REVIEW: Fiddler on the Roof at Lyric Opera Through October 7, 2022

ChiIL Mama’s ChiIL Picks List

Fiddler on the Roof

Production photos by Todd Rosenberg

REVIEW

By Catherine Hellmann, Guest Critic 

I admit I had never seen Fiddler on the Roof before, and it wasn’t a musical that I felt compelled to see. But this fabulous North American premiere at Lyric Opera imported from the Komische Oper Berlin has made me a believer. Every aspect of this classic musical is incredible: the performers, the costumes, the direction, the staging, dancing, and the amazing set. I only wish it was playing longer so more people could see this because everyone should. 

The show opens startlingly with a young boy in a bright green hoodie on a modern scooter. (Drake Wunderlich, a very talented 5th grader from the Chicago Youth Symphony Orchestra.) He rides across the vast Lyric stage and parks in front of a large door. He locates a violin case in the closet and begins to play a familiar tune. What’s this kid doing here? We hear a knock from inside, and there is Tevye. The connection from present to past is jarring. Is this Tevye’s great-great-great-great-grandson? Certainly the importance of family and yes, “tradition!” is ever-present in Jewish culture. I like to think it’s a nod to Tevye’s family’s resiliency and survival; he will have heirs into the current age despite countless obstacles. 

And then it seems the whole town of Anatevka pours onto the stage like an outpouring of clowns from a Volkswagon at the circus…if the clowns were Jewish and in much drabber clothes. The Lyric stage (the biggest in downtown Chicago) is used to full effect with the set which is composed of wood furniture like Grandma’s house has gone onto the market. Rufus Didwiszus is the set designer and Klaus Bruns is the mastermind behind the clever set. Characters are constantly appearing from behind closed armoires, making me wonder if Aslan might make a surprise visit as well. (As an English teacher, I racked my brain trying to pinpoint the symbolism of all those wardrobes and cabinets…”when God closes a door, He opens a window?” like Mother Superior says in Sound of Music? We may be against an obstacle, but another opportunity awaits---we just need the courage to step through? Or does it represent how the Jewish people cannot depend on stability? They always seem to be packing up belongings and moving because of religious persecution?? No matter the significance, it looks cool as hell.) 

Steven Skybell was born to play Tevye, the poor milkman struggling to feed his family of six women, his steadfast wife Golde (a charming Debbie Gravitte) and his five headstrong daughters. Skybell is mesmerizing as the questioning, funny, philosophic, stubborn patriarch. He doesn’t understand his three older girls’ defiance to marry men they love, rather than those chosen for them. The three girls and their loves are all outstanding. Lauren Marcus as oldest daughter, Tzeitel, begs her father to allow her to marry her poor but devoted tailor, Motel, sung by Drew Redington. They are so sweet together. Austen Danielle Bohmer as Hodel falls for the adorable Perchik, a tutor to her sisters and a devotee of the brewing Russian revolution. He is sung beautifully by Adam Kaplan. Maya Jacobson is Chava, and she melted my heart as the defiant daughter who faces her father’s wrath by loving a Christian boy. Michael Nigro sings Fyedka, the intellectual with an incredible voice. He holds forth on a sustained note over the crowd in an earlier scene that made me jot down,”Who sang that long note?”  

Alas, loving someone outside the faith is a travesty that Tevya cannot forgive. Chava is dead to him. It’s the one time in the show that I don’t feel sorry for Tevya. He’s being a stubborn dad. 

The Lyric Opera Chorus is to be commended for their commanding presence. And I love that a woman conductor, Kimberly Grigsby, led the orchestra. 

I didn’t expect the humor of the script, as when Tevya beseeches to God, ”I know we’re the chosen people, but can you sometimes pick someone else?” And Golda asks one of her girls, who doesn’t want to marry an older man with no hair,”You want hair? Marry a monkey!” 

Tevya and Golda’s song about arranged marriage “Do You Love Me?” is so endearing. They may have been chosen to be together by their parents, but their love for each other has become genuine. 

Another noteworthy song is the Day-of-the-Dead-type number where Tevya must confess to Golda that Tzeitel is no longer marrying the wealthy, older butcher. But he can’t simply admit that, so he stages an elaborate nightmarish dream to break the news to his wife. It’s a hoot with the skulls and surreal quality of the intricate lie. 

I overheard a woman in the lobby at intermission proclaiming,” The dancing is stupendous!” Indeed. The “Matchmaker, Matchmaker” number by the three girls with potential suitors is incredibly sweet. The whole production is simply wondrous. 

“Anastasia” is another Russian show currently playing downtown several blocks away. The snow in that musical is a fake projection. The “snow” keeps falling continuously in Act II at the Lyric. It’s a cool detail that reveals this was a full-out don’t-hold-back stunning production.  It’s one of those truly special shows that will be talked about and remembered for years. Please see it. You’re welcome. 

Highly recommended. 4 out of 4 stars ★★★★

Catherine Hellmann loves theater, Chicago, her kids, travel, coffee in the morning, Chardonnay at night, long walks, reading on the train, and Cincinnati Skyline chili. The order of her favorites is in no particular order and is subject to change.  

