Author: Alina Hevia
La Bohème seduces at the Chicago Lyric Opera
The story of Mimí and Rodolfo falling in love in a garret in 19th 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 19th 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.
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 17th 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 1st – 30th. 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.
The Neo-Futurist Theater can tell you HOW TO BE COOL
On the top floor of a building in Andersonville, you’ll find the 37-year-old Neo-Futurist Theater. Founded in 1988, The Neo-Futurist aesthetic demands that everything that transpires in their theater be non-illusory, which is to say that they pretend nothing; actors only play themselves. It makes for an intimate and immediate experience that feels unique. The home of the long-running late night show, The Infinite Wrench, a collection of 2 minute long plays, this production is a “prime time production” directed by Anna Gelman. The theater space itself has an inviting, lived-in feel, there is art and the evidence of the production of art, everywhere. The lobby area outside of the theater looks like a college bar circa the early 2000s. Audience members mingled at tables and chairs, watching video screens set up on either side of the room.
We were invited into the theater once it was time for the show to begin. A long, narrow space, the room was stark: a projection screen was up on one end, with no other embellishment. The show began with writer, performer and Neo-Futurist Ensemble Member Neil Bhandari crawling into the space from behind the screen and lugging the biggest baggage (pun intended) I’ve ever seen.
Neil opens the brisk, hour long show with a narrated video essay on what it is to be cool. Iconic images and characters from the eighties and early nineties carried the audience on a nostalgic wave back to when Harrison Ford, the Goonies and Eddie Murphy were defining cool for American kids. He gets the audience involved in the musings, and together, a definition of “cool” is established. Once we know what we’re talking about, Neil recounts his own childhood desire to be cool, the motivations behind it, and the attempts to achieve it.
He bounces from monologue and dance to live music, costumes are changed on the spot on stage, and he sets up all the props or sets he might need while staying engaged with the audience. What begins as an examination of coolness turns into an exploration of insecurity, identity-building and the lies we tell ourselves as we try to make our way in the world.
Neil embodies much of the cool he describes: he’s funny and smart, he can play guitar and make fun of (and share) his eighth grade poetry with confident self-deprecation. As the hour continues, he also reveals the dark side of building an identity based on what others think of you. What at first seemed a cute kid’s journey into becoming an adult turns into an adult recounting the mistakes of an insecure kid, yearning to be cool. Smart, funny, talented Neil lists the kids who paid a price for his attempts at popularity. He mourns the loss of relationships, the loss of time, the loss of who he thought he could be vs who he was.
The evening is a funny, unexpected, melancholy and thoughtful treatise on what it means when the perception of others is what you chase, because you can’t stand your perception of yourself.
Recommended
Reviewed by Alina C. Hevia
Performances are held at The Neo-Futurist Theater, 5153 N Ashland, Chicago, IL 60640 from February 6th – March 1st on Thursdays/Fridays/Saturdays at 7pm. Tickets are PWYC – $20 and available now for purchase.
Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.
Love + Chaos + Dinner = Magic
*Extended through March 30, 2025!
Imagine the musical, Cabaret. Then, add in a little Cirque de Soliel, a dash of steam punk, a dollop of drag queen, a healthy handful of humor, and tie it all up with a satiny, sensual ribbon. If you can hold all those elements in your mind, you’ll have some idea of what it is like to spend an evening at Teatro ZinZanni.
Held on the 14th floor of the Cambria Hotel, entering the historic Belgian Spiegeltent, imported and installed by Broadway in Chicago, Randolph Entertainment and Teatro ZinZanni in 2019, is like entering another world. Spiegeltents, or “mirror tents,” as I learned from Teatro’s website, originated in the early 20th century in Holland. The tents acted as mobile palaces for dancing and other gatherings. Crafted of intricate woodwork and stained glass and detailed in velvet and brocade, each tent has its own personality and style. Only a hand-full of these unique and legendary ‘mirror tents’ are left today. Chicago’s import is called the “ZaZou” and it was built in 1910.
