an expert hand-off. 

There’s a website devoted to images of influential people in encounters both chance and intended. They range from Dean Martin and John Wayne to Andy Warhol and Salvador Dali. We can only imagine what it could have been like to have been flies on the wall at those encounters. It is just such a moment that is framed in Freud’s Last Session at Mercury Theater, which imagines two titanic celebrities at their most intimate, and gives us a studied glimpse into opposing forces clashing over equally titanic topics.

Called to the study of the dying Dr. Freud (Mike Nussbaum), the atheist-turned-Christian-apologist C. S. Lewis (Coburn Goss) arrives on the same day England declares war on Germany. He believes he has arrived for a dressing-down from the esteemed father of psychoanalysis for a recent parody he wrote of the good doctor. Instead, the middle-aged Lewis finds himself inadvertently embroiled in his own psychoanalysis. Freud wants to study specifically the manner in which a vehement non-believer like Lewis could become a devout Christian. What ensues is a delicate, often humorous philosophical parlay of sorts as the stakes of being proven “right” (or at least, of having the most sound logic) mount higher as the conversation delves into sex, life, good v. evil and the mysteries of the universe. All the while, the anxiety mounts for both men as they check the radio for news of the outside world, waiting breathlessly to see how events unfold. These same events feed back into the conversation itself, serving as a means of further exploration into the nature of Man and Existence.

St. Germain has taken the classic “what if they had met?” scenario and used it as a simple device through which to grapple with the questions that haunt so many of us. Like Plato inhabiting his mentor Socrates to pen a Dialogue, St. Germain speaks through these avatars to bring us a fascinating glimpse into the sort of civilized discourse (though never dispassionate, rest assured—these two crackle with zeal) so rare in the current national rhetoric wherein the participants express themselves with emotion and respect. Rather than solve any of the questions presented, he seems to want to illustrate the method by which minds are kept open to analysis rather than being shut down to avoid dissenting opinions. Lewis and Freud are never portrayed as anything less than simply sympathetic humans bound together by antagonism and a surprising amount of tenderness. Neither man is let off the hook, but it is Freud’s ever-so-slight obeisance to humility in the face of the mysterious that is most moving.

The legendary veteran of the Chicago stage Mike Nussbaum takes up the role of Sigmund Freud (originated by Martin Rayner) with a masterful inhabitation of the legendary icon. It never borders remotely on caricature. His rasping voice (afflicted by the oral cancer that lead him to commit euthanasia two weeks later) and stilted movements have done nothing to dampen his dry humor and eviscerating analysis. Taking over as C. S. Lewis from Mark H. Dold, Coburn Goss has a slightly easier task because Lewis is known more for his written work than his personality. This doesn’t diminish from the skill needed to go toe-to-toe with the towering intellect twice his age and much more renowned, and Goss is adept at bordering between respect for his elder and a steadfast desire to not back down from his stance.

With studies about critical analysis dampening feelings of faith, a political arena entrenched in doublethink and a world flooded with so much information that people are shutting down to avoid confrontation, Freud’s Last Session could not be more timely. By going back to our recent past, it portrays a present we wish we had. One where ideological conflict ends in a respectful handshake instead of a sound bite. That it does this in just over an hour is all the more astonishing. If all debates could be this real and riveting, maybe a few minds would change. Sure to prompt some interesting discussions, one can only hope it’s the lesson in an open-minded journey that persists on what may be an endless path of questions.

Highly Recommended.

Review by Clint May

Date Reviewed: May 9, 2012

For more info checkout the Freud’s Last Session page on http://mercurytheaterchicago.com

At Mercury Theater, 3745 N. Southport Ave, Chicago, IL; call 777.325.1700 or visit http://mercurytheaterchicago.com; tickets $45-69 (discounted student and group rates available); performances Wednesdays at 2pm and 7:30pm, Thursdays at 7:30pm, Fridays at 8pm, Saturdays at 2pm and 8pm, Sundays at 1pm and 5pm; running time 85 minutes with no intermission. Extended through July 15.

