REVIEWS Archives - Page 21 of 264

The classic revenge tale “The Tempest”, reimagined at Chicago Shakespeare Theater as a traveling tent show of trickery and amazement, was recognized for Production-Play for a large theatre, Direction of a Play for Aaron Posner and Teller, Magic Design for “The Great Tomsoni” Johnny Thompson, and Lighting Design for Thom Weaver.

Porchlight Music Theatre’s “Dreamgirls”, the story of the aspirations and success of rhythm and blues artists in the 1960s and 70s, was honored with awards for Production-Musical for a midsize theatre, Principal Actress Donica Lynn, Supporting Actor Eric Lewis and Costume Designer Bill Morey.

Tom Williams

Lucia Di Lammermoor

But Lucia Di Lammermoor rests on the performance and vocal acumen of Lucia and Edgardo. Russian soprano Albina Shagimuratova’s mad scene (one of the most famous in opera) was powerfully sung and acted by Shagimuratova. She is becoming the finest Lucia in the world! Also Polish tenor Piotr Beczala is known as thee Edgardo in the world today. Together these two propel this opera to the heavens. Add the fine coral work and the fine work from Romanian bass Adrian Sampetrean as chaplain Raimondo and this opera plays as a triumph bel canto opera

REVIEWS Theatre Reviews

Tom Williams

Romeo & Juliet – The Joffrey Ballet

Pastor’s timely interpretation is timely indeed — if one sets one’s time by 20th century Italian history. Set over three periods of Italian political and social unrest, Pastor’s Prokofiev’s Shakespeare’s Romeo & Juliet becomes the 1930’s Capulet militaristic Fascists versus the Montague liberal low and middle classes; then, in the second act, the 1950’s Capulet Red Brigade political terrorists versus the Montague peace-loving liberal low and middle classes (?); and then, finally in the third act, the 1990s . . . we’re more or less back to plain-ol’ Romeo and Juliet — but in Berlusconi-led Italy of “increasing social divisions!” And for those of us who cannot imagine what these periods of Italian history must have looked like — any more than what Shakespeare’s time did look like — there are projections of Italian pedestrians milling about their ravaged country — which projections are not at all as helpful in focusing the story as they might sound.

MUST SEE REVIEWS Sally Jo Osborne Theatre Reviews

Tom Williams

“Young Frankenstein”

The set is inventive and effective, the wigs are a plenty and the tap shoes are tapping with this large cast of Transylvanian characters. What a magnificent effort by all to take on this show and just in time for Halloween.

The townspeople of Transylvania are attending the funeral of Dr. Frankenstein—relief at last. Lead by Officer Kemp (Tony Calzaretta) let the celebration begin.

Back in NYC, a young doctor receives a telegram; “It’s Frohnk-en-steen not Frankenstein,” he says when informed about his grandfather’s passing. Young Frederick (Nick Miller), must head to Transylvania to settle the estate and leave his finicky, yet fantastic fiancé Elizabeth (Christie Burgess-Martino) behind–which may not be such a bad thing anyway

REVIEWS Theatre Reviews Tom Williams

Tom Williams

Pirandello’s Henry IV

One of the main reasons to see Pirandello’s Henry IV is to enjoy the fantastic work by Mark L. Montgomery as the possibly mad Italian nobleman. Montgomery is one of the most skilled actors working on Chicago stages. His ability to articulate and dominate the stage leaving much doubt if his character is cured from his insanity or still mad or possibly playing games with his enablers? With Pirandello there is always doubt as to where fantasy and reality end. Questions of identify, truth and psychology receive unique treatment by Pirandello

Cabaret Music Reviews MUST SEE REVIEWS Tom Williams

Tom Williams

Let Me Entertain You: Jule Styne’s Greatest Hits

Tunes from Funny Girl (lyrics by Bob Merrill) with like know shows that produced songs that became standards, this songfest produces one tuneful song after another. we remember songs like “The Party’s Over,” ” Don’t Rain on My Parade,” I’ve Heard That Song Before,” “It’s Been A Long Time,” “Saturday Night Is the Loneliest Night of the Week, “It’s Magic, ” “Time After Time,” and “Make Someone Happy” and “People” are among the wonderful tunes that not only were sung expertly but presented with their meaning or spirit.

REVIEWS Theatre Reviews Tom Williams

Tom Williams

Apartment 3A

Apartment 3A features a female liberal PBS TV station on air fund raiser in a Midwest town, Annie (Eleni Pappageorge) who is having a bad time. She catches her lover having sex with another woman that makes her leave in rage. She quickly find an apartment in a questionable part of town – Apartment 3A. She takes the place and she immediately meets her neighbor in 2A, Donald (Daniel Smith), a well dressed man who immediately tells Annie not to fall in love with him since he is happily married. Annie has weird attraction to the quirky man who is a landscape painter who loves to cook eggs.

Music Reviews MUST SEE Opera REVIEWS Tom Williams

Tom Williams

Das Rheingold

In a new production, the Lyric Opera of Chicago has mounted the finest staging that I have ever seen of an opera! Wagner, who wanted his Der Ring des Nibelungen to be know as a music drama, would be proud of David Pountney’s stage of Das Rheingold which was based on Johan Engels and Robert Innes Hopkins designs. Below you’ll see a vast array of photos in order for readers to get a feel for this magnificent staging that enhances Wagner’s music drama as a compliment to Wagner’s power score and the fantastic voices from the world class singers.

London Reviews MUST SEE Saul Reichlin

Tom Williams

Chastity Belt

The show is packed with sensational scenes and naughty but very nice suggestion, but principally, it is the last word in brilliant, devastatingly daring acting, singing and mime, in the highest tradition of burlesque. If burlesque is defined as ‘a humorous and provocative stage show featuring slapstick humor, comic skits, bawdy songs, striptease acts, and a scantily clad female chorus’, Chastity Belt is the most sublime burlesque show in this or any other town.

London Reviews REVIEWS Saul Reichlin

Tom Williams

Danger: Memory

Apparently an examination of a fading memory, plus alcohol (she) and a dropping off of professional skills (he), it was, in the end, none of this, merely a superficial recounting of the playwright’s words, with not a thought for any great depth. Arthur Miller did not become one of the giants of 20th century American drama by turning out shallow material. As a result, the supposed climax and highlight, the dance scene at the end, exemplified this. What could have been exquisite nostalgia was simply embarrassing.