Another year, another 12 months of great theater! 2016 blessed the Windy City with inspired new works and riveting revivals from a wide range of companies - from the largest equity houses and dance companies to the smallest of Chicago's storefronts. Taking into account the hundreds of productions that we reviewed this past year, here are our picks, in alphabetical order, for the best 10 productions of 2016. Bravo to all!!
See our picks below the fold
(in alphabetical order; all summaries by Lauren Whalen )
Evan Linder's uncompromising look at infidelity in the American South enjoyed simultaneous world premieres in Chicago, Toronto, Memphis and Charleston. While I can't speak for the other three, I can confidently state that the Chicago premiere (which resulted in a well-deserved extended run and remount) gave underdogs New Colony and Definition a fresh influx of respectability in local theater. Playwright Linder also portrayed lead character Jim, a perpetual small-town boy whose marriage to high school sweetheart Laurel () is threatened when the white couple's baby is born with dark skin. Thanks to the unflappable direction by Definition's Tyrone Phillip, John Wilson's humbly authentic set and a host of magnificent lead and supporting performances, Byhalia, Mississippi was a simple yet thunderous look at the intricacies of marriage, the pitfalls of dual infidelity and the mostly-impossible standards we place on one another.
Rivendell Theatre (April 27 - May 28)
"Punch me! Harder!" The order-turned-battle-cry of one teenage girl to another kicked off this Midwest premiere, equal parts shocking and stunning. Set entirely in a high school locker room, Ruby Rae Spiegel's script was not for the faint of heart. But thanks to Hallie Gordon's intelligent and quick-witted direction, Spiegel's sensitive and nuanced teen characters, and glorious lead performances by Bryce Gangel and Jessica Ervin, the story of a promising high school swimmer, an unexpected pregnancy and the brutality of youth (to each other, and within) became one for the feminist record books. And thanks to a nonverbal sequence that was pitch-perfect in its uncomfortable nature, I haven't looked at a janitor the same way since.
Broadway in Chicago (Oct 19 - open run)
Before the opening of his second musical, Lin-Manuel Miranda was a respected composer and performer with a Tony Award under his belt. Since the soundtrack of his hip-hop take on the Founding Fathers was released last year, the 36-year-old with the gift of Shakespearean-level wordplay has become a worldwide phenomenon, rightfully earning the adoration of everyone from President Barack Obama to a generation of new musical theater fans singing along in the backseat of their parents' cars. Chicago is the first city outside of New York to welcome this groundbreaking piece of theater, so the pressure was on for this cast to fill the shoes of Miranda himself, plus Tony Award winners Renee Elise Goldsberry, Daveed Diggs and Leslie Odom, Jr. Thankfully, they were more than up to the task, particularly Miguel Cervantes' uniquely cerebral interpretation of the title character and Tony winner Karen Olivo's sharp and intuitive Angelica Schuyler. Well worth the standing in line, the Internet scrambling and the lottery entries, a ticket to is a key to understanding both the sacrifices of those before us, and the necessity to stay proactive as America evolves.
Refuge Theatre Project (Jan 31 - Feb 28)
Both Nick Hornby's bestselling novel and the subsequent film adaptation starring John Cusack successfully made a relatable, even likable character out of Rob Gordon, a flawed record store owner with a passion for music and a tendency to strike out in the love department. But what of the stage musical, which had a respectable but forgettable New York run over a decade ago? Refuge Theatre made the savvy decision to stage their High Fidelity in an intimate gallery-type space, breathing rock star energy into Rob's quest to figure out how, why and where he keeps going wrong with women. A breakout performance from Max DeTogneas Rob, as well as a sarcastic and joyful Caitlin Jackson as his snarky pal Liz, transformed what could have been a passable evening out into a laugh-out-loud musical labor of love. And Chicago audience are in luck - look for a remount of this hit running Jan 27 thru March 5 at a pop up Refuge Records in Wicker Park!
Albany Park Theater Project (July 31 - Dec 17)
It's not every day that one goes back to high school, but perhaps we should, even just for a few hours. Dedicated to working with Chicago teenagers in both performing arts and academics, the Albany Park Theater Project is known for its groundbreaking student-led and artist-facilitated original work. However, Learning Curve took APTP's originality to a whole new level. The immersive experience explored a day in the life of a Chicago Public School from the perspectives of both teacher and student. From burned-out instructors and frazzled administrators to gossiping in the hallways to prom proposals, each theatergoer was treated to a unique "day" and left with a new perspective on the state of education in our city, our nation, and our society. Learning Curve was an intense 100 minutes, and an unforgettable triumph for the pioneering company,
Court Theatre productions veer toward the heavy, the rich and the unforgettable, and this fall's Man in the Ring was all three, and then some. The true story of Emile Griffith, a six-time welterweight world champion - and a gay man in the hyper-straight environment of professional boxing - wasn't just a gut punch but a lethal coldcock to the head. Told with a nonlinear structure, Man in the Ring bounced back and forth in time for maximum effect, equal parts cautionary tale and psychological thriller. The dream team of veteran director Charles Newell and choreographer Tommy Rapley collaborated to infuse Michael Cristofer's script with a delicate balance of modern sincerity and ancient Greek tragedy. Homophobia, murder and destruction of the body and mind were all on viciously vivid display as the Court once again delivered a life-changing take on a little-known historical figure.
