History is often said to be written by the victors, and few events illustrate this more clearly than the Salem Witch Trials of 1692. Arthur Miller gave the historic event a new life in his 1953 allegorical play ‘The Crucible’. However, playwright Sarah Ruhl was piqued when she heard a story about Miller’s real inspiration for writing his classic play about neighborly betrayal. ‘Becky Nurse of Salem’ is Ruhl’s modern, humorous twist on the Salem Witch Trials.

Sarah Ruhl is one of the most popular American playwrights today. She has a knack for warmhearted, thought-provoking fantasies that showcase her highly creative storytelling approach. There’s no question ‘Becky Nurse’ has signature Sarah Ruhl elements, but in many ways this play is a departure–it’s angry.

Written during the Trump era, inspired by the eerie echoes of “Lock her up! Lock her up!”, ‘Becky Nurse of Salem’ is a bit of a blender of themes on modern American life. Becky is an unhappy 63-year-old woman giving tours of a dusty Salem Witch Trial museum. She’s a descendent of the real Rebecca Nurse who was executed during the Salem Witch Trials and to keep herself entertained; she tells tour groups “the real story” until her uptight boss lets her go. She’s also caring for her troubled granddaughter after her mother dies of an overdose. Becky is very lonely and takes comfort in opiods.

While this may not sound like the makings of a comedy, Ruhl’s play finds relatability in Becky Nurse. Afterall, who among us isn’t angry? Who isn’t outraged by the fact that over 300 years later, we haven’t fully learned the lessons of the Salem Witch Trials? Becky Nurse, is like all of us, flawed, and often unlovable but with her heart in the right place.

Shattered Globe Theatre brings ‘Becky Nurse of Salem’ to the Midwest after a 2022 Off-Broadway production. Directed by Ruhl’s longtime friend and collaborator, Polly Noonan, this revival feels like love is sewn into every hem. Leading the ensemble cast is Linda Reiter as Becky. Her performance fully embodies what it means to just be tired of the B.S. Her spiritual awakening is all the more earned by the play’s conclusion. And what’s a witch play without a little magic? SGT ensemble member Rebecca Jordan brings lightness to the darkness of the play with her rubbery affects and far out delivery as a real-life witch. Her scenes with Linda Reiter are some of the most fun to watch.

While watching ‘Becky Nurse of Salem’ there really does seem like a lot going on, but it’s after the play that you’ll realize how masterfully Sarah Ruhl intertwines so many hot button issues. This is Ruhl’s most serious work, and it also feels like her most urgent. Just like Arthur Miller, Ruhl bends the history of the Salem Witch Trials to serve her dire warning, and just like ‘The Crucible’ is an exciting exploration of where we’ve come from and where we’re going. Unlike Miller though, Ruhl leaves us with optimism.

Through November 16 at Shattered Globe Theatre. 1229 W Belmont Ave. 773-975-8150

“Gonna have to study up a little bit if you wanna keep up with the plot ‘cause it’s a complicated Russian novel,” so says the prologue in Writers Theatre’s Chicago premiere of ‘Natasha, Pierre & the Great Comet of 1812’. Don’t let the complicated Russian novel part scare you off because Dave Malloy’s unique take on Leo Tolstoy’s classic ‘War & Peace’ is anything but a living book report. It’s a serious breath of fresh air for musical theatre as a genre.

Nominated for an impressive amount of Tony Awards in 2017, including Best Musical and Best Musical Score, ‘The Great Comet’ was a smash hit to say the least. It’s not often you see a line queued up for a musical adaptation of a very long book, the other most notable being ‘Les Miserables’ in the 1980s. And just like ‘Les Miz’, the playwright has done a lot of trimming to ensure a normal two and a half hour running time. Instead of utmost faithfulness to the source material (as is the case with ‘Les Miz’), Malloy turns the period piece musical on its head. 

‘The Great Comet’ is a chamber opera, in that every line of dialogue is sung-through and the songs further the plot, hence the prologue. What’s really interesting about this particular adaptation is that for one, you do not need to have any familiarity with Tolstoy’s behemoth novel in order to be dropped into the middle of the book. ‘The Great Comet’ is but a small section of the book, but it is arguably one of the most interesting parts of the novel. Dripping with juicy soap opera subplots as well as the richly drawn interior lives of the characters, something Tolstoy was quite adept at. This show also wouldn’t spoil the overall plot of the novel as it leaves some plot points open-ended that are later solved in the novel.

