REVIEWS

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The Last Five Years

So sure. Kokandy’s Last Five Years is a tad underdeveloped and doesn’t always take dramatic advantage of the openness of its material. But at the same time, it also doesn’t obfuscate or overcomplicate the show’s purposely lean emotional through line. Powerful and resonant when it matters most, more than anything, this production is a solid testament to the enduring power of Brown’s revelatory score.

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REVIEWSREVIEWS BYTheatre ReviewsTom Williams

All-American

Only Aaron knows what Katie really wants. As the story unfolds, we see how Aaron reacts and comments on all the family dynamics with complete and ofter perceptive candor. During the fast-paced direction by Scott Weinstein, we witness the awakening of each family member as ultimately the underlying love carries the family through their struggles.

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The Comedy of Errors

Chicago Shakespeare Theater’s current production, being performed for free throughout the city’s neighborhood parks as part of this summer’s Chicago Shakespeare in the Parks, thankfully fulfills our expectations. This rapid-fire 75-minute adaptation by Jeff Award-winning director David H. Bell eschews too ponderous a conceptual approach in favor of a boisterous and slapstick romp, replete with wild acrobatics, juggling and light-hearted sight gags.

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REVIEWSREVIEWS BYTheatre ReviewsTom Williams

Slowgirl

Over the 90 minute one act played out in one week , the unique bond formed by a precocious teen and her middle aged uncle reaches into their souls as each face their realities allowing them to get on with their lives. William Petersen nicely lets Rae Gray command the stage as he patiently waits for her to get her daemons out before reacting.

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Mozart Magic: Ravinia Festival

If anything, the orchestral playing grew even more pointed and lively in the Concerto for Three Pianos, an earlier work which, like so much of Mozart’s earlier output, is disarming in its inspired combination of craftsmanship and charm; if anything, the slow movement is even lovelier than that in the later Paris Symphony, although the finale, written in the tempo of a minuet, is somewhat underwhelming and low-energy for a Mozart finale.

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Uptown Opera

Giving voice to their struggles is Genesis Ensemble, whose bluegrass/rockabilly Uptown Opera—now playing at the Preston Bradley Auditorium (fittingly, in Uptown)—admirably sets itself to the task of weaving together these somewhat forgotten threads of Chicago’s intricate social tapestry. Still, Uptown Opera’s big heart may not be enough to recommend itself, plagued as it is by a weak book and sadly underwhelming performances.

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Mojada

Even as far back as Euripides, the figure of Medea was portrayed as something of a mojada—a derogatory term for ‘wetback.’ Beginning in the late fifth century, for instance, shortly after Euripides’s own stage version of the myth, artists began to accentuate Medea’s role as a foreigner living within Greek society, dressing her in exotic oriental garb rather than the clothing of a traditional Greek woman. The perpetual ‘stranger in a strange land,’ the myth of Medea—scorned and infanticidal—has ever since lent itself to probing considerations of cultural assimilation, gender inequity, and the darker aspects of romantic love.

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