Lyric Opera of Chicago Presents Special Events in Conjunction With the Chicago Premiere of Blue November 16 to December 1, 2024

Lyric Opera of Chicago presents special events 

in conjunction with the premiere of 

Blue

Jeanine Tesori and Tazewell Thompson's Blue, onstage at Lyric Opera of Chicago from November 16 to December 1, tells the powerful story of a Black family facing personal tragedy and systemic injustice. Its emotionally charged score explores themes of race, justice, and family, providing audiences with a reflection on societal struggles.

In conjunction with Blue's Chicago premiere, Lyric Unlimited, Lyric’s Learning & Civic Engagement department, is presenting a series of events that invite the public into spaces of reflection, healing, and dialogue. These experiences — ranging from musical and meditative sessions to thought-provoking discussions — extend beyond the opera performance, creating opportunities for the community to engage with Blue’s themes in new and impactful ways.

"Art has the power to engage and transform," says Sheran Goodspeed Keyton, Director of Civic Engagement at Lyric. "By extending our programming beyond the mainstage production of Blue, we create pathways for deeper connections within the community. Each event serves as a vital space for healing, conversation, and self-exploration, allowing participants to reflect on the opera’s themes while fostering a sense of unity and support among one another."

Of Thee I Sing! Songs of Love and Justice

Lyric Unlimited’s Artist-in-Residence Karen Slack presents Of Thee I Sing! Songs of Love and Justice on Tuesday, November 12 at 7:00 p.m. in the Daniel F. and Ada L. Rice Grand Foyer. The first in a three-recital series, Slack is joined by pianist Kamilla Arku and visual designer Angela L. Owens. This powerful program, created in response to George Floyd’s murder, features Langston Hughes’s The Kids Who Die and works by H.T. Burleigh, Undine Smith Moore, and others, exploring love and justice. A post-recital discussion with the artists will follow. Tickets are available now at lyricopera.org/Of-Thee-I-Sing.

Tonika Johnson Exhibition: Thoughts on Parenthood, Belonging, and Alternative Spaces

From November 13 to December 1, Lyric presents an exhibition by artist and activist Tonika Johnson, featuring three impactful art projects throughout the Lyric lobby. Thoughts on Parenthood is an interactive arts initiative that collects personal stories from Chicago parents, highlighting their dreams and challenges. Belonging focuses on the experiences of young people of color navigating racial profiling, while Alternative Spaces showcases how Black youth create free spaces to foster community and resilience.

For the opening night event of Blue on Saturday, November 16, audience members can use promo code BLUEVIP for a special $125 ticket. The evening begins with welcome drinks at 4:00 p.m., followed by a walking tour of Johnson’s exhibition hosted by Lyric Unlimited Artist-in-Residence Karen Slack at 4:30 p.m., and a reception presented by Luella’s Southern Kitchen and specialty desserts provided by Brown Sugar Bakery at 5:00 p.m. The program also includes the Shades of Blue pre-opera talk featuring Antonio C. Cuyler and Dr. Naomi André at 6:00 p.m., leading into the Chicago premiere of Blue at 7:30 p.m. In addition to the opening night, the exhibit will be open to the public from noon to 2 p.m. on November 13, 19, 20 and 26.

The RESET with Davin Youngs

On Friday, November 15, Lyric Opera of Chicago’s Music That Heals series kicks off with The RESET, a transformative sound healing experience led by artist Davin Youngs. Part of a series designed to calm, restore, and heal through the power of music, this immersive event combines improvisational singing, electronic beats, and sound healing instruments to create a unique space for relaxation and rejuvenation.

The RESET offers participants a chance to carve out their own healing spaces, serving as a counterbalance to the pain and family trauma portrayed in Blue. This restorative experience is designed not only for those attending the opera, but also for the broader community, creating a sacred environment for reflection. Tickets are $20.

Blue Opera Insights: A Deeper Look at Race and Justice

On November 18, Lyric Unlimited’s Scholar-in-Residence Dr. Antonio C. Cuyler moderates an important panel discussion on Blue at the DuSable Black History Museum and Education Center, as part of Lyric’s ongoing Opera Insights series. Featuring leading voices on police violence and accountability—including Yohance Lacour, Maira Khwaja, and Jamie Kalven from the Invisible Institute, and Olivia Obineme of Public Narrative — the discussion will delve into the painful realities at the heart of Blue and the ongoing fight for justice. This free event, followed by a talkback with Blue's principal artists, requires advance registration.