From the moment you enter the Cambria Hotel, the otherworldly experience created by the cast and crew of Teatro ZinZanni begins. We were directed to the elevator by a woman in red satin, and exited it into a beautiful lobby and bar. Upon entering the tent itself, I could almost hear the opening words of Cabaret, welcoming me and urging me to leave my troubles at the door. My companion and I had the dinner service, and a delightful, savory tart was awaiting us at our table. Cast members wandered about, speaking with guests, making jokes and creating little bits of entertainment for anyone around them.
The show itself is structured like an evening at a Cabaret, or Vaudevillian theater. The performers all take their turn showcasing their particular talents, to great and entertaining effect. The night began with vocal artist Cunio, whose powerful voice blends the range of Freddie Mercury and the raw power of Janis Joplin, putting on a “karaoke” bit with a few audience members. He kept things light, kind, and moving right along – till he introduced the second lead voice of the night, LiV Warfield, a woman with the vocal control of a ninja master – if ninjas sang. Rather than intimidate the audience with their stadium-sized voices, both Cunio and LiV Warfield created an inclusive, joyful experience that had the entire audience singing along.
Next up was original Seattle cast member and comedian Kevin Kent as Doily, Cocktail Waitress and Southern Belle, who fell in love with at least half the men in the audience and had the other half in stitches. Doily had the unique ability to titillate with kindness, to poke fun with love and compassion and usher us all into her playful, inuendo-filled reality.
The show also features several world-class circus artists. Ukrainian born Vita Radioanova played Vanessa a nervous, excitable, flight attendant – who comes alive when she performs her Hula Hoop act. If you’ve ever wondered how many hula hoops one person can keep spinning, Vita would know. She turned the old backyard game into a work of art. Brazilian Capoeira artist Raphael Nepomuceno, played Chuck Rodrigo, a sexy and sweet fireman who also performed a breathtaking act on the straps, hanging from the ceiling above the diners. Argentinian Elayne Kramer, a 6th generation Circus Performer, played hapless Club Manager Marie, and absolutely stunned with her contortionist act. One of the many things I learned at Teatro ZinZanni is that everyone should witness someone who can shoot a bow and arrow with their feet.
The final big act of the night was Chicago’s own Duo Rose, (Sam Sion and Sylvia Friedman) an acrobat couple who performed an intimate, sensuous dance above all our heads. They were awesome in the traditional sense, in that their beauty, control, grace and strength inspired true awe, and even a tear or two.
The cast was supported by the excellent band, led by Chicagoan Theodis Rodgers, Jr. The wait staff was attentive and thoughtful. The night felt like a seamless escape into a world of old that only existed in our collective imagination, where everything is beautiful and maybe we can fly.
Interactive theater is a unique medium. For interactive performers, there is little to no time spent away from the audience. When they were not actively performing, each member of the cast was out in the audience, welcoming, teasing, laughing and flirting. I watched many of them create unique moments of comedy and connection with guests of every age and gender. It was a marvel to see and be a part of.
Even the menu was inclusive: there were Vegan, Vegetarian and Gluten Free options, and everything we sampled was tasty. Frankly, given the immersive experience and the four course meal, the ticket prices are about what you’d spend on a more traditional show, but without the good food and the captivating mirror tent. If you’re looking for an unforgettable night out and a reminder that the world is filled with magic, this is the show for you.
Highly Recommended
Reviewed by Alina C. Hevia
Teatro ZinZanni runs through March 30, 2025 on multiple dates. Performances take place on the 14th floor of the Cambria Hotel, 32 W. Randolph St. Show only tickets start at $84 and tickets including a four-course meal start at $124 and can be purchased online at ZinZanni.com/Chicago. Discounted group rates are available for parties of 10 or more.
Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.
Ruth Page’s The Nutcracker Dances On
Ruth Page first choreographed The Nutcracker for a Chicago debut at the Arie Crown Theatre in 1965. It was performed every year after until 1997 – six years after the innovative ballerina and choreographer’s death. In 2003, The Ruth Page Center, a dance school for children, professionals, and everyone in between and founded in 1971, created a new production of highlights from Ruth Page’s beloved original full-length staging, and it has run every holiday season since.
