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Rachel Weinberg - Page 9

Rachel Weinberg

Chicago native Rachel Weinberg has been one of the most frequent contributing editors and critics for BroadwayWorld Chicago since joining the team in 2014. She is a marketing professional specialized in content strategy, writing, and editing. Rachel graduated with her Master’s degree in Integrated Marketing Communications from the Medill School of Journalism at Northwestern University. She earned her undergraduate degree in Communication and Hispanic Studies from the University of Pennsylvania. Rachel has worked previously in digital marketing for Goodman Theatre and as a marketing apprentice for Roundabout Theatre Company in New York City. When she’s not at the theater, you can catch her riding up a storm on her Peloton bike, getting lost in a good novel, or sampling desserts at bakeries across the city. You can find her online at RachelWeinbergReviews.com and follow her on Twitter @RachelRWeinberg.






BWW Review: ONCE ON THIS ISLAND National Tour Presented by Broadway In Chicago
BWW Review: ONCE ON THIS ISLAND National Tour Presented by Broadway In Chicago
January 24, 2020

The national tour of Michael Arden's Tony Award-winning revival of ONCE ON THIS ISLAND has arrived in Chicago in a blaze of color and light. While Arden's production makes clear that the tropical island in the French Antilles where the musical takes place is no stranger to the devastating effects of natural disasters, it's also a staging filled with joy and rich visuals. Dane Laffrey's found objects aesthetic for the scenic design also conveys the musical's occupancy between the nebulous space of reality and the mystical world of the four gods that guide the musical's protagonist Ti Moune on her journey.

BWW Review: MEAN GIRLS National Tour at the James M. Nederlander Theater
BWW Review: MEAN GIRLS National Tour at the James M. Nederlander Theater
December 29, 2019

The first national tour of the MEAN GIRLS musical has arrived in Chicago, and it's totally fetch. Original screenwriter Tina Fey has partnered with composer Jeff Richmond (her husband), lyricist Nell Benjamin, and director/choreographer Casey Nicholaw to create a show in line with its pop musical contemporaries. MEAN GIRLS has an unabashedly pop score, filled with a combination of big belty numbers and upbeat tunes. Benjamin's lyrics cleverly recreate many iconic moments from the original 2003 film through music, while Fey's book also introduces many new jokesa?'particularly when it comes to the use of social media. Cady Heron's initiation into the vicious halls of North Shore High, and her encounter with reigning clique The Plastics, will surely delight fans of the movie.

BWW Review: DANCE NATION at Steppenwolf Theatre Company
BWW Review: DANCE NATION at Steppenwolf Theatre Company
December 22, 2019

The Chicago premiere of Clare Barron's DANCE NATION, now at Steppenwolf with direction and choreography from Lee Sunday Evans (who also helmed the original production at Playwrights Horizons), is alternately wild, messy, and confusinga?"much like the experience of early adolescence for the play's characters.

BWW Review: Scenario Two's THE LIGHT IN THE PIAZZA at Lyric Opera House
BWW Review: Scenario Two's THE LIGHT IN THE PIAZZA at Lyric Opera House
December 17, 2019

Lyric Opera's special holiday engagement of Adam Guettel's THE LIGHT IN THE PIAZZA, one of the few contemporary musicals written in a style that harkens back to the Golden Age, is beautifully sung with the composer's complicated and melodious score performed by a superb orchestra. The musical focuses on Margaret Johnson and her daughter Clara, who take a vacation to Florence, Italy in the summer of 1953a?'and find their lives forever changed after Clara has a chance encounter with Fabrizio Nacarelli, a young Italian man. It should come as little surprise that Renèe Fleming has a radiant turn as Margaret. Vocally, Fleming's take on the role is pristine, but she also plays out the tension between Margaret's fiercely protective instincts when it comes to her child and her yearning to empower Clara to lead her own life as a young adult. While I wish to avoid spoilers, it's key to share that the musical has a twist that includes a revelation about Clara that shines light on precisely why Margaret feels so compelled to keep watch over her daughter.

BWW Interview: On Wednesdays, She Wears Pink — Jonalyn Saxer Reflects on Playing the Role of Karen Smith in the MEAN GIRLS National Tour
BWW Interview: On Wednesdays, She Wears Pink — Jonalyn Saxer Reflects on Playing the Role of Karen Smith in the MEAN GIRLS National Tour
December 12, 2019

Do you want to see Jonalyn Saxer fit her entire fist into her mouth? Actually, I don't know if the actor can do that, but she is showcasing her talents in the principal role of Karen Smith in the national tour of MEAN GIRLS (Fans of the original 2003 film will recognize that opening line as one of Karen's many now famous tidbits). Now, Saxer is delivering Karen's signature brand of humor eight nights a week—and singing many of the jokes. With book from original screenwriter Tina Fey, music by Jeff Richmond, lyrics from LEGALLY BLONDE: THE MUSICAL lyricist Nell Benjamin, and direction and choreography from Casey Nicholaw, the first ever national tour of MEAN GIRLS arrives in Chicago on Christmas Day. I caught up with Saxer in advance of the show's arrival to talk about her experiences with the musical and how she found her unique voice in the role of Karen.

