PicksInSix Review: A Christmas Carol - Goodman Theatre

‘A Christmas Carol’ Returns to Goodman!
PicksInSix® Review | Ed Tracy

Tis the season at Goodman Theatre and Charles Dickens’ “A Christmas Carol” opened on Sunday, heralding in the holiday in festive form. The classic adaptation by Tom Creamer is stylishly directed this year by Malkia Stampley and once again stars Christopher Donahue in an outstanding performance as the irascible humbug Ebenezer Scrooge who finds the true meaning of Christmas, life, and the errors of his ways, through the eyes of three devilishly haunting spirits.

Over the years, Goodman Theatre’s “A Christmas Carol” has consistently delivered a rousing good story, richly told with magical special effects, live music and merriment, and thrilling suspense mixed with a wholesome moral message of the importance of kindness and goodwill to all. That story, and the characters telling it, change a bit from year to year and the production now on stage in the Albert seems to be as fresh and vibrant as the first time I saw it over two decades ago. That is not to say that one particular year is remarkably more entertaining than any other, however, there is a pep in the step of this production that flows smartly from Donahue’s endearing performance and infects everyone else involved in this much beloved holiday classic.

Stampley’s heartwarming production follows Donahue’s Scrooge as he discovers the poignant flashpoints of his life—what was, what is, and what will be. His excessive disdain first manifests itself in his domineering relationship with Bob Cratchit (a terrific turn for Jon Hudson Odom) on Christmas Eve in the office of Scrooge and Marley. It is the anniversary of the death of Scrooge’s malevolent partner Jacob Marley (a chilling Daniel José Marina) and Scrooge is soon confronted by Marley still shackled in purgatory, warning of a similar demise if Scrooge does not heed his warning. That all sets in motion visits by the Ghosts of Christmas Past (Lucky Stiff), Present (Bethany Thomas) and a formidably dark Christmas Future (Molina) to lead Scrooge to his eventual enlightenment.

The festive pageantry of Stampley’s production shines brightly thanks to the multi-talented ensemble who serve as guests who raise the temperature of the holiday party hosted by the Fezziwig’s (Robert Schleifer and Christina Clark, a glorious match), the Christmas Day gatherings at the home of Scrooge’s adoring niece Frida (Amira Danan) and her partner Abigail (Jazzlyn Luckett Aderele), there’s a modern twist, and passersby in the holiday street scenes and within the sobering darkness that is Scrooge’s uncertain future.

Through it all, Donahue captures the essence of the darker side of Scrooge’s lowly persona and his joyous, almost childlike, exuberance in rebirth that bursts forth with all the joy and revelry one can imagine. Along the way, it is fascinating to watch the infinite layers of emotions peeled away as he observes the Fezziwig party from aloft, at the Cratchit’s Christmas dinner and in the joyous enlightenment that finally rings the Christmas bells with reckless abandon. And in supporting roles, Thomas is terrific in a return performance as Christmas Present and as Scrooge’s cantankerous charwoman, the versatile Anthony Irons and Austin Tichenor are delightful everywhere, and, the stunning Sól Fuller sings beautifully as the young Fan along with roles as Catherine and Martha Cratchit.

Todd Rosenthal’s iconic set design, Heidi Sue McMath’s stunning costumes and all the technical aspects from Keith Parham’s lighting and sound design by Pornchanok Kanachanabanca based on Richard Woodbury’s original, add to the eye-popping aura of the show. With the on-stage musicians—including and under the longtime direction of Gregory Hirte who perform original music by Andrew Hansen—young and old alike will share in every facet of this unforgettable experience. There is simply no better way to welcome the holiday season than a visit to Goodman Theatre’s “A Christmas Carol.”        

PHOTO|Brett Beiner

Goodman Theatre
presents
Charles Dickens’

A Christmas Carol
Albert Theatre
through December 31, 2025

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PicksInSix Review: Much Ado About Nothing - Chicago Shakespeare Theater

“This Looks Not Like A Nuptial.”
PicksInSix® Review | Ed Tracy

The excitement in the Jentes Family Courtyard Theater on Sunday was palpable for the return of director Selina Cadell and the opening of Chicago Shakespeare Theater’s “Much Ado About Nothing.” It is light, airy fare, after all, with the perfect holiday mix for Navy Pier— a romantic comedy framed in a drama of deception, briskly staged and presented with a wink and a nod for the delight of audiences of all ages.

Led by the finely crafted and immensely entertaining performances of Deborah Hay and Mark Bedard as Beatrice and Benedick, a seasoned company of gifted actors make one of Shakespeare’s most accessible, and hilarious, offerings sparkle and shine. While “Much Ado” tells the fractured story of two couples facing different challenges on the way to altar, with its spirited dialogue, broad humor and jesting frivolity, it is all for fun in the end.

It is also a battle of the sexes with the lines drawn early between Hay’s spritely and truly original Beatrice and Bedard’s bombastic Benedick as they are reacquainted at the palatial home of Leonato (a strong, measured performance by Kevin Gudhal). As Beatrice taunts Benedick, his disdain takes comic flight, swearing to himself (and an audience member in the front row) never to marry. There are no guardrails on Benedick’s disdain and Bedard spins into a frenzy that sends the message that he may indeed be enchanted by Beatrice’s charms.

Hay’s Beatrice most assuredly takes the upper hand in the relationship, teasing Benedick at the masked ball, calling him “the ‘Prince’s Jester’” and “duller than a great thaw!” outwardly shunning any man who would come her way. But privately, in her most quiet moments with those close to her, Beatrice yearns for the passion of true love, a fine line that Hay skillfully navigates between her robust obstinance towards Benedick, and a curiously obsessive comic quest to learn his true intentions. Hay is both a superb, multi-layered dramatic artist and a brilliant physical comedienne, qualities that serve her extremely well.

The two would-be lovers become the target of light-hearted deception and firmly on love’s collision course until the denizen of deceit Don John (Erik Hellman) concocts a plan to deceive his brother Don Pedro (Debo Balogun) and Benedick’s compatriot Claudio (Samuel B. Jackson) who has fallen hopelessly in love for Leonato’s daughter Hero (Mi Kang). Brokered by Don Pedro, the wedding ultimately evaporates when Claudio falsely claims Hero’s unfaithfulness and the once amiable wedding party turns quickly to the sullen side with Benedick’s frank assessment “This looks not like a nuptial.” The play turns on that bit of drama but all is never lost.

Enter the irascible constable Dogberry (Sean Fortunato) whose watchmen overhear the details of the nighttime deception and bring the matter to the court’s attention with his hilarious prosecution, one of the finest individual comic moments of the season. Indeed, Dogberry is “an ass,” but a raucous knave, to be sure, and Fortunato, one of Chicago’s most engaging performers, elevates the role to new heights. While leading his merry band of misfits through their paces in a truly glorious series of outrageous antics, the plot is exposed, another ruse set, and things begin to sort themselves out. It all leads to the eventual happy ending of this charming production—perfect family-centric fare for this or any holiday season.

PHOTO|Kyle Flubacker

Chicago Shakespeare Theater
presents
Much Ado About Nothing
Jentes Family Courtyard Theatre
Navy Pier
through December 21, 2026

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PicksInSix Review: White Christmas - Paramount Theatre

Counting Blessings at Paramount’s ‘White Christmas!”
PicksInSix® Review | Guest Contributor | Regina Belt-Daniels

What better way to kick off the holiday season than a visit to a cozy Vermont inn courtesy of Paramount Theatre’s phenomenal production of “White Christmas” now playing though January 11 in Aurora. With iconic musical numbers written by Irving Berlin, a book by David Ives and Paul Blake, and the big stage production values that are the hallmark of Paramount’s 1900-seat show palace, this satisfying slice of holiday nostalgia will take your breath away.

The show is expertly directed by Stephen Schellhardt who makes his directorial debut for Paramount’s Broadway Series after directing “The 25th Annual Putnam County Spelling Bee” at the Copley last spring. Schellhardt’s “White Christmas” is brilliantly cast, extremely well-paced and very entertaining with dynamic choreography by Tiffany Krause and tap choreography by Annie Jo Fischer. Music director/conductor Kory Danielson delivers 21 songs with a flawless 15-piece orchestra including heartfelt musical numbers ranging from “Blue Skies” and “Happy Holidays” to the iconic “Sisters” and the incredible finale “White Christmas.”

This much you probably know: The show is based on the 1954 Bing Crosby/Danny Kaye film, the plot is sweet, simple and memorable. With World War II over, former GIs Bob Wallace and Phil Davis (Alex Syiek and Evan C. Dolan) are now a popular song and dance team who meet an equally talented sister act in Betty and Judy Haynes (Sophie Grimm and Jesse J. Potter) They travel to Vermont to a quaint inn owned by their former Army General Henry Waverly (David Girolmo) who is on the verge of losing everything. One thing leads to another and the gang convert the barn to a theater to put on a show that features a show-stopping list of Irving Berlin’s best songs and memorable dance numbers.

Syiek is superb as the stoic crooner Bob Wallace, the guiding force behind the song and dance team of the Wallace and Davis, the toast of Broadway. Syiek’s Wallace, who is occasionally gruff on the surface and shies away from love, is excellent as the dignified half of the team rendering calm and soothing vocals in all his duets especially “Count Your Blessings” and “Love and the Weather.” Dolan is a very talented singer/actor/comedian and a masterful dancer especially in Act Two’s showstopper “I Love a Piano” with Potter, the blonde bombshell of the Haynes Sisters’ act. Potter is a very talented singer/actor/dancer and has a sunny engaging personality and plays well with Dolan. Grimm is fantastic as the logical and level-headed Betty Haynes, the mature half of the sister’s team. Her complicated relationship with Wallace is central to the story and Grimm’s incredible solo appearance at Manhattan’s Imperial Theater is a sultry, star-making performance.

