Articles in Theater + Stage
Report: Like other theaters across metro Chicago, TimeLine suddenly had to suspend a play in mid-run as the coronavirus crisis descended. But in a fortuitous twist of events, the company can offer the remainder of that run to theater-hungry Chicagoans via streaming.
Report: It was a day to give Friday the 13th a bad name. Lyric Opera of Chicago made the unavoidable but nonetheless stunning decision to cancel the whole of its long-anticipated cycles through Wagner’s “Ring” tetralogy. The Chicago Symphony Orchestra essentially placed its virtuoso forces on paid leave. Broadway in Chicago shut down its main presentations in the Loop. And one after another, theaters large and small posted immediate stoppage of whatever was on their stages along with cancellation of whatever might be next.
Review: Imagine the sharp, slashing repartee between Beatrice and Benedick, in Shakespeare’s “Much Ado About Nothing,” if Beatrice brought no intellectual edge to the fray, and you have the eponymous figure in “Emma,” the mildly diverting, perfectly harmless and utterly forgettable musical in mid-flight at Chicago Shakespeare Theater. ★★
Review: The first impression of Tracy Letts’ bleakly comic play “Bug” is visual, wordless: a young woman, her back to the audience, stock-still and staring out the open doorway of her dumpy motel room. It’s a telling image. We have just met Agnes, a solitary, empty vessel who’s about to be filled with a surreal and lethal form of paranoia. ★★★
Review: Amina and Ryan are both Cleveland police officers. She’s black, he’s white. They’re good, dedicated cops. They’re also lovers. They’re thinking long term, about having a child together. Then Ryan shoots and kills a young black man, and lies about how it went down. Shattered Globe Theatre’s current, and just extended, production directed by Wardell Julius Clark deals acutely with Artigue’s 90-minute play but cannot create substance greater than time and text allow. ★★★
Review: Political theater comes in all shapes and wrappers, but mostly it’s a genre of righteous harangue. Setting aside the not untenable argument that all theater is political, egregiously agenda-driven drama tends to be heavy handed, obvious and dull. The play in immediate view, Lisa Loomer’s “Roe,” on the boards at Goodman Theatre, offers the dubious amusement of a cartoon: over-drawn, simplistic and, alas, laughable. ★★
Review: Lucas Hnath’s dark, wry and bitter play “Death Tax” unfolds like a recitation of humankind’s less savory qualities. Duplicity probably tops the list here, but there’s also ample place for avarice, covetousness, vanity and exploitative guilt. Remarkably enough, this brilliant 90-minute descent into the lower depths of human behavior is as fascinating as it is dismaying – and it’s imbued with visceral truth by a wholly immersed, intimate ensemble at Redtwist Theatre. ★★★★
Review: Old man Rutherford sees the world as a reflection of himself, and he measures and values everyone in it, starting with his family, on a scale of their loyalty to him and their usefulness to the business enterprise that has consumed his life. Imagine being his son – the subordinate, emotionally shackled element in “Rutherford and Son,” playwright Githa Sowerby’s grinding examination of early 20th-century British industrialism and its social ethos, which now storms the stage with withering force at TimeLine Theatre. ★★★★★
Review: A familiar face and voice in many roles at the Lyric Opera of Chicago over the years, the legendary soprano combines warm singing and strong acting in her role as an American mother on holiday in Florence with a daughter who’s ready for love but is more fragile than she knows. The new production of this 2005 Tony Award winner started out in London and moves on to Sydney, Australia in the New Year. ★★★
Review: As we sit in Hyde Park’s Court Theatre arena, where Sophocles’ ancient drama “Oedipus Rex” unfolds, the audience becomes part of an urgent thriller. Actors prowl the aisles, murmuring that our city Thebes is sinking under “waves of death.” The explanation for this plague and pestilence? Unknown. The king accepts his citizens’ desperate plea to figure out what’s going on, but as he looks into it, he finds evidence pointing to himself. ★★★★
Review: Over the last dozen of the scores of Christmases that Goodman Theatre has revisited Charles Dickens’ “A Christmas Carol,” much of the magic surely has centered in the person of Larry Yando. Hehas essentially become Ebenezer Scrooge for the faithful thousands who make this Yuletide pilgrimage of wonder and delight and epiphany. ★★★★
Interview: Julia Siple thought she knew the “black sheep” character she plays in Lucy Kirkwood’s “Mosquitoes” at Steep Theatre. But in the refining process of rehearsals, Siple discovered that erratic and often outrageous Jenny – who’s also not the sharpest knife in the family drawer – had another, deeply appealing side to her: a tremendous sense of empathy.
