Dancers, perhaps more than any other group of performing artists, have been hit hardest, both artistically and financially, by the fallout from the coronavirus. So this year’s Dance for Life 2020 event will feature a new virtual format.
Hedy Weiss: Theater Reviews
How do you design a pandemic-era theater season? The Glencoe-based theater has devised a multifaceted plan that combines a degree of certainty with the option of built-in flexibility, with the ultimate goal of keeping live theater alive.
Amid all the dire warnings that live performances might not start up again until 2021, the news that the richly creative company plans to begin its three-production season in November comes as an enormous spirit-raiser.
With all the uncertainty facing theaters and their audiences, the Goodman Theatre is postponing the four productions remaining in its current spring and summer 2020 season, and will announce additional shows for the coming season at a later date.
The decision to cancel the season was made with the “health and safety of the festival’s artists, staff and neighbors,” in mind, Ravinia’s President and CEO Welz Kauffman said in a statement.
With 10 nominations, Griffin Theatre led the pack on a list that serves as a vivid reminder of the exuberance of pre-pandemic times on Chicago stages. But it suggests what has been lost, too.
Lyric’s canceled productions of “42nd Street” and “Blue” are now slated to run in 2022 and 2021, respectively. Meanwhile, the Chicago Symphony Orchestra is partnering with WFMT on a series beginning next week.
Because Chicago is the storefront theater capital of this country, it’s worth looking at the situation now facing some of these small companies and how they are trying to deal with the global pandemic.
Lookingglass Theatre’s dazzlingly performed world premiere production is a theatrical and sociological gem of a work that should catapult its writer-director, ensemble member J. Nicole Brooks, to genuine fame.
Chicago’s dance card is full to bursting. And one of the city’s most beloved “visitors” – the Alvin Ailey American Dance Theater – is now drawing its usual huge crowds to the Auditorium Theatre.
When it comes to revivals of Henrik Ibsen’s plays in this era of neo-feminism, “A Doll’s House” attracts the most attention. But it is the title character in “Hedda Gabler” who takes the cake. And in this new production, she has never been more compelling and convincing.
Many of the concerts at Symphony Center are one-time-only events for which Orchestra Hall’s 2,500 seats are nearly sold out. But attention must be paid to the hours of remarkable music-making brought to the stage. Here are a few recent cases in point.
In 90 uninterrupted minutes of altogether irresistible satire, Robert Dubac – an actor, writer, comedian and grand master of sleight-of-hand (and mind) – ingeniously nails the current regrettable state of the nation and the world at large.
Lynn Nottage’s 2018 play about the savage slaughter and potential decimation of Africa’s “big tusk” elephant population, and the illicit trade in ivory that drives it, is a stunning piece of work – equal parts poetry, ritual and an anatomy of corruption.
What Maestro Riccardo Muti and the orchestra have made continually clear throughout this year of celebrating the 250th anniversary of Beethoven’s birth is how thrillingly modern the composer’s work can feel.
A coming change of venue for the Joffrey Ballet is a major shift, and its initial opening season will be of great importance, especially since it also will mark the 25th anniversary of the Joffrey as a formidable Chicago cultural institution.