The ensemble of 22 are charismatic, powerful and energetic in their pursuit of perfection, and oh so talented! I wish I could mention them one and all as everyone in this gifted ensemble plays multiple roles. There are six supportive standouts: Susan Waverly, the perky visiting granddaughter of the General is portrayed by Omi Lichtenstein and knocks it out of the park. (Lichtenstein alternates the role with Tessa Mae Pundsack). Abby C. Smith is Martha, the loyal adjunct to the General managing his Inn (while hiding the bills) and is a potential love interest and definitely competition for Ethel Merman with her stunning presence and vocal range. Ralph Sheldrake, the Ed Sullivan TV associate and Army buddy is played by the wonderful Jason Richards, who provides levity with his “million dollar proposition.” The commanding Girolmo is incredible as the no nonsense retired General/reluctant innkeeper Henry Waverley. You will enjoy the riotously funny showgirls Rita and Rhoda—“cousins of Phil Davis”— delightfully portrayed by Alexandra Palkovic and Emma Ogea, and, Carl Draper as the steadfast, honest, and slow moving Ezekiel Foster, the Inn’s barn protector/cleaner/lighting designer for the show.

For the Paramount stage production, striking images of the 50’s and ‘60’s are invoked by the scenic and projection design of Jeffrey D. Kmiec (especially the Manhattan skyline), the sumptuous era-appropriate costume designs of Mara Blumenfeld, that range from sparkly show dresses and tuxes to colorful rehearsal clothes, and the gorgeous wigs, hair, and makeup designs of Katie Condis. Craig Hoffman’s riveting lighting design and the crisp sound design of Adam Rosenthal make “White Christmas” a stunning visual feast and truly a rich and engaging production for the entire family that is brimming with the spirit of Christmas. Fill your holiday season with Paramount’s “White Christmas” and you will be ‘counting your blessings’ and singing these cheerful Irving Berlin tunes right into the New Year!

Guest Contributor | REGINA BELT-DANIELS is a retired special education teacher who has acted, directed, and staged managed throughout Illinois and has reviewed theater for numerous publications for over a decade.
Editor’s Note: An earlier version of this review omitted Annie Jo Fischer’s contribution as tap choreographer.

PHOTO | Boris Martin

Paramount Theatre
presents
Irving Berlin’s
White Christmas
23 E Galena  Blvd, Aurora
through January 11, 2026

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PicksInSix Review: Sister Act - Drury Lane Theatre

“Father, Son, Holy Smokes” … Fantastic Show!
PicksInSix® Review | Guest Contributor | Kaitlyn Linsner

Standing tall and proud, the nuns of Queens of Angels cathedral have the world listening. Laughing, too, in the high-energy musical “Sister Act” now playing at Drury Lane Theatre. The accomplished director E. Faye Butler has assembled a superbly talented company backed by a stellar creative team including music director David Fiorello, choreographer Kenny Ingram and costume designer Leon Dobkowski. “Father, Son and Holy Smokes,” this is one fantastic show!

Based on the hit 1992 film, the show features music by Alan Menken, lyrics by Glenn Slater and a book by Bill and Cheri Steinkellner, with Douglas Carter Beane. “Sister Act” follows nightclub singer Deloris Van Cartier (Rae Davenport) from chasing fame to hiding in a convent after witnessing a crime committed by her boyfriend Curtis played devilishly well by Kelvin Roston Jr. The police and Mother Superior (Michelle Duffy) need Deloris to blend in as “Sister Mary Clarence,” but Deloris struggles with the rigid convent life which sets the stage for many comedic clashes with her sisters. The plot also leaves plenty of room for heartfelt moments as Deloris helps transform the choir from timid and terrible to an empowered and talented group that begins to fill the seats of a once-empty church.

The show takes off when the nuns sing “It’s Good to be a Nun” in the first act after they ask Deloris her favorite part about being a nun. Davenport has solid comedic timing, and the nuns sing powerfully together. Of note are the performances of Sisters Mary Theresa (Kelly Anne Clark) and Mary Robert (Amanda Walker). “It’s Good to be a Nun” also marks the moment where the audience is really encouraged to embrace and enjoy the exaggerated musical numbers and overall campy style of “Sister Act.” Leaning into the camp makes this production all the more enjoyable.

One of the best numbers, “I Could Be that Guy,” showcases what makes this production so entertaining—sincere goofiness, very talented vocalists, and top-notch costuming. The remarkably good Eddie Souther (Lawrence Flowers) shines in this piece as a gang of “Street People” dance behind him in tattered clothes. Twice they tear away Eddie’s clothes to showcase a glitzed out disco suit and then back to his police uniform as he pines for Deloris’ love and affection with stellar vocals. It is simply wonderful.

Joey (Jonah D. Winston), Pablo (Trey Deluna), and TJ’s (Richaun Stewart) performance of “Lady in the Long Black Dress” also stacks up well in combining strong vocals, great 1970s menswear, and hilarious lyrics about how to romance their way into the convent to get Deloris. The show repeatedly achieves the perfect combination of these elements in more ways than can be covered in this review. The joy radiates from the stage so much that when Monsignor O’Hara (Lorenzo Rush Jr.) starts service and the nuns begin to sing, you are ready to jump up and rejoice.

“Sister Act” also does big, ensemble pieces very well. The entire cast performs the heck out of this show, nearly bringing down the house in “Spread the Love Around,” which also reminds us of the warm life lessons just beneath the surface of this over-the-top musical. For every laugh, there is also friendship, connection, hope, soul, and love to be experienced making “Sister Act” a bright celebration not to be missed this holiday season.

GUEST CONTRIBUTOR | KAITLYN LINSNER serves as an Assistant Attorney General in the Public Utilities Bureau of the Office of the Illinois Attorney General.

PHOTO|Justin Barbin

Drury Lane Theatre
presents
Sister Act
100 Drury Lane
Oakbrook Terrace
through January 11, 2026

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PicksInSix Review: Amadeus - Steppenwolf Theatre Company

‘Amadeus’: God Works In Strange Ways.
PicksInSix® Review | Ed Tracy

Wolfgang Amadeus Mozart (David Darrow), the impetuous, child prodigy of Peter Shaffer’s brilliant play “Amadeus,” bestowed with a supernatural ability to visualize music far more complex than his contemporaries, is undermined by an envious and influential Vienna court rival Antonio Salieri (Ian Barford) who recognizes the youthful threat and prays to God that he himself would be blessed with that same celestial talent. Salieri’s punishment, in the scintillating Robert Falls directed Steppenwolf production that opened Sunday, is to live a very public 30-year long career of mediocrity, cursed all the while by the now long deceased Mozart’s flourishing legacy and immortality.

It is at this critical juncture of reckoning that Shaffer’s fictionalized version of events begins, with Salieri, as narrator, delusional and near death, praying to be absolved for his deceptive and underhanded role in driving Mozart into an early grave.  Over the course of the play, we discover the origin of the relationship and learn that if spirituality had any impact on the situation, it would be to Mozart’s benefit to seek some assistance for himself, but he is too self-absorbed. The wunderkind faces a painful decline as commission fees are diminished, students go elsewhere and a prestigious court appointment passes him by.

In the deeply layered role of Salieri, Barford explores a wide range of emotions from beleaguered hack to ruthless villain. He is initially entranced by Mozart’s music, then appalled when, in a moment, Mozart transforms his own lifeless march into a breathtaking aria and then is overcome with rage when he realizes that he will never achieve an ounce of the extraordinary success that Mozart displays in virtually every project he undertakes.

As Mozart, Darrow is a captivating personality, absorbing early scenes with boyish, frenzied enthusiasm, frolicking with his fiancé Contanze Weber (a poised and elegant performance by Jaye Ladymore) and cleverly taunting the conservative members of the court who regard his demeanor as disrespectful and revolting. If there is a clear turning point for Mozart, it occurs when he accepts Salieri into his trust offering no possible recovery. With Mozart’s demise complete, Salieri has won a fruitless victory fraught with guilt and regret.

In supporting roles, John Lister (Count Orsini-Rosenberg), Robert Breuler (Kapellmeiter Bonno), Yasen Peyankov (Baron Van Sweiten) and Gregory Linington (Joseph II) all stand out in the matchless ensemble. The two Venticellos, played exquisitely by Ora Jones and Sawyer Smith, breeze in and around the action as Salieri’s confidants and conscience, moving more than the story along.

Scenically, Todd Rosenthal creates a versatile atmosphere which enables seamless transformations from scene to scene, framed in an impressive, if representatively imperfect, glass valance with an opulent period ceiling fresco and twin chandeliers. The ensemble transforms this elegant backdrop to opulence with an impressive series of Amanda Gladu’s stunning costumes that envelope the stage with color, texture and movement under Falls’ artful direction. “Amadeus” is sure to be one of the season’s most heralded works on stage in Chicago and has already been extended deep into January.

PHOTO | Michael Brosilow

Steppenwolf Theatre Company
presents
Amadeus
1650 N. Halsted St.
EXTENDED through January 25, 2026

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PicksInSix Review: Urinetown - Theo Ubique | The Fred Anzevino Theatre

No Pity Potty at Theo’s ‘Urinetown!’
PicksInSix® Review | Guest Contributor | Ronald Keaton

There aren't many pieces of theatre that so expertly lets its audience members know the authors are winking at them, that everyone is in on the joke, as in the energetic musical satire “Urinetown,” now playing at Theo through December 21.  All elements in the show own this attitude throughout. There's the strong, self-effacing book of Greg Kotis, which makes fun of, well, nearly everything either Broadway musical-ish or municipal efficiency-like. The stylish score by Mark Hollmann makes marked bows to Weill and Bernstein and Harnick and even blues, while pointedly using “Les Misérables” as a musical inspiration at the end of Act I in articulating the satire.

Director Danny Kapinos has smartly, and with a lot of fun, shaped this story as an immersive, get-the-folks-involved experience. More kudos for Brenda Didier’s tight choreography. She adapts expertly to the space available, and it is a joy to watch. If you've ever seen a production at Theo, you know that every inch of the space is often used with platforms, steps, light shafts and sound effects as much as possible, and it's an enjoyable signature of the theatre. The story itself—an informed examination of social conscience, human rights and corporate greed—offers eerie echoes to American society today, even though “Urinetown” was created more than a quarter century ago.