More About Fiddler on the Roof

The North American premiere of a bold new production of Fiddler on the Roof comes to Chicago’s biggest stage September 17 to October 7, 2022. Audiences are invited to experience Jerry Bock and Sheldon Harnick’s Broadway classic on a musical and theatrical scale only Lyric Opera of Chicago can offer. 

A new Fiddler arrives in Chicago. Following the success of the production at its critically acclaimed 2017 premiere at the Komische Oper Berlin, innovative director Barrie Kosky ties this version of Fiddler on the Roof to his Jewish ancestry and heritage, centering tradition in every aspect of his thrillingly theatrical production. Accomplished conductor Kimberly Grigsby (Broadway’s Spring Awakening and Flying Over Sunset) makes her Lyric debut revitalizing the celebrated music of Fiddler with the incomparable Lyric Opera Orchestra. 

The traditional Fiddler you know, but seen and heard like never before. More than 50 years after its premiere, Fiddler on the Roof remains a story that still resonates with audiences of today. While the musical has always explored themes of tradition, family, and love, Kosky’s brave direction offers an even closer look into how communities like Anatevka are still struggling in today's world. This widely acclaimed production is supported by a massive ensemble of nearly 100 musical and dramatic artists, paving the way for audiences to enjoy another boldly unique musical theater experience that has become a Lyric Opera of Chicago signature. 

A miracle of miracles! Experienced Broadway performers Steven Skybell and Debbie Gravitte make their Lyric debuts as Tevye and Golde. Skybell, who won the Lucille Lortel Award for outstanding performance by a lead actor as Tevye in the 2018 Yiddish production in New York, brings his exceptional capacity for this role to Lyric. The accomplished cast also includes Glencoe native Lauren Marcus in the role of Tzeitel in her Lyric debut. She’s joined by Broadway veteran—and Lyric newcomer—David Benoit in the role of Lazar Wolf. Joy Hermalyn rounds out this stellar lineup of Lyric debuts as Yente.

The other talented singing actors in the cast include Austen Bohmer as Hodel, Maya Jacobson as Chava, Drew Redington as Motel, Adam Kaplan as Perchik, Michael Nigro as Fyedka, Liliana Renteria as Shprintze, Omi Lichtenstein as Bielke, Jackson Evans as Mendel, Tommy Novak as Avram, Steven Strafford as Mordcha, Bill McGough as the Rabbi, William Brown as the Constable, and Melody Betts as Grandma and Fruma Sarah. 

Tradition comes alive with a world-class creative team. Lyric’s Fiddler on the Roof features Rufus Didwiszus as set designer and Klaus Bruns as costume designer, both in their Lyric debuts, along with the lighting design of Diego Leetz skillfully recreated by Marco Philipp in a Lyric debut for both designers. Otto Pichler’s original choreography is masterfully recreated for Lyric by Silvano Marraffa. The robust forces of the Lyric Opera Chorus bring the village of Anatevka to life under the steady leadership of Lyric’s chorus master Michael Black—culminating in a musical production that is as wholly reimagined as it is filled with endless talent. 

Shout l’chaim from the rooftops, with 11 chances to see Fiddler on a scale only Lyric Opera of Chicago can produce. Through Joseph Stein’s book, Jerry Bock’s music, and Sheldon Harnick’s lyrics, audiences become a part of Tevye’s family with this timeless tale of the fragility of love, community, and tradition.

There are 11 performances of Fiddler on the Roof: September 17, 18 matinee, 22, 23, 24, 28 matinee, 29 matinee, 30, and October 2 matinee, 6, and 7, 2022.

For updated information about Lyric’s ongoing health and safety protocols, visit lyricopera.org/safety

One of the world's leading opera directors, Barrie Kosky is celebrated from Vienna to Paris and from Bayreuth to London, where his new Ring cycle will take the stage at the Royal Opera starting next year. When his production of Fiddler on the Roof premiered at Komische Oper Berlin in 2017, international critics heralded the arrival of a completely original and unique experience created from this revered, Tony Award-winning masterpiece. "Songs many of us have heard our whole lives sentimentalized...are given weight and take on deep meaning," raved the Los Angeles Times. Experience a Fiddler like no other, with the full power of the Lyric Opera Orchestra and Chorus as well as a production that is both grand in scale and intimate in its power to bring you directly to the heart of the village of Anatevka. Join us as Tevye, his wife Golde, and their five daughters experience the real joys and sorrows that have made this meaningful work an enduring part of our culture.

Please note, Fiddler on the Roof will not have an at-home streaming option.

Language: Sung in English

Running Time: 3 hours 15 minutes with 1 intermission

Location: Lyric Opera House

Lyric’s presentation of Fiddler on the Roof is generously made possible by Lead Sponsor The Negaunee Foundation with additional support from Production Sponsors the Gramma Fisher Foundation of Marshalltown, Iowa, The Zell Family Foundation, Marlys A. Beider, The Davee Foundation, Invenergy LLC, The Harris Family Foundation, Randy L. & Melvin R.* Berlin and Ethel & William Gofen.

*deceased

Lyric Opera of Chicago thanks its Official Airline, American Airlines, and acknowledges support from the Illinois Arts Council Agency.

About Lyric

Lyric Opera of Chicago is committed to redefining what it means to experience great opera. The company is driven to deliver consistently excellent artistry through innovative, relevant, celebratory programming that engages and energizes new and traditional audiences.

