Chicago Tribune
- Recommended
"...The racial politics of this musical were always weird — to some extent, the enslavement of the Nubians by the Egyptians was played out as a metaphor for events in the United States taking place several hundred years later. But given that the piece has one foot in musical comedy, nobody ever quite knew how far to go with that. Doing this as an all-black show not only is more authentic, to the extent that matters, but it gives the show a more coherent identity. I don't think I've ever seen before the handsome Brandon Chandler, who plays Radames, but this handsome and sensual young fellow smoothly dispatches the score, in delicious counterpoint to the terrific Rashada Dawan, whose Aida has little to do with the traditional Broadway heroine and a lot more to do with a fierce political leader caught between her heart and her responsibilities."
Chicago Sun Times
- Recommended
"...the richly expressive Afro-infused choreography by Gary Abbott and Kevin Iega Jeff (of Chicago's Deeply Rooted company) far outstrips that created for the show's Broadway edition. The casting of African-American performers in all the principal roles is a huge plus. The musical direction (with Robert Ollis in charge of the excellent onstage band and Jimmy Morehead overseeing the vocals) is impressive. And the lighting design (by Jared B. Moore) and projections (by Frank Mares) compensate for minimalist scenery."
Chicago Reader
- Somewhat Recommended
"...Bailiwick Chicago has given it an intimate, unpretentious production, directed by Scott Ferguson and presented in association with Deeply Rooted Dance Theatre, that boasts clever costumes, imaginative lighting, solid dancing, strong lead vocals, and truly impressive choral singing."
Windy City Times
- Highly Recommended
"...Under the direction of Scott Ferguson, orchestra director Robert Ollis, vocal director Jimmy Morehead and co-choreographers Gary Abbott and Kevin Iega Jeff, Elton John and Tim Rice's cumbersome libretto has been whittled down to a tidy two and a half hours with no reduction of the elements we expect of its genre—soaring harmonies in a variety of contemporary styles, athletic Afrocentric dances, women wearing Ricky Lurie's dazzling period-inspired frocks and men wearing sweaty bare chests. Rashada Dawan and Brandon Chandler make a touching pair of star-crossed lovers, the intimacy of the ATC space allowing for character-driven nuances absent in larger venues, while the progress of Adrianna Parson's Amneris from selfish vanity to responsible leadership lends weight to the themes explored in this agelessly modern myth."
Centerstage
- Highly Recommended
"...The most striking thing about the Bailiwick production is the casting. The fact that Egypt and Nubia are on the African continent was a confusing concept for the original, but Bailiwick fills the production with actors of color – including beautiful dancers choreographed by Deeply Rooted‘s Kevin Iega Jeff and Gary Abbott – that highlight African culture on every level. From the emotion-packed singing to the traditional African dance moves, this production of Aida rises above the superficial and connects with the audience. Chandler's singing, in particular, delivers nuance and meaning to lyrics that don’t offer much in terms of believability."
- Rosalind Cummings-Yeates
Time Out Chicago
- Highly Recommended
"...
Bailiwick’s production convincingly hits the ariatic moments of John and Rice’s adaptation: the unveiling of Aida’s technicolor dreamskirt, the first-act closer in which Egypt’s slaves await a brighter future, the lovers’ heartbreaking fate. As spurned princess Amneris, Parson generates real star power. Her early stylized self-absorption reads something like a Disney villainess as voiced by Tyra Banks, while she easily overleaps the plot holes on the way to her character’s second-act turnaround. Chandler, playing the stalwart, lovelorn captain Radames, acts stiffly but sings divinely. And Dawan anchors this low-frills, high-octane production with an earthy, powerful take on the title role."
ShowBizChicago
- Highly Recommended
"...for those who still dote upon Sherie Rene Scott’s catwalk traipsing “My Strongest Suit” or the hammy demagogues, Bailiwick has not forgotten the resident schmaltz. But the company primarily works in the business of new discovery, digging up the dramatic tendons of a musical that has too long been buried."
ChicagoCritic
- Highly Recommended
"...We care about Aida and Radames and we empathize with Mereb and Amneris. We are challenged by Aida’s story to ponder “What would you sacrifice for eternal love?” I can’t remember enjoying a rock musical as much as I did Bailiwick Chicago’s Aida. They raised the bar for mounting rock musicals by showing that you don’t have to blast the music loudly to be a hit. With such a terrific cast of singers- they beg to be heard and they have much to sing. This Aida is for more enjoyable than the last national tour and for a quarter of the price. This Aida is a major summer triumph not to be missed."
Chicago Stage and Screen
- Somewhat Recommended
"...Initially more sassy than regal, Rashada Dawan’s Aida finally get seriously sulky later on but by then it’s one more unexplained mood swing. Brandon Chandler brings an ardent pop tenor to Radames, enough to make the love duets tingle, smolder and finally combust, but here he has to carry more weight than he’s ready for. No more a princess than Dawan, Adrianna Parson’s Amneris still moves improbably from a silly sorority star/vapid valley girl to a stunningly inexplicable forgiveness of Radames for two-timing her with her slave. The choreography, such as it is, is by the numbers. Also, on opening night there were problems with the lights brought on by the excessively hot auditorium. It felt all too much like ancient—and modern—Egypt, with a touch of Chicago humidity thrown in for variety. I’ve never seen so many fans in the audience—and I don’t mean happy supporters."
Around The Town Chicago
- Highly Recommended
"...This production, a major undertaking for a company to pick as a first musical is mind boggling! Despite lots of heat, problems with some of the lights (due to the intense heat) and some other minor tech problems, They were “Right on!”. Every little change of set was quietly done, in fact, almost unnoticed and Frank Mares projections added to the wonderfulness of the overall production. I am often accused of mentioning the props people more often than anyone else, but when I see the number of props that Lee Strausberg had to assemble, amass or build, it deserves to be mentioned. Great job!"