Gen Z in Action: Art, Activism, Advocacy and Advancement

On Saturday, November 23, Gen Z in Action: Art, Activism, Advocacy and Advancement will feature emerging Black arts leaders in conversation about the future of the arts, drawing on themes from Blue. Moderated by Lyric’s Anthony Jones, the panel will feature nonprofit leaders Kylie Davis, Empirical Research Fellow at Kellogg School of Management; Ronnie Taylor Jr., Youth Culture Coordinator at Center on Halsted; and Zakiya Collier, STEM Coordinator at the Chicago Urban League. Together, they will explore themes of identity, belonging, and how the arts can address systemic issues. The event will conclude with a discussion curated by Kennedy-King College students and current and retired officials from the Chicago Police Department.

D-Composed Presents D-Compressed

On Sunday, December 1, D-Composed, a Black chamber music collective, will host D-Compressed, a meditative musical experience that complements the closing performance of Blue. Part of Lyric's Music That Heals series, this intimate event blends yoga with chamber music, featuring works by Black classical composers fused with hip-hop, rap, jazz and gospel. Through live performances and guided meditations, D-Compressed invites participants to process the emotional weight of Blue's narrative while engaging with the healing power of music.

Just as Blue delves into a family’s struggle with systemic injustice, D-Compressed provides a safe space for attendees to confront their own emotions, find solace, and connect with their personal stories. This experience detoxifies negative energies, creating room for positive flow, ease, and enlightenment—mirroring the themes of healing and unity that are central to Blue. By fostering a collective moment of reflection, the program highlights the role of art in supporting emotional and communal renewal. Tickets are $20.

Shades of Blue Pre-Opera Talk Series

The Shades of Blue pre-opera talks, presented as in-depth discussions, offer a chance to delve into Blue's key themes before each performance. Led by Lyric Unlimited Scholar-in-Residence, Dr. Antonio C. Cuyler, these talks feature prominent voices from Chicago’s civic and academic communities, drawing connections between the opera’s portrayal of Black family life and contemporary social issues such as violence prevention, incarceration, and systemic injustice. Blue ticket holders are invited to participate in these free discussions, which take place an hour before each performance.

Pre-Opera Talks

Saturday, November 16: An extended 1-hour conversation, beginning at 6:00 p.m., with Dr. Cuyler and Dr. Naomi André, renowned musicologist and author of the seminal book Black Opera: History, Power, Engagement, discussing Blue's themes in the broader context of music and social justice.

Wednesday, November 20: Artist and activist Tonika Johnson will explore Chicago’s social divides and the connections to identity and belonging in Blue.

Friday, November 22: Dr. Franklin Cosey-Gay, director of University of Chicago Medicine’s Violence Recovery Program, will address violence prevention and public health issues as they relate to the family’s challenges in Blue.

Tuesday, November 26: Dr. Cuyler will join representatives from the Illinois Prison Project to discuss incarceration and advocacy, building on conversations started earlier this season around Beethoven’s Fidelio.

Sunday, December 1: Chicago Police Lieutenant Jermaine Harris will join WFMT host LaRob K. Rafael for a discussion on community-based violence prevention and policing, connecting Blue's themes to current reform efforts.

For more information on Blue and all of these related special events, visit lyricopera.org/blue.

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 John Mangum and Music Director Enrique Mazzola, 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 Instagram, TikTok, YouTube, Threads and Facebook. #LongLivePassion

For more information, visit lyricopera.org.

EXTENDED AGAIN: Mary Zimmerman’s world-premiere of THE MATCHBOX MAGIC FLUTE at Goodman Theatre February 10 – March 24, 2024

ChiIL Mama’s ChiIL Picks List: Family Friendly Shows On Our Radar

TONY AWARD WINNER MARY ZIMMERMAN MARKS 30 YEARS AS 

MANILOW RESIDENT DIRECTOR WITH HER 18TH GOODMAN PRODUCTION

THE MATCHBOX MAGIC FLUTE

A NEW THEATRICAL ADAPTATION OF MOZART’S OPERA

***MARLENE FERNANDEZ, LAUREN MOLINA, EMILY ROHM, BILLY RUDE AND MORE JOIN THE 21-MEMBER COMPANY OF THE FAMILY-FRIENDLY OPERA IN MINIATURE, APPEARING FEBRUARY 10 – MARCH 24*** 

HIGH DEMAND FOR TICKETS PROMPTS A SECOND EIGHT-PERFORMANCE EXTENSION WEEK FOR MARY ZIMMERMAN’S WORLD-PREMIERE ADAPTATION, THE MATCHBOX MAGIC FLUTE, A FAMILY-FRIENDLY OPERA IN MINIATURE

