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Rachel Weinberg - Page 10

Rachel Weinberg

Chicago native Rachel Weinberg has been one of the most frequent contributing editors and critics for BroadwayWorld Chicago since joining the team in 2014. She is a marketing professional and works as a digital content strategist at CDW. Rachel graduated with her Master’s degree in Integrated Marketing Communications from the Medill School of Journalism at Northwestern University. She earned her undergraduate degree in Communication and Hispanic Studies from the University of Pennsylvania. Rachel has worked previously in digital marketing for Goodman Theatre and as a marketing apprentice for Roundabout Theatre Company in New York City. When she’s not at the theater, you can catch her riding up a storm on her Peloton bike, getting lost in a good novel, or sampling desserts at bakeries across the city. You can find her online at RachelWeinbergReviews.com and follow her on Twitter @RachelRWeinberg.




MOST POPULAR ARTICLES

LAST 30 DAYS

BWW REVIEW: MR. BURNS, A POST-ELECTRIC PLAY at Theater Wit PhotoBWW REVIEW: MR. BURNS, A POST-ELECTRIC PLAY at Theater Wit
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BWW Interview: Tony Award Winner Gavin Creel Chats About His Lyric Opera Debut PhotoBWW Interview: Tony Award Winner Gavin Creel Chats About His Lyric Opera Debut
Posted: Jun. 3, 2021


BWW Review: Porchlight Music Theatre's BROADWAY BY THE DECADE PhotoBWW Review: Porchlight Music Theatre's BROADWAY BY THE DECADE
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BWW Review: Porchlight Music Theatre's NEW FACES SING BROADWAY 1961 PhotoBWW Review: Porchlight Music Theatre's NEW FACES SING BROADWAY 1961
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BWW Review: TEATRO ZINZANNI Presented by Broadway In Chicago PhotoBWW Review: TEATRO ZINZANNI Presented by Broadway In Chicago
Posted: Jul. 17, 2021


BWW Review: THE SOUND INSIDE at Goodman Theatre PhotoBWW Review: THE SOUND INSIDE at Goodman Theatre
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BWW Review: I HATE IT HERE at Goodman Theatre PhotoBWW Review: I HATE IT HERE at Goodman Theatre
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BWW Review: Lyric Opera's THE NEW CLASSICS Free Streaming Concert PhotoBWW Review: Lyric Opera's THE NEW CLASSICS Free Streaming Concert
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BWW Review: Mercury Theater Chicago's RING OF FIRE Blazes With Talent
August 25, 2015

Mercury Theater Chicago's RING OF FIRE: THE MUSIC OF JOHNNY CASH celebrates Cash's life and music, and as performed by the production's cast of immensely talented actor/musicians, it is a celebration, indeed.

BWW Reviews: GRAND CONCOURSE Makes Chicago Debut in Sublime Steppenwolf Production
July 13, 2015

In Grand Concourse, playwright Heidi Schreck has skillfully crafted a narrative about what it means to give back- not only in the sense of performing acts of charity but also in the sense of forgiveness. Now in its Chicago premiere at Steppenwolf Theatre Company, an accomplished cast of four actors brings to life Schreck's intriguing exploration of what it means to truly help others and the wearing effects that the striving towards selflessness can bring.

BWW Reviews: ON YOUR FEET! Musical Gloriously Dances Forward In World-Premiere Production
June 18, 2015

In an artful blend of musical theater glamour and Latin grooves, the world-premiere musical 'On Your Feet! The Story of Emilio & Gloria Estefan' brings that duo to the stage in a colorful and immensely entertaining production. This catchy jukebox musical manages to accomplish that rare feat of incorporating both dialogue and music in a way that makes the two feel of apiece, thanks to Alexander Dinelaris's clever book. With direction by Jerry Mitchell and superb choreography by Sergio Trujillo, 'On Your Feet!' will certainly have audiences in the mood for dancing. And with Ana Villafañe in the lead role as Gloria, the musical has certainly found the superstar that it requires.

BWW Reviews: The Second City's ITHAMAR HAS NOTHING TO SAY Provides Silent, Sly Amusement
June 15, 2015

While 'Ithamar Has Nothing to Say' is a silent solo sketch show - and the only show of this kind I have seen - I nevertheless must use the written word to describe the happenings therein. Directed by Frank Caeti, Mainstage alum Ithamar Enriquez takes the stage in a one-man show that harkens back to the silent film comedies of the 1930s made famous by such noted film artists as Buster Keaton, and, of course, Charlie Chaplin. Like the latter filmmaker, Enriquez exudes charm and slyness in this 50-minute solo piece. And like Keaton, he relies on sight gags and heavily physical bits to tell the story of each of his sketches. Most of these succeed; the occasional sketch feels like a misstep.