BWW Review: THE SANTALAND DIARIES at Goodman Theatre
BWW Review: THE SANTALAND DIARIES at Goodman Theatre
December 8, 2019

The ceaselessly cynical Crumpet the Elf has returned to Goodman Theatre for the second year in a row. This year Steven Strafford takes the lead in David Sedaris's THE SANTALAND DIARIES under the direction of Steve Scott. While Strafford's take on David/Crumpet remains as foul-mouthed and blunt as ever, the actor's take on the role has some real vulnerability. Strafford gives us the sense that Crumpet wears his cynicism like armor, using it as a defense mechanism to combat his loneliness and discontentment with his current career status (Crumpet's declaration that being an elf seems like a a?oeterrifyinga?? job opportunity rings especially true here). Although Strafford's Crumpet has a deft emotional center, he still never compromises on the humora?'but his delivery is smartly such that audiences may land on different moments as the funniest in Sedaris's text (adapted by Joe Mantello for the stage).

BWW Review: Q BROTHERS CHRISTMAS CAROL at Chicago Shakespeare Theater
BWW Review: Q BROTHERS CHRISTMAS CAROL at Chicago Shakespeare Theater
December 6, 2019

The Q Brothers Collective puts a highly inventive and endlessly delightful twist on Charles Dickens' classic holiday tale with Q BROTHERS CHRISTMAS CAROL.

BWW Review: 42nd Annual Production of A CHRISTMAS CAROL at Goodman Theatre
BWW Review: 42nd Annual Production of A CHRISTMAS CAROL at Goodman Theatre
November 25, 2019

Although Goodman Theatre is now producing A CHRISTMAS CAROL for the 42nd year, and although I have seen the production four times myself, it still has an immense capacity to tug at the heartstrings. While the Goodman's production has few surprises to reveal for repeat viewers at this point, the emotions of delight and humor I experienced on opening night reminded me why this production feels magical for so many. And because I attended the show with a first-time viewer, it was particularly special to share the Goodman's brand of holiday joy.

BWW Review: ALWAYS...PATSY CLINE at Firebrand Theatre
BWW Review: ALWAYS...PATSY CLINE at Firebrand Theatre
November 22, 2019

Firebrand Theatre's ALWAYS...PATSY CLINE is both a lovely tribute to female friendship and Patsy Cline's iconic song catalog (the musical features more than 25 of Patsy's songs). Ted Swindley's show, here directed by Brigitte Ditmars, is based on the real-life friendship between Patsy and one of her most fervent fans, Louise Seger. After a chance encounter at one of Patsy's concert engagements in 1961, Louise and Patsy struck up a friendship that lasted the rest of the singer's life. Because the musical incorporates so many of Patsy's iconic country songs, however, it manages to avoid becoming too trite in relaying its story. Instead, ALWAYS...PATSY CLINE becomes unquestionably enjoyable as it's presented more as a concert with a storyline. It's a format that works, and works well.

BWW Review: LINDIWE at Steppenwolf Theatre Company
BWW Review: LINDIWE at Steppenwolf Theatre Company
November 19, 2019

Steppenwolf's world premiere production of LINDIWE, a collaboration between ensemble member Eric Simonson and acclaimed South African music group Ladysmith Black Mambazo, finds the most success in its musical moments. The production, co-directed by Simonson and Jonathan Berry, features new music from Ladysmith Black Mambazo to tell the love story of the titular Lindiwe and her boyfriend Adam. It helps that the narrative focuses on Lindiwe's experience as a singer touring with Ladysmith Black Mambazo-and, indeed, the group literally accompanies her at several moments throughout the production. Lindiwe explains that she never goes anywhere without her 'guys,' as she affectionately refers to them. Thus, Ladysmith Black Mambazo functions as a kind of Greek chorus underscoring the romantic storyline at the play's center. The conceit also allows for the play to utilize the group's original music.

BWW Review: DEAD MAN WALKING at Lyric Opera Of Chicago
BWW Review: DEAD MAN WALKING at Lyric Opera Of Chicago
November 17, 2019

There's nothing subtle about Lyric Opera's staging of Jake Heggie and Terrence McNally's contemporary opera DEAD MAN WALKING. Based upon the novel of the same name by Sister Helen Prejean, DEAD MAN WALKING focuses on Sister Helen's relationship with 29-year-old Joseph De Rocher, a prisoner on death row in Angola, Louisiana convicted of the murder of a young couple (and the sexual assault of a young woman). While DEAD MAN WALKING clearly aims to be morally complex in its exploration of capital punishment and the notion of whether or not we should also treat criminals as human beings, the piece feels overwrought. The debate at the opera's center is painted with broad strokes; at one point, we literally see protestors outside the prison holding picket signs depicting both sides of the argument.

