PicksInSix Review: Amélie - "A Feeling of Absolute Harmony" - Kokandy Productions

Amélie - "A Feeling of Absolute Harmony"
PicksInSix® Review | Ed Tracy

The Chicago premiere of “Amélie: The Musical,” now playing in an exquisite Kokandy production at Chopin Theatre that opened Saturday in the intimate Downstairs Studio, is based on the 2001 award-winning French film written by Jean-Pierre Jenet and Guillaume Laurent. It was adapted for the stage—book by Craig Lucas, music by Dan Meese and lyrics by Meese and Nathan Tysen— and debuted in 2015 at the Berkeley Repertory Theater followed by a brief Broadway run in 2017, a UK tour in 2019 moving to the West End for a summer 2021 run.

The Kokandy production is directed and choreographed by Artistic Director Derek Van Barham with music direction by T. J. Anderson and Anna Wegener. The already lush and whimsical score has been enhanced with additional instrumentation that, in the talented and capable hands of twelve superb actors/singers/musicians, create a glorious experience of sight, sound and song. “Amélie” fits perfectly in the Chopin space and has all the makings of a colossal hit for Kokandy.

Amélie Poulain is a dreamer who overcomes early childhood isolation, and unimaginable loss, using all she has learned for good, to approach the world with wonder and spreading playful joy to everyone around her. Along the way, she builds confidence and develops a circle of friends and mentors who help her gain her own independence, ultimately, revealing the elusive love and affection she has yearned for all her life.

Aurora Penepacker is simply mesmerizing as Amélie, displaying a captivating stage presence that is only surpassed by her stunning vocal abilities. Penepacker, whose star shone brightly last season in Writers “Great Comet,” delivers a multi-layered performance, bursting with enthusiasm and beguiling charm, that is delightful to watch. True to the original story, Penepacker’s Amélie leads us through the mystery of a 40 year-old tin treasure box; the forging of romantic relationships at the café where she works; healing the broken heart of a co-worker; and, bringing peace and solitude to her grieving father.

All the while, the evolving relationship with Nino Quincampoix (Joe Giovannetti, in top form), the object Amélie’s desire, becomes her passionate focus. It is not just how Amélie attracts Nino, the shy and earnest collector of discarded subway photo booth images, but the interconnecting paths of all of the unique characters who serve as narrators to move the story along. Even though this feels very much like a collaborative ensemble experience throughout, Amélie’s parents Amandine (Rachel Carreras) and Raphael (Kelan M. Smith, who also covers Bretodeau), Sonia Goldberg’s Gina (“Window Seat”) and Jon Patrick Penick (Collignon/Julien Dufayel) and the company’s Act I closer “Goodbye, Amélie” leave memorable impressions.

The fine work of dialect coach Carrie Hardin is evident. The vast instrumentation—I lost count at twelve—and the quality of the musical performances is a credit to every member of the company—backed up by Kara Olander and Anna Wegener—who contribute to the exquisite harmonies. “Amélie: The Musical” has it all from an outstanding, energetic cast to an accomplished technical team—sound design by Matt Reich, mixed and engineered by Lynsy Folckomer and Mackenzie Hahn, set and lights by G “Max” Maxin IV and costumes by Rachel Sypniewski—all combining for a rich and robust vocal and instrumentation mix that is in a word: Magnifique!  

PHOTO|Michael Brosilow

Kokandy Productions
presents
Amélie
Chopin Theatre
Downstairs Studio
1543 W. Division Street
through September 28, 2025

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PicksInSix Review: Golden Leaf Ragtime Blues - American Blues Theater

Generations Collide in Nostalgic ‘Ragtime Blues’
PicksInSix® Review | Guest Contributor | Ronald Keaton

The fine playwright Charles Smith has written a thoughtful play, “Golden Leaf Ragtime Blues,” now playing through June 29 at American Blues Theater's intimate space on Lincoln Avenue. He has offered up lots of food for considerable thought in what is a deceptively simple premise in this Chicago premiere expertly directed by Chuck Smith. Two characters—one, an elderly vaudevillian who does not want to give up the chase for the next laugh; and the other, a young Black teenager with a great deal of history to deal with, as well as personal anger—are thrown together in a shabby apartment to deal with each of their issues. And there are many.

