Chicago Critic Must See recommendations.
In a change of style, director Robert Falls has opted for a minimalist actor centered production of The Seagull based on two years of meticulous research. His cast, a group of “A” list Equity actors, have had a long, discovery oriented Eastern European repertory company environment in which to absorb the nuances of their characters with a focus on the methods of Konstantin Stanislavsky.
If you’re looking for a way to introduce your young child(ren) to more live theatre without the show title starting with “Walt Disney presents…”, I implore you to look no further than Lifeline Theatre’s inventive and winning re-mount musical production of Click Clack Moo: Cows That Type
Dale Calandra returns to Chicago to direct his friend Kathy Scambiatterra in the seldom mounted Williams’ classic drama – Sweet Bird of Youth. Josh Odor, plays Chance Wayne and Kathy Scambiatterra plays the Princess. Both are aging and lamenting their fading youth. These two characters overwhelm us with their sensuality, their angst and their self-loathing.
Williams finds classic tragedy in the contemporary South. In this poetic expressionist vision of the struggle between truth and illusion in the face of mortality and the fraught attempts of the family members to communicate amongst themselves, Williams effectively expresses the pain and loneliness each feels as they resort to attacking each other as their means of relating.
A few seconds into the Carmen overture, Bizet’s haunting melodies and stirring rhythms remind us of his brilliance. We’ve heard Bizet’s music as underscoring for films as much as we’ve heard them in an opera house. Now add a large cast including the Chicago Children’s Choir and you have a most memorable evening of grand opera!
Carolyn Defrin deftly narrates with loads of help from fifth grader Caroline Heffernan who smartly plays the innocence of childhood as Scout Finch Lee’s alter-ego from her childhood. Seldom have I seen a fifth grader with the acting chops and ability to not only deliver her lines but to have spot on timing to convey humor and pathos. Caroline Heffernan is a dynamite talent.
While I would say my highlight of the evening was “After the Rain,” all three pieces are beautifully choreographed, danced, and lit. The musicianship of Chicago Sinfonietta was amazing and needs to be mentioned along with the dancers. The lighting plays such an important role in these pieces so Mark Stanley and Jennifer Tipton deserve a mention as well. To me this was a perfect marriage of dance, music, and design bringing forth a truly wonderful evening.
Be it understood that Verdi’s opera in NOT Shakespeare’s Macbeth set to music! Rather it is Verdi’s interruption of Macbeth utilizing the music to add depth to all the emotions of the main characters. Emphasizing feminine influence of Lady Macbeth to get her husband to murder his way to power, Verdi’s opera is filled with psychological torment expressed in the wonderful, melodic score that moves from rage to the joyous rebirth of a nation.
The 1970 groundbreaking Tony winning musical is a series of vignettes set around Bobby – a bachelor upon his 35th birthday as his five married or soon to be married couples try to woo him into marriage. The entire show happens in an instant as Bobby reminisces about marriage as he contemplates each couples martial status. Ultimately, he must decide if he is ready for marriage, ready for commitment. Will he attend his own surprise birthday party?
Tosca is so romantic, so melodic and so emotional that I was completely enchanted from the early romantic duet arias. I was impressed by the rich vocals from Violeta Urmana and the smooth fluid tenor chops from Marco Berti as Tosca’s lover, Mario Cavaradossi. Lucio Gallao is the deliciously cunning villain, Baron Scarpia.