BWW Reviews: LIVE FROM THE SURFACE OF THE MOON Just Doesn't Land
April 9, 2015

Stable Cable Lab Co.'s production of "Live from the Surface Of the Moon" is certainly far out like the radical 1960s decade in which it takes place…but not necessarily in a good way. Written and directed by Max Baker, this new play takes audiences to a blue-collar home in 1969 Cleveland, Ohio. In this moment, a bizarre cast of characters gathers to view the moon landing on television. Don (Ian Patrick Poake), an ice cream truck driver, and his extremely pregnant wife, Carol (Kate Garfield) have invited over their friends, the pseudo-feminist June (Breanna Foister), and her decidedly sexist, creepy husband Wendell (Brian Edelman). Carol's slightly senile father, Joe (Kevin Gilmartin) and the young, pitiful, and awkward Holly (Lisa Anderson) also join the party.

BWW Reviews: ONE DAY: THE MUSICAL Brims with Teenage Angst, Pop-Rock Intensity
February 20, 2015

"One Day: The Musical" exudes an angry, pop-rock sensibility and has teenage angst in spades. Though the show takes the journal entries of real teenagers as its basis, it sometimes feels like a mouthpiece for adolescent issues rather than a show about living, breathing humans. In striving to be a universal stand-in for the struggles of growing up in the twenty-first century, "One Day" becomes a plot-less, occasionally meandering revue. On the musical theater continuum, I'd describe "One Day" as "Spring Awakening" meets "Rent" meets "Hair" meets "Next to Normal." The caveats here being that I personally am not a fan of the first show listed, and "One Day" does not function as effectively as the others. The show does, however, showcase an entertaining pop-rock flare. And when the ensemble launches into composer/lyricist/librettist Michael Sottile's soaring, heavily microphoned harmonies, "One Day"feels gloriously tuneful.

BWW Reviews: ANIMALS OUT OF PAPER Poignantly Examines the Folds of Our Lives
February 16, 2015

The initial set-up for Pulitzer Prize finalist Rajiv Joseph's 'Animals Out of Paper' at first seems contrived: Ilana Andrews, a down-on-her-luck origami artist who has hit a wall both creatively and personally, finds her life shaken up when a nerdy, overly optimistic math teacher asks her to mentor his brilliant-yet-troubled student. As directed by Merri Milwe, however, the circumstances in YOLO! Productions and The Great Griffon's production of the play feel entirely genuine. This depth of feeling comes in part from Joseph's smart playwriting and also from the three talented actors who take the text from two-dimensional paper to three-dimensional staging. As the play unfolds (pun intended), we see the rawness and honesty underneath the initial scenario that sets the plot in motion.

BWW Reviews: THE WOODSMAN Ventures Into Enchanting Visual Storytelling in the Land of Oz
January 19, 2015

Like the blockbuster hit about a misunderstood green witch from the West, 'The Woodsman' at 59E59 Theaters introduces audiences to a lesser-known tale from the land of Oz. The production relies heavily on visual spectacle to tell the story of a young woodsman who falls in love with a slave girl, only to be punished by the Wicked Witch of the East, who bewitches his ax to befell his limbs one-by-one until all that remains is tin. Written by James Ortiz and co-directed by Ortiz and Claire Karpen (who is concurrently performing as Cinderella in another forest-centric production of 'Into the Woods' at Roundabout Theatre Company), 'The Woodsman' is a creative delight and distinctive in its use of non-verbal storytelling. The forest in these woods has a very natural feel, as the ensemble employs real branches on the stage. Yet Ortiz's incorporation of his original puppetry designs in the shows adds a mystical element.

BWW Reviews: A BEAUTIFUL DAY IN NOVEMBER ON THE BANKS OF THE GREATEST OF THE GREAT LAKES Makes Theatre Into A Lively Spectator Sport
January 19, 2015

Kate Benson's new play 'A Beautiful Day in November on the Banks of the Greatest of the Great Lakes' takes place not on a lake, as the title might suggest, but rather in a gymnasium. The high-stakes Thanksgiving dinner at the center of the play unfolds at Wembley Stadium, where two announcers, # in charge of action and @ color commentary (yes, those are truly their names), quite literally call the shots into microphones from a booth above the stage. Directed by Lee Sunday Evans, this production relies on the ensemble to use heightened physicality and emotionality in order to bring this match to life. Fortunately, the actors who portray the Wembley family are fully committed to the challenged of making theatre into a literal game. In this production by New Georges in collaboration with Women's Project Theater, the unconventional 'Beautiful Day' is brought to vibrant, zany life.

