The best way to frame Brett Schneider’s solo show COMMUNION: An Evening of Magic, now playing at The Den Theatre, is with the following scenario: Open the book you’re currently reading to a random page. Pick a word, any word on the page, and lock it into your mind’s eye. Got it? So does Schneider. At least he might if you come to COMMUNION.
Category: Rachel’s Picks
TimeLine Theatre Company’s season premiere production of A SHAYNA MAIDEL is a beautiful, haunting, and necessary theater experience. Barbara Lebow’s play reunites sisters Rose (Bri Sudia) and Lusia (Emily Berman) in 1946 New York City. Though the play was written in 1984 and takes place in the middle of the last century, A SHAYNA MAIDEL’s emotional story of survival cuts deep. As a young girl, Rose was fortunate to escape from Poland to America with her father Mordechai (Charles Stransky) before the beginning of the Holocaust. Due to a an untimely and devastating bout of Scarlet Fever, however, Lusia was forced to remain in Poland with the girls’ Mama (Carin Schapiro Silkaitis) and did not escape the horrors of the concentration camps. Reunited for the first time in many years, both Rose and Lusia must contend with their own guilty feelings and to rebuild a relationship nearly from scratch.
The touring production of John Doyle’s 2016 Tony Award-winning revival THE COLOR PURPLE has landed at Chicago’s Auditorium Theatre, where it will make hearts both soar and ache with the blaze of emotion it delivers. Doyle, a director best known for his stripped-down productions of American musicals, has applied that minimalist treatment here as well. And it works beautifully. The set only features a few modest risers flanked by a backdrop wall featuring several wooden chairs (Doyle also designed the scenery). When the actors first make their entrances, they bring more of these simple chairs along with them as they invite the audience into the story. This simplicity, also mirrored in Ann Hould-Ward’s costumes and Jane Cox’s lighting design, brings a profundity to the staging. THE COLOR PURPLE’s modest production values never feel like they’re skimpy, but rather they lay the foundation for the show’s deeply human message.
Chicago Shakespeare Theater’s summer family musical PETER PAN is chock full of dazzling moments that will delight children and adults alike. With music and lyrics by George Stiles and Anthony Drewe and a new book by Elliot Davis (based upon the book by Willis Hall), this production captures all the magic of the classic story of the boy who refuses to grow up in just 75 minutes. Adult audience members who are fans of J.M. Barrie’s original novel or the iconic Disney animated film will find this PETER PAN a refreshing mix of the familiar and the new. And of course, young audiences seeing the story of PETER PAN for the first time will be altogether surprised and amazed by this telling.
The national tour of WAITRESS has arrived in Chicago, and it’s serving up a production that’s sweet as pie. Based on the late Adrienne Shelly’s 2007 film of the same name, WAITRESS made history as the first Broadway musical with an all-female creative team. With music and lyrics from Grammy-nominated singer-songwriter Sara Bareilles and book by Jessie Nelson, WAITRESS deals with some heavy issues (most notably domestic abuse) at its core. The material always treats these issues with a lighter touch, though the show is never dismissive. With direction by Diane Paulus, the end result means that WAITRESS ultimately uplifts rather than downtrods, and it supplies ample laughs along the way.
Ellen Fairey’s SUPPORT GROUP FOR MEN, now in a world premiere at Goodman Theatre, finds that sweet spot between hilarious and gently critical of modern society. As might be presumed from the title, Fairey’s play concerns a gathering of four Chicago men who come together on Thursday nights in an apartment that borders on the edge of Wrigleyville and Boystown. Fairey’s exploration of gender roles and the increasing need to become more open and embracing of those outside the binary means that the play’s locale is particularly central to its narrative. And while some of the characters in SUPPORT GROUP seem rather set in their ways, Fairey is careful to never point fingers in a mean-spirited way. The play succeeds in large part because Fairey displays such a great deal of empathy for each of her characters.
The lovable and lewd puppets of AVENUE Q have returned to Mercury Theater in a remount of the company’s successful 2014 production. I have a soft spot for this musical gem—which beat out WICKED in 2004 to take home the Best Musical Tony Award—and Mercury’s production reminded me precisely why that appreciation runs so deep. With a book by Jeff Whitty and lyrics by Jeff Marx and Robert Lopez (the latter of subsequent THE BOOK OF MORMON and FROZEN fame), AVENUE Q strikes a delectable balance between outrageously funny and unabashedly heartfelt.
The pre-Broadway engagement of THE CHER SHOW has made its way to Chicago in a blaze of colorful, over-the-top energy and replete with the artist’s chart-topping hits. Three utterly talented women share the title role: Broadway veteran Stephanie J. Block as Star, Teal Wicks as Lady, and newcomer Micaela Diamond as Babe. Together, these actors deliver a powerhouse trio of performances worthy of Cher herself. Diehard Cher fans will be pleased to know that such iconic songs as “I Got You, Babe,” “If I Could Turn Back Time,” and, of course, “Believe” are in more than capable hands.
As the old adage goes “Beauty is in the eye of the beholder.” Rajiv Joseph’s GUARDS AT THE TAJ asks precisely how far we might go to defend that which is beautiful, even if great human suffering and violence are involved. The play centers on Humayun (Omar Metwally) and Babur (Arian Moayed), two low-ranking guards at the Taj Mahal in 1648. The two are so low-ranking, in fact, that their job requires them to face away from the mausoleum. Joseph’s narrative provides his interpretation of the legend that guards like Humayun and Babur were asked to do the unthinkable in order to make sure that the Taj Mahal remained the most beautiful place on earth: cut off the hands of the 20,000 laborers and the architect who constructed the monument.
JESUS CHRIST SUPERSTAR ignites the Lyric Opera stage in a never-ending burst of electrifying energy. This production is brilliant from start-to-finish, and it beautifully unites Lyric Opera’s commitment to providing first-rate talent and stunning visuals with director Timothy Sheader’s contemporary, invigorating vision. Originally staged at London’s Regents Park Open Air Theatre in 2016, the Lyric’s production is big and bold in every aspect. Set and costume designer Tom Scutt’s rock concert atmosphere design combines a stark, modern look with a backdrop of lush greenery—a nod to the play’s outdoor theater roots.