This production of the Nutcracker is playing at several different Chicago area locations, leading to a pared down set – but the costumes are beautiful, and the dancing joyful.
The Nutcracker Ballet is based on the on the E.T.A. Hoffman fairy tale “The Nutcracker and the Mouse King” written in 1816. The Ballet debuted in St. Petersburg, Russia on December 17, 1892. The famous, classic, ageless music was composed by Peter Tchaikovsky, and originally choreographed by Marius Petipa.
The story opens at a family party on Christmas eve, at the home of Clara and her brother Fritz. Their mysterious, magician uncle Drosselmyer arrives, bringing wonderful, dancing dolls to amuse the children. Once the dolls are removed, Clara notices a wooden nutcracker in the form of a toy soldier that Drosselmyer had also brought, and that had been ignored by everyone. She takes an immediate liking to it, only to see her brother Fritz break it. Drosselmyer repairs it, and places it back under the Christmas tree. Later that night, after everyone has gone to bed, Clara sneaks down to check on her nutcracker. The grandfather clock strikes midnight and she looks up to see Drosselmeyer perched atop it. Suddenly, mice begin to fill the room and the Christmas tree begins to grow to dizzying heights. The nutcracker also grows to life size. Clara finds herself in the midst of a battle between an army of toy soldiers and the mice, led by their king. The Nutcracker and other toys battle the mice, and nearly lose, till Clara throws her shoe at the Mouse King, distracting him for long enough for the Nutcracker to kill him. The Nutcracker transforms into a human prince and invites Clara to his kingdom in thanks for her help.
In Act 2, the Prince and Clara travel to The Land of Sweets, ruled by the Sugar Plum Fairy. The Nutcracker recounts his adventures, and how Clara saved him. In honor of her courage, the Sugar Plum Fairy throws a dance party featuring sweets from around the world. At the end of the dancing, Clara is returned home.
The first act of this production of The Nutcracker came with a few surprises: Clara and her father are both speaking roles. There is also narration of the action as it takes place, perhaps so that children in the audience can follow along more easily. I did miss the more dance heavy, traditional Act 1, especially in the opening party scene, but the war with the Mice was still fun, the toy soldiers were played by some of the youngest dancers. They were tiny, yet valiant against the evil mice, and wholly adorable.
Appropriately, as the show moved on, the dancers grew older and more experienced. The Land of Snow brought guest ballerina Kyra Olson as the lovely Snow Queen accompanied by a powerful Bilal Shakur Smith.
The Second Act absolutely flew by, with short but overall delightful dances. Mother Ginger’s dance is always a crowd pleaser, with the children running around. The Coffee dance was brightly colored and comical – an unusual presentation but memorable. The Waltz of the Flowers was lovely, and the American Beauty Rose was danced beautifully by Kseniya Stetsenko.
The Grand Pas De Deux, featuring guests Adiarys Almeida as the Sugar Plum Fairy and Taras Domitro as the Cavalier was excellent. Domitro in particular soared across the stage with power and grace.
The 2024 production of “Ruth Page’s The Nutcracker ” features a cast curated from local and international dance artists. In keeping with Ms. Page’s emphasis on children’s involvement, additionally cast are students from Ruth Page School of Dance’s Professional Dance and Young Dancer Training Programs. Students from the Keystone Dance Academy that is Ruth Page School of Dance’s outreach program at Wentworth Elementary School on Chicago’s South Side are also eligible to audition and participate. The Keystone Dance Academy program engages students in the training and study of classical ballet, jazz, and choreography, with an additional emphasis on community building, mentorship and support.
If you love the Nutcracker, but don’t have the time, attention span or wallet for a full-length production, this sweet, joyful show is a great choice.
Recommended
Reviewed by Alina C. Hevia
The final weekend of performances is at the College of Lake County’s (CLC) James Lumber Center for the Performing Arts, 19351 W. Washington St. in Grayslake, Saturday, Dec. 21 at 1 and 5 p.m. and Sunday, Dec. 22 at 1 p.m. Tickets, ranging from $15 to $65 (depending on venue), are on sale now and can be purchased by visiting www.RuthPage.org.
Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.
The Marriage of Figaro still sings – 238 years after its first premiere.
Composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte, The Marriage of Figaro is considered one of the greatest operas ever written. It was inspired by a raunchy, political comedy by French playwright Pierre Beaumarchais. Filled with sex jokes, pratfalls, double takes and the “war between the sexes,” it defies what one thinks of, when one thinks of Opera. I certainly wasn’t expecting that many laughs.
This production of The Marriage of Figaro is directed by Barbara Gaines, founder and Artistic Director of the Tony Award-winning Chicago Shakespeare Theater for 37 years. Conductor Erina Yashima makes her Lyric debut. Together, they have steered this particularly female-led opera into the modern age, while not losing a note of what has kept it relevant for over two centuries.
The stage was designed with lavish minimalism. Set Designer James Noone created one set per act, each growing in opulence and elegance. The show opens in the bedroom of titular character Figaro (played by Bass Peter Kelner) and his Fiancée Susanna (Soprano Ying Fang). It’s covered in laundry and warm wooden panels. The next set is almost entirely the rich, ridiculously large bed of Countess Almaviva (Soprano Federica Lombardi). The third act is a room draped in chandeliers, and the fourth, a sculpture garden bathed in the dancing lights of a real pond, thanks to Emmy winning Lighting Designer Robert Wierzel. Costume Designer Susan Mickey created an opulent, fresh look for every character that honored the era they were created in and still placed this production squarely in 2024. Every cast member was dressed in bright, playful and richly colored and textured fabrics. I could almost feel the velvet, brocade and silk. That old movie ad, “Now in Technicolor!” kept ringing in my head.
The story itself is a silly one. Servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna in an old tradition called “first night” when a Lord had the right to sleep with the bride of any of his servants (or subjects), and teaching him a lesson in fidelity. Figaro and Susanna have help from the Countess Almavira, who pines for her unfaithful husband. Their cause is complicated by amorous teenager Cherubino (Soprano Kayleigh Decker in the “Trouser” role, and a very convincing teenage boy), and by a plot of the count’s to marry Figaro off to an older woman, Marcellina (delightful Mezzo-Soprano Sarah Mesko). Various shenanigans ensue, largely driven by the women of the cast.
Yet, despite the silliness, the goofy characters and the bright colors, the music Mozart wrote over two centuries ago transcends it all. The entire cast sang impeccably, but even then, there were moments in the three-and-a-half-hour production when time seemed to stop. Kelner sets the tone with his rich Bass in Se Vuol Ballare. The duet in Act III, Sull’aria, between The Countess and Susanna, was achingly beautiful, Lombardi’s rich tones blended perfectly with Fang’s.
Ying Fang’s rendition of Deh! Vieni, non tardar was so consuming, so controlled, that during a phrase where she held a note just a few decibels above a whisper, there was an unexpected and emotional smattering of applause. The performance was a reminder that the best art is always a work of collaboration: the mood created by the set and light design was wonderfully blue, Ying Fang sang exquisitely, the orchestra supported her flawlessly, and Mozart’s music was (and is) perfect.
If you’ve ever wondered what the fuss is about when it comes to Opera, this is the production to see.
Highly Recommended
Reviewed by Alina C. Hevia
Presented at the Lyric Opera of Chicago. Shows run from November 9 to 30, 2024. Tickets range from $42-$239. For more information and tickets, visit lyricopera.org/figaro or call 312.827.5600.
Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.
Más Dramáticas debuts as part of Destinos 2024 – The 7th Chicago International Latino Theater Festival, produced by the Chicago Latino Theater Alliance (CLATA)
Más Dramáticas, is many things. It’s a Drag cabaret, a love letter, a joyful celebration of camp and telenovelas of the 80s and 90s, and it’s a peek into a culture that loves a good story, with plenty of dramatics. Written and directed by Esteban Pantoja, it is presented by Cabaret Parodia – the only Latine, LGBTQIA+ theater company on Chicago’s south side.
