Articles tagged with: Goodman Theatre
Review: Fairly late in his career, Eugene O’Neill, that great purveyor of tragedy, penned a romantic comedy worthy of his darker plays. “Ah, Wilderness!” is that now-classic lark, and it once again bursts onto the stage at Goodman Theatre in a funny and affecting production that is arguably the crown jewel of Chicago’s theater season. ★★★★★
Review: Playwright Charles Smith’s “Objects in the Mirror” is a gritty, honest and provocatively open-ended story about coming of age. Mesmerizing, if no less exasperating, it is served with resonant conviction in a world premiere production at Goodman Theatre. ★★★★
Review: Chekhov’s “Uncle Vanya,” an existential snapshot of lost souls at a signless crossroads, exemplifies theater as an ensemble endeavor. In Annie Baker’s modernized, razor-sharp adaptation of the play, complemented by a directorial tour de force from Robert Falls, Goodman Theatre brings the spirit of dramatic teamwork to vibrant life. ★★★★★
Review: For his ninth season, Larry Yando plays the gnarled old man whose very name is now a synonym for miser, his “Bah! Humbug!” an all-purpose slapdown that distills the essence of a curmudgeonly world view. Until Scrooge discovers joy, that is. Yando’s wonderfully long face is as capable as ever of rubbery contortions worthy of a cartoonist’s pen. Goodman’s “A Christmas Carol” is a tradition happily renewed. ★★★★
2016-17 SEASON PREVIEW: The following is adapted from a news release submitted by an arts organization to Chicago On the Aisle.
Lauren Molina and Bri Sudia star as two sisters leaving Ohio in 1935 to conquer New York City in Bernstein’s “Wonderful Town.” Here’s the Goodman Theatre’s complete line-up…
Review: It’s Dolly’s world, the charming milieu and crazy circumstances of Thornton Wilder’s perdurable farce “The Matchmaker.” All the other characters on stage just live in it. So say hello to a delightful Dolly whose world is well worth a visit in the Goodman Theatre production starring — with a capital S — Kristine Nielsen. ★★★★
Review: After five and a half hours spent watching the dramatic evolution of “2666,” the adaptation by Robert Falls and Seth Bockley of Roberto Bolaño’s sprawling novel at the Goodman Theatre, I could think only of that sublimely ironic lyric made famous by Peggy Lee: Is that all there is?This ambitious enterprise affords a goodly share of rewards along its meandering narrative as a sort of whodunit for intellectuals. But in the end, in its totality, “2666” as theater is a shaggy-dog story of St. Bernard proportions. ★★★
Review: Chicago’s holiday offerings include Three Scrooges — not a show, but a trio of shows all based on “A Christmas Carol.” And yes, there’s some slapstick in it, even ribaldry, depending on which flavor of Dickens you choose.
Feature: Three formative plays on the boards in Goodman Theatre’s New Stages Festival offer an intriguing glimpse into the process of turning a work of promise into a well-honed piece of stagecraft ready for prime time. Now in its 12th year, the 2015 edition of New Stages concludes Nov. 13-15 with final performances of those plays and a cluster of readings.
11th in a series of season previews
Review: I hate going here, I really do, because it’s going to sound like home cooking, but the hysterical truth is – and everything about this is hysterical – that the Goodman Theatre romp through Christopher Durang’s “Vanya and Sonia and Masha and Spike” roundly eclipses the production I saw last season in New York. Directed by Steve Scott, this show is so smart and tight, so killingly funny, that seeing it just once may not be possible. ★★★★★
Interview: A.C. Smith, a big-framed actor formidably attired in black as a wealthy undertaker, is ensconced Buddha-like at the corner table of a diner in the Goodman Theatre production of August Wilson’s “Two Trains Running.” Simply learning how to sit there, and figuring out what to do with his unnaturally gloved hands, says Smith, was a daunting new wrinkle even for a savvy veteran of Wilson’s plays.