BWW Reviews: Flux Theatre Ensemble's ONCE UPON A BRIDE THERE WAS A FOREST Combines Fairy Tale Troupes, 21st Century References
December 9, 2014

Once upon a time there was a play that showcased fairy tale motifs and iPhones, dollhouses and GPS directional systems. This is Flux Theatre Ensemble's production of Kristen Palmer's world premiere play "Once Upon A Bride There Was A Forest," now running at the 4th Street Theatre. The logic behind the odd juxtaposition of these parallel universes remains a puzzle to me, as does the rest of the play's content. With direction by Heather Cohn, however, the ensemble in Flux's production manages to surpass the bizarre material that they are tasked with performing.

BWW Reviews: Ground UP Productions' ASYMMETRIC at 59E59 Theaters Offers Theatrical Thrills
November 20, 2014

Mac Rogers's New York premiere play "Asymmetric" holds the distinction of being the only live theater thriller this audience member has seen. As staged by director Jordana Williams in the intimate Theater C at 59E59 Theaters, this play about troubled former CIA agent Josh Ruskin and his duplicitous ex-wife Sunny Black will leave audience members on the edge of their seats. Though lacking in emotional resonance, the production benefits from having an original theatrical concept backed by strong acting.

BWW Reviews: MOZART's THE MAGIC FLUTE: IMPEMPE YOMLINGO at the New Victory Theater supplies charm and creativity but lacks true resonance
November 4, 2014

The South African Isango Ensemble's production of 'The Magic Flute: Impepe Yomlingo,' strips away some of the glossy sheen of Mozart's master work, leaving a show that is more down to earth and yet still revels in the joy of the composer's music. Under Mark Dunford May's direction, this 'Magic Flute' transports the show to an African township, showcasing a transposed score for African instruments and encompassing various African dialects (as well as English - the primary language used in the show).

BWW Reviews: The Brick Theater's THE UNCANNY VALLEY: A Trip Down The Technological Rabbit Hole
October 9, 2014

'The Uncanny Valley' invites audiences to take a trip down the technological rabbit hole. Created and directed by University of North Carolina Chapel Hill professor Francesca Talenti, this new play makes for an unsettling evening at the theater - yet its overly moralistic tone prevents it from probing as deeply as it could. The play provides a twist on the concept of the uncanny valley - the idea that that which possesses human features and moves almost like a human being, but is slightly off, will have an effect of repulsion on the human viewer.

BWW Reviews: BRIGADOON Delivers Enchanting Summer Musical Spectacle
July 8, 2014

Goodman Theatre's production of Lerner and Loewe's 1947 musical Brigadoon lovingly pays homage to the tradition of classic American musical theatre while also retaining a sense of exuberance and delight. Helmed by director and choreographer Rachel Rockwell, this production does not shy away from spectacle and largely has the talent to back it up. The show preserves Lerner and Loewe's lush music and lyrics with an updated book by Brian Hill that provides an even sense of pacing and storyline.

BWW Reviews: AstonRep Theatre Company's Well-acted WIT is Saturated in Sadness
May 11, 2014

AstonRep Theatre Company's high-quality production of "Wit" packs an emotional punch yet also revels in cleverness. Margaret Edson's Pultizer Prize winning play profoundly deals with the experience of cancer, and the capable actors in the show's ensemble - particularly Alexandra Bennett in the lead role - are up to the challenge. There is much to admire here, but this is an intense theatre experience (and rightfully so when dealing with such a difficult, indescribable topic). "Wit" inevitably spirals towards tragedy, and this sadness looms during the entire 90 minutes of the play.

BWW Reviews: MOTOWN THE MUSICAL Makes For Catchy, Frothy Fun But Little Else
May 9, 2014

'Motown the Musical' plays out like a veritable hit parade. Directed by Charles Randolph-Wright, this first national touring production showcases Motown Records producer Berry Gordy's greatest songs as performed by some capable onstage talent. The show makes for a lively and fun evening at the theatre but provides little in the way of truly meaningful plot or character development.



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