Articles by Lawrence B. Johnson
‘Time Stands Still’ at AstonRep: War and souls in shattered images, captured in close-up lens
Review: She’s a photojournalist maimed in battle, back home and barely on the mend. He’s a fellow correspondent torn with guilt for not being there when it happened. And their mutual editor is going through a May-December thing with a cutie in AstonRep’s excellent take on David Margulies wry tale of life’s reeling course. ★★★★
‘Harvey’ at Court: In wacky account, message of a good soul, invisible rabbit is plain to see
Review: In these parlous times, it’s good to remember that Mary Chase’s radiant moral comedy “Harvey” won the 1945 Pulitzer Prize for Drama. As Elwood P. Dowd, the protagonist who pals around with a 6-foot-tall invisible white rabbit, might say: I’d like to see a prize awarded to Court Theatre for its lovely staging of the play. ★★★★★
‘Objects in the Mirror’ at Goodman: Escaping calamity in Africa, surviving the folly of youth
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. ★★★★
‘Linda Vista’ at Steppenwolf: Letts’ new play frames photographer who can’t get selfie right
Review: Wheeler, the only name he goes by, is a smart guy, a good photographer and his own worst enemy. He’s the case study in self-destruction at the center of Tracy Letts’ new play “Linda Vista,” now headed into the final week of a crackling production directed by Dexter Bullard at Steppenwolf Theatre. Wheeler – played with barbed comic timing and ruinous ferocity by Ian Barford – imagines himself astride the world, or indeed like Jupiter above it, taking the measure of all the things and people in it and finding that people mostly don’t measure up. ★★★★
In a journey across Brahms’ symphonies, Muti found both lyric dramatist, master classicist
Review: Riccardo Muti still has one program to go in this, his seventh season as music director of the Chicago Symphony Orchestra. We might think of the impending finale – a mixed bag of orchestral music, choruses and arias from Italian opera in concerts June 22-25 – as a grand encore to the conductor’s roundly rewarding season of appearances with the CSO. Or perhaps as a festive postlude to his splendid traversal of Brahms’ symphonies over the last two weeks.
Baton (and lantern) in hand, Muti commences rediscovery survey of the Brahms symphonies
Review: Ordinarily, the idea of hearing Brahms’ four ultra-familiar symphonies performed consecutively over two weekends might seem, well, unimaginative. Brahms in the care of CSO music director Riccardo Muti suddenly transforms the routine into a journey of discovery greatly to be anticipated. And illuminating it was when Muti led Brahms’ First and Second Symphonies on May 4 at Orchestra Hall to commence a cycle that winds up May 11-13 when the CSO turns to Symphonies 3 and 4.
Pianist Murray Perahia forges an alluring path from bright Bach through a Beethoven thicket
Review: Musical virtuosity is the sum of diverse parts, only the most obvious of which is great technical prowess. Pianist Murray Perahia’s recital May 7 at Orchestra Hall offered a veritable punch list of the qualities that add up to consummate musicianship. Its was a stylistic sweep from the last of Bach’s six “French” Suites through Schubert’s Four “Impromptus,” D. 935, to Beethoven’s monumental Sonata in B-flat, Op. 106 (“Hammerklavier”).
As CSO concertmaster Chen takes spotlight, band behind him is like blue-blooded family
Interview: Every time violinist Robert Chen, concertmaster of the Chicago Symphony Orchestra, steps in front of his colleagues as soloist, he knows one thing very well: A solid troupe has his back. Chen will be in that happy place April 20, 22 and 23 at Orchestra Hall when he plays Bartók’s early Violin Concerto No. 1 with guest conductor Neeme Järvi. The program will get an additional performance April 21 in Wheaton.
Dutoit sees a wide spiritual gamut before him in Easter weekend with Chicago Symphony
Preview: Musical reflections on Easter, transcendent and intimate and existential, form conductor Charles Dutoit’s multilayered theme for his concerts April 13-15 with the Chicago Symphony Orchestra. The gentler parts are well known; for many listeners, however, the other part, a spiritual warp of upheaval and terror born of World War II, may come as revelation in startling terms.
With Haitink sidelined, James Conlon steps in and leads CSO, singers in Mahler to remember
Review: When the Chicago Symphony Orchestra released its program schedule for the current season, among the brightest highlights – one of those don’t-miss concerts – was Mahler’s “Das Lied von der Erde,” to be led by Bernard Haitink, who at age 88 is unsurpassed among Mahler conductors today. Then, just days before the performance weekend, March 30-April 1, Haitink canceled due to illness. But when James Conlon, former music director of the Ravinia Festival, answered the call, “Das Lied” found its full voice.
Facing the music, if not her public, violinist Anne-Sophie Mutter delivers a stellar recital
Review: Very curious, violinist Anne-Sophie Mutter’s recital March 29 at Orchestra Hall with her longtime collaborator, pianist Lambert Orkis. The programming was imaginative, the performances elegant, forceful, seamlessly integrated. What was so odd was Mutter’s choice not to play out to the house, but rather to offer at best a profile as she leaned into the piano and in at least one instance read from a score propped up next to Orkis’ own music.