Under the leadership of General Director, President & CEO Anthony Freud, Music Director Enrique Mazzola, and Special Projects Advisor Renée Fleming, Lyric is dedicated to reflecting, and drawing strength from, the diversity of Chicago. Lyric offers, through innovation, collaboration, and evolving learning opportunities, ever-more exciting, accessible, and thought-provoking audience and community experiences. We also stand committed to training the artists of the future, through The Patrick G. and Shirley W. Ryan Opera Center; and to becoming increasingly diverse across our audiences, staff, programming, and artists—magnifying the welcoming pull of our art form, our company, and our city.

Through the timeless power of voice, the splendor of a great orchestra and chorus, theater, dance, design, and truly magnificent stagecraft, Lyric is devoted to immersing audiences in worlds both familiar and unexpected, creating shared experiences that resonate long after the curtain comes down.

Join us @LyricOpera on Twitter, Instagram, and Facebook. #LongLivePassion

For more information, visit lyricopera.org/newseason.

 

GIVEAWAY: WIN a Family 4 Pack of Tickets (Up To $80 Value) to Lyric Opera for Kids: EARTH TO KENZIE

ChiIL Mama’s Chi, IL Picks List

EARTH TO KENZIE 

Via Lyric Opera at Vittum Theater

**Perfect for families with children ages 7-12**

ENTER BELOW 

 For Your Chance To WIN A 

Family 4 Pack of Tickets (Up To $80 Value) 

to Lyric Opera for Kids: EARTH TO KENZIE

Winners Choice of November 9 at 1pm and 3pm and November 10 at 3pm at Vittum Theater 

Enter through midnight November 4th.

Earth to Kenzie tells the story of a 5th grader named Kenzie who has just been forced to move to a family shelter with her mother. She escapes the uncertainty in her life through the world of video games and with her avatar, Edwin. Through her wild adventures with Edwin, she realizes that home is not a place, but rather wherever she is with her mother and the ones she loves. The show features dynamic & video game-like music, a transforming set, and a fantastic cast of four talented artists.

If you had encountered opera at an early age, even as young as 7 years old, what difference would that exposure have made in your life? Lyric Opera of Chicago has been providing innovative educational and artistic programming for youth across the Chicago area for many years, reaching an average of 33,000 students each season. With the start of our new season comes a new wave of young operagoers that we’re eager to introduce to the art form.

Lyric will present its fourth original children’s opera – Earth to Kenzie – this fall. A co-commission with Seattle Opera, Earth to Kenzie was composed by Frances Pollock with a libretto by Jessica Murphy Moo. When 5th grader Kenzie and her mother have to move into a family shelter, Kenzie finds refuge in the world of video games alongside her avatar, Edwin. Through their imaginary space adventures, Kenzie discovers that home is not always a place, but rather wherever she is with the ones she loves.

Lyric's educational partner for Earth to Kenzie is Codeverse, the world's first fully interactive coding studio and development platform for kids ages 6-13. With Codeverse’s help, students will gain a better understanding of the technology that goes into games like the one Kenzie plays in the opera. 


There are a few ways that students and the public can watch this engaging new opera in the coming weeks:
Public performances, perfect for families with children ages 7-12, will take place on November 9 at 1pm and 3pm and November 10 at 3pm at Vittum Theater, 1012 N. Noble St. in Chicago's Noble Square neighborhood. Tickets begin at just $10 for kids/$20 for adults. Click here for more information and to book your tickets. 

*Opera in the Neighborhoods Shows May Be CANCELLED until The Chicago Teachers' Strike is resolved: 
Due to the Chicago Teachers Union work stoppage, performances of Earth to Kenzie scheduled at CPS venues may need to be cancelled. Please monitor this webpage for the most current information: lyricopera.org/OIN.

Performances Via Lyric's longtime Opera in the Neighborhoods program, Earth to Kenzie will be presented at 15 different venues across Chicago and surrounding suburbs. Educators can bring their students to one of two performances, 10am or 12pm at each venue free of cost, and are given curriculum resources ahead of time to introduce their students to opera. Students who attend will also receive access to free online resources through Codeverse. For more information, please visit lyricopera.org/OIN.

Earth to Kenzie touches on a lot of relevant themes for young people – overcoming personal challenges by facing fears; being proud of who you are; and the idea that home is not always a place. The Chicago Tribune recently published a startling article with data from the Chicago Coalition for the Homeless revealing that in the 2018/19 school year, 16,450 Chicago Public School students did not have a permanent home. As stated in the article, “Most were in temporary living situations, meaning they stayed in shelters, motels, cars or, in about 90% of the cases, 'doubled up' with others. Doubling up doesn’t generally meet the federal government’s definition of homelessness, so people in those situations don’t qualify for federal programs for those without homes.” You can also hear more about Chicago Coalition for the Homeless’s data and the story of child home security in Chicago through this WBEZ interview on Morning Shift.

Like far too many students living in Chicago, Kenzie and her mother receive an eviction notice and are forced to move out and find temporary housing in a family shelter. Through Earth to Kenzie, Lyric Opera of Chicago and co-commission partner Seattle Opera strive to raise awareness about housing insecurity and foster understanding that homelessness is something that happens to people, but is not who they are, something Kenzie comes to realize in the opera.

