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Articles by Lawrence B. Johnson

CHICAGO WINE JOURNAL: Tuscans are Super as Avignonesi presents Sangiovese royalty

Feb 24, 2017 – 5:00 pm
Fifty-Fifty

Review: To sample through the red wines of Italian producer Avignonesi is to understand how such vino di tavola – or table wine – came to be known as Super Tuscan. It’s also to be reminded of the rewards and adaptability of Sangiovese, the bedrock grape of Tuscany. Or as Giuseppe Santarelli, Avignonesi’s export manager for North America, characterized Sangiovese in presiding at a Chicago tasting of his company’s wines: It is the King.

‘Straight White Men’ at Steppenwolf: Cheer up, Hamlet; oh, wait, is that the face of happiness?

Feb 22, 2017 – 11:03 am
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Review: For a play as benign as Young Jean Lee’s curiously titled “Straight White Men,” this glimpse into the man cave of three grown brothers and their father at Steppenwolf Theatre surely will engender the debate for which it ultimately begs. ★★

‘Love’s Labor’s Lost’ at Chicago Shakespeare: Delectable comedy made clear, biting and dark

Feb 18, 2017 – 7:37 pm
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Review: Chicago Shakespeare Theater’s new production of the Bard’s “Love’s Labor’s Lost” is a joyous voyage of discovery, a comedic delight that strips away the thicket of a problematic play and leaves us with the bare sober truth of human folly. Deftly edited and wittily directed by Marti Maraden, it brings together an acting ensemble so well integrated that the whole rollicking night feels like the work of a practiced improv troupe. ★★★★★

‘Death of a Salesman’ at Redtwist: Bringing resonant life to a fractured soul on the brink

Feb 16, 2017 – 5:59 pm
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Review: Brian Parry’s heartbreaking performance as Willy Loman in Arthur Miller’s “Death of a Salesman” at Redtwist Theatre is the finest work I’ve seen on a Chicago stage this season. A virtually tactile experience in a tiny, in-your-face venue, this is gigantic acting on the most intimate scale. Even better for theater buffs, the show’s run has been extended through March 26. ★★★★★

‘Carmen’ at Lyric Opera: Allure’s everywhere, then bizarre finale lets the tragic line fall slack

Feb 15, 2017 – 9:08 am
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Review: There is much to recommend the new Lyric Opera production of Bizet’s “Carmen,” a joint venture with the Houston Grand Opera. Topping the list is mezzo-soprano Ekaterina Gubanova’s scorching performance in her role debut as the Gypsy femme fatale. But in the final act, where amid much splendor one anticipates a hair-raising pay-off, director-choreographer Rob Ashford loses his way. ★★★

Baroque fare spotlights maestro and vocalist, but (very small) CSO creates glitter of its own

Feb 11, 2017 – 1:30 pm
Vivica

Review: It was an itty-bitty iteration of the Chicago Symphony Orchestra that took the stage Feb. 9 – a double handful of strings plus a harpsichord and the solo violin of conductor Fabio Biondi. Together with mezzo-soprano Vivica Genaux, this sufficient and most excellent force served up a splendid evening of fare from the High Baroque.

British maestro makes a polished CSO debut, and he’s right back in mix for Gershwin gala

Feb 7, 2017 – 9:22 am
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Review: Chicago Symphony audiences at Orchestra Hall may be late making the acquaintance of British conductor Bramwell Tovey, but the winter-spring portion of the current season has suddenly become a concentrated getting-to-know-you period. And if one might judge from his Feb. 3 CSO debut, the assured maestro offers a new friendship worth cultivating. Tovey, who is also a pianist and composer, will return in double duty as conductor and soloist with the CSO for a newly announced pair of all-Gershwin concerts March 24-25.

