Chicago Shakespeare announces 2010-2011 Season

Chicago Shakespeare - Taming of Shrew Taming of the Shrew, performed in the Courtyard Theater through June 2010

 

Chicago Shakespeare Theater announces their

 
2010-2011 Season

 

As Chicago Shakespeare Theater (CST) finishes the run of its acclaimed world-premiere family musical The Emperor’s New Clothes (our review ★★★½) this month, it looks forward to the season ahead. Further information for all of the productions listed below is available on the Theater’s website at www.chicagoshakes.com or by calling the CST Box Office at 312.595.5600.

 

Mainstage Shows

 

September 15–November 21

   
   
  Romeo and Juliet
  By William Shakespeare 
Directed by
Gale Edwards
In the
Courtyard Theater
   
  Opening the 2010/11 Subscription Series, world-renowned Australian director Gale Edwards stages William Shakespeare’s iconic romantic tragedy in her CST debut. Edwards, whose work has been seen at the Royal Shakespeare Company and in theaters across America, has assembled a talented ensemble including Canada’s Dora Award winner Jeff Lillico and Joy Farmer-Clary in the title roles. CST veterans returning for Edwards’ production include: Ora Jones, last seen in Twelfth Night (our review ★★★½), as Nurse; Brendan Marshall-Rashid, who delivered Richmond’s memorable final soliloquy in Richard III (our review ★★★★), as Paris; Judy Blue as Lady Capulet; Steve Haggard as Benvolio; and David Lively as Friar Laurence, who previously played King Henry IV in CST’s Henry IV Parts 1 and 2, marking the Theater’s debut at the Royal Shakespeare Company in 2006. An award-winning creative team joins Edwards for this landmark production, including Scenic Designer Brian Sidney Bembridge, Costume Designer Ana Kuzmanic, Lighting Designer John Culbert, Original Music and Sound Designer Lindsay Jones, Wig and Makeup Designer Melissa Veal, Properties Master Chelsea Meyers, Fight Director Rick Sordelet and Verse Coach Barbara Robertson.
   
Jeff Lillico and Joy Farmer-Clary will play the title roles in Chicago Shakespeare Theater's Romeo and Juliet from September 15–November 21, 2010.  Photo by Peter Bosy.Jeff Lillico and Joy Farmer-Clary will play the title roles in Chicago Shakespeare Theater’s Romeo and Juliet from September 15–November 21, 2010.  Photo by Peter Bosy.

 

 

January 5 – March 6, 2011

   
   
  As You Like It
  By William Shakespeare 
Directed by
Gary Griffin 
In the
Courtyard Theater
   
  CST Associate Artistic Director Gary Griffin directs Shakespeare’s beloved pastoral comedy set in the magical Forest of Arden. This season marks Griffin’s ten-year anniversary with CST, an illustrious history that includes his acclaimed CST Olivier and Jeff Award-winning Sondheim musicals and productions of Private Lives (review ★★★) and Amadeus.
   
   

 

April 13 – June 12, 2011

   
   
  The Madness of George III
  By Alan Bennett
Directed by Penny Metropolus
In the Courtyard Theater
   
  The three-play Subscription Series concludes with The Madness of George III by Olivier and Tony Award-winning playwright Alan Bennett (The History Boys). This masterpiece of royal intrigue about a monarch’s slide into insanity will be directed by Penny Metropolus, whose work has been seen for nearly two decades at Oregon Shakespeare Festival. The production marks Metropolus’ return to CST, where she staged The Two Gentlemen of Verona in 2000.
   
   

World’s Stage  and   CST Family

Below the Fold:  World’s Stage productions from Scotland and Ireland, and a CST export to Australia. Additional CST Family programming includes an abridged Shakespeare production and family concerts.

 

Chicago Shakes - Black Watch 2 Chicago Shakes - Cripple of Inishmaan 1
Chicago Shakes - Funk it Up 1 Chicago Shakes - Black Watch 4

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Cirque Shanghai and Navy Pier create all-day fun package

Show + Ferris Wheel + Boat Tour + 20% Off Food = $35.75!!

