PicksInSix Review: The Winter's Tale - Chicago Shakespeare Theater

‘Winter’s Tale’– A Study of Extremes.
PicksInSix® Review | Ed Tracy

You can be sure that at some point in an early production meeting for Chicago Shakespeare Theater’s “The Winter’s Tale,” CST Artistic Director Edward Hall surely said that the bear at the center of Antigonus’s famous demise needed to be big. Extremely BIG!

It’s a singular highlight of many in Hall’s ambitious and thrilling 40th season opener that debuted on Sunday with the first of two of Shakespeare’s plays presented in repertory by a company of 14 exceptionally gifted actors, many of whom have been at the heart of the theatre's work for decades. The connective tissue between “Winter's Tale” and the second offering, “A Midsummer Night’s Dream,” are two studies of dramatic extremes centered around love, jealousy, loss and redemption. “Winter’s Tale,” with its dark and disturbing opening, sets a much more serious set of circumstances then the fantastical frolicking of fairies in “Midsummer.”

The inherent elements in the drama of “Winter’s Tale” revolve around the unyielding actions of Sicilia King Leontes (Demetrios Troy), a jealous cad who is unable to contain his rage and hatred amid his own unfounded suspicions of an affair between his pregnant Queen Hermione (Jessica Dean Turner) and his longtime friend Polixenes (Chiké Johnson), King of Bohemia. The fallout from Leontes’s actions lead to the banishment of his baby daughter Perdita and the unseen deaths of Hermione, reported by Paulina (Issy Van Randwyck), and their son Mamillius (Felicia Oduh). As Act I draws to a close, Leonte withdraws into deep depression after learning the truth from the oracle of Delphos presented at Hermione’s trial for adultery. If that is not enough heartache, consider Leonte’s order to his attendant Camillo (Erik Hellman) to kill Polixenes, who tells Polixenes of the scheme and then escapes to Bohemia with him. All the while the dutiful Antigonus (Ronald L. Conner), Lord of Sicilia, abandons the baby Princess Perdita in Bohemia before meeting a tragic end himself by the aforesaid bear.

As a breath of fresh air, Act 2 begins 16 years later in the colorful Bohemian opulence where Perdita (Oduh) has been raised by the Old Shepherd (Kevin Goodall) and his simple son the Young Shepherd (Dan Haller). Hall creates a festive atmosphere in Bohemia with innovative staging and the spirited music of the band “Sheep Trick” with its charismatic frontman Autolycus (Sean Fortunato). In another stellar comic performance, Fortunato dazzles as a salty rogue whose endearing charm and captivating nature literally strip the pants off Haller’s Young Shepherd. Autolycus eventually gets his comeuppance but not before Fortunato delivers a belly full of broad laughs.

Perdita and Polixenes’ son, Florizel (Esteban Ortiz-Villacorta), declare their love for each other despite his father’s disapproval. Returning to Sicilia, and with the passing of time exposed, so is the fine line between remorse and redemption. Always a challenging element of this particular play based on what has come before, Hall masterfully navigates the staging of the emotional reconciliation. While there is hope for the young lovers, a powerful and timely message of the moment about repentance and forgiveness is delivered that felt truer to the story than in any other production I have ever seen, and all without a spoken word. Watch for the moment. It is quite remarkable.

Hall’s repertory company is universally excellent. There are clever and entertaining performances of original compositions by Kieran McCabe throughout. Michael Pavelka’s elegant costumes and expansive set design transforms effortlessly from a courtly manor to a textured, earthy look awash in color for Bohemia with eye-popping projections. Marcus Doshi’s stunning lighting design, with an arresting soundscape by Emily Hayman, completes a versatile and visually stunning look for this superb production.

