RECOMMENDED

Man, I wish I could be so wildly successful at comedy that when I’m 64, I can say, “You know, I’m tired of stand-up. I think I’ll go on a banjo/bluegrass tour,” and only not can I embark on such a tour as specifically quirky as the banjo-picking kind, but I can go play freaking Carnegie Hall. Such is the state of Steve Martin’s career as he rolls into town with the acoustic bluegrass quintet Steep Canyon Rangers. Martin’s been plucking away since the seventies, but back then the banjo was usually a prop to his zany, whimsical stand-up. These days, Martin has made it clear that bluegrass is a serious artform and ambition for him, but that will surely not keep the former Three Amigo/Father of the bride/Sgt. Bilko from throwing in a bunch of jokes in between songs (can “King Tut” be performed bluegrass?). As for his banjo skills, Martin’s no chump, making him one of the few performers who can cross into another medium and not embarrass themselves, which a pretty impressive feat, at least until Paul McCartney takes a stab at a stand-up career. (Andy Seifert)

October 22 at Cadillac Palace Theatre, 151 West Randolph, (312)902-1400.

RECOMMENDED

“The only good I perceive is in beauty. This world gets uglier by the minute,” says Lotte Schoen in “Lettice and Lovage,” Peter Shaffer’s paean to bravery and beauty. The Redtwist remount  unfolds under Steve Scott’s watchful directorial eye with enjoyable results.

Lettice (Millicent Hurley) is a docent assigned to a boring historical landmark; her penchant for “re-imagining” the house’s history gets her in dutch with Lotte  (Jan Ellen Graves), docent supervisor. The two bond over their commitment to history, heritage and rising above “the mere.”

Hurley’s Lettice, left behind by the modern world, is suitably theatrical; Graves’ Lotte, who grudgingly integrates into contemporary times, is phlegmatically bureaucratic. However, the nicest surprises come from the supporting players; Maura Kidwell brings quirky subtlety and timing to her gawky assistant. Jim Morley travels an amusing arc from dismissive lawyer to inspired number-one fan. Watching those two transform is a thing of beauty. (Lisa Buscani)

“Lettice and Lovage” plays at Redtwist Theatre, 1044 W. Bryn Mawr, (773)728-7529, through November 8.

RECOMMENDED

It’s a risk for any theater company to devote an entire run to new work from unknowns, so kudos to Tympanic for “Bastards of Young,” its tribute to the spectral and the outcast.

The eight short plays showcased in “Bastards” are a mixed bag. Standouts include Rob Matsushita’s “May is a Special Time of the Year,” Bob Fisher’s “Personal Apocalypse” and Josh Mikel’s “The Great Black Vulture.” All three pieces make sharp use of vulnerability, tension and fear. But the characters in Mick Greco’s “Northstar Navigation” need fleshing out, while the premise of Lauren Yee’s “Zachary Zwillinger Eats People,” never quite gets off the ground.

Kudos also to some fine performances: Danielle Forrester as a silky, surreal “advocate” displays killer timing; and Adam Schulmerich is teetering-on-the-edge menacing as an unhinged Paul Bunyan. Not everything works but it’s refreshing to see a young company shake off complacency. (Lisa Buscani)

“Bastards of Young” plays at The Tympanic Theatre Company at The Side Project, 1439 W. Jarvis, (773)442-2882, through November 8.

Cesar Salinas and Meredith Schultz/Photo: Cheryl Mann

RECOMMENDED

Our city’s most prominent company dedicated to the movement genre of jazz dance returns to Harris Theater with  Giordano Jazz Dance Chicago’s Fall engagement, “Giordano: MOVE!”  Chicago arts organizations and audiences love a world premiere and this exciting program will give ticket holders three brand new works. Most prominently, the company has commissioned Philadelphia-based Rennie Harris to create a dance for its repertoire called “I Want You.”  Harris’ use of “innovative urban, funk and street movement influenced by African dance and old school hip-hop” promises exciting work for Giordano. The company will draw from its own family with “Gravity,” a pas de deux providing a fresh look at young love, choreographed by company dancer Lindsey Leduc Brenner.  The world premiere of former GJDC company dancer Autumn Eckman’s “commonthread,” will round out the triad of new. Created for five dancers, this piece is set to an original music incorporating aspects of world and folk music by Chicago’s Dan Myers and John Ovnik.  Myers will perform on stage each night. (William Scott)

At the Harris Theater for Music & Dance, 205 E. Randolph, (312) 334-7777. October 23 & 24.