 

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Cirque Shanghai: Cloud 9 (our review here ★★★½) has joined several other Navy Pier favorites to offer patrons the Navy Pier All-Day Fun Package.  The package includes exclusive Gold Circle seating to Cirque Shanghai, vouchers for the Ferris Wheel, the Shoreline Sightseeing Skyline Lake Tour and a coupon for 20% off food purchase at RIVA Restaurant.  This value package cannot be beat at $35.75 for an entire day of entertainment at Navy Pier.  The Navy Pier All-Day Fun Package can be purchased at www.ticketmaster.com/shanghai

Under the creative direction of Sylvia Hase, directed by Miao Miao Chen and with choreography by Brenda Didier, Cirque Shanghai: Cloud 9 is presented in this exclusive US engagement by Navy Pier in conjunction with International Special Attractions production headquarters in Shanghai, China.

PERFORMANCE SCHEDULE AND TICKET INFORMATION

  • Wednesdays at 2pm, 6pm and 8pm
  • Thursdays/Fridays at 2pm and 8pm
  • Saturdays at 2pm, 6pm and 8pm
  • Sundays at 2pm and 4pm

cirqueshanghaicloudnine001 There will be additional performances Thursday, Aug. 26 and Friday, Aug. 27 at 6pm in conjunction with the Pepsi Tall Ships Chicago 2010 celebration at Navy Pier, as well as Monday, Sept. 6 (Labor Day) at 2pm and 4pm.

Tickets are available by calling 800-745-3000 or visiting ticketmaster.com/shanghai. Discounted tickets for groups of 10 or more are available by calling GroupTix at 877.4GRP.TIX (877.447.7849) or visiting www.grouptix.net.

Notes: This package is not available for Wednesday and Saturday 8 p.m. performances of “Cirque Shanghai: Cloud 9.”

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REVIEW: The Emperor’s New Clothes (Chicago Shakes)

A fun and exciting new family musical

 

emperor's new clothes - entire cast

   
Chicago Shakespeare Theater  presents
 
The Emperor’s New Clothes
   
Book by David Holstein
Music/Lyrics by
Alan Schmuckler
Directed by
Rachel Rockwell
at
Chicago Shakespeare Theatre, Navy Pier (map)
through August 29th  |  tickets: $18-$23  |  more info

reviewed by Aggie Hewitt

emperor's new clothesThe Emperor’s New Clothes, the classic children’s fable, has been fancifully modernized by Chicago Shakespeare Theater, who commissioned a new musical based on the Hans Christian Anderson story with music and lyrics by Alan Schmuckler and book by David Holstein

In the original tale, the Emperor is sold an outfit made out of what he believes to be invisible fabric. He is told that only intelligent people can see it, so, not wanting to be  thought foolish, he pretends that he sees clothing where there is none. All of his royal servants and most of the townspeople go along with him, not wanting to be called stupid. Finally, a child watching the Emperor walk by, calls out that the Emperor is not wearing anything at all. All of the people in the town get a real kick out of this, and the Emperor is humiliated. 

The Emperor’s New Clothes at Chicago Shakespeare begins with the same basic premise, but blends the classic fairy tale themes with modern conundrums. Sam (Megan Long), the Emperor’s idealistic, college bound daughter, wants her father to get over his materialistic obsession with clothes, and open his eyes to the plight of the peasants. Meanwhile, Kimberly (Alex Goodrich), the son of Mama Swindler (Anne Gunn) the corruptible seamstress of the infamous invisible garments sees a better solution to save their failing business: e-commerce. Debbie Baer’s costumes continue the motif of mixing old and new: Mama wears a brown skirt and bodice while Sam walks around in jeans and a hoodie.  Kevin Depinet’s set is perfectly gaudy and extravagant. Its neon green and bright fuchsia paisley patterns are a whimsical fantasy, and the beautifully conceptualized and crafted set pieces create an engaging aesthetic.

