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Bach at Leipzig
By Itamar Moses
Directed by Nick Bowling
At Writers’ Theatre
325 Tudor Court
Glencoe, IL
Call 847-242-6000, tickets $45 - $50 - $58
Tuesdays at 7:30 pm
Wednesdays through Fridays at 8 pm
Saturdays at 4 & 8 pm
Sundays at 2:30 & 6 pm (no show at 6 pm Feb 4)
Running time is 2 hours, 30 minutes with intermission
Through April 1, 2007
“People now have little interest in music or religion. I do not know what they will call this age, but its chief characteristic seems to be a profound lack of enlightenment.” ---Georg Balthasar Schott from Bach at Leipzig
Clever, hilarious farce is a study in marvelous comedic acting
Writers’ Theatre in Glencoe, know for always mounting terrific plays, has another unique offering that is a surprisingly spry farce. Nick Bowling, Timeline Theatre’s main director travels to the North Shore with a fabulous A-list of veteran Chicago comedic actors led by Ross Lehman and featuring Larry Yando, John Reeger and Jonathan Weir. The fine play is penned by thirty year old Itamar Moses who has taken the traditional farce (think Moliere) and applied it to 1722 in Leipzig. This clever show features smartly funny wordplay and double takes with physical antics as it lands its satirical story with verve. This truly is an actor’s play that allows the articulate and sly cast to deliciously spook the snobbery and hypocritically religious musicians of 18th Century Germany.
It is Leipzig, Germany, 1722: seven musicians are invited to audition for the prestigious and lucrative post of organist at the Thomaskirche Church. The zany collection of egos and ambitions from the musicians allows formidable material for a farce. Moses demonstrates his wordsmanship, wit and comedic storytelling craft in this most engaging and spirited new work. It is refreshing to witness so intelligent and funny a show, especially in a period piece from the 1700’s. Moses draws inspiration from historical facts and adds touches from the inflated egos of the musicians as the fierce competition for the coveted post engulfs the seven. Moses develops funny complications from his depiction of each character that unfolds as a swiftly paced wild show that hilariously demonstrates the insecurities, shortfalls in their talent as their clashing beliefs collide causing cute situations that the outstanding cast nicely exploits. This fantasy mirrors the universal struggles inherent in competitive auditions.
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From Ross Lehman’s Fasch to Larry Yando’s nasty Schott to Jonathan Weir’s Graupner, we witness each character’s foibles and faults as they desperately try to manipulate the audition to their advantage. John Reeger’s funny, daft Kaufman was a hoot while Tim Rock’s Steindorff unfolds as an arrogant loser. As terrific as all the above were, I especially admired the marvelously effective performance from Rob Lindley whose wry take on Lenck anchors the play. He is emerging into the “A” list of Chicago Talents.
You’ll laugh yourself silly as you admire the smart wordplay and manic farcical situations in this unique comedy. Classical music lovers will respond to the musical form references. Kudos to Writers’ Theatre for selecting this vibrant new work.
Highly Recommended
Tom Williams
Tom99@chicagocritic.com for comments
Talk Theatre in Chicago podcast
Date Reviewed: January 30, 2007
Jeff Recommended
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