THE VOICE OF CHICAGO'S GAY, LESBIAN, BI, TRANS AND QUEER COMMUNITY SINCE 1985

How could The Visit miss?

The good news is it doesn't. It will be no surprise when this formidable powerhouse of story, style, and substance makes its way to Broadway and its own slew of Tony awards. The story is a simple one, but not the kind of cheerful stuff of which most musicals are made. Based on Friedrich Durrenmatt's 1956 drama that eventually made its way to Broadway in 1958, The Visit concerns itself with a life betrayed, revenge, and lost love. Claire Zachanassian ( Rivera ) was driven in disgrace from her hometown on Brachen at age 17, betrayed by her loved Anton Schell. The intervening years have made Claire the richest woman in the world and Anton a poor shopkeeper in a small town on the brink of economic collapse. When Claire returns to town, she ignites hope in its people that she has returned to restore their financial security. And she will, giving them more money than they could have possibly imagined. But there is a price to pay, and it's this price that makes this production so intriguing, because it plays on the very nature of greed, human desire, and justice. Claire will bestow incredible riches on the town-- in exchange for the life of Anton.

Everything about the Goodman's production of The Visit is first rate. Chita Rivera is compelling as a woman scorned, as a creature who has spent her entire life plotting revenge against the one true love of her life. With a craggy, yet melodious voice, a daunting stage presence, and some sharp moves ( in spite of her character's wooden leg ) , her portrayal of Claire is alone worth the price of admission. But John McMartin, as the beaten and aging Anton is also good-- McMartin creates a character for whom we can sympathize, even as we hate him for his youthful misdeeds. The remainder of the ensemble is outstanding, especially the deliciously off-kilter entourage Claire has in her employ.

Derek McLane's moody sets are wondrous and evocative; together with Brian MacDevitt's lighting design, they create a totally original universe that has the feel and majesty of a beautiful, but hardscrabble, European town. Musical direction by David Loud makes the most of such future classics as "You, You, You," the comedic, "You Know Me," and the rousing first-act finale, "Yellow Shoes."

All in all, The Visit is a triumph of musical theater, proof positive that there's still a lot of life left in the genre.