Más Dramáticas is presented as the story of an acting school. The director of the school shares the history of her academy and unveils the talents of five of her most talented students. Each student has an opportunity to present a number, and a scene from a classic telenovela. Each student is chasing her dreams to become a telenovela star, and the most fabulous, most dramatic, actress. What this means practically is that the show is a cabaret of beloved telenovelas from the 80s and 90s, and the cast takes turns acting out their over-the-top theme songs and a few choice, dramatic scenes.
Esteban Pantoja stars as the Director, and acts as the Emcee. The cast is rounded out by three lovely ladies and one dashing man. I’m sorry to say, a cast list was not provided, but happy to report they were all a delight to see onstage. The show is a review of classic novelas, which themselves are a wonderful, campy window into Latin American Culture. Novelas are all larger than life, filled with scandal, love, loss and betrayal. The players of Cabaret Parodia took that tradition and added even more, hence the title: MAS Dramáticas.
The cast embraced their opportunity to emote with extra sequins, enthusiasm and passion. Each theme song and acted out sequence was meticulously, and hilariously recreated, but with a little extra – everything that can be bedazzled, is bedazzled, staring into the middle distance with a woe-is-me posture is required every ten minutes, a make out scene is an over the top tongue-fest and it’s not a real fight till someone’s wig is ripped off. Pantoja is an expert at working a crowd, and the audience ate up every minute, occasionally even participating, or singing along. For the uninitiated, the shows featured are easily found on YouTube:
Rosa Salvaje (Wild Rose)
Dos Mujeres un Camino (Two Women, One Road)
Teresa
María la del Barrio (Maria from the Neighborhood)
Maria Mercedes
La Ursurpafora (The Usurper)
Musical Mentiras (Musical of Lies)
El Extraño Retorno de Adriana Salazar (The Strange Return of Adriana Salazar)
Even if you weren’t lucky enough to catch the show, these campy, hilarious blasts from the past are worth looking up. It’s a testament both to telenovelas and to the cast that the fact that the show was in Spanish wouldn’t stop me from recommending it to an English speaker. The actors all used their bodies, their faces and the music to tell captivating stories, and the physical humor was constant. Drama is a universal language. The only thing this show was missing was a traveling spotlight, so that when the characters entered the audience, they never lost their light for a moment. I’m looking forward to seeing what Cabaret Parodia has to present next.
CLATA produces a citywide, annual festival showcasing local Latine theater artists and companies alongside top artists from the U.S. and Latin America. This year’s festival runs from September 30 through November 17. It features a diverse array of bilingual, Spanish and Latine-themed shows, panels and student performances at marquee venues downtown, at local storefront theaters, and cultural institutions in predominantly Latine neighborhoods throughout Chicago. Be sure to check out what is coming up next at https://clata.org/en/
Highly Recommended
Reviewed by Alina C. Hevia
Presented at the National Museum of Mexican Art, 1852 W.19th St. in Pilsen. Two shows only: October 23 and 24 at 7:00pm. Tickets were $35
Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.
“SAME SPOOP, NEW TAILS” Theatre Above the Law’s GRIMM returns for the fourth year in a row.
Jacob and Wilhelm Grimm first published their collection of folktales, Kinder- und Hausmärchen (Children’s and Household Tales) in 1812. As any English-Lit nerd can tell you, it was originally meant as a scholarly collection of traditional German folktales, not children’s bedtime stories. When the collection began to gain popularity, the brothers gradually sanitized their collection for children, and the fairy tales of the Brothers Grimm have since become a foundational text here in the US, helped in part by Disney. In more recent times, the Grimm brothers themselves have entered the stories as adventurers, monster killers, con-men and/or heroes, depending on the re-telling.
GRIMM, written by Michael Dalberg is a new spin on the old stories and the characters of the Brothers Grimm. It is the ninth version of a production written for Theatre Above the Law each autumn. Given the rich legacy of the Grimms and the inventive, enthusiastic team at Theatre Above the Law, I can see why this particular show has been re-imagined four times, and opens the company’s ninth season.
