Articles tagged with: Robert Falls
Preview: The Chicago theater scene enters its snow-to-blossoms segment with a flurry of highlights that we’ll glimpse in a three-part series of winter-spring previews. In early prospect are Goodman Theatre’s world premiere of Christina Anderson’s “How to Catch Creation,” Ike Holter’s “Red Rex” at Steep and Christina Ham’s “Nina Simone: Four Women” at Northlight.
Review: When Henrik Ibsen completed his play “An Enemy of the People” in 1882, he couldn’t decide whether to declare his moralizing screed a drama or a comedy. Indeed, in the mirror it holds up to human self-interest and moral hypocrisy, “An Enemy of the People” displays a deep strain of dark absurdist comedy. That is pointedly the case in a new adaptation by Robert Falls for Goodman Theatre that hews close to Ibsen’s cynical work. ★★★★
Review: Three other plays edged into mind as I watched Rogelio Martinez’s ambitious and entertaining political drama “Blind Date” unfold on the Goodman Theatre stage. Two were more distilled slants on similar big-picture crises. But it was the third that finally lined itself up beside this glossy romp: the unpretentiously cosmetic musical “War Paint.” Martinez’s play reimagines the historical meeting between President Ronald Reagan and Soviet General Secretary Mikhail Gorbachev. ★★★
Review: Chekhov’s “Uncle Vanya,” an existential snapshot of lost souls at a signless crossroads, exemplifies theater as an ensemble endeavor. In Annie Baker’s modernized, razor-sharp adaptation of the play, complemented by a directorial tour de force from Robert Falls, Goodman Theatre brings the spirit of dramatic teamwork to vibrant life. ★★★★★
2016-17 SEASON PREVIEW: The following is adapted from a news release submitted by an arts organization to Chicago On the Aisle.
Lauren Molina and Bri Sudia star as two sisters leaving Ohio in 1935 to conquer New York City in Bernstein’s “Wonderful Town.” Here’s the Goodman Theatre’s complete line-up…
Review: After five and a half hours spent watching the dramatic evolution of “2666,” the adaptation by Robert Falls and Seth Bockley of Roberto Bolaño’s sprawling novel at the Goodman Theatre, I could think only of that sublimely ironic lyric made famous by Peggy Lee: Is that all there is?This ambitious enterprise affords a goodly share of rewards along its meandering narrative as a sort of whodunit for intellectuals. But in the end, in its totality, “2666” as theater is a shaggy-dog story of St. Bernard proportions. ★★★
11th in a series of season previews
Review: A more appealing cast could hardly have been assembled for Mozart’s “Don Giovanni” than the vocally resplendent, good-looking singers who inhabit the Lyric Opera of Chicago’s new production and season opener. And for the most part, Mozart’s opera – dramatically dark and musically brilliant — is well served by director Robert Falls’ heated and funny approach to this tale of the world’s most infamous sex addict, whose recklessness and hubris finally bring him all the way down and then some. ★★★★
Interview: Robert Falls knows a complicated stage character when he sees one, and standing in front of him at the moment is no less intricate a figure than Mozart’s lady killer, Don Giovanni. Actually, notes Falls, artistic director at Goodman Theatre and stage director for the Lyric Opera’s season-opening production of “Don Giovanni,” it’s a different sort of killing that brings this prince of philanderers to his horrific end. The show runs Sept. 27-Oct. 29.
Interview: Mary Beth Fisher, who portrays the empathic, long-experienced and raggedly weathered social worker Caroline in Rebecca Gilman’s new play “Luna Gale” at Goodman Theatre, says every performance has been an interactive encounter with the audience.
Review: Caroline is a social worker whose job it is to rescue neglected and abused children and find decent homes for them. She goes about her task seriously – one of her former charges gently rebukes her for being “always on topic.” In Rebecca Gilman’s radiant and disturbing new play “Luna Gale,” now in an electric world premiere run at Goodman Theatre, Caroline comes to her melancholy topic with a full heart as well as her own imperfect history. ★★★★★
Report: Russian dramatic soprano Tatiana Serjan, who riveted audiences as Riccardo Muti’s Lady Macbeth with the Chicago Symphony in 2013, will return to the Windy City next January at the Lyric Opera of Chicago to sing another knife-wielder, Floria Tosca, the tempestuous diva who tries to outwit a tyrant and foil her lover’s assassination. The Lyric’s 60th anniversary season, announced Jan. 27, also will feature soprano and Lyric creative consultant Renée Fleming in a signature role as Countess Madeleine in Richard Strauss’ final opera, “Capriccio.”
“Red” paints a master-apprentice face-off at the Goodman. 5 stars!