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Directed by Rachel Rockwell, whose recent production of Ragtime (our review ★★★★) was a smash hit at Drury Lane last spring, knows her way around a musical – to put it lightly – and her youthful, feminine energy infuses the entire show. One of her strong suits with family theater is pacing. She keeps the story flowing in a lyrical and fluid way. Actors enter through the aisles and from the wings, and the choreography (also by Rockwell) has the same bouncy, young and fun energy as the rest of the show.

emperor's new clothes3 Alan Schmuckler’s poppy music is up-tempo and vivacious. His music maintains a steady lively pace throughout the show, keeping the production constantly engaging.

Ultimately, the play is a new take on an old fable. Hans Christian Anderson’s classic story has a moral at the end. We learn from it that we must speak our minds and use our common sense. This new version, with its parent/child conflicts, is a more complicated story for a newer, more astute family audience. Simplistic moral punch lines won’t work for today’s children, who have been raised on a diet of television and film that allow them to explore a deeper array of human emotion without necessarily trying to teach them anything. I wouldn’t say that there is no moral to this new imagining of The Emperor’s New Clothes, but I would say that it takes its time getting there, and the moral comes out of an exploration of the character’s relationships. The Emperor’s New Clothes is a fun and exciting new family musical.

   
   
Rating: ★★★½
   
   

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REVIEW: Itsoseng (Chicago Shakespeare)

Waiting for the change that never comes

 

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Chicago Shakespeare Theatre presents
  
Itsoseng
   
Written and performed by Omphile Molusi
Directed by
Tina Johnson
at
Chicago Shakespeare, Navy Pier (map)
through June 20  |  tickets: $28-$38  |  more info

Reviewed by Oliver Sava

At the end of apartheid, the South African township of Itsoseng found itself without a shopping center. The center had become the economic hub of the town, but having been built by a corrupt leader, was looted then burnt to the ground in an act of revolt. Surely the new government would reward their brave action? Ten years later, poverty and crime have skyrocketed, and there is still no shopping center. In his one man show Itsoseng, Omphile Molusi exposes how bureaucracy and politics have come to  stand in the way of aid to struggling South African villages. Molusi weaves a story of desperation and loss that transcends the continent gap as he chronicles the lives of ITSO_1those struggling to survive, taking the audience on a heartbreaking journey through a walking graveyard.

At its core, Itsoseng is a play about desperation. What a town desperate for change will do to join the revolution, the dark places people without hope will go to find sustenance. With only a garbage littered set and a trunk, Molusi creates his dreary village through skilled impressions, song, dance, and various languages, successfully constructing the illusion by his lonesome. Molusi never drops his energy throughout the 75-minute production, and what he lacks in clarity he makes up for in emotional intensity and dedication to his characters.

The early scenes are a bit difficult to follow as Molusi captures the unrestrained energy of youth with a little too much fervor, but as his character matures so does the storytelling. The narrative begins to take shape as Molusi discovers more social problems and political barriers, finally taking action himself to enact change. He is driven by the struggles of his neighbors, his childhood sweetheart that whores herself in taverns, the ex-revolutionary that sits stoned on the sidewalk, cursing his government. And while it all sounds quite dreary, Molusi is a charismatic performer with a natural humor that keeps the piece from being too heavy. The language of the play is a mix of blunt observation and poetic embellishment that shows Molusi is a talented playwright that can tow the line between fantastic escapism and gritty realism.

Itsoseng was a village that once had pride and hope in a future. The future is a fantasy unless the South African government takes active steps to repair the townships that it forgot in favor of the economically prosperous urban territories. In the aftermath of apartheid, South Africa has taken major steps towards improving the lives of its citizens, but Itsoseng shows just how far there is left to go.

   
   
Rating: ★★★
 
 

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Review: Cirque Shanghai: Cloud 9 (at Navy Pier)

A thrilling summer show for the entire family

 

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Cirque Shangha
i and Navy Pier present
  
Cirque Shanghai: Cloud 9
  
Directed by Miao Miao Chen
at the Skyline Stage, Navy Pier (map)
thru September 6th  |  tickets: $12-$29  |  more info

reviewed by Catey Sullivan

Never mind the official calendar. If Cirque Shanghai is in residence on Navy Pier, it must be summer in the city. In residence under the armadillo-shaped tent that is the Pier’s Skyline Stage, the Chinese import is back with its roster of spectacular  human oddities and jaw-dropping feats of strength, balance and grace. Think Cirque du Soleil, minus the artsy existential clowning and plus motorcycle stunt drivers. That’s the general aesthetic that informs Cirque Shanghai: Cloud 9.