 Recommended for audiences aged 8+

Goodman Theatre Manilow Resident Director Mary Zimmerman’s newest production, The Matchbox Magic Flute, has extended its run before performances begin. The Tony Award-winning director’s world-premiere-in-miniature adaptation of Mozart’s magical family-friendly opera features a 15-member company (10 actors and five musicians) and marks Zimmerman’s 18th production over a three-decade Goodman artistic affiliation. With dragons, a man who is a bird, trials by fire and water and more, Day and Night do battle in this playful and imaginative hero’s quest—following the adventures of Prince Tamino and Princess Pamina, and revealing that things are not always as they seem. Recommended for audiences aged 8+, The Matchbox Magic Flute appears February 10 – March 24th. Tickets ($25 - $90; subject to change) are available at GoodmanTheatre.org/Flute or by phone at 312.443.3800. Goodman Theatre is grateful for the support of Mayer Brown, LLP (Corporate Sponsor), PAXXUS Inc. (Contributing Sponsor) and Russell Reynolds Associates (Contributing Sponsor).

Rehearsals for The Matchbox Magic Flute, Mary Zimmerman’s world-premiere-in-miniature adaptation of Mozart’s magical, family-friendly opera, are underway with a 21-member company of 16 actors and five musicians. Zimmerman celebrates three decades as Goodman Theatre’s Manilow Resident Director directing her theatrical adaptation of the beloved opera, where Prince Tamino (Billy Rude) embarks on a journey to rescue Princess Pamina (Marlene Fernandez)—the daughter of the Queen of the Night (Emily Rohm)—all with the help of a magical flute. Audiences aged 8+ will enjoy the fantastical characters coming to life in this hero’s quest, revealing that things are not always as they seem. A complete cast list appears below. The Matchbox Magic Flute appears February 10 – March 10 (opening night is Monday, February 19 at 7pm). Tickets ($25 - $90; subject to change) are available at GoodmanTheatre.org/Flute or by phone at 312.443.3800. Goodman Theatre is grateful for the support of Mayer Brown, LLP (Corporate Sponsor), PAXXUS Inc. (Contributing Sponsor) and Russell Reynolds Associates (Contributing Sponsor).

“We’re making something that is a bit of old, and a bit of new,” said Mary Zimmerman, the Tony Award-winning adaptor/director whose first Goodman opera was Galileo Galilei with Philip Glass (2002), and who more recently directed Lucia de Lammermoor (Metropolitan Opera, La Scala) and Armida, la Sonnambula, Rusalka (Metropolitan Opera). “Our process relies on the playful, creative collaboration of everyone involved, and I know I will be inspired by this beautiful, eclectic cast of musical theater artists, opera singers and musicians from different genres. I’m extremely excited to get into the room with this bunch of people.”

Playful and imaginative, it’s big music in a small space. This “matchbox” presentation of The Matchbox Magic follows the adventures of Prince Tamino and Princess Pamina. With dragons, a man who is a bird, trials by fire and water and underground corridors, Day and Night do battle in Mary Zimmerman’s brand-new adaptation.

Full Company of The Matchbox Magic Flute (in alphabetical order)

Adapted and Directed by Mary Zimmerman

Marlene Fernandez…..Pamina

Keanon Kyles……Sarastro

Russell Mernagh…..Monostatos

Lauren Molina……Papagena/Lady

Tina Muñoz Pandya……Lady

Reese Parish…….The Spirit

Shawn Pfautsch…...Papageno

Emily Rohm…..Queen of the Night

Billy Rude….Tamino

Monica West…..Lady

Creative Team

Assistant Director….Nora Geffen

Music Adaptor and Arranger…Amanda Dehnert and Andre Pluess

Music Director….Amanda Dehnert

Sound Designer ….Andre Pluess

Associate Music Director/Conductor….Paul Mutzabaugh

Set Designer…..Todd Rosenthal

Costume Designer ……Ana Kuzmanic

Lighting Designer…..T.J. Gerckens

Wig & Hair Designer….Charles “Chuck” LaPointe

Understudies for this production include Dario Amador-Lage (Tamino), Ann Delaney (Papagena/Lady), Devin DeSantis (Papageno/Monostatos), Holly Hinchliffe (Pamina/Spirit), Nathan Karnik (Sarastro) and Emilie Lynn (Queen of the Night/Lady).

Casting is by Lauren Port, CSA. Patrick Fries is the Production Stage Manager and Beth Koehler is the Stage Manager.

ENHANCED AND ACCESSIBLE PERFORMANCES AT GOODMAN THEATRE

Touch Tour* and Audio-Described Performance: Sunday, March 3, 12:30pm Touch Tour; 2pm performance – The action/text is audibly enhanced for patrons via headset.

ASL-Interpreted Performance: Saturday, March 9 at 2pm – Professional ASL interpreter signs the action/text as played.

Spanish-Subtitled Performance: Saturday, March 9 at 7:30pm – An LED sign presents Spanish-translated dialogue in sync with the performance.

