Displaying items by tag: Sasha Gerritson

Opera Festival of Chicago continues its season with two mainstage productions - La Bohème and Adriana Lecouvreur - each featuring the Opera Festival of Chicago Orchestra and Chorus and performed at the George Van Dusen Theatre at the North Shore Center for the Performing Arts in Skokie. 

I had the chance to see Giacomo Puccini’s La Bohème, directed by Festival General Director Sasha Gerritson and conducted by Sir Emanuele Adrizzi, and it proved to be an outstanding, deeply felt evening of music and drama.

Giacomo Puccini’s La Bohème unfolds in the chilly garrets and bustling cafés of 1830s Paris, where a group of young artists survive on charm, wit, and the fragile hope that beauty might be enough to sustain them. The opera begins in a drafty attic shared by the poet Rodolfo and the painter Marcello, whose playful banter masks the hunger and hardship of their bohemian life. Everything shifts when Mimì, a shy, dreamy seamstress with a failing candle and failing health, knocks on their door. Her tender connection with Rodolfo ignites instantly, carrying them into the vibrant chaos of Café Momus, where Marcello’s fiery former lover Musetta steals the spotlight with her flirtations and razor‑sharp instincts.

But as winter settles in, the opera’s warmth gives way to harsher truths. Only the rich are safe and well fed in this cold bleak landscape of artistic poverty. Mimì’s illness worsens, and Rodolfo’s fear of losing her fractures their love, even as they cling to moments of sweetness. Both Mimì and Rodolfo are swept up in the sudden, poetic rush of feeling that sparks between them during their first meeting over her extinguished candle, a moment Puccini shapes with irresistible warmth. Their ensuing duet, “O soave fanciulla,” is written as a rush of idealized, almost dreamlike love - sung here with such radiance that it feels too perfect to endure, and tragically it doesn’t, as the briefness of their time together becomes one of the opera’s most heartbreaking truths. 

By the final act, the bohemians reunite in their attic, trying to conjure laughter out of scarcity, until Musetta arrives with the gravely weakened Mimì. What follows is one of opera’s most devastating endings: a quiet, intimate vigil as Rodolfo realizes too late that the love he tried to protect has slipped beyond saving. Puccini shapes this world with music that aches, soars, and ultimately reminds us how fiercely we hold on to joy, even as life insists on its fragility. Puccini also paints a world in which artists of every stripe are routinely exploited by the comfortable classes - the dull rich, who commission work and then pay only sporadically, as if deprivation were somehow a necessary ingredient of genius. In reality, it is the indifference of these wealthy patrons that forces the bohemians into constant hardship, driving them to beg, borrow, and even steal simply to keep food on the table and have their housing bills covered.  

(L to R) Alexandra Razskazoff, “Mimi” and Nathan Granner, “Rodolfo” in LA BOHÈME. Photos by A.Deran Photography.

This La Bohème features a cast whose vocal and dramatic instincts sharpen Puccini’s world into something immediate and deeply felt. Alexandra Razskazoff’s Mimì is nothing short of luminous - her soprano glowing with warmth yet edged with delicacy, embodying a young woman whose softness hides a life lived perilously close to the margins. A rising artist with an increasingly international footprint, Razskazoff traces Mimì’s arc with such emotional transparency that her final moments land with quiet, devastating force. Opposite her, tenor Nathan Granner brings a beautifully burnished tone and an instinctive musicality to Rodolfo. Long admired for his expressive phrasing and crossover versatility, Granner sings with a poet’s sensitivity; his Rodolfo is impulsive, romantic, and heartbreakingly human, especially as love and fear begin to pull him apart.