Right from the get-go Officer Lockstock (Ryan Stajmiger in a charming performance of a pervasive character) greets everyone in narrator fashion with "Hello there and welcome to Urinetown!" Then he tags it with "Not the place, of course. The musical!''  And the audience understands the ride will be unique. Little Sally (a strong Theo debut for Maya Tanaka Allwardt) starts out innocently in similar fashion and becomes almost a conscience for good as the story progresses. In that story, there is a dramatic water shortage from a 20-year drought, so the town contracts for and sees the creation of a corporate arm that charges all people whenever they use the water. And yes, that means for all purposes; hence, the title. It's run by Caldwell B. Cladwell (an aware, deft portrayal by Drew Longo), whose daughter Hope (Amanda Rodriguez and her glorious singing) has just joined the company after college.

Then there's Bobby Strong, the one who stirs up good trouble (Luke Nowakowski is clear-eyed and purposeful here) by getting the hoi polloi to rebel against the powers-that-be, drawing his line in the sand as his love for Hope becomes more evident. And Penelope Pennywise, Cladwell's enforcer (the powerful Alicia Berneche ... wow!) keeps everyone in line by taking payment as that line goes through its daily chore. And Pennywise reveals a twist in the plot that takes everyone off guard. The satire is the boss here, and everyone in the theatre becomes a part of it.

At Theo, an audience can always depend on one thing: the high quality of its musical stance. Music director Aaron Kaplan and Associate and Keyboardist Kevin Zhou, along with their four players, have done wonders in reducing the score while maintaining its full and robust presence. And they handle the various jumps in genre and parody with style. They have also coaxed the same from a fully committed, talented ensemble, many of whom are making their Theo debuts here. It’s the main reason this writer enjoys Theo offerings, because their musical approach upholds the theatre's professional promise. Bravo!

As you enter Theo these days, you see outside on the building's wall a lovely tribute to its Founder/Artistic Director Fred Anzevino, who passed away earlier this year. It's worth noting that Mr. Anzevino's commitment results in the legacy of professionalism and the sheer number of productions that Theo has offered over the years. It's a marvelous reminder how artistic endeavor lives on through such a legacy.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.org.  Coming soon, his new solo play about Ben Franklin, THE FIRST EMBASSY.

PHOTO | Liz Stenholt Photography

Theo Ubique Cabaret Theatre
presents
URINETOWN
721 Howard Street
Evanston
through December 21

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PicksInSix Review: Million Dollar Quartet Christmas - Marriott Theatre

Shake, Rattle and Roll at Marriott!
PicksInSix® Review | Guest Contributor | Regina Belt-Daniels

There’s a whole lotta shakin’ goin’ on with the Marriott Theatre production of “Million Dollar Quartet Christmas.” Running through January 5, the 90-minute sequel to “Million Dollar Quartet” with book by Colin Escott is brilliantly directed by the Jeff-award winning Scott Weinstein, who developed and directed the show for the national tour. The Marriott production is well cast, evenly paced, and superbly staged in the intimate in-the-round configuration with actors always visible to the audience. Weinstein is supported by the flawless music direction of Matt Deitchman and music supervision by Ryan T. Nelson. There are 21 songs including a seamless blend of 50’s rock ‘n’ roll hits and holiday favorites performed by each actor who play their own instrument with vim, vigor, and verve.

Following the December 4, 1956, impromptu jam session at Sun Records Studio in Memphis that inspired the original, four legendary performers—Elvis Presley (Colton Sims), Carl Perkins (Trevor Lindley Craft), Johnny Cash (Michael D. Potter), Jerry Lee Lewis (J. P. Coletta)—have reunited. As the story evolves, the diverse and engaging past, present and future Christmas’s of the four unfolds and their almost sibling rivalry with father figure/mentor Sam Phillips, the founder and manager of Sun Records, is examined. And when you hear those backgrounds, you appreciate the paths of the four from poverty to fame.

The cast is powerful, fresh, and truly fantastic in their characterizations. There is no impersonation, just a thrilling group of talented performers with the ability to capture and inhabit the essence of these amazing personalities. Craft is marvelous, playing Perkins with a seriousness about his music blended with a fear of being overshadowed and pushed to the background, displaying Perkin’s sensitivity and sarcasm with a subtle undercurrent of his emotional struggles. Sims is an incredible Elvis, worried about participation in Hollywood movies, Colonel Parker’s influence, and his “Christmas card from Uncle Sam.” You can’t help falling in love with him. Sims is a gifted dancer—watch those gyrations and amazing leg work—and an honest, charming, and magnetic actor who plays the pivotal character in the production. Potter’s Cash is exceptional. He very clearly wants to be a better man. Potter has a deep voice that resonates and has a powerful physicality. He also exhibits an epic smoothness and sincerity in his masculinity. Coletta is a riveting Jerry Lee Lewis and his portrayal is brash, energetic, arrogant, and so much fun. He makes Lewis larger than life, an unleashed pianist on the cusp of fame. Coletta’s hair flipping, wild jumps, leaps, and bending are athletic and demonstrate Lewis’ boyishness. He also possesses exceptional comedic skills. Another stunner in the acting department!

The supporting cast includes Jed Feder as Carl Perkin’s drummer, Fluke, and Cody Siragusa as Perkin’s brother Jay, who as history tells us, was instrumental in setting up the impromptu session. Both Feder and Siragusa are amazingly talented musicians and their characters supply moments of levity. Dyanne, Elvis’s girlfriend who has journeyed with him from Los Angeles, is portrayed by Teah Kiang Mirabelli and she is a spitfire, with more dialogue and songs than in the original “MDQ.” Mirabelli’s talents especially shine with her rendition of “Santa Baby” and “Que Sera Sera.” She can also be found playing the ukulele, maracas, and the tambourine as backup to the four. Mirabelli is an appealing singer with a phenomenal vocal range. Her character provides the romantic subplot with an interesting twist at the end. Sam Phillips is credibly and calmly portrayed by Ross Griffin. Griffin does exceedingly well as the charismatic father of rock ‘n’ roll who subtly allows insecurity and some resentment to seep through his character.

Milo Bue’s simple but cohesive scenic design of stand-up mics, piano, rehearsal room benches and stands echoes Sun Records Studio, and is enhanced by Jesse Klug’s masterful lighting design, and Michael Daly’s strong and clear sound design. Nicholas Hartman‘s costumes capture everything from Johnny Cash‘s man in black to Elvis Presley’s black and white loafers.

Jukebox musical or unique rock ‘n’ roll play? Does it matter? You’ll have a rocking good time with “Million Dollar Quartet Christmas.” The festive Christmas songs and 50’s rock ‘n’ roll hits set the perfect tone and are a wonderful present of holiday spirit for the audience. But rest up in advance—you’ll be exhausted by the time the glam finale comes!

Post Script:

The Three Embers Restaurant ‘s final pop up of the season, “Ember’s Christmas Grille,” ties in with the show. Offerings include Carl Perkins’ “Run Rudolph Run” Chicken Gumbo, Jerry Lee Lewis‘s “Jingle Bell Rock” Cobb Salad, Elvis‘s “Blue Christmas” PB and J Chicken, and Johnny’s “Santa Claus Is Coming To Town” Pork Chop, among others. The grill is available Wednesday through Friday. LINK

Guest Contributor | REGINA BELT-DANIELS is a retired special education teacher who has acted, directed, and staged managed throughout Illinois and has reviewed theater for numerous publications for over a decade.

PHOTO | Justin Barbin

Marriott Theatre
presents
Million Dollar Quartet
10 Marriott Drive
Lincolnshire
through January 5, 2026

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PicksInSix Review: As You Like It - Writers Theatre

TOP-NOTCH ENSEMBLE SHINES AT WRITERS!
PicksInSix® Review | Guest Contributor | Ronald Keaton

There is, up in Glencoe, a unique and striking musical adaptation of William Shakespeare's comedy masterpiece “As You Like It” playing at Writers Theatre through December 14. It's directed by Nichols Artistic Director Braden Abraham in bold, wonderfully outlandish strokes that enhance this story of lost souls who all find each other in the Forest of Arden. There is a magic in Arden. Everyone experiences a kind of ethereal conversion in attitude and outlook. Arden thus symbolizes more—a place of refuge and spiritual comfort, a haven of freedom.

There is a great deal of plot in the play that is simply too thick to fully share. Yet the adaptation by Shaina Taub and Laurie Woolery make highly accessible, in plain language, the various plot points that the Bard offers. They do not hesitate to use plain and modern language to help the storytellers along, and it's a welcome tool to have. Yes, the aficionado does miss some of that wonderful poetry, chiefly Jaques' classic, rueful rumination on life about the "seven ages of man." And then there's his sharp and welcome banter with the fool Touchstone in Shakespeare's play. But in hindsight, this approach doesn't really serve the Taub and Woolery vision. They see other ways to go.

Instead, the migration of unhappiness from the Court of Duke Frederick that ends up in Arden takes the well-known sentiment of contemporary life 'love is love is love...' to new places here. There is a company of subjects—including Duke Senior, his daughter Rosalind, his niece Celia and Touchstone—who all leave to find their romantic fortunes, banished by Frederick. One young man, Orlando, has become a kind of celebrity for his win in a wrestling match, while his brother Oliver starts out as a real bully in picking on Orlando. Through their own issues, they both end up in Arden and mend fences. And we've only just begun.

Eventually in this story, there is a literal quartet of lovers—traditional, same-sex, comic and dramatic—that celebrates their newly found love and release from the pressures of the world. The music/lyrics by Tony winner Taub are a potpourri of folk styles and rock rhythms, all filled with style and maturity. The music is played by an onstage, ragtag group, perfectly complimenting the action. Music direction came from the versatile Michael Mahler. The band is fronted by Matthew Yee as Jaques, who here becomes a kind of eloquent narrator of the action, while performing his scenes with the ever-present guitar in hand. It's an inspired placement of the character and fabulous usage of Mr. Yee's talents.

