Rachel Weinberg - Page 9

Steppenwolf's world premiere production of LINDIWE, a collaboration between ensemble member Eric Simonson and acclaimed South African music group Ladysmith Black Mambazo, finds the most success in its musical moments. The production, co-directed by Simonson and Jonathan Berry, features new music from Ladysmith Black Mambazo to tell the love story of the titular Lindiwe and her boyfriend Adam. It helps that the narrative focuses on Lindiwe's experience as a singer touring with Ladysmith Black Mambazo-and, indeed, the group literally accompanies her at several moments throughout the production. Lindiwe explains that she never goes anywhere without her 'guys,' as she affectionately refers to them. Thus, Ladysmith Black Mambazo functions as a kind of Greek chorus underscoring the romantic storyline at the play's center. The conceit also allows for the play to utilize the group's original music.

There's nothing subtle about Lyric Opera's staging of Jake Heggie and Terrence McNally's contemporary opera DEAD MAN WALKING. Based upon the novel of the same name by Sister Helen Prejean, DEAD MAN WALKING focuses on Sister Helen's relationship with 29-year-old Joseph De Rocher, a prisoner on death row in Angola, Louisiana convicted of the murder of a young couple (and the sexual assault of a young woman). While DEAD MAN WALKING clearly aims to be morally complex in its exploration of capital punishment and the notion of whether or not we should also treat criminals as human beings, the piece feels overwrought. The debate at the opera's center is painted with broad strokes; at one point, we literally see protestors outside the prison holding picket signs depicting both sides of the argument.

With direction by Michael Weber, Porchlight Music Theatre's production of Andrew Lloyd Weber's SUNSET BOULEVARD provides one wild ride of a musical evening. The musical's storyline itself vacillates between the predictable and the shockingly dark and twisted. It chronicles the story of former silent movie star Norma Desmond as she descends further and further into madness. Based upon the film of the same name, Don Black and Christopher Hampton's book paints a portrait of Norma as she continues to lose her grasp on reality (which was not all that firm to begin with) and as she plots an unrealistic comeback into the Hollywood spotlight. Hollis Resnik conveys all of Norma's mania and desperation in a star-worthy performance. Though Norma has long faded from the limelight by the time audiences meet her in SUNSET BOULEVARD, Resnik commands the stage with ease.

THE BROTHERS SIZE is an artful exploration of the obligations put upon its characters. McCraney beautifully reflects on both the societal systems that oppress these three black men, while also deepening the exploration of the personal obligations they feel to one another-and the question of what it means to be part of a brotherhood, whether biological or chosen.

A MAN OF GOOD HOPE reflects the resiliency and creativity of the human spirit at every turn, while giving audiences a taste of Isango Ensemble's original methods of theatrical storytelling.

Terri McMahon's performance and Theresa Rebeck's script demonstrate that Sarah Bernhardt was not one to back down from a challenge, either on the stage or in life.

Chicago Shakespeare Theater's North American premiere of THE KING'S SPEECH is a wholly delightful theatrical affair, rife with British charm.

TINY BEAUTIFUL THINGS lives in that unique space between the everyday and the extraordinary.

Steppenwolf Theatre Company's season opening production of Lauren Yee's THE GREAT LEAP combines the energy of the final moments of a major sporting event alongside moments of great intimacy and intensity for which the company is largely known.

THE BAND'S VISIT feels like an homage to the fleeting nature of live theater itself: a moment in time in which performers and audience are brought together to share a collective experience, all-encompassing yet passing swiftly and never to be created again. So too goes the narrative of the two characters at the center of this 2018 Tony Award-winning musical, Tewliq, the Egyptian conductor of the Alexandria Ceremonial Police Orchestra, and Dina, an Israeli woman living in the small town of Bet Hatikva. When Tewliq and his fellow band members accidentally make their way to Bet Hatikva, instead of the city Petah Tikva in which they have a concert engagement, the cast of characters come together by pure happenstance. The magnetic and mysterious connection that Tewliq and Dina share in the one night in which their lives overlap is similarly ethereal.