There are lots of important themes to explore through Earth to Kenzie, and Lyric is pleased to make that possible for thousands of students across Chicago in the next two months. Participating teachers and educators receive extensive resources to prepare their students for the opera, and some of these items may also be helpful for families or first-time operagoers of all ages.

Do you want to help prepare your child for the performance? Check out our Backstage Pass! study guide and program.

Interested in learning more about Earth to Kenzie’s educational partner, Codeverse? As part of our partnership, Codeverse has offered resources for teachers to give their students more insight on the world of coding, video game creation and app development. Check them out here!

Want to know more about the set design and creation of the video game world that Kenzie travels to with her avatar, Edwin? Watch the “Meet the Designers” video below!

ENTER HERE

 For Your Chance To WIN A 

Family 4 Pack of Tickets (Up To $80 Value) 

to Lyric Opera for Kids: EARTH TO KENZIE

Winners Choice of November 9 at 1pm and 3pm and 

November 10 at 3pm at Vittum Theater 

Enter through midnight November 4th.

ENTER HERE 

REVIEW: “Elektra” at Lyric Opera Through February 22, 2019

ChiIL Live Shows on our radar

Internationally acclaimed Swedish soprano Nina Stemme in the title role and world-renowned Scottish conductor Donald Runnicles on the podium

ELEKTRA 

at Lyric Opera of Chicago

Through February 22, 2019

Approximate Running Time: 1 hour, 40 minutes with no intermission

#LyricElektra

Guest Review
by catherine hellmann

When I taught in Englewood, a student once bragged to me that she had been kicked out of her previous school for “pushing her teacher down the stairs.”

“I am glad we are on the first floor,”I answered. “We’re cool, right? Everything’s ok between us?” I asked her. She laughed and reassured me,”Yeah, Ms. H., we’re good.”

And so, as I sat next to my youngest child on Saturday night at “Elektra,” I found myself stealing sideways glances at my teen daughter, being introduced to her first opera about a vengeful daughter determined to kill her mother. Ah, another ace Parenting Moment.

When she saw the off-kilter set with rubble, looking like a scene in Europe after WW II, she muttered, “Holy shit!” That about sums it up.



I was familiar with the Greek Dysfunctional Family of Agamemnon from my college days. It is a “Jerry Springer” episode...or as the PR people of the Lyric informed me,”It is the Quentin Tarantino of opera.” Short, (100 minutes; that is miniature for opera) and violent. Great dialogue, like: “I am nursing a vulture in my body,” (Elektra to her sister, Chrysothemis), Chrysothemis admitting,”I would rather die than live a living death,” and Elektra observing the mom’s lover, Aegisth, “can only play the hero between the sheets.” Wow. Just wow. Talk about “spilling the tea,” as the kids these days say...

King Agamemnon has been slaughtered in his own bath with an axe, presumably by his wife and her paramour. Elektra keeps the axe to yield for her own revenge, hoping to persuade her brother, Orest, to do the deed. Rumors fly that Orest is dead, so Elektra, “no shrinking violet,” (as my father would have said) will commit the murders herself. But, behold! Orest is not actually dead! (This IS opera, folks…) So, he returns, and Elektra does not recognize him...”the dogs at the palace” know who he is, but his own sister does not. After a lovely reunion, they embrace before Orest enters the castle to slaughter their mother and her cross-dressing beau, Aegisth. I loved when the blood runs down the steps of the palace. Creeeepy. Ahhh...What a typical reunion for a long-estranged family…nice to see you, how are Aunt Edna and the kids??



The music is elek-trifying ( pretty good, huh?), and the main singers perform a vocal marathon. Nina Stemme as the lead role is amazing; such a demanding part is winning her acclaim at numerous international opera houses. We are lucky to have her here in Chicago. Elektra’s sister, played by Elza Van Den Heever, also has an incredible voice and range. Michaela Martens is to be commended for her singing prowess and the ovaries she has to display her Divine-like costume, with bared breasts front and center for the world.(Greenhouse Theater Center recently premiered a wonderful production called HeLa about Henrietta Lacks. One character was named “Big Titty Pat.” I got distracted by Big Titty Clytemnestra.) “Am I really seeing that,” I wondered. First words out of my girl’s mouth at curtain call,”I think those were really her boobs!” Well, her eyes are better than mine. It was quite the costume, as were her freak-show followers’ costumes as well. 




“Elektra” is a command performance for its lead women. You will want to see it. But if you attend with your offspring, just lock your bathroom door before you climb into the tub.

Catherine Hellmann is a teacher, theater fanatic, and mom of four. She would rather read a book than watch the Super Bowl...that’s football, right? 




Lyric Opera of Chicago’s riveting Sir David McVicar production of Richard Strauss’s Elektra runs for six performances through Feb. 22 at the Lyric Opera House, 20 N. Wacker Dr., Chicago. Tickets start at $37 and are available now at lyricopera.org/Elektra or by calling 312-827-5600. 

In just 100 minutes Elektra tells the harrowing story of the outcast princess obsessed with avenging the murder of her father, King Agamemnon, at the hands of her mother Klytämnestra and her mother’s lover Aegisth, who’s claimed the throne. The intense, densely orchestrated score drives the tense drama to its shocking conclusion in true edge-of-your-seat cinematic thriller style.