Review: The Andrew Lloyd Webber musical “Sunset Boulevard” won a slew of Tony Awards when it was rolled out on Broadway in 1995, some 45 years after the Billy Wilder film on which it is based had captured a bunch of Academy Award nominations and claimed a few minor ones. I acknowledge these aging triumphs up front because, to my mind, this show, now rather curiously revisited by Porchlight Music Theatre, has come to look as quaint and limited as the silent-film era that its faded, tragic star yearns to relive. ★★
Review: Alice and Jenny are sisters in name only, or so it might seem, in Lucy Kirkwood’s play “Mosquitoes,” now on fascinating exhibit at Steep Theatre. Alice is a physicist, an acorn fallen not far from the twin oaks of her father (deceased) and her mother (still living). Jenny is not a physicist; she probably couldn’t spell the word. Funny, the binding power of blood. ★★★★
Review: The sleeper don’t-miss show of Chicago’s autumn theater season falls under the perhaps inauspicious heading of Steppenwolf’s Young Adult series. Make no mistake, the emphasis here is on “adult,” and Steppenwolf’s superbly cast and directed – indeed, choreographed – staging of Tarell Alvin McCraney’s “The Brothers Size” is exquisite theater that will reward the most experienced drama buff. ★★★★★
Review: The 90-minute distillation of Ibsen’s “A Doll’s House” now on display at Writers Theatre is a fast ride to a shattering finish – an emotional grinder that goes instantly and unflinchingly to the core of this still-remarkable story of a woman’s painful self-discovery, and it never lets up. ★★★★★
Review: One might describe J.T. Rogers’ “Oslo” as a historical feel-good play, the historical happy outcome of which didn’t last very long. It’s a process drama that depicts the secret (verbal) slug-out in 1993 between representatives of Israel and the Palestine Liberation Organization in a valiant effort to bring peace to the Middle East. The production created by TimeLine Theatre and co-produced by Broadway in Chicago is tightly wound and well acted, but it cannot escape the play’s strait-jacketed narrative or rise above the fact that none of this feels especially compelling a quarter-century on. ★★
Review: In early 1899, at the heady height of her dizzying fame, the French actress Sarah Bernhardt reopened a Paris theater she had acquired and renamed after herself. Almost immediately, this ever controversial star was upsetting norms again by playing the title role in Shakespeare’s “Hamlet.” That audacious gambit reimagined is the stuff of Theresa Rebeck’s plainly titled play “Bernhardt/Hamlet,” now on semi-satisfying view at Goodman Theatre. ★★
Review: Of the 10 plays that make up August Wilson’s Pittsburgh Cycle, a decade by decade series of tableaux depicting the African American experience through the 20th century, “King Hedley II” may be the least familiar to theater audiences. But this grim, ultimately crushing drama is by no means the least potent. Witness Court Theatre’s knock-out production featuring a stellar cast under the wise direction of Ron OJ Parson. ★★★★★
Review: It’s the most improbable of buddy plays, David Seidler’s “The King’s Speech.” It just happens to be true, and its essential humanity is on captivating display in a masterful production at Chicago Shakespeare Theater. The most common of commoners, an obscure Australian speech therapist on an extended visit to London, is confronted by the most regal of royals: the soon to be crowned George VI of England, who suffers from a lifelong stutter and will find himself thrust into the roiling vortex of a world on the brink of war. ★★★★★
Seventh in a series of season previews: Ask Court Theatre artistic director Charles Newell to sum up the company’s coming season, and he could begin with quite a list of projects, and he does – eventually. But at the top of Newell’s mind is the big, one might say really big, picture. “Artistically, financially, any way you might want to measure it,” he says, “this is the most ambitious season in Court’s history, and the riskiest.” The season opener is August Wilson’s “King Hedley II,” with Kelvin Roston, Jr., in the title role.
