Reviews Category
Hell in a Handbag presents a Campy Christmas Classic
Recommended
By Lazlo Collins
It wouldn’t be Christmas in Chicago without a Hell in a Handbag offering to keep the holidays real (unreal?). With “Rudolph the Red-Hosed Reindeer” at rest this year, the folks at Hell in a Handbag bring us “Christmas Dearest”.
At the center of this Dickensian once over is none other than Joan Crawford herself. David Cerda (Actor/Writer/Artistic Director) is “Miss Crawford” in all her maternal glory.
“Christmas Dearest” is the story of Joan Crawford and her impetuous rule over the cronies that surround her in Hollywood with her extraordinary ego. The characters of her well documented life appear throughout the show. From daughter Christina (Christopher Lewis) to movie mate Bette Davis (lovingly played by Caitlin Jackson), move through the past and present twisting and turning though Miss Crawford’s Christmas Carol story treatment.
Read MoreAn Angel Gets His Wings
It’s a Wonderful Life – American Blues Theatre
The name George Bailey has become synonymous with Christmas since Frank Capra’s holiday classic first began airing on television nonstop during the 1980’s. Based upon “The Greatest Gift,” a short story privately published in 1945 by
Philip Van Doren Stern, this tale of a man who sacrifices all his own dreams to help his family and friends has become a timeless classic. Most audiences will be familiar with the 1946 b&w film, which is just about as perfect as anyone can expect. But American Blue Theater’s version takes this classic one step further.
One Dickens of a Show
A Christmas Carol
Whoever would’ve thought that a novella published back in 1843 London would not only become the most-told Christmas story of all time; it would even rival the story of the first Christmas in familiarity. There have been, and will no doubt continue to be, more versions and adaptations of Dickens’ story of Scrooge’s redemption than anyone can count. M.E.H. Lewis’ new adaptation is good, but director Shifra Werch’s production could use some tweaking.
Matthew Hallstein makes a good Scrooge, possessing a rich, commanding baritone that can level the youngest carolers or drive away even the most benevolent charity collectors. He fully understands the nature of the old miser and the dialogue Lewis has given him. The problem stems from his pacing. Scrooge has to be the driving force of this play and Hallstein simply takes too many moments of “reflection” to keep the story moving. At times Hallstein seems as if he’s stalling until he can recall his next line; but in retrospect, it’s more likely a directing choice. As a result, the rhythm becomes slow or staccato. When Mr. Hallstein is on a roll his Scrooge is a real fireball, but every time he stops to ponder the situation the play’s momentum comes to a halt.
Read MoreMagic, Clowns, and a Fiery Tragedy for Christmas
The Ruffians present Burning Blue Beard
When you see Burning Blue Beard at Theatre Wit, you’ll notice it is more like entering an amusement park ride than seeing a play. The Ruffians, who present the play, do a wonderful job of creating an environment for the audience to exist in as part of the story. Every moving part of the production adds to the whole, including you as the observer.
Burning Blue Beard is a play about a play….about a play. The show presents an absurdist retelling of how the Iroquois Theatre burned down in Chicago in 1903 during a showing of Mr. Bluebeard, a Christmas Pantomime. Much of the detail from the play is straight from history as the true events provide plenty of emotional fuel to motivate the characters on stage. The players and ghosts from that terrible night in 1903 on Randolph Street can’t help but keep trying to get it right, but every time the show seems to end in flames. Perhaps during the performance you see of Burning Blue Beard the ending will be a happy one. Hope is a big part of this tale.
Read MoreThe Grandaddy of Them All!
A Christmas Carol – Goodman Theatre
This show is it. This is what Christmas is all about in Chicago. The Grandaddy of all holiday productions, and the show that every other Christmas Carol aspires to be has opened for the 36th year at the Goodman. And it is sensational! It’s eloquent, heartwarming and a feast for the eyes, the ears and the soul. The themes from Dickens’ novella and the lessons he taught aren’t diluted here by raucous musical numbers, Star Trek characters or dancing turkey boys. This is the production that would’ve made Charles Dickens proud.
Festivities with Figgy Pudding!