By Jeffrey Hatcher and Mitch Albom

Director: Amelia Barrett

At McAninch Arts Center, Theater 2
A Warm Gentle Gem

This delightful play about dying, yes I said dying, really speaks most about living.  After all, why would anyone want to see a play about someone’s last days?  Morrie Schwartz is in his final months, but the dialogue between him and Mitch Albom  certainly creates a  play worth our time.   The comedy lightens the seriousness of the subject and balances the more poignant ideas about life.  Based on a true story published in 1997 authored by Mitch Albom, the script shouts authenticity.

Carl Lindburg as Mitch shows just the right degree of naivete’ portraying a college student, and then angst as the ambitious professional sports writer totally submerged in maintaining his high powered career.  He even pulls off a deep voice for a brief well-played bit about Ted Kopell.  But his gradual change of character warms one’s heart as the repeated Tuesday visits with Morrie evolve.

Morrie Schwartz, a retired Brandeis sociology professor, played by Michael Sassone, could not have been more convincing.  As an actor, Sassone has polished a masterful timing of each and every line for a very consistent character, beautifully uncovered as a lover of dance, in his prime, and in the closing stages of Lou Gehrig’s disease.  His primary mission of teaching Mitch provides too many thoughtful moments, one of which is when he says, “If you are not loving, you are dying…if you are loving you are living.”  Such a simple thought, but so well executed that he forces one to ponder the very personal and profound meaning.

While the set worked, it could have been a little tighter.  There seemed to be too much open space…too much distance to be traversed for this type of intimate play in this perfectly sized theater; but never the less the skill of the two principals and flawless detailed direction by Amelia Barrett made it work.  I wondered where Buffalo Theater found such a genuine old and lovely piano to highlight the set…almost like an additional  actor quietly observing.  The brief interactions of music provide refreshing touches of relief  to the story,  and also strong drama to one point.

When the play ends with its expected conclusion, it seems that it all stopped much too soon.  I would have liked it to go on and hear more from Morrie…but then perhaps this reveals the true meaning of the play…that we always want more from life…for it to go on and on…

“Tuesday’s with Morrie” is storytelling at its best.  Buffalo Theater offers a warm gentle gem with ideas that not only entertain, but that may stay with us for months and years to come…very well worth the time and modest ticket price to see.  With only two fine actors, a minimal staging, and a small, but powerful play…this is what live theater is all about.

 Highly Recommended.

Margaret Eva

Date Reviewed:  May 4. 2012

Performances:   May 4 thru May 27, 2012. Running time is 90 minutes, no intermission.

McAninch Arts Center – Theater #2.
College of DuPage – 425 Fawell Blvd. – Glen Ellyn, IL 60137

Performances are Thursday-Saturday at 8 p.m. and Sunday at 2 p.m.

Tickets – $25 to $33  -  $2 discounts  for non-COD students and seniors.  $10 discount for COD students.

Call the MAC Ticket Office at (630) 942-4000, or purchase tickets online at http://www.AtTheMAC.org.

By Eugene O’Neill

Directed by Robert Falls

At the Goodman Theatre, Chicago

“Honey, has the iceman come yet? “No, but he’s breathin’ real hard!” -famous vaudeville joke

Brilliant, stunning production of one of the finest American plays, The Iceman Cometh, is  a major triumph for the Goodman Theatre

In one of most engaging, often funny, poignantly powerful dramas – The Iceman Cometh – proves that Eugene O ‘Neill was the finest American playwright. His 1939, drink -infested drama that found optimism and pessimism coexisting in a state of  “hopeless hope,” is set in 1912 in  Harry Hope’s rooming house bar – a  place know as “the No Chance Saloon,” “the End of the Line Cafe ” and “the Bottom of the Sea Rathskeller!” Using an aptly dreary set (designed by Kevin Depinet) to show several views of the place, we find a group of drunken misfits thirsting for the arrival of  Hickey (Nathan Lane) – the charismatic traveling salesman whose raucous presence seems to ensure a good time by all as his drinks and cash flow freely.