This December, renowned stage and screen choreographer Christopher Wheeldon premiered a new and exciting twist to Joffrey Ballet's always-lovely performance of the holiday dance classic. Rather than a wealthy and coddled little girl, this Nutcracker 's heroine was scrappy peasant Marie, whose immigrant single mother is preparing a gold sculpture for the upcoming 1893 Chicago World's Fair. By transporting the location and circumstances, Wheeldon and Joffrey's cadre of athletic and gorgeous dancers found magic in both the ordinary and extraordinary. The Drosselmeyer character transformed into the Grand Impresario, a man both dedicated to the Fair and generous to his migrant employees and their children, who made their own family Christmas in a heartfelt opening scene. Far from the sugary norm, this Nutcracker had grit and heart, and will delight balletomanes, newbies and everyone in between for years to come.
PoshThanks to the upcoming Presidential inauguration, the topic of white male privilege is more relevant than ever. Steep Theatre Company began 2016 with a bang, reminding audiences just what's at stake if young men are allowed to get away with anything and everything. 's was equal parts cozy and bombastic, a cautionary tale of the British equivalent of a fraternity, and a dinner party gone horribly, horribly wrong. Director Jonathan Berry took many artistic risks - Steep typically has much smaller casts and less elaborate sets - and each and every one paid off in multitudes. Ashley Ann Woods' set, which was destroyed every night and subsequently reassembled, was the ultimate symbol of the 99% white male cast of characters: destruction and decay running just under the surface of their buttoned-up, fun-loving exteriors.
Jackalope Theatre (May 24 - June 25) United Flight 232 The House Theatre of Chicago (March 20 - May 1)Playwright Ike Holter is a Chicago treasure, and his imaginative wit was on full display in Jackalope's world premiere of . The story of four Southsiders who respond to increasing street violence by forming a vigilante gang, was equal parts comic book-esque wish fulfillment and a timely analysis of the dangers that lie on the city's collective doorstep. Director Marti Lyons expertly guided a four-person cast and a gifted design team to create a minimalistic yet achingly real story with a cinematic quality (both the polish of Marvel films andx the rough-and-ready quality of indie films). A sad and hopeful production executed at breakneck speed, was a stark and essential reminder of the urban Hades that most face on a daily, even hourly, basis.
Everyone should have perished, yet many lived to tell the tale. In fact, the crash had a literal one-in-a-million chance of even occurring. United Flight 232 , adapted and directed by Vanessa Stalling, was a beautifully presented oral history of defying the odds, and the doomed flight that manifested in an almost overwhelming plethora of human resilience, kindness and support. Known for work both thorough and profound - with a dash of stage magic - the House Theatre left no detail neglected. From the gray corridor to the folding chairs to Brenda Barrie's bravura performance as a courageous flight attendant, United Flight 232 was pure emotion and inspiration. There was nary a dry eye in the peanut gallery as Barrie uttered the final, powerful line of dialogue: "It's good to be alive."
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Tags: 16-1238, Albany Park Theater Project, Alice da Cunha, Allen Gilmore, Amy Stricker, Andrew Goetten, APTP, Ashley Ann Woods, Auditorium Theatre, Brenda Barrie, Britain Gebhardt, Broadway Armory Park, Broadway in Chicago, Bryce Gangel, Caitlin Jackson, Cecelia Wingate, Charles Newell, Charlotte Thomas, Cheryl Mann, Chopin Theatre, Chris De'Sean Lee, Christopher Pazdernik, Christopher Wheeldon, Court Theatre, Dash Barber, Daveed Diggs, Definition Theatre, Donovan Diaz, Elana Elyce, Ellen Gates Starr High School, Emile Griffith, Evan Linder, Fernando Duarte, Gabriel Ruiz, Gregg Gilman, Hallie Gordon, HamiltonCHI, High Fidelity, House Theatre, Ike Holter, Jackalope Theatre, Jacqueline Williams, James Doherty, Jeffery Owen Freelon Jr., Jessica Ervin, Joan Marcus, Joe Mazza, Joel Maisonet, Joffrey Ballet, John Cusack, John Wilson, Johnny Arena, Jonathan Berry, Julian Parker, Kamal Angelo Bolden, Karen Olivo, Kelly Baskin, Kiki Layne, Laura Leigh Smith, Laura Wade, Lauren Whalen, Lee Miller, Leslie Odom Jr., Lin Manuel-Miranda, Liz Lauren, Liz Sharpe, Lizzie Schwarzrock, Maidenwena Alba, Maria Velazquez, Marti Lyons, Matthew Garry, Max DeTogne, Melanie Brezill, Michael Brosilow, Michael Cristofer, Michael E. Martin, Michael Holding, Miguel Cervantes, Nick Hornby, Peter Ilyich Tchaikovsky, Prowess, Refuge Theatre Project, Renee Elise Goldsberry, Rivendell Theatre, Ruby Rae Spiegel, Rudy Galvan, Sean Michael Sullivan, Sean Wiberg, Shaledon Brown, Steep Theatre, Sydney Charles, The New Colony, Third Rail Projects, Thomas Cox, Thomas J. Cox, Thomas Kail, Tommy Rapley, Tyrone Phillips, Vanessa Stalling
Category: Albany Park Theatre Project, Auditorium Theatre, Best-of-Year, Broadway Armory, Broadway in Chicago, Chopin Theatre, Court Theatre, Definition Theatre, Den Theatre, House Theatre, Jackalope Theatre, Joffrey Ballet, Lauren Whalen, Lin-Manuel Miranda, New Colony, PrivateBank Theatre, Refuge Theatre Project, Rivendell Theatre, Steep Theatre, Video, YouTube