The tight cast is one of the great examples of ensemble acting this writer has seen in musical theatre in quite a while, as well as top-notch creators to represent. Everyone (and I mean everyone) has a moment or two to shine while being present in the story for the others. A few to mention, while honoring the truly professional level that all the actors reached: Benjamin Mathew's Orlando is passionate and aware of those passions at every turn. The Rosalind of Phoebe Gonzalez, whose male guise of Ganymede teaches Orlando to woo Rosalind, is charming and full. Andrea San Miguel offers a Celia ripe with energy and purpose. The great clown Touchstone lives in the capable, expert hands of Jackson Evans. There's the overbearing brother Oliver (the smooth, deep-voiced Anand Nagraj). The two Dukes—Frederick (Scott Aiello, tough and demanding) and Senior (Paul Oakley Stovall, subtle and tender)—show their family leadership constantly, even as they are on opposite sides. Chicago treasure Janet Ulrich Brooks shows up in at least three different characters, each expertly articulated. Please take note: the entire cast knows how to support each other, a refreshing and telling sign with work of such high quality. And a real bow to Mr. Abraham's direction.

Shakespeare's famous line "All the world's a stage, and all the men and women merely players" is not forgotten here either, and it receives a Taub examination in a song lyric:  "All the world's a stage / And everybody's in the show / No one's a pro" is the first song we hear. It's sung by Mr. Yee as Jaques, the character who speaks the original line in the Shakespeare play. Same sentiment, more accessible and, in its own way, properly applied to today.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.org.  Coming soon, his new solo play about Ben Franklin, THE FIRST EMBASSY.

PHOTO | Jenn Udoni

Writers Theatre
presents
AS YOU LIKE IT
325 Tudor Court
Glencoe, IL
through December 14

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PicksInSix Review: JEKYLL & HYDE - Kokandy Productions - Chopin Theatre

“Go Where No Angel Will Go.”
PicksInSix® Review | Ed Tracy

It’s no surprise that any revival of “JEKYLL & HYDE” requires a blockbuster performer in the challenging dual role of the steadfast Dr. Henry Jekyll and his evil alter ego, Edward Hyde. Director Derek Van Barham has accomplished just that in casting the explosive David Moreland in the Kokandy Productions revival that opened Saturday on the Chopin Theatre Mainstage. Moreland’s dynamic presence, with Ava Lane Stovall as the sultry Lucy and Emily McCormick as Jekyll’s conflicted fiancé Emma, anchor a top flight ensemble of enormous depth and versatility, buoyed by Brenda Didier’s delightfully quirky choreography, Nick Sula’s exceptional music direction and the on-stage presence and staggering brilliance of a 15-piece orchestra.

The story, based on the Robert Louis Stevenson classic novella, examines the medical phenomenon of dual personalities and the research of Jekyll, a highly regarded physician in 1888 London. Jekyll must defend his seven years of research before a skeptical Board of Governors of St. Jude’s Hospital. His proposal is to divide a human subject’s personality in two—one good, the other evil; “compassion and hate”—in an attempt to rid the world of evil. Provoked by Jekyll’s arch nemesis, Simon Stride (Quinn Kelch), the Governors flatly reject the proposal with only Emma’s father Sir Danvers Carew (Nathan Calaranan) abstaining. Incensed and bitter, Jekyll is left to explore other means to test his theory.

At the engagement party at Danvers’ home, Emma confirms her devotion to the troubled Jekyll. Later, along the streets of London, he and his friend and lawyer, Gabriel John Utterson (Kevin Webb), visit The Red Rat, a brothel run by Spider, where Jekyll meets the ravishing Lucy who unsuccessfully plies her charms only to receive an earnest promise of assistance in the future from him. On the way home, Jekyll tells Utterson that his only course forward is to take the potion himself. Despite the consequences, Jekyll proceeds and the catastrophic result is the awakening of the merciless killer Edward Hyde who begins his deadly campaign of retribution.

 “JEKYLL & HYDE” was conceived for the stage by Frank Wildhorn and Steve Cuden with music by Wildwood and book and lyrics by Leslie Bricusse. The challenging piece is in expert hands here with an intriguing gothic aesthetic at work in the creative scenic design of Sotirios Livaditis, a multi-level chamber that serves the movement of the piece well and frames the orchestra upstage. Rachel Sypniewski’s goth influenced costumes provide rich texture against the stark atmospheric lighting design of G “Max” Maxin IV. Matt Reich’s sound work here is simply exceptional.

The show relies on expressive, full featured arrangements and nuanced underscoring that are all expertly interpreted by Sula to provide a rich and unmatched musical foundation. Moreland’s vocal work throughout, and especially on the soaring anthem “This Is The Moment,” is flawless. McCormick delivers a commanding “Take Me As I Am” and “Once Upon A Dream.” Stovall sets the table with the boisterous “Bring On The Men,” her powerful delivery of “Someone Like You,” and then brings the show to a full stop with her exquisite and impassioned “A New Life.”

It doesn’t get better than this!

PHOTO|Evan Hanover

Kokandy Productions
presents
JEKYLL & HYDE
Chopin Theatre
1543 W. Division
through December 21, 2025

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PicksInSix Review: The Sound of Music - Broadway in Chicago

She is gentle! She is wild!
PicksInSix® Review | Ed Tracy

“How do you hold a moonbeam in your hand?” That lyric from “Maria” was top of mind going in to the sensational touring production of “The Sound of Music,” directed by Jack O’Brien, now playing at Broadway in Chicago’s James M. Nederlander Theatre. The answer is, of course, you can’t, especially when that shimmering moonbeam is the marvelous Cayleigh Capaldi who portrays Maria, the true-to-life postulant turned governess, wife and survivor, on full display.

Up to this production, I have never fully appreciated the resonance of the Sisters character-defining song “Maria.” It may stem from always being swept away by the intensity of one of the great opening numbers of this, or any, musical of the era that precedes it. Once again I was stunned, lulled and thrust into the iconic Rodgers and Hammerstein score by Capaldi’s rapturous voice beckoning us into the last of the great collaborators eleven Broadway musicals. And then I thought it just might be natural to settle in during “Maria” before looking ahead to the beloved “My Favorite Things” duet that follows it.

Why delve into “Maria” in a musical that delivers so many other iconic works including “Climb Ev’ry Mountain,” “Edelweiss,” “Do-Re-Mi” and “Something Good” all wonderfully performed by this superb company? It’s a beautifully constructed song with every phrase pointing to a nuance of her identity from her singular radiance, exuberance and defiance of norms to her personal magnetism that eventually wins over each of the Sisters and Mother Abbess (played here by the sensational Christiane Noll) by songs’ end.

It’s a tall order to match for an actor, but Capaldi inherently understands Maria, her motivations and the impact that she has on every character in the show, delivering a performance that, like much of the show, is of the moment, fresh, vibrant and overflowing with enthusiasm. In navigating her relationship with Chicago native Kevin Farley’s Captain Georg von Trapp and his children—always the blooming centerpiece of the show and a very endearing group here—Capaldi elevates Maria once again, maturing into her new found purpose as partner and protector.

In every aspect, O’Brien’s production honors the valiant journey of the von Trapp family who escaped oncoming Nazi oppression in 1938 and ultimately delivered them to the mountains of Vermont where the family still maintains a lasting legacy today. The book by Howard Lindsay and Russel Crouse is suggested by Maria’s book The Trapp Family Singers and over the years the elegant Vermont establishment was home. Even a devastating fire that destroyed the main building in 1980, and with it all of Maria’s personal papers and artifacts, did not deter the matriarch of the family to rebuild. Earlier this year, the picturesque 2,600 acre resort celebrated its 75th anniversary, a testament to the lasting legacy of the family at the heart of this beautiful story.

Whether this is the first or fourth viewing for you, “The Sound of Music” at the Nederlander will provide a deep appreciation for the courage, resilience and hope embodied in the von Trapp family and, as well, one of the most satisfying and enjoyable theatrical experiences you will ever have.  

PHOTO|Jeremy Daniel

Broadway in Chicago
presents
The Sound of Music
The James M. Nederlander Theatre
24 W Randolph Street
through November 2, 2025

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PicksInSix Review: Disney's Finding Nemo - Marriott Theatre

Get In The Swim Of Things!
PicksInSix® Review | Guest Contributor | Regina Belt-Daniels

“Disney’s Finding Nemo,” the current Marriott Lincolnshire production for their Theatre for Young Audiences series, is a stunning staged musical remake of the 2003 Disney Pixar film with elaborately creative puppetry. The actors are resplendent in dabbled blues, yellows and purple colored onesies as they energetically and believably bring the adorable seafaring characters to life in the best visual display and use of puppets I’ve seen in my two decades of reviewing.

The familiar adventure story begins with Nemo’s mother’s death by a frightening barracuda before he is hatched. Nemo is one of 400 clownfish eggs, and the only survivor. From there, the staged musical quickly enters the evolving tale of Nemo and his overprotective father Marlin. Both face the unknown for someone they love—each other. Nemo dreams of venturing beyond their cozy anemone home into the vast ocean. But he is captured and taken to Sydney, ending up in an aquarium. Determined to bring Nemo home, Marlin pushes past his fears, and embarks on a daring ocean journey, aided by allies Dory, Crush the 150 year-old sea turtle, and the Tank Gang.

Directed and choreographed by the extremely gifted Amber Mak, with flawless musical direction by Ellie Kahn and a live band, the production boasts breathtaking puppetry design by Jesse Mooney-Bullock, costumes by Theresa Ham (wait till you see the jellyfish) and wigs, hair and makeup by Miquel Armstrong. A simple, easily manipulated Great Barrier Reef setting designed by Milo Blue with soothing oceanic lights designed by Brian Easton and sounds by John Johnson complements the talented ensemble on the intimate theater’s in-the-round stage.

