Chicago Critic Must See recommendations.
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.
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.
While Lorraine Freund and Barbara Roeder Harris were excellent as the Mother Superior and the doctor, this show becomes a special theatrical experience by the riveting work from Sara Pavlak as Agnes. Pavlak’s marvelous singing – chanting in Latin – gives her the audio aura that completed when we see her beautiful smile and her bright, loving blue eyes! Miss Pavlak plays Agnes with a most empathetic and innocent manner
No greater example of the painstaking detail Marin took with these etchings than L’Opera Paris c.1908. We can see that Marin is working at a masters etching level with details that are too numerous to count, yet he’s is trying to work into his own. Minute spaces in
Under director Louis Contey and his creative team, Mikhail Bulgakov’s stinging novel satirical of Russian bureaucratic censorship penned in the 1930’s (finished in 1940 but not published until 1967 with much censored Soviet edits), becomes a manically pleasing journey and a fine evening of theatre.
Mary-Arrchie Theatre specializes in raw, gritty Chicago style theatre. They take those attitudes toward British playwright Harold Pinter’s 1967 Tony Award-winning (for Best Play), The Homecoming. The trick to successfully mounting a Pinter play is to have your cast master the space between the words and the difficult swift change of meaning with the utterance of a single word or gesture.
And it’s carried off well. The tribe is strong. Steel Burkhardt, Paris Remillard, Caren Lyn Tackett and Kacie Sheik (Berger, Claude, Sheila and Jeanie) are stand-outs amongst a stand-out ensemble. Really, you couldn’t ask for better people to be doing this show. And, keeping in the spirit with the original production, they do involve the audience – just another boundary that this piece of theater pushed.
The music is quintessential Handel: Baroque, ornamental, beautiful. He often riffs on a single textual line for minutes on end, like an Enlightenment-era MC5, which is aurally impressive, but does occasionally leave those on stage looking for ways to act around the repetition. Sellers often gives them actions representing certain lines, which are repeated with them.
The power of this story is marvelously presented in the subtle, subdued nuances by Philip R. Smith in his understated performance as Ethan Frome. Nice work here. Louise Lamson’s Mattie exudes youth and innocence while Lisa Tejero’s Zeena is a controlling person with a strange sense of obligation. The story’s ending will stun and surprise you. This is an impressive and reserved work of art that depicts the tragedy of unfulfilled love and desir