Review: Officially, conductor Riccardo Muti holds the distinction of music director emeritus for life with the Chicago Symphony Orchestra. But after the 83-year-old maestro’s two-week season debut concerts at Orchestra Hall, it seems more apt to acknowledge him as the band’s artistic patriarch. When Muti’s on the podium, the CSO rises to its proper level. It glistens.
Read the full story »‘Mud Blue Sky’ at A Red Orchid: Stewardesses winging it with cute young drug dealer in a tux
Review: In the literal and best sense, Marisa Wegrzyn’s poignant comedy “Mud Blue Sky” at A Red Orchid Theatre is a four-star winner – one for each of the quartet of players in this close-knit and entertaining enterprise. ★★★★
Esa-Pekka Salonen, in double duty as conductor and composer, sparks energy surge with CSO
Review: The Finnish-born, California-invigorated composer and conductor Esa-Pekka Salonen, at 55, could not be more robustly complementary in nature to the Chicago Symphony Orchestra’s elegant 72-year-old Italian-born music director Riccardo Muti, who has taught Chicago so much about the composers in close orbit to Old Vienna. In March, Muti made familiar Schubert seem new again. In April, Salonen made new music sound familiar.
‘The Dance of Death’ at Writers: Wedded war rages in old Sweden; fresh look at Strindberg
Review: If you liked Edward Albee’s “Who’s Afraid of Virginia Woolf,” you’ll love the original: August Strindberg’s “The Dance of Death,” wherein a toxic, blood-sport marriage between a venomous old soldier and his hissing wife make the sniping between Albee’s George and Martha feel once more present in the room. Writers Theatre provides the well-polished dance floor for Strindberg’s caustic waltz. ★★★★★
Clarinetist Anthony McGill, star of Met Opera Orchestra, comes home for Mozart, Brahms
Preview: Chicago-born clarinet virtuoso Anthony McGill returns to his native soil this weekend for a rare concert double: With the Pacifica Quartet, resident ensemble at the University of Chicago, he will play Mozart’s Clarinet Quintet in A major and Brahms’ Clarinet Quintet in B minor on April 13 at the Logan Center on the UC campus.
In ‘Starcatcher’ romp, goofy pirate lends a hand and Peter (Pan) learns no man is an isth-s-mus
Review: Despite the exuberant ridiculousness of “Peter and the Starcatcher” — a show that channels Groucho Marx and Gilbert & Sullivan and Monty Python as it traces the backstory of the boy who became Peter Pan — you will turn misty at the end. To be an adult at Broadway in Chicago’s Peter Pan “prequel” is to be pricked with the realization that, for just about everybody in the world except Peter, and maybe Equity actors, one’s youth relentlessly fades. ★★★★
With ‘Lemminkäinen’ epic, Salonen and CSO capture Sibelius in youthful flower, prowess
Review: This is a perfect moment to reflect on Sibelius’ early mastery, in light of the great achievements by the twentysomething Schubert we’ve been hearing from the Chicago Symphony Orchestra and music director Riccardo Muti. And it is the fully flowered young Sibelius, before the First Symphony, caught up in the allure of Finnish myth and in absolute command of his symphonic craft, whom the CSO and conductor Esa-Pekka Salonen celebrate in a season-peak program heard April 3 and to be repeated April 8.
Cornwall’s Kneehigh troupe revisits ‘Tristan’ with antic comedy and double take on Yseult
Review: Imagine that consummate romantic legend of heroic Tristan and beautiful Isolde, thrust together into illicit love by circumstance and a potion, as a tragi-comedy. No? Can’t conceive of that? Then you have yet to see the visiting Kneehigh theater company’s outlandish “Tristan & Yseult,” which now bounces about the boards at Chicago Shakespeare Theater. ★★★
‘Good Boys and True’ at Raven: The fast track throws some curves into the path of privilege
Review: One always comes away from a play performance, whether the staged work is new or familiar, with a single dominant impression. It may be a complex impression, but there’s always that ruling aspect, the starting point from which the conversation evolves. In the case of Roberto Aguirre-Sacasa’s “Good Boys and True” at Raven Theater, it is a sense of relentless circularity. ★★
‘Starcatcher’ turns clock back to an adventure before Peter Pan could fly, before Capt. Hook
Preview: John Sanders, who portrays the psychopathic Black Stache in the Peter Pan back-story play “Peter and the Starcatcher,” can’t stop talking about the physical demands of the touring show, which comes to the Bank of America Theatre on April 2 under the aegis of Broadway in Chicago.
