It will always be “an odd opera out” among the late Mozart masterpieces that precede and surround it, but “La clemenza di Tito” (The Clemency of Titus) is also much more than a checklist title for musical completists. Mozart wrote “Clemenza” hastily — and for …
While “Riverdance” incorporated percussive forms beyond Irish step dance, including flamenco and American tap, “Heartbeat of Home” further embraces the contemporary global beat with the addition of Latin and Afro-Cuban music and dance, creating sequences inspired by the tango, salsa, hip-hop and the cross-pollination of all these forms.
Let’s have a little fun and consider just where you can find the Seven Deadly Sins on display in productions either on (or soon headed to) Chicago stages.
When Robert Battle assumed the artistic leadership of the Alvin Ailey American Dance Theater in 2011, he stepped into the formidable footsteps of Ailey himself, who created his unique company of African-American dancers in 1958, and dancer Judith Jamison, who helped keep the company alive …
The Dunham Fund has pledged a $250,000 challenge grant to the Aurora Civic Center Authority.
Usually by about the 10th or so year of a stage musical’s tour, the seams start showing. Corners are cut. Actors of minimal experience and comparable salary demands are brought in. The orchestra gets smaller. Happily (a cynic might say quite surprisingly) that’s not the case with “Chicago.”
HEDY WEISS: Three cheers for all the champions in the ring — and there are many of them — in this knockout revival of Clifford Odets’ 1937 classic.
HEDY WEISS: “Changes of Phase,” a collaboration with Studio Gang Architects, feels unfinished, but “Tsuru” arrives fully polished.
Revue at Theater at the Center sounds terrific but falters whenever the music stops and the attempts at dialogue begin.
If you enter Profiles Theatre these days, where British playwright Michael Bartlett’s provocatively titled “Cock,” is receiving a blistering Midwest premiere, you will find yourself in a classic cockpit arena that instantly turns you into a spectator. But there are no birds here.
The director takes a serious, stylish approach to Dvorak’s opera of a prince and his doomed love affair with a water nymph.
HEDY WEISS: The title of British playwright Peter Shaffer’s ever-fascinating meditation on genius and envy, now in an astonishingly fine revival by BoHo Theatre, captures the very essence of the story.
Theoretically, dance and architecture have common elements. They both deal in form and function. Evanston native Melissa Thodos, founder and artistic director of Thodos Dance Chicago, has found a way to blend the two disciplines.
Everyone has past experiences that helped determine their future. For actress/director Polly Noonan this moment came in her teenage years when she took classes at the Piven Theatre Workshop. Throughout her career, it is the place she returns to over and over “to be restored.”
The Metropolitan Opera recently presented its Live from the Met production of the Dvorak opera, “Rusalka,” in movie theaters. (A different production of “Rusalka” will open Feb. 22 at the Lyric Opera of Chicago.) So what are the pros and cons of seeing grand-scale opera, …
HEDY WEISS: The immigrant’s yearning for more drives Erika Sheffer’s fierce and fevered play “Russian Transport,” now receiving a scorchingly acted production at Steppenwolf Theatre.