Capriccio
…Capriccio was referred to by Strauss as “conversation piece” rather than a serious drama, is an opera within an opera and an appreciation of the wonders of music over words (lyrics) that fuels opera.
Tom Williams
Both Your Houses
Founding artistic director of Remy Bumppo, James Bohnen, returns to direct a political satire by Maxwell Anderson, his 1933 Pulitzer Prize winner drama, Both Your Houses. This is a fine ensemble work that features naturalistic dialogue from a cast that easily captures the essence of powerful United States Congressman as they wheel-and-deal to get an appropriations bill through congress in the late days of the Hoover Presidency as the Great Depreciation devastates America.
The Wild Party
Among the remarkable accomplishments by LaChiusa and Wolfe that director/choreographer Brenda Didier made in The Wild Party was that the story contains a rich, fully developed group of characters depicted through song, dance and comedy. This show is a drama that morifs into a into a musical that marvelously tells its story through songs and strong acting. The singing, dancing and comic turns by the entire cast were amazing
Cole Porter’s Greatest Hits
Take all the youngsters in your life to hear a master songwriter’s work neatly song by a veteran cast presenting a varied, engrossing revue of memorable show tunes that have survived the test of time. Cole Porter’s songbook needs to be heard again by us fans of genius composers/lyricists. Porter takes his place among Gershwin, Sondheim, Berlin and Herman. Light Opera Works, once again, has a hit revue going that begs a trip to Evanston.
The Cryptogram
In a baffling turn, Profiles Theatre has mounted David Manet’s 1994 utterly perplexing drama – The Cryptogram. Even after doing copious research including reading Manet’s comments on what The Cryptogram is about, I m still baffled.
Don Giovanni at the Lyric Opera of Chicago
This production of Don Giovanni is particularly well sung, especially by soprano and Ryan Opera Center alumna Andriana Churchman making her role debut as Zerlina. Her natural melodic singing was a joy to hear! She should be proud of her debut performance. The other cast members were terrific also. Marina Rebeka, a soaring soprano and soprano Ana Maria Martinez as Donna Elvira complimented the scorned ladies.
Another Bone
The play starts with a two person speech wherein Rhonda (Jan Ellen Graves) and Marie finish each other’s sentences as they expound about their husband’s deaths as firefighters in NYC. Marie’s man was a 911 hero while Rhonda’s man died in a house fire a year after 911. Both firefighters were heroes but the 911 fallen firefighters were given major hero status by government and by the public. Marie got several million and Rhonda received the normal adequate death benefits. Marie and Rhonda stay friends as each helps the other adjust to life after losing their husbands.
The Night Alive
The Night Alive is a brilliantly constructed drama that unfolds as finely directed and beautifully acted work that leaves audiences moved and satisfied that their lives and their aspirations are in a better place than Tommy, Doc and Aimee. We are glad we shared their experiences of these very human souls as only a master playwright can present them. The Night Alive is one of the finest players seen on a Chicago stage this year! Don’t miss it.
The Magic Flute (Impempe Yomlingo)
As part of their World’s Stage series, Chicago Shakespeare has smartly brought the magnificent South African troupe, Isango Ensemble to Chicago on their International tour of one of the most charming, energetic and innovative productions of Mozart’s beloved vaudevillian opera – The Magic Flute. Dressed in vivid African attire, the 30 person cast, with the exception of only a few roles, move swiftly from playing marimbas, drums and various percussion instruments to singing and dancing as well as producing marvelous male and female harmonies. I can’t remember seeing a more talented and versatile cast.
At Home at the Zoo at City Lit Theater
For some strange reason, Edward Albee felt he had to write a first act in 2004 to his 1959 one-act, The Zoo Story. Maybe he felt that more theatres would produce the work if it was a full play? So now, if you want the rights to do ‘Zoo,’ you must do it as At Home at the Zoo. The result is to make patrons sit through a slowly unfolding yet serviceable prequel.