From Deedie
Is there a society that is more in touch with their emotions than Russians? I do not think so. That Chekov can dig so deep inside himself and others’ lives to masterfully build a three-dimensional structure that contains so much unbridled emotion is phenomenal. With each scene we’re confronted with people expressing feelings we know, perhaps only viscerally, and using them to their benefit – or not – as the case may be. A friend and I wondered aloud about Libby Appel’s lifelong fascination with Chekov. What triggered her desire to work so hard make him manifest on so many stages, in so many works? Look for power and anomaly in this production – the power of unhappiness, the anomaly of seeking something else when we’re more comfortable with its opposite. Look also performances from Nell Geisslinger, Kate Hurster, Tasso Feldman and Michael Hume that mirror in a painful way the yin and yang of all emotion. We can see it, hear it and feel it. I woke up with it the next morning.

From David
What more do you need to know except that it’s Russian and it’s about writers who may or may not be talented. And love that is not requited. And families that argue, make up, argue, makeup, argue. You’ll recognize Nell Geisslinger, Michael J. Hume, Armando Duran, John Pribyl along with a number of newcomers in this production. But, you’ll see new sides to both Kate Hurster and Tasso Feldman as they put aside their musical and comic talents to revel in the sadness of this tale.

From Deedie
There are probably those who changed channels when Groucho Marx came on. I was never one of them. I loved his zany wit, cherished the moments when his brothers would come on and wished that I could some day be a contestant and say the magic word that unleashed a duck from on high. So I have been programmed to love Animal Crackers since I was a child.

This is a seriously funny, over-the-top production that features some of OSF’s leading talent, many of whom have an uncanny knack for comedy and song. We saw it the first night and we know there were hiccups, but we didn’t hear them. I let the Rotary joke (I’m a Rotarian) go by in favor of being delighted by something so hilarious. Color me laughing out loud, which is something I really rarely do. Jeremy Peter Johnson, Eddie Lopez, John Tufts, Mark Bedard and Brent Hinkley couldn’t be better. Two of my favorite stars, the Kates Mulligan and Vogt had to play it straight, and they did it with their usual élan and elegance.

From David
This is, to the surprise of some in the audience, is a Marx Brothers musical that played on Broadway for 200 nights before it was made into a movie. Scheduling it has allowed OSF to showcase some of its finest actors, singers and dancers. And, what a talented group they are – Mark Bedard, Eddie Lopez, John Tufts, K.D. Vogt, Kate Mulligan. But stealing the show are Brent Hinkley in Harpo’s silent role and Jeremy Peter Johnson as the Walter Winchell’s gossip columnist and several other small parts. Brent’s facial expressions and use of his supple body are amazing and Jeremy’s singing and dancing are outstanding. This is great fun, but don’t go expecting anything more than sheer entertainment.

From Deedie
Miss Rose Ferdinand, my beloved English teacher in tenth grade, came to sit by me during Romeo and Juliet, quite unexpectedly. Once again I was transported upward to the poetic beauty of this play, so often lost in a rush to somehow make the old story new. Here it was again, ringing true, speaking volumes with every word. Miss Ferdinand had us read this play aloud, day after day. It took forever, because whoever didn’t practice well enough in advance and therefore hadn’t transmitted the internal beauty of the poetry had to do it over again the next day. I don’t remember how many weeks it took, but I can assure you every banal word was left behind, replaced by something far more lofty.

We were particularly eager for another go at the world’s dramatic chestnut, as our long-time guest, Kevin Fugaro, plays Benvolio. There he was in the opening scene, bringing us immediately into the action with the most beautiful poetry you’ve ever heard. And so it went for a spell-binding evening that I only wish Miss Ferdinand could have seen in person, for she would surely have approved. Bravo, Kevin.

Newcomers to the company, both Romeo and Juliet blend their callow youth with a vaulted certainty of word and deed. They know their emotions and let them spill, seemingly effortlessly out upon their own lives, their families and stage remarkable for its simplicity and shadows. It all works.

Were you thinking of not seeing this play? Change your minds now and get a ticket while they’re still available. Call us if there’s a sell-out and you can’t get one.

From David
How many times have you seen Romeo and Juliet? Is it worth paying to go another time? The answer is a DEFINITE YES. This Romeo and Juliet is one of the best of the three productions we have seen at OSF in our 10 years here. What makes it so? The young actors in the lead roles are all terrific. Of course, we love Kevin Fugaro, a longtime guest here at Anne Hathaway’s who is making is OSF debut at Benvolio. Newcomers Daniel Jose Molina as Romeo and Alejandra Escalante as Juliet are also terrific. Jason Rojas’s Mercucio is so lewd and boisterous that some in the audience have been turned off, but that is the way Shakespeare wrote the role. Isabell Monk O’Connor’s interpretation of the pivotal of nurse is right on. But then this is a strong cast in every way and the 1840s pre-Gold Rush California setting works. Laird Williamson made a great last week decision to ditch the Spanish accents and go with non-accented English. While spare, the set works.