Natasha (Aurora Penepacker) is engaged to Andrey (Matthew C. Yee) who is at the front fighting in the Napoleonic war. For safety’s sake she’s living with her soon-to-be in-laws in Moscow and for the first time in her life seeing the big world and all its temptations. When she meets dashing, but wicked Anatole (Joseph Anthony Byrd), she begins a risky affair that could threaten her future.

Writer’s Theatre’s production is one of the first major revivals since the original Broadway production and under Katie Spelman’s direction, it’s an absolute delight from beginning to end. When the curtain comes down on the first act, you’ll be immediately craving more. More of the music, more of the incredible voices and more of the heartrending music that cuts to the core of what it means to love.

This production culls together some of Chicago’s most formidable singers and actors including Bethany Thomas in the role of Marya (Natasha’s guardian) who gives one of the most electrifying performances of the evening. Not to be outdone, playing Nathasha’s best friend Sonya, Maya Rowe has likely the evening’s best solo with the song ‘Sonya Alone’. Aurora Penepacker does Tolstoy’s vision of the innocent Natasha more than justice, her song ‘No One Else’ provides the first pang of emotion. Though, don’t count Bri Sudia out as Pierre’s philandering wife Helen. She’s delivering pure musical theater magic all night. 

Spelman’s aesthetic for this production moves this musical from the black box to the opera house. Grand in scale, but still intimate. There’s a certain Baz Luhrmann quality to the costumes and the staging, and along with the modern pop soundtrack creates a very satisfying product. It just feels cool.

What will make this niche show continue to prosper in revivals is the music itself. Sophia Copola might be the godmother of putting modern music into period pieces, but Dave Malloy is doing more than just borrowing familiar tunes from his youth. The soundtrack feels like the first truly relistenable soundtrack in decades. Not a bit of the saccharine jukebox music with throw-away lyrics here. And though there is a musical through-line, what this show really benefits from is the unexpected diversity of unique sounding songs. Each song becomes its own world in a way that most modern musicals fail at. It feels like a harken back to the Sondheim era of musical theatre.

‘The Great Comet’ is the perfect musical for people who say they hate musical theatre. At the risk of saying “steampunk”, it’s a refreshing take on both musicals and adaptation. The creativity of both the cast and direction at Writers Theatre makes for an enchanting night at the opera.

Through October 27 at Writers Theatre. 325 Tudor Court, Glencoe, IL. 847-242-6000  

*Extended through November 3rd

Though Larry Kramer did not live to see the end of the 2020 COVID-19 lock downs, no doubt his contributions to the 1980s AIDS outbreak inspired a new generation to demand accountability for what is widely regarded as a botched response.

Larry Kramer was known as a firebrand who often verged on offensive. His 1978 debut novel titled “Faggots” was a blistering satire of pre-AIDS gay life in New York City. His depictions of fellow gays as shallow and promiscuous earned him a negative reputation in the late 1970s scene.

By the time the AIDS crisis overwhelmed New York in the early 80s, Kramer was seen by many as cantankerous, but nonetheless his brash public appearances and relentless demand for social justice made him an iconic figure in the fight against AIDS.

Redtwist Theatre opens their newly renovated space with a revival of Larry Kramer’s 1985 play ‘The Normal Heart’. Ted Hoerl directs a sizeable ensemble cast to recreate Kramer’s semi-autobiographical story of the inception of one of the country’s first AIDS activist groups—Gay Men’s Health Crisis.

‘The Normal Heart’ begins with a gut-wrenching diagnosis that quickly drops the audience into the moment when AIDS first hit New York in the summer of 1981. Kramer establishes Ned Weeks (Peter Ferneding) as the main character spurned into action by the sight of his friends rapidly dying of an unknown disease.

Ned is inspired to become a leader for AIDS research by Dr. Brookner (Tammy Rozofsky) who sees patient after patient with the same mysterious, but lethal pathology. With his heart in the right place, Ned bickers incessantly with his fellow activists showing how messy progress can be.

Through it all, Ned falls in love for the first time, mirroring Kramer’s own search for love in an era where gay love was still in the closet. The central romance between Ned and Felix (Zachary Linnert) provides Ned a reason to keep fighting for acknowledgement from federal and local health agencies in order to fund research and a cure.

Performances are somewhat inconsistent in Redtwist’s revival, but the play serves to remind its audience of the truly outrageous mishandling of the AIDS crisis by Reagan-era politicians unwilling to help, or even dare say the word AIDS. Kramer’s anger is both palpable and justifiable in nearly every line, even if at times delivered a little melodramatically.

