…how Wagnerian this music is (for the late Dvořák of the “New World” Symphony and the “American” Quartet, at any rate). However, even if many passages and harmonic turns here could seemingly have come straight from Tristan und Isolde, this music is more sweet and less decadent than Wagner can often be, and there are frequent interludes of Czech folk dance and folk song.
Farilane Theatre Co. put on an effective production of Adam Rapp’s Red Light Winter. A modern look at sex, obsession, and friendship comes to life. Beautifully written characters make this story sensitive and dark. Early in the show, automatically we veer our sympathy toward Matt (Chris Martin with a stellar performance). On the opposing end is Davis (Bob Pantalone in an aggressive, strong performance). As tempers arise, the story and production stays engaging from beginning to end.
…Chicago Shakespeare Theatre’s A Midsummer Night’s Dream. Short Shakespeare is a program that CST puts on to expose the younger audience of Chicago to the one and only, William Shakespeare. This version is cut down to 75 minutes. It engages with the children, makes them laugh, ask questions, and learn the fine art.
John and M agree to have John bring W to their place for dinner so the three con settle this problem. As the battle for John erupts, M and W have many funny quips as the two ‘bitch battle.’ But when M brings his father F (Larry Neuman,Jr.) in as a reinforcement, the tug of war only increases John indecision. Can one love two people at once with one a man and the other a woman?
Director Peter Marston Sullivan has created the proper passionate tone to highlight Peter Shaffer’s fictional account of Antonio Salieri’s relationship with Wolfgang Amadeus Mozart. The result is Amadeus, a rivetingly emotional gem.
Anchored by the in depth and glib work of Steve O’ Connell as Antonio Saleri and Chris Ballou as Wolfgang Amadeus Mozart, Amadeus brings us into the fascinating world of Mozart as he strives for fortune and fame in Vienna at the court of Hapsburg Austrian Emperor Joseph II (David Tibble) in the late 1780’s.
In its finest moments, Buzzer deals with interracial relationships, white fear of black men on street corners as well as interpersonal trust. We see the struggles of addiction and how that effects the trust of those close to the addict. We also get a glimpse into how gentrification causes class problems as the poor resent the wealth whites and how those folks fear the street folks.
Happy looks at the life choices we make and asks: are we really happy or are we putting up a facade to convince ourselves and others that, indeed, we are happy? Caisley creates two stinging characters to probe his concept of ‘ happy.’
Erika Sheffer, herself the child of Ukrainian Jewish immigrants, has developed two generations of characters each striving to both survive and get their share of the American Dream. She addresses the decision the family must make: How far are they willing to go to come out on top – to survive? Is money the ultimate measurement of success? Does family survival trump all ethics? Does the family needs justify doing evil acts toward others as long as it doesn’t hard the family? Does the scares from having nothing justify the amoral accumulation of wealth?
Much of the show consists of the assistants talking on the phone to Daniel and his contacts. That can become annoying. But we see how the degrading work can wear out the weak yet salary is not considered into the decision to leave by one of the assistants. Ambition and self esteem dominate.
Any production of GYPSY depends on who plays Mama Rose. I happy to report that Louise Pitre is outstanding (one of the best to every play the role!). Her strong, emotionally determined stage mother, commands all her scenes. She is small in height but a giant in her scenes. When Pitre arrives on stage, all eyes go to the dynamic woman. Pitre’s singing was smooth and heartfelt with a deep emotional base. especially when she blurts out “Sing Out, Louise” as storms onto the stage. We know instantly that Rose is in charge here.