Theatre Reviews

Walter Stearns’ decision to cast Pacific Overtures with all Asians was bold making it the first Chicago production to do so. It worked effectively, to say the least! The atmosphere was created with Kurt Sharp’s sliding door set on John Horn’s fine lighting. The players are dressed in gorgeous Japanese kimonos (designed by Carol Blanchard) with authentic wigs and they move with Kabuki movements with Noh theatre elements. The show features terrific musical direction by Eugene Dizon and his orchestra that flawlessly plays Sondheim’s strongly Oriental influenced score. The show is Japan meet Broadway.

Leave it to director Fred Anzevino and the creative staff at Theo Ubique for boldly mounting Evita on their miniscule stage in the No Exit Café. They have perfected their trademark “cabaret theatre” style taking storefront musical theatre up a notch or two. They have successfully mounted a most articulate and musically sound version of Webber & Rice’s pop opera, Evita. I heard and understood every word and I enjoyed Brenda Didier’s smartly stylish choreography.

Bartleby the Scrivener Adapted from Herman Melville By R. L. Lane Directed by Richard Cotovsky Produced by Mary-Arrchie Theatre Kudos

Art, written my a French female, Yasmina Reza, deals with the reaction of three supposed friends to a painting purchased by one of them for a large sum. Art, of course, tests the depth and validity of the friendship between the three men. Serge (John Procaccino) is a self-proclaimed expert in modern art.

Black Ensemble Theater’s Season of Men continues with “I Gotcha” (The Story of Joe Tex and the Soul Clan). Written by Joe Plummer and David Barr III, “I Gotcha” uses the basic Black Ensemble formula: blending tidbits of biographical information with a character sketch of the principal person to that person’s music and those he/she associated with.