Review: We need a new word to describe the quality that makes every August Wilson play a red-letter event of any theater season. This single new descriptor would meld the two features that Wilson always mixes with such ineffable ease: charm and poignancy. They are the stuff of “Two Trains Running” at the Goodman Theatre, a beguiling portrait of the human condition as an uphill battle – and the difference a leap of faith can make. ★★★★★
Review: ★★★ The wisdom and the charm of Gina Gionfriddo’s play “Rapture, Blister, Burn,” at the Goodman Theatre, resounds in the collision of two fortysomething women, old friends from college, one a mom and the other a scholar in women’s studies, who now look at each other’s lives and question their own choices. Yet in the end, the dramatic sum feels somehow less than this coalescence of clever parts. ★★★
Review: Mike Nussbaum, irrepressible at age 90, is like great Bordeaux wine. Need I amplify that? Chicago’s prince of perdurable actors is the single best reason – among many good ones – to catch Goodman Theatre’s almost-instant revival of “Smokefall,” Noah Haidle’s fine-stitched play about family, its profound fractures and its potential for healing. ★★★★★
Review: A more appealing cast could hardly have been assembled for Mozart’s “Don Giovanni” than the vocally resplendent, good-looking singers who inhabit the Lyric Opera of Chicago’s new production and season opener. And for the most part, Mozart’s opera – dramatically dark and musically brilliant — is well served by director Robert Falls’ heated and funny approach to this tale of the world’s most infamous sex addict, whose recklessness and hubris finally bring him all the way down and then some. ★★★★
14th in a series of season previews: Goodman Theatre has a bountiful 90th season in store, punctuated by a pair of world premieres, an early remounting of Noah Haidle’s “Smokefall” from last season — with returning featured actor Mike Nussbaum, also 90! — and a revival of August Wilson’s “Two Trains Running” that will be enhanced by several related events.
Review: Vanda careens into the playwright-director’s audition room as if she’s been tossed there by the storm that’s booming and flashing outside. Hair tousled, mini-skirted and discombobulated, she wrestles with her wet umbrella and a large bag she’s brought, spewing F-words as the amazed author looks on. But Vanda has only begun to amaze this guy, Thomas, in David Ives’ startling play “Venus in Fur.” It’s an incendiary night out at Goodman Theatre. ★★★★
Review: As Tracey Scott Wilson’s urban tragi-comedy “Buzzer” spins through a series of introductory monologues, its mordant wit and coalescing picture of a ménage à trois suggests an updated bundling of the two young men and a woman in Noel Coward’s “Design for Living.” Though the laughs keep coming in “Buzzer,” the comedy soon hones the edges of a bitter tale — of love and hope infected by torment and fear. Goodman Theatre serves it up as potent brew. ★★★★
Interview: Mary Beth Fisher, who portrays the empathic, long-experienced and raggedly weathered social worker Caroline in Rebecca Gilman’s new play “Luna Gale” at Goodman Theatre, says every performance has been an interactive encounter with the audience.
Preview: When the League of Chicago Theatres decided to stage its first Chicago Theatre Week last year, offering discounted tickets to some 100 productions and other perks in a sort of regional stimulus package, no one knew how it would go – whether the public would bite. What happened was more like a gobble: All 6,000 tickets in the discount pool were snapped up. Now Chicago Theatre Week is back, with the 2014 version of dramas for $15 and $30, and this time the presenters exude optimism.
Review: Caroline is a social worker whose job it is to rescue neglected and abused children and find decent homes for them. She goes about her task seriously – one of her former charges gently rebukes her for being “always on topic.” In Rebecca Gilman’s radiant and disturbing new play “Luna Gale,” now in an electric world premiere run at Goodman Theatre, Caroline comes to her melancholy topic with a full heart as well as her own imperfect history. ★★★★★
Review: The sixth time is a charm for Larry Yando as that grasping, covetous old sinner Ebenezer Scrooge in the Goodman Theatre production of Charles Dickens’ “A Christmas Carol.” Or I should say, a charm again — just like Yando’s previous five outings in the part. His irascible but salvageable and very funny misanthrope remains a Scrooge for the young in heart and imagination. ★★★★
Review: Life sucks, and then you die. If that dark existential view sometimes can seem like the only certainty, taxes being at least negotiable, it is repudiated – with gentleness and magical wit — in Noah Haidle’s new play “Smokefall,” presented in its “co-world premiere” at Goodman Theatre. ★★★★★
Review:It is redolent of Chicago, eloquent of a shadowed time that was, Cheryl L. West’s song-filled “Pullman Porter Blues” at the Goodman Theatre. It is a gritty, pulsing, sweet hymn to the generations of black men who made train-travel hum back in the day. ★★★★
Report: Tickets will be $15 and $30.