‘The Nether’ at A Red Orchid: In virtual world, dark ventures into forbidden sex, gory murder

Feb 3, 2017 – 3:27 pm
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Review: In the unconscious, are sexual gratification and the urge to slaughter two sides of the same coin, expressions of the same feral impulse, the same profound (even infantile) need? It’s the question at the core of Jennifer Haley’s fascinating – and not a little disturbing – play “The Nether,” now doubtless holding audiences in rapt attention at A Red Orchid Theatre. ★★★

‘Blues for an Alabama Sky’ at Court: Rebirth comes fraught with grief, pain in 1930 Harlem

Jan 31, 2017 – 4:55 pm
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Review: In part, in an almost paradoxical way, Pearl Cleage’s play “Blues for an Alabama Sky” is about the idealistic, short-lived Harlem Renaissance of the 1920s. But what makes Cleage’s drama – and Court Theatre’s current production brilliantly directed by Ron OJ Parson – so compelling lies in the story’s humanity, in the tragic flaws and the upward determination of characters making their way along the streets of daily life. ★★★★

CSO in Europe: At La Scala and Musikverein, Muti and his band receive a glowing welcome

Jan 29, 2017 – 11:52 am
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Report: There’s no place like home, if even it’s your leader’s home away. In the welcoming embrace of Vienna’s acoustically splendid Musikverein concert hall, the touring musicians of the Chicago Symphony Orchestra made themselves very much at home, thank you. For music director Riccardo Muti, the musical hearth is wherever you feel the love, where you’re adored, where you’re The Man. That’s Vienna, where Muti has made guest appearances with the Vienna Philharmonic for 46 consecutive years. But it’s also – and make no mistake about this – Milan, where the CSO played two concerts at the legendary Teatro alla Scala opera house, Muti’s house for two decades.

Music of the Baroque and two star sopranos summon drama of Mozart’s Mass in C minor

Jan 25, 2017 – 7:23 am
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Review: When Music of the Baroque decided to present vocal masterworks by Mozart and Beethoven, it engaged two of today’s reigning sopranos – Kathryn Lewek, who is performing the Queen of the Night in Lyric Opera of Chicago’s new production of “The Magic Flute,” and Susanna Phillips, who recently starred in the Metropolitan Opera’s premiere of Kaija Saariaho’s much-acclaimed “L’Amour de loin.” Those stars delivered in a pair of concerts that concluded in exhilarating fashion Jan. 23 at the Harris Theater for Music and Dance.

CSO in Europe: Adjusting to an intimate hall, touring orchestra steps up by dialing down

Jan 20, 2017 – 8:40 am
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Review: Even the cab drivers in Aalborg, Denmark, a city of 200,000 residents, are proud of the Musikkens Hus, an intimate and distinctively modernist 1,300-seat concert hall that opened two years ago. Concerts Jan. 16-17 by the touring Chicago Symphony Orchestra with music director Riccardo Muti bore out that civic pride.

CSO in Europe: Epic escalator, untested hall greet orchestra at Hamburg Elbphilharmonie

Jan 17, 2017 – 4:01 pm
1/15/17 8:39:07 PM -- The Chicago Symphony Orchestra, Riccardo Muti Music Director

2017 European Tour 

Bows after Don Juan, Op. 20

© Todd Rosenberg Photography 2017

Review: Some 600,000 of the curious, and proud, already have taken the long, long escalator ride from street level to the eighth-floor lobby of Hamburg’s brand-new Elbphilharmonie concert hall, where the Chicago Symphony in concerts Jan. 14-15 became the first foreign orchestra to perform on its stage. Both the curiosity and the pride were understandable.

On a medieval adventure, Newberry Consort explores music of a soldier-poet-composer

Jan 16, 2017 – 10:34 am
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Review: While some unexplored or at least under-explored crannies of Baroque, Romantic or even modern composition can still be found, the music of the Middle Ages remains filled with buried treasure. For a set of concerts that ran Jan. 13-15, the ever-intrepid, ever-imaginative Newberry Consort delved into this rich period and hit pay dirt with a transporting and absorbing program devoted entirely to the little-known music of Oswald von Wolkenstein.

CSO in Europe: Exuberant reception in Paris launches orchestra’s exploration of new halls

Jan 15, 2017 – 10:01 am
1/13/17 10:34:13 PM -- The Chicago Symphony Orchestra, Riccardo Muti Music Director

2017 European Tour 

The Chicago Symphony performs  Mussorgsky's  Pictures at an Exhibition

© Todd Rosenberg Photography 2017

Review: The Parisians made their assessment quickly about the matchup of the Chicago Symphony Orchestra and the Philharmonie, the city’s splendorous two-year-old concert hall. That judgment, delivered by a packed house, was loudly affirmative after the first piece on the Jan. 13 program conducted by music director Riccardo Muti. And it only grew more raucous as the night went on.

Role Playing: Tyla Abercrumbie was set to run little ‘Hot Links’ café, but why was she there?

