RENT

RENT

A Season of Love from Beginning to End

Only in its second year, Naperville’s unique professional theatre closes the season with a fervent, deeply earnest production of Jonathan Larson’s Pulitzer, Tony and Drama Desk Award-winning musical that re-imagines Puccini’s “La boheme” as a rock opera set in Manhattan’s lower east side Alphabet City during the ’90’s. The group of artists is struggling to create and survive against all odds, including prejudice, poverty, drugs and the AIDS epidemic and death. The musical is rife with colorful, memorable characters, troubled relationships and the many challenges of being young, gifted and impoverished.

Lightweight Summer Entertainment with Heart

I Love You, You’re Perfect, Now Change

When the calendar says June and Chicagoland is perched on the brink of warmth and escapism, those looking for a way to pass those lazy, hazy, crazy days of summer in the air-conditioned comfort of a theatre seat may find a good choice in Lincolnshire. This sweet, humorous revue about love, dating, relationships and marriage is like a good beach book. However, Joe DiPietro (book and lyrics) and Jimmy Roberts’ (music) romantic romp is more like the theatrical equivalent of a short story collection than a novel.

West Side Story

West Side Story

The Most Beautiful Sound I Ever Heard…

Back in the 1950’s when newspapers were just beginning to cover tragic stories of teenage gangs and turf wars, a new show would evolve from these events that would forever change the American Musical. Noteworthy, too, was that this new theatrical form resulted from a collaboration between artistic geniuses Arthur Laurents (book), Leonard Bernstein (score), Jerome Robbins (direction and choreography) and a new kid on the Broadway block named Stephen Sondheim (lyrics).

HMS Pinafore

HMS Pinafore

Oh, Bliss, Oh, Rapture!

Do you want to know how a Gilbert & Sullivan operetta should look and sound? Light Opera Works has the textbook answer to that inquiry in a new, sumptuous presentation, now being revived in Evanston (their first production of this classic was back in 1981). Everything that today’s audiences have come to expect from this musical comedy of manners can be found in this stellar production. A lush, 26-piece orchestra, a large cast of highly-accomplished actor/singer/dancers, a beautiful, detail-oriented set and costumes, with everything perfectly directed and choreographed by Artistic Director, Rudy Hogenmiller. This witty, whimsical love story, set aboard one of Her Majesty’s finest warships, delights in poking fun at Britain’s class system, their blind patriotism and the inequities of how one rises to positions of authority.

When this wickedly humorous operetta first opened in 1878 at London’s Opera Comique it remained so popular that it ran for 571 performances. The show became an international sensation and it continues to be a staple among community and educational theatres, alike. It ranks with Gilbert & Sullivan’s top three operettas (along with “The Pirates of Penzance” and “The Mikado”) and is always a popular addition to any theatre’s season of musical offerings.

One of Chicago’s theatrical treasures and legends, James Harms returns to Light Opera Works as Sir Joseph Porter. This artist is truly an actor’s actor, mining every ounce of silliness from Gilbert’s libretto and lyrics and providing audiences with another delightful, lovable characterization (his recent Don Quixote and Fagin remain as some of Light Opera Works’ finest performances). Indeed, Hogenmiller has wisely staged Harm’s first entrance in one of the show’s most hilariously memorable comic bits. Mr. Harms alone is worth the price of admission, but there’s more to recommend this production.

Young Northwestern graduate Dane Thomas lends his astounding tenor, comic timing and dance ability to the role of Ralph Rackstraw. He’s matched by Roosevelt University master’s student Sarah Kelly as his love interest, Josephine. Both talented young singers have performed with Chicago’s Lyric Opera and effortlessly caress Sullivan’s soaring melodies and Gilbert’s sharp dialogue to the audience’s pleasure. Ms. Kelly sometimes slides over her consonants making audiences question what she just said/sang, however her vocal prowess more than make up for this.

Michael Cavalieri brings a wealth of experience and talent to the role of Captain Corcoran and Dawn Bless makes a fetchingly funny Little Buttercup. Ryan de Ryke, whose vocal bliss and comic timing are a plus, appropriately hams it up as the villainous Dick Deadeye. Light Opera Works‘ newcomer Michael Roemer greatly impresses in his solo work as the Boatswain’s Mate. The entire ensemble electrifies, including Maggie Clennon Reberg as Sir Joseph’s busybody Cousin Hebe, who is as captivating as she is amusing. The sheer vocal talent and power that washes over Roger L. Bingaman’s impressive-sounding pit orchestra is unbelievable.

This stunning production, bedazzled in Darcy Elora Hofer’s crisp, nautical costumes, set against Adam Veness‘ beautifully designed and executed warship, leaves the audience simply breathless with glee.

“What, never?”
“No, never.”
“What, never?”
“Well, hardly ever!”

Highly Recommended

Reviewed by Colin Douglas

Presented by Light Opera Works June 8-16 at Cahn Auditorium, 600 Emerson St., Evanston, IL

Tickets may be purchased by calling 847-920-5360 or by going to www.LightOperaWorks.com.