RECOMMENDED

It has been quite some time since Joffrey Ballet gave Chicago a full-length narrative ballet, but the company opens its new season with the premiere of  Lar Lubovitch’s “Othello.” The story of the ill-fated Venetian general dates back well before Shakespeare’s telling to Giraldo Cintio’s original legend published in 1566.  Lubovitch’s adaptation uses strong moving images to paint an impression of the classic tale with a definite modern brush. This rendering of these characters gives the Joffrey dancers the opportunity to  show exactly why they are known for elegance, grace, power, strength and athleticism. Desdemona is light and lovely and heartbreakingly tragic in her final moments as danced by April Daly. Fabrice Calmel’s Othello is a masculine presence commanding the stage. Though Lubovitch’s choreography  infuses a contemporary aesthetic into the classical, I must admit that at times the modern movement feels forced when he works with a single dancer or a group.  However, none of that matters when he turns his attention to amazingly crafted duets. Dance after dance, when Lubovitch works with two dancers magic happens; he creates movement that flows from a deeply rooted tradition and wakes it up. Iago (Matthew Adamczyk) and his wife Emilia (Valerie Robin) embody this meeting of styles in angular and angry moments of dance that transcend everything else in this already powerful ballet.  (William Scott)

At the Auditorium Theater, 50 E. Congress Pkwy, (312)902-1500. Through October 25. $25-$145.

RECOMMENDED

A dynamic, quirky, and often hilarious production that mostly overcomes major problems in writing. G.K. Chesterton’s gorgeously off-kilter, mysterious novel involves a conspiracy of a secret anarchists’ council, where the inner circle of men are named after days of the week and may or may not be working for Scotland Yard or the devil himself. In contrast to such uncertain subterfuges, Bilal Dardai’s adaptation is heavy-handed at best, and he’s added far too many scenes of exposition and explanation that detract from the beautiful peculiarity and mystery, not to mention incredible rhetoric of paranoia, of the story. In contrast, Jessica Hutchinson’s directing is hip, astute and  responsive, with a semi-promenade that makes brilliant use of space and has actors circulating amongst the audience without any sense of clumsy attempts at “interactivity.” Acting is deft across the board, and the quicksilver pacing, along with gorgeous technical theater, keeps the play afloat—even the facile last scene Dardai added that makes a vapid reference to terrorism (not to mention completely compromises Chesterton’s message) remains buoyant in the hands of director and cast. (Monica Westin)

At the Lincoln Park Cultural Center, 2045 Lincoln Park West, (773)516-3546. Through November 21.

Profoundly weak on all fronts, this adaptation of the much-loved cartoon and novel by Peter S. Beagle loyally follows the fairy-tale journey of a unicorn in search of her kind, but the show creates no momentum or magic of its own. Everything about the “The Last Unicorn” feels amateurish. Art direction, with an endless falling-flower-petal motif, halfhearted medieval costumes and a harpie in a velvet unitard, is cheap and trite. Acting is wildly uneven, somehow both uncontrolled and stilted (the songs are worse). The pacing, however, is what keeps the story from ever getting off the ground, glacially slow with overwrought, overexplained scenes that destroy any sense of tension and excitement. The play, adapted by Ed Rutherford, aims for playful, with some punning and clever one-liners, but they fall flat under his own direction. One senses an underlying lack of control about the whole production; scenes combine dragging, stilted exchanges with sudden chaotic fights and sprints offstage. And when a troupe of unicorns—signified by actors wearing half-togas over black pants—come leaping out of the ocean (a yard of purple fabric) and pirouette in the air, it’s hard to muster the suspension of disbelief needed to feel any fairy tale magic. (Monica Westin)

At City Lit, 1020 W. Bryn Mawr, (773)305-2897. Through November 14.

Here’s the press release from American Blues:

A REBORN AMERICAN BLUES THEATER ANNOUNCES ITS

2009 – 2010 SEASON AND A RETURN TO ITS ARTISTIC ROOTS

Nov. 16 “Rebirth of Blues” Benefit with Special Guest Olympia Dukakis

Kicks off ABT’s 24^th Season

“It’s a Wonderful Life:  Live at the Biograph!” Opens Dec. 3

CHICAGO – American Blues Theater (ABT) Chicago’s second oldest Equity ensemble company, today announced its 2009-2010 Season.  The award-winning ensemble-based company will open its 24th season under its original name with a symbolic return to its first artistic home, Victory Gardens Theater, for “It’s a Wonderful Life: Live at the Biograph!” Marty Higginbotham returns to direct a new adaptation of the classic story based on the Frank Capra masterpiece and performed as a period radio piece. It runs Nov. 27 – Dec. 27 in the new Studio at Victory Gardens Theater at the Biograph, 2433 N. Lincoln Avenue, Chicago.  Press opening is Thursday, Dec. 3.  Tickets are $20 – $30 for previews (through Nov. 29); $50 for Dec. 3 press opening; and $30 – $40 for the regular run.  Tickets go on sale Tuesday, Nov. 3 at 12 noon at the Victory Gardens box office, 773-871-3000.

