Articles tagged with: Barbara Gaines
Review: On the surface, the idea of an all-female cast for Shakespeare’s “The Taming of the Shrew” smacks of gimmickry. Framing the story within a contrivance about the women’s campaign in 1919 for the right to vote sounds downright tormented. But “The Taming of the Shrew,” for modern audiences the most problematic entry in the Shakespeare canon, surely has not been brought to the stage with greater wit, brilliance or plausibility since – oh, since women got the right to vote. ★★★★★
Review: Chicagoland theater buffs have spent a goodly part of the last year reveling in the many and wondrously diverse events of Shakespeare 400 Chicago. This circle of opportunity, revelation and indeed riotous and profound fun – engineered mainly by Chicago Shakespeare Theater and its artistic director, Barbara Gaines — comes to a close Dec. 21 with the final performances of “The Winter’s Tale.” It’s a crackling production by the British company Cheek by Jowl, and one that brings the yearlong observance back to its auspicious starting place. ★★★★
Review: Chicago Shakespeare Theater’s outsized and smartly honed two-part miniseries “Tug of War,” focusing on the endless cycle of royal usurpation and bloodshed in the Bard’s history plays, comes to its conclusion with a sequence that illuminates the brief reign and unsurprising death of horseless Richard III at Bosworth Field. For my part, I shall not ask with the great songstress Peggy Lee, “Is that all there is?” My question is: When will we be able see it again? ★★★★
Interview: The first venture for the Lyric Opera of Chicago this season is also the first Mozart ever taken on by Barbara Gaines, artistic director at Chicago Shakespeare Theater. And in the poignancy – and the comedy – of “The Marriage of Figaro,” Gaines finds the Bard’s own sensibility, his empathy and his compassion.
8th in a series of season previews
Review: You can just as easily chart a path from Jane Austen to Stephen Sondheim as you can from Austen to Disney, and thus it is not surprising that Chicago Shakespeare Theater’s artistic director Barbara Gaines should create the world premiere production of Paul Gordon’s diverting new musical based on Austen’s first published novel. “Sense and Sensibility” tells the astonishingly vital story of two sisters of marriageable age – one a yin to the other’s yang – in the 1790s. ★★★★
Report: You know that Valentine’s Day is just around the corner when the romantic couplings planned for the Lyric Opera’s 2015-16 season are the stuff of headlines. The game of love becomes a delicious frenzy when lots of money and a very attractive widow are at stake: Soprano Renée Fleming will be playing her “Merry Widow” title role to the hilt with baritone Thomas Hampson beginning Nov. 14 and into the holiday season. We provide details.
Review: Were it not for Larry Yando’s crushing turn in the title role, Chicago Shakespeare Theater’s “King Lear” would amount to little more than an ill-advised concept played out by a cast that largely misses both the pulse and the pressure of Shakespeare’s language. Setting aside for the moment this production’s manifold curiosities, at its core reigns the regal figure of Yando, whose portrait of Lear – as imperious fool stripped to his humiliated soul – is an experience not to be missed. ★★★
Fifth in a series of season previews: Chicago Shakespeare Theatre honors its namesake this season with an autumn production of “King Lear,” the fantastic adventures of “Pericles” and a contemporary sequel to “Macbeth” that wryly ponders the chaos that befalls Scotland upon that usurper’s demise. Capping the season will be the world premiere of the musical “Sense and Sensibility,” composer-lyricist Paul Gordon’s adaptation of the Jane Austen novel.
Review: You never know what pared-down, free-wheeling adaptation of Shakespeare you’re going to get at Chicago Shakespeare Theater. But even for CST, its 1940s setting of “The Merry Wives of Windsor,” complete with a musical track of period pop tunes, takes fast-and-loose into a new dimension. It’s also a complete delight. ★★★★
15th in a series of season previews: Chicago Shakespeare Theater’s 2012-13 season will extend artistic director Barbara Gaines’ deep exploration of the Bard with “Henry VIII” as associate artistic director Gary Griffin adds a Sondheim encore to last year’s hit production of “Follies.” And Gaines will direct what she calls “the funniest play I ever read” in the Chicago premiere of David Ives’ comedy “The School for Lies,” a romping modern spin on Molière’s “The Misanthrope.”
Mega-rich tycoon falls low. 4 stars!
Preview: The Scottish actor, a Shakespeare veteran, talks with Chicago On the Aisle about the dark and turbulent mindscape of “Timon of Athens.” The play opens May 2 at Chicago Shakespeare Theater.
Interview: Diane D’Aquila, who brings Queen Elizabeth I to regal and vulnerable life in Timothy Findley’s “Elizabeth Rex” at Chicago Shakespeare Theater, says acting in this gripping, keenly honed production “is a like a dance out there, and it’s scary as hell.”