Open-Captioned Performance: Sunday, March 10 at 2pm – An LED sign presents dialogue in sync with the performance.

Visit Goodman theatre.org/Access for more information about Goodman Theatre’s accessibility efforts.

EXTENSION WEEK PERFORMANCE SCHEDULE

Tuesday, March 12 at 7:30pm

Wednesday, March 13 @ 7:30pm

Thursday, March 14 @ 2pm

Thursday, March 14 @ 7:30pm

Friday, March 15 @ 7:30pm

Saturday, March 16 @ 2pm and 7:30pm

Sunday, March 17 @ 2pm

EXTENSION WEEK II PERFORMANCE SCHEDULE

Tuesday, March 19 @ 7:30pm

Wednesday, March 20 @ 7:30pm

Thursday, March 21 @ 2pm and 7:30pm

Friday, March 22 @ 7:30pm

Saturday, March 23 @ 2pm and 7:30pm

Sunday, March 24 @ 2pm

ABOUT GOODMAN THEATRE

Chicago’s theater since 1925, Goodman Theatre is a not-for-profit arts and community organization in the heart of the Loop, distinguished by the excellence and scope of its artistic programming and community engagement. Led by Artistic Director Susan V. Booth and Executive Director/CEO Roche Schulfer, the theater’s artistic priorities include new play development (more than 150 world or American premieres), large scale musical theater works and reimagined classics. Artists and productions have earned two Pulitzer Prizes, 22 Tony Awards and more than 160 Jeff Awards, among other accolades.

The Goodman is the first theater in the world to produce all 10 plays in August Wilson’s “American Century Cycle.” Its longtime annual holiday tradition A Christmas Carol, now in its fifth decade, has created a new generation of theatergoers in Chicago. The Goodman also frequently serves as a production and program partner with national and international companies and Chicago’s Off-Loop theaters.

Using the tools of theatrical practice, the Goodman’s Education and Engagement programs aim to develop generations of citizens who understand and empathize with cultures and stories of diverse voices. The Goodman’s Alice Rapoport Center for Education and Engagement is the home of these programs, which are offered for Chicago youth—85% of whom come from underserved communities—schools and life-long learners.

Goodman Theatre was built on the traditional homelands of the Council of the Three Fires: the Ojibwe, Odawa and Potawatomi Nations. We recognize that many other Nations consider the area we now call Chicago as their traditional homeland—including the Myaamia, Ho-Chunk, Menominee, Sac and Fox, Peoria, Kaskaskia, Wea, Kickapoo and Mascouten—and remains home to many Native peoples today. While we believe that our city’s vast diversity should be reflected on the stages of its largest theater, we acknowledge that our efforts have largely overlooked the voices of our Native peoples. This omission has added to the isolation, erasure and harm that Indigenous communities have faced for hundreds of years. We have begun a more deliberate journey towards celebrating Native American stories and welcoming Indigenous communities.

Goodman Theatre was founded by William O. Goodman and his family in honor of their son Kenneth, an important figure in Chicago’s cultural renaissance in the early 1900s. The Goodman family’s legacy lives on through the continued work and dedication of Kenneth’s family, including Albert Ivar Goodman, who with his late mother, Edith-Marie Appleton, contributed the necessary funds for the creation on the new Goodman center in 2000.

Julie Danis is Chair of Goodman Theatre’s Board of Trustees, Lorrayne Weiss is Women’s Board President and Kelli Garcia is President of the Scenemakers Board for young professionals.

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.

 

Mozart’s THE MAGIC FLUTE November 3–27 at Lyric Opera of Chicago

ChiIL Mama’s Chi, IL Picks List 

What You Need to Know About Mozart’s

THE MAGIC FLUTE 

November 3–27 at Lyric Opera of Chicago

THE MAGIC FLUTE Cory Weaver LA Opera

I'll be out to review on November 7th, so check back early and often. In the meantime, book your tickets now. It's a short run with only 7 performances, and tickets are sure to be in demand.

A prince’s valiant quest leads to love at first sight. But to prove his worth for marriage, he must first survive daring trials of wisdom and devotion. The Magic Flute, Mozart’s final opera, is full of gods and monsters, compassion and revenge, love and death—it is both a fanciful fairy tale and a profound reflection on spiritual enlightenment. Lyric Opera of Chicago presents a sumptuously bold, new-to-Chicago production that pays homage to the 1920’s silent movies and German expressionism, while remaining faithful to the magic the opera’s title promises.

•       A truly cinematic experience unlike any opera Lyric has produced. This spectacularly inventive production, created by the team of Suzanne Andrade and Barrie Kosky and directed in Chicago by Tobias Ribitzki, features eye-popping projections by animator Paul Barritt and innovative stage design and costumes by Esther Bialis. Taking its inspiration from silent films, the production foregoes the traditional spoken dialogue in between the operatic scenes. Instead, texts are projected onto the stage with musical accompaniment.