‘The Normal Heart’ is a searing indictment of the dangers of apathy. And that seems even more prescient as we head into an election in which brazenly absurd policies like Project 2025 are on the ballot.  Kramer was deeply disturbed by the Western word’s inaction during the Holocaust and saw many parallels during the AIDS crisis. While not exactly a pleasant subject matter, the world needs people like Larry Kramer to sound the alarm bells.  His play may not be as artful as Tony Kushner’s ‘Angels in America’ but its message is even more dire. In the near three hour run time, in a small theater, Kramer’s gripping script is impossible to shy away from, which is exactly what he intended.

Through September 29 at Redtwist Theatre. 1044 W Bryn Mawr Ave. www.RedwistTheatre.org

Language may be the backbone of human communication, but there’s a lot that happens between the lines. Sanaz Toosi’s 2023 Pulitzer Prize winner ‘English’ explores what we learn when studying a new language. Director Hamid Dehghani assembles an all-Iranian cast for Goodman Theatre’s Chicago debut of this exciting new play.

When American students take foreign languages in high school, it’s more or less travel lessons. There’s a sense that languages are more of an elective than a necessity. And sadly, most adults don’t retain much of their high school French after graduation—even those who travel extensively. The world reinforces the idea that English is the dominant international language and that the West is the dominant culture. Though history would tell us this is a relatively new idea.

Sanaz Toossi’s play takes place entirely in an Iranian classroom in which four students of various ages are learning the notoriously difficult English language. Each character has their own consequential reason for learning English. Marjan (Roxanna Hope Radja) teaches more than sentence structure to her students: Goli (Shadee Vossoughi), Roya (Sahar Bibiyan), Omid (Pej Vahdat) and Elham (Nikki Massoud)—she’s teaching them hope for a better future. However, it begs the question, why can’t there be hope in Iran, or rather in their native tongue, Farsi?

‘English’ premiered in New York in 2022 and went on to win the 2023 Pulitzer Prize. While it’s easy to see how this play could be one of the most produced around the world, ethnically ambiguous casting would be a disservice to the underlying messages of the play. Goodman’s choice to cast Iranian theatre-makers both on and off stage lends a truly authentic feel to this work, and this degree of perfection would be hard to recreate.

Goodman’s production soars thanks in huge part to this incredibly talented cast. While the action of the play does start off a bit slow, the 90-minute play really gets going when we learn why older student Roya is trying to learn English. Her story of emotional and physical distance from her adult son in Canada underscores what a person can lose when they renounce their culture. Sahar Bibiyan gives a devastating performance that cuts to the play’s overall message, empathy.

‘English’ is more complicated for teacher Marjan and her obstinate student Elham. The two characters spar throughout and Toossi makes not only a point about optimism versus pessimism, but also of the competitiveness that can arise between women. Roxanna Hope Radja and Nikki Massoud are well matched as the play’s two anchors.

Ultimately, ‘English’ has a happy ending if you consider whether the main characters get what they want. While the themes of this deeply human play are fraught, at its core it’s a celebration of what it means to be a foreigner. It’s a celebration of one’s home. Though the plot is straight forward, each of the brief scenes leaves an important mark on your heart.

This is a play meant to inspire Western audiences to practice more empathy when we hear an accent we aren’t used to. At the end of the day, everyone is trying their best and when we assume positive intent, it’s amazing how much we can learn even when words don’t come easy.

Through June 16 at Goodman Theatre. 170 N Dearborn St. 312-443-3800

“Together we created this nothingness,” says Audrey Francis in Steppenwolf’s production of Larissa Fasthorse’s ‘The Thanksgiving Play’. Hot off its Broadway run, this madcap comedy cuts right to the bone. Under Jess Mcleod’s direction, the intimate cast leaps right off the stage.

‘The Thanksgiving Play’ is about three elementary school teachers and one sassy actress who come together to devise a children’s play that illustrates the first Thanksgiving. In a fast-paced one-act, emotions and hypocrisies run amok.

Logan (Audrey Francis) plays the director, a role the actress and Steppenwolf Artistic Director Audrey Francis is used to playing. What a treat it is to see Francis on stage in her element. Francis is a masterful actor, and this play is but another entry in a long list of perfect performances.

