Articles by Lawrence B. Johnson
In Russian troupe’s ‘Measure for Measure,’ virtue and its opposite bear a close kinship
Review: One well might argue that Shakespeare’s “Measure for Measure” is a less than perfect play. But the neatly framed picture of hypocrisy at its core is so clear, indeed so ringingly universal in its human embrace, that it resonates in any culture. Witness the Russian-language production (with English supertitles) that officially popped the cork Jan. 27 on Shakespeare 400 Chicago, a yearlong aggregation of events dramatic and otherwise spearheaded by Chicago Shakespeare Theater. ★★★★
Chicago Shakespeare Theater lights lamps, world comes in remembrance of the Bard
Preview: This year marks the 400th anniversary of the death of William Shakespeare, and surely nowhere is that big round number being observed with greater zeal, diversity and, well, relentlessness than here in Chicago-Upon-Avon. Throughout 2016, the plays of Shakespeare, adaptations of the plays in various forms and creative applications of Shakespearean themes will be found across the metro area in a coordinated, nonstop festival dubbed Shakespeare 400 Chicago.
CHICAGO WINE JOURNAL: Burgundy’s range is reflected in two beauties from Leclerc, Gille
Tasting Report: The power, the finesse and the sheer intellectual engagement that stamp top-quality red Burgundy wines were amply displayed in youthful, sharply contrasting examples I recently tasted from two producers in the famed Côte d’Or, Domaine Gille and Domaine René Leclerc.
‘Satchmo at the Waldorf’: As Louis Armstrong nears end, he recalls a winding path to fame
Review: Terry Teachout’s “Satchmo at the Waldorf,” a one-man bio-drama on the life of jazz trumpeter Louis Armstrong, is an affecting, often surprising and raspingly funny alchemy of brass and clay. it is a lively, engaging fiction but also a credible portrait with a human heart. ★★★
CHICAGO WINE JOURNAL: Sbragia’s Merlot makes a regal splash from a bargain bottle
Tasting Report: It’s always such a smile-inducing pleasure to come upon a wine that exceeds all expectations in its price class. A terrific example is Sbragia Family Vineyards’ Dry Creek Valley Sonoma Home Ranch Merlot 2012, a wine stuffed with the goods to compete well beyond its modest price of $24.
‘Bruise Easy’ at American Theater: Miserable siblings recall childhood with Mommy dearest
Review: There’s a critical difference between a play that is intensely provocative and one that is essentially an unfinished puzzle. Dan LeFranc’s “Bruise Easy,” now in its world premiere run at American Theater Company, falls into the latter category. It is a tale fraught with sex and monosyllables, signifying we know not what. ★★
CHICAGO WINE JOURNAL: Santa Duc draws arc of splendor with old-vines Gigondas
Mulling Wine: To glimpse the poor, stony soil is to wonder how it could ever produce the grapes that Domaine Santa Duc in turn translates into some of the most seductive wine in the Southern Rhône Valley appellation of Gigondas. But the proof was there in a palate-pleasing, indeed eye-opening vertical sampler of Santa Duc’s single-vineyard, old-vine Gigondas Prestige des Hautes Garrigues.
CHICAGO WINE JOURNAL: Brancaia delivers three Tuscans that are super and then some
Tasting Report: The wines of Tuscan producer Brancaia are well worth seeking out. There’s something exceptional here to meet budgets across a wide range. An array of Brancaia wines were served at an off-beat cheese party at the East Loop Chicago restaurant Tesori, when chef Danny Sweis sliced into a new 80-pound wheel of parmesan.
CHICAGO WINE JOURNAL: With elegant 2014 Viognier, Darioush does a beauty one better
Tasting Report: One of the great pleasures of a visit to France’s Northern Rhone Valley is the luscious Viognier produced in Condrieu. I would have said it was matchless – until I had the equally happy experience of the Viognier from Darioush in California’s Napa Valley. The Darioush Viognier is a recent discovery for me. I first tasted it in the 2013 vintage – a lovely expression of white wine that in its combination of buttery depth and finesse evoked not only the Viognier of Condrieu but also the plush majesty of the top Chardonnays in Burgundy. And the newly released 2014 may prove to be even better.
Six-fold thriller: Lincoln Center chamber group makes a grand sweep of Bach ‘Brandenburgs’
Review: In a strictly transcendental sense, Bach being the quasi-divine figure that he is in the pantheon of Western art music, the traversal of his six “Brandenburg” Concertos by the Chamber Music Society of Lincoln Center, on Dec. 17 at the Harris Theater, rocked.