The play opens with Jacob Grimm being dragged into a bar that is a sort of half-way house outside of time, and home to many characters from the stories. He’s hunting the Big Bad Wolf, who was apparently involved in the disappearance of his brother Wilhelm. The characters, including Little Red, protect the Wolf, and insist that Jakob will have to endure the re-telling some of his own stories before they will allow him to confront the Wolf. Throughout the play, characters remind Jakob that he must participate in the telling of his stories and must “go through” them to find the answers he seeks.
The set is a simple bar. Light and Sound Design do most of the work, to great effect. Sound Designer Nathan Goldberg provides several moments of comedy, and Lighting Designer Britany Pearson helps set the tone in several pivotal scenes. Director Tony Lawry is obviously well-versed in making a production work with a small budget and a big imagination, using all the elements available to him to create an immersive and joyful experience.
What ensues is a delightful, creative re-telling of several Grimm fairytales, both popular and lesser known: Little Red Riding Hood, The Goose Girl, The Pied Piper, Hans in Luck and Cinderella. The ensemble members all take turns playing the main characters, sliding between genders and ages, good guys and bad, with humor and enthusiasm. The costumes and props are simple and portable. Once again, I was reminded that with a talented and charismatic cast, all you need is a strand of golden beads to stand in for a ballgown, a stuffed doll for a horse, and a cocktail spoon for a sword. Appropriately for Halloween, the stories grow increasingly dark as it progresses. Jacob is slowly drawn into his own stories while hunting for answers on the disappearance of his brother.
At times, the framing device of Jakob’s search for answers was a little hard to follow. The reason behind Jakob’s need to hear the stories again remains vague, as does the reason that he blames the Wolf for Wilhem’s disappearance. The story of Little Red Riding Hood is used to explain all of this, but it’s not told till the very end of the show. Frankly, none of it really seemed necessary. The stories themselves, re-written with a modern sense of humor and portrayed by a charming, fully committed cast is more than enough to keep the audience engaged. Overall, there is a feeling that the cast is letting you in on the joke, creating an inclusive, jovial vibe that is irresistible.
The ensemble as a whole really shines in this production. The opening story is The Goose Girl. Told in broad, silly strokes, the cast adopts exaggerated poses reminiscent of Commedia Dell’Arte to great comic effect. Shea Lee as the damsel in distress, embraced the Woe is Me, dramatic physicality perfectly. Later, when she’s an enigmatic and evil fairy, her stiff-backed, deep voiced performance leaves all that behind. Dina Perez is also a blast as a VERY old and loving Queen. She is also instrumental to several sight gags that work wonderfully, and a vapid Evil Stepsister in Cinderella. The shortened vignettes of each story are broken up by silly dance sequences engineered by the Pied Piper (Kevin Woodrow), or Jakob Grimm’s complaining about having to be there at all. Kevin Woodrow leans in hard to camp as Lucky Hans – his tongue in cheek “smolder” is reminiscent of Flynn Rider’s. Sophie Civetta makes a archly funny, evil Chambermaid in The Goose Girl, and a sympathetic Cinderella. Newcomer Aditi Gadhvi is a sweet, wise beyond her years Little Red and the other, equally vapid Evil Stepsister – vocal frying with the best of them. Nick Barnes as Jakob, and Taylor B. Hill as Wolf provide most of the grounding for the audience, reminding us that these stories are told by, and reflect, real people. While Jakob participates in the stories, it is grudgingly until the end, when he takes a turn as a grieving father. Taylor B. Hill is the most common narrator until the end and a warm and solid presence, keeping the bar-outside-of-time a real place, with real feeling and stakes. Her scenes with Nick Barnes are a moving testament to the connections between the stories we tell and the people we love.
Part of the mission of Theatre Above the Law is to foster and educate young artists, and that mission is displayed beautifully with this production. Inclusive, funny and never condescending, this show is a wonderful way to spend an evening with the entire family.
Recommended
Reviewed by Alina C. Hevia
Presented at the Jarvis Square Theater, 1439 W. Jarvis Ave. in Chicago.