BWW Review: SUNSET BOULEVARD at Porchlight Music Theatre
BWW Review: SUNSET BOULEVARD at Porchlight Music Theatre
October 16, 2019

With direction by Michael Weber, Porchlight Music Theatre's production of Andrew Lloyd Weber's SUNSET BOULEVARD provides one wild ride of a musical evening. The musical's storyline itself vacillates between the predictable and the shockingly dark and twisted. It chronicles the story of former silent movie star Norma Desmond as she descends further and further into madness. Based upon the film of the same name, Don Black and Christopher Hampton's book paints a portrait of Norma as she continues to lose her grasp on reality (which was not all that firm to begin with) and as she plots an unrealistic comeback into the Hollywood spotlight. Hollis Resnik conveys all of Norma's mania and desperation in a star-worthy performance. Though Norma has long faded from the limelight by the time audiences meet her in SUNSET BOULEVARD, Resnik commands the stage with ease.

BWW Review: THE BROTHERS SIZE at Steppenwolf Theatre Company
BWW Review: THE BROTHERS SIZE at Steppenwolf Theatre Company
October 7, 2019

THE BROTHERS SIZE is an artful exploration of the obligations put upon its characters. McCraney beautifully reflects on both the societal systems that oppress these three black men, while also deepening the exploration of the personal obligations they feel to one another-and the question of what it means to be part of a brotherhood, whether biological or chosen.

BWW Review:  Isango Ensemble's A MAN OF GOOD HOPE  at Chicago Shakespeare Theater
BWW Review: Isango Ensemble's A MAN OF GOOD HOPE at Chicago Shakespeare Theater
October 7, 2019

A MAN OF GOOD HOPE reflects the resiliency and creativity of the human spirit at every turn, while giving audiences a taste of Isango Ensemble's original methods of theatrical storytelling.

BWW Review: BERNHARDT/HAMLET at Goodman Theatre
BWW Review: BERNHARDT/HAMLET at Goodman Theatre
September 25, 2019

Terri McMahon's performance and Theresa Rebeck's script demonstrate that Sarah Bernhardt was not one to back down from a challenge, either on the stage or in life.

BWW Review: THE KING'S SPEECH at Chicago Shakespeare Theater
BWW Review: THE KING'S SPEECH at Chicago Shakespeare Theater
September 23, 2019

Chicago Shakespeare Theater's North American premiere of THE KING'S SPEECH is a wholly delightful theatrical affair, rife with British charm.

BWW Review: TINY BEAUTIFUL THINGS at Victory Gardens Theater
BWW Review: TINY BEAUTIFUL THINGS at Victory Gardens Theater
September 21, 2019

TINY BEAUTIFUL THINGS lives in that unique space between the everyday and the extraordinary.

BWW Review: THE GREAT LEAP at Steppenwolf Theatre Company
BWW Review: THE GREAT LEAP at Steppenwolf Theatre Company
September 17, 2019

Steppenwolf Theatre Company's season opening production of Lauren Yee's THE GREAT LEAP combines the energy of the final moments of a major sporting event alongside moments of great intimacy and intensity for which the company is largely known.

BWW Review: THE BAND'S VISIT National Tour Comes to Chicago
BWW Review: THE BAND'S VISIT National Tour Comes to Chicago
September 5, 2019

THE BAND'S VISIT feels like an homage to the fleeting nature of live theater itself: a moment in time in which performers and audience are brought together to share a collective experience, all-encompassing yet passing swiftly and never to be created again. So too goes the narrative of the two characters at the center of this 2018 Tony Award-winning musical, Tewliq, the Egyptian conductor of the Alexandria Ceremonial Police Orchestra, and Dina, an Israeli woman living in the small town of Bet Hatikva. When Tewliq and his fellow band members accidentally make their way to Bet Hatikva, instead of the city Petah Tikva in which they have a concert engagement, the cast of characters come together by pure happenstance. The magnetic and mysterious connection that Tewliq and Dina share in the one night in which their lives overlap is similarly ethereal.

BWW Review: Teatro ZinZanni's LOVE, CHAOS AND DINNER Provides Old-Fashioned Circus and Comedy Entertainment
BWW Review: Teatro ZinZanni's LOVE, CHAOS AND DINNER Provides Old-Fashioned Circus and Comedy Entertainment
July 25, 2019

The Seattle-based circus, comedy, and cabaret spectacle Teatro ZinZanni has arrived in Chicago with the hybrid show LOVE, CHAOS AND DINNER. And ZinZanni serves up entertainment with a capital a?oeEa?? in this production. The evening alternates between decidedly low-brow slapstick comedy scenes, musical numbers, and some stunning aerial and circus acts.



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