And what an ensemble! Avelyn Lena Choi is an innocent and spirited Nemo, whose chemistry with Devon DeSantis‘s overly protective father clownfish, Marlin, is heart tugging. DeSantis’s Marlin is afraid of whales, sharks and leaving his home, but he is very good at delivering dad jokes and rescuing his son. The ever optimistic Dory, who can read, but is extremely forgetful, especially of Nemo‘s name—Elmo, Mosquito, Harpo, Lego, to mention a few misnomers—is wonderfully portrayed by Leah Morrow. Dory provides some of the show’s most hilarious moments and Morrow’s impeccable timing is a non-stop delight.

The ensemble plays an array of fascinating characters each with their own presence and personality. I especially loved Lorenzo Rush Jr. who among others, plays Nigel the pelican swooping in to narrate/move the plot along and entertainingly engage the audience (“Clap your fins if you think…”) I could easily list every single cast member, but other notables include, Andres J. Deleon (Gurgle, Crush, Moonfish), Adelina Marinello (Pearl’s mom, Chum, Peach, Jellyfish, Moonfish, Turtle), Tommy Rivera-Vega (Gil, Moonfish, Jellyfish, Turtle) and Maya Rowe (coral, Tad’s mom, Bloat, Anchor, Moonfish, Jellyfish, Turtle). The ensemble sings many of the most touching songs amplifying the show’s themes of resilience, courage, love and, especially survival, in “Just Keep Swimming.”

The audience was composed of babes in arms to grandparents, all enthralled with this fun filled production. Be sure to plan to stay after the show for a question and answer session with some of the cast members and production team engaging with the kids who not only say the darnedest things but ask them too! Get in the swim of things for Marriott’s production of “Disney’s Finding Nemo.” A magical journey under the sea is awaiting you!

Casting Note: Patrick Michael Tierney will play Marlin at selected performances.

Guest Contributor | REGINA BELT-DANIELS is a retired special education teacher who has acted, directed, and staged managed throughout Illinois and has reviewed theater for numerous publications for over a decade.
PHOTO|Justin Barbin

Marriott Theatre
presents
Disney’s Finding Nemo
‍10 Marriott Drive
Lincolnshire, IL 60069
though January 4, 2026

847-634-0200

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PicksInSix Review: Paranormal Activity - Chicago Shakespeare Theatre

Collectively Spooked: No Spoilers, Macabre Chills
PicksInSix® Review | Guest Contributor | Sarah Frances Fiorello

The Yard is thick with an eerie haze this Halloween season as “Paranormal Activity” settles in to spook Navy Pier patrons right out of their seats. Before the house lights dim, be sure to say a proper hello to your seatmates—you may find yourself gripping their hand before the night is over.

Written and restaged by Chicago’s own Levi Holloway (Broadway: “Grey House”), “Paranormal Activity” receives its North American debut now through November 2nd at Chicago Shakespeare Theater. Rounding out the creative team are director Felix Barrett (Broadway: “Viola’s Room”, Off Broadway: “Sleep No More”) and Drama Desk Award / Outer Critics Circle / Tony Award Winning Stage Illusionist Chris Fisher (Broadway: “Stranger Things: The First Shadow”, “Harry Potter and the Cursed Child”). This new, original play lives in the world of the film franchise by the same name. The film “Paranormal Activity" is an indie-horror classic, reportedly shot on a home video camera with a $15,000 budget before ultimately grossing over $193 million.

The curtain rises on newlyweds James and Lou settling into their cozy new home in rainy London. Relieved to leave behind their haunted life in Chicago, the couple slowly learns the truth of the play’s tagline: places aren’t haunted, people are. Bolstered by the incredible hyperrealism of Fly Davis’s scenic design, we are immediately transported into the most micro and intimate moments of their marriage: Lou’s struggle with mental health, James’s often misguided but loving desire to support her, and his overbearing mother who adds stress and strain to the seams of their relationship in a way that only a mother-in-law can. There are plenty of scares to come before the final curtain, but not at the expense of rock-solid storytelling: an emotionally driven journey of two people who, despite supernatural odds, are fighting tooth and nail for their relationship.

Cher Álvarez (Lou) and Patrick Heusinger (James, who also originated the role at Leeds Playhouse) brilliantly navigate two plus hours of emotional complexity alongside expertly timed edge-of-your-seat thrills as they explore and unpack, literally and figuratively, what has followed them across the pond. Fisher’s illusions are a must see and second to none: elegant, subtle, and exacting, drawing us in to ask the same questions as Lou and James—did you see what I just saw, or am I not-so-slowly going crazy?

“Paranormal Activity” at its core, reinforces so many of the reasons we go to the theatre. Two such elements are on full display in this piece: a voyeuristic look from a safe distance into the human condition and a reminder that our lives, both in the physical and metaphysical world, contain a full range of thought-provoking experiences without the need for AI, glossy filters, or overblown CGI. Life itself is often terrifying enough.

“Paranormal Activity” is for adult audiences and contains disturbing content, horror, loud noises, sudden darkness, and stage blood. This hair-raising production will continue its North American tour with stops in Los Angeles, Washington, DC, and San Francisco on both ends of a 12-week scheduled engagement on the West End, beginning in December 2025.

GUEST CONTRIBUTOR | SARAH FRANCES FIORELLO is a graduate of Shenandoah Conservatory with a BFA in Music Theatre and a Chicago-based poet, writer, and performer. Instagram: @writtenbysarahfrances

PHOTO | Kyle Flubacker

Chicago Shakespeare Theatre
presents
Paranormal Activity
The Yard
Navy Pier
through November 2, 2025

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PicksInSix Review: Hundreds and Hundreds of Stars - TimeLine Theatre Company

An All Too Real Interstellar Experience.
PicksInSix® Review | Ed Tracy

“Hundreds and Hundreds of Stars,” the new play written by and featuring Sandra Delgado and directed by Kimberly Senior, opened Wednesday in a TimeLine Theatre Company world premiere production hosted by Lookingglass Theatre Company at the Water Tower Water Works. Set in Chicago in 2015 during the Obama era, the powerful premise of Delgado’s work revolves around issues and policies that reflect our fractured immigration and deportation system. On that score alone, Delgado’s insightful “Hundreds and Hundreds of Stars” is the most vitally important show to see in Chicago right now.

The combined force of longtime collaborators Senior and Delgado in such a stylized 90-minute drama is a perfect fit for TimeLine’s legacy of presenting works of historical significance. The production unfolds as a series of vignettes—memories from the mind of Delgado’s character Clara—that shape the backstory. Clara’s seemingly routine life is all at once upended as a result of past actions that would otherwise be dismissed to any American citizen. But Clara was an immigrant child who is now pursuing citizenship that will allow her to fulfill the dream of a trip to Paris with her daughter Stella (Charlotte Arias who alternates with Simona Gueglio-Saccone), until she is suddenly thrust into a situation that will ultimately impact every facet of her existence.

Clara is central to the support of her immediate family. She is caring for her recently widowed father Papi (Ramón Camín) and is in a co-parenting situation with her ex-husband, David (Brian King), to whom she also provides financial support. So, when we find that Clara has been unemployed for over a month and has been shielding it from everyone, there is clearly a reckoning to come. Clara first shares her plight with Ruben (Joshua David Thomas), an affable hospital professional who has a prosperous side hustle, and then, as she begins to consider what her future options might be, is stunned to discover that her path to citizenship is in serious jeopardy.

Delgado’s crisp writing style is evidenced throughout the interactions with her family, but shines brightly in a pivotal meeting with Vega (Charín Álvarez), an immigration attorney whose blunt assessment leaves few options ahead, and Clara’s own impassioned testimony in her own defense.          

There is an otherworldly element to “Hundreds”—a multiverse, a theoretical reality that includes an infinite number of parallel universes—that drives the narrative of Clara’s story, allowing the scenes to unfold as if unstuck in time. It is a fascinating concept accomplished through robust atmospheric projections (Eme Ospina-López), lighting (Christine A. Binder) and sound (Willow James) and the scenic design of Regina García. Director Senior artfully incorporates these interstitial moments that allow Delgado to remain present on stage nearly throughout as either player, observer or interstellar traveler. Collectively, these segments gather in intensity, an atmospheric representation of the unimaginable chaos of Clara’s situation.

Over the course of the past ten years while much has changed, all too much has stayed the same. When the decriminalization of marijuana became law, the remedies afforded to American citizens imprisoned on minor offenses did not apply universally to everyone. Today, with the situation magnified three-fold, the sweeping effect of immigration enforcement activities, that have been largely indiscriminate and intensified in real time in neighborhoods across Chicagoland and the nation, have ripped families apart and sent shock waves of fear through entire communities. The searing and staggering heart of this piece beats loudly as if it was written yesterday. Delgado’s bold, endearing and powerful “Hundreds and Hundreds of Stars” lays bare how our evolving policies so completely impact one family caught up in our fraught immigration system.

PHOTO| Brett Beiner

TimeLine Theatre Company
presents
World Premiere
Hundreds and Hundreds of Stars
Hosted by
Lookingglass Theatre
Water Tower Water Works
168 Pearson Street at Michigan Ave.
through November 9, 2025

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FEATURE: CONVERSATIONS: Kimberly Senior and Sandra Delgado

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Hundreds and Hundreds of Stars - Kimberly Senior and Sandra Delgado

A Love Letter To The City
Kimberly Senior & Sandra Delgado
CONVERSATIONS | Ed Tracy

According to director Kimberly Senior, Sandra Delgado’s new play “Hundreds and Hundreds of Stars”—produced by TimeLine Theatre and currently in previews at Lookingglass Theatre in Water Tower Water Works—“lives in an interstitial space that is neither here nor there and takes place in the memory of the main character, Clara” played by Delgado. The longtime friends and collaborators date back nearly three decades to the inception of Chicago’s Collaboraction Theatre Company when Senior, the founder and now company member emeritus worked with founding company member Delgado, who now serves on the Board.