A Very Merry Madrigal
As we draw closer to Christmas, Hanukkah and Kwanza, the fast-approaching holiday trifecta can take a lot out of us right about now. All the shopping, decorating and holiday parties make it a nonstop season of frenzy that doesn’t stop until January 1st. But an hour spent at the No Exit Cafe will offer a pleasurable respite from all the holiday hustle and bustle, providing some beautifully sung music, a delicious meal or sweet treats and some laughs to recharge your battery.
Directed and compiled by David Heimann, with musical direction by Aaron Benham and Jeremy Ramey (who also provides superb piano accompaniment), this concert is more in keeping with the company’s “cabaret” label, but with a definite Renaissance Faire feel. As you enter the intimate coffee house, ensemble member Sarah Grant (as the company’s court jester) gleefully announces to everyone your name and the kingdom from which you hail. As the lights darken, amiable innkeeper Tom Chiola selects two audience members to serve as King and Queen of the hour’s festivities, and permission is sought from these two crown-wearing patrons for the events to come.
Mr. Heimann’s six-member ensemble of medieval-clad performers delight with songs and poetry from every era. Opening with the traditional “Wassail, Wassail” (during which warm spiced cider is provided to every audience member), toasts are offered, cheer is given and winter’s chill soon melts away. Delicious six-part harmonies infuse a medley of Olde English carols, a welcome beginning to this ultimately eclectic confection of music. Gilbert & Sullivan’s “A Very Merry Madrigal” delights and segues into more period songs and poetry until the ensemble announces a tribute to winter. Irving Berlin’s “Snow” and a wonderfully simple, heartfelt recitation by cast member Greg Foster of Frost’s “Stopping By Woods” make up this section of auditory treats. Then, as the entire company sings their “Dessert Medley,” the audience is treated to a complimentary bowl of figgy pudding, offering additional sensory delight to the song.
The second half of the program is a mixture of the classical and contemporary. Songs like Anne Murray’s “Snowbird,” beautifully sung by Missy Aguilar, “Turkey Lurkey Time” from Burt Bacharach’s musical “Promises, Promises,” sung by Sarah Grant, a sexy “Santa Baby,” purred to perfection by lovely Molly Kral, and “Winter/The River,” beautifully and sensitively crooned by Andrew Sickel and Greg Foster provides variety to the styles of music. Heimann returns to more traditional madrigal harmonies as he closes his show, but he saves a funny, delectably performed “Christmas Can-Can,” for the finale. In this number every holiday celebrated at this time of the year is represented, including those oft-heard complaints about how every year they start earlier and earlier.
It’s an intimate production, with performers not only using the stage but frequently wandering through the audience as they sing. While the variety of songs sounds strange, the effect is “something for everyone” and, as presented, add up to a very pleasant evening of unique holiday music audiences won’t hear everywhere. Combined with this cast’s genuine good humor and friendliness, Theo Ubique offers a winning and welcome break to the usual holiday hullabaloo.
Recommended
Reviewed by Colin Douglas
Presented Nov. 23-Dec. 22 by Theo Ubique Cabaret Theatre at the No Exit Cafe, in Rogers Park, 6970 N. Glenwood Ave.
Tickets are available by calling 800-595-4849 or by visiting www.theo-u.com.
Additional information about this and other area productions can be found at www.theatreinchicago.com.
Circles Around “Paulus”
Circles Around “Paulus”
THEATER REVIEW: “Paulus” by Silk Road Rising
A Review by Kazuko Golden
In the world premiere of the play, “Paulus,” by Motti Lerner, the lead character Paulus (played by Daniel Cantor) leads us into 58 C.E. where he witnesses the crucifixion of Jesus Christ. Paulus is then tormented with determining his life’s path forward. Having fantastical illusions about Jesus revisiting and spiritually motivating him to reinvent what he knows about Judaism and the Roman occupation of Judea, Paulus is internally conflicted and battles both religious and political forces that threaten to execute him if he either denies his traditional heritage and beliefs or rejects vowing faith to the Roman hierarchy.
