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Jan 6, 2020 – 5:42 pm

Commentary: Back in the 20th century, opera companies looked to be in danger of obsolescence. The canon of works was European, old and getting older, and sung in foreign languages. The stars with the greatest vocal gifts didn’t necessarily look their parts compared to standards set by Broadway. Amplification was in. DJs were hot. Film made fantasy impossibly real. Opera cost a lot. But now we’re at the onset of opera’s Roaring Twenties, not least here in Chicago, where a young and fearless theater audience is up for anything if the story-telling is good. Here’s a look at what’s ahead.

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Pianist Kirill Gerstein, launching Beethoven sonata cycle, sees works as mirror of struggle

Oct 12, 2019 – 3:44 pm
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Interview: Pianist Kirill Gerstein, who leads off a season-long excursion through Beethoven’s 32 piano sonatas to be performed by a parade of virtuosos at Orchestra Hall, views the sonatas not only as the composer’s most personal medium but also as an inventive progression sometimes skewed in modern reckoning – and sometimes unduly sanctified.

It’s two years until he takes Lyric Opera reins, but Enrique Mazzola already feels like family

Oct 11, 2019 – 3:15 pm
Enrique Mazzola Jean-Baptiste Millot feature image

Interview: The year 2019 has been for Enrique Mazzola an intense and rewarding breakthrough year he’ll remember for the rest of his life. Named music director designate at Lyric Opera of Chicago, effective with the 2021-22 season, Mazzola talks about learning the ropes in Berlin, Sazburg, New York and Paris and his desire to bring all that experience “energetically to the Lyric,” which he envisions as “a big music home for everybody.”

‘A Doll’s House’ at Writers: Ibsen condensed
to a suffocating essence, bursting with breath

Oct 10, 2019 – 10:58 pm
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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. ★★★★★

Rising conductor shows his mettle with CSO in Shostakovich symphony, concerto premiere

Oct 6, 2019 – 10:49 pm
10/3/19 8:33:24 PM -- Chicago, IL USA
Chicago Symphony Orchestra
James Gaffigan conductor
Cynthia Yeh percussion

Dorman Eternal Rhythm [United States Premiere]
Shostakovich Symphony No. 8


© Todd Rosenberg Photography 2019

Review: James Gaffigan, winner 15 years ago of the Sir Georg Solti International Conducting Competition at age 25, is checking off debuts with the world’s major orchestras and opera companies with work that is typically vibrant and rhythmically vigorous. As the Chicago Symphony Orchestra’s first guest conductor this season, Gaffigan displayed his musical authority in two substantial and challenging works – Shostakovich’s Symphony No. 8 and the U.S. premiere of Avner Dorman’s “Eternal Rhythm,” a percussion concerto with CSO principal Cynthia Yeh as soloist.

‘Oslo’ musters two fiercely opposing forces
in throes of history. Theater, yes… but drama?

Oct 5, 2019 – 12:54 pm
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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. ★★

CSO percussionist needs fast hands, and feet, to cover the challenge of a wild new concerto

Oct 2, 2019 – 2:47 pm
6/18/18 5:31:36 PM

Cynthia Yeh Photography in Studio

Hair by Alex Brown
Makeup by Stephanie Jeong

© Todd Rosenberg Photography 2018

Interview: If there is anyone in the Chicago Symphony Orchestra whose onstage attire should include a pair of sneakers, it is principal percussionist Cynthia Yeh, who will be at the center of attention for three concerts Oct. 3-5 as the soloist in the widely anticipated U.S. premiere of Avner Dorman’s free-wheeling concerto “Eternal Rhythm.”

‘Bernhardt/Hamlet’ at Goodman: Actress dons breeches to play a prince, sans all that poetry

Oct 1, 2019 – 10:08 pm
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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. ★★

‘Barber of Seville’ at Lyric Opera: Girl power prevails amid vocal fireworks, lots of laughs

Sep 30, 2019 – 6:43 pm
9/25/19 2:03:44 PM -- Chicago, IL USA
Lyric Opera of Chicago
The Barber of Seville Dress Rehearsal
Rossini 
Sir Andrew Davis conductor

© Todd Rosenberg Photography 2019

Review: In love and determined to get her way, an awesome spitfire turns to Figaro, the barber, for assistance in Rossini’s gleefully funny opera buffa, “The Barber of Seville.” It’s now playing at the Lyric Opera of Chicago in a Broadway style production, with sun-drenched Moorish touches, roving set pieces on wheels, and a motley crew of singing comedians. ★★★★

