The first thing to about Durenmatt’s Romulus is that he called it a history play with no historical basis. Several different people from the period in the fifth century arbitrarily labeled “the fall of the Western Roman Empire” are conglomerated here, and their relationships are redefined for dramatic effect. But that’s alright, because this story, presented now by the capable team at Oracle, is more engaging and thought-provoking than a treatment of the actual events would likely be.
Porchlight Theatre, under the leadership and direction from Michael Weber, have mounted, on a low budget, an intense, well sung and well performed production of Sweeney Todd. It rivals the terrific production recently at Drury Lane Oakbrook in quality not scope. This production is intimate, slick and darkly scarey proving that the source material can work on different scales. This Sweeney plays very much like the 1979 original and the 1982 national tour.
I got annoyed while watching with both the script and production, but in retrospect, have a greater understanding of what Interrobang is trying to do. This was another time when people not attending the press opening will likely enjoy a cast feeding off a more typical audience. Every actor is making their Interrobang debut. Clearly, this young company is staying loyal to its mission to do issue plays. I disliked the play’s bluntness about complicated ideas, many of which have changed a lot since its debut, and the production was lacking in some respects. But given the play’s philosophy, maybe this is the kind of company that can best perform it. Some people want art that scrambles for resources and puts forth this niche philosophy. This could appeal to them.
This is a play about how both spiritual and worldly goals have disappointed the characters. If you’re interested in subjects like that, or enjoyed other plays by Rebeck, it could be worth checking out. There is a lot of humor in the story, which would probably work better with a regular audience than at the press opening I saw. But I, like the people in the play, was left wanting more.
…Capriccio was referred to by Strauss as “conversation piece” rather than a serious drama, is an opera within an opera and an appreciation of the wonders of music over words (lyrics) that fuels opera.
The show’s concept is that somewhere in the afterlife, Etta James has split into five parts: one for each stage of her career. Numbered in reverse chronological order, with 1 being the oldest, the five Ettas are snapshots of James at various points in her struggles with drugs, romance, and self-loathing. The Ettas don’t get along, and always hated the hero-worship of a tribute anyway. Bringing them together to do some psychological therapy is drag queen Ms. Real (Reuben D. Echoles). As we relive (or for some people, me included, discover) James’s music, she goes on her own journey of integration.
Founding artistic director of Remy Bumppo, James Bohnen, returns to direct a political satire by Maxwell Anderson, his 1933 Pulitzer Prize winner drama, Both Your Houses. This is a fine ensemble work that features naturalistic dialogue from a cast that easily captures the essence of powerful United States Congressman as they wheel-and-deal to get an appropriations bill through congress in the late days of the Hoover Presidency as the Great Depreciation devastates America.
Season on the Line follows the Bad Settlement Theater company, a once prominent company in their community who in recent years have hit new lows in both ticket sales and subsequently production quality. A dilapidated, musty old Motel Theater with a budget stretched thinner than razor wire. The scene opens with the new kid, just known as The Narrator, telling the story of how he became the Assistant Stage Manager (ASM
Among the remarkable accomplishments by LaChiusa and Wolfe that director/choreographer Brenda Didier made in The Wild Party was that the story contains a rich, fully developed group of characters depicted through song, dance and comedy. This show is a drama that morifs into a into a musical that marvelously tells its story through songs and strong acting. The singing, dancing and comic turns by the entire cast were amazing
Take all the youngsters in your life to hear a master songwriter’s work neatly song by a veteran cast presenting a varied, engrossing revue of memorable show tunes that have survived the test of time. Cole Porter’s songbook needs to be heard again by us fans of genius composers/lyricists. Porter takes his place among Gershwin, Sondheim, Berlin and Herman. Light Opera Works, once again, has a hit revue going that begs a trip to Evanston.