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.
Read MoreThe Santaland Diaries have become a tradition in this town. And thank god. Because there is only so much holiday cheer one can stomach, only so much crass consumerism and cynical, sappy marketing dressed in the guise of yuletide joie one can stand before one craves the horrific, seedy underbelly of the holiday.
Read MoreElizabeth Ledo is most effective as the Ghost of Christmas Past while Nathan Hosner is eerily scary as the Ghost of Jacob Marley. The Goodman Theatre’s diverse cast is most effective. This year’s energy is heightened and the music is worthy of 1940’s London. Larry Yando is amazing as Scrooge!
Read MoreWith the addition of Michael Mahler, his wife Dara Cameron, and Zachary Kenney, this year’s edition of the radio play version of Frank Capra’s beloved holiday show still is filled with warmth, charm and wholesome American spirit that depicts how the little guy from small town America can effectively affect (for the good) many lives
Read MoreMaeve Young Erickson The 11th Annual One of a Kind Show at the Merchandise Mart Dec 1st – Dec 4th
Read MoreThe story of Ariadne mirrors the theme of the overall play: namely, that when comedy is set side-by-side with tragedy, it will win; if Mozart were to face Wagner, Mozart would triumph simply by default; and Dionysus will prevail. Strauss surely had the Apollonian and Dionysian dichotomy in mind when he wrote this piece – after all, he is the composer of Also Sprach Zarathustra – and it shows. There is such interplay between comedy and tragedy – two sides of the same Dionysian coin – and between Apollonian form and structure and Dionysian chaos.
Read MoreAnd Wechsler has decided to innovate, to attempt to make the story a parable of America. He wants to layer on a metaphor of the American psyche. Gynt is not a bad candidate: he starts scrappy and naïve; he gets into some heavy things along the way – slave trading, missionary work; on the island with his friends, he seeks to convince them to sell goods and services to the Turks, who are fighting against Greece, the birthplace of democracy. He’s gathered all these riches, then gets swindled out of them. On paper, it seems like it could work
Read MoreBook by Timothy Gregory Music & Lyrics by Michael Mahler Based on the Susan Wojciechowski’s book Directed by Timothy Gregory
Read MoreIt is fitting that Jackie Taylor opens the new space with their mega-hit from 2000, The Jackie Wilson Story. This is a bio-musical about the R & B singer Jackie Wilson who helped move pop music from Rhythm and Blues into soul. He recorded over 50 hit singles that spanned R&B, pop, soul, doo-wop and easy listening From 1957 through 1970. Wilson wooded audiences with his golden voice and his sexy dance that gave him the name “Mr. Excitement.”
Read MoreWith a workable book (by Joe DiPietro) and a bouncy score by Bon Jov’s founding member David Bryan, Memphis becomes a thrilling and most entertaining high-energy Broadway musical in years! Memphis grabs us from the start with a high energy score of early rock rhythms, Memphis- style blues, toe-tapping R & B and soulful ballads as well as country style songs propel us through the story of how a young illiterate white cracker DJ want-a-be Huey Calhoun’s (the super-talented Bryan Fenkart) love for ‘Black music’ motivates him to make his passions public to all the folks of Memphis.
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