Muti and CSO begin Beethoven cycle with leap from alpha to titanic ‘Eroica’ as the true omega

Sep 27, 2019 – 3:29 pm
9/26/19 8:29:56 PM -- Chicago, IL USA
Chicago Symphony Orchestra
Riccardo Muti, Conductor
Beethoven Consecration of the House Overture
Beethoven Symphony No. 1
Beethoven Symphony No. 3 (Eroica)

© Todd Rosenberg Photography 2019

Review: When the Chicago Symphony Orchestra had sounded the last blazing notes of Beethoven’s “Eroica” Symphony to end the first concert in a season-long traversal of the nine symphonies with music director Riccardo Muti, I found myself wondering: Where do we go from here? Onward, of course. But upward? In this most universally embracing and aspiring of musical forms, did Beethoven ever actually transcend the “Eroica,” mind you, his third symphony? What Muti and this virtuoso orchestra did with the monumental “Eroica,” on Sept. 26 at Orchestra Hall, was exhilarating to witness.

‘King Hedley II’ at Court: Peripheral Wilson propelled to center stage with bruising force

Sep 26, 2019 – 11:30 pm
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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. ★★★★★

Muti, poised to lead CSO in Beethoven cycle, hears symphonies as nine cosmic questions

Sep 25, 2019 – 5:08 pm
Riccardo Muti on Beethoven feature image

Interview: Fresh from Italy’s Ravenna Festival, where he conducts and teaches every summer, Riccardo Muti, music director of the Chicago Symphony Orchestra, is plunging into a season-long cycle through Beethoven’s symphonies in anticipation of the 250th anniversary of the composer’s birth in 1770. “It will be a document of my admiration and love for the Chicago Symphony,” Muti says. The venture begins with the First and Third Symphonies in concerts Sept. 26-28 at Orchestra Hall.

‘The King’s Speech’ at Chicago Shakespeare: In his personal storm, a monarch finds a port

Sep 23, 2019 – 4:54 pm
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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. ★★★★★

Theater 2019-20: Court begins Oedipus cycle, continues Wilson, reframes ‘Iliad’ in a museum

Sep 22, 2019 – 10:05 am
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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.

Muti and CSO open with calm Mendelssohn, suppressed cry of pain from Shostakovich

Sep 21, 2019 – 2:19 pm
9/19/19 8:13:20 PM -- Chicago, IL USA
Chicago Symphony Orchestra
Riccardo Muti, Conductor
Leif Ove Andsnes, piano

Mendelssohn Calm Sea and Prosperous Voyage Overture
Grieg Piano Concerto
Scriabin Rêverie
Shostakovich Symphony No. 6

© Todd Rosenberg Photography 2019

Review: Riccardo Muti launched the Chicago Symphony Orchestra’s new season with a fresh revival of Shostakovich’s dark Stalin-era Sixth Symphony, which seemed relevant and contemporary under his command. Then Grieg’s Piano Concerto sparkled anew with Leif Ove Andsnes’ light keyboard touch.

Theater 2019-20: Move to a new home in view as Northlight dots 45th season with premieres

Sep 21, 2019 – 8:30 am
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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.

Theater 2019-20: Steppenwolf leaps into a year filled with rivalries, yearnings, truths and bugs

Sep 19, 2019 – 5:38 pm
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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.

Theater 2019-20: Goodman turns its spotlight on women in themes personal, social, funny

Sep 15, 2019 – 9:41 pm
Dana H.

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.

Davis to step down as Lyric’s music director; Italian Enrique Mazzola will take reins in 2021

Sep 13, 2019 – 5:53 pm
Enrique Mazzola

Report: Andrew Davis will step down as music director of the Lyric Opera of Chicago at the end of the 2020-21 season, to be succeeded by Italian conductor Enrique Mazzola, the company announced on Sept. 12. Mazzola, principal guest conductor at Deutsche Oper Berlin, and until recently artistic and music director of the Orchestre National d’Île-de-France in Paris, made his Lyric debut in 2016 with Donizetti’s “Lucia di Lammermoor.” He returned in 2018 to lead Bellini’s “I Puritani.” He will conduct Verdi’s “Luisa Miller” at the Lyric in October.

