A program note for “Sherlock” – the high-styled Canadian-bred show with a script by Greg Kramer that riffs on the stories of Sir Arthur Conan Doyle – gets right to the point: “Late 19th century London. That great cesspool into which all the loungers and idlers of the Empire are irresistibly drained.”
“Not in a million years” did Abby Mueller ever think she’d star in “Beautiful – The Carole King Musical,” the hit Broadway musical for which her sister, Jessie, won a Tony Award. Then she was chosen to play the role in the show’s first national tour. The production arrives at Chicago’s Oriental Theatre for a 12-week engagement beginning Dec. 1.
It is not very often that a character on stage is so real, so bereft, and so lonely that you just want to jump out of your seat and give him a consoling hug. But Eddie, the central character in Samuel D. Hunter’s heartbreaking play, “Pocatello” – now in its Midwest premiere by Griffin Theatre – generates just that impulse.
The winners of The Black Theater Alliance Awards (BTAA) for productions of the 2014-15 season were announced Monday, Nov. 16 at the Harold Washington Cultural Center. The Black Ensemble Theater’s rousing revue, “Men of Soul,” was named outstanding production of the season. “The Project(s),” American Theater Company’s superb exploration of the history of public housing in Chicago, was cited for best ensemble.
Shakespeare 400 Chicago, the yearlong international festival that will run throughout 2016, and is designed to commemorate the four hundred years since Shakespeare’s death in 1616, has announced the events planned for Jan. through March, 2016.
Sure, it’s a utopian fantasy. But who wouldn’t cheer for a man who has avoided paying taxes for decades, who ditched his deadening job in favor of happiness, and who has somehow managed to care for his family, allowing each person to pursue his or her passion?
If time, money and logistics were no issue, you could conceivably fly to Greece, visit 21 different museums in Athens, Thessaloniki, Pella, Mycenae, Vergina, Delos, Sparta and Herkleion (on the island of Crete).
But, with the arrival of The Field Museum’s newest exhibition, “The Greeks: From Agamemnon to Alexander the Great,” you can see 500 priceless, widely varied artifacts that rarely are permitted to leave the country, and that span 5000 years of history, from the early 6th millennium B.C. to the first couple of centuries B.C.
It is no accident that choreographer Gordon Peirce Schmidt has a fascination with gypsies. As he explains it, at least one of the reasons behind the creation of his latest full-length contemporary ballet, “Day of the Gypsy” – an RPM Production that will receive its world premiere Nov. 21 and 22 at the Harris Theater for Music and Dance – has to do with his grandfather.
These days John Logan is best known for his screenplays for the James Bond movies “Skyfall” and “Spectre,” the television series “Penny Dreadful,” and his 2010 Tony Award-winning play, “Red,” about the artist Mark Rothko. But the earliest indication of Logan’s dramatic skill manifested itself back in the early 1980s when, while still an undergraduate at Northwestern University, he wrote his first play, “Never the Sinner,” now receiving a riveting revival at Victory Gardens Theater.
Court Theatre’s stark but scorching new production of Aeschylus’ “Agamemnon” – the second in a trilogy of plays translated with clarity and poetry by Nicholas Rudall, directed with sinewy precision by Charles Newell, and produced over three seasons – is a fine example of the economy with which the Greek tragedians could work.