Logan is dating her New Age-y coworker Jaxton (Nate Santana) who is also enlisted to help with the Thanksgiving play alongside Caden (Tim Hopper). Thinking they’re being progressive, they hire who they assume is a Native American actress, Alicia (Paloma Nozicka). Without a script, the four theatre artists must work together to tell a story that pays deference to Native American culture. Though well-intentioned, the all-white creative team exposes everything wrong with today’s supposed “woke” ideals.

At its core, ‘The Thanksgiving Play’ is a scathing satire of the “white savior” complex. Though Logan’s heart is in the right place, it’s perhaps her over-education on race-related issues that finds her with her foot in her mouth throughout the play. Larissa Fasthorse’s play suggests that some allies are more concerned with the outward appearance of racism than they are with true authenticity.

As we’ve been told, the very first Thanksgiving was a breaking of bread between settlers and natives to commemorate their collaboration during the harvest season. We can likely agree this probably was more fiction than fact, but for the sake of a children’s play, maybe the gruesome truth isn’t appropriate. Fasthorse’s play asks the audience is there a better way to tell this story with both respect and truth?

Things quickly fall apart between the creatives as they all battle to enact their own will. Sound familiar? ‘The Thanksgiving Play’ is as much an allegory as it is a comedy. Paloma Nozicka’s character Alicia, who is there to be the token Native American character presents an interesting observation: smart people are often not content. The white characters in the play make their lives more complicated with rules and propriety which leads to their unhappiness. Whereas Alicia lives simply and seems really happy. With these parallels established, Fasthorse could be seen as making an argument that European settlers brought neuroses with them to the New World. 

It’s a remarkable thing to hear a crowd of intellectuals be able to laugh at themselves. A lot of the dialogue will leave you with your jaw open because it’s chock full of ideas you know better than to articulate, such as “why isn’t there a white history month?”

‘The Thanksgiving Play’ is not a show for the humorless. It’s a blistering send-up of how bleeding-heart white people can find themselves twisted in knots trying to appease political correctness, and at what cost.

Through June 2 at Steppenwolf Theatre Co. 1650 N Halsted. 312-335-1650

Director Chuck Smith returns to Goodman with another major August Wilson revival–“Joe Turner’s Come and Gone”. This is the second play in Wilson’s 10-play “American Century Cycle”. Goodman produced the first play in the series, “Gem of the Ocean” in 2022 as well as “Two Trains Running” in 2015. Both directed by Chuck Smith. Returning also is A.C. Smith, a staple of any August Wilson production in Chicago.

“Joe Turner’s Come and Gone” takes place in 1911, in Pittsburgh, where most of August Wilson’s work is set. Staged in a boarding house respectably kept by Seth (Dexter Zollicoffer) and Betha (TayLar) Holly, where their regular lodgers Bynum Walker (Tim Rhoze) and Jeremy Furlow (Anthony Flemming III) keep them busy. When a mysterious man and his young daughter arrive looking for a room strange things begin happening.

Wilson has a gift for turning vernacular into poetry. His world-weary characters speak with a sort of casual beauty that rivals Tennessee Williams. That much is never clearer than when Molly Cunningham saunters into the boarding house. Krystel V McNeil captivates as Molly, delivering every line with seductive authority. The purpose of her character is somewhat ambiguous but she’s a welcomed presence nonetheless.

The mysterious man, Herald Loomis, is in search of his wife Martha who is also the mother of this daughter. Bynum and Seth are skeptical but when supernatural things begin happening, a revelation is exposed that calls into question how free the nation really was in the early part of last century.

As always, A.C. Smith’s commanding performance showcases not only a true talent for reinvention, but a deep understanding of August Wilson’s intentions. The chemistry between director Chuck Smith and A.C. Smith is palpable in everything they work on together.

Wilson wrote epics. And this production feels epic. Though there are thematic overlaps in his play cycle, each are distinct masterpieces in themselves. “Joe Turner” like all of Wilson’s plays feels like classic theater. It combines so many elements from lore to magical realism, but on a Goodman-scale backdrop. What a treat it is to see these works produced to impeccable, if not gold standards complete with dream casting.

Thanks to a special relationship between Chuck Smith and August Wilson, Chicago is a mecca for August Wilson’s plays. Between the Court Theater in Hyde Park and Goodman, you’re likely to see all of them if you stay in Chicago long enough. While each has been presented on Broadway at one time or another, his plays aren’t produced nearly as often as they should. Thankfully Denzel Washington is committed to getting each of the plays in the cycle adapted into a film–so far, also to impeccable standards. 