It all takes place sometime in the 1990s. The fictional comedy team of Pompey and Ollie, who played a minor vaudeville circuit as well as any, are rehearsing an old routine. Pompey (such an elegant performance by ABT Ensemble Member Dennis Cockrum) has forgotten a punchline to a joke that he and Ollie (the wonderfully understated James Sherman) have done thousands of times. This is apparently a pattern of forgetfulness by Pompey, so much so that Ollie decides to break up the act. It all rattles Pompey greatly and he holds anger toward an old friend that is not necessarily justified. What it comes down to is the death of Pompey's style of humor.

Segue to Pompey’s apartment, a rundown and not-well-kept living quarters full of old cans and newspapers and laundry that needs to be done. Three weeks ago, Ollie died unexpectedly, and Pompey is so distraught that he pulls out a gun and threatens to shoot himself. He is saved by a knock on the door from his daughter Marsha (Dawn Bach in a strong offering), who has come by on a rare visit. The predictable argument between the generations is interrupted by another knock on the door. A young Black kid, whose nickname is Jet, has come to tell Marsha that her car is about to be ticketed. Soon it comes out that Marsha and Jet (Justin Banks is pretty riveting throughout) have actually talked about adoption, which upsets Pompey to no end.

Marsha finds a way to finally get out the door to take care of the car by going to the grocery store to get her father some food—all he has are endless cans of SpaghettiOs. So now the meat of the play begins. Pompey and Jet play a unique game of cat-and-mouse in letting little bits of personal story out, while each says that he really doesn't care. Jet's history is quite checkered and difficult. Fourteen different foster families. Endless stays in group homes.  His mother died of cancer; his father is in jail for an extended stay because of possession of two joints. Remember this is the early 90s, when laws about marijuana were much stricter, and minorities were overly charged and convicted in such matters.

The strengths in the Smith script are dominant here. The constant tensions that ping-pong back and forth between Pompey and Jet are admirably handled. This could sink into a battle of stereotypes, and it avoids that trap through fun ideas from the playwright's rich, creative arsenal. Pompey and Jet actually toy with the idea that they might partner up and create their own act. But Pompey's jokes are hopelessly outdated, so Jet suggests adapting some blue material from the recordings of Redd Foxx, which are hilarious on their own. We then get the privilege of seeing Pompey react to Jet's sharing in comedic horror. Then there are the highly personal moments. Jet talks painfully of seeing his mother being driven away in an ambulance, while the authorities take him into juvenile custody and, eventually, his first group home.  Pompey fights a strong feeling of irrelevance by constantly delving into his bag of show business jokes and details. It's a unique exchange that seems headed toward a kind of happy moment.  Until...

And the last ten minutes or so, I will leave for future audiences to discover. Mr. Cockrum is simply grand in his element here as the sad clown who can't find his way to happiness in life. Mr. Sherman appears in moving, ghostly form a couple of times after Ollie's death in Pompey's thoughts to help him find his way. Ms. Bach injects some informed depth into her Marsha, a woman of her time in holding down a job while feeling the attraction, however drawn she is, to a kind of motherhood. Mr. Banks is the real dramatic coin in the ensemble, making sure that Jet's generation is regarded by Pompey as more than a stereotype. In the hands of Mr. Banks, Jet is indeed a real flesh-and-blood young man playing the cards he's been dealt as well as he knows how. And it's all directed with the usual expert eloquence by the wonderful director Chuck Smith. The experience here is noble, nostalgic, achingly personal and deserves all praise.

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

American Blues Theater
presents
Chicago Premiere
Golden Leaf Ragtime Blues
5627 N Lincoln
through June 29, 2025

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PicksInSix Review: The Book of Grace-Steppenwolf Theatre Company

“That is yours. This is mine.”
PicksInSix® Review | Ronald Keaton

A thought-provoking play by Pulitzer Prize-winning playwright Suzan-Lori Parks is being offered at Steppenwolf’s Ensemble Theater through May 18. First produced in 2010 at New York’s Public Theater, “The Book of Grace” seeks, it seems, to create a universal story out of a particular family’s struggles. Not only does it succeed, it makes one think—hard—as the walk home from the performance begins. And because the play’s locale is the Texas/Mexico border, the relevance could not be timelier—one of the characters is a border patrol officer.