Jan 11, 2017 – 6:20 pm
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Interview: Actors know the OMG moment well. You win the audition and get the part. Then comes hard reality: You actually have to do it. But for Tyla Abercrumbie, who gives one of those performances you can’t take your eyes from in Eugene Lee’s “East Texas Hot Links” at Writers Theatre, the daunting truth was not simply that she had to measure up to what she’d won. She had to figure out why her character was even in the play.

New Orford Quartet, keeping ties to orchestral world, makes mixed showing at Northwestern

Jan 9, 2017 – 8:05 pm
New Orford's members are principals in Montreal, Toronto and Detroit symphonies. (Alain Lefort)

Review: The Jan. 8 concert at Pick-Staiger Concert Hall raised as many questions as it answered about the Canadian New Orford String Quartet. While its four members, two concertmasters and two principals in the Montreal, Toronto and Detroit Symphony Orchestras, are obviously all excellent individual musicians, it was hard not to wish at times for more interpretative depth and insight.

‘The Weir’ at Irish Theatre: Ghosts and laughs abound — until hidden demons come to light

Jan 8, 2017 – 12:19 am
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Review: It’s a play about hauntings, Conor McPherson’s “The Weir,” a dark and sharply drawn comedy of the unconscious now enjoying an infectious – and, happily, extended — run by the Irish Theatre of Chicago. Ghosts, the ones within us, fill the rural pub where “The Weir” unfolds: Five characters quite recognizably and sufficiently stand in for the lot of frail, erring, rueful humanity. ★★★★

Shakespeare 400 Chicago: ‘The Winter’s Tale’ brings remembrance of Bard near final curtain

Dec 20, 2016 – 2:22 pm
A WINTER’S TALE by Shakespeare,          , Writer - William Shakespeare, Director - 
Declan Donnellan, Designer - 
Nick Ormerod
, Cheeck by Jowl, 2015, Credit: Johan Persson/

Review: Chicagoland theater buffs have spent a goodly part of the last year reveling in the many and wondrously diverse events of Shakespeare 400 Chicago. This circle of opportunity, revelation and indeed riotous and profound fun – engineered mainly by Chicago Shakespeare Theater and its artistic director, Barbara Gaines — comes to a close Dec. 21 with the final performances of “The Winter’s Tale.” It’s a crackling production by the British company Cheek by Jowl, and one that brings the yearlong observance back to its auspicious starting place. ★★★★

Joffrey Ballet finds fresh magic in ‘Nutcracker’ newly choreographed, reimagined in Chicago

Dec 16, 2016 – 5:16 pm
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Review: It is St. Petersburg on Lake Michigan, the Joffrey Ballet’s magical – and relocated – new production of “The Nutcracker” by choreographer Christopher Wheeldon, who has brought his characteristic airy style to bear to ethereal effect. Wheeldon and story-writer Brian Selznick have set “The Nutcracker” as a vibrant vision of the 1893 Columbian World’s Exposition on the Chicago lakefront. ★★★★★

Veteran conductor and a violin virtuoso join CSO in gift-wrapping treasures of 20th century

Dec 10, 2016 – 9:45 am
Vadim Gluzman Photo: Marco Borggreve

Review: There was nothing particularly of Yuletide in the Chicago Symphony Orchestra’s concert Dec. 8 with the venerable Estonian conductor Neeme Järvi and the Ukrainian-born violinist Vadim Gluzman. But the evening was so brilliant, such a treat – with Orchestra Hall festooned in great green wreaths and red bows for the season – that it all felt like a wonderful holiday gift.

Role Playing: AnJi White, as Catherine Parr, learned to keep her wits – to keep her head

Dec 8, 2016 – 12:00 pm
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Interview: When you’re playing the sixth wife of the notorious spouse-disposing English King Henry VIII, says AnJi White, the resolve to survive comes mixed with the question of how. Analyzing her own grand and yet vulnerable portrayal of Catherine Parr, in Kate Hennig’s “The Last Wife” at TimeLine Theatre, White says she pursues a nightly answer to the riddle of endurance with a royal husband who holds her life in his palm, and who will brook neither challenge nor collaboration.

