Stories by Hedy Weiss

Both events served as the latest vivid illustration of why 2022 has rightly been designated “The Year of Chicago Dance.”

“Chopin & Liszt in Paris” is the latest “musical film” created by Hershey Felder, widely known to Chicago audiences for his years of live performances in the city. Felder portrays the flamboyant Liszt, but he performs a great deal of Chopin’s music as he spins the story of his complex artistic relationship with that composer.

On Sunday evening, in the wake of a thunderous few days of the Chicago Air and Water Show, Enrique Mazzola, Lyric Opera’s Music Director (along with Donald Lee III, the inaugural Ryan Opera Center conductor/pianist), led the Lyric Opera Orchestra and singers from the Ryan Opera Center’s esteemed training center on the same stage of the Pritzker Pavillion.

Despite its many virtues and ambitious grand-scale staging, strong voices, daring swordplay, flamenco gypsy dances, lavish costumes, a tale of bitter sibling rivalry, political oppression and romance, plus the rousing music of the Gipsy Kings (including the irresistible “Bamboleo”) this take on the “Zorro” story needs work.

Saturday evening’s Dance for Life program at the Auditorium Theatre served as an invaluable example of what a treasure that community has become. And the annual benefit extravaganza — a grand showcase of the city’s impressive range of talent and styles — was driven by an even more crucial goal.

In a pre-Broadway Chicago tryout, “The Devil Wears Prada” musical features miscalculated costume design, a score lacking in magic and uneven direction. What’s more, the attempt to update the story for 2022 undercuts the time period so essential to both the book and film. 

Performed to breathtaking effect by the Chicago Symphony Orchestra and Chorus, along with the Chicago Children’s Choir, and a brilliant assemblage of instrumental and vocal soloists, the concert was superbly led by Marin Alsop, Ravinia’s chief conductor.

A wildly exuberant, ideally performed, fabulously designed production of “Priscilla Queen of the Desert”  — superbly directed and choreographed by the ever formidable Christopher Chase Carter — has come to the stage of Chicago’s Mercury Theater.

For the past few years, the prolific, multi-talented Hershey Felder — who forged his career in the U.S., and then moved to homes in Paris and Florence — has taken a new direction in the form of an ever-expanding series of what he has dubbed “musical films” that are available for screening on the web.

Among the many charms of “Dear Jack, Dear Louise,” Ken Ludwig’s beguiling play about his parents’ courtship during World War II, is the way it suggests the power of handwritten letters. 

A painfully honest look at the relationship between a husband and wife, and a father and his two sons, the play captures a sense of the generational turmoil in one Pittsburgh family. And, along the way, Wilson subtly presages the more overtly revolutionary era that will unfold in the 1960s.

A combination of admiration, disillusionment, guilt and pain drives “Life After,” the musical with a book, music and lyrics by the young Canadian-bred Britta Johnson. The 90-minute show is now running at the Goodman Theatre.

Felicia Fields, the Chicago-based actress who won a Tony Award for her work in the Broadway production of “The Color Purple,” radiates joy and a good bit of mischief in this stellar production at Writers Theatre in Glencoe.  

Based on the iconic 1953 Universal Pictures film that was inspired by the writings of sci-fi master Ray Bradbury (who grew up in Waukegan, Illinois), “It Came From Outer Space,” the zany new musical now in its world premiere at the Chicago Shakespeare Theatre, is so crazily “in and out” of this world that it is irresistible.

An audience of 12,000 people poured into Millennium Park Monday evening to hear maestro Riccardo Muti lead the Chicago Symphony Orchestra in a thrilling performance of works by Shostakovich and Tchaikovsky on the Pritzker Pavilion stage.

Thursday evening’s bravura production was a major event in Muti’s penultimate season as the CSO’s music director. And it was a grand homage to both the composer whose work he has long cherished, and the orchestra he has embraced and nurtured since becoming its music director in 2010.

The Flint water environmental catastrophe, with its strong racial overtones, is at the core of “cullud watta,” the expertly written play by Erika Dickerson-Despenza. Her powerful story of three generations of Black women, now receiving a fiercely emotional regional premiere at Victory Gardens Theater, is a model for how to fully humanize a social crisis.

With the pandemic still bedeviling live performance these days understudies have become heroic figures. Now, the Chicago Symphony Orchestra has its very own “last minute hero” story, too. 

Performed earlier this month, a trio of Chicago Symphony Orchestra concerts led by guest conductors and featuring guest violinists deserve to be chronicled.

Tony Award-winning Broadway star Kelli O’Hara performed a bravura solo concert Thursday accompanied by that ever dazzling “band,” the Chicago Symphony Orchestra.

The production not only ideally captures the mix of the comical, satirical, fantastical and romantic aspects of Miguel de Cervantes’ story, but with its beautiful sets, costumes, projections, puppets and aerial tricks it also is an ideal showcase for the Joffrey.

Michelle Renee Bester’s 90-minute show is a quasi-autobiographical story that pays homage to her late grandmother. It spins an intriguing psychological family drama that homes in on the particular fears, frustrations and needs of each of that woman’s four rather different and troubled grandchildren. 

“Ain’t Too Proud — The Life and Times of The Temptations” is an exhilarating, at times heartbreaking, and superbly executed musical now in an all too brief run at the Cadillac Palace Theatre in Chicago.

“Two Trains Running” is one of the finest plays in August Wilson’s renowned 10-play “Century Cycle” that captures elements of Black life in each decade of the 20th century. And Court Theatre’s latest revival of this seminal work is not to be missed.

Guest conductor Karina Canellakis led the CSO in “Brio” (by Augusta Read Thomas); Robert Schumann’s lushly beautiful “Piano Concerto in A Minor” (featuring pianist Kirill Gerstein); and finally “Ein Heldenlaben (A Heroic Life),” Richard Strauss’ sweeping, fiercely emotional tone poem.

The current touring production of “Fiddler on the Roof,” playing Chicago for only one week, is an ideal example of how “a classic” can have a whole new resonance at this very moment.