“ABT’s 2009 – 2010 season is an expression of our belief that this is the moment in time to reflect, reinvent and reconnect with our communities,” says Carmen Roman, long-time ABT ensemble member and an executive artistic administrator.  “There are many parallels to the challenges Americans are experiencing now and the experiences of the 1930s and 1940s, so ABT has created a season that examines our world in the context of World War II and the Great Depression.”

Other shows in the season include Jack Kirkland’s 1933 classic “Tobacco Road”(May – June 2010) and “RIPPED: The Living Newspaper Project” (Fall 2010), a new project by ABT founding ensemble member Rick Cleveland, fellow ensemble members Tania Richard and Gwendolyn Whiteside and a wealth other writers, musicians, dancers, singers, actors and directors from Chicago and across the country.  Show dates, venue and ticket prices will be announced at a later date.

Chicagoans will have the opportunity to preview a few “RIPPED” selections when Academy Award-winner Olympia Dukakis reads a passage written by Eduardo Machado at ABT’s The Rebirth of Blues Benefit at Bridgeview Bank, 4753 N. Broadway, Chicago, Monday, Nov. 16 from 6:30 p.m. – 8:30 p.m.  The evening’s program will also include Dennis Zacek reading a passage written by Rick Cleveland, and other special guests. Tickets are $75 ($125 VIP tickets include a 5:30 p.m. private reception with Dukakis).  For more information visit americanbluestheater.com.

Heather Meyers, Roman and long-time ensemble member Gwendolyn Whiteside serve as the executive artistic administrator triumvirate created for this re-energized organization. “With this renaissance, American Blues Theater reconnects to its artistic roots, both symbolically and literally,” says Whiteside.  “We pride ourselves in having a multi-generational ensemble where original members work alongside the next generation of ensemble members.  This adds a rich dimension to our work and enhances our ability to form relationships with our audiences from the moment they step into the theater.”

Founded in 1985, American Blues Theater is known for its gritty, uncompromising style. The company has produced more than 70 shows, many award-winners, including 40 regional/Chicago and world premieres.  Ensemble member plaudits include more than 60 collective Joseph Jefferson nominations, 10 Jeff awards, two Writers Guild awards, four After Dark awards and one Emmy.  Ensemble members have been seen in 80 films, 120 television appearances and nine Broadway shows as well as at theaters throughout America.

In 1993, ABT leased a space at the corner of Byron and Lincoln and in 1997 changed its name to American Theater Company (ATC).  In parting with ATC and reclaiming its original name, the American Blues Theater reaffirms its commitment to producing American classics and creating new ones that serve as a mirror for audiences to better understand themselves and their world.  ABT is theater that reaches out: talking to audiences, inviting feedback in person and via all forms of electronic communications, and doing outreach in local communities.

“I had a wonderful time helping the fledgling ABT years ago,” says Dennis Zacek, artistic director of Victory Gardens Theater, “and I’m thrilled to be working with them again because I believe the work of the ABT ensemble is vital and important to Chicago’s theater community and our city as a whole.”

The current ABT ensemble includes Dawn Bach, Ed Blatchford, Matthew Brumlow, Kate Buddeke, Casey Campbell, Rick Cleveland,Dennis Cockrum, Lauri Dahl, Tom Geraty, Cheryl Graeff, Lindsay Jones, Kevin R. Kelly, Ed Kross, James Leaming, Heather Meyers, John Möhrlein, Jim Ortlieb, William Payne, Suzanne Petri, Tania Richard, Carmen Roman, Editha Rosario, John Sterchi, Stef Tovar and Gwendolyn Whiteside.

The American Blues Theater is supported by a passionate board that includes James Leaming, John Fenton, Michael Colky, Ken Shanoff, Wendy Whiteside and five original American Blues board members:  Joan Esposito, Lawrence Schulmann, Jan Sugar, Mary Suma and Scott Suma.  Says returning founding board member Mary Suma, “I’m elated to be back supporting ABT’s special brand of gutsy theater.  This talented ensemble has always been willing to tell the untold stories, give voice to the little guy and girl and take great artistic risks.  Bravo!”

