chicagocritic.com - Theatre reviews - Latest Chicago Plays, Theatre Reviews, stage shows, Opera, theatre articles, art beat

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Theatre reviews - Latest Chicago Plays, Theatre Reviews, stage shows, Opera, theatre articles, art beat
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Latest Chicago Plays, Theatre Reviews, stage shows, Opera, Theater Tickets, music critiques, theatre articles, art beat
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Latest Chicago Plays, Theatre Reviews, stage shows, Opera, Theater Tickets, music critiques, theatre articles, art beat

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Karen Hartman is foremost political playwright with the skills to take a human crisis and make that into a powerful drama as she blends the struggle of two people to keep folks alive during a crisis from a new medical problem. Hartman weaves a most personal view from a father who struggles to keep his twin hemophiliac boys alive and their dedicated doctor who prescribes a new miracle drug to solve the 'clotting factor' that is needed to stop bleeding. Effectively using a documentary style to explain about hemophiliac and how medical science advances treatment as pharma companies create a product to eliminate the need for blood transfusions
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The storyline is wacky as it plays out as a long "so what moment." Molly (Emily Tate0 is a housewife whose world is very small. She spends her days with her tender aged two children. She has her kids watch PBS nature documentaries such as those about turtles. At night she watches TV with her husband Sloan (Drew Johnson), a good loving guy and a moderate Republican. Molly follows politics but she is not obsessed as her Republican in-laws. Molly is content with her life - she appears a happy person in her small world.
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We meet the outspoken, studious, and ever-dependable Mary Bennet (the spirited Emily Berman). Miss Bennet is the middle sister who'd rather read a scientific book that socialize. She doesn't have any of the romantic escapades that her sisters enjoy. That Christmas, Mary meets a nerdy, studious young Lord, Arthur de Bourgh (a fabulous tern by Erik Hellman) who mirrors Mary's interests and lifestyle. Is de Bourgh only an intellectual match for Miss Bennet or is there love in the air?
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British playwright Mike Bartlett's very British comedy-drama, King Charles III, is both a 'could happen' future history and a satire of the British monarchy. This compelling play appeals more to the English than to American audience sensibilities. Bartlett imitates Shakespeare's language with blank verse and rhymed couplets in contemporary words. He finds ways to match his characters as classic Shakespearean players. Written in 2014 before major events in England (and the current US election) King Charles III opens with the death of Queen Elizabeth II after a more than 60 year reign.
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In this captivating drama, playwright Kate Glover has brought back the time and place, capturing not only the immensity of the event, but also the sometimes shocking human dramas it produced. Director Kenneth Michaels makes full use of the generous Bridewell Theatre stage, itself a victim of the fire back then. Unusually, the play consists of 22 short scenes, and while this does provide a framework for coverage of a wide number of issues, it does make the structure of the evening somewhat fragmented and stop start. However, (apart from a tendency in some to â face front and play to the galleryâ) the highly committed company overcome this with a dedication and relish for the meatiness of their roles and the unfolding story.
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Many opera companies considered Hector Berlioz 's (1803-1869) Les Troyens epic musical drama too difficult and to expensive to produce as it contained a cast of 22 singers, a large chorus (here 94 members), with two ballets, a large orchestra and an ambitious set with several locations. Berlioz never was able to mount a complete 5-act version of his opera in his lifetime. Even today, the requirements by solo and duet vocalists, , conductors, choruses, orchestras, instrumentalists, stage directors, lighting, projection and set designers make Les Troyens simply too difficult to mount. Kudos to the creatives at the Lyric Opera of Chicago to have the determination and vision to mount Berlioz's masterpiece. This is a rarely mounted and extremely creative opera that needs to be experienced.
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Crazy for You is a modern take on the classical Broadway format that weaves many of the greatest songs of the 2oth Century by the Gershwin's with outrageous humor, excellent singing and spectacular tap dancing. Crowle's ensemble worked hard in respecting the material. Crazy for You is a 'must see' musical. The sheer joy of this family friendly entertainment will have you saying: "Who could ask for anything more?" This production of Crazy for You reminds me why I love musicals. Crazy For You demonstrates the magic of Gershwin tunes as well the joys of old fashion musical comedy. It is extremely family entertainment for the holidays.
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How interesting it would be to discover how many enjoy Sweet Charity as a light, fluffy, escapist musical, while still others may be struck by a culminating moral message of independence. While this is not as unique now as it might have been when the play first opened, it has a special significance today -- following the shocking election upset.. At the risk of creating a spoiler, there was something quite provocative and pertinent about Charity, standing on her own, not needing a man to provide her happiness at play's end. It is certainly a feminist affirmation.
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End of the Rainbow is painful to watch as one of my all-time favorites is presented in a most self-destructive yet honest portrayal. I can't remember seeing a more complete wide-ranging performance than Angela Ingersoll's Judy Garland. We both feel sad at what happened to her yet we enjoy her magical stage presence and her amazing contralto voice. This bittersweet show is a must see on several levels. As we see the demise of a star, we see the emergence of another star. Angela Ingersoll performance in this tough role will launch a new phase in her career.
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We meet Therese Marie in the ICU suffering from amnesia, chronic pain as see doesn't know her name; the morphine drip is her salvation. Dotted over her are a flamboyant nurse, a charismatic orderly and a colorless doctor. All give this "little flower" effective care and needed attention. But sparks fly when the author, hard drinking and druggy son, Danny (the fabulous John Henry Roberts in a role played on Broadway by Michael Shannon) visits his mother in the hospital. The attempts of reconciliation and redemption dredge up family past problems from both mother's and son's life. We experience the vulnerable of Theresa Marie, we learn about her bringing up and all the trauma she has endured. We also see the source of her battles with Danny and the attempts by sister Justina (Jess Maynard) to move mother into a nursing home believing that Danny is incapable of giving Theresa Marie the care she needs.

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