‘Electra’ at Court: As a bloody legend closes, mournful daughter pines for two more deaths

Dec 6, 2016 – 9:53 pm
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Review: In Sophocles’ “Electra,” the classic Greek tragedy of vengeance, now starring Kate Fry in an earthy, understated take on the title role at Court Theatre, the waiting game is all. One day, Electra’s hatred for her murderous mother Clytemnestra will be requited; one day, her prince will come. But the prince Electra awaits is her own, long-absent brother Orestes, who surely will avenge the killing of their father, King Agamemnon, by this woman and her illicit, usurping consort. ★★★★

Stylish new robes for ‘Messiah’: Andrew Davis leads Toronto CD in his modern orchestration

Dec 1, 2016 – 6:43 pm
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Review: To say the just-released recording of Handel’s “Messiah,” arranged and conducted by Andrew Davis with the Toronto Symphony Orchestra and Toronto Mendelssohn Choir, is unlike anything you’ve ever heard would be categorically true, down to the pictorial accents of harp, trombones and – yea, verily – marimba and tambourines.

As King Charles III approaches throne at CST, moral crisis and iambic pentameter engulf him

Nov 23, 2016 – 9:11 pm
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Review: Not very far into Mike Bartlett’s “King Charles III,” directed by Gary Griffin at Chicago Shakespeare Theater, I found myself wondering how it all might work telescoped into a monodrama and spoken – not declaimed, heaven help us – by Robert Bathurst, the king in waiting here and the one actor in view who seemed to understand that blank verse is not speech set to the head-pounding of a jackhammer. ★★

Pianist ignites a Prokofiev concerto with CSO, and veteran maestro shows mastery in debut

Nov 20, 2016 – 8:21 pm
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Review: The technical demands Prokofiev placed on the soloist in his Second Piano Concerto are formidable. But chops alone will not suffice. The fiery Second also demands the fierce temperament displayed by Russian pianist Denis Kozhukhin in his electrifying performance Nov. 18 with the Chicago Symphony Orchestra and conductor Emmanuel Krivine, who also led a charming and expansive account of Dvořák’s Eighth Symphony.

‘Betrayal’ at Raven: In a threesome of friends, lovers, fidelity emerges as a relative concept

Nov 17, 2016 – 4:22 pm
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Review: Harold Pinter’s play “Betrayal” begins at the end – beyond the end, actually. And from there, this gritty slant on the eternal triangle works its way backward through the embers, the blaze and the multifarious deceptions of an affair. The affair is a tangled, bruising mess; the telling of it, at Raven Theatre, is a thing of raw-boned beauty. ★★★★

‘Les Troyens’ at Lyric Opera: An epic romance told in vibrant music (against a bleak setting)

Nov 15, 2016 – 3:29 pm

Review: Berlioz’s grandiose opera “Les Troyens” is a tale of two cities. The ambitious new production mounted by the Lyric Opera of Chicago, the company’s first presentation of this prodigiously demanding work, is an epic venture with two outcomes. Musically, it is resplendent, a huge success by a stellar cast under the leadership of Andrew Davis; conceptually, which is really to say visually, this “Troyens” – The Trojans — struggles to bear its own leaden weight. ★★★

Chicago Symphony Chorus glories in Brahms’ ‘German Requiem’ under van Zweden’s baton

Nov 13, 2016 – 11:10 pm
11/10/16 9:17:10 PM 

Mozart Masonic Funeral Music
Wagner Prelude and Liebestod from Tristan and Isolde
Brahms A German Requiem

PERFORMERS

Chicago Symphony Orchestra
Jaap van Zweden conductor
Christiane Karg soprano
Michael Nagy baritone
Chicago Symphony Chorus 
Duain Wolfe chorus director

© Alex Garcia Photography 2016

Review: Brahms’ “German Requiem” is a gentle monument, expressive in equal parts of humility, reassurance and peace. Such were the components of a radiant performance by the Chicago Symphony Orchestra and Chorus, with soprano Christiane Karg and baritone Michael Nagy, conducted by Jaap van Zweden on Nov. 11 at Orchestra Hall.

‘East Texas Hot Links’ at Writers: A small café, some laughs, some fear; and then some blood

Nov 7, 2016 – 5:51 pm
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Review: Eugene Lee’s lyrical tragedy “East Texas Hotlinks” is an exquisite song of betrayal, an ironic ballad of the enemy within. And it is pitch perfect in a fluent, wryly comedic and quite astonishing production directed by Ron OJ Parson at Writers Theatre. The grace and truth of August Wilson’s poetic style permeate the characters as well as the language of Lee’s 1991 play, a reflection of this playwright-actor’s long association with the Wilson canon. ★★★★★