Among the group of misfits who are hiding in a bottle referencing their personal pipe dreams are:  Joe Mott (John Douglas Thompson), a black man who once ran a casino; Ed Mosher (Larry Neuman, Jr.) a circus barker and Harry Hope’s brother-in-law; Harry Hope (Stephen Quimette) , the proprietor who has not stepped outside his establishment in 20 years. There is Chuck Morello (Marc Grapey), the day bartender who pipe dreams about marrying his girlfriend Cora (Kate  Arrington), herself a whore,  and moving to a farm in New Jersey. Willie Oban (John Hoogenakker) is the failed Harvard educated lawyer; while Piet Wetjoen (John Judd) is the disgraced Boer Comando who spares with British Captain Cecil Lewis (John Reeger) over the Boer War in South Africa. Jimmy Tomorrow (James harms) is the journalist who daily prepares  to ask for his job back. Hugo Kalmar (Lee Wilkof) is the anarchist publisher who awakes from a stooped to have a drink while shouting Movement slogans. Larry Slade (Brian Dennehy) is the cowardly ex-socialist movement activist anxiously awaiting his own death. He is joined by the youthful Don Parritt (Patrick Andrews) who seeks Larry’s friendship and his forgiveness. Rocky Pioggi (Salvatore Inzerillo) is the night bartender and pimp to Pearl (Tara Sissom) and Margie (Lee Stark).

All the above characters realize that there hopes are only pipe dreams as fear, complacency and inertia (laziness?) prevents them from taking action. They hide at the bottom of a whiskey bottle as they await the yearly visit from Hickey  to celebrate Harry’s birthday. They can almost taste Hickey’s drinks.

However, when Hickey arrives, his demeanor is subdued and his wise-cracking frivolity is devoid of jokes about his wife Evelyn’s trysts. Hickey is on the wagon and he is messianic in attempts to get each of his fellow pipe dreamers to actually do the things they always dream about.  But he secretly knows that they will fail and return to Harry’s. He believes that casting off their pipe dreams is the only path toward happiness for them. But throwing away one’s illusions is a daunting task  especially for the alcohol dependent ones.

As the play moves forth, we gradually realize that Hickey’s self-loathing and guilt for hurting his lovingly loyal and ultimately forgiving wife leads him to the ultimate act to rid her of further pain.

This totally engrossing drama looks at the destructiveness of alcohol;  political topics, particularly anarchism and socialism, as well as the inertia of disillusionment and despair. O’ Neill’s view of human behavior is driven by bitterness, envy and revenge that surly is demonstrated by the cynicism of the residents of Harry Hope’s establishment including the barkeeps.  The depth of humanity is vividly depicted through the truthful performances. Director Bob Falls’ well-paced production moves nicely yet it gave each character space to shine.  The supporting cast of mostly “A” list  Chicago actors each had their moments. John Hoggenacker, Larry Neuman, Jr. and James Harms were particularly effective. Brian Dennehy’s subdued Larry erupts periodically as he is hounded by both Hickey and Don.

But the play rests on the magnificent, nuanced and deeply emotional turns from Nathan Lane’ as Hickey. Lane’s long monologue confessional in the final act is masterfully performed. How Lane maintains the depth of guilt and self-loathing necessary for us to grasp and somewhat empathize with Hickey is a joy to witness. Nathan Lane gives the finest dramatic performance of his career as Hickey.

The Iceman Cometh is the theatrical event of 2012! The 4 hour, 45 minute production (with 3 intermissions) never sags and  never is anything but engaging.  Our visit to Harry Hope’s dive is deliciously populated  with a colorful assortment of  characters that out interest never wanes. Great writing, quirky characters, profound human traits all combine to make for grand theatre. The  Iceman Cometh is a “must see’  show for all serious theatre patrons.

Highly Recommended

Tom Williams

‘Talk Theatre in Chicago  podcast

Date Reviewed: May 3, 2012

Jeff Recommended

For more info checkout The Iceman Cometh page at theatreinchicago.com

At the Goodman Theatre, 170 N. Dearborn, Chicago, www.goodmantheatre.org, tickets $ 61 – $133, call 312-443-3800, Tuesday thru Saturdays at 7 pm, Thursdays, Saturdays & Sunday matinees at 1:30, running time is 4 hours, 45 minutes with 3 intermissions, through June 17, 2012.

Based on the works of T.S. Eliot

Music by Andrew Lloyd Weber

Direction and choreography for tour by Richard Stafford (based on original direction by Trevor Nunn and original choreography by Gillian Lynne)

At Cadillac Palace Theatre, Chicago

These cats have plenty of lives—and life.