The extraordinary soprano Nina Stemme (winner of the prestigious 2018 Birgit Nilsson Prize) will make her long-awaited Lyric debut in her exceptionally challenging signature role. Acclaimed South African soprano Elza van den Heever portrays Elektra’s conflicted sister Chrysothemis, and American mezzo-soprano Michaela Martens takes on the fearsome role of the emotionally tortured Klytämnestra, one of her many Strauss roles. Scottish bass-baritone Iain Paterson portrays long-lost brother Orest, and American tenor Robert Brubacker plays the creepy murderous usurper Aegisth (the latter two are making Lyric debuts).

The internationally heralded conductor Donald Runnicles conducts the Lyric Opera Orchestra, whose forces are expanded to meet the incredible demands of Strauss’s score. The production originally staged by Sir David McVicar to open Lyric’s 2012/13 season is designed by John MacFarlane, with lighting by Jennifer Tipton. Nick Sandys makes his Lyric debut as revival director, having served as fight choreographer in several Lyric productions. 


Donald Runnicles

Elektra is performed in German with projected English translations.

Performance dates for Elektra are February 2, 6, 10, 14, 18, and 22.  

Performance times vary. For tickets and information call (312) 827-5600 or go to lyricopera.org/Elektra.

ELEKTRA IS "A KNOCKOUT" (CHICAGO SUN-TIMES)

Not since "Game of Thrones" has a story about murder, revenge, and madness captivated us as thoroughly as Elektra. The curtain opened Saturday on an "intensely gripping" (Chicago Sun-Times) production of Strauss's 100-minute thriller, and critics and audiences alike have been raving about this show since. 

"Conductor Donald Runnicles, in a house debut, [drew] swirling, tempestuous commentary from the Lyric Opera Orchestra"

"Searing"

"★ ★ ★ ½" (out of four)

–Chicago Tribune

"I would have fastened my seat belt had it been supplied"

"Fine cast and a first-rate performance by the Lyric Opera Orchestra"

"Rolling waves of orchestral sound"

"It’s the kind of payoff that gives grand opera its name"

"★ ★ ★ ½" (out of four)

–Chicago Sun-Times

"Terrific"

"[The] singing is fantastic...[the] music is thunderous"

–Betty Mohr with Dean Richards on WGN Radio

ELEKTRA

by Richard Strauss

Sung in German with projected English translations

THERE’S NO OPERATIC TOUR DE FORCE TO SURPASS ELEKTRA, WITH A TITLE ROLE THAT DEMANDS A TRULY GREAT SINGING ACTRESS.

It’s a stunning vocal marathon, with riveting intensity. You owe it to yourself to experience the vocal grandeur and blazing drama of this passionate heroine. She’s the Mycenaean princess whose father, Agamemnon, was murdered by her mother, Klytemnestra, leaving Elektra hell-bent on revenge. As Richard Strauss’s staggeringly powerful orchestra moves inexorably toward the opera’s hair-raising finale, the music gives you a composer at his zenith—magnificently theatrical and devastatingly moving.

PRODUCTION SPONSORS

JULIE AND ROGER

BASKES SYLVIA NEIL AND

DANIEL FISCHEL

MAZZA

FOUNDATIONExelon

Lyric Opera production.

Don't miss a moment of this "electrifying" (Chicago Classical Review) production. Watch the trailer here, and save your seats today online or over the phone at 312.827.5600.

REVIEW: Massenet’s Cendrillon at Lyric Opera of Chicago Through January 20, 2019

ChiIL Live Shows on our radar

 Dynamic French Cinderella Story Dazzles at 

Lyric Opera

Image by Bill Cooper/Royal Opera House

Running Time: 2 hours, 45 minutes with 1 intermission

Guest Review
By Milan Pejnovich
Jules Massenet’s "Cendrillon" (Cinderella) returns to Chicago for the first time in over 100 years in a dazzling must-see production now playing at the Lyric Opera through January 20. A critical and popular success during the composer’s lifetime, the opera was the culmination of over 35 years of experience trotting out hits for the opera houses of Paris and the rest of Europe, so it has all of the trademarks of an audience-pleasing favorite – romance, heart, solos, duets, choruses, dance numbers, and (spoiler alert?) a happy ending. For some reason or other, however, the opera soon fell out of favor along with most of the rest of the composer’s oeuvre after his death, not returning to the standard repertoire until a Massenet resurgence in the 1970s. Thankfully for all us, it’s been back to stay ever since, because it truly is a textbook example of a lush French Romantic opera.

One should be familiar enough with the story, a creation of French writer Charles Perrault from the turn of the 17th century. Cinderella lives with her father, stepmother, and stepsisters but is made to do all the housework with none of the fun, including attending a lavish ball at the king’s castle designed to find the young Prince Charming a wife. Her Fairy Godmother intervenes, dressing up Cinderella in a beautiful gown and sending her off to the ball in an elegant carriage with the express command of needing to return home at the stroke of midnight. She and the prince fall in love, but in her rush to get home in time, she leaves with no contact information, but for her one forgotten glass slipper. In his search for her, the prince calls for all of the single ladies in the land to try on the slipper and reveal themselves, which Cinderella does and (spoiler alert?) all lived happily ever.