At Stratford Festival, veteran struts his comic stuff as Falstaff and madcap Coward character

Sep 11, 2019 – 5:28 pm
Private Lives – On The Run 2019

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. ★★★★/★★★★

Theater 2019-20: Victory Gardens will churn American melting pot, the stuff of our totality

Sep 9, 2019 – 10:37 pm
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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.”

Theater 2019-20: Shattered Globe cues plays bringing new perspectives on this old world

Sep 6, 2019 – 5:00 pm
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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.

‘The Glass Menagerie’ at the Shaw Festival: In a broken world, illusion collides with reality

Sep 3, 2019 – 3:13 pm
The Glass Menagerie

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. ★★★★★

‘Into the Woods’ at Writers: Fairy-tale delights spun on life’s loom – fantasy and hard lessons

Sep 1, 2019 – 10:01 am
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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. ★★★★★

Theater 2019-20: From woods to tennis court and date with Death, Writers plots a fresh trek

Aug 26, 2019 – 6:25 pm
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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.”

Stratford Festival: Othello may be no match for Iago, but these two actors go toe to toe

Aug 14, 2019 – 7:04 pm
Michael Blake as Othello and Amelia Sargisson as Desdemona in Othello. Photography by David Hou.

Review: When the full, remorseless malevolence of Shakespeare’s villain Iago spills across the stage, it can be hard to find the title character in “Othello.” But even pitted against Gordon S. Miller’s sinister nemesis in the Stratford Festival’s current production, Michael Blake brings front and center both the heroic stature and the tragic vulnerability of a great general brought down by a handkerchief. ★★★★★

Romp in the woods at American Players: A lusty, stylish go at ‘She Stoops To Conquer’

Jul 25, 2019 – 12:06 pm
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Review: Oliver Goldsmith’s broad comedy “She Stoops to Conquer” has been around for nearly 250 years, one of the few 18th-century British plays to hold the stage in this country despite the great displacement of time and place. Charming, LOL funny and warm-hearted, “She Stoops to Conquer” is a smashing success at American Players Theatre in Spring Green, Wis. It’s an ensemble coup but also a particular triumph for Laura Rook as an aristocratic girl who sheds her fine mantle to win the heart of a hopelessly shy peer. ★★★★

Tennessee Williams’ rare gem ‘Creve Coeur’ gets a lyrical polishing at American Players

Jul 19, 2019 – 11:27 am
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Review: “A Lovely Sunday for Creve Coeur,” an obscure play by Tennessee Williams from late in his life, serves up a touching, trenchant, typically insightful and empathic look at aging womanhood – four women in this instance – in a production at American Players Theatre that reveals a hidden gem by the incomparable singer of America’s Southern song. ★★★★★

‘True West’ at Steppenwolf: Warring brothers
go to the mat over fame, fortune and spelling

Jul 18, 2019 – 8:26 am
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Review: It’s a surreal encounter and also a never-ending story, Sam Shepard’s slugfest of a play “True West,” which sprawls across the stage at in a lusty, mad and magnetic production at Steppenwolf Theatre. The tattered remains of actors Jon Michael Hill and Namir Smallwood, who had just endured a mutual pummeling as contentious brothers unexpectedly and most unhappily reunited, shared in bravely earned applause at the show’s opening July 16. ★★★★

Shakespeare at American Players: Some have greatness thrust on them; others, not so much

Jul 17, 2019 – 11:09 am
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Review: American Players Theatre, now in its 40th summer of primarily outdoor productions in a charming little arena in the hills of Spring Green, Wis., some 30 miles west of Madison, has always regarded Shakespeare as its badge of honor, reference point and indeed its reason for being. That tradition is manifest in a spirited and sure production of “Twelfth Night,” but a dubiously conceived and oddly cast “Macbeth” betrays this excellent company’s allegiance to the Bard. “Twelfth Night” ★★★★ “Macbeth” ★★

‘King Lear’ at Redtwist: The existential Bard, pared to the core of being – and nothingness

Jul 15, 2019 – 8:41 pm
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Review: Redtwist Theatre, the fearless vest-pocket company in Edgewater, winds up its season, the last for co-founder and artistic director Michael Colucci at the helm, with its first venture into Shakesespeare: a lean, uneven “King Lear,” but one altogether imposing in Brian Parry’s assured, fierce and affecting performance in the title role. ★★★