American Blues Theater is a 501 (c)(3) not-for-profit arts organization.  For more information call 773-628-3526, or emailinfo@americanbluestheater.com or visit americanbluestheater.com.

AMERICAN BLUES THEATER’S 2009-2010 SEASON

“It’s a Wonderful Life: Live at The Biograph!”

Nov. 27 – Dec. 27, 2009 (Press opening Thursday, Dec. 3)

The Victory Gardens Studio at The Biograph 2433 N. Lincoln Avenue in Chicago.

The classic story, based on the 1946 Frank Capra masterpiece is performed as a period radio play complete with commercial breaks.  The same creative team who brought this classic piece to Chicago audiences for six years once again brings the town of Bedford Falls to life, this time with a new adaptation at the new Victory Gardens Studio.  Marty Higginbotham directs.  Tickets are $20-$30 for previews (through Nov. 29); $50 for the Dec. 3 press opening and $30 –$40 for the regular run through Dec. 27.  Tickets go on sale Nov. 3 at 12 noon at the Victory Gardens box office, 773-871-3000.

“Tobacco Road” by Jack Kirkland

May – June 2010

Director, dates, location and ticket prices to be announced.

“Those who ignore history are doomed to repeat it.” Written during the Great Depression, “Tobacco Road” is the second-longest-running non-musical play ever performed on Broadway.  It is a sharp, unrelenting, sometimes wickedly funny depiction of a world transitioning from an agricultural society to the Industrial Age.  Its main character, Jeeter, embodies the inability of some to make the transition, holding onto outdated modes of operating even when it heralds his own demise.  This play celebrates the acting and design skills of the ABT ensemble in the same style Chicago audiences have come to expect from this venerable company.

“RIPPED: The Living Newspaper Project”

Fall 2010

Director, dates, location and ticket prices to be announced.

“RIPPED: The Living Newspaper Project” is based on the 1930s WPA-era program that brought writers like Orson Wells, Arthur Miller and Clifford Odets into public attention.  Examining America’s past and navigating present times, the artists will incorporate scripts from the original 1930s Living Newspaper and juxtapose them with new material “ripped” from today’s headlines.  Like the original productions, the artists will incorporate vaudeville, traditional scenes, music, dance and visual arts with more contemporary components such as electronic media.  Award-winning ABT Ensemble members Rick Cleveland (an ABT founder), Tania Richard and Gwendolyn Whiteside will contribute, as will such Chicago forces as SL Daniels, Jeff Sweet, Keith Huff, Nambi E. Kelly, Brett Neveu and many other writers, musicians, dancers, singers, actors and directors from across the country.  This work will be developed through a series of readings.

For more information about ABT’s 2009-2010 season, visit americanbluestheater.com

Rene Pape/Photo: Dan Rest

RECOMMENDED

It used to be that Gounod’s “Faust” was the most popular opera in the entire repertoire, bar none. It was “Faust” that opened the old Met in 1883—in Italian, no less—and its popularity was such that a performance of the work opened nearly every opera season, every year.  It was Gounod’s “Faust” around which Gaston Leroux set his “Phantom of the Opera,” and the 1925 Lon Chaney film version actually included entire scenes from the opera. Indeed, when speaking of his twelve years spent as a music critic, George Bernard Shaw used to joke that ten of those were spent listening to “Faust.” Even in Germany, where Goethe’s “Faust” is a religion all of its own, the opera has always been popular, though so unfavorably compared to Goethe that German-speaking countries often presented the opera as “Marguerite” in deference to the German poet.

At Lyric Opera, “Faust” has always been popular, and even as it became less performed in other houses, Lyric kept the “Faust” tradition burning brightly. Read the rest of this entry »

Here’s the press release from Light Opera Works:

Light Opera Works Announces its 2010 Season

Evanston, IL: Light Opera Works’ 2010 season will begin with Gilbert and Sullivan’s THE YEOMEN OF THE GUARD (June 4 -13) on Light Opera Works’ Main Stage, followed by Rodgers and Hammerstein’s CAROUSEL (August 14 – 29). The company will present Tom Jones and Harvey Schmidt’s, I DO! I DO! (October 8 – November 14) on the Second Stage in the fall and end the season with Jerry Herman’s HELLO, DOLLY! (December 26 – January 2). The Light Opera Works Box Office is located at 927 Noyes St. in Evanston. To purchase tickets call (847) 869-6300 or order online at LightOperaWorks.org Read the rest of this entry »