This manically paced comedy id fueled by grief and dysfunctional family relations yet it is one of the cleverest and witty comedies in years! Alex Weisman give a tour de force performance as Jason/Tyrone, Who knew that Weisman could manipulate his hand puppet with such spot-on timing and change voices instantly between Jason and Tyrone. Add his deft physicality and we have a fabulous comic performance. Weisman can add comic performer (and puppeteer0 to his resume.
Read moreThis update adds some necessary refinement to this tale of the faceless cards in a deck trying to outwit a king.
Read moreModest Mussorgky’s only completed opera is not for the faint of heart; it is not for those who like the Italians and nothing else, the lyrical, the symphonic, the easy ones. Boris Godunov is a difficult piece, at once crass and deep, with, on the one hand, somewhat technically amateurish composition, and, on the other, incredible insight into not only how to musically convey the moods of the characters but how to convey the chaos and horror around them.
Read moreOne of the more difficult aspects of a rock musical is the sound design so that the powerful instruments don’t drown the vocals and reduce it to incoherent noise. Christopher Kris deserves a big round of applause of balancing all of these elements, including the addition of a hand-held microphone for solos.
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During the 2016-17 season, Jeff Awards judges attended opening nights of 159 Equity productions offered by 42 producing organizations, and from these openings, 123 productions were “Jeff Recommended” and eligible for award nominations.
The 49th Annual Equity Jeff Awards ceremony honoring excellence in professional theatre produced within the immediate Chicago area will be held on Monday, November 6th, at Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace.
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Here are the 12 Best stage performances for 2016:
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Executive and Artistic Director Keith Gerth and Associate Artistic Director Stephen Smith of the Oil Lamp Theater in Glenview announce
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The stand-out performances, I noted, were experienced Trap-Dôrsists Halie Ecker, Marzena Bukowska, and Kelsey Rhiann Shipley: their presence had that sine qua non quality—in their physical movements; the credulity in their eyes; and, most especially, the expressive skill of their voices that transcended the “poetry” of the poetry to communicate its meaning clearly (cf. a coherent Shakespearian actress).
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Glass, however, ultimately offers us a sympathetic perspective on Disney—and one not difficult to accept. Disney struggles with accepting his own death and preserving his legacy—a legacy we see (and to this day experience) grow larger than the man who inspired it. While he envisions his name growing as renown as Jesus and Muhammad, Disney laments how “Disney,” as the name of his brand, has usurped his individual identity. His remedy for death and obscurity is to be cryogenically frozen, so that he may yet survive and come back as a figure of hope to proclaim that even death is not an end to the dream.
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