Will Fink 
Penelope(0)
This is all by means of saying that this play bears incredible intellectual fruit. It is, like Beckett, like Brecht, deep in meaning and rich in metaphor. But, also like Beckett and Brecht, it is incredibly hard to stage successfully. And Steppenwolf falls short…And the play itself, I say again, I find fascinating and highly worthy of both praise and production. But, sadly, this particular one falls short. Perhaps in a few years – maybe with some Irish help – the right people will come together and create magic with this piece.
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The Magic Flute
For those of us either unfamiliar or who hold only cursory knowledge of the opera, it’s sort of Mozart’s musical comedy. Overall it’s quite light and the morality of it is somewhat ham-handed, if classic: typical Sun vs. Moon, Light vs. Dark, Wisdom vs. Ignorance sort of stuff. Maybe (though not necessarily) some references to Free Masonry in there.
Spring Awakening
My feelings about this play are fairly well-documented. To put it succinctly: I’m not a huge fan of the material. That said, this production was far more endearing – and overall successful – than the previous Broadway in Chicago venture. They made the material work better for them than their touring counterparts. And to a surprising degree. This troupe really found the comic moments between the words; they had great timing and used space very well.
Changes of Heart
It’s basically Marivaux staging a Moliere-style comedy and throwing in a Commedia del’Arte character to see what would happen. Which yields interesting results. Harlequin (a clown character with roots in the insolent slave in Plautus who perhaps reached his intellectual peak as Feste in Shakespeare’s Twelfth Night, or What You Will) is possibly the fondest-remembered character of the Commedia, and certainly shakes things up in a largely endearing way in Changes.