‘Venus in Fur’ – oops, ‘The Scene’ at Writers: Coulda, maybe shoulda, been the other play
Review: A ditzy girl, who turns out to be a veritable demon, brings a self-absorbed guy crashing down. He doesn’t see it coming, never has a prayer. Ah, you know that play? Right. It’s David Ives’ “Venus in Fur,” of course. Well, it’s back with us again, more or less, in Theresa Rebeck’s “The Scene” at Writers Theatre. When I say more or less, I mean there’s more involved – actors, situations, sex – but the sum amounts to less of consequence or, along the way, dramatic merit. ★★
Daniil Trifonov’s knockout recital points up high value of Symphony Center piano series
Review: Daniil Trifonov’s prodigious recital March 26 at Orchestra Hall provided a ringing reminder of what a treasure the Symphony Center Presents annual piano series is. To have 10 such virtuosi parade across that stage over the course of a season is a gift not to be taken lightly. Still, that said, Trifonov’s heady program was exceptional even for the world-class keyboard lineup that populates the SCP series.
Postmortem opera: ‘Charlie Parker’s Yardbird’ catches bop star musing on life – after death
Review: I can only assume that tenor Lawrence Brownlee’s next operatic role will be Muhammad Ali. It took Brownlee all of five minutes as legendary jazz saxophonist Charlie Parker to own that tragic character – to reveal a deeply flawed figure as one who was determined to be his own man, a brilliant, scarred fighter who proved to the world that he was the greatest. The Lyric Opera of Chicago production of “Charlie Parker’s Yardbird,” by Daniel Schnyder and Bridgette A. Wimberly, runs through March 26 at the Harris Theater. ★★★★
Verdi’s Requiem, as bold act by Nazi-era Jews, comes to Chicago in multimedia concert event
Preview: “Defiant Requiem: Verdi at Terezín,” a multimedia creation with orchestra, chorus, vocal soloists, narrators and film clips, will be presented under author-conductor Murry Sidlin on March 23 at Orchestra Hall. Sidlin developed the project to memorialize Jews who learned and performed Verdi’s Requiem in figurative protest against their Nazi oppressors at the Terezin concentration camp.
‘Carmen’ (redux) at the Lyric: Leads change, young conductor steps in – and the heat’s on
Review: Lest any insatiable lover of Bizet’s opera “Carmen” be put off by the idea of a “second cast,” as the Lyric Opera of Chicago has now changed the leads in its continuing production, let me put this as plainly as possible: The mid-run advent of mezzo-soprano Anita Rachvelishvili in the title role, with tenor Brandon Jovanovich now portraying the tragically smitten Don José, isn’t just hot stuff; it is scorched earth. ★★★★
In a many-splendored program, Muti and CSO match world premiere, Uchida’s Beethoven
![3/16/17 8:35:06 PM -- Chicago, IL, USA
Chicago Symphony Orchestra
Riccardo Muti Conductor
Mitsuko Uchida piano
Rossini Overture to La scala di seta
Beethoven Piano Concerto No. 3
S. Adams many words of love
[World Premiere, CSO Commission]
© Todd Rosenberg Photography 2017](https://chicagoontheaisle.com/wp-content/uploads/2017/03/Feature-1-5.jpg "In a many-splendored program, Muti and CSO match world premiere, Uchida’s Beethoven")
Review: With music director Riccardo Muti back on the podium, the Chicago Symphony Orchestra delivered a bravura world premiere with Samuel Adams’ “many words of love,” framed by an elegant and emotionally charged performance of Beethoven’s Third Piano Concerto with soloist Mitsuko Uchida and a vivacious account of Schumann’s Fourth Symphony, which remarkably enough the CSO had not played since 2003.
‘Earthquakes in London’ at Steep: Our roiling planet may soon resemble a fractured family
Review: Mike Bartlett’s “Earthquakes in London,” at Steep Theatre, is an intriguing excursion that conflates garden variety family dysfunction with nothing less than the end of days. The show closes March 18, and it’s worth catching – not for its perfection (it is imperfect), but for its rigorous melding of intricate, credible characters and a provocative foray into magical realism. ★★★
Placido Domingo’s gala return to Lyric Opera rekindles long love affair across the footlights
Review: There was palpable energy at the Civic Opera House on March 9 when the Lyric Opera of Chicago presented “Celebrating Placido,” an evening of music and mirth with the remarkable Placido Domingo, who at age 76 still engenders that singular frisson felt upon hearing his first phrases as only the greatest vocalists are able to do.
Converging on a cosmic plane, CSO and Ma find star stuff in Salonen’s new Cello Concerto
Review: As the audience packed into Orchestra Hall whooped its enthusiasm for Esa-Pekka Salonen’s new Cello Concerto, just given its world premiere by soloist Yo-Yo Ma and the Chicago Symphony Orchestra with Salonen conducting, the two stars of the moment gleefully pointed fingers at each other as if to say, “You’re the man,” and, “Oh no, you’re the man.” They were both right.
‘Uncle Vanya’ at Goodman: Seeking purpose, or a numbing refill when the glass is drained
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. ★★★★★
Esa-Pekka Salonen, conductor and composer, again casts his lights on Chicago Symphony
Review: Predictable highlights of any Chicago Symphony Orchestra season are the programs with perennial guest conductor Esa-Pekka Salonen. When the brilliant Finnish maestro is on the podium, the fare is always special. Now Salonen is finishing up an extended weekend run of Stravinsky’s “Le sacre du printemps” on March 7, before moving right into the world premiere of the conductor-composer’s own Cello Concerto, with soloist Yo-Ya Ma, March 9-11.
CHICAGO WINE JOURNAL: Tuscans are Super as Avignonesi presents Sangiovese royalty
Tasting Report: 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?
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
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
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
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
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
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
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. ★★★
