Will Fink I went to Ravinia last Sunday hoping for a good show, good music, and maybe something supremely interesting: the CSO was also billed, after all, so presumably they would be performing together. And, indeed, they did. The CSO began the evening with the overture to Beatrice et Benedict by Berlioz; they then went into Mendelssohn’s scherzo and nocturne from A Midsummer Night’s Dream. All were excellent – exactly what you would expect.
Kevin V. Smith directs this deftly, unapologetically and in search of a new paradigm for what is considered acceptable theatre in America. This is theatre that asks of the audience, that wills participation and thought. It will turn some people off because it is not easy, it is not straightforward, it is not simply entertainment. But for those who crave more from their theatrical experiences than two hours of escapism, this is utterly refreshing.
Henry V is such a magnificent play. My god, it’s epic, isn’t it? Some of Shakespeare’s best-penned lines are contained within. Half the play is deathless speeches. Speeches that, when all is ruin and ash and the world of men has forever sunk into the deep annals of time, shall yet be recited and remembered as the glory of man and some of his finest jewels.
We all know The Blues Brothers, the classic cult hit from 1980 with SNL members John Belushi and Dan Aykroyd, a film that is dear to many people’s hearts, especially, perhaps, here in Chicago, where the film was set. So tampering with something like this, well, it’s sort of like trying to make a Broadway musical out of Pulp Fiction, or remake Casablanca: Bogart and Bergman defined those roles such that anyone else playing them would just be wrong.
The three of them immediately launched into several new songs, presumably on the debut album Theo’s recording right now, each of them very strong and containing what one has come to expect from Theo: good lyrics, nice hooks, excellent chord progressions. Theo writes like he talks, so the colloquial nature of his lyrics make the songs very approachable while remaining catchy and smart.
As the play opens, Theo and Louise Maske (Jack Birdwell and Jessica Maynard, a fellow University of Michigan alum) rush into their apartment, scandalized: while they were innocently watching the king’s parade, Louise’s underwear fell to her ankles. She immediately swept them up, she contests, but Theo is concerned that he will lose his job and his reputation because of his wife’s “indiscretion.”
That Face, the debut from 19-year-old English playwright Polly Stenham, is impressive in its maturity. It does not come off, at first blush, as something a teenager would write. That said, the teen angst and actions are closer, fresher, more realistic than something written by a significantly older writer. This is very much a teen drama, sort of Skins-meets-Albee.
What about the show? Well, it was good. Damn good, really. First we had to wait a minute, until the stage had sufficient fog. But then they took to the stage, James Allan with a thick, white, glowing mic cable, like something out of Bladerunner.
Robert Plant is an interesting choice for the Ravinia Festival. On the one hand, he and his bandmates Jimmy Page, John Bonham and John Paul Jones defined behemoth self-indulgent rock in the ‘70s as Led Zeppelin. However, he’s now surrounded himself with massive names in country, folk and bluegrass and creates music that is, if not calm, complacent.
Ravinia is the perfect venue for Wynton Marsalis, who has concentrated his career on education and outreach almost as much as on music. Jazz at Lincoln Center has a year-round education & outreach program, geared towards giving children opportunities they would not otherwise have.