Displaying items by tag: Jaye Ladymore

Safe to say Steppenwolf’s revival of Peter Shaffer’s Amadeus is “fetes and fireworks”. Robert Falls makes his directorial debut at Steppenwolf after recently retiring from his role as Goodman Theatre artistic director. To say his new production of Amadeus makes a splash would be an understatement. Falls brings his signature vision to the still new in-the-round stage at Steppenwolf for a thrilling evening of theatre.

Even in the so-called peak of Broadway attendance, very few straight plays ran for three months let alone three years. Amadeus opened on Broadway in 1980 starring Ian McKellen, Jane Seymour and Tim Curry (as Mozart) where it ran for three years. It went on to win several Tonys and was eventually adapted into an Academy Award winning film in 1984. Since plays don’t last long on Broadway, it begs the question: what about Peter Schaffer’s play resonated with audiences? The film has also attracted a considerable cult following.

Pete Shaffer uses the rivalry between Italian composer Antonio Salieri and young Mozart as an allegory for professional jealousy and intergenerational conflict. The dastardly Salieri is played by Steppenwolf ensemble member Ian Barford while his counterpart is played by David Darrow. Though Shaffer admits to inventing many of the details of his play, his version turns the music world of 1700s Europe into a kind of rock ‘n roll. When we think of the classic composers, we think of them as we think of their music–mild, inoffensive, something to put on in the background to get work done. Amadeus portrays Mozart as an enfant terrible: a womanizer and drunkard. His wild lifestyle is likely what led to his most important operas, even if they were mostly lighthearted comedies. Shaffer makes classical music cool by bending the lore to fit his own artistic agenda.

David Darrow, Jaye Ladymore and ensemble member Ian Barford in Steppenwolf Theatre Company’s production of Amadeus.

Robert Falls’ revival feels as fresh as when it opened over 40 years ago. While the movie is known for lavish sets and costumes, Steppenwolf’s production is somewhat modest. Minimalism only adds to the cool factor here. One of Falls’ innumerable talents as a director is creating visual splendor. Together with longtime scenic collaborator Todd Rosenthal, Falls’ shows audiences countless moments of theatrical magic. Steppenwolf’s choice to present this play in the round is a wise one that affords the cast an opportunity to move in and around the audience.

Falls has gathered a wonderful cast. While the headliner here is Mozart, the real star of the show is Salieri. The villain begins the show as the main character and in his lengthy confession we see he is more often the tormented one even though he’s in the position of power. Barford’s performance is less delicate than how this part has traditionally been approached. His hulking figure in period dress only adds to his threatening persona that feels more masculine than intellectual. Darrow on the other hand plays the clown well in the first act but leaves audiences devastated by the conclusion. His indefatigable energy is a lot of fun to watch.

Steppenwolf’s Amadeus is as exciting as the news that Robert Falls switched houses to direct it. In many ways it feels way less stuffy than some of his most impressive work at Goodman. Though this production is basically perfect, there’s a bit of grit left on it and it’s all the better for it.

*Extended through January 25th

It’s not often that Goodman Theatre imports plays from other theatre companies. It’s also an exciting moment when a frequent Goodman actress gets to showcase her newest play on the mainstage. “Relentless” by Tyla Abercrumbie was originally developed and produced by TimeLine Theatre in Chicago as part of their Playwrights Collective. The past year was still tricky for most theatre companies, and many had to reconfigure their seasons on short notice. Directed by Ron OJ Parson, “Relentless” premiered at TimeLine in early 2022 to rave reviews and has since been moved to the Owen stage at Goodman.

Set in 1919, “Relentless” tells the story of two Black sisters who return to their family home in Pittsburgh following the death of their mother. Janet (Jaye Ladymore) and Annelle (Ayanna Bria Bakari) are two bourgeois young women who live in Boston. Janet and Annelle see the world differently. Annelle sees the bright side of things, which seems easy from her perspective as a doctor’s wife. Janet is unmarried and doesn’t see much use for marriage. It’s when Janet begins reading her mother’s diary that she considers keeping the house and staying in Philadelphia.

For many Americans, the year immediately following WWI and the 1918 flu pandemic, was a time of great optimism. For those still reeling from the horrors of slavery, seemingly very little had changed in the 60 years since the Civil War.

In fluidly moving scenes, Janet is transported by her mother’s diary to the twilight years of slavery. As middle-class characters, her and Annelle have been somewhat shielded from some aspects of discrimination, but the details of their mother’s journal pull back the veneer on the gilded life they live. Annelle would rather not know anything at all, but the injustices spurn Janet to rage.

Abercrumbie’s story has the look and feel of an August Wilson play, but with a unique perspective. This is a story about Black women, told by a Black woman. Female characters are dimensional here, they swear, they drink, and they talk about sex. Culturally we assume previous generations were somehow more innocent but that couldn’t possibly be true. Though like Wilson’s plays, “Relentless” underscores that every generation of Black Americans has had to deal with the same issues of violence, racism and oppression. “Relentless” asks if anything has really changed.

Performances by Jaye Ladymore and Ayanna Bria Bakari are what this play hinges on. Both actresses fill the space with their characters, both giving them distinct personalities and similarities that create a sisterly chemistry on stage. Demetra Dee as the mother, Zhuukee, in the years of slavery is the discovery of the evening. There’s a fragile yet strong delivery in her lines. She’s soft in situations that would make others harsh. “Relentless” is a play with anger at its core, but perhaps Zhuukee represents a sense of forgiveness, or healing.

Through May 8 at Goodman Theatre 170 N Dearborn Street www.goodmantheatre.org