Lulu (Lyric Opera) - 11/10/08

"Lulu" is being given a rare rendition at the Lyric Opera of Chicago. Adapted from Frank Wendekind's (of "Spring Awakening" fame) play, Berg's opera follows its archetypal femme fatal through a series of scenes, with each episode marking steps in her (still) shocking decline. I suspect that this will be for me one of those defining nights at the opera. It is simply sensational. The production is fully realized, stylishly designed, and breathtakingly sung/acted. Led by the stunning Marlis Peterson in the title role, the entire cast identified completely with not only the music, but the spirit of the story, as well as it's director's vision. This is one of those nights when you don't dispute that opera is the ultimate artform.

Rating: ****1/2 (out of *****)

Belle Barth: If I Embarrass You, Tell Your Friends (Theo Ubique) - 11/9/08

"Belle Barth: If I Embarrass You, Tell Your Friends" is a new musical being presented by the Theo Ubique folks at the intimate No Exit Cafe up in the Rogers Park Neighborhood. The show charts the career of Belle Barth, the revolutionarily gaudy and naughty comedienne of the 1950s. There is nothing extraordinary about this musical biography: the songs are pleasant enough and after a while, the lack of variety (how many sex jokes can you possibly fit in 90 minutes?; you'll find out with this show) wears on the the watcher. But Bethany is giving a star turn here. I've long admired her BIG voice, but here she shows a vocal subtlety and sensitive comedic touch that I'd not seen before.

Rating: **1/2 (out of *****)

The Glass Menagerie (Steppenwolf Theatre) - 11/8/08

Like all great works of art, "The Glass Menagerie" by Tennessee Williams warrants repeated viewings; and the great thing about theater as an art form is a text's ability to take on different perspectives from production to production, let alone performance to performance. I've seen "Menagerie", a memory play structured as a series of snapshot scenes of a family struggling in Missouri during the Great Depression, numerous times now. What's amazing is the impact it repeatedly has: every time I see it, the play breaks my heart as if I were watching it for the first time. The current all-African American production at the Steppenwolf Theatre is a beautifully acted, simply and sensitively staged affair. Special kudos to the two women in the cast, Shanesia Davis (Amanda) and Nambi Kelley (Laura). They are giving vividly inhabited performances, and the fading images of them at the end of each act alone on the stage of Tom's mind's eye are utterly heartbreaking.

Rating: ***1/2 (out of *****)

Radio Macbeth (Court Theatre) - 11/8/08

SITI, a New York-based experimental theater company, is once again visiting Court Theatre with "Radio Macbeth", their adaptation of the the Scottish Play. A lot of things work here. I particularly enjoyed the the soundscape, which draws heavily from radio sound design techniques. Also worth mention are the moody, precise lighting design, as well as the seamlessly physical ensemble work (which the troupe exhibited so finely in "Hotel Cassiopeia", their previous project at the Court). However, some of the individual performances just pass for adequate, and I thought the play-within-a-play approach felt overly forced. Overall, a refreshing look at Macbeth.

Rating: *** (out of *****)

Shadowlands (Redtwist Theatre) - 11/6/08

"Shadowlands" by William Nicholson tells the love story that develops between C.S. Lewis and American poet Joy Gresham. It's well-written tear jerker of a play that is unfortunately being given a shaky revival by Redtwist Theatre. Redtwist regulars Brian Parry (who was wonderful in the theatre company's excellent "Equus" a few seasons back) and Jacqueline Grandt as Lewis and Gresham, respectively, fail to convey the characters' inner struggles, which is the tension that the play is based on. Additionally, much of the design elements (sets, costumes, sound) need to be spruced up.

Rating: *1/2 (out of *****)

Margaret Garner (Auditorium Theater) - 11/2/08

"Margaret Garner" is the accessible yet powerful new opera with music by Richard Danielpour and libretto by Toni Morrison. Based on a true story, the opera centers on the Medea-like plight of Margaret Garner, a slave who tries to escape, is recaptured, and kills her children for fear of their fate in slavery system. Tragic stuff, which is aided by Mr. Danielpour's eclectic, Americana-esque music, and Morrison's precise, succinct (a must in opera) libretto. The opera is performed and staged beautifully by a crack team, led by Broadway director Kenny Leon and opera diva Denyce Graves (who made a splash as Carmen at the Lyric Opera a few seasons back). Although the conclusion of the opera could be refined to make a more powerful statement, this is equally great theater as it is great opera. And what a joy to hear grand opera at the acoustically peerless Auditorium Theater!

Rating: *** (out of *****)

Celebrity Row (American Theatre Company) - 11/1/08

The American Theatre Company is currently presenting the world premier of the revised version of Itmar Moses's "Celebrity Row". This is the second world premier that I've seen from the playwright, as I saw "Back Back Back" in San Diego just two weeks ago. "Celebrity Row", which is a political fantasia with some of the most "celebrated" criminals of the last few decades leading a debate on ideological differences: Latin Kings leader Luis Felipe, WTC bomber Ramzi Yousef, OK City bomber Timothy McVeigh, and Unabomber Ted Kaczynski. Some of the discourse is stimulating and much of the staging by the talented David Cromer is artfully insightful, but the play itself seems unneccessarily fussy and lacks the dramatic trajectory of (the more structurally simple yet provocative) "Back Back Back".

Rating: **1/2 (out of *****)