Additional information concerning this and other area productions is available atwww.theatreinchicago.com.

Kiss of the Spider Woman

A Dark Web of Terror and Love

“The nicest thing about being happy is that you never think you’ll be unhappy again” is Molina’s response to finding love among the horrors of imprisonment in Latin America. The gay window dresser has been arrested for his (innocent) involvement with a minor, but has emotionally escaped his inhumane treatment through his fantasy world of films, starring movie diva Aurora, the titular “Spider Woman.”  In one of many memorable film scenes through which the musical transports us, Aurora’s character is a black widow spider whose kiss marks her victims for death.

Into Molina’s world that juxtaposes fright with fantasy comes Valentin, a new prisoner being held and tortured for his radical political beliefs. The two could not be more dissimilar, but throughout the play a friendship evolves that turns into love. To say more would ruin the surprises found in this dark Kander and Ebb 1993 Tony Award-winning musical, based upon a novel by Manuel Puig. What emerges is a story about hope and the strength and perseverance of the human spirit.

Peter Marston Sullivan’s direction is strong and sensitive. His production shines through the play’s darkness, strongly advocating his theatre’s mission statement of “innovative storytelling…examining truth, beauty, freedom and love through the lens of human relationships.” Talented Linda Fortunato’s celluloid-stylized choreography is sharp and well-executed, effectively utilizing the theatre’s modest space. Seated on three sides, the audience forms the prison’s walls, while the small orchestra remains hidden beyond a fourth curtain. A great deal of this production’s power comes from Patrick Ham’s somber two-story set, lined with prison cells, staircases and movie screens, and provocatively lit by Diane Fairchild. Their combined artistry creates an atmosphere in which both reality and fantasy can flawlessly exist side-by-side.

Nathan Carroll is captivating as Molina. What at first seems a bit over-the-top, even for musical theatre, becomes logical as this talented young man masks his fear and pain with gay flamboyance. With wild abandon, Carroll throws himself into each fantasy scene, emotionally turning on a dime to scenes of panic, passion and pathos. Like the entire cast, Mr. Carroll possesses a gorgeous singing voice that allows him to vocally soar, especially with co-star Evan Tyrone Martin, as Valentin. Their scenes together show a steadily evolving relationship that moves from revulsion to acceptance and, finally, to dependance.

The supporting ensemble features the marvelous Jessica Kingsdale as Marta, Valentin’s girlfriend, and the exquisitely talented Sean Knight as Molina’s love interest, Gabriel. Both transcend their roles with beautifully crafted, empathetic characterizations and stellar musicality. The mostly male ensemble are all strong singers and dancers providing appropriate color and support.

As someone once wisely said, “Happiness is in the heart, not in the circumstances.” In a musical that may not appeal to every taste, this adage shines forth like a candle in the darkness in a world in need of light and love.

Recommended

Reviewed by Colin Douglas

Presented June 1-30 by Bohemian Theatre Ensemble at Theatre Wit, 1229 W. Belmont Ave., Chicago.

Tickets are available by calling 773-975-8150 or at www.BoHoTheatre.com.

Further information regarding this and other productions can be found at www.theatreinchicago.com

The Wild West in The Middle East

By Olivia Lilley

The native, the foreigner, and the land that’s rightfully nobody’s is a conflict as old as history itself. Having lived all over the world as a child and having been an adult during the W. Bush years, J. T. Rogers feels like he has something new to say about it. In “Blood and Gifts”, he makes the argument the actions of one American FBI agent in the early 80’s made “The War in Afghanistan” inevitable. Every decision the FBI agent makes is grounded in the American view of the global community and their role in it. The ideal American risks everything for justice. The ideal American sees the world as black and white. The ideal American is a cowboy: we are strong, everyone else is weak. However, when this American tries to do business with a Khan, promises get lost

in translation. The game of Cowboys and Indians finds its modern equivalent.

TimeLine succeeded in translating the cinematic idea of a thriller to the stage. At the heart of this piece, like in films such as “The Bourne Identity” and “Memento”, what keeps us watching is the question, “Who can we trust?” All of the design elements supported this: the way the projections flew and appeared, the stark lighting, the set that kept on going out into the lobby becoming all of these slightly different offices covered in information, the scaffolding that was constantly shape shifting. The acting, on the whole, was a little too big and showy for my taste. There was a potential for intimacy here; however, the acting generally did it’s job. They told the story in a clear way.

“Blood and Gifts” is a play with a bold point of view that needs to be experienced.

Recommended.

TimeLine Theatre presents’

“Blood and Gifts” by J. T. Rodgers

Directed by Nick Bowling

Performances May 9th, 2013 – July 28th, 2013 @

TimeLine Theatre
615 W. Wellington Ave.
Chicago, IL, 60657

Oh, What a Beautiful Production

To avid theatre goers, there’s nothing in the world quite so thrilling as hearing a beautiful, carefully-crafted piece of music being played to perfection by a full orchestra. Hearing those first strains of Rodgers & Hammerstein’s lush overture reminds audiences of what they’ve missed in lesser productions of this show. It’s as if we’ve taken a trip back to 1943 when this groundbreaking classic of the musical stage first opened on Broadway, and oh, what a beautiful moment, that must’ve been.

