My Theatrical Year

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Where did those twelve months go? It just seemed like yesterday when I was washing the champagne and various other substances out of my hair (yep, that was quite the 2011 New Year’s Eve shindig), and now we are at the end of 2012, or the end of the world as we know it if you’re one of those Mayan Calendar Doomsday groupies.  I’ve compiled my sixth annual best theater in Chicago list, and I gotta say that this was probably the most difficult of the lists to put together since I began. I know I say this every year, but 2012 was quite the fantastic year in Chicago theater, with many, many notable actors, writers and theater artists coming to the city to work on truly stellar, world-class, only-in-Chicago productions.  But our storefront theater scene, which gave rise to and nurtured theatrical giants like Cromer and Letts, continued to be unparalleled in the country.  I’ve added and crossed-out the productions on this list several times despite the fact that I missed several shows (it was just impossible to balance my day job, extensive travel, and all that theatrical bounty). It’s also notable that for the first time in six years, I have no non-Chicago production in the top ten – that’s how great 2012 was. When New York magazine called Chicago theater the “farm team” for Broadway and off-Broadway, I scoffed and knew that that New York hack couldn’t really tell his sunken derriere from his skeletal face, because I know, and hundreds of Chicago audiences know, how good we have it here in the city, much better than those high-horsing New Yorkers.  Here then are my best Chicago shows for 2012, as well as the next 5: Read the rest of this entry »

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High Concept

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The December holiday theater season in Chicago has usually been a tepid grab bag of plays about Scrooge, George Bailey, Santa Claus, and all forms Rudolph, naughty, nice, and red-hosed.  A couple of years ago, the holiday month was electrified by non-typical non-holiday theatrical fare:  a blistering, unforgettable Steppenwolf staging of Who’s Afraid of Virginia Woolf? (now similarly electrifying Broadway audiences), and The Hypocritesdelirious island-set, promenade-staged version of Gilbert and Sullivan’s The Pirates of Penzance, which will close the main stage season in May 2013 of American Repertory Theater in Cambridge, one of the most important regional theaters in the country.  This year, thankfully, amidst the multiple It’s a Wonderful Lifes around the Chicagoland area (really how many times can this old horse be trotted out and live another day?), there are several exciting, high-concept productions to see if you, like me, want to fast-forward through all the dripping candy cane sentiment and come back to real life, or at least to real theater (yes, if you’ve read my blog for the past couple of years, you know my holiday spirit is, well, non-existent).  The Hypocrites is back this season with Pirates and is performing it in repertory with another Gilbert and Sullivan classic operetta, The Mikado, an intoxicating, exhilarating, unexpected production that is sure to be on my list of the ten best productions of the year (yep, it’s that good). Over at Victory Gardens is a noteworthy world premiere of Philip Dawkins’ Failure:  A Love Story, a melancholy, delicately-etched play being given a production too big, and too messy, for its britches (which is a problem).  If you have time for only one play in between the fruitcake-and-eggnog coma, I’d say go see The Mikado and it will rouse you back to exhilarated life.

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