PicksInSix Review: Natasha, Pierre & The Great Comet of 1812 - Writers Theatre

‘GREAT COMET’— Big, Bright, Beautiful Star!
PicksInSix® Review | Ed Tracy

The Chicago premiere of “Natasha, Pierre & The Great Comet of 1812” is lighting up the Glencoe sky over Writers Theatre in a soaring production directed and choreographed by Katie Spelman with music direction by Matt Deitchman. Spelman has assembled an exceptional ensemble who deliver a flawless performance of Dave Malloy’s groundbreaking electropop opera that received a dozen 2017 Tony Award nominations.

There is a lot to unpack in this love story derived from a 70-page section of Tolstoy’s War & Peace. The first path of two storylines that are destined to intersect involve the emotional struggles of Natasha (Aurora Penepecker) a free-spirited young woman who is visiting Moscow to meet relatives of her soldier fiancé who is away at war. Natasha becomes wildly tempted by the deceptive Anatole (Joseph Anthony Byrd) whose seductive charms compel her to break her engagement and make plans to elope with Anatole. But there is more to Anatole than meets the eye.

The second path involves the unhappily married Pierre (Evan Tyrone Martin) who is tormented by drink and depression and searching for his own way out of the situation. Pierre’s promiscuous wife Hélène (Bri Sudia) happens to be Anatole’s sister and takes macabre pleasure in helping him lure Natasha’s affection. Pierre is lost in his own obsessions to the point where he publicly confronts one of Hélène’s lovers, Dolokhov (Andrew Mueller), who also happens to be a friend of Anatole, and, in a drunken rage, challenges him to a duel.

Natasha’s host and godmother Marya D (Bethany Thomas), Natasha’s cousin Sonya (Maya Rowe) and Mary (Julia Wheeler Lennon) Andrey’s sister have vastly conflicting interests while, at home, Mary must contend with the eccentric Bolkonsky (Rob Lindley) and keep a watchful eye on Natasha as events unfold. By the time Andrey (Matthew C. Yee) arrives, there is glass all over the floor and only with Pierre’s influence can there be a hopeful solution for both Natasha and for himself.   

This glorious work is sung-through, a highly ambitious undertaking that could only be accomplished with the superb ensemble—including those mentioned with Sophie Grimm, Will Lidke and Jonah D. Winston—steeped in seasoned Chicago talent and showcasing many fine newcomers to Writers, including the luminous Penepacker whose voice and presence as Natasha is intoxicating in a big, bright, beautiful star turn. Rowe is perfect as Sonya, particularly in the memorable “Sonya Alone.” Martin’s brilliant vocal range is on full display as the conflicted Pierre. Winston has the reins well in hand in “Balaga” leading the company on a wild crowd-pleasing ride.

The creative team of scenic designer Courtney O’Neill, costume designer Raquel Adomo, sound designer Eric Backus and lighting designer Yael Lebetzky create a stellar, unified experience, and the magnificent work of Dietchman, conductor/pianist Charlotte Rivard-Hosler and the orchestra shines brightly all night long to deliver Malloy’s complicated and intricate score with elegance and precision. Altogether, it’s a compelling, cosmic adventure that just might be a once-in-a-lifetime event!

PHOTO|Liz Lauren

Writers Theatre
presents
Natasha, Pierre & The Great Comet of 1812
through October 27

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PICKSINSIX Review: INDECENT

GRIPPING ‘INDECENT’ FEATURES STIRRING ENSEMBLE PERFORMANCES

The play-within-the play “Indecent” by the Pulitzer Prize-winning playwright Paula Vogel, unfolds over decades and across continents to tell the story of the life and times of Sholem Asch and the players who perform his work, God of Vengeance, a singular piece of performance art that was revered, censored and then shamefully reviled in its Broadway debut. “Indecent” champions the ideal that our unending responsibility to protect the essence of art that brings us together – truth, acceptance, freedom and love – can be ripped away in a moment.  Director Gary Griffin, and the stirring ensemble playing multiple roles, deliver an inspiring and gripping production now playing at Victory Gardens Theater.

God of Vengeance, written in 1906, is a controversial love story involving a prostitute and a young woman whose father runs a brothel.  As this “true story of a little Jewish play” begins, the players tell the compelling story of the inception of Asch’s work and the long and successful runs in Paris, Berlin, Constantinople and other European locations that followed, before Asch immigrates to America.

In New York, the play has an extraordinarily successful run in the Yiddish theater circuit before a muted English translation moves to Broadway, a 1923 debut that is shuttered in mid-performance on charges of obscenity that lead to the arrest and conviction of everyone involved.