Cirque-Shanghai-Cloud-Nine001 The new show brings new acts to the stage, chief among them those motorcycles. During the kinetic Imperial Thunder, a quartet of roaring bikes and their color-coordinated riders zip around like bees inside of a metal dome that you’d swear wasn’t large enough to accommodate even one rider let alone four. Inside the Imperial Thunder dome, the riders make it look easy, flying over and around each other in a display of centrifugal force and precision racing that’s a genuine jaw-dropper. On the other end of the spectrum? The contemplative Thousand Hand Guan Yin,  a golden-tinged illustration of a goddess with – yes – a thousand hands.

Those two acts illustrate the extremes of Cloud 9, the creation of Sylvia Hase with director Miao Miao Chen and Chicago-based choreographer Brenda Didier.  Whichever performance style you prefer – ear-drum rattling roars and performers in full-body whirl at break-neck pace or new-agey strings serenely accompanying hand-dancers creating illusions with the most delicate movements of their fingertips – Cirque Shanghai delivers plenty of it.

Performed by a troupe of elite circus performers aged 15 to 25, the show is pure eye candy. There’s no subtext to contortionism, nothing to deconstruct in a display of hat juggling. That’s absolutely fine. Cloud 9 is a seasonally appropriate wonder, entertainment that screams “leave your thinking caps at home, school’s out for the summer!”

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That’s not to say that the 18 acts within the production are anything less than top tier. Try not to ooh and aah at the Suspended Pole Acrobats as they leap, two stories up, between perilously swaying stalks. Ditto the gleefully silly  Bicycle Platform Balance, where in nine grinning cyclists form a pedaling human pyramid atop a single bicycle. There are also strong men, hoop divers and aerial artists whose skill spinning on silks evokes acrobatic spiders flying between web strands.

The look of the production is as marvelously over-the-top as the acts. Think Liberace meets Bob Mackie meets a Bedazzler set on stun and you get a sense of the show’s visual appeal. Cirque Shanghai: Cloud 9 might not ponder the depths of the human condition, but for pure fun, it’s tough to beat.

      
     
Rating: ★★★½
   
  

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REVIEW: Uncle Vanya (Maly Drama Theatre at CST)

 

Hear the creative genius of Chekhov in his native tongue

 
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Maly Drama Theatre of St. Petersburg presents:
 
Uncle Vanya
 
by Anton Chekhov
directed by
Lev Dodin
at
Chicago Shakespeare Theatre, Navy Pier (map)
performed in Russian with projected English translation
through March 21st (more info)

reviewed by Barry Eitel

Anton Chekhov’s Uncle Vanya is a hard play for me to crack. The 1899 work is simply subtitled “Scenes from Village Life,” which holds a clue to the nature of the play. It isn’t a straight comedy or devastating tragedy—it has elements of both, of course, but Chekhov’s genius shows through the fact that the play more or less captures snapshots of a summer. I guess that’s why they call him one of the fathers of realism. Chicago Shakespeare Theatre brings a rare treat home this weekend, a chance to catch this masterpiece in the original Russian, performed by one of the greatest theatre companies in the world, the Maly Drama Theatre of St. Petersburg. Although the whole run is pretty much sold out, it would be well worth it to do whatever possible to get your hands on some tickets.

arts-graphics-2005_1162161a There is another production of the play going on right now at Strawdog, directed by Kimberly Senior (our review, ★★★). That exceptional production is personal and well-acted. However, the Maly Production blows up the play to operatic scale, weighing the work so as to come off like a Dostoyevskian epic. For example, the production at Chicago Shakespeare is about an hour longer than the one at Strawdog even though the dialogue remain pretty close. Lauded director Lev Dodin and his cast sit and stew in Chekhov’s world; they aren’t concerned with pushing the pace to appease an audience. The company has worked on this production for years (there’s European theatre for you) and they know how to drain every drop of subtle emotion from the text. Still, at least for this American audience member, the show wears you down. A certain hyper-receptive mood is required to really appreciate what is happening on-stage, which is different than what we’re used to here in Chicago. Without an open-mind, this production can feel draggy and tiresome. Once you allow yourself to get sucked in, however, Maly’s brilliance jolts the intellect and gut.