Wilson wrote essential plays that speak for more than just the African American experience, but rather the entire American experience and where it might be headed. Though the last century was full of strife, Wilson finds triumph in every era. His plays certainly don’t shy from the truth, but they always offer a road to hope. 

Through May 19 at Goodman Theatre. 170 N Dearborn. 312-443-3800.

‘Jersey Boys’ is back in Chicago, bringing with it a little East Coast to the Third Coast. The hit Broadway musical about the lives of Frankie Valli & the Four Seasons played for over two years in the mid-00s at the CIBC Theater and helped establish Broadway in Chicago as more than just an importer of touring shows. Now ‘Jersey Boys’ will see another open-ended run at Mercury Theater.

Believe it or not, there was once a time when biographic, jukebox musicals were novel. While ‘Jersey Boys’ certainly wasn’t the first, it was one of the earliest and arguably better than some of the shlocky stuff plaguing Broadway these days. Digression aside, the music of Frankie Valli & the Four Seasons effortlessly lends itself to musical theater. Afterall, Frankie Valli did provide the title track for the film version of ‘Grease’. 

Co-directed by L. Walter Stearns and Brenda Didier, this production is every bit as good as the Broadway in Chicago sit-down. Mercury’s revival scrubs off all that Broadway gloss and presents a grittier, if not more authentic version of this Italian-American flavored drama. Is it family friendly? Sure, if you don’t mind the ubiquitous use of the F-word akin to the mob wife aesthetic of ‘The Soprano’s’. 

Though Frankie Valli was the frontman and eventual breakout star of The Four Seasons, their origin story is told equally from all four players. However, Adrian Aguilar as Tommy DeVito commands the stage as the main narrator.

Few grown men can hit the notes Frankie Valli was capable of, but Michael Metcalf does so with seeming ease. To look at him (or hear his speaking voice), you’d never expect he could go that high, but that and his performance as an actor showcase what a multi-purpose talent he is.

‘Jersey Boys’ doesn’t often address the personal lives of the band members, but instead tells the story of how they came to be, their rise to fame, and all that comes with it. However, it’s not empty in the way that so many of these jukebox musicals end up being. That’s likely due to a book co-written by Marshall Brickman, who helped write some of Woody Allen’s most iconic films (‘Annie Hall’, ‘Manhattan’), and Tony Award winner Rick Elice. Brickman writes from a place of personal experience as he was working in the entertainment business around the same time as the head writer for Johnny Carson. The result is a really fun, ‘VH1 Behind the Music’ of Frankie Valli & the Four Seasons.

Though Frankie Valli and the Four Seasons made bubblegum pop, their story is far from saccharine. What’s surprising about this story, and the likes of the Rat Pack, is how intertwined their successes were with organized crime. The title says it all. There’s something about this show that non-musical people will find really appealing, in the same way ‘Grease’ appeals to nearly everyone.

Wonderful performances, hot choreo, great costumes and a full-blast band make ‘Jersey Boys’ at Mercury a heavy hitter for the Wrigleyville theater company. You’ll be clapping in unison by the end (whether you want to or not).

at Mercury Theater. 3745 N. Southport Avenue. 773-360-7365

*extended through July 28th

If there's one play every American should see in their lifetimes, without a doubt it's Tennessee Williams' perennial classic A Streetcar Named Desire. It's the type of play that transcends theatre and stands alone as one of the best contributions to contemporary literature. Its complexities and social commentary make it worth revisiting. Whether Williams intended his 1947 Pulitzer Prize winner to be laden with symbolism and rich in themes, is a debate for English teachers. What's indisputable is that before 'Streetcar', few plays dared to push a mainstream Broadway audience quite so far.

Paramount Theatre presents a thrilling, and faithful production of A Streetcar Named Desire at the Copley Theatre. Co-directed by Jim Corti and Elizabeth Swanson, this production is absolutely worth a Metra ride to downtown Aurora. Who says all the great theater must be within the Chicago city limits?

You can't have a good 'Streetcar' without a good Blanche and Paramount certainly has that in actress Amanda Drinkall. Her performance as Blanche deviates from the cliched washed up Southern belle many associate with Streetcar and Cat on a Hot Tin Roof. It's not to say she's giving an understated performance either. Rather, Drinkall wisely interprets Blanche as foremost, an alcoholic, as well as someone in already in the throes of a nervous breakdown. Often Blanche is portrayed as being driven to madness, but here it seems she arrives in that condition. Drinkall has an uncanny way of shifting between Blanche's "illusion" and her mania with just a facial expression. Perhaps eeriest of all is that Drinkall is much younger than, say, Vivien Leigh, so her unraveling seems all the more tragic as these days mid-30s is hardly considered “old maid” territory. 