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At the dramatic center, the structure of Vogel’s fascinating piece – using subtitles in English and Hebrew, native language alternatives and dialects, and traditional music – accentuates the bitter attitudes of anti-Semitism and the heart-wrenching struggle for survival that Jewish immigrants faced in 1920s America and during the occupation in the ghettos of Warsaw during World War II.

This powerful ensemble piece features stirring performances from: Benjamin Magnuson (The Stage Manager: Lemml), Catherine LeFrere (The Middle: Halena), Noah LaPook (The Ingenue: Avram), Matt Deitchman (Accordian: Moriz Godowsky/Music Director), Kiah Stern (The Ingenue; Chana), Andrew White (The Middle: Mendel) Cindy Gold (The Elder: Vera), David Darlow (The Elder: Otto) and Elleon Dobias (Violin: Nelly Friedman).

In the concluding scene of “Indecent,” there is a glorious feeling of transformation to another place and time. That beautiful moment benefits from an amazing scenic treatment and the haunting musical score by Lisa Gutkin and Aaron Halva performed live and directed by Matt Deitchman. Deitchman also leads an inspiring pre-show performance by Dobias (Violin), LaPook (Mandolin) and Magnuson (Bass). The superb creative and production team assembled by Griffin includes Scenic Designer Jeffrey D. Kmiec, Costume Designer Mara Blumenfeld. Lighting Designer Keith Parham, Choreographer Katie Spelman, Sound Designer Christopher M. LaPorte and Projection Designer Stephen Mazurek.

PHOTOS|Michael Brosilow

VICTORY GARDENS THEATER
Presents
INDECENT
Written by Paula Vogel
Directed by Gary Griffin
through November 4th
2433 North Lincoln Avenue
(773) 871-3000

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PICKSINSIX Review: MURDER FOR TWO

‘MURDER’ is a “Perfectly Lovely Surprise!”

The (usual) Suspects... You already know judging from the title that "Murder for Two" - now playing at the Marriott Theatre Lincolnshire - involves at least one murder which occurs as the surprise birthday party for mystery novelist Arthur Whitney is about to begin. Early on we meet The (usual) Suspects including the victim’s wife, a prima ballerina, a wheel-chair bound psychiatrist, a feisty old couple, a demur wanna-be caper-cracker, a fireman, and a 12-member boys choir, of which all but three are elsewhere.

Strap yourself in... Officer Marcus Moscowicz, who is vying for a promotion to detective, is quickly on the scene with his partner Lou and determines that everyone has a motive. What is unusual about The Suspects, is that they are all played by one actor. In case you are thinking that there is no way all this can possibly happen in the course of 90 minutes, strap yourself in for a comic tour de force directed by Scott Weinstein. 

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Rollicking madcap musical mystery... This two-hander – which is more like a 26-hander, not counting two more thrown in for good measure along the way – originated in New York at Second Stage Theatre, had its world premiere at Chicago Shakespeare (2011 Jeff Award for Best Musical) then again to New York and a national tour. With book and music by Joe Kinosian and book and lyrics by Kellen Blair, Murder for Two is a rollicking madcap musical mystery sendup energized in the Marriott production by the stellar performances of Noel Carey and Jason Grimm - a pair of amazingly gifted actors and musicians with superb comic instincts – who work terrifically well together.

Seasoned flair... Protocol says that the plot will not be revealed, so this ‘Murder’ is, and will remain, as one of the many tuneful songs confesses, a “Perfectly Lovely Surprise!” Carey brings a seasoned flair and single-minded energy to Moscowicz, a role that he has played on national tour. Weinstein has expertly matched Carey with the explosive Grimm, whose out-of-body, split-second transformations appear effortless. When the two are not trading verbal banter at breakneck speed, they accompany each other on the grand piano – often both at the same time – under the artful musical direction of Matt Desitchman.

Stage set perfectly... All of the mayhem is staged in the round on an exquisite Scott Davis multi-level interior set that has more than a few special features allowing the story to ingeniously unfold so that every seat is the best in the house. With sound design by Robert E. Gilmartin, lighting by Jesse Klug, costumes by Emily Arnold and music supervision by Patti Garwood, the stage is set perfectly for a non-stop evening of entertainment.

Funny business... Things get started right away so if your head is buried in your program or you are running late, you may miss some of the funny business. There is plenty of convenient free and low-cost valet parking and many dining options in the area to help make Murder for Two a not-to-be-missed summertime treat.

PHOTOS|Liz Lauren

MARRIOTT THEATRE
Presents
MURDER FOR TWO
through August 26th
10 Marriott Drive, Lincolnshire
(847)634-0200
WEBSITE

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