•       The most enduring classical earworm? The villainous Queen of the Night’s high-flying “Der Hölle Rache” (“Hell’s Vengeance”) is one of the most famous arias in all of opera. It is instantly recognizable from its myriad appearances in popular culture, from Disney’s Operation Dumbo Drop to the film Eat Pray Love to TV’s Gossip Girl, not to mention a long list of iconic commercials. In this production, the Queen of the Night fills the stage as a gigantic spider while her stratospheric high notes blow the roof off the Lyric Opera House.

•       An acclaimed Chicago native comes home. Renowned conductor Karen Kamensek, who was born in Chicago, makes her Lyric debut leading the Lyric Opera Orchestra in interpreting Mozart’s captivating and familiar score. In the 2019/20 season, she made a sensational Metropolitan Opera debut conducting its much-buzzed-about production of Philip Glass’s Akhnaten.

•       Lyric favorites return to Chicago. Ying Fang stars as the heroine Pamina, a role she has performed to great acclaim at the Met and in Zurich. She made her Lyric debut as another Mozartian ingenue, Zerlina, in 2019/20’s Don Giovanni. Brenton Ryan, who appeared at Lyric as the Fool in the 2015/16 production of Berg’s Wozzeck, returns in the key role of Monostatos.

•       Exciting debuts. The Magic Flute features many artists making their much-anticipated Lyric debuts in leading roles, including Lila Dufy as the Queen of the Night, Pavel Petrov as Tamino, Huw Montague Rendall as Papageno, and Tareq Nazmi as Sarastro.

•       Meet the next generation of opera stars. Six members of Lyric’s artist development program—The Patrick G. and Shirley W. Ryan Opera Center—take on featured and supporting roles in The Magic Flute: Denis Vélez is Papagena, Mathilda Edge is First Lady, Katherine DeYoung is Second Lady, Kathleen Felty is Third Lady, Martin Luther Clark is First Armored Man, and Anthony Reed is Second Armored Man.

•       A local flute with 20 years of magic. Assistant principal flautist Dionne Jackson, a Chicago native, plays Papageno’s charming flute solos from the orchestra pit. A graduate of The Juilliard School, she has held the position of assistant principal flute with Lyric Opera of Chicago since 2001.

•       Only seven performances: November 3; matinees on November 7, 11, 14, and 17; and November 19 and 27.

•       2 hours and 40 minutes, including 1 intermission.

•       Sung in German with projected English texts.

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

Lyric’s presentation of Mozart’s The Magic Flute is generously made possible by The Negaunee Foundation, Nancy & Sanfred Koltun, Liz Stiffel, the Gramma Fisher Foundation of Marshalltown, Iowa, Mr. & Mrs. Dietrich M. Gross, and Randy L. & Melvin R.* Berlin. *deceased

Lyric Opera of Chicago thanks its Official Airline, American Airlines.

Lyric Opera of Chicago is supported in part by a grant from the National Endowment for the Arts in response to the COVID-19 pandemic 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. #Lyric2122 #LongLivePassion

For more information, visit lyricopera.org.

HELP OUT: Share Your Parenting Stories With Lyric Opera Through February 28 and Be Part of An Interactive Arts Project

Get involved with Thoughts on Parenthood

*As a special thank you for your time, survey participants can enter to win tickets to special Lyric performances and events!* 

Thoughts on Parenthood is an interactive arts project presented by Lyric Opera of Chicago in conjunction with the upcoming Midwest premiere of Blue. With the help of activist and photographer Tonika Johnson, this project will connect with communities across the city of Chicago, gathering personal stories of parents – their greatest wishes, biggest needs, and proudest moments.

Take the survey HERE: lyricopera.org/ChillMama

How does it work? 
Participating in this project is easy!
Parents are invited to take a short survey capturing stories about their experiences. The deadline for the survey process is February 28. 15–20 respondents will be selected to be profiled on Lyric's website with an interview and portrait by artist and activist Tonika Johnson.

Starting in May, the public is invited to visit Lyric's website to view selected profiles of parents from across the city.

As a special thank you for your time, survey participants can enter to win tickets to special Lyric performances and events!

Meet Tonika Johnson
Tonika Johnson is a visual artist/photographer from Chicago’s Englewood neighborhood. As a trained photojournalist and teaching artist, she has been engaged in building an artistic legacy that gained citywide recognition in the last two years.