For the purpose of investing the plot with a little more drama and artistic merit, Massenet departed from the fairy tale in some significant ways. Cinderella’s father is a loving but henpecked man who understands that both his and his daughter’s lots in life would be better if they fled. Her stepmother and stepsisters aren’t so much sadistic or brutish as they are self-centered and vapid. And there’s a scene after the ball where Cinderella and Prince Charming both individually plead with the Fairy Godmother among the dark and mysterious rooftops of Paris to help them find one another. All of this helps create some alternately beautiful and amusing moments for the whole family to enjoy.

And speaking of families, all ages will be dazzled with this production by director Laurent Pelly, which has been seen all over the world, including Covent Garden and the Met, but is new to Lyric, as is the opera itself. The costumes are lavish, the set is both dynamic and ingenious, and the backdrop is designed with text from the original French tale written all over it in homage. Four of the five principal singers are all experienced in the roles but making their Lyric debuts, while most of the rest of the cast is comprised of current Ryan Opera Center members having their moments in the big house. It all truly is a feast for the eyes and ears, and is certainly one of the most charming and beautiful productions to grace Lyric’s stage in recent memory. It’s an unforgettable night at the opera.



We have a special treat and a first here at ChiIL Mama, dual reviews!

Guest Review 
by Flo Mano
I was eagerly anticipating Lyric's sold out opening night premiere of "Massenet's Cendrillon". The curtain rolled up to the set design (Barbara De Limburg) of a wall text in French, homage to Perrault. We see a meek, remorseful father (Pandolfe-Derek Welton). Then, emerged the commanding, controlling, contoured Mme. de la Haltiere (Elizabeth Bishop), stepmother, followed by her two giggly, clumsy, naïve daughters, Noemie (Emily Pogorelc) and Dorothee (Kayleigh Decker). An amazing upwelling of laughter greeted their entrance, reminiscent of commedia del'arte, sans masks. Credit to the direction and costume designer, Laurent Pelly! The whole imagery "had me at hello".

There's a chair with the letter "C" and as they're planning for the ball, Lucette (Siobhan Stagg) Cendrillon, peeks her head through a porthole and sheepishly appears after they left for the ball. Lamenting in a soulful aria, wishing, the fairy godmother (Marie-Eve Munger) magically appears and grants her a few hours that'll change the course of her axis. A carriage appears with the most regal of white horses galloping in synchronized choreography!

Prince Charming (Alice Coote)is struck, mesmerized by her elegant beauty, as she enters the ball, in her white, sparkling gown, stark contrast to everyone dressed in ovate shaped crimson red! They dance, stricken by cupids arrow, enchanted, till the stroke of midnight chimes.

Back home she worries for her lost glass slipper. The sycophants return, retelling a distorted perspective, that hurts Lucette, whose sympathetic, loving father offers they go away. She goes to the rooftops of Paris and in a dream, lives a loving moment with the prince! She falls ill at the news that the prince is searching for the "unknown beauty" and is elated when the shoe fits! This familiar storyline is magically reawakened in the melodic composition of Massenet and libretto by Henri Cain, conducted by Sir Andrew Davis! 

I'm a visual person, so my favorite elements of this opera are many, including the fonts and set design, costumes, choreography, puppetry/horses, orchestration, singing, and the comedic humor! 

Chicago is fortunate to have the world class Lyric Opera, a leader of firsts in 
one of North America's most beautiful opera houses, the Civic Opera House — now known as the Lyric Opera House. The opera house was envisioned by billionaire utility magnate and president of the Chicago Civic Opera Association, Samuel Insull (1859-1938).

The building is shaped like a huge chair, and is sometimes referred by its shape as "Insulls chair"! From this vantage, we immensely enjoyed the Lyric's visually stunning production of "Massenet's  Cendrillon. Absolutely Exquisite! Timeless! Memorable on every level! I'd see it again and again!!...and Again!!



Flo Mano is a CPS elementary teacher/librarian, hairdresser, and theater/film fanatic who catches hundreds of Chicago shows annually. She's been known to pull over while driving, spring from her car, and excitedly hug favorite actors if she sees them on the street! Flo has an uncanny knack for remembering faces and roles for decades. She volunteers at numerous film venues and theaters, and she has otherworldly ticket karma, frequently showing up at sold out shows and getting standby tickets.

"A magical, mystical view of Cendrillon."

"Vocal flourishes and glistening orchestration."

"Light as air, fanciful to the core and — yes — very, very funny."

"Wickedly amusing costume design." 

"★ ★ ★ ★"

–Chicago Tribune

"The charming Cendrillon delights at Lyric."

"Full of pageant, mischief, wish fulfillment and beguiling tenderness."

"★ ★ ★ ★"

–Chicago Sun-Times

"Stunning costumes."

"A talented ensemble and striking design approach bring magical life to this familiar story."

–Picture this Post

What You Need to Know About 

CENDRILLON at Lyric Opera of Chicago

Six performances December 1 – January 20

A whimsical retelling of the classic fairytale Cinderella, in which a mistreated girl overcomes the odds to find her Prince Charming -- with a little help from her fairy godmother.

· Delectably inviting music: French composer Jules Massenet’s Cendrillon is equal parts witty and romantic. From the stepsisters’ funny outbursts, to the soaring melodic lines of Cinderella and Prince Charming’s duet, Massenet has crafted the perfect music to match a delightful fairytale.