Sixth in a series of season previews: With one world premiere looming up, only to be followed immediately by another, Northlight Theatre artistic director BJ Jones’ hands and plate and time are pretty well filled. But in the cracks he’s also planning ahead to 2021-22, when Northlight expects to relocate from Skokie to a brand-new building in Evanston. This season’s opener, Jane Anderson’s “Mother of the Maid,” about that visionary girl Joan of Arc and her mom, runs through Oct. 20.
Fifth in a series of season previews: Sport meets dreams in multi-cultural America in a Steppenwolf Theatre season that bounces across continents and generations, sometimes in the same show. The lineup includes two world premieres. Or, as associate artistic director Leelai Demoz puts it, the Steppenwolf prospectus is dotted with “entry points” for self-discovery, self-realization and the painful embrace of hard truths.
Fourth in a series of season previews: It wasn’t exactly planned that way, says Goodman Theatre managing producer Adam Belcuore, but when all the pieces were in place for 2019-20, the company had settled on a season dominated by women and women’s issues. “Whether consciously or unconsciously, we arrived at a female-centric season,” says Belcuore. Goodman opens Sept. 16 with the world premiere of Lucas Hnath’s “Dana H.,” essentially a one-woman play about the real-life abduction of his mother.
Review: It isn’t exactly a double-header, but it surely is a Wyn-Wyn for the Stratford Festival’s versatile star actor Geraint Wyn Davies. His delightful romps as Shakespeare’s roguish Sir John Falstaff in “The Merry Wives of Windsor” and as Noel Coward’s do-over divorcee in “Private Lives” are reason enough to make the Ontario festival trek from just about any distance. ★★★★/★★★★
Third in a series of season previews: “Diversity is what makes this country unique,” says Victory Gardens Theatre artistic director Chay Yew. “As Americans, we inherit all American histories. Our coming season is about our diversity – the differences that represent our totality.” The season opens with Janet Ulrich Brooks playing a personal advice columnist in an adaptation of Cheryl Strayed’s book “Tiny Beautiful Things.”
Second in a series of season previews: Sandy Shinner, in her sixth season as artistic director of Shattered Globe Theatre, describes a common thread running through the company’s new season of three plays as “seeing the world in a new way.” One’s personal world, she means, of course: “You think you know where you stand, then something happens and you have to recalibrate.” Shattered Globe opens with Deborah Zoe Laufer’s “Be Here Now,” an edgy comedy about a confirmed nihilist whose peculiar crisis is finding happiness.
Review: Before the scripted play begins in the Shaw Festival’s searing production of Tennessee Williams’ “The Glass Menagerie” in Niagara-on-the-Lake, Ontario, the actor who will play the trapped, desperately yearning Tom Wingfield performs magic tricks for the audience. Wearing a knitted cap, he looks like a street person. Maybe we aren’t looking at a prelude at all; perhaps this is the epilogue – the fate of an aspiring poet who ultimately flees from his dead-end life as sole provider for his domineering, erstwhile Southern belle of a mother and his crippled, withdrawn, psychologically damaged sister. ★★★★★
Review: The woods are as menacing as ever, but the production of “Into the Woods,” the Stephen Sondheim-James Lapine musical fairy tale currently running at Writers Theatre in Glencoe, is utterly luminous. Sondheim and Lapine pulled off a miracle with their 1986 show, deftly exploring the deep philosophical and moral questions lurking below the surface of a seemingly frothy mashup of fairy tales featuring, among others, Little Red Riding Hood, Cinderella, Jack (of beanstalk fame) and a wily witch. ★★★★★
First in a series of season previews: Contemplating the diverse and intriguing 2019-20 series of plays underway at Writers Theatre Artistic director Michael Halberstam sums up the challenge of programming and its progression from year to year. “I’d like to think we learn something every season,” he offers with unembroidered simplicity. “We want to be in tune with the times, to reflect the moment – to present a genuinely diverse season.”