Matilda The Musical National Tour
Book by Dennis Kelly Music and Lyrics by Tim Minchin Directed by Matthew Warchus Music Direction by Chris Nightingale Choreography
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Theatre Reviews
Long Day’s Journey into Night
Though the American theatre sometimes seems glutted with this play’s imitators which lack its heart or insight, theatre remains vital in large part because Long Day’s Journey set such a high standard. And it’s also surprisingly funny.
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Rent (Theo Ubique)
Since the mere depiction of gay people and mentioning of HIV-AIDS is no longer significant in itself, Weinstein’s cast goes much deeper in developing their characters, providing Rent with the emotional heft to remain relevant in 2016. Add to it Jeremy Ramey’s always meticulously balanced musical direction of Larson’s famous rock songs, and you have a magnificent production.
Read MoreThe Bachelors
By Caroline V. McGraw Directed by Erica Weiss Produced by Cole Theatre At The Greenhouse Theatre, Chicago One Half of
Read MoreLESTER’S DREADFUL SWEATERS
World Premiere Musical based on the book by K.G. Campbell Directed by Heather Currie Script by Aly Renee Amidei
Read MoreWest Side Story at Paramount Theatre
Book by Arthur Laurents Music by Leonard Bernstein Lyrics by Stephen Sondheim Directed by Jim Corti Choreographed by William Carlos
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after all the terrible things I do
Pamatmat’s writing deftly and eloquently explores people grappling with things they regret, but can’t put right. To describe the specifics too much would allow readers to figure out things that are supposed to be discoveries, but you may rest assured that Andrew Volkoff’s production and his two outstanding actors tell a story that shows people at their ugliest and most vulnerable, and still treats them with great sensitivity.
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The New Sincerity
The script’s greatest strength is that it captures the thought processes of the young people who observed each other’s responses to the Occupy Movement, but its biggest problem is that it doesn’t flesh those perspectives out into characters who are complex enough to engage with emotionally.
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Blood Wedding
When Federico García Lorca was writing Blood Wedding in 1933, he was also developing his dramatic concept of “duende.” Inspired by the flamenco dancing of Andalusia and the Romantic concept of the ineffable, duende is a tone which is erotic, deathly, and, of course, dream-like. So it makes sense that director and scenic designer Daniel Ostling would be fascinated by it, and want to locate a little duende in the United States. It’s also disappointing how plodding and unfeeling his Blood Wedding is, in a rare misstep for Lookingglass.
Read MoreThe Matchmaker
By Thornton Wilder Directed by Henry Wishcamper At the Goodman Theater, Chicago “Money,” Dolly says, “is like manure; it’s not
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