Emily McClanathan - Page 4

As with most tales of doomed romance, Giuseppe Verdi's LA TRAVIATA highlights the contrasts between two social spheres and the difficulties faced by lovers who try to bridge this chasm. In this 1853 opera, based on a play by Alexandre Dumas, fils, the beautiful courtesan Violetta Valery (Albina Shagimuratova) tries to escape her past life among the hedonistic upper classes of Paris to settle down with her true love, Alfredo Germont (Giorgio Berrugi). After a brief period of bliss, the couple is driven apart by the strict bourgeois morality of Alfredo's family, in particular his father, who refuses to overlook Violetta's shameful past until she is on her deathbed.

Before attending THE PRODUCERS at Paramount Theatre, I had a disturbing dream in which this production cut everything deemed offensive or politically incorrect from the original: tap-dancing Nazis, sex-crazed old ladies, grossly stereotyped portrayals of, well, everyone. 'But what will they have left?' my dream-self protested. Fortunately, my fears were allayed upon seeing Paramount's production; director Jim Corti stages a madcap romp that revels in the irreverent humor of Mel Brooks.

In HOW TO CATCH CREATION, a world premiere at Goodman Theatre, playwright Christina Anderson tackles universal themes: the desire for human connection, the pursuit of creative and intellectual passions, and the longing to leave a meaningful legacy. Niegel Smith directs this intricately crafted tale, which spans five decades and follows six Black American artists whose paths intersect in surprising ways.

When Dr. Rosalind Franklin, portrayed by the formidable Chaon Cross, makes her first entrance in Court Theatre's PHOTOGRAPH 51, it's immediately clear that she inhabits a world dominated by men. Director Vanessa Stalling arranges the rest of the cast-who are all male-on the upper level of Arnel Sancianco's two-story set so that they literally look down on Franklin as she appears, last, on the ground floor. This striking image sets the tone for playwright Anna Ziegler's imaginative rendering of an often-overlooked piece of history: the essential contributions of chemist Rosalind Franklin to the discovery of DNA's configuration in the 1950s.

In his Tony-nominated revival of FIDDLER ON THE ROOF, now playing on tour at Broadway in Chicago's Cadillac Palace Theatre, director Bartlett Sher delivers a fresh and strikingly relevant vision of this 1960s classic. While Sher carefully honors the cultural and historical setting, a rural Jewish community in early twentieth century Russia, this production achieves a timelessness that speaks to the plights of marginalized people throughout history.

To sum up the Goodman Theatre's pairing of holiday productions this season: it was the best of humanity; it was the worst of humanity. While Tiny Tim's blessings and Scrooge's transformation warm hearts nightly in the Goodman's Albert Theatre, across the lobby in the Owen Theatre is a much different scene: a sardonic sendup of Christmas commercialism as told by Crumpet, an elf in Macy's Santaland. Based on the essay by humorist David Sedaris, which propelled him to fame when he performed it on NPR in 1992, Joe Mantello's one-man stage adaptation of THE SANTALAND DIARIES stars Matt Crowle and is directed by Steve Scott.

The Goodman Theatre's annual production of A CHRISTMAS CAROL, now in its 41st year, embraces Charles Dickens' world with all of its Victorian charm. And rightly so: after all, Queen Victoria and her husband, Prince Albert, are largely credited with popularizing Christmas traditions in Britain. Between these royals and the legacy of Dickens' beloved tale, nothing says 'Christmas' quite like carolers in top hats and gas lamps glowing in the London fog.

THE WOMAN IN BLACK is a prime example of the power of live theater: relying on evocative language, simple yet effective sound and lighting design, and skilled acting, this two-man gothic thriller easily surpasses any high-budget horror film in its ability to create a communal sense of fear among an audience.

With its abundance of classic tunes and tightly choreographed ensemble numbers, Irving Berlin's HOLIDAY INN is the perfect fit for the Marriott Theatre, a company that excels with dance-heavy shows in its intimate, in-the-round space. Denis Jones directs and choreographs a talented cast in this regional premiere of the 2016 Broadway musical (which Jones also choreographed). Based on the 1942 film featuring Bing Crosby and Fred Astaire, the stage adaptation makes some vital updates (most obviously, getting rid of a notorious blackface number), while capitalizing on the nostalgia of songs like 'White Christmas,' 'Happy Holiday,' 'Blue Skies,' and 'Cheek to Cheek.'