Tickets for GRIMM are $15.00 – $25.00 and can be purchased at theatreatl.org or by calling
773-655-7197. Performances are Fridays and Saturdays at 7:30pm and Sundays at 3pm, Thursdays October 10 & 31 at 7:30pm. Previews October 10 & 11 Press Opening October 12 @ 5pm.
Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.
Jackalope Theatre Company’s 15th Living Newspaper Makes Art from Headlines.
“How to make a living newspaper: Pick and prod through current events from around the country, choose five. Pair stellar playwrights and directors and assign each pairing an article. Let sit for a bit, let a 10-minute play bake. Cast from Chicago’s talented actor pool. Rehearse for a smidge. Meet at the Armory to share our stories.”
Thus opens the program for Jackalope Theatre Company’s Living Newspaper Festival, and I couldn’t have described it better myself. Tucked away in a corner of the Armory on N. Broadway, The Jackalope space is warm and inviting. The theater itself is small, the backdrop a wall papered by newspaper. The stage is plain black, the sets or props for each short play simple and suggestive: A tool cart, a leather chair, a corner table, hot stones, and a picnic blanket. Ryan Emens’ thoughtful, specific scenic design suggested just enough of an environment to ground each story in its own reality. Sound Designer Anna Jackson filled each show with atmosphere that was engrossing and affecting. Each play opened with a tightly designed, humorous video intro by designer Tony Santiago.
This year’s memorable headlines included the retirement of the Chuck E. Cheese Animatronic Band (Out of this World by Rammel Chan and Directed by Wendy Mateo), the shocking loss of the Titan Submersible (The Depths by Paloma Nozicka and Directed by Gus Menary), the closing of many maternal wards in the rural U.S. (Into the Breach by Madhuri Shekar and Directed by Wendy Mateo) The Mi’kmat Nation’s choice to use opioid settlement funds to open a sweat lodge to treat addiction in Maine (A Drop in the Bucket by Ireon Roach and Directed by Sydney Charles, and the small movement of “pronatalists” furiously having babies to save the world (The Best of Us by Ike Holter and Directed by Gus Menary).
The headlines served more as a jumping-off point than content. This approach lent itself to an imaginative, sharp, thoughtfulness to each play. While it seems nearly impossible to find a headline these days that isn’t a at least a little bleak, it’s often mixed with a ridiculousness that clearly inspired each playwright. The night began with Out of this World, a slightly surreal, heartfelt story of an Uncle accepting his beloved niece’s transition to college, with the help of a nihilistic Chuck E. Cheese. Alex Hand made a particularly creepy Chuck.
The second play, The Depths, is a dark fever dream about a billionaire who meets her reckoning after playing fast and loose with a submersible’s design. Actors Christina Gorman and Claudia Quesada had wonderful timing, occasional saying lines in unison that created an unsettling, skin-crawling feeling that is released with a horrific thrill at the end.
Into the Breach is a satirical, razor-sharp take on a dystopian future when AI assisted births through smart phone apps are the only option for some young mothers. It was funny, but it was also scary, because it came so close to the truth. So much so that the play felt more like a prediction than a fantasy. Claudia Quesada also managed to keep her face in a blank, unmoving smile that is exactly what an AI midwife’s face would look like.
Fourth, we were swept into A Drop in the Bucket; a complete immersion into a poor soul, detoxing not only drugs but inner demons. The cast, Ashli Funches, DeVaughn Loman and John-Payne moved around the stage in what felt like a blend of dance and poetry. The heady mix of emotion, politics, legacy, grief and love felt like story telling from inside the mind of the storyteller, rather than viewed as an audience.
The final play, The Best of Us, brought everything home on a lighter, if still stinging, note. Niko Kourtis and Liz Sharpe play a pronatalist, Silicon Valley power couple, hiding from their insufferable, eight children. They’re conversation runs like an unhinged Twitter rant by a certain billionaire even more insufferable than the fictional characters he has inspired. All five plays combined made for a sleek, polished, funny and incisive body of work.
The night served as a reminder that local, topical, immediate theatre can take the social conversation and make it into art. I am looking forward to seeing more of what Jackalope Theatre Company has to say next year.
