Interludes

REPORT CARD: Catching up with the Great Dames of the Chicago Performing Arts Scene

• By drediman
• April 22, 2014
• No Comments

This past holiday weekend, I had the privilege of spending some time in Chicago, a city in which I had spent more than a decade of my adult life. Of course, I jumped at the opportunity to see what some of the great dames of the Chicago performing arts scene were up to (I caught up with the CSO, Goodman, Chicago Shakespeare, Lookingglass, and Steppenwolf). I am happy but not surprised to report that all is well and good. It was quite rejuvenating to take in some sensitively presented, workmanlike Chicago-built shows, especially amidst the barrage of glitzier (not necessarily a good thing), high profile Broadway openings back east in New York. Despite being increasingly thrust into the national spotlight, I find it encouraging that most of these Chicago troops have remained true to the adventurous spirit and aesthetics of their fabled humble beginnings while enhancing production values to thrillingly fill larger performance spaces and reaching wider audiences. Here are my thoughts.

Chicago Symphony Orchestra

I attended a packed matinee on Good Friday and had no doubt that the CSO would deliver. I was right. At this performance, the world-renowned orchestra played an enticingly eclectic program under the baton of Leonard Slatkin, which included Schuman’s somber Symphony No. 6, Bates’ rhythmic Violin Concerto (featuring sweet playing by Anne Akiko Meyers), and Gershwin’s evergreen “An American in Paris” (****). The orchestra sounded elegant and crisp, yet infused with presence and joy. And yes, the brass section was as golden as ever, particularly in Gershwin’s popular and sparkling ballet score, a fitting piece for the long-awaited onset (one could only hope after the winter we’ve had) of spring.

Goodman Theatre (via Albany Park Theater Project)

That Friday night, I was able to swing by the Goodman to catch the Albany Park Theater Project’s “God’s Work” (***), which continues the Goodman’s commitment to the community and diversity. The play is a powerful ritual-driven play that tells the story of Rachel, a girl who survives, along with a large litterful of siblings, years of horrifying physical  and emotional abuse from their father. It’s no help that their mother is shockingly ineffectual; she’s heartbreakingly distant and emotionally-absent. The exciting thing about this production was not only that the multiethnic cast was comprised of 14 to 19 year olds, but that they were able to pull off a show as stylistically sophisticated and assured as this one (despite the abrupt turn of events in the plot, but that’s a minor quibble). I’m sure the young cast’s experience with the Albany Park Theater Project on this production and the opportunity to perform on the great Goodman stage will become an inspirational, profound experience for them as they move on through life.

Chicago Shakespeare Theater

The next day, I made the trip to Navy Pier to attend a performance of Stephen Sondheim and John Weidman’s “Road Show” (****), courtesy of the Chicago Shakespeare Theater. Years ago, I had seen the previous iteration of the work based on the real-life adventures of the Mizner brothers (at that time entitled “Bounce”, directed by the legendary Hal Prince) at the Goodman Theatre. Then, I admired the show but thought it had trouble sustaining momentum given its episodic “Candide”-like structure. “Road Show” now far more successfully runs a leaner and meaner 95 minutes without an intermission, in contrast to the two-and-a-half hours of “Bounce”. The changes include excising characters and streamlining the story, in addition to reconstructing some of the lyrics and re-assigning songs amongst the characters. The resulting work is a completely engaging, even thrilling, fever dream of a musical (directed here by Sondheim expert Gary Griffin with low-key sensitivity yet to slicing effect) that probes the motivations behind and the road to achieving the American Dream (is there one?) and  the knock-on consequences on the personal life, particularly as it relates to family. The stellar Chicago-centric cast includes some of the best work I’ve seen from them, particularly Michael Aaron Lindner’s aching performance as constantly victimized Mizner brother. This “Road Show” continues the impeccable track record of superb Sondheim revivals, thanks in large part to director Gary Griffin, at the Chicago Shakespeare.

Lookingglass Theatre

On Easter Sunday afternoon, I caught a preview performance of Sara Gmitter’s “In the Garden: A Darwinian Love Story” (***1/2), a world premiere at the Lookingglass. The show centers around the touching love story between Charles Darwin and his wife Emma despite the ideologic void that separates them (reminiscent of William Nicholson’s play “Shadowlands”). As I sat there, I humorously thought that this would be a perfect show for members of Congress to attend. I admit that on paper, I was a bit skeptical of the premise, thinking that the results could be cloying. In performance, however, the experience was sweet (in the best sense of the word) as expected, but also tinged with a sadness and ambiguity that enhanced the humanity of the play. Chicago actors Andrew White and Rebecca  Spense gave lovely complimentary performances, highlighting the tenderness and vulnerability in their characters. Deluxe casting extended into the supporting roles, with Cindy Gold endearingly playing various characters. Kudos to Jessica Thebus for coaxing subtler shades from the typically bold-colored-leaning Lookingglass resources.

Steppenwolf Theatre

I rounded out my Chicago theatergoing with “Russian Transport” (**1/2) by Erika Sheffer at Steppenwolf’s Upstairs Theatre, which chronicles the disintegration of a Russian immigrant family in Brooklyn. All over again, I fell in love with Steppenwolf’s brand of piercing ensemble acting, particularly from the wonderfully talented trio of Mariann Mayberry (who seems to be really coming into her own since her turn in “Good People”), Alan Wilder, and Tim Hopper. However, I had some reservations about both the play and the production. Some of the characters didn’t seem to allow you into their inner lives (I don’t place blame on the actors, whom I thought were excellent), resulting in creations that seemed more like caricatures then three dimensional people and situations that didn’t ring true. The production, directed by ensemble member Yasen Peyankov, also featured a set which created an awkward distancing effect between the actors and audience, as opposed to the voyeuristic experience (I assume) intended.