Senior directed the Broadway production of the Pulitzer Prize- and Tony Award-nominated Disgraced  by Ayad Akhtar. Among dozens of notable award-winning productions at theaters across Chicagoland and beyond, Senior has been lauded for her innate storytelling abilities in over 30 Collaboraction productions, a decade as an administrator and Resident Artist with Steppenwolf, her work with Goodman Theatre’s Artistic Collective and with TimeLine where she is an associate artist.

The captivating Delgado, a writer, producer, actor/singer/dancer is best known for her award-winning musical anthology “La Havana Madrid” based on true stories framed from within the famous 1960s Caribbean Latino nightclub. Her play, “Felons and Familias,” was part of Theatre on the Lake’s 2018 season and Goodman Theatre’s New Stages Festival under the new title, “Hundreds and Hundreds of Stars.” Moving into the 2025 TimeLine schedule last fall, the show is presented through a special arrangement at the Water Tower Water Works theater.

We all had a minute on a Zoom call to talk about the play during final preparations for the first preview performance last week. It was a wide-ranging discussion with two of Chicago’s top creative powerhouses who are telling the heartfelt story of a mother and daughter navigating our challenging immigration system. If it sounds like it might be of the moment, consider that Delgado’s play is rooted in Chicago and set in 2015 during a very different, but nonetheless compelling, inflection point in a national policy debate that has been smoldering for decades.

It is a “love letter to the city,” Delgado says, “that I hope is as satisfying for our audiences that love the city as much as Kimberly and I do.”

The following transcript has been edited for length and clarity.

Sandra Delgado: “My entry into the performing arts was through music, through singing, but also through dance. La Havana Madrid was definitely an expression of the singing part of me. And with Hundreds and Hundreds of Stars, I get to express more of my movement background. So, one of the elements that we're using to tell the story is, I wouldn't say dance, but it is a heightened movement.  

In 2015, Obama was president and he enacted immigration policies. The original title of the play was called Felons and Familias because in the speech that he gave when he enacted these new immigration policies, one of the things he said was: ‘We're targeting felons, not families. We're targeting the drug dealers, not the mom who's working hard to take care of her kids.’

I heard this story on NPR about a man from Guyana who had come as a toddler to the United States with documentation. He had always been a legal permanent resident of the United States. And in his thirties, a couple of past drug convictions caught up with him and he was deported because of the new immigration policies. And that really struck me. As a mother, I was like, “In what world does it make sense to split this family apart?” At the time, his son was ten years old and now this man is going back to a place where he doesn't have anyone and his son is growing up without his father.

For some communities, Obama became known as the “deporter-in-chief,” but I would say, by and large, especially with our theater-going community, which tends to be a liberal community, they don't know that this has been happening way before Trump and even before Obama. We've always had problematic immigration policies. But I think in a way, setting (the play) in 2015 is just enough of a space for us to really look at where we were and where we are now, especially, as things have really escalated.”

Ed Tracy: And the laws have changed, decriminalizing marijuana and some of those kinds of things might not happen to American citizens. But as we are now, if there is anything there, it is coming to the surface.

SD: “That is really interesting to bring up because, of course, cannabis became legalized in 2020, but if you are not a citizen—and I am not saying an ‘undocumented person’—if you are a person who has a visa, who is a green card holder, you don't have those protections. I also wanted to examine this hazy gray area where a lot of what we see on the news is about undocumented people. It is binary, right? You are either a citizen or you are undocumented, as far as the stories that we are seeing surrounding immigration and deportation. But there is this whole other subset of people who are not citizens, but they are documented. They don't have protections either. So, this play is also examining that, because even today, for example, when (Governor) Pritzker a couple years ago pardoned all the people that were in prison for low level drug offenses, if you were a citizen, you got to leave prison. If you were a legal permanent resident, you were still there doing your time.”

ET: So how do you tell this story? How does art help you to tell this story so that it has the kind of universal reach that you are going for? 

Kimberly Senior: “Well, you tell a story through people, right? This is a story about a family, right? So, there are three people on this Zoom, and we are three different people, and we all have different things that affect us. We have things that are in common, and we have different things that are not in common. And some of them are legal, some of them are historic, some of them are whatever, right? But that, like everything, affects different people. The true things that motivate us are the things that we love and the people that we love. That is how we make our decisions, based on our values, and based on what drives us are the people that we love.

This is really a story about a mother and a daughter and also this family and the people that surround them. There is an intergenerational story. It is a story of Clara. It is a story of her and her daughter. Her father is also in the play. I am very moved by that relationship in the play as well and the ties that bind us. And so, when these things are happening around us, how did that impact this family?

Sandra tells about hearing the story of this father from Guyana. It's not the law that is moving Sandra. It is the story about this father. This law is unfair, but no, what about this family? How does this law impact this family? I think where storytelling is so exciting, and so many of the stories that both Sandra and I have been interested in telling throughout our careers, is who are the people at the center of these stories? Because you can read history books and you can read news articles, but who are the actual people.

Like Sandra was pointing out, what we see on the news and what is presented to us are rarely the human faces. And, in fact, so often I think those things are being presented to us in a way where we are not connecting with the people so that we don't actually understand. And that is the role of the arts and how exciting and vital and how good it feels, especially in this moment, to be able to present a character like Clara who looks and behaves and who is just like any one of us walking around Chicago, who eats hot dogs and loves the 4th of July, and went to college and, goes to a mall and does all the things that we think are just American. Just like us, but yet the same rules don't apply because she wasn't born at Swedish Covenant Hospital but looks just the same and speaks with unaccented perfect English. I think it is a really interesting thing to put that face on it for our audiences.“

SD: “And, I think especially in this age where so much of the news that we are getting is in these little, viral soundbites, that viral video, where things are just reduced. It is so important to present a story of these fully, three-dimensional human beings. At its heart, this is a love story between a mother and a daughter. This is the story of a Chicago family. This is the story of an American family. And that is where art lives. You are getting to spend ninety minutes with these people and getting to know them as people. I have an IMDB credit called ‘crying Hispanic woman.’ It is not that soundbite of, or that viral video of, that crying Hispanic woman. You are getting to know these people as people. And as far as free speech, yeah, theater is free speech. We are holding on. And it is more important than ever.”

Currently in previews, the world premiere of the Timeline Theatre production of Sandra Delgado’s “Hundreds and Hundreds of Stars” directed by Kimberly Senior opens October 15 and runs through November 9, 2025 at the Lookingglass Theatre at Water Tower Water Works, 163 E. Pearson Street, Chicago.

PHOTO | Emma Schoenfelner
COVER | Joe Mazza brave lux inc.

TimeLine Theatre Company
presents
World Premiere
Hundreds and Hundreds of Stars
Water Tower Water Works
through November 9, 2025

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PicksInSix Review - AVA: The Secret Conversations - Studebaker Theater

Stardom In and Out of Limelight
PicksInSix® Review | Guest Contributor | Ronald Keaton

Downtown at a jewel of a performance space, the renovated Studebaker Theater located in the Fine Arts Building, the latest bill of fare stars the elegant Elizabeth McGovern in “AVA: The Secret Conversations,” her adaptation of the book by Peter Evans, a character in the play portrayed by Aaron Costa Ganis. The show plays in Chicago through October 12, after runs at the Geffen Theatre in Los Angeles and then at New York's City Center.

In 1988, Ava Gardner has summoned the British journalist to ask him to ghostwrite a memoir or a full autobiography. At first Evans hesitates, being quite experienced in writing unauthorized biographies in real life. In fact, it's interesting that the first character we see onstage is not Ava Gardner, but Peter Evans. He nevertheless conceives an idea of a North Carolina girl picking herself up by the proverbial bootstraps of her upbringing and moving to Hollywood. Indeed, she was 18 in her first film in 1941. In fact, Ava wants to concentrate on sharing her views on her film career, thinking that the stories behind the making of such work would be entertaining for an audience. Evans, with constant pressure from his agent ("Get her to talk about the penis story!"), relents and walks a very difficult tightrope between making sure his agent is satisfied and adhering to what she wishes to talk about.

As the story progresses, we see a rather unique dramatic device that playwright McGovern utilizes in making the writer also stand in for her three husbands—Mickey Rooney, jazz legend Artie Shaw and Frank Sinatra. Slowly, Evans (Ganis valiantly assumes the persona of each husband in the storytelling), tries to convince Ava that he has her best interests at heart, while satisfying his agent's penchant for the gossip simultaneously. Rooney was at his performer's height during their marriage and, as is told, they constantly had sex, wherever and whenever they could. It disguises the fact that they were married only a year, and none of it affected his career—all to Ava's chagrin, as she really was not yet a star. Evans continues to accumulate material with Ava in constant catfight interviews and late-night exchanges, many enveloped in profanity and verbal offense. Then came her marriage to Shaw, one of the most famous jazz musicians in the country, in 1945 at the end of WWII. In time, Ava described him as "emotionally abusive" and yet another marriage lasted hardly a year or so.

In the meantime, Ava finally gets proper attention for her role in The Killers (1946), which turned both her and Burt Lancaster into major stars. And this is what Ava wishes to talk about—her various films, which include: Showboat (1951), Mogambo (1953), and The Barefoot Contessa (1954). It was during this career height that she met and married Sinatra. She was proud of the fact that she used what influence she had to help Sinatra land his Oscar-winning role in From Here To Eternity (1953). The marriage was tumultuous and passionate and the talk of Hollywood for six years, the length it lasted. All of this is fodder for Evans in writing for Ava. Lots of other affairs, including with Howard Hughes, followed. Ava remained true, in her eyes, to the fact that she did what she wanted and ignored judgment on it all.