Riccardo Muti sets personal seal on Schubert with CSO’s agile turn through 2 symphonies
Review: At the end of an exhilarating Chicago Symphony Orchestra concert, the third installment of music director Riccardo Muti’s season-long traversal of Schubert’s symphonies, the maestro walked to the lip of the stage with a slightly self-deprecating smile and disarmed his audience with a droll remark about the “Italianate influence” in Schubert’s Second Symphony, which the orchestra had just played. Ripples of laughter ensued, but Muti was serious about the echoes of Salieri and Rossini in the Viennese composer’s music.
Role Playing: Hillary Marren’s charming, rapping witch in ‘Woods’ shaped by hard work, free play
Interview: In creating his musical “Into the Woods,” composer-lyricist Stephen Sondheim perhaps viewed the witch’s show-stopping number about her vegetable garden as a direct descendant of the patter songs long associated with Gilbert and Sullivan. But to Hillary Marren, who plays the old crone in The Hypocrites’ imaginative staging, the veggie song is exactly what it sounds like in her disarming, rapid-fire delivery — a very smart rap.
In a compressed ‘Tale of Two Cities,’ Lifeline touches the heart of sacrifice in time of chaos
Review: It’s a good trick, reducing an epic – and I might add really famous – novel like Dickens’ “A Tale of Two Cities” to two hours’ worth of narrative and dialogue, and yet preserving the psychological and dramatic dimensions that make the story compelling. Credit Lifeline Theatre with doing just that. ★★★
Sex and thesaurus go hand-in-glove as Haven highlights the comic punctuation of ‘Seminar’
Review: As surely as the truth will out, so will literary genius, even if the latter eventuality involves a great deal of personal angst and interpersonal, well, relations and unleashes gales of laughter. I’m talking about Haven Theatre’s sharp-edged take on Theresa Rebeck’s comedy “Seminar,” a riotous exploration of language shared by a group of aspiring writers and their mentor as they delve between the lines and dive between the sheets. ★★★★★
To heavenly length of Schubert 9th Symphony, Muti and the CSO bring transcendent poetry
Review: Riccardo Muti’s season-long traversal of the complete Schubert symphonies with the Chicago Symphony Orchestra has a few stops remaining, but it’s hard to imagine the musical arc rising much higher than the “Great” C major Symphony heard March 20 at Orchestra Hall.
‘Venus in Fur’ at Goodman: Ambiguity reigns, maybe ambivalence. Are gods laughing?
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. ★★★★
Fleming, Kaufmann offer Lyric Opera faithful festive tribute to love and the art of singing
Review: Charting a memorable arc from the flustered panic of love’s first rush to the sorrowful tenderness of lovers whom death has parted, soprano Renée Fleming and tenor Jonas Kaufmann gave Chicago’s Lyric Opera loyalists quite the evening of music to treasure on March 19.
‘Water by the Spoonful’ at Court: Nearing abyss in grip of drug addiction, haunted conscience
Review: “Elliot: A Soldier’s Fugue,” the first play in Quiara Alegría Hudes’ trilogy about the moral and psychological distress of a Marine back from duty in Iraq, almost captured the Pulitzer Prize for drama. The trilogy’s second installment, “Water by the Spoonful,” won the Pulitzer, and the merits that pushed it over the top are evident in every nuance, impulse, collision and aspiration of the current production at Court Theatre. ★★★★★
Beethoven from Andsnes and Uchida contrasts physical prowess with aura of poetic ferocity
Review: Leif Ove Andsnes’ physically exuberant all-Beethoven program at Orchestra Hall — an ingenious traversal from Op. 22 to Op. 101, from Beethoven at age 30 to Beethoven at 46 — followed one week after the Japanese-British pianist Mitsuko Uchida’s fiercely poetic reading of the “Diabelli” Variations. It was the second time this season that the series has offered such back-to-back interpretive contrasts of a single composer.
Griffin Theatre’s ‘Golden Boy’ traces a fighter’s tragic search in rings of destruction
Review: Meet boxer Joe Bonaparte: smart kid, tough, determined, wickedly fast hands. And one more thing, self-destructive. You could say Joe, the anti-hero of Clifford Odets’ classic 1937 play “Golden Boy,” launches his own career, hurtles himself into a high orbit. The beauty, if that’s the word, of Nate Santana’s portrayal of this increasingly ugly character, in Griffin Theatre’s punchy production, is that you can’t take your eyes off him even as he pummels his life into a bruised mess. ★★★★
For two Chicago Symphony oboists, Ray Still was virtuoso career model, inspiring teacher
Report: The legacy of Ray Still as an unforgettable musician is preserved not only in the dozens of recordings he made through four decades as principal oboe of the Chicago Symphony Orchestra, but also in the vivid memories of musicians whose lives he influenced, among them Eugene Izotov and Michael Henoch, the CSO’s current principal oboe and assistant principal.