Example: “Borders and fences. They say it all without saying a word. That is yours. This is mine.” Not only does this single line reflect what’s ahead in the story, but it also applies to each character in the play. Vet (Brian Marable, a riveting, articulate presence) is that officer, a man of powerful presence and command. He’s much like who’s being honored for his work at a gathering of his peers. Vet lives in a small border town with his partner Grace (a simultaneously strong, almost impulsive performance by Zainab Jah) who is writing a book. It’s partially autobiographical in nature and observational in tone, and it’s entitled “The Book Of Grace.” It’s full of drawings and photos and essays on family, on dreaming, and on life itself. Grace is the one in the house who constantly points toward the good in life; she does her best to live it, because we see a consistent specter in Vet’s presence of threats and potential domestic abuse. Appropriately, her book is a secret from the world. It’s the one thing in her existence that is hers and hers alone. She even hides it under the living room floor, afraid of Vet’s reaction.

Enter Buddy (Steppenwolf Ensemble member Namir Smallwood in a nuanced, fascinating offering), Vet’s son and a young man who’s been through his own challenges. He’s also a veteran, one who’s earned a Bronze Star, and yet he feels forgotten in his return to a previous life of sorts. Buddy is seeing his father for the first time in 15 years, accepting an invitation from Grace to attend Vet’s presentation dinner. In limited contacts, Buddy infused himself with accomplishment (working as a kind of computer specialist for the government) and bravado; he’s a storyteller of some note, although he could be halting and hesitant as he shares about himself in toto. Vet naturally learns the truth in time, as Buddy finally shares the real purpose of his visit—he needs a job and asks Vet to help him find one with the border patrol.

The tension through the play builds as each character ‘solos’ for the audience. Grace eloquently takes us through chapters in her book, pointing out the good as well as the bad. This is her major milieu, as it is for many people with a harrowing background. Vet and Buddy are, quite frankly, two peas from the same pod in how they both are so stoic as to how life has evolved for them. Vet simply refuses to look at life in any way other than his own perceptions and demands the others in the house accept it as gospel. Buddy only identifies with how unfair life has been for him since he left the service and just wants to ‘blow something up’. We get a forceful impression that he’s hustled more than a bit for attempted comfort. And Grace stands oh-so consistently in the midst of it all, wondering how she can be heard through the din of a strong example of toxic masculinity and dealing with her own trauma in the house.

Director Steve H. Broadnax III creates a genuine mini-symphony of emotional movement that is demanded here from the Parks script. The Ensemble Theater stage is in the round and entirely utilized in Arnel Sancianco’s elegant scenic design with the living room, kitchen, outdoor patio and hallways to the rest of the house. It’s greatly complimented in the projections of designer Rasean Davonte Johnson with three large screens overlooking the stage containing chapters in Grace’s book, a home movie of Buddy as a child, and a suggestion of graffiti-drawn walls that reflect Vet’s immovable attitudes toward “aliens” and keeping one’s place. Pools of moody shading and gentle assistance for the storytellers is seen in Jason Lynch’s impressionable lighting design.

There are strong reflections here from other similar moments and characters in other pieces. Vet offers sharp echoes of Troy Maxson in August Wilson’s great treatise Fences. Buddy’s desperate nature is reflective of the younger Walter in A Raisin in the Sun who just wants his own piece of the American pie. And Grace, well, it’s her book, after all. But in doing her optimistic best to retain a stance of ‘good’ she unknowingly feeds into Vet’s intense anger and distrust. From there, “The Book of Grace” is rapidly steered to a tragic closure of those ‘dreams deferred’ that Langston Hughes carves into our conscience.

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 “Echo Holler.” www.echoholler.com

PHOTO | Michael Brosilow

Steppenwolf Theatre Company
presents
Chicago Premiere
The Book of Grace

Ensemble Theatre
1650 N. Halsted St.
through May 18, 2025

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