So now we come closer to the time of the Gardner/Evans breakup and the entire project being shelved. It seems that Evans conveniently forgot to tell Ava that he was involved at one time in a lawsuit for publishing rights to a story about Frank Sinatra, whom she had told was her ghostwriter. He warned her. She confronted Evans, who tried to laugh it off to no avail. A final shouting match ends with Ava, putting on her coat and walking toward the stage apron into a stunning special effect of her disappearing into film.

There's a lovely drawing room set designed by LA scenic designer David Meyer. Projections abound here, too, covering the entire set in neon and streetlights and old film clips, all designed and assembled by Alex Bosco Koch. The entire experience was directed by Broadway veteran Moritz von Stuelpnagel. And as for the actors, well, it's basically a two-hander and a real challenge for any performer. Mr. Ganis offers a huge versatility and gameness for tackling what could have been a thankless role to play and even gets to sing a Sinatra staple, Fly Me To The Moon. Ms. McGovern, always the star here and playing almost the entire show barefoot (as was Ms. Gardner's real habit), has a real gift for dialogue and scene creation as a playwright and a proud Southerner from the beginning.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.org  Coming soon, his new solo play about Ben Franklin, THE FIRST EMBASSY.

PHOTO| Jeff Lorch

Elizabeth McGovern and Aaron Costas Ganis
AVA: The Secret Conversations

Studebaker Theater
Fine Arts Building
410 S Michigan Avenue
through October 12, 2025

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PicksInSix Review: Big White Fog - Court Theatre

Court’s ‘Fog” A Lesson in Time
PicksInSix® Review | Guest Contributor | Ronald Keaton

The theatre pioneer Theodore Ward's ambitious “Big White Fog” is the latest offering at Court Theatre, playing through October 12. It is directed in unabashedly huge strokes by Court Resident Artist Ron OJ Parson and, in many ways, is both a grand story of impact and resulting fallout and a lesson in time. There is an inevitable connection/comparison between Mr. Ward's opus and the delicate, powerful classic “A Raisin In The Sun” by Lorraine Hansberry. They are two plays in dialogue that address family and, more pointedly, the Black experience in America. They share the same soil but blossom differently in their individual stories. The period in which the Ward play is written—the edge of the Great Depression into those years of unrelenting economic challenge and unending—magnifies that painful reality.

It is about three generations of the Mason family, who live on the South Side of Chicago. It's the 1920s, and the economic disparity between races is never more pronounced. The family itself is split across ideological lines. There is a fussy, battling matriarch Martha (Greta Oglesby is a strong, appealing presence) who shuttles from one location to another to find peace. Victor, a construction worker and the head of his family (Joshua L. Green, magnetic and powerful) is exhausted by the frustration of the family's economic woes, so he turns to Marcus Garvey and the “Back to Africa” movement for a kind of guidance. Meanwhile, brother-in-law Daniel (Amir Abdullah, ever present and antagonistic), wants to beat society at its own game, so he's diving into capitalism full-bore. He even buys a building to turn into apartments. And the problem for Victor is that Daniel seems to always have just enough money, which makes the more difficult philosophical stance in following Garveyism even more pronounced. The family is constantly battling to hang onto each other.

Meanwhile Lester (effectively understated by Patrick Newson Jr.) is about to go to college and waiting on scholarship money. When the money is denied to him because of his race, it begins in Lester's mind a long-range consideration in banding groups together with his Jewish friend Nathan (Artem Kreimer, quiet and appropriately supportive) to solve the family's issues. Ella (the marvelous Sharriese Hamilton) is constantly pushed to the brink, trying to hold onto a family that seems more and more bent on self-destruction. Ella has a breakdown about husband Victor where she finally shares her frustrations. Yet she continues to be a stoic presence and will not bend to the pressure, no matter how it affects her personally. Family, first and foremost.

When the Great Depression hits, the family is one of many facing eviction. In time, there are officers sent to make sure the eviction is carried out, becoming a behemoth that the Masons simply cannot fight. Lester, in the meantime, has gathered his friend Nathan and several others to make sure that the family stays in the house. The ending is still a surprise in its violence, and Victor pays the ultimate price for his will to keep the family moving forward.

The seventeen-player ensemble is exactly that—an actor's ensemble to the end. They feed off each other well, and each leaves a strong, individual mark. Ayanna Bria Bakari (Wanda Mason), Saran Bakari (Claudine/Sister Gabriella), Jada Jackson (Caroline Mason), Ronald L. Conner (Percy Mason), Alanna Lovely (Juanita Rogers), and John McBeth III (Philip Mason) are the family unit. Other strong contributions come from Anthony Irons and Lionel Gentle as the officers who help Victor in his adaption to Garveyism; Brandon Dahlquist as the Lieutenant in the eviction; and Nathan Daniel Goldberg as Bailiff.

Mr. Ward was a playwright and writer of strong leftist stance and allowed it all to reflect in his work. The “fog” is both literal poverty and figurative uncertainty about the right path forward. The "dream deferred" from the Langston Hughes poem is a reflection of how Ms. Hansberry viewed the same experience, some twenty years later, in her own activist outlook. In a way, she stands on Mr. Ward's shoulders. Both deal with dreams, with housing, with systemic racism. Both the fog and the dream deferred represent the same frustrating viewpoint. And both stand out loud in their own ways to shout the virtues, and the very tightness, of the family unit.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.com  Coming soon, his new solo play about Ben Franklin, THE FIRST EMBASSY.

PHOTO | Michael Brosilow

Court Theatre
presents
Big White Fog
5535 South Ellis Avenue
though October 12

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PicksInSix Review: Carmen - Joffrey Ballet - Lyric Opera House

Lust Conquers All: Tragedy En Pointe
PicksInSix® Review | Guest Contributor | Sarah Frances Fiorello

The Joffrey Ballet kicks off its 70th anniversary season by drenching the Lyric Opera Grand Foyer in crimson red, preparing the evening's audience for a night of passion, desire, and tragedy. Liam Scarlett’s “Carmen” is adapted from Bizet’s 1875 opera “Carmen” with libretto inspired by the 1845 novella by Prosper Mérimée. Scarlett’s “Carmen” was originally commissioned and performed in 2015 at the Norwegian National Ballet and now receives its U.S. Premiere with the Joffrey Ballet at the Lyric Opera House.

The scene is set in 1930s Spain in a small factory town, while the country is on the brink of civil war.  Guards watch over the cigarette factory and its workers; when Carmen is forced out of the factory due to a fight, Don José is assigned to guard her. He quickly falls under her seductive spell, whilst his teenage love, Micaëla, hangs in the balance. With Don José’s help, Carmen escapes to a tavern where she meets Escamillo, a famous bullfighter, and her spellbinding equal. Don José finds Carmen at the tavern and professes his love. The two decide to run away together, but before Carmen can rendezvous with Don José, she re-encounters Escamillo who seduces her yet again with the promise of a rich, wonderful life. She takes him, pens a letter to Don José retracting her declaration of love, which is entrusted to—who else—Micaëla to deliver.

Micaëla finds Don José and pleads with him to go with her and to remember their love.  But Don José sees only Carmen, says so, and when presented with the letter, unravels. In his deep despair, Don José goes to Carmen on her wedding day, desperate to run away with her. In a state of blind passion, he stabs her: killing the temptress who stole his heart.

Scarlett’s “Carmen” is blazing, intimate, and brutally honest—a universal story that is likely to shoot like an arrow through all 3,500 hearts in the Ardis Krainik Theatre. Who hasn’t chosen poorly in the face of true love? Carmen chose a life of luxury, Don José chose carnal desire.  Both blinded with lust while love lingers behind them, left to wither away until it's lost completely.  All without a word spoken, told only through movement and potent emotional storytelling by every member of the Joffrey company.

Victoria Jaiani is viscerally intoxicating in the role of Carmen.  She brings a masterful art of seduction to every moment of her performance, leaving no question as to how Don José, danced expertly by Alberto Velazquez, could risk everything to chase her beauty and mystery to his own demise. Dylan Gutierrez commands the stage in the role of Escamillo, while Gayeon Jung’s performance as Micaëla leaves a lingering heartache for youthful love, expressed so purely and perfectly, it stings with sincerity.

The 40 plus piece Lyric Opera Orchestra shines under the musical direction of Scott Speck, while the scenic design and costumes by Scarlett’s frequent collaborator, Jon Bausor, provide a stark, industrial ambiance to the story. The star, of course, is Scarlett’s choreography: a masterful expression of the human form, in all its beauty and its wonder. Frequent Joffrey patrons may remember his critically acclaimed “Frankenstein” from the 2023 season. “Carmen” counts as his fourth ballet, now posthumously, added to the Joffrey’s repertoire. Treat yourself to this adults-only night at the ballet: “Carmen” runs for 10 performances only, now through September 28th.

CASTING NOTE: The Joffrey company alternates at all performances. Check casting for each date here.

GUEST CONTRIBUTOR | SARAH FRANCES FIORELLO is a graduate of Shenandoah Conservatory with a BFA in Music Theatre and a Chicago-based poet, writer, and performer. @writtenbysarahfrances

PHOTO | Cheryl Mann

The Joffrey Ballet
presents

CARMEN
Lyric Opera
20 North Wacker Drive
through September 28, 2025

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PicksInSix Review: Ashland Avenue - Goodman Theatre

"Ashland Avenue" Examines A Passing Era
PicksInSix® Review | Guest Contributor | Ronald Keaton

At work, with relationships, in our very existence, we all are forced to come to grips with the end of something, a traumatic and daunting wall to climb. In playwright/filmmaker Lee Kirk's new play “Ashland Avenue,” now playing at the Goodman Theatre through October 12, everyone involved meets their own kind of 'ending' which then translates—as we all hope it will—into a new beginning in which to invest our energies.

In this story, it's about family dynamic. Pete (Francis Guinan), a widower, is the entrepreneur of what used to be a string of popular shops selling televisions, but now is down to one store, the original on Ashland Avenue. His television commercials from the old days made him a kind of Chicago legend, which inspires a life achievement award on his behalf. So, he has to make a speech. Pete's also quite a talker, as good salespeople should be, and he's had to sell off or close his other stores to survive. He remains stuck in sales methods that, with the advent of the internet, make him a bit of a dinosaur in the business world. Hence, his bad luck at a time in life when he is being urged to rest on his laurels, so to speak.

