Oct. 24, 2018 From left: Adrian Hadlock, Ed Jones, David Cerda and Grant Drager in The Golden Girls: Bea Afraid! Rick Aguilar Studios NOAH CYRUS GIVES FANS A ‘GOOD CRY’ PAGE 15 Noah Cyrus. Photo from David Enriquez/Records Marketing Oct. 24, 2018 2 INDEX VOL. 34, No. 05, Oct. 24, 2018 The combined forces of Windy City Times, founded Sept. 1985, and Outlines newspaper, Theater reviews 4-5 founded May 1987. Theater: The Last Session: A musical that tackles AIDS 6 PUBLISHER Terri Klinsky Theater review 7 8 Film: Rupert Everett: Having a Wilde time with ‘The Happy Prince’ 8 EXECUTIVE EDITOR Andrew Davis Theater reviews 9 MANAGING EDITOR Matt Simonette DIGITAL DIRECTOR Jean Albright Theater: Out Libertyville actor takes stage in ‘Hello, Dolly’ 10 ART DIRECTOR AND ASSOCIATE EDITOR Kirk Williamson Books: Chelsea Clinton signs hundreds of new kids’ books at W&CF 11 SOCIAL MEDIA DIRECTOR Scott Duff BUSINESS MANAGER Ripley Caine SENIOR ACCOUNT EXECUTIVES Terri Klinsky, Kirk Williamson, Scott Duff, Kathy Breit, Theresa Santos Volpe, Kevin Siarkowski, Amy Matheny NATIONAL SALES Rivendell Media, 212-242-6863 THEATER AND DANCE EDITOR Catey Sullivan SENIOR WRITERS Jonathan Abarbanel, Mary Shen Barnidge, Liz Baudler, Charlsie Dewey, Ross Forman, Carrie Maxwell, Rev. 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Chicago’s LGBTQ Visitor’s Guide Online annual The Dish: Alpana Singh returns to ‘Check, Please!’ 25 Windy City Times Wedding and Events Guide Annual Arts and Theater Weekly Online Nightlife/Drag: Berlin 25 www.WindyCityMediaGroup.com Nightlife/Drag: HalloWig at Sidetrack 26 Calendar 27 26 Oct. 24, 2018 3 32 March 7, 2018 WINDY CITY TIMES Go together Get a reliable ride in minutes with the Uber app. Enter code WINDYCITYTIMES for a first free ride. First-time riders only. Not valid on UberCAB Expires 12/31/18. Oct. 24, 2018 4 DANCE REVIEW ringing. “black swan.” When the subterfuge is revealed, have our prince, swan, and sorcerer. The rehearsal Composer Pyotr (Peter) Ilyich Tchaikovsky— Siegfried rushes to Odette and apologizes; how- begins, and the line between fantasy and real- Swan Lake who also gave us the The Nutcracker ballet— ever, now that Odette has been betrayed, she will ity smear. There are times when it isn’t clear Composer: Peter Ilyich Tchaikovsky composed Swan Lake in 1975-76. The story tells remain a swan forever. (It’s a fairy tale, folks.) whether a moment is concrete or imaginary—it At: Joffrey Ballet at The Auditorium of Princess Odette, who was turned into a swan They jump in the lake together and take a deep would be helpful to know exactly what’s actually Theatre, 50 E. Congress Pkwy.; by an evil sorcerer, along with her ladies. Prince breath. happening. Costume designer Jean-Marc Puissant 312-386-8905; Joffrey.org; $35-$195. Siegfried meets a swan, who suddenly turns into Over the years, directors have tweaked and doesn’t use feathers on any of the swan’s tutus, Runs through: Oct. 28 a beautiful young maiden. When he learns why twisted this plot to their own purposes. The plot which further muddies these waters. she and her flock spend daytimes as feathered is so fantastical that these changes don’t destroy Tchaikovsky’s music and the dances of the origi- BY AARON HUNT creatures gliding on a lake, and their nights as the essential love story. Director/Choreographer nal choreographer Marius Petipa (considered so outcast women, Siegfried prepares to shoot the Christopher Wheeldon’s production uses the con- untouchable that the most familiar segments are A story of magic, mystery and an impossible love sorcerer. Odette stops him, because the spell ceit of a ballet within a ballet. The piece opens always left intact) carry the day. Music director/ bourrées onto the stage of Roosevelt University’s must be broken before his death. They promptly at the Paris Opera, where the ballet company is conductor Scott Speck keeps the orchestra in per- Auditorium Theatre with the Joffrey’s production fall in love. preparing for the opening night of Swan Lake. fect harmony with the movement, and our amaz- of Swan Lake. This production, which the com- Later, at a ball, the sorcerer turns up with Odile, The leading male dancer is in love with one ing dancers bring the magic. pany premiered here in 2014, was critically ac- disguised by his magic to look just like Odette. of the ballerinas, who is pursued by a wealthy claimed, and kept the box office’s cash registers Believing his eyes, Siegfried vows to marry this patron with unhealthy designs on her. Here we speech, while educated, continues to reflect his THEATER REVIEW flawed comprehension of the universe described in the books available to him (among them, sig- Frankenstein nificantly, Milton’s Paradise Lost). Playwright: Nick Dear A narrative inverted a full 180 degrees isn’t an At: Remy Bumppo Theater Company at easy proposition for audiences to accept—espe- Theater Wit, 1229 W. Belmont Ave. Nick Sandys in Frankenstein. cially when they suspect that they are being cast Tickets: RemyBumppo.org; as the villains—but the Remy Bumppo Company, 773-975-8150; $37.75-$62.75 Photo by Joe Mazza-Brave Lux departing from its trademark drawing-room reper- Runs through: Nov. 17 toire to take full advantage of the intimate new quarters at Theater Wit, embarks on a harrowing BY MARY SHEN BARNIDGE visceral journey conducted within a stark-white minimalist environment augmented by a sound- Imagine a newborn baby—not a round, cuddly, scape invoking the surface of a cold and lonely greeting-card cherub, but a thin, pale, hairless planet. Its protagonist’s isolation is further an- anthropoid with the complexion of a peeled twig chored by the conceptual device of two actors— and a skull like a cracked eggshell. Now imagine Shelley’s metaphor from the perspective of the “robot,” asked it in 1920.) company members Nick Sandys and Greg Matthew this helpless infant’s first experiences being re- progeny brought forth by irresponsible technol- Perceived thusly, the nameless creature spawned Anderson—alternating in the roles of the Crea- jection, privation, brutality and betrayal by those ogy. If science can truly create an artificial hu- by the amoral ambitions of Victor Frankenstein is ture and his Creator, the better to illustrate the whose kindness cannot protect him. man being, what are its responsibilities toward not the barely-mobile titan we recall from the connection between those who venture recklessly Does it come as any surprise when this “mon- its “children?” Are they entitled to the same James Whale film, but vulnerable in both body into the unknown and those whose revenge is ster” strikes out in mimicry of the cruelty shown rights and privileges as their parents, or are they and mind, emerging from his womblike sac (rep- to follow their would-be masters back out of its him by his mentors? property, doomed to servitude and second-class licated by an Alvin Ailey dance-bag leotard) be- murky realms.