· Family-friendly fun: Children and adults alike will love this familiar story and will marvel at the beautiful singing and charming visuals.

· A whimsical and inventive production: "I am thrilled to introduce this enchanting and magical piece to Lyric audiences for the first time," says Lyric general director Anthony Freud. "Laurent Pelly's production is endlessly witty and alluring, and Sir Andrew Davis, a distinguished interpreter of Massenet, will bring this beautifully romantic score to irresistible life."

· Enchanting performances are in store: Australian soprano Siobhan Stagg makes her American debut as the titular Cinderella, English mezzo-soprano Alice Coote plays the energetic and passionate prince, and Quebecoise soprano Marie-Eve Munger (Lyric debut) sings stratospherically high notes as the fairy godmother. Cinderella’s tenderhearted father Pandolfe is sung by Australian bass-baritone Derek Welton (Lyric debut). American mezzo-soprano Elizabeth Bishop (Lyric debut) plays the imperious stepmother, while Ryan Opera Center singers Emily Pogorelc and Kayleigh Decker play the absurdly funny stepsisters.

· Lyric Opera’s own musical director Sir Andrew Davis conducts the Lyric Opera Orchestra, while Francesco Milioto makes his Lyric Opera debut conducting the January 11th performance of Cendrillon.

·A feast for the senses! The hyper-theatrical costume designs by Laurent Pelly and Barbara de Limburg's clever set designs, which make scenery out of the storybook pages and words, are guaranteed to astonish and amuse. (The renowned director-costume designer and set designer are both French and both making Lyric debuts.) Duane Schuler's lighting designs enhance the magical atmosphere.

·A vibrant collection of courtiers has their turn in the spotlight through some of the most visually stunning and energetic scenes in the show, portrayed by the Lyric Opera Chorus, prepared by chorus master Michael Black. The original choreography for the ball scene by Laura Scozzi, with revival choreography by Karine Girard (both Lyric debuts), is a dance the audience won’t soon forget. 

·A Cendrillon Chicago has not seen yet: This beloved production of Cendrillon is making its premiere at Lyric, and the opera itself has not graced Chicago since 1911—long, long ago!

· See it if you like: Family-friendly entertainment, a perfect date-night show, gorgeous music, enchanting visuals, and a blissfully happy ending!

·Running Time: 2 hours, 45 minutes with 1 intermission: Enjoy an exceptional live experience in the beautiful surroundings of the Art-Deco theater and foyer.

· Sung in French with projected English translations.

· Six performances Dec. 1, 5, 8, and Jan. 11, 17, and 20 at Lyric Opera House, 20 N. Wacker Drive, Chicago. Weekend evening performances start at 7:30 pm and please note the earlier start time for weeknight performances at 7:00 pm.

· For more information and to order tickets, visit lyricopera.org/Cendrillon or call 312-827-5600. Tickets start at $69 and special children's ticket prices ($20-$50) are available to order by phone.

· For information about pre-performance dining options at Lyric, visit lyricopera.org/dining to learn about on-site restaurants, pop-up sushi bar, beverage service, and more.

About Lyric 
Lyric Opera of Chicago’s mission is to express and promote the life-changing, transformational, revelatory power of great opera. Lyric exists to provide a broad, deep, and relevant cultural service to Chicago and the nation, and to advance the development of the art form.

Founded in 1954, Lyric is dedicated to producing and performing consistently thrilling, entertaining, and thought-provoking opera with a balanced repertoire of core classics, lesser-known masterpieces, and new works; to creating an innovative and wide-ranging program of community engagement and educational activities; and to developing exceptional emerging operatic talent.

Under the leadership of general director Anthony Freud, music director Sir Andrew Davis, and creative consultant Renée Fleming, Lyric strives to become The Great North American Opera Company for the 21st century: a globally significant arts organization embodying the core values of excellence, relevance, and fiscal responsibility.

To learn more about Lyric’s current season, go to lyricopera.org. You can also join the conversation with @LyricOpera on Twitter, Instagram, and Facebook. #Lyric1819 #LongLivePassion

FLASH GIVEAWAY: WIN a Pair (2) of Tickets to Lyric Opera of Chicago's Acclaimed Jesus Christ Super Star!

Enter through midnight TONIGHT! One of ChiIL Mama's lucky winners is going to see this stunningly epic production for FREE. 

Tickets range from $35-$219. Fill out the entry form at the bottom of this post and check back tomorrow to see if you've won!

Photo by Bonnie Kenaz-Mara

Grand-scale North American premiere of the

Olivier Award-winning London production of

JESUS CHRIST SUPERSTAR

Now playing at Lyric through May 20 

 All production photos by Todd Rosenberg

REVIEW:

Lyric's decadently dark Jesus Christ Superstar is nothing short of epic, with over 80 artists on stage and 90 pound of gold confetti at every show. 

This production is a spectacle you have to see and hear to believe, and pure Broadway gold. It was my great pleasure to catch opening night and the audience was enthralled, singing along and on their feet even before the rousing standing ovation. This is a superb choice for a family theatre outing, with multigenerational appeal.

Photos by D'Arcy Mies

I particularly liked the incorporation of live instruments on stage. Jesus, Peter and Pilate all play guitar, in addition to the 37 musicians! 