Catherine Antonia Samartin lights up the stage as Musetta, her bright, agile soprano and irresistible charisma making every entrance feel like a spark catching fire. Musetta is also the victim of this us versus them world where her beauty and charms are commodified on the older wealthy man she is forced to keep company with in order to receive her beautiful wardrobe and warm home to live in. Her scenes with Kenneth Stavert’s Marcello are especially electric. Stavert, with his rich, grounded baritone and wonderfully lived‑in ease, brings both humor and heart to the painter whose bravado barely conceals his vulnerability. Anthony Reed’s Colline provides a beautifully resonant counterweight to the lovers’ volatility - his “Vecchia zimarra” delivered with a quiet, dignified ache that speaks volumes about loyalty and sacrifice. Jonathan Wilson brings quicksilver energy and crisp comedic timing to Schaunard, shaping the role with warmth and buoyancy, while veteran bass William Powers steals scenes with effortless charm as both Benoit and Alcindoro, reminding audiences why he remains one of American opera’s most reliable character treasures. David Greene adds a welcome burst of color as Parpignol, enriching the Act II bustle with a touch of whimsy. This ensemble shapes a Bohème that feels vividly inhabited and emotionally true, a testament to what Puccini’s world becomes when every performer contributes with such specificity, generosity, and heart.

One of the production’s most striking assets is its massive, 50‑plus‑member chorus, whose sheer presence reshapes the entire world of La Bohème. Their sound adds a thrilling sweep to Puccini’s score, amplifying the emotional stakes and giving the bustling Parisian scenes a vivid, lived‑in texture. In Act II especially, the sheer size and vocal richness of the ensemble create a sense of overwhelming festivity, making the Christmas Eve Café Momus tableau feel like a city bursting with life. But the chorus also deepens the opera’s more intimate moments, surrounding the central lovers with a sonic landscape that underscores both the joy and the fragility of their world. It’s a rare gift to hear a chorus of this scale in a production of Bohème, and here it elevates the performance into something grander, more immersive, and undeniably unforgettable.

(L to R) Kenneth Stavert, “Marcello;” Anthony Reed, “Colline;” William Powers, “Benoit;” Nathan Granner, “Rodolfo” and Jonathan Wilson, “Schaunard” in LA BOHÈME from Opera Festival of Chicago. Photos by A.Deran Photography.

The set itself is perfectly workable and the large video boards truly animate the space, supplying shifting imagery of snowfall and other atmospheric touches throughout the evening. Because the opera is sung in Italian, overhead supertitles - crisply projected and easy to follow - add a modern presentational layer that supports the storytelling without ever competing with Puccini’s world. 

This La Bohème resonates with honesty, heart, and thrilling musicality, carried by a cast and chorus performing at the height of their powers. It’s a standout achievement for Opera Festival of Chicago - and a compelling reason to experience not only this production but also their Adriana Lecouvreur, by Francesco Cilea, directed by Shifra Werch and also conducted by Sir Emanuele Andrizzi, which promises its own dramatic and musical rewards.

Recommended.

Performances are held at the North Shore Center for the Performing Arts in Skokie. 

La Bohème - Friday, June 26 at 7:30 p.m., Wednesday, July 1 at 7:30 p.m., and Sunday, July 5 at 2 p.m. 

Adriana Lecouvreur - Sunday, June 28 at 2 p.m. and Friday, July 3 at 7:30 p.m.

Tickets range from $25 to $150 and are available at  www.OperaFestivalChicago.org.

Following a string of successful shows, Music Theater Works has once again hit the jackpot with their 2025 season opener, Guys and Dolls. This delightful production is currently wowing audiences at the North Theatre at the North Shore Center for the Performing Arts. With infectious tunes and clever lyrics by Frank Loesser, and a sharp script by Jo Swerling and Abe Burrows, the show is skillfully directed by Sasha Gerritson. Add to that the vibrant choreography by Clayton Cross and the expert musical direction by Linda Madonia, and you've got a performance that's guaranteed to keep you coming back for more!

