Then one night Ken has an epiphany – suddenly he has lost all faith in the existence of God! More than that, Ken has lost faith in most things dear to him – his family, his wife, his career and his stilted Midwest lifestyle. Is Ken having a crisis of faith or his he seeking personal freedom as part of a mid-life crisis? Tracy Letts’ drama examines one man’s journey of person self-discovery.
My favorite voices from this production are from Erin Mosher and Stephanie Umoh both of whom nail their big ballads and anthems were rich emotions. However, the production never has a heartfelt romantic tone. We don’t feel any sparks between Aida and Radames and we only see the coldly obnoxious side of Amneris
The one joke comedy routine appeals to the lowest threshold of comedy shows. We meet Dixie – the fast talking (at times unintelligible) lady (a guy in drag) – who is from Alabama, is an ex-con with three kids who depends on audiences buying Tupperware to make a living. Dixie’s comedy routine is fueled with sexual references to demonstrate the various plastic products.
We see excellent performances by Helen Sadler as the passionate Marianne and Heidi Kettenring as the common sense sister. Kettenring demonstrates her dramatic acting chops here – we know her amazing singing ability. Sadler and Kettenring has an honest stage chemistry that anchors the show. We see the folly and flirtations of these women as well as the shyness and reserve of the well mannered gentry.
Sarah Ruhl’s adaptation thereof has on the stage the feel of a Shakespearean romance: time and distance are travelled freely, in little space, and without much regard. The whimsy is so thick one could use it as a spread for bread.
The central problem with this production is that, by trying to sex up the show and appeal to the middle, they end up appealing to no one. Heavy-duty theatre-goers will find it unremarkable, and casual observers will be lost because of the lack of enunciation as well as the bluster and overall mediocrity of the ensemble.
Brian Friel’s 1979, Faith Healer, is a mesmerizing mystery told in four monologues, each rich in imagery and anecdotal information. We hear basically the same story told by three people – contradictory truths told by Frank Hardy – the Faith Healer (Kevin Theis), Grace, his wife or mistress (Mary Michell) -and Teddy (Jack Hickey) his manager. This memory play entices the audience to listen react and believe each character. We must decide where the truth lies.
It is clear, with a piece as rich as this, why Carmen has endured. And the Lyric puts on a stellar production, with everything you could ask for: every single performer is impeccable; the musicians and conductor are top-notch; the sets, costumes, and other technical aspects are all magnificent. A very traditional, and very talented, production of one of the great operas, it would be foolhardy to let this one pass by unnoticed.
It is a slice-of-life whimsical comedy featuring quirky characters living in 1934 on the small rural island of Inishmaan. It is the tale of “Cripple” Billy Claven who searches for his life’s purpose as he yearns to escape the monotony of provincial living. He is beset by cruel words as the inhabitants continuing refer to Billy as an ugly “cripple boy.” Billy desires more from life especially human connections, even love. When an American documentary film makers arrive at the neighboring Aran Island, Billy plots his escape to Hollywood to become a film star.
The cast of six: Dana Tretta, Jeremy Trager, Sara Schoch, Danni Smith, Evan Tyrone Martin and pianist/ music director Austin Cook each had their moments warbling the iconic R & H tunes. Much of the credit for mounting such a well sung revue goes to the sharp casting by Fred Anzevino who always seems to find new talent to populate his shows. But it is the stellar music direction and deft musicianship by Chicago newbie Austin Cook that made a difference.