Those oh-so-idiosyncratic kitties make a splendid return to the Chicago stage in what is being billed as a faithful recreation of the original West End production. A panoply of song, dance and sheer spectacle, CATS is family-friendly fun overflowing with so much variety it has to burst off the stage and into the audience. Based on T.S. Eliot’s 1939 children’s book of light verse, Old Possum’s Book of Practical Cats, it tells a simple tale of the Jellicle cat tribe uniting on a single night to see which of them will be permitted the honor of being born again.

CATS pulls back the veil on that most aloof of animals to reveal a rich inner life we all suspected was there; one of complex naming, strange abilities and tribal loyalty. Presided over by Old Deuteronomy (Nathan Morgan) under a full moon in an unknown junkyard, each cat gets to make their case for the Heaviside Layer where cats receive a second chance by singing the song of their life and personality (purr-sonality?). Each one is a self-contained song and dance number that samples a vast range of styles from pop rock to opera, music hall to jazz—even a little cabaret. Of course, it’s that haunting and enigmatic composition “Memory” that steals the show. As sung by Melissa Grohowski, the desolate former glamour cat Grizabella brings chills and a tear with her song of lost glory and a wish for a new life. Chaz Wolcott as the magical Mr. Mistoffelees earns equal praise for his balletic movements that spin him about the stage like a child’s toy as he enchants with his tricks and turns.

The plot is secondary to the sheer sensory delight of a massive ensemble introducing this tribe, embodying the grace and sensual movements of felines resplendent in the fantastical glam-rock costumes based on the original 1981 production. This production attempts to be as true to that original production as possible, with director and choreographer Richard Stafford reviving the work of director Trevor Nunn and the movements of Gillian Lynne. Having not been there, I can’t say if this is or isn’t a true replica of that debut, but when you’re having this much fun it’s hard to care either way. T.S. Eliot’s poetry is wonderfully imaginative, homely in structure and a perfect counterpoint to Weber’s deliriously inventive compositions. It’s complex in its simplicity, and I couldn’t help but think of that portmanteau “simplexity” currently infusing such creative powerhouses as Pixar.

Thirty-one years after its debut, the award-winning CATS is one of the longest running musical of all time (eclipsed by Andrew Lloyd Weber’s other work, Phantom of the Opera). Still fresh and frisky, it’s an indispensable stop on the world-tour of theatre. Visiting Chicago for a short five day run, don’t dawdle if you want a chance to see a true piece of panache and pageantry. You may never look at a cat the same way again.

Highly Recommended.

Review by Clint May

Date Reviewed: May 1, 2012

For more info checkout the CATS page on www.BroadwayInChicago.com

At Cadillac Palace Theatre, 151 W. Randolph, Chicago, IL; call 800.775.2000 or visit www.BroadwayInChicago.com; tickets $25-75 with discounted student and group rates available; performances Wednesday through Friday 7:30pm, Saturday at 2pm & 8pm, and Sunday 2pm and 7:30pm; running time 2 hours 30 minutes 1 intermission; through May 6.

Pride and Prejudice

Based on the novel by Jane Austen

Adapted by Christina Calvit

Directed by Elise Kauzlaric

 Jane Austen would be proud

Even before he is ultimately smitten, Darcy, the proud, arrogant, Byronic hero of Pride and Prejudice comments on Elizabeth Bennet’s fine eyes.  There can be no finer eyes, or eyes used more effectively than those of Laura McClain in the role of Elizabeth at Lifeline Theatre. What speaking eyes she has:  rolling them to express amusement, casting them down in dismay, or glaring out of them in fury. She is a most talented and expressive Elizabeth, a perfect foil for the haughty, arrogant Darcy, nailed in that role by Dennis Grimes. The duo exhibit great casting for this star-crossed pair as they hurtle towards the inevitable outcome. Grimes maintains his stiff stance and haughty sneer throughout, only relaxing when breaking into a most welcome smile at the romantic resolution.

Lifeline presents Austen’s work at its finest, offering a smashing closing production to its 29th season.

