La Bohème seduces at the Chicago Lyric Opera

The story of Mimí and Rodolfo falling in love in a garret in 19^th century Paris, has captured the hearts of audiences since its debut in 1896. Puccini knew what he was about: the Opera was inspired by a hit play, La Vie de la Bohème by Théodore Barrière and Henry Murger, in turn the author of an earlier collection of short stories, Scènes de la vie de Bohème. Puccini believed in banking on a known hit. He was right. La Bohème is still one of the most popular Operas of all time, in fact, this is the 20th production mounted at the Lyric Opera since its inception in 1954.

This production is set in late 19^th century Paris, right about the time the original production debuted. The set, designed by Gerard Howland brings the rooftops of a wintery Paris to atmospheric life. Washed in shades of blue and silver, the Eiffel Tower reaches for the heavens above the action, promising a future our doomed lovers will never see. The garret apartment of Rodolfo and Marcello is exactly the sort of shabbily romantic spot it should be, and the scenes at Café Momus capture the lively Latin Quarter perfectly. Director Melanie Bacaling makes good use of the supporting cast – the group scenes are a joyful counterpoint to the central tragedy.

In brief, La Bohème is the story of a group of “starving artists” living in Paris. Rodolfo, a poet, falls in love with sickly silk-flower maker Mimí. Painter Marcello has a tempestuous affair with escort Musetta. Both stories end as one would expect but love and laughter is shared along the way.

Rodolfo is sung by Samoan Tenor Pene Pati, who shines from the first note of his first aria. His soaring, powerful voice is filled with all the energy and passion of a young artist, seeking his muse. Hot-tempered Marcello is brought to life with the rich baritone of Will Liverman. Mimí is sung with the soft, pure tones of Soprano Ailyn Pérez, and Soprano Gabriella Reyes absolutely stops the show with her rendition of Musetta’s Waltz, arguably the most famous aria in the piece, or at least, the one you leave humming!

The supporting cast is equally strong. Ian Rucker as Schaunard and Peixin Chen as Collinne add levity, while keeping their characters grounded. Chen in particular has a lovely, heartfelt moment near the end. The chorus of young children, Uniting Voices of Chicago, are great in the Café Momus scene, but more importantly, clearly having a blast. The lightness they and the rest of the cast provide keep the tragedy from feeling overwrought.

One of the reasons La Bohéme has remained a foundational story in the Western imagination is how simple and easily digestible the opera is. At barely two and a half hours, it flies by. During the pre-Opera talk, Dr. Harris Saunders explained that Puccini enjoyed attending theater in languages he couldn’t understand, including several in English that went on to inspire compositions. That kind of attention to the more universal and easy-to-follow aspects of the dramatic arts is another reason La Bohéme has remained a timeless favorite. The score, whether you speak Italian or not, is composed to carry you along on the emotions of the characters. There isn’t a single moment that goes on too long, or a note that feels unnecessary. The movement of the plot is also easy to follow. The characters are all archetypes: The Poet, the Delicate Damsel, The Escort with a Heart of Gold, the Passionate Artist, the Care-Free Friends. The talented cast tells us everything we need to know with their bodies and their singing. If you are new to Opera, or want to introduce someone to it, this would be the perfect production.

Highly Recommended

Reviewed by Alina C. Hevia

Presented at the Lyric Opera of Chicago. Shows run March 19, 22, 25, 28, and 31 and April 3, 6, 9 and 12. Tickets range from $42-$239. For more information and tickets, visit lyricopera.org/shows/upcoming/2024-25/la-boheme/or call 312.827.5600.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.

What is That? Funny, Sexy and Deep

With a title like Pussy Sludge you wouldn’t be wrong expecting an erotic comedy that steps far over the line of the ordinary; and this production of Gracie Garner’s award-winning play handily delivers the sex and the laughs – often coming together – under the simmering direction of AVA CALABRESE GROB.

You might not expect, however, to be peeled from laughter into gasps of hope or heartache and back again.

Pussy Sludge is a darkly comic, erotic dreamscape of discovery and transformation, of wrestling with our nauseating, sludge-y self until we can (hopefully) stop mourning and break free from a self-imposed paralysis to live out in the open.

Little Red warms the imagination in the heart of winter.

Walking into the space at The Actors Gymnasium at the Noyes Cultural Arts Center in Evanston is like walking into a room of promised stories: there were wooden chairs that had sprouted leaves and branches, an ornate old wardrobe, a cozy looking bed covered in your great-grandmother’s quilt, and ropes, leaves, and twinkling strands of light hanging from the ceiling. Once we found our seats, the lights came down, and the stories unfolded.

Little Red is a re-telling of the 17^th century, classic fairytale, Little Red Riding Hood. It was created and directed by long-time collaborators Heidi Stillman and Sylvia Hernandez-DiStasi as a part of their regular Winter Circus programming. The Winter Circus is an opportunity for students of the Gymnasium to work with professionals in the Circus Arts, and for the community to share in the wonder. Little Red combines elements of Commedia dell’arte, acrobatics, dance, contortionism, and mime.

There are exactly two songs sung to get some exposition out of the way, with instruments all played on stage by the ensemble, but otherwise, the performance is almost completely wordless. This leaves the actors to use their faces and bodies, and for the designers the lights and costumes to tell the story. They create an atmosphere that is dreamlike, as if, for this moment, we have transcended time and space, and even language, to return to the very beginnings of storytelling.

As the ensemble journeys through the familiar tale, the actors trade parts, by trading the Wolf’s mask or Little Red’s hood, turning each vignette into a little story of its own, at once part of the whole and separate from it. The audience is treated to a game of keep away by woodland creatures, a menacing dance of the wolves, and a comic, confused chase between Granny and the Wolf. When the Wolf finally swallows Granny down the portrayal is an unexpected, captivating and uncomfortable moment of artistry.

As the Wolf slips into Granny’s clothing and Little Red innocently walks toward certain doom, there is an unexpected plea made by the moon. Because the actors so often traded between parts and costumes, I can’t confidently name the performer who played the moon, but her dance has stayed with me. An acrobatic performance on a ring high above the stage, the moon rises, observes the danger that Little Red is in, and expresses her concern. Words fail the strange, lyrical, utterly moving dance that followed, which is probably why they didn’t bother with any in this production. They weren’t needed. Suffice to say, that in an acrobatic play about Little Red Riding Hood, with clowns and wolf masks and pratfalls, I was moved to tears by the plight of the moon, hanging high above us all, wishing she could help.

Little Red confronts the Wolf, and a wonderful aerial dance on long, red scarves follows. The play becomes a metaphor for facing one’s own demons, and ultimately, embracing them. There is nothing like sitting in a darkened theater, surrounded by strangers, and being led on a journey by talented, passionate storytellers. It is an experience that is utterly unique and irreplaceable. The wolf dance might be a touch frightening for the very young, but if you are looking for something that will captivate and engage you and your family, Little Red is perfect.

Highly Recommended

Reviewed by Alina C. Hevia

Not recommended for children under 5.

All performances are at Noyes Cultural Arts Center at 927 Noyes St., Evanston, IL.

Show dates are March 1^st – 30^th. Performances are Saturdays at 4:30 PM and 7:30 PM, and Sundays at 3:00 PM. Tickets start at $25 for adults and can be purchased online at www.actorsgymnasium.org/shows

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.