In an era when stage adaptations of animated films are seemingly a dime a dozen, BEAUTY AND THE BEAST has stood the test of time, and for good reason. When the 1991 Disney film was adapted for Broadway in 1994, composer Alan Menken nearly doubled the number of songs, and the additions that he wrote with lyricist Tim Rice are every bit as stunning as the originals (with lyrics by the late Howard Ashman). Further, Linda Woolverton's book for the musical lends depth to characters previously left underdeveloped in her film screenplay, especially the Beast and his household. Drury Lane Theatre's new production honors both the film and Broadway versions, but director Alan Souza and his creative team deliver a refreshingly original vision, giving the talented cast space to breathe new life into familiar characters. The result is a beautifully designed, thoughtfully staged, and strongly acted fairy tale that should delight audiences of all ages.

Chicago actor Christine Bunuan stars as Gigi in the national tour of MISS SAIGON, which plays at Broadway in Chicago's Cadillac Palace Theatre November 14 through December 8. Bunuan recently spoke to BroadwayWorld Chicago about bringing this epic love story on the road.

Though often described as a 'universal language,' music, perhaps more than any other art form, is intricately linked to the memories and emotions of the individual. LADY IN DENMARK celebrates the power of music to weave together the strands of one life: in this case, the songs of Billie Holiday and the reminiscences of a fictional, elderly Danish immigrant living in Chicago.

Author Michael Morpurgo (of WAR HORSE fame) once interviewed three World War One veterans from rural England and later wrote, 'There was no poetry in their stories, only horror and regret and great sadness for the loss of good friends.' In PRIVATE PEACEFUL, Morpurgo captures this horror, regret, and sadness, but there is also profound poetry in his ode to the futility and injustice of war.

After performing in HELLO, DOLLY! on Broadway, Jess LeProtto currently stars as Barnaby Tucker in the first national tour of the Tony Award-winning revival. In advance of the tour's four-week engagement at Broadway in Chicago's Oriental Theatre, I spoke with Jess about taking this heart-warming, hilarious Broadway hit on the road.

The Irish Times Best Actor nominee Shane O'Regan stars in PRIVATE PEACEFUL, Simon Reade's stage adaptation of the novel by Michael Morpurgo, the celebrated author of WAR HORSE. This story of World War One charts the life of a young soldier, Thomas 'Tommo' Peaceful, who faces the firing squad for cowardice. After critically acclaimed tours across Ireland in 2017 and 2018, the production recently embarked on a tour of the U.S. and is now playing at Chicago's Greenhouse Theater. I had the opportunity to interview Shane O'Regan and discuss the tragedy of WWI, the beauty of Michael Morpurgo's writing, and the challenge of playing 24 characters in a one-man show.

It's not uncommon for artists to create beauty from the pain of their own pasts, but few do it as bravely and poignantly as David Cale in WE'RE ONLY ALIVE FOR A SHORT AMOUNT OF TIME. Staged in the Goodman Theatre's largest venue and programmed as the subscription season opener, this 90-minute, one-man show packs an emotional punch in the most understated of ways.

Drury Lane Theatre's LITTLE SHOP OF HORRORS brilliantly captures the dark comedy of Howard Ashman and Alan Menken's popular musical, based on the low-budget 1960 horror film. Scott Calcagno directs a cast who masterfully balance the campy humor with genuinely moving performances as the hapless inhabitants of Skid Row.

A rose by any other name would smell as sweet, but in SWEET CHARITY, it's all in the leading lady's name. Charity Hope Valentine: the dance hall hostess who gives away her last dime to those in need, remains boundlessly optimistic no matter what life throws her way, and, above all, believes in finding love.

In true Dostoyevsky fashion, Shattered Globe Theatre's CRIME AND PUNISHMENT examines human depravity and the desperation that can drive people to appalling extremes. And the view is as bleak as a Siberian winter: under the direction of Louis Contey, the ensemble cast fills the intimate space at Theater Wit with a tension that rarely relents over the course of nearly three hours.

Paramount Theatre's production of LEGALLY BLONDE-THE MUSICAL lands the familiar tale of sorority-girl-turned-lawyer Elle Woods firmly in 2018, and it works well. Based on the 2001 movie, the musical premiered on Broadway in 2007, and, unlike some stage adaptations of beloved chick flicks, still resonates in today's post-Weinstein world. A strong female protagonist, working hard to achieve her goals, leaves behind toxic relationships and surrounds herself with people who believe in building each other up. While the narrative is empowering, LEGALLY BLONDE never lets the tone get too serious, with plenty of humor, larger-than-life characters, impressive dance numbers, and all the glitz, glam, and 'Omigod's that one would expect from the women of UCLA's Delta Nu.