Those in the audience could (and sometimes did) recite familiar lines (softly to themselves).  Many will doubtless also attend the Jane Austen Society Spring Gala at the Knickerbocker Hotel next Saturday

But one doesn’t have to be an Austen enthusiast to enjoy the play, or to admire how skillfully it is staged. It is a constant source of amazement to note how much Lifeline does with so little — here, in limited space; there are residences, ballrooms, the lawns of an estate. Kudos to scenic designer Melania Lancy.

And of course, the story is delicious — as always — with the shrill, silly mother (Cameron Feagin) determined to marry off her five daughters; the father who fails to lead his family wisely (Don Bender); lovely but overly conservative oldest daughter Jane (Amanda Drinkall); her next sister, the bright, articulate Elizabeth; the younger girls (Kristy Rivett as Lydia, Kelsey Jorissen as Kitty and Cassidy Shea Stirtz as Mary) ) and, of course, the inimitable, unctuous clergy man who stands to inherit it all, Mr. Collins (Phil Timberlake). Add to this mix the highly (financially) desirable Mr. Bingley (Micah J.LK. Kronlokken), swashbuckling Mr. Wickham (James Gasper), practical spinster Charlotte Lucas (Chelsea Paice) and the overbearing Lady Catherine de Bourgh (Jan Sodaro) and you are in the midst of a charming cast of characters, played to the hilt in this comedy of manners. They bring to life Austen’s contribution to literature: her response to  the overly romantic tradition, her focus on works that  replace false sentiment and strained romance to shine the light of realism on a domestic world — and all with great linguistic skill.

In this adaption, Christina Calvit, captures every nuance. She goes beyond dialogue, to incorporate lines where author speaks to reader — as Elizabeth does just that in the play — beginning with what is perhaps the most famous opening sentence of any English novel:  It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife. As Elizabeth speaks, she is interrupted several times, giving these famous words even more weight and humor as they set the stage for all the follows.

Lifeline’s production captures all the high moments of the novel, missing not a beat: the ball where Catherine and Darcy meet, Elizabeth’s the two great and contrasting proposals – from Collins and Darcy, all the wonderful confrontations.

My bumper sticker reads.”I’d rather be reading Jane Austen” but this should be expanded to add, “Or seeing a Lifeline adaptation!”

Highly Recommended

Beverly Friend, Ph.D.

Jeff Recommended 

For more info checkout the Pride and Prejudice page at theatreinchicago.com

Note: For more information on the Jane Austen Society of America (Greater Chicago Region), see http://www.jasnachicago.org

 Lifeline Theatre, 6912 N. Glenwood, www.lifelinetheatre.com, 773-761-4477, Tickets $32-35 ($26 for seniors, $20 for students with ID’s, and for rush tickets a half hour before show time, if available), runs Thursdays and Fridays at 7 :30 p.m., Saturdays and 4 and 8 p.m., Sundays at 4 p.m. through June 10. Run time two and half hours with a ten-minute intermission. Post Show Discussions: May 13, 27 and July 8, 2012.

Age of Innocence

Choreography: Edward Liang
Music: Philip Glass and Thomas Newman

In the Night
Choreography: Jerome Robbins
Music: Frédéric Chopin

Incantations
WORLD PREMIERE
Choreography: Val Caniparoli
Music: Alexandre Rabinovitch-Barakovsky
At the Auditorium Theater – April 26 – May 6, 2012

Notes from Page to Stage:
Some people summarize ballet as women dancing on their toes and men in tights.    Tonight the world premiere of “Incantations” took the amazing musical notes right off the page and translated them onto the Auditorium stage.  At times the dancers seemed no longer people, but musical notes with “circular energy” moving with each and every booming or subtle sound coming from the orchestra.  It is hard to recall another piece that so closely defines the meaning of ballet. The huge bell-like shapes (signifying Buddist Incense Coils) hung high in the staging; the haunting music complete with marimbas, and the remarkable dancers truly created an aura; so much so that by the conclusion, one couple spins as on a music box with tinkling sounds making not a trite,  but a magically ending moment!