Highly Recommended
Reviewed by Alina Hevia
Tickets are $15 – $30 and are available at www.jackalopetheatre.org or by calling 773-340-2543.
Show times are: Saturday, Sept. 14 at 7:30 p.m., Sunday, Sept. 15 at 3 p.m. and Monday, Sept. 16 at 7:30 p.m.
Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.
South Pacific Still Sings
South Pacific is the second show in MadKap Productions’ 10th Anniversary Season, and the first Rodgers and Hammerstein show in the company’s history. Considered by many to be Rodgers and Hammerstein’s best work, South Pacific is based on the Pulitzer Prize-winning book “Tales of the South Pacific” by James A. Michener. The play won its own Pulitzer Prize for drama in 1950, along with 10 Tony awards for its original Broadway run.
Easily on anyone’s list of classics, South Pacific is set against the backdrop of World War II,
where parallel love stories blossom amidst the turmoil of war. Several popular standards written for the show include “Bali Ha’i”, “I’m Gonna Wash That Man Right Outa My Hair”, “Some Enchanted Evening” and “There Is Nothing Like a Dame,” among others. In fact, director Pat Henderson good-naturedly reminded the audience before the production began that we would have to refrain from singing along.
The show opens on keyboardists Jeremy Ramey and Andrew Milliken, who attack the overture with bombastic flair. Given the size of the space, the two keyboards were a great choice by Music Director Jeremy Ramey. And, as the show unfolds, Mr. Henderson was right! It was difficult not to sing along to songs I, and likely most of the audience, have known since childhood. When Tony Calzaretta’s Emile Debeque began his first rendition of Some Enchanted Evening, in my heart, I could hear my grandmother serenading me with it as a child, and yes, it was difficult not to sing along.
The set was a simple affair: an oceanic backdrop, a small porch, and a platform with dried grasses about it. I did find myself wishing there was some hint of the mountains and palm trees of the South Pacific, even just the suggestion of them painted on the backdrop. That said, given the size of the theater and the vastness of the show, there were some creative uses of the space to give the feeling of more room than there actually was.
Even after 70+ years, the score is beautiful and soaring, and the cast were clearly relishing their chance to perform the classic songs. Willow Schneider makes a convincing and chipper Nellie and Calzaretta’s Emile is elegant and just a little stiff, as you’d imagine an “older” Frenchman might be, when in love with a lovely young woman from Arkansas.
Mariel Saavedra was a standout as Bloody Mary, played with humor and resilience. Another standout was Luis Del Valle, who played the French “Manny” and Stewpot. He brought a lot of personality and charm to smaller parts. Andrew Buel ‘s Luther Billis was also perfectly sleezy and added an element of physical comedy to his role that was much appreciated by the audience.
Overall, the cast was made up of strong singers, but the best number of the night goes to “There Is Nothing Like a Dame” sung and danced with unbridled enthusiasm by the men of the cast. They got a spontaneous round of applause from the audience and several laughs. Max Perkel’s (Lt. Cable) delivery of “Younger than Springtime” was also lovely and heartfelt.
After 70 years, the book feels abrupt at times and relies heavily on atmosphere and the chemistry of the actors to sell the instant love stories. It’s a tall order for a pared down cast, a simple set and a small space. Rodgers and Hammerstein are celebrated for a reason, however, and the music elevates everything around it. This production is for anyone nostalgic for the old days of Broadway. In a lovely theater moment, Calzaretta’s father once played Lt. Cable and was in the audience the night I attended, a reminder that this show has delighted generations, and will likely continue to do so. Perhaps a night or two set aside for a sing along would be the cherry on top.
Somewhat Recommend
Reviewed by Alina C. Hevia
Presented by MadKap Productions at the Skokie Theatre, 7924 Lincoln Ave in Downtown Skokie. Sept 6 thru Oct 6, 2024. Fridays and Saturdays at 7:30 pm, and Sundays at 2:00 pm, with one Wed. matinee on Sept 25 at 1:30 pm.
Tickets are $48 general admission, $42 for seniors and students and and can be purchased online at www.SkokieTheatre.org or by calling 847-677-7761.
Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.
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