Coming this June: Blue
Blue
June 19-28, 2020
Sung in English with projected text
Presented at the Yard at Chicago Shakespeare
Navy Pier, 800 E. Grand Ave., Chicago
Tickets start at $35

Lyric Opera of Chicago
20 N. Wacker Drive
Chicago, IL 60606
United States

Lyric premiere of Blue is made possible by support from Gene and Jean Stark, Allstate Insurance Company, Baker & McKenzie, BMO Harris Bank, Conagra Brands Foundation, the Eisen Family Foundation, Virginia and Gary Gerst, Eric and Deb Hirschfield, the Lauter McDougal Charitable Fund, Magellan Corporation, Drs. Walter and Anne-Marie Bruyninckx, Debbie K. Wright. 

What does "parent" mean?

For the purposes of this survey, a “parent” is defined as anyone who has taken legal and/or social responsibility for a child. The goal of this project is to include as many unique stories of parenthood as possible. So, if you consider yourself to be a “parent,” please feel free to participate!

Examples of parents include, but are by no means limited to:

Biological parents

Adoptive parents

Step-parents

Foster parents

Caregivers (grandparents, aunts/uncles, family friends, etc.)

Parents who conceived through alternative means (surrogacy, IVF, IUI, etc.)

Parents whose children are adults

Estranged parents or parents separated from their children

For more information, you can also go to www.lyricopera.org/parenthood.  

Lyric Opera of Chicago is conducting a project in conjunction with their upcoming production of a new opera by Tazewell Thompson and Jeanine Tesori, Blue. Thoughts on Parenthood is an interactive arts project examining the unique experience of parenthood. With the help of activist and photographer Tonika Johnson, Lyric will connect with communities across the city of Chicago, gathering personal stories of parents – their greatest wishes, biggest needs, and proudest moments. Share your story and personal experience as a parent by completing this short survey: www.lyricopera.org/ChillMama 
   

REVIEW: THE CHICAGO PREMIERE OF CRITICALLY ACCLAIMED “MOBY-DICK” VIA CHICAGO OPERA THEATER

ChiIL Live Shows on our radar

CHICAGO OPERA THEATER PRESENTS THE CHICAGO PREMIERE OF CRITICALLY ACCLAIMED 

“MOBY-DICK” 

APRIL 25 AND 28 AT THE 

HARRIS THEATER FOR MUSIC AND DANCE


Photo Credit for all: Michael Brosilow

Guest Review:

by catherine hellmann

“Call me Ishmael.” As a grad student, those familiar words once filled me with dread, but now I am amused.

As Mark Twain noted, a “classic” is “something that everybody wants to have read and nobody wants to read.” Sums up my relationship with the 585-page tome. I can brag that I did actually read the entire novel, since it was required, while at Miami University. My father is the only person I know who read Moby Dick for fun. He was kind of an intellectual lunatic…

A common understanding when lovers of literature see a movie-based-on-a-book is,”The book was so much better.” For Moby Dick, the opera is sooooo much better!

Chicago audiences have one more opportunity to catch the Great White Whale (catchy, huh?) on Sunday April 28 at 3:00 at the Harris Theater on the edge of Millennium Park. It is a shame that COT does not offer more showings to give Chicagoans a longer opportunity to land this giant fish tale (and yes, I acknowledge that a whale is a mammal, not a fish...)

Chicago Opera Theater continues to impress with their season of non-standard performances. If you have had season tickets at Lyric and wonder why you must endure yet another damn Wagner marathon, please give Chicago Opera Theater a chance. They are doing exciting, unusual musical productions that you haven’t seen before. Moby Dick continues COT’s style of presenting a Chicago premiere. From their press release, “Jake Heggie and Gene Scheer’s grand American epic arrives in Chicago on the heels of critically acclaimed performances in Utah, Pittsburgh, and San Jose. Based on Herman Melville’s magnum opus, the opera brings the perilous adventures of the Pequod to the stage. Captain Ahab gathers a crew on his quest for revenge on the legendary whale that cost him a leg.”

Captain Ahab’s peg leg costume is ingenious; we both did double takes, wondering how that clever visual trickery was maneuvered. At Richard Cox’s curtain call, the fake leg had been removed, and he bemusedly tapped his normal leg. It was a lovely moment of levity after an intense performance.  

The set seemed promising, especially the map projected on the walls. The back walls open up like a giant window for us to see sailors on the deck and the stars. But my daughter pointed out that we could not see the singers on the mast from our angle in the balcony, “just singing legs,” which was frustrating. I had also hoped for an impressive sighting of the great white whale through those windows to convey the massive size of the beast, but was kind of disappointed by the lackluster reveal when M.D. is finally sighted. The costumes, by Jessica Jahn, are terrific, and the men’s chorus is truly one of the highlights of the show. Their offstage singing is simply gorgeous.