Guys and Dolls is a timeless musical comedy that transports audiences to the bustling streets of 1950s New York City. The plot centers around the dynamic lives of several characters, particularly Nathan Detroit, a gambler running an underground dice game, and his enduring fiancée, Miss Adelaide, a nightclub singer longing for Nathan to finally marry her. To fund his next game, Nathan bets Sky Masterson, a high-stakes gambler, that he can't charm Sarah Brown, a virtuous mission worker. Sky takes up the challenge, and through a series of delightful and engaging interactions, he gradually wins Sarah's heart.

As the story unfolds, the characters become woven into a rich tapestry of love, deceit, and redemption. Sarah uncovers Sky's original motives but forgives him as they both realize their deepening love for each other. Meanwhile, Nathan's efforts to keep his dice game hidden lead to a blend of comedic and thrilling situations. The musical reaches a heartwarming and joyous climax, with Nathan marrying Adelaide and Sky and Sarah starting a promising new chapter together. Featuring memorable songs, lively dance routines, and a touching storyline, Guys and Dolls remains a beloved and timeless treasure in the world of musical theatre.

This well-cast ensemble driven production has an array of bright and talented actors that make this such a memorable adventure. Callen Roberts finesses the role of Nathan Detroit to perfection - a gambler who runs an illegal dice game and is engaged to Miss Adelaide. Roberts truly embraces his fast-talking, hustling persona, transforming the character into one of the show's key anchors and a standout presence. Jeffrey Charles is spot on as Sky Masterson, the suave gambler who wagers he can charm Sarah Brown, while Kristin Brintnall steals the spotlight as Miss Adelaide, Nathan's fiancée. Her blend of comedic timing and stellar vocals brings the nightclub singer's longing for a settled life to life brilliantly. Cecilia Iole shines Sarah Brown, a mission worker who becomes the object of Sky's bet but eventually falls for him. Iole’s vocals are nothing short of spectacular. A round of applause also goes out to the rest of the ensemble, who contribute to making this musical the delightful experience it is meant to be. Andrew Freeland brings down the house as Big Julie, serving up some of the show’s biggest belly laughs. Shoutouts are also well-earned by Ian Reed, Carey Lovett, Caron Buinis, Bob Sanders, and Peter Ruger, who each bring their own flair to the stage. And let’s not forget the dazzling Hot Box Girls—Jenny Couch, Catherine Rodriguez O’Connor, Emily Holland, and Emma Jean Eastland—who light up the stage with their sensational moves. These ladies can really dance! The entire cast? Absolutely top-notch.

(L to R) Jenny Couch, Catherine Rodriguez O’Connor, Kristin Brintnall, Emily Holland and Emma Jean Eastland in GUYS AND DOLLS, from Music Theater Works.

One of my absolute favorite things about the show was its incredible Times Square neighborhood set—it felt like you were right in the heart of the action! But what truly stole the spotlight was the eight-piece band playing up above for everyone to admire. Talk about a show-stopping touch! Equally impressive was how choreographer Clayton Cross utilized the stage space to accommodate such a large cast, creating a busy New York feel with heavy people traffic and such elaborate dance numbers.

Guys and Dolls is a must-see production that brings the vibrant streets of 1950s New York City to life with its captivating characters and delightful musical numbers. With unforgettable songs like "Luck Be a Lady," “A Bushel and a Peck,” and "Sit Down, You're Rockin' the Boat," this show is guaranteed to have you tapping your toes and humming along. Don't miss the chance to experience the magic, humor, and heart of this timeless classic—it's a theatrical gem that promises an evening of pure entertainment!

This might be the first production of the year, but plenty of action lies ahead for Music Theater Works. The 45th season lineup also features the following upcoming shows: Fiddler on the Roof from August 7 to 17, Godspell from October 23 to November 16, and Annie from December 18, 2025, to January 4, 2026.

Guys and Dolls is currently being performed at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd, Skokie and runs through March 30^th. For tickets and/or more show information, visit www.MusicTheaterWorks.com.

Highly Recommended!

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