Sleepwear Fit for the ’50’s

Pajama Game

For those of us who grew up during the Eisenhower years, songs from Richard Adler and Jerry Ross’ score provide a blast from our past. Haunting ballads like “Hey There” and “A New Town is a Blue Town,” and catchy novelty tunes such as “Steam Heat” and “Hernando’s Hideaway” became often-played standards on the radio. George Abbott’s dramatic collaboration with author Richard Bissell of his novel, 7 1/2 Cents, turned into 1955’s Tony Award-winner for Best Musical. The show has been revived twice on Broadway (the latest 2006 version starred Harry Connick, Jr. and Kellie O’Hara) and has become a staple with regional, community and educational theatres. The reasons are many, as demonstrated in Jess McLeod’s grittier, economy-sized version now playing in Highland Park.

A Beautiful Tribute with The Pianist of Willesden Lane

By Lazlo Collins

Recommended

Mona Golabek is a treasure for the ages. Her current appearance in “The Pianist of Willesden Lane” is an amazing story of survival and love.

The audience is curiously drawn in to her story. The story of her own mother, Lisa Jura, and her search for family and freedom in Europe during World War II is a remarkable one. Her love of her mother moves over the audience like a comforting blanket during the show.  Ms. Golabek moves from place to place and character to character with ease. It feels as if she needs to tell this story or she will burst. Her passion for her heritage is clear.

A Breath of Spring

Enchanted April

Slip off your Wellingtons, shed your Mackinaw and fold up your bumbershoot.  Matthew Barber’s stage adaptation of Elizabeth Von Arnim’s novel about four ladies who book a much-needed holiday away from soggy Olde London at a secluded Italian castle is a splendid entertainment after what has been Chicago’s wettest, rainiest April in history. It’s the perfect play presented at the perfect time, and what a welcome delight it is.

Artistic director Scott Phelps has staged this delightful respite from the rain with style and flair. Drab Act I, takes place in Hampstead, England during the monsoon season of late winter. Shades of gray and black dominate both set and costumes against a soundscape of eternal precipitation, and peppered with occasional thunder. Phelps has staged his company of actors amid stiff and stodgy formal settings: in drawing rooms, at tea tables, in church pews. His cast becomes extensions of their surroundings, the personification of the stiff upper lip. Only Lotty Wilton, the play’s narrator and the catalyst for this daring adventure, is able to temporarily break loose from those societal ties that bind. But this is, after all, the 1920’s when women’s roles were more restricted. Lotty’s dream of an all-girl holiday, away from the men who define a woman’s every word and movement, seems wild and almost sacrilegious to everyone but an enlightened “Modern.”

Phelps’ second act bursts with color, freedom and the bliss of living. The rain is replaced by sunshine, flowers and a girl-power camaraderie that turns infectious. Rose, the unhappy, uptight acquaintance who Lotty coerces into joining her in this much-needed getaway, sheds her dark cocoon-like clothing and becomes a butterfly in pastels and parasols. Even elderly Mrs. Graves, whose only London companions were her books and past memories, leaves her walking stick and blossoms into the younger lady she once was. Lotty’s third travel mate, Lady Caroline, relishes in a male-free environment…or so she says. With the unexpected arrival of Mellersh and Frederick, Lotty and Rose’s husbands, and Mr. Wilding, the handsome young landlord of the estate, everyone blooms under the enchantment of April.

Jamie Lee Kearns, whose strong resemblance to film actress Amy Adams is remarkable, is the unsinkable Lotty Wilton. Her spirited performance is the engine that drives this play making Lotty’s eternal romantic optimism as contagious as the sunshine. Kelly Farmer’s Rose is a deeper, more cerebral portrayal of a young woman whose married life has become dull, predictable and inescapable. As Ms. Farmer literally lets her hair down in Act II, all her sorrow and misgivings fall away, her expressive face prompting the audience to cheer her journey to happiness. Katherine Biskupic is stunningly beautiful and composed as the free-spirited Lady Caroline. Her life of ennui dissolves when Mr. Wilding (Matthew Gall in one of the brightest performances of the evening) shifts his interest to her and romance unfolds. Veteran actress Marilyn Baldwin creates a no-nonsense Mrs. Graves, the last bastion of proper British society. However, as the men begin to arrive we see her soften and become the darling of the day. And Rita Simon’s Italian housekeeper Costanza, supplies much of the play’s humor as she reacts to Mrs. Graves’ boisterous demands.

Christine Kneisel and Lisa Hale’s innovative, flexible set and period-suggestive costumes add sparkle to this entertaining production that make April, or any other month, as enchanting and refreshing as a Spring spent in the Italian countryside.

Recommended

Presented Thursdays through Sundays, April 26-May 26 at the Citadel Theatre, 825 S. Waukegan Rd., Lake Forest, IL.

For tickets call 847-735-8554 or go to www.Citadeltheatre.org.

For additional information about this and other productions go to www.theatreinchicago.com