The main tension in Vanya, and in most Chekhov’s pieces (and, maybe, in most plays in general), is between talk and action. Doctor Astrov (Igor Chernevich) “does,” the listless housewife Elena (Ksenia Rappoport) mostly complains. Uncle Vanya (Sergei Kurishev) “does” some things—he runs a freakin’ farm—but not the things he believes he should be doing. Nearly all of the characters complain about boredom and mourn their “wasted” lives.

These actors obviously have an intimate knowledge of Chekhov’s language. They truly live in the world, and much of this production’s comedy comes from unscripted physical moments. Watching them move around is like a master-class in how to stage a play. Lev Dodin’s staging is like a chess game played out on the giant hardwood floor supplied by set designer David Borovsky. Every move is meticulous, calculated, yet digs to the root of Chekhov’s characters and themes.

vanya 2All of the actors stand out, even Alexander Zavialov as the rarely-seen Waffles. Kurishev’s Vanya is melancholy and self-effacing, funny and sad at the same time. Rappoport is complicated and sexy as the lusted-over Elena; it is very clear how so many men could be caught in her web of charm. Elena Kalinina gives a marvelous performance as Vanya’s passed-over neice Sonia. Her final speech is positively heartbreaking. It floods the giant theatre like an ocean.

Maly Theatre is renowned as one of the greatest theatres in the world (it is one of three named ‘Theatre of Europe’ by the Union of European Theatres), and they clearly have a profound understanding of drama. By doing a play by their countryman, they add a clarity not often seen in the States. Anton Chekhov is already known as an insightful writer, but these Russians can swim in his genius—Chicago Shakespeare presents an once-in-a-lifetime experience here that should not be missed.

 
Rating: ★★★★
 

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Think Fast: Cheyenne Jackson, Red Orchid Theatre, Barbara Gaines, and Superior Donuts

logo Good news for Old Town’s A Red Orchid Theatre: tickets for their current production Mistakes Were Made (our review here), by Craig Wright, have been selling like hot cakes – so much so that they’ve added an extra Wednesday night performance for all of October.  Be sure to check it out before it closes on October 31st.  Mistakes Were Made stars Michael Shannon, and is directed by Dexter Bullard.   (h/t Chris Jones)


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Check out the interview with Chicago Shakes artistic director (and founder) Barbara Gaines regarding her direction of the company’s current production, Richard III. Well worth the read.

 


superiordonuts The Daily Beast has posted a rave review of Tracy Letts’ Superior Donuts, which played last year to positive reviews at Steppenwolf. An excerpt:

Letts and his cast can breathe deeply today. While a far less ambitious play than August, with its three-story set and sprawling cast, Superior Donuts is no less successful for what it aims to be: a tender, funny, and often tragic valentine to Letts’ Chicago in a time of intense cultural change. Fans of August won’t find that play’s heavy, gut-wrenching revelations here, but Donuts was always intended to be a smaller, lighter effort, as delightful and sweet as a doughnut itself. The play, which Letts began writing even before August, earned positive reviews when it first opened in Chicago with the same cast in July 2008, and after a year of Letts’ tweaks and rewrites, it may be even better….

Read the entire review here.


Per Perez Hilton:

cheyenn Tina Fey’s brilliant comedy, 30 Rock, may be getting the one thing it’s severely lacking – a hot piece of eye candy!

Rumors are circulating that Broadway hottie, openly gay and successful actor Cheyenne Jackson, will allegedly be joining the cast in a semi or possibly a completely permanent capacity.

For those of you who don’t live and die by the goings on of the Great White Way, Cheyenne has been in productions like Xanadu and All Shook Up!

More here.