Classics...
The very word is an attraction for some but a turn-off for others, which is understandable if an old play is presented as a stodgy museum piece, or used as a springboard for some ill-conceived deconstruction. Fortunately, the finest and greatest theater pieces remain pulsing and pertinent for contemporary audiences through the universality of their characters, stories and humanity.
Phedre, Trap Door Theatre, through Feb. 11Jean Racine, the 17th-century French playwright, created a powerful play of taboo lust, jealousy, innocence destroyed and terrible vengeance in this tale from Greek mythology of a beautiful queen in love with her pure-hearted and heroic stepson, the handsome Hippolytus. This adaptation by Paul Schmidt modernizes the language ( the Racine original is in Alexandrine verse ) if not the story itself ( trapdoortheatre.com ).
Vanya, Rasaka Theatre Company @ The Edge Theater ( 5451 N. Broadway ), through Feb. 3This has been quite a season for Anton Chekhov's 1899 comedy, Uncle Vanya, a daisy chain of unrequited love, middle-aged regret, misplaced self-sacrifice, eccentricity and ego-centrism, all set at a country estate. First, Lookingglass Theatre brilliantly staged Aaron Posner's contemporary Americanized retelling, Life Sucks. Now Rasaka is presenting an adaptation by Lavina Jadhwani which turns Uncle Vanya ( the title means, literally, "Uncle Johnny" ) into a tale of the South Asian diaspora in contemporary America. If that's not enough, the Goodman Theatre presents Uncle Vanya in a modern adaptation by Annie Baker, Feb. 1-March 12. The Rasaka version, Vanya, or That's Life, promises to offer American India folk songs and move backwards in time ( RasakaTheatre.com ).
Cymbeline, Strawdog Theatre Company at The Factory ( 1621 N. Howard St. ), through Feb. 25Shakespeare's rarely-staged fantasy romance calls for a highly-inventive production to make its sweeping story work. Set partly in Roman Britain and partly in Rome itself, it tells of chastity wronged, an evil queen, betrayal, long-lost children and a clownish prince in a soap opera-like story. It can be great fun or a tedious, confusing slog. We hope for the former ( Strawdog.org ).
Love's Labors Lost, Chicago Shakespeare Theater, Feb. 7-March 26Canadian master director Marti Maraden returns to Chicago to direct The Bard's wittiest comedy of manners, about flirtation and love among the educated and royal Upper Classes. Sure, there's some low comedy, too, but LLL is cut from altogether different cloth than most other Shakespeare romantic comedies. The cast features numerous veteran Chicago actors, and the production is certain to be handsome and lavish ( ChicagoShakes.com ).
Carmen, Lyric Opera of Chicago, in repertory Feb. 11-March 25A new production ( with the Houston Grand Opera ) of Bizet's racy and sweaty tale of passionate but careless love, seduction, smuggling, betrayal and bullfights. Hard to believe that this vastly-popular opera, with a dazzling and colorful score, was a failure when first produced in 1875. This new production will have a 20th Century look and features an extraordinary cast of sexy singers. If you've never been to an opera, try Carmen. Hey, you already know some of the music ( LyricOpera.org ).
The Fantasticks, Quest Theatre Ensemble @ the Blue Theatre, 1609 W. Gregory, Feb. 17-March 26The original 1960 Off-Broadway production ran for 42 years ( yes, that's 42 years ) and not so long ago everyone knew this whimsical and sweet little romantic musical, featuring "Try to Remember" and "Soon It's Going to Rain" among its lilting or comical songs. Nowadays, The Fantasticks isn't seen often on professional stages, so this new production is welcome. Quest does well with musicals, and Quest performances are free ( QuestEnsemble.org ).
The Resistable Rise of Arturo Ui, Trap Door Theatre, March 9-April 15A demagogue muscles in on the 1930s Chicago meat-packing industry. Mr. Ui, as created by playwright Bertolt Brecht in 1941, looks and acts a lot like Adolf Hitler. Or perhaps Vladimir Putin. Or conceivably Donald Trump. He's self-serving, whining, manipulative, insinuating, crafty, a liar to the core and no one takes him seriously until it's too late. Victor Quezada-Perez directs. Trap Door's tiny space should put the physical action in your face ( TrapdoorTheatre.com ).
Iolanthe, The Gilbert & Sullivan Opera Company @ Mandel Hall ( 1131 E. 57th Street ), March 10-12This still-popular 1882 hit contains, arguably, Arthur Sullivan's finest music and certainly some of William Gilbert's most clever lyrics. A send-up of the House of Lords and British politics, it concerns mortal peers-of-the-realm and immortal fairies who fall in love. Musically, this production is sure to be first-rate with an orchestra from the University of Chicago's Department of Music ( gilbertandsullivanoperacompany.org ).
The Most Happy Fella', Theo Ubique Cabaret Theatre @ No Exit Cafe, 6970 N. Glenwood, March 10-May 7This 1956 Broadway hit was composer/lyricist Frank Loesser's follow-up to Guys and Dolls, and it's one of the most gorgeous and musically-lush Broadway shows ever written. Set in the 1930s Napa Valley, it concerns a December-May romance in California wine country, with a few complications ( of course ) added. Loesser himself was in love at the time and poured his emotions into a dazzling score of Mozartean melodies. The show has opera proportions yet remains very Broadway. Theo Ubiquewhich generally amazeswill squeeze this big show into the very intimate No Exit Café space. The show's hits include "Standing on the Corner," "Joey" and "Big D" ( TheoUbique.org ).
Picnic, American Theater Company, March 17-April 23It opens on St. Pat's Day and closes on Shakespeare's birthday. William Inge's 1953 classic of mid-20th Century realism injects a handsome young man into stultifying small-town life and he riles things up. The deeply closeted Inge often created such alluring and unavailable men, and American Theater Company ( ATC ) director Will Davis intends to refashion Picnic by incorporating an Inge-like character to observe his own fantasy male. ATC's website ( ATCWeb.org ) mentions Dust Bowl songs, which are wrong for the 1950s. Here's hoping Davis isn't changing the time period.