If you are in need of “popcorn for the brain,” entertainment for the holidays, “Paulus” will not sit lightly with you. Rather the highly academic nature of the history and religious studies that Lerner, an Israeli playwright and self-described atheist, presents through his script (translated from the original Hebrew by Hillel Halkin) is a pedagogical and philosophical debate about the doctrines of salvation and atonement, as grounded in the doctrine of Christian theology and represented in the crucifixion of Jesus (played by Torrey Hanson). Further, the discussion about the psychological experiences of those who witnessed the crucifixion and its meaning is articulated fully by Paulus. As a witness, Paulus is then tormented with how to move forward after this experience. Those closest to him – Trophimos (Anthony DiNicola); ex-wife, Adima (Carolyn Hoerdemann); and nephew Eleazar (Glenn Stanton) -suffer as well.
The timing of this play is difficult. Lerner has presented his thought-provoking play right before the beginning of the Hanukkah, Christmas, and New Year seasonal celebrations. As Chicago audiences wander in to take a load off from the hustle and bustle of the busy retail season, this play does not permit them t to rest their brains. Every minute of this two-hour play is crammed with positioning the meaning of the history of Second Temple Judaism and the apostolic age of early Christianity. According to Silk Road Rising, “(Lerner) is not interested in relaying facts but in revealing truths.” The pauses between the political tumult and social upheaval and the fierce theological battles are slow and lingering.
The location of the play is breathtaking. Pierce Hall is housed in The Historic Chicago Temple Building, home of the First Methodist Church. At one time long ago, the building in Chicago’s Loop area was the tallest skyscraper in the city. The ornate interior of the church includes 16 stained glass windows depicting scenes from the Bible.
For those with questions about their theological positioning and for those that during this time of the year are interested in seeing a play that presents philosophical pedagogy about the reinvention of religion in the first century, “Paulus” will be an appropriate play to consider seeing. What is admirable about Lerner’s approach is that his message raises questions from Paulus’s experience that are relevant to contemporary questions about universalism, radical modernization, and the conflicts that arise when individuals attempt to challenge norms and enter into worlds of monotheism and ethnic diversity. Paulus’s questions about multicultural modes of practicing religion and pedagogical thought are drawn from and mirror Lerner’s questioning.
When: Through Dec. 15
Where: Silk Road Rising, Pierce Hall at Chicago Temple, 77 W. Washington St.
Running time: 2 hours
Tickets: $35 at 312-857-1234, ext. 201, or silkroadrising.org
Somewhat Recommended
Holiday Fun for Younger Audiences
Rudolph the Red-Nosed Reindeer
There’s no lack of holiday entertainment in the Chicago area, but sometimes it’s difficult to find a show that will appeal to and hold the attention of younger viewers. Adapted practically word for word, song for song and character for character from the 1964 animated television special, this musical Christmas confection is the perfect holiday event for children, ages 3-10. First Stage Milwaukee’s Artistic Director Jeff Frank conceived the idea of adapting the stop-action animated holiday classic for the stage. Working closely with Robert Penola, they devised a script that recreated the cartoon’s magic, while still honoring Robert L. May’s original children’s story and Johnny Marks‘ well-known holiday song. Add to this Brandon Kirkham’s spot-on production design, which includes costumes, scenery and puppets, and you have a stage production that looks and sounds as if the animated TV special has actually come to life.
Holiday Redemption through Music
A Christmas Carol: the Musical
Charles Dickens’ famous cautionary tale about the old miser who learns to love Christmas can be found in more
A Family Holiday Treat
The Nutcracker – Marriott
With Christmas fast approaching, Marriott’s Theatre for Young Audiences brings back one of its holiday favorites. Based upon E. T. A. Hoffmann’s children’s story “The Nutcracker and the Mouse King,” which in turn inspired Pyotr Ilyich Tchaikovsky’s world famous ballet suite, Marc Robin has created a 60-minute play with music and dance that captures the magic of both pieces.
The story opens on Christmas Eve in the Victorian home of youngsters Marie and her mischievous brother Fritz. Just as dinner is being served, their Uncle Drosselmeyer arrives surprising them with gifts, including a beautiful Nutcracker, which Fritz immediately breaks. After he’s mended Marie falls asleep next to her cherished Nutcracker. She dreams that all the Christmas toys have come to life and a battle ensues between the Nutcracker and the Mouse King over possession of a magical crown. Their journey takes Marie and her new friends to Candy Land, through the Snowflake Forest and to the Kingdom of the Sugar Plum Fairy. After the crown is rightly restored to the Nutcracker, Marie awakens to find that her prince looks very much like the new boy next door, and young audiences will be assured that the magic will continue.
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