Now Pete has a daughter, Sam (Jenna Fischer), whose entire youth saw her involved with Dad's business. When not at school, she helped whenever possible in various ways; she kept the store clean, helped with record-keeping and whatever else needed to be done. All this time, Sam is developing her own dreams of being a novelist. Her husband Mike (Chiké Johnson), who helps out in the store, is a frustrated graphic artist and writer with three novels to his credit that just don't seem to help him find career traction. Sam and Mike are preparing for a move to Los Angeles and have struggled to find the words to tell her father.

To complicate things further, Pete has taken in a former employee, Jess (Cordelia Dewdney) and her two children, in an unusual stew of family concern and seeming romantic leanings that do not pan out.  And Jess is moving to Naperville, because her ex-husband Charlie has supposedly cleaned up from his drug habit. Pete doubts it all, of course, and continually tries to talk her into staying at his house, as he says, "for the children."

And this is all Act I. When Act II comes, the fruits of all the labor at last pay off. We see the essence of the give-and-take between Pete and his daughter, Sam and Mike in the welcome career news from LA, and Jess in a kind of "come-to-Jesus" realization about her irresponsible ex-husband. When all is said and done and Pete can sit quietly, reflecting on his last couple of days, he breaks down emotionally. To top it all off, the junkie Charlie (Will Allan) shows up at the store, wanting to sell a cable box for drug money. Pete realizes who he is and calls him on it, prompting a wild breakdown from Charlie and a not-so-surprising reaction of care and concern from Pete. That relationship at the end of the story prompts thoughts of what THAT play might be like.

The story becomes a thought-provoking combination of sitcom and morality tale about change and how such elements affect someone facing retirement, let alone what to do next in life. Mr. Kirk's script is well considered and interesting. Goodman Artistic Director Susan V. Booth offers this story in intimate, loving strokes. The thick, yet simple set design by Kevin Depinet has both nostalgia and the reality of existence in it. Ms. Fischer is a delicate surprise, and her work with the marvelous Mr. Johnson is fun to watch. Ms. Dewdney inhabits an appropriately desperate Jess, while the ex-husband literally explodes on Pete in Charlie's scene at the end. And Mr. Guinan, a real Chicago treasure who offers an actor's master class here, shares with us all a performance of eloquence and substance in all the fodder that Pete has to face. Pete's not Willy Loman, nor should he be. He's quieter and more introspective. But his Waterloo is just as valid and vital.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.com  Coming soon, his new solo play about Ben Franklin, THE FIRST EMBASSY.

PHOTO|Todd Rosenberg

Goodman Theatre
presents
World Premiere
Ashland Avenue
Albert Theatre
170 N Dearborn Street
Extended
through October 12, 2025

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PicksInSix Review: Dennis Watkins - The Magic Parlour - The Goodman & Petterino's

Come Early. Stay Late. Be Astounded!
PicksInSix® Review | Ed Tracy

At the center of any fabulous evening at “The Magic Parlour”—celebrating its 16th year in downtown Chicago—Dennis Watkins may be identifying random objects gathered from the audience after duct taping coins to his eye sockets, interlocking wedding rings chosen at random, and floating a handful of playing cards from his left hand to his right pocket. It’s all close-up magic—a mix of prestidigitation, mystifying mind-reading, sophisticated illusions and sleight of hand—with a central numerological theme that is astounding.

For the record, Watkins’s most amazing feat might just be that he has not aged a single day in all those years, despite multiple shows a week and an active corporate and private event enterprise. The secret to his youthful longevity—"The Magic Parlour” is currently the longest-running magic show in Chicago—is his passion for storytelling and an unwavering dedication to the art of making magic accessible, something he freely admits is a series of choices stemming from our commitment as an audience to believe that anything is possible.

Watkins, a third-generation magician and mentalist, is a consummate showman—soft spoken yet wildly energetic, appealing to young and old alike with a devilish, all-knowing grin, quick wit and a keen sense of humor. Over 90 magically-packed minutes, Watkins connects on a personal level with each of up to 60 audience members in the show room on the lower level of Petterino’s. If you spend too much time thinking about what you just saw, you will likely miss the next illusion. Watkins sets a steady, entertaining pace, with lots of audience interaction building from one astounding feat after another.

As we learn from Watkins, there are an uncalculatable number of variations in a standard deck of cards. So, it comes as no surprise that as the cards pass from one unsuspecting volunteer to another on stage in plain view for all to see, any apparent chaos very quickly falls into startling, recognizable order. And on this night, an overhead camera captured the breakneck speed of Watkins’s shuffling skills that help punctuate his storytelling. But it is the numeric theme that rules in nearly every major element of the show, so pay close attention. The payoff will leave you in awe.

The 8:30 pm show on Friday was my fourth experience including a 2016 performance at the Palmer House, the 2023 opening night at Petterino’s location and, during the pandemic, an uplifting virtual show celebrating retired judge and theatre critic Julian Frazin’s birthday. The price of admission in the intimate lounge at Petterino’s includes a drink at the bar and, for a modest upcharge, you can join a dozen or so patrons in “The Encore Room” following the main show and get the ultimate close-up experience.

A special Halloween engagement, “The Spirit Cabinet,” is scheduled for October 25, 26, 29 and 30. Dates fill up early with special holiday season additions in November and December, and the show is perfect for family outings and corporate events. Advance reservations are suggested. Come early. Stay late. Be astounded!

PHOTO|Kyle Flubacker

The Goodman & Petterino’s
present
Dennis Watkins
The Magic Parlour
50 West Randolph

OPEN RUN

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PicksInSix Review: The First Lady of Television - Northlight Theatre

Sherman’s Marvelous, Articulate Plunge Hits Home!
PicksInSix® Review | Guest Contributor | Ronald Keaton

This is the story of a grand storyteller named Gertrude Berg. She is the subject of James Sherman's marvelous, articulate plunge into show business history, “The First Lady of Television.” It's the latest production from Northlight Theatre currently at the North Shore Center for the Performing Arts in Skokie and now playing through October 12. Given the subject matter within the play—dealing with McCarthyism, the House Un-American Activities Committee in the 1950s and the blacklist known as Red Channels—what unfolds are unsettling, almost frightening precedents of today's politics. Artistic director BJ Jones comfortably guides his ensemble through Mr. Sherman's encompassing wallop of a script, complete with meticulous research and loving dialogue.

Gertrude Berg was a pioneer of classic radio. She was one of the first people to create, write, produce, and star in a long-running hit when she premiered her comedy-drama "The Rise Of The Goldbergs" in 1929, as network radio was in its infancy. NBC ran her series, which eventually settled as "The Goldbergs," for seventeen years. Molly Goldberg was a big-hearted matriarch of a Jewish family in The Bronx. And that family—husband Jake, the always supportive Uncle David, daughter Rosalie and son Sammy—comprised a tight-knit group that went through common issues that all families experience: love and loss, celebrations of all kinds, personal growth and family discussion. It was a 15-minute show on radio. In 1949, Gertrude was able to transfer the show intact to television for a nearly ten-year run on CBS and DuMont.

The episode in question here they are shooting really doesn't matter. Molly is preparing for a July 4th celebration at home. The real drama is from outside the studio, where HUAC is making its presence known on the set. Suddenly the director Walter Hart (Joe Dempsey in a purposeful, strong turn) calls out "Hold, please!" for the umpteenth time in the rehearsal. The actor playing Loeb/"Jake" has learned that he has been listed in the pamphlet called Red Channels, along with 150 other show business types. The show's sponsor, Sanka, began to pressure Ms. Berg and the network to fire Mr. Loeb, however it got done. But such action was delayed. And delayed for well over a year. Finally, Gertrude is placed in the untenable position of deciding, on the set right then and there, whether or not to fire Mr. Loeb.

And that sets off, from the actor's reality in losing his job and fearing he'll never work again, a remarkable monologue from Mr. Sherman's pen. Mr. Loeb (the absolute best work ever from William Dick as Loeb/"Jake") takes us on an emotional, staccato journey about life. Union friendships. Family failure. Stories of literal survival at a time in America when hate filled the walls of Congress and threatened the very life of the country. Sound familiar? And Mr. Dick expertly takes us through all this with a deft combination of dread and confusion and, when it was all said and done, some inner panic for an artist who "just wants to work."

Mark David Kaplan shares such a gentle Eli Mintz/"Uncle David", so accommodating and helpful, as he becomes a kind of staff for Philip. Sarah Coakley Price as Arlene McQuade/"Rosalie" says yes, fire him. She emotionally forces a real wrench into the story with the fear that she doesn't want to lose HER job either; she just wants to move on and become what Gertrude is—star, writer, director of her own show. Ty Fanning (Larry Robinson/"Sammy") plays it all smarter than we know in showing how simply Larry negotiates his own path through the maze.

And at last, there's the great Cindy Gold in the title role. Gertrude/"Molly" is fully committed to this process. She says, in fact, that this cast is her family and she cannot abandon family for any reason. So, she gives everyone a strong boost in looking at their own stead—even Philip, the obvious tool to put away. Yes, Gertrude stays loyal right to the end. And Ms. Gold is simply wonderful in her consistent, charming take on a woman much more accomplished than people knew. It's all done within the guise of family loyalty, in a world turned upside down outside the studio, by a movement of hate ironically prescient to what many experience today. This is an ensemble play built on purpose and earnest leanings, as playwright Sherman shows us all, despite the history we think we know, what was still good in that time and place.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.com  Coming soon, his new solo play “Teddy’s Last Ride.”
PHOTO | Michael Brosilow

Northlight Theatre
presents
World Premiere
The First Lady of Television
North Shore Center for the Performing Arts
9501 Skokie Boulevard
through October 12, 2025

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