By Ian Rigg After a century of staid productions and the lens of modern social mores, it can be difficult to believe Henrik Ibsen’s work could ever be shocking. But sure enough, his premieres made audience members walk out. Call TUTA Theatre’s cool new adaptation Hedda and the Angry Ibs: in the spirit of Ibsen
The musical theatre reviews featured here are written by reviewers, not critics. These impressions and opinions are from individuals passionate about musical theatre and represent, in most cases, one observation of one performance. The primary purpose in publishing reviews is to help patrons decide whether a production is a good use of their time and entertainment budget. Our reviewers are also encouraged to creatively shine a light on particularly good work done onstage and backstage, understanding that successful productions happen because of the work of many. Finally, ChicagolandMusicalTheatre's reviewers are asked to walk into a show expecting enjoyable entertainment—because that's the mindset of patrons who buy tickets to professional theatre.
Multiple listenings (cast recording, Paramount?) will be required to capture all of the Mahler/Schmuckler genius. Songs like the opening “32 Hour Bus Ride,” “Pull It Off,” “Hidden Value” and the tender “Tie Your Shoes” are but one person’s favorites; each patron will certainly find his/her/their own.
By Bryson David Hoff Staging the supernatural is a tricky affair. While theatre-going members audience are willing to suspend their disbelief for a certain level of artifice, there is still a razor-thin line between being inventive and taking the viewer out of the immediacy of a scene. This is a line that Lyric’s production of
Perhaps that’s what TATC’s “Almost Heaven: John Denver’s America” does best—memorializes the delicious canon of music with ties that bind relationships. I
With expert environment and tight direction, the other reason Shear Madness succeeds is that every actor is adept at creating a character— they have to be, because they don’t know which ending they’re performing.