Henson Keys
Henson Keys (AKA "actfive") is a Chicago-based actor and director who fell in love with opera while working for the Met Ticket Service in NYC in the early 80's. An Equity actor since 1974, he has performed in over 130 roles in New York and regional repertory including 46 productions of Shakespeare. From 1999-2015 he was Chair of Acting Programs at the University of Illinois, Urbana-Champaign, having previously led programs at Ohio University and the Alabama Shakespeare Festival. He also writes opera CD/DVD reviews for Opera News.
Following the great success of its new piece The Factotum, Lyric Opera of Chicago returned to the tried and true with the audience-pleaser Carmen in an equally tried and true 20-year old Lyric production that has stood the test of time.
By Henson Keys
31 comments
Baritone Will Liverman is becoming a real Renaissance man.
By Henson Keys
Director Richard Jones’ well-traveled and visually arresting production of Humperdinck’s 1893 opera Hansel and Gretel has returned to Lyric Opera of Chicago after a 10-year absence.
By Henson Keys
Lyric Opera of Chicago’s Don Carlos was a real feast of good singing and orchestral grandeur.
By Henson Keys
Lyric Opera of Chicago’s Le Comte Ory was a lovely cake with waaaay too much frosting.
By Henson Keys
Director Barrie Kosky brings to Fiddler on the Roof fascinating ideas, fine casting, equal mixes of comedy and sadness, and, from the beginning, a sense for we of the audience that we were about to spend three hours in very good hands.
By Henson Keys
LOC’s Ernani is a satisfying evening of Verdi sung by four stars at the height of their powers.
By Henson Keys
A co-production of Lyric Opera of Chicago, the Metropolitan Opera, and Los Angeles Opera, Fire Shut Up In My Bones blazed into Chicago as a stunning, highly emotional and moving performance.
By Henson Keys
I must confess to feeling a bit of “Tosca fatigue” as I entered the Lyric Opera of Chicago house for Wednesday’s matinee of the Puccini standard.
By Henson Keys
Lyric Opera of Chicago scored a smashing success on Sunday with its “Verdi Voices” concert, featuring soprano Tamara Wilson, tenor Russell Thomas, and Lyric Music Director Enrique Mazzola conducting Members of the Lyric Opera Orchestra in what might be termed a program of Verdi’s Greatest Hits.
By Henson Keys
The opera utilizes the idea of “magical realism,” telling a realistic story combined with elements of magic and fantasy.
By Henson Keys
There is sensory overload, and very little humanity.
By Henson Keys
Hie thee hither to the Lyric Opera House!
By Henson Keys
This is an exuberant, uplifting, and joyous Elisir, and, for once, it was actually laugh-out-loud funny.
By Henson Keys
Original Director Richard Jones and revival director Benjamin Davis have created a staging that veers wildly between fascinating and fatally flawed.
By Henson Keys
Winter weather has taken a toll on the cast of Lyric Opera of Chicago’s revival of Puccini’s Madama Butterfly.
By Henson Keys
Whether Lyric Opera of Chicago is an appropriate venue for such an intimate, gentle show as The Light in the Piazza is a subject of much critical debate.
By Henson Keys
Ryan McKinny’s Don is subtler, slyer, smoother, with a sharp wit and sense of dark humor that gives added dimension to the role.
By Henson Keys
It was a gloomy, chilly, rainy day in Chicago on Sunday afternoon, a perfect reflection of the sad and gloomy fates of the title characters in Lyric Opera of Chicago’s presentation of The Three Queens.
By Henson Keys
Lyric Opera of Chicago’as Don Giovanni lands smack dab in the middle of our current debate about wanted or unwanted sexual advances and outright sexual abuse.
By Henson Keys
Sunday’s matinee at Lyric Opera of Chicago was my first experience of Heggie and McNally’s 2000 opera Dead Man Walking. It certainly won’t be my last.
By Henson Keys
Luisa Miller snowballs toward disaster and death.
By Henson Keys
It’s an old chestnut of a joke that applies even more to opera than to the theatre: A veteran actor is on his deathbed.
By Henson Keys
In our current political climate with issues of immigration, tribalism, and white nationalists, the 1957 musical West Side Story has a distinctly contemporary feel.
By Henson Keys