“Incantations” presents desire, especially with romance, in a variety of ways with the most unusual beautifully written music by Alexandre Rabinovitch-Barakovsky…sure to become a classic!   In it you hear a wide range of bell-like sounds where Barakovsky’s uses his background of the cultural traditions of Taoist, Christian, Aboriginal, Jewish, Hinduish, Celtic among others. Choreographer Caniparoli draws from modern, ethnic and social dancing with a little of ice skating moves as well.    Just as Jaiani & Calmels create an ultimate pairing for a pas de deux in the first two ballets, in the third, Choreographer Caniparoli and Barakovsky could not be more perfectly matched,

The Joffrey Ballet fascinates and astounds with creativity in each new season and SPRING DESIRE is no exception.  The three works expose desire in the most exciting, passionate and varied formats.  Who would think to pair “Age of Innocence”, a setting of men and women in the Jane Austin era, with the music of modern Philip Glass?  “Age of Innocence” opens with a richly lit background of three panels of ruby colored looped drapes.  A large corps in a Virginia reel-type formation changes to a variety of 21st century groupings entitled First Dialogue, The Men and Obey Thee. On rare occasions, choreographer Edwaard Liang chooses a few very unusual almost awkward moves which might be better deleted.  In the same vein, he decides to be quite literal at the end of one scene, where eliminating the final gestures may have been a better solution.  These two  points did not detract substantially from the overall beautiful, powerful and very exciting work.

Jerome Robbins 1970 “In the Night” distinguishes three types of romantic relationships in three separate pairings, which present exquisite dancing in fascinating contrasts.   The resolution of the struggle with the third couple, however, may challenge the sensitivities of today’s modern women.

 One important element contributing to the Joffrey’s brilliance comes from their commitment to letting the audience clearly see their dancers.  Yes, this assumption about dance is often forgotten by some dance companies, that combine a dark background, dim lighting and black costumes.  Even for “In the Night” using a starry starry midnight backdrop, one could clearly see every reach…every kick…every move of these fine professionals.

Over the past few seasons, the brilliant pairing of veterans Victoria Jaiani and Fabrice Calmels  will long be remembered by many patrons, but the Joffrey has such a strong field of talent and creates shinning duets from Jeraldine Mendoza, Mauro Villaneuva, Christine Rocas, April Daly, Miguel Blanco and  Temur Suluashvili.  These dancers and this complete Joffrey program can thrill the seasoned patron, fascinate the “sometimer”, and perhaps lure the novice to become a fan of an exciting new world of dance.   The  first time Caniparoli designed a ballet (Incantations) specifically for the Joffrey he wows us…let’s hope it is not his last! 

Highly Recommended

Margaret Eva

Date Reviewed:  April 25. 2012

Performances April 25, 2012 thru May 6, 2012.  Total running time is approximately 2 hours including  two intermissions.  Tickets: $30 -$149

At Auditorium Theatre of Roosevelt University, 50 E. Congress Pkwy.  Chicago, IL.

TICKETS BY PHONE:  Joffrey Ticketing – 312.386.8905; Ticketmaster -800.982.2787

TICKETS IN PERSON: Auditorium Theatre of Roosevelt University M–F 12–6pm

Box Office: 50 E Congress Pkwy and all other TicketMaster outlets.

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Composed by George Frideric Handel

Conductor: Michael Beattie

Director: James Darrah

At the Harris Theater at Millenium Park, Chicago

Medea’s madness must end in this finale to the three-part opera series.

When last we saw Medea (Renée Tatum)—the infamously mercurial mythological sorceress—she had burned Corinth to the ground in revenge for scorned love and murdered her two children born of Jason, her unfaithful lover. Handel’s Teseo opens with the city of Athens under siege by a civil war and its King Egeo (Gerald Thompson) giving asylum and his hand in marriage to Medea in exchange for her dark arts aiding him against his enemies. There’s a rival for the king’s affection in the form of the pure-hearted Agilea (Manuela Bisceglie), whom we see in the opening scene taking refuge in a palace safe room while battle roars outside. When the king unwisely turns on Medea after victory, her legendary temper is unleashed upon all in her path.

Date Reviewed: April 21, 2012

For more info checkout the Teseo page on www.harristheaterchicago.org

At Harris Theatre,  205 E. Randolph, Chicago, IL; call  312.334.7777 or visit www.harristheaterchicago.org; tickets $25-125 (discounted student and group rates available); performances April 27, 29 and May 2, at 7:30pm; running time 2 hours 45 minutes with one 15 minute intermission.