The Seattle-based circus, comedy, and cabaret spectacle Teatro ZinZanni has arrived in Chicago with the hybrid show LOVE, CHAOS AND DINNER. And ZinZanni serves up entertainment with a capital a?oeEa?? in this production. The evening alternates between decidedly low-brow slapstick comedy scenes, musical numbers, and some stunning aerial and circus acts.

The newly opened production of TRUE WEST is a quintessentially Steppenwolf show in the best way possible: it's a fresh staging of a gritty American drama with a first-rate cast and production values.

Director Mary Zimmerman lends her whimsy to THE MUSIC MAN at Goodman Theatre in a production that pays homage to the small-town charm and iconic score of Meredith Willson's classic musical. Under Zimmerman's direction, this MUSIC MAN becomes a joyful company piece showcasing, in particular, the talents of the formidable actors in the supporting and ensemble roles. The production finds all the earnest humor embedded in THE MUSIC MAN, and Jermaine Hill's music direction ensures that each note rings out fully from the 12-member orchestra.

In IF I FORGET, Steven Levenson provides a close study of the kitchen sink family drama. At its center, the play addresses fundamental questions about what it means to be Jewish in America at the turn of the 21st century (the first act of the play takes place in July of 2000, while the second jumps to the post 9-11 moment of February 2001). IF I FORGET centers on the Fischer family as a means to pose those questions in a specific context through the family's three generations. In each individual scene, Levenson displays a knack for realistic and specific dialogue. Devon de Mayo's direction and the tight-knit ensemble also portray family tensions that feel altogether too real.

While MS. BLAKK FOR PRESIDENT's narrative flounders in certain points, the play's integrity never flounders. Watching the play unfold, there's no denying the relevance of the issues that Blakk faced in 1992 to today's society. But the play brilliantly conveys that resonance while also still maintaining a light-hearted and celebratory tone worthy of the story that it portrays.

French Canadian troupe Cirque du Soleil delivers a death-defying and dazzling array of acrobatic acts with VOLTA, now resident in a large tent occupying Soldier Field's South Parking Lot. Each of VOLTA's astounding, seemingly superhuman acts grow increasingly more jaw-dropping as the show progresses.

The national tour of the 2016 Broadway revival of FALSETTOS, once again helmed by director James Lapine, has landed in Chicago with a first-rate production and cast. The mighty touring ensemble of seven captures all the neuroses and emotional journeys of the musical's composite 'Tight-Knit Family.'

Bow down to the queens of SIX. In this new musical from Toby Marlow and Lucy Moss (with direction from Moss and Jamie Armitage), the six wives of King Henry VIII are taking back their mics and sharing their stories-in the form of contemporary pop musical songs. This masterful musical sizzles with electric energy and endless delight. SIX remains a fiery and joyous theatrical affair without ever making light of the fact that the musical demonstrates how these six women are best remembered in history as 'belonging' to an infamous king. Yet SIX also brilliantly subverts this notion by reminding us that a huge part of Henry VIII's legacy stems from the fact that these six women were all his spouses. SIX posits that without this line-up of ex-wives, Henry VIII might not have left such an indelible mark on history.

Under the direction of David Cromer, Writers Theatre presents a NEXT TO NORMAL that is raw and electric. Tom Kitt's music and Brian Yorkey's book and lyrics have an utter immediacy to them in this production (and each note sounds great thanks to the music direction of Andra Velis Simon and the six-piece band.) It's beautifully cast and even more beautifully delivered. Each member of the cast rises to the dual challenge of conveying the messy, deeply personal experience of emotional pain while also hitting the notes of Kitt's complex score with precision.

Goodman Theatre's THE WINTER'S TALE is one of the most inventive and playful productions of Shakespeare I've seen.