Two sparkling treasures to stuff a stocking: CSO’s ‘Messiah’ and Joffrey’s ‘Nutcracker’
Review: ’Tis the season when the mere names of Handel and Tchaikovsky conjure two of the most beloved works for concert hall and stage in Western culture. That affection radiates through splendorous continuing productions of Handel’s “Messiah” by the Chicago Symphony Orchestra and Chorus at Orchestra Hall and the Joffrey Ballet’s “The Nutcracker” at the Auditorium Theatre.
‘Bel Canto’ premiere at Lyric Opera delivers tragic image of humanity at unbridgeable gulf
Review: The true measure of Peruvian composer Jimmy López’s new opera “Bel Canto,” which received its world premiere Dec. 7 by the commissioning Lyric Opera of Chicago, transcends its check-list of merits as a skillfully wrought and thoroughly engaging work. It is a compelling tragedy expressive of humanity at its best and most aspiring, and at its most grievously imperfect. ★★★★★
Role Playing: Sandra Marquez, as Clytemnestra, sees an exceptional woman in the Greek queen
Interview: What would she, this modern woman, have done in the place of a legendary queen who has been abandoned by her warring husband, a man who also has sacrificed their daughter for the sake of his military campaign? That was the question on Sandra Marquez’s mind as she approached her complex portrayal of the vengeful Clytemnestra in Aeschylus’ “Agamemnon” at Court Theatre.
‘Agamemnon’ at Court: Queen welcomes king with smile and nice bath in his own hot blood
Review: Agamemnon, king of Mycenae and commander of the vast Greek expeditionary force that conquered Troy after 10 years of fighting, is home from the war at last – victorious, exhausted and, not least, wreathed in guilt. That is the proposition of Aeschylus’ tragedy “Agamemnon,” which now enters its final weekend of performances in an imaginative, keen-edged production at Court Theatre directed by Charles Newell. ★★★★★
‘The Merry Widow’ at Lyric Opera: Slow start, then Pop! – bubbles and, mais oui, grisettes
Review: If it had been opening night for the Lyric Opera production of Franz Lehár’s “The Merry Widow,” one might have understood the stark contrast between the dismal walk-through of the first act and the sustained vivacity suddenly on display post-intermission. One might have chalked it up to a calming of collective nerves. But as this was the second performance, the first-night excuse hardly applies. I daresay the show is what it seemed to be: egregiously uneven. ★★★
Berg’s high-intensity opera ‘Wozzeck’ dual firsts for veteran conductor Davis, director McVicar
Preview: He could be talking about Puccini’s “La boheme” or Verdi’s “La traviata” or Bizet’s “Carmen,” but when Anthony Freud, general director of the Lyric Opera of Chicago, says, “I would encourage anyone who has never experienced opera to give it a try,” he’s referring to none of the above. Freud means Alban Berg’s harrowing Expressionist music-drama “Wozzeck.”
Role Playing: Brian Parry says he summoned courage before wit as George in ‘Virginia Woolf’
Interview: In the thimble-size playing space of Redtwist Theatre, Brian Parry is reminded every night of the plain truth in playwright Edward Albee’s admonition to any actor who takes on the role of George, the battle-worn husband and semi-satisfied college professor in “Who’s Afraid of Virginia Woolf?” – that it will be the workout of a lifetime.
Theater 2015-16: Paint still wet on its new name, Irish Theatre of Chicago expands to third play
19th in a series of season previews: Irish Theatre of Chicago took on its present name last season some 20 years after beginning life under the banner of Seanachai Theatre. Commencing its third decade with Geraldine Aron’s one-woman show “My Brilliant Divorce,” the rechristened Irish Theatre now spreads its wings by adding a third play to its season.
Theater 2015-16: Shattered Globe celebrates twofold 25th – its own and ‘Marvin’s Room’
18th in a series of season previews: Shattered Globe Theatre opens its 25th anniversary season with a memorial tribute to Chicago playwright Scott McPherson, who died at age 33 in 1992, just two years after the premiere of “Marvin’s Room” at the Goodman Theatre. Sandy Shinner, Shattered Globe’s producing artistic director, calls this historic revival “a celebration of Scott’s life.” The season opens Oct. 4.
Mozart and Beethoven shine in hands of CSO; dust sticks to erstwhile premiere from archives
Review: What was good was very good in the Chicago Symphony Orchestra’s concert with music director Riccardo Muti on Oct. 1 at Orchestra Hall. Then came the program’s bizarre second half, which recalled the previous week’s fare and left one wondering just how weird – and musically marginal – the CSO’s 125th anniversary season will turn out to be.