Also of special note is Baritone Andrew Bidlack as Greenhorn. He and Starbuck, played by Aleksey Bogdanov, possess beautiful voices and stage presences. First Mate Starbuck sings longingly for his wife and son back home, which is a tender moment against the lonely backdrop of the sea. Starbuck has a very revealing scene with the maniacal Ahab; he is the only crew member with the courage to contradict their obsessed boss and encourage him to turn the Pequod back to port. For his level-headedness, Ahab threatens to kill Starbuck, showing the single-mindedness of Ahab “going after that stupid whale.” (teen girl comment)  Starbuck, fearfully, sings,”Now all of us are Ahabs.”

This voyage will not end well.

If you’d like to know more about the industry of whaling and the real-life inspiration for Moby Dick, I highly recommend In the Heart of the Sea: The Tragedy of the Whaleship Essex by Nathaniel Philbrick. It reads like a novel and offers a fascinating history lesson about Nantucket, the tenacity of sailors, and the importance of whaling in the 1800’s. The book is classic, but not a classic, for it is one you will enjoy reading.

Catherine Hellmann grew up in Cincinnati when Jerry Springer was the mayor, which probably skewed her view of life. Chicago theaters and Wrigley Field are her happy places.

Jake Heggie and Gene Scheer’s Adaptation of Herman Melville’s American Epic to be Conducted by Lidiya Yankovskaya and Directed by Kristine McIntyre 

“Moby-Dick” is sung in English (with English supertitles) and 

runs 2 hours and 40 minutes.

Chicago Opera Theater (COT) caps its 2018/2019 season with the Chicago premiere of “Moby-Dick,” an epic adaptation of Herman Melville’s 1851 classic “Moby-Dick; or, The Whale” at the Harris Theater for Music and Dance (205 E. Randolph Street) Thursday, April 25 and Sunday, April 28. The production is co-produced by Utah Opera, Pittsburgh Opera, San Jose Opera and Gran Teatre del Liceu.

This grand American epic, featuring music by Jake Heggie and a libretto by Gene Scheer arrives in Chicago on the heels of critically acclaimed performances in Utah, Pittsburgh and San Jose. The production is conducted by Staley Music Director Lidiya Yankovskaya and directed by Kristine McIntyre. The design team includes David Jaques (Lighting), Erhard Rom (Sets) and Jessica Jahn (Costumes.) 

“‘Moby-Dick’ is a stunning work of extraordinarily powerful music and gripping storytelling,” said Yankovskaya. “Jake Heggie and Gene Scheer have drawn from the most compelling and dramatic passages of Melville’s epic, crafting a deft adaptation that has thrilled audiences across the globe. We’re proud to be bringing this important American opera to Chicago audiences for the first time.”

The opera focuses on the perilous adventures of the whaling ship Pequod, as Captain Ahab gathers a crew on his quest for revenge on the legendary whale that cost him a leg. Featuring a cast of more than 50 singers, including acclaimed American tenor Richard Cox as Captain Ahab and Russian-American baritone Aleksey Bogdanov as Starbuck, the spectacular production was hailed as “a stunning achievement… imposing, monumental, goose bump-inducing orchestral and choral writing” by Opera Today and “a modern masterpiece” by OperaWire. Other principal singers include Vince Wallace (Queequeg), Andrew Bidlack (Greenhorn), Summer Hassan (Pip), Aaron Short (Flask), Christopher Magiera (Captain Gardiner) and David Govertsen (Stubb). The chorus features more than 30 male voices. For more information on the cast, click here.

“Moby-Dick” will be performed Thursday, April 25 at 7:30 p.m. and Sunday, April 25 at 3 p.m.  at the Harris Theatre for Music and Dance, 205 E. Randolph Street. Tickets, which range in price from $45-$145, are available now on the Chicago Opera Theater website or by calling (312) 704-8420.



About Chicago Opera Theater
Chicago Opera Theater (COT) is a nationally recognized opera company based in Chicago, now in its 46th season. COT expands the tradition of opera as a living art form, with an emphasis on Chicago premieres, including new contemporary operas for a 21st century audience.

In addition to its programmed mainstage season, COT is devoted to the development and production of new opera in the United States through the Vanguard Initiative, launched in the Spring of 2018. The Vanguard Initiative mentors emerging opera composers, invests time and talent in new opera at various stages of the creative process and presents the Living Opera Series to showcase new and developing work.

Since its founding in 1973 by Alan Stone, COT has staged more than 125 operas, including over 65 Chicago premieres and more than 35 operas by American composers.

COT is led by Stefan Edlis and Gael Neeson General Director Ashley Magnus and Orli and Bill Staley Music Director Lidiya Yankovskaya. As of fall 2018, Maestro Yankovskaya is the only woman with the title Music Director at any of the top 50 opera companies in the United States. COT currently performs at the Studebaker Theater (Michigan & Congress) and the Harris Theater for Music & Dance (Michigan & Randolph).