The scope and magnitude of this production boggles the mind. There are 150 costumes, 112 pairs of sneakers, King Herod's 28 foot long gold cape, 

56 mics, 101 lights illuminating the 37 foot cross and 7 full sized trees. The visual is stunning of Judas' silver stained hands, when he sold out his master and friend for money and betrayed him with a kiss. 

The women are wonderful.

Jesus' lashes with a whip, complete with sound effects and explosions of gold, was a hauntingly dramatic point as well.

The choreography is a joy to see and the entire cast is a visual and auditory feast. 

Lyric Opera Chicago has a world class reputation and here at ChiIL Mama and ChiIL Live Shows we've particularly enjoyed their annual Broadway at Lyric crossover productions for years. The popularity of these adaptations of musicals extends well beyond the usual opera buffs, and with Jesus Christ Super Star, they have outdone themselves. Highly recommended. 

The North American premiere of Timothy Sheader’s explosive Olivier Award-winning production of Andrew Lloyd Webber and Tim Rice’s rock opera Jesus Christ Superstar opens at Lyric tonight, April 27, with performances through May 20 (press opening April 28). Lyric is the only place to experience the grand scale of this acclaimed production in its first staging outside London.

The Lyric production features Heath Saunders (Jesus), Ryan Shaw (Judas), Jo Lampert (Mary Magdalene), Michael Cunio (Pilate), Mykal Kilgore (Simon Zealotes), Shaun Fleming (Herod), Joseph Anthony Byrd (Annas), Cavin Cornwall (Caiaphas) and Andrew Mueller (Peter), with a total of 48 cast members and 37 musicians, including members of the Lyric Opera Orchestra and Chorus. The London performances comprised 11 musicians and 27 cast members.

Single tickets for Jesus Christ Superstar at the Lyric Opera House, 20 N. Wacker Drive, start at $35 and are on sale now at jcsuperstar.org, in person at the Lyric box office, or by calling 312-827-5600. To guarantee a front-row rock-concert experience, Lyric is also offering exclusive, $99 stage-front seating over the orchestra pit – the closest possible position to the stage – for the first time in the company's history of presenting Broadway musicals.

Three-time Olivier Award winner Timothy Sheader directs the North American premiere of his acclaimed 2016 production from Regent’s Park Open-Air Theatre. Sheader is joined in Chicago by the original creative team, including conductor Tom Deering, Olivier Award-winning choreographer Drew McOnie, Tony Award-nominated set & costume designer Tom Scutt, and Olivier Award-nominated lighting designer Lee Curran.

Jesus Christ Superstar is an iconic rock opera that reinvented musical theater for the modern age. With music by Andrew Lloyd Webber and lyrics by Tim Rice, this global blockbuster tells the story of the final weeks in the life of Jesus Christ, from the perspective of Judas Iscariot. As Christ’s followers grow more fervent, Judas must make his fateful choice between faith and betrayal. Filled with an exciting mix of musical styles that draw upon 1970s rock, gospel, folk and funk themes, this contemporary imagining of the biblical tale features high-energy dance and powerful visual storytelling.

Lyric’s premiere of Lloyd Webber’s Jesus Christ Superstar generously made possible by Lead Sponsor The Negaunee Foundation and cosponsors an Anonymous Donor and Mr. and Mrs. J. Christopher Reyes. Major in-kind audio support provided by Shure Incorporated. Production by The Regent’s Park Theatre London.

Music by Andrew Lloyd Webber. Lyrics by Tim Rice. In Association with The Really Useful Group Limited. Production by The Regent's Park Theatre London. 

Photo by Bonnie Kenaz-Mara

About Lyric

Lyric Opera of Chicago’s mission is to express and promote the life-changing, transformational, revelatory power of great opera. Lyric exists to provide a broad, deep, and relevant cultural service to Chicago and the nation, and to advance the development of the art form.

Founded in 1954, Lyric is dedicated to producing and performing consistently thrilling, entertaining, and thought-provoking opera with a balanced repertoire of core classics, lesser-known masterpieces, and new works; to creating an innovative and wide-ranging program of community engagement and educational activities; and to developing exceptional emerging operatic talent.

Under the leadership of General Director, President & CEO Anthony Freud, Music Director Sir Andrew Davis, and Creative Consultant Renée Fleming, Lyric strives to become the great North American opera company for the 21st century: a globally significant arts organization embodying the core values of excellence, relevance, and fiscal responsibility.

 All production photos by Todd Rosenberg

Short and sweet. ENTER HERE for your chance to WIN. Tickets range from $35-$219.

ENTER HERE 

Enter through midnight 5/16/18. Tickets are good for winner's choice of this weekend's matinee performances of Jesus Christ Super Star at Chicago's Lyric Opera. Winner will be e-mailed by Thursday noon and posted here on our site and via ChiIL Mama and ChiIL Live Shows' social media outlets. Good luck!

MAY 19, 2018 1:30 PM

MAY 20, 2018 1:30 PM

For more information check out: http://jcsuperstar.org You can also join the conversation with @LyricOpera on Twitter, Instagram, and Facebook. #LyricJCS  #Lyric1718 #LongLivePassion

http://jcsuperstar.org  #LyricJCS  #Lyric1718 #LongLivePassion