Sarasota Aisle: Chicago maestro Mei-Ann Chen captures audience and accolades in Florida
Review: There’s an infamous jest that if you ask six reviewers about the same event, you’ll get seven different opinions. As there is more than a grain of truth in that, conductor Mei-Ann Chen surely is entitled to put a notch in her baton after winning a consensus of enthusiasm from a dozen arts writers from across the U.S. and Canada following her guest appearance March 9 with the Sarasota Orchestra.
Maestro Davis, two stellar singers lead mixed Lyric Opera revival of Mozart’s ‘Clemenza’
Review: Mozart died in 1791 just months after writing “La Clemenza di Tito,” about the first-century Roman emperor Titus and his struggle to rule with generosity of spirit. Performances are still a rarity, and the most successful aspect of the production at the Lyric Opera of Chicago is the unmistakable fineness of the music itself. ★★★
‘Playboy of the Western World’ at Raven: A killer on the lam, town eager to crown him a hero
Review: We cannot watch or read the likes of Brian Friel’s “Translations” or Martin McDonagh’s “The Cripple of Inishmaan” without sensing the sublimated presence of John Millington Synge’s 1907 comedy “The Playboy of the Western World.” It is a cornerstone of modern Irish theater, and it’s all there in Raven Theatre’s idiomatic staging — the brisk dialect and wry humor, the tumbling physicality and muted hues, the seed and genesis of everything we love about Irish drama in the present tense. ★★★★
‘Heartbeat of Home’ shows new face of Ireland when dance cultures meld in touring spectacle
Preview: Jamaican-born dancer Teneisha Bonner is a seasoned theater veteran, but she admits she had no idea of the world-widening experience awaiting her in the multi-ethnic dance spectacle that is “Heartbeat of Home.” The new extravaganza, from the same team that created “Riverdance,” makes its U.S. debut in Chicago on Tuesday night at the Oriental Theatre for a run through March 16.
Ravinia Fest 2014 runs gamut from enduring stars to first twinkles, with 3-pack of opera
Report: Ravinia Festival music director James Conlon leads Mozart’s “The Marriage of Figaro” and “Don Giovanni,” soprano Patricia Racette stars in Strauss’ grisly “Salome” and Finnish conductor Susanna Mälkki makes her festival debut in the 2014 summer series announced Thursday.
‘Buzzer’ at Goodman: New day in neighborhood, but its bright promise is shadowed for 3 friends
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. ★★★★
Dvořák’s tragic fairy-tale opera ‘Rusalka’ proves magical masterpiece in ambitious Lyric staging
Review: The musical legacy of Antonín Dvořák has always held favor with the public and esteem among musicians. Until recently, however, few this side of Prague would have mentioned Dvorak’s opera “Rusalka” with his most important works, much less listed it with the greatest achievements in the operatic canon. But the Lyric Opera’s first-ever production of “Rusalka,” a musical fairy tale of consummate beauty and profound humanity, dictates acknowledgement of this opera in the first rank of music-dramas. ★★★★★
Ellington left his ‘Queenie Pie’ dream in scraps, and COT bucks odds in bid to make it whole
Review: The Chicago Opera Theater and the Chicago Jazz Orchestra production of Duke Ellington’s late-in-life and largely unfinished Harlem street opera “Queenie Pie” became the casualty of an electrical fire that has temporarily shut down the Harris. The delay adds a footnote to the saga of frustrated restoration attempts that have dogged “Queenie Pie” and left its unfulfilled potential as much in limbo as ever. ★★
Concept is pure Boulez, but Cristian Măcelaru leads way as CSO lights corners of Stravinsky
Review: Even in absentia, Pierre Boulez brings an incalculable contribution to the Chicago Symphony Orchestra as its conductor emeritus, artistic guru and good friend. What better example than two rarefied programs exploring Stravinsky’s musical world that Boulez fashioned and planned to conduct this weekend and next at Orchestra Hall. ★★★★★
‘Happy’ at Redtwist: Things are going so well, there must be plenty of reasons to be morose
Review: Happiness. Is it an authentic state of contentment, fulfillment, grace – or merely delusion, self-deception and denial? Playwright Robert Caisely pummels the question in “Happy,” an ironically titled session of group misery directed by Elly Green with stunning acerbity at Redtwist Theatre. ★★★
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