Alina Taber as Stella and Casey Hoekstra as Stanley round out the principal casting and both turn in exceptional performances. Particularly Alina Taber - who brings a three dimensionality to Stella that may not be as developed in the script. Instead of the demure younger sister, Taber plays Stella with a bit more passion, and at times combativeness with Blanche.

Amanda Drinkall as Blanche DuBois in A Streetcar Named Desire at Paramount Theatre’s Copely Theatre.

Adding to this production's high quality are the lighting effects by Henry Toohey. The ways Blanche is lit during her gory monologues leave a haunting impression. Costumes created by Alan Richards and Kaia Mortenson are sexy but true to 1940s fashion as is the set design in general. Stella and Blanche are both styled in a way that gives this production authenticity as well as glamor.

Tennessee Williams' actual script is much more provocative than the classic Elia Kazan film with Marlon Brando and Vivien Leigh. What's always somewhat disappointing about the film version is that it cuts short one of Blanche's most heartbreaking monologues. Drinkall sinks her teeth into that monologue in this production. This by-the-books Streetcar is visceral, sexy and shocking just as Williams' intended it to be.

This is a play meant to be discussed. With each time you see it, there are always new ways to examine character motives and ask yourself the central question to any play - did the characters get what they want? There's probably no real right or wrong answer, but you'll just have to see this production for yourself in order to make up your mind.

Through April 21 at Paramount Theatre. 8 E. Galena Blvd. Aurora, IL 630-896-6666

There’s a reason Elton John’s Broadway musical adaptation of ‘Aida’ was one the most popular musicals of the early aughts. Verdi’s classic has all the romance and tragedy that opera fans crave, but with a relatively easy to follow plot. For that reason, ‘Aida’ is a more accessible work for the unindoctrinated. It’s a great opera to cut one’s teeth on along the same lines as ‘La Boheme’ (which was adapted into RENT).

‘Aida’ returns to Lyric after a decade, and who better to revive it than world renown Verdi interpreter (and Lyric’s Music Director), Enrique Mazzola? Previously he’s conducted Verdi classics: ‘Luisa Miller’, ‘Macbeth’, ‘Ernani’ and ‘Don Carlos’ and like those that came before, ‘Aida’ does not disappoint.

‘Aida’ premiered on Christmas Eve, 1871 as a commission by the government of Cairo and quickly had a European premiere in early 1872. It’s been staged almost 1500 times since then. While the plot is inspired by African lore, much of this story is Verdi’s own creation. He was not only a masterful composer but a compelling storyteller. Plots can often be an afterthought when it comes to opera and many are downright weird, or even offensive by today’s standards. Verdi’s tragedy is tragic in the sense that its principal characters die, but somehow there’s more lightheartedness here than say, ‘Romeo + Juliet’.

A trio of incredible voices and performers tell the story of all that’s fair in love and war. Michelle Bradley sings the title role, while Jamie Barton sings the role of her captor, Amneris. They’re both in love with the dashing army general Radames (Russell Thomas) but Amneris is the king’s daughter. Aida’s homeland is conquered by Radames who enslaves her father. Despite the brutality, Aida is hopelessly in love with Radames, but as the victor, he’s promised Amneris’ hand in marriage as a reward. The twist? Radames reciprocates Aida’s love and ultimately betrays his king for her.

Michelle Bradley stars in 'Aida'.

As always, the visual spectacle created on stage at Lyric perfectly matches the gorgeous music flowing from the pit. Four acts (and three hours) breeze by in swift transitions and huge choral numbers. ‘Aida’ lends itself well to musical adaptation as ballet and dance also serve to further the plot and communicate emotions without words.

Though it does beg the question, would this opera be as interesting without a million dollars’ worth of staging? The answer is always yes. The three main vocalists prove that while the staging is great, what opera fans really come for is first and foremost, the music. When all three are on stage, you forget that anything else exists. Even the perceived “villain” Amneris lights up the stage with her perfect comedic timing.

‘Aida’, like many classic operas continues to find enthusiastic audiences because of the solid story, excellent music and epic scale. If you missed ‘Aida’ ten years ago at Lyric, now’s your chance to see it bigger, better, and even grander under the direction of a Verdi master.

Through April 7 at Lyric Opera Chicago. 20 N Wacker Drive. 312-827-5600

For tickets and/or more show information, click here.