For more information on the Chicago Opera Theater and its programs please visit chicagooperatheater.org.

CHICAGO PREMIERE OF CRITICALLY ACCLAIMED “MOBY-DICK” VIA CHICAGO OPERA THEATER AT THE HARRIS THEATER FOR MUSIC AND DANCE APRIL 25 AND 28, 2019

ChiIL Live Shows on our radar

CHICAGO OPERA THEATER PRESENTS THE CHICAGO PREMIERE OF CRITICALLY ACCLAIMED 

“MOBY-DICK” 

APRIL 25 AND 28 AT THE 

HARRIS THEATER FOR MUSIC AND DANCE

Production photos by my all time favorite theatre photographer, the incomparable Joe Mazza!

Jake Heggie and Gene Scheer’s Adaptation of Herman Melville’s American Epic to be Conducted by Lidiya Yankovskaya and Directed by Kristine McIntyre 

“Moby-Dick” is sung in English (with English supertitles) and 

runs 2 hours and 40 minutes.

ChiIL Mama will be out to review on the 25th, so check back soon for our full recap. Chicago Opera Theater (COT) caps its 2018/2019 season with the Chicago premiere of “Moby-Dick,” an epic adaptation of Herman Melville’s 1851 classic “Moby-Dick; or, The Whale” at the Harris Theater for Music and Dance (205 E. Randolph Street) Thursday, April 25 and Sunday, April 28. The production is co-produced by Utah Opera, Pittsburgh Opera, San Jose Opera and Gran Teatre del Liceu.

This grand American epic, featuring music by Jake Heggie and a libretto by Gene Scheer arrives in Chicago on the heels of critically acclaimed performances in Utah, Pittsburgh and San Jose. The production is conducted by Staley Music Director Lidiya Yankovskaya and directed by Kristine McIntyre. The design team includes David Jaques (Lighting), Erhard Rom (Sets) and Jessica Jahn (Costumes.) 



“‘Moby-Dick’ is a stunning work of extraordinarily powerful music and gripping storytelling,” said Yankovskaya. “Jake Heggie and Gene Scheer have drawn from the most compelling and dramatic passages of Melville’s epic, crafting a deft adaptation that has thrilled audiences across the globe. We’re proud to be bringing this important American opera to Chicago audiences for the first time.”

The opera focuses on the perilous adventures of the whaling ship Pequod, as Captain Ahab gathers a crew on his quest for revenge on the legendary whale that cost him a leg. Featuring a cast of more than 50 singers, including acclaimed American tenor Richard Cox as Captain Ahab and Russian-American baritone Aleksey Bogdanov as Starbuck, the spectacular production was hailed as “a stunning achievement… imposing, monumental, goose bump-inducing orchestral and choral writing” by Opera Today and “a modern masterpiece” by OperaWire. Other principal singers include Vince Wallace (Queequeg), Andrew Bidlack (Greenhorn), Summer Hassan (Pip), Aaron Short (Flask), Christopher Magiera (Captain Gardiner) and David Govertsen (Stubb). The chorus features more than 30 male voices. For more information on the cast, click here.

“Moby-Dick” will be performed Thursday, April 25 at 7:30 p.m. and Sunday, April 25 at 3 p.m.  at the Harris Theatre for Music and Dance, 205 E. Randolph Street. Tickets, which range in price from $45-$145, are available now on the Chicago Opera Theater website or by calling (312) 704-8420.

 

About Chicago Opera Theater
Chicago Opera Theater (COT) is a nationally recognized opera company based in Chicago, now in its 46th season. COT expands the tradition of opera as a living art form, with an emphasis on Chicago premieres, including new contemporary operas for a 21st century audience.

In addition to its programmed mainstage season, COT is devoted to the development and production of new opera in the United States through the Vanguard Initiative, launched in the Spring of 2018. The Vanguard Initiative mentors emerging opera composers, invests time and talent in new opera at various stages of the creative process and presents the Living Opera Series to showcase new and developing work.

Since its founding in 1973 by Alan Stone, COT has staged more than 125 operas, including over 65 Chicago premieres and more than 35 operas by American composers.

COT is led by Stefan Edlis and Gael Neeson General Director Ashley Magnus and Orli and Bill Staley Music Director Lidiya Yankovskaya. As of fall 2018, Maestro Yankovskaya is the only woman with the title Music Director at any of the top 50 opera companies in the United States. COT currently performs at the Studebaker Theater (Michigan & Congress) and the Harris Theater for Music & Dance (Michigan & Randolph).

For more information on the Chicago Opera Theater and its programs please visit chicagooperatheater.org.


Production photos by my all time favorite theatre photographer, the incomparable Joe Mazza!