Theater 2015-16: Steep gets down and grapples with Linklater premiere, more Simon Stephens
17th in a series of season previews: Founding artistic director Peter Moore says Steep Theatre’s 15th season captures the essence of what this scrappy company is all about – “ground-level views of life.” That low-angle survey begins with the world premiere of Hamish Linklater’s “The Cheats,” about two neighboring couples who suddenly find themselves uncomfortably close.
Theater 2015-16: A gentlefolk’s guide to love, murder, other diversions at B’way in Chicago
16th in a series of season previews: Broadway in Chicago’s bountiful fall series of touring shows, crammed into four performance venues – Bank of America Theatre, Oriental Theatre, Cadillac Palace Theatre and Broadway Playhouse – opens with one of the hottest new musical comedies to come out of New York, “A Gentleman’s Guide to Love & Murder,” and winds up at the holidays with the pre-Broadway world premiere of “Gotta Dance,” a testament to youth as an expression not of age but of spirit.
‘Marriage of Figaro’ at Lyric Opera: Stellar voices prevail in a farcical take on Mozart’s comic gem
Review: If Mozart’s “The Marriage of Figaro” is inherently and effectively a bittersweet comedy that edges into farce, the new production directed by Barbara Gaines that opens the Lyric Opera of Chicago season reframes it as farce that edges into cartoon. This “Figaro,” conducted by the Hungarian Henrik Nánási in his American debut, fares best where a uniformly strong cast of singers is allowed to stand and deliver Mozart’s witty, touching, brilliant and wise arias and ensemble numbers. ★★★★
‘Gem of the Ocean’ at Court: Setting a spiritual table for Wilson’s canon in a haven of peace
Review: August Wilson’s decade-by-decade portrait gallery of the African-American experience across the 20th century begins just two generations after slavery, indeed with characters who were born into shackles. To grasp the cultural resonance and progression of the last nine plays in the sequence, it’s essential to know the first one, “Gem of the Ocean,” which now unfolds in a perceptive and finely textured production directed by Ron OJ Parson at Court Theatre. ★★★★
Theater 2015-16: Victory Gardens comes out swinging with season of punches, premieres
15th in a series of season previews: The play first up for Victory Gardens Theater this season, Roy Williams’ “Sucker Punch,” might be seen as a summary statement of what fifth-year artistic director Chay Yew has tried to bring to this company. It’s a story steeped in gritty realism about two young black boxers in rundown London struggling to find meaning in life.
Shakespeare director Barbara Gaines modulates to Mozart at Lyric Opera, and sees second Bard
Interview: The first venture for the Lyric Opera of Chicago this season is also the first Mozart ever taken on by Barbara Gaines, artistic director at Chicago Shakespeare Theater. And in the poignancy – and the comedy – of “The Marriage of Figaro,” Gaines finds the Bard’s own sensibility, his empathy and his compassion.
‘The Tempest’ at Chicago Shakespeare: Magic rules on Prospero’s island, by wand and word
Review: In double magic that beguiles ear and eye with levity and levitation, Chicago Shakespeare Theater has invoked a rare vision of the Bard’s lyrical play of vengeance transcended by forgiveness, “The Tempest.” Co-directed with no slight imagination and great sleight of hand by Adam Posner and the magician Teller (he of Penn and Teller fame), CST’s season opener is pure enchantment – as credibly human and affecting as it is vibrant, fanciful and fresh. ★★★★★
Theater 2015-16: Raven expands to five plays, kicks off season with three Midwest premieres
14th in a series of season previews: Opening with a run of Midwest premieres, Raven Theatre expands from four plays to five this season to capitalize on the opportunity offered by its dual performing spaces. And first up is a Mark Stein’s searing “entertainment” with the long, ironically evocative title of “Direct from Death Row: The Scottsboro Boys (An Evening of Vaudeville and Sorrow).”
Theater 2015-16: Steppenwolf 40th anniversary boasts premieres by Frank Galati, Tracy Letts
13th in a series of season previews: Two world premieres and three first-time Chicago stagings form a doubly celebratory season at Steppenwolf Theatre – marking the company’s 40th anniversary and honoring the legacy of its longtime artistic director, Martha Lavey, who stepped down at the end of last season. Steppenwolf opens with the world premiere of Frank Galati’s adaptation of “East of Eden,” John Steinbeck’s sweeping, tumultuous epic novel about family dynamics and fortunes set mainly in California early in the 20th century.
‘Who’s Afraid of Virginia Woolf?’ at Redtwist: Friendly fire at close range, brutal and brilliant
Review: Seeing a play at tiny Redtwist Theatre, where a full house of 30 or 40 viewers often encircles the unfolding drama, can be an experience of in-your-face intensity. But the company’s electric burn through Edward Albee’s “Who’s Afraid of Virginia Woolf?” takes intensity to a harrowing new place. ★★★★★
