Articles tagged with: Arthur Miller
Review: It’s as Greek as Aeschylus, the inexorable tragedy that infects and ultimately destroys two families in Arthur Miller’s “All My Sons.” And in the marvelous, shattering production at Court Theatre directed by Charles Newell, a long Greek shadow falls across Miller’s characters, amid the torment and self-deception, in spectral silence. ★★★★★
Review: If you have not yet seen both “A View from the Bridge” at Goodman Theatre and “The Crucible” at Steppenwolf Theatre – well, it’s Miller time. These are mesmerizing productions of two of Arthur Miller’s finest plays, and impressive reminders of why Goodman and Steppenwolf hold such eminent places on Chicago’s – indeed, the nation’s – theater scene. Each of these parallel runs has only a handful of performances remaining. Together, they make for a stunning one-two theatrical punch. Both ★★★★★
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. ★★★★★
Preview: It’s like seeing Shakespeare in the Forest of Arden, this bucolic Wisconsin festival that bears the name of American Players Theatre. Set in the rolling hills of Spring Green, just west of Madison, American Players has been producing stellar – literally star-covered – theater every summer since 1980. This summer APT juxtaposes Shakespeare’s “The Comedy of Errors” with Carlyle Brown’s “The African Company Presents Richard III.” Those timely spirits are already in flight, with many more plays to come. Here’s an overview.
Fifth in a series of season previews: Seven seasons ago, Michael Colucci and Jan Ellen Graves, the married founders and still co-artistic directors of Redtwist Theatre, went at each other as George and Martha, the warring gamers in Edward Albee’s “Who’s Afraid of Virginia Woolf.” This season they hand over those rhetorical 8-ounce gloves to new sparring mates as Redtwist opens its 2015-16 series with another go at Albee’s dark comedy about love and marriage.
Second in a series of season previews: Surveying the scheme of plays, actors and directors for TimeLine Theatre’s 2015-16 season, its 19th, artist director PJ Powers’ voice fills with palpable excitement. The company’s opener, Arthur Miller’s “The Price,” observes the playwright’s 100th birth year – and it stars Chicago’s living legend, Mike Nussbaum, who’s not far behind Miller on that time line.
Review: Arthur Miller’s plays consistently center on the vicissitudes of ordinary folks, with economic plight as a common theme. What might this avowed life-long liberal, who died in 2005, have written about America today? Actually, a plausible answer is before us, in Redtwist Theatre’s gritty, chilling production of Miller’s “The American Clock,” a cautionary retelling of the saga of the Great Depression. ★★★★
15th in a series of season previews: Out of what co-artistic director Michael Menendian calls “a lot hand-wringing,” Raven Theatre has fashioned a family-business themed season that begins with a company reprise of Arthur Miller’s “All My Sons,” includes a world premiere and ends with a play about Armendian genocide that’s close to Menendian’s heart. “It’s the greatest challenge to pick the season,” he says, “The goal is to balance the tone without essentially repeating the same story.”
11th in a series of season previews: Redtwist Theatre has dubbed its 2014-15 season “Rising From the Ashes,” and it begins literally with precious objects scooped from the debris of the catastrophe of 9/11 – in the world premiere of Cathy Earnest’s play “Another Bone.” In the aftermath of the Twin Towers attack, as human bones are sorted and identified through DNA testing, families receive these certified remembrances of their loved ones. The widowed Marie has been the recipient of many culled bones when a woman contacts her, claiming Marie has been getting the wrong bones, and that she must hand them over. What follows is a surreal and ghostly game at high psychological stakes.
Interview: Some people will tell you Eddie Carbone, the Brooklyn longshoreman whose life disintegrates in Arthur Miller’s play “A View From the Bridge,” is the tragic victim of his attraction to the beautiful young niece who has grown up as his ward. But not actor Ramón Camín, who says he forged his gripping portrayal for Teatro Vista simply by taking Eddie as a man of his word.
Review: Great theater does not require introduction or advocacy. It announces and proclaims itself. It is, in other words, what it is. Behold the heart-breaking, thrilling greatness of Teatro Vista’s raw-boned take on Arthur Miller’s classic 1950s tragedy “A View From the Bridge,” the story of Eddie Carbone, a dock worker in Brooklyn’s Italian-American community scaping together a living even as he veers toward catastrophe. ★★★★★
Preview: What’s in a name? American Players Theatre, which has been filling summers with drama since 1980 in the woods of Spring Green, Wis., doesn’t trade on the Shakespeare brand. But in every aspect of making theater, from staging to vocal delivery to its choice of plays, this ambitious enterprise hews to the Bard as its reference point. In the 2013 mix of eight plays, which opens June 15, APT includes a typical infusion of Shakespeare, a stylistic sweep from “The Two Gentlemen of Verona” and “Hamlet” to “Antony and Cleopatra.”
Interview: Except when she crashes to the floor, Jacqueline Grandt spends the full length of Arthur Miller’s “Broken Glass” at Redtwist Theatre in a wheelchair or resting in bed. Yet every night, Grandt says, she leaves the theater physically exhausted.
17th in a series of season previews: Redtwist Theatre’s founding artistic director Michael Colucci hopes the third time will be the charm as he attempts once again to find a Chicago audience for Arthur Miller’s “Broken Glass” – the launch piece for a 2012-13 season that also spotlights the Chicago premieres of Lee Blessing’s “Body of Water” and Leslye Headland’s “Reverb.”
Interview: Chuck Spencer relishes poking through the piled clutter during his first long, solitary, silent minutes on stage at the beginning of Arthur Miller’s play “The Price,” at Raven Theatre.
Arthur Miller on memory’s attic. 3 stars.