Her 2004 play, The Clean House, now produced by Remy Bumppo, is an excellent example of both her thematic interest and her playful, though not uproariously funny, imaginative style. It’s a work that resists logical analysis, instead making rhetorical gestures and sometimes heavy-handed emotional appeals. Audience members should go into it with patience to get the most out of it.
Read MoreThough the arrangement is probably old, a large part of what makes this performance successful is how conductor Stephen Alltop is able to scale up Handel’s chamber piece to the massive scale of Orchestra Hall, where I saw it, and the upcoming performance at the Harris. Handel was only writing for a chorus of a couple dozen, but the Apollo has over 110 singers
Read MoreFor years The Santaland Diaries has been a staple of holidays shows. it is how Mitchell Fain both commands the stage and how he personalizes the story without making drastic changes to David Sedaris’ script. One only has to witness Fain’s opening to see a master comic and a terrific actor doing his craft. Fain’s skill at engaging and audience with his crude but very human honesty. There may be others who can play “Crumpet, the elf” but no one humanizes the cynical character as does the sharp-tongued Mitchell Fain. He is a major comic talent at the top of his craft.
Read MoreNot produced at the Lyric Opera since 1985 when Joan Sutherland soared in Anna Bolena, this new production reaches the heights of the bel canto style (beautiful singing) with matching register and tonal quality of the voice to the emotional content of the words. Led by the powerful and stylistic soprano Sondra Radvanovsky as Ann and the smooth mezzo-soprano from Jamie Barton as Anna’s rival for the affections of King Henry, this melodic production of Donizetti’s Tudor-inspired 1830 opera is a major triumph for the Lyric!
Read MoreThe story is minimal but allows Joffrey to establish a tone of vaguely holiday related fancy. A family is hosting a Christmas party. The older child, Clara, is calm and well-behaved, while her hyperactive little brother Fritz is everywhere at once. A magician, Dr. Drosselmeyer, arrives and produces mechanical dolls to delight the guests. Gifts are exchanged; some genius gave Fritz a bugle. Dr. Drosselmeyer gives Clara a figurine nut cracker in the shape of a soldier, which Fritz breaks within two seconds. That night, the dolls come to life and battle against mice trying to eat them. Clara saves the nutcracker by bonking the mouse king with her slipper, and in gratitude nutcracker, now a handsome prince, takes her and Dr. Drosselmeyer to a magical kingdom to be entertained for the night.
Read MoreFrom the opening skit with the cast of misfits riding on a Greyhound bus to the barber shop routine to the Russian girl blachelorette party to the little girl slumber party, this revue has each of the six comics grinding out laughs at a manic pace. The physical gestures and timing of these talented performers makes a night out at Second City a fun event. Written and performed by the cast allows each to contribute and set up their special contribution to the seamless evening of comedy.
Read MoreThough The Christmas Schooner is only loosely based on history, it is grounded in the historical significance of Christmas trees and immigrant experiences. Set in the late nineteenth century, it depicts the Stossel family of Manistique in Michigan’s Upper Peninsula. Gustav (James Wilson Sherman) and his son Peter (Stef Tovar) are naturalized citizens of German origin
Read MoreMary Poppins has all the elements of a GREAT musical: excellent book based on P.L Travers’ children’s Mary Poppins books. Terrific catchy tunes—“Chim Chim Cher-ee,” “A Spoonful of Sugar,” “Feed the Birds,” “Supercalifragilisticexpialidocious” and “Anything Can Happen” with music in the style of early 20th Century British music halls, melodic marches and anthems; fantastic staging with vivid lighting on terrific sets; spectacular show-stopping dances and thrilling flying scenes that include Matt Crowle (as Bert) tap dancing and spinning around in the showstopping “Step In Time”.
Read MoreWell, there’s a twist in the last two minutes, but for most of this eighty-five minute production that’s what we’re watching. The company’s website contains links to some messages from director David Prete to playwright Lauren Gunderson discussing how to justify this ordeal. They say the play is about the sharing of wisdom, how we’re all unified and have lots to teach each other, and can therefore face death more easily. It’s earnest and ambitious, but I can’t say I got that out of it.
Read MoreThe centerpiece of the play is a lengthy monologue from John about what exactly was the cause of his marital strife. Armacost was amazing in this scene; he told the story as if he were reliving it. At every step I understood exactly what John was feeling, even as he acknowledged behaving wrong or foolishly. Goss is a very good listener, which is a more difficult skill than you might think even during a performance as strong as Armacost’s
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