Stories by Hedy Weiss

Female composers of centuries past might well have been smiling from afar Friday evening as the Chicago Symphony Orchestra, led by conductor Marin Alsop, performed a program of three works by immensely gifted contemporary female composers.

Something intriguing happens when an organ is added to the usual assemblage of symphony orchestra instruments. It’s almost as if an opera singer with a notably distinctive voice has been added to the usual “cast.” 

Pure, grand-scale magic. That is the only way to describe the Joffrey Ballet’s glorious production of “The Nutcracker,” which breaks the mold of the traditional version by being set against the grandeur of Chicago’s 1893 World’s Fair.

The exhilarating program featured five works by two composers — bassist Xavier Foley and violinist Mark O’Connor. All were superbly performed by various combinations of the composers, plus musicians drawn from the Chicago Symphony Orchestra, and guest violinist Maggie O’Connor.

Of course the performance of the concert’s three works, led with great elan and specificity by guest conductor Manfred Honeck, music director of the Pittsburgh Symphony, was superb. It was carried off with the kind of brilliance that only the musicians of the CSO can do.

Every one of the theater’s more than 2,500 seats had been snapped up for this one-night-only performance of Gustav Mahler’s wildly innovative, emotionally stunning “Symphony No. 7.” The piece is a monumental 85-minute work of great sonic magic and innovation. 

It was an evening of sheer, unadulterated delight as the Chicago Symphony Orchestra joined forces with the Joffrey Ballet on Thursday for a pair of world premieres.

In addition to the bravura performances of its dancers, the exuberant works of a number of different choreographers and the excellent group of musicians that gathered for its grand finale, the company attracted an impressively vast, immensely enthusiastic audience.

Should any further proof be needed that 2022 has lived up to its designation as “The Year of Chicago Dance,” the performances throughout the month of October alone — whether by resident companies or international visitors — serve as evidence the title is fully deserved.

A love affair between two artists who share a gift for letter-writing. And then a wonderfully devised celebration of Broadway classics. Talk about a study in contrasts. You could not have found a more ideal example of just such a pairing of personalities and styles than the unusual concert performed last week on the Lyric Opera stage by the golden-voiced soprano Renee Fleming and baritone Rod Gilfry, both of whom can shift easily between opera and musical theater.

"Swing State" is the 10th play by Rebecca Gilman to be staged at the Goodman Theatre in the past 25 years, and one of the last plays to be directed there by her long-time champion, Robert Falls, who is now working his way through his final season as the Goodman's artistic director.

The Joffrey Ballet spun onto the Lyric Opera House stage with a program of three beautifully danced works under the umbrella title “Beyond Borders.” Those “borders” were stylistic rather than geographical.

A symphonic poem of exceptional beauty by Cesar Franck. A thrilling, grand-scale performance of a masterwork by Modest Mussorgsky. And a breathtaking rendering of a Mozart piano concerto featuring a young, award-winning pianist.

As any traveler will tell you, a trip to Spain is invariably a great treat. But an evening spent with Chicago's Ensemble Español Spanish Dance Theater is, unquestionably, an ideal temporary substitute.

“Refraction” is the all-encompassing title of Hubbard Street Dance Chicago’s fall program at the Harris Theater for Music and Dance, and it marks the start of the celebrated company’s 45th anniversary “Sapphire” season.

What truly set Orchestra Hall on fire came in the second half of the program as Maestro Riccardo Muti, in subtle but wonderfully expressive balletic form, led an altogether blazing performance of Prokofiev’s “Symphony No. 5 in B-flat Major,” a 1944 masterwork composed at the height of World War II.

Lynn Nottage’s most recent play, “Clyde’s — a nominee at last year’s Tony Awards that is now receiving a production at the Goodman Theatre — deals with a rarely explored but crucial issue. It’s the matter of the extreme difficulty faced by those who have been incarcerated and who, upon release, find it all but impossible to find a job.

One day before Ukraine was invaded by Russia earlier this year, the company unknowingly boarded one of the last flights out of Kyiv to Paris, the first stop on a planned tour. The company has not returned home since then.

If you needed to be reminded of the glorious sound Maestro Riccardo Muti has nurtured during his 13-year tenure as music director of the Chicago Symphony Orchestra, Thursday evening’s concert, marking the start of the 2022-23 season, served as a perfect example.

“The Garbologists” is an engaging, sharply written, and cleverly titled two-character play by Lindsay Joelle now receiving its first professional production by Northlight Theatre. The production follows two garbage collectors who have a competitive tension and developing connection. 

Scaled to opera house grandeur, the production involves a total of 100 performers including a cast of strong actors, an ensemble of sensational dancers, a large chorus and the full Lyric Opera Orchestra.

In addition to its ideal cast, it is the seamless and often breathtaking dance sequences that set this production of “Hello, Dolly!” at Marriott Theatre apart. 

“I don’t come here to shame the founders (of our country), or in the case of my play, their spouses,” playwright James Ijames writes. “I come here to test the strength of their ideals.”

Court Theatre has opened its 2022-23 season with “Arsenic and Old Lace,” Joseph Kesselring’s maniacally zany 1941 Broadway hit that is probably most widely known by way of its 1944 film version starring Cary Grant and Boris Karloff.

“It Starts Now” is not an easy work to describe. It is a transfixing physical manifestation of human existence — epic in its emotional tension, its simultaneously real and mystical aura and its remarkable dancing.

It was in 1919 that Chagall assumed the position of commissar of arts for Vitebsk and founded the Vitebsk Art School, which opened its doors to all who wanted to pursue their artistic dreams. That marks the setting for a world premiere play.