PHOTO|Kyle Flubacker

Chicago Shakespeare Theater
presents
The Winter’s Tale
Courtyard Theater
Navy Pier
through December 12, 2026
In repertory with
A Midsummer Night’s Dream
November 11, 2026 through January 3, 2027

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PicksInSix Review: Play On! - Chicago Shakespeare Theater

‘Play On!’ Has Got That Swing!
PicksInSix® Review | Guest Contributor | Perse Grammer

“Play On!” at Chicago Shakespeare Theater doesn’t give anything away until the curtain rises. A dynamic opening number informs us that this Shakespearean comedy is taking place in 1940s Swing-era Harlem. Beowulf Boritt’s set design and Adam Honoré’s lighting design meld to create electric, dramatically leaning streets and buildings, the most important of which is the Cotton Club.

In this version of “Twelfth Night,” Vy has gone to Harlem to pursue her and her late brother’s dream of being a songwriter. Her uncle Jester decides the only way for her to succeed is as a man, and thus, Vy is disguised as Vy-Man. Jester gives her an in with Duke, a top-notch band leader languishing over his unreturned love for the great singer and diva, Lady Liv. As Vy delivers songs to Lady Liv, Lady Liv quickly falls for her—but Vy is developing feelings for Duke. Meanwhile, Miss Mary and Sweets, Cotton Club workers and bickering couple, have caught onto their boss Rev’s feelings for Lady Liv. Jester leads a charge to humiliate Rev by making him “cool enough” to impress his crush. Meanwhile, Vy and Duke grow closer, hindered by Duke’s confusion over feeling romantically toward a man. Finally, Vy reveals herself as a woman, Miss Mary and Sweets resolve their arguments, and Lady Liv falls for Rev as his true, stoic self. Cue the triple wedding!

There is no such thing as a weak link in this cast. Hailee Kaleem Wright bursts with passion and endearing awkwardness in her performance of Vy. James Harkness (Jester) is a smooth mover and talker, James Earl Jones II (Sweets) is a deft comedian, and Alanna Lovely (Miss Mary) more than earns her round of applause for scatting. Krystal Joy Brown (Lady Liv) is just as magical as her initial grand entrance, and the rich, strong voice of Edred Utomi (Duke) immediately pulled me in. My biggest cast-related critique is that the sensational ensemble was criminally underutilized. Every member is an incredibly strong singer and dancer. Kaylah Janssen as the cheeky CC is especially a delight to watch as she embodies energetic effortlessness onstage.

Director Sheldon Epps has woven together a very coherent show. Physical comedy is well utilized—most notably in “Ain’t Got That Swing,” though the biggest laugh of the night came from a bartending ensemble member leaning in to hear a conversation he never spoke in once. Playwright Cheryl L. West’s dialogue is fast and funny. Admittedly, from a writer’s perspective, the written comedy and wordplay is slightly predictable, but nonetheless effective. An-Lin Dauber’s costumes walk a fine line of vibrant and unique without being over the top. This means the outfits meant to be the most stunning—or the most comical—have the desired effect. The music throughout the show is, of course, phenomenal. Everyone does Duke Ellington’s discography justice, with the harmonies of “Solitude” closing Act I being a particular standout.

In such a music-centric show, it was a pity the audience didn’t get to see the actual band more. They got a nice moment of recognition at the top of Act II, but they spent much of the show shut behind a partition. While every number was wonderful, I found myself more drawn toward the solos and duets as compared to the group numbers. This is likely because they had more emotion and connection to the story than the group numbers, which were quite a spectacle. The duet rendition of “I Got It Bad And That Ain’t Good” was compelling, though three back-to-back romantic duets before the finale was a bit much.

“Play On!” addresses some deeper themes but doesn’t go much further beyond the surface. Vy starts out focused on her ambition and fulfilling her and her late brother’s dream, but that motivation gets dropped as her relationship with Duke gains more focus. Granted, theirs is a love story born of creative collaboration, but it felt a bit short and disjointed. Replacing a few scenes about Miss Mary and Sweets, who have much less of a relationship arc, with Vy and Duke, could help flesh out their relationship more. A conflict between the two that never really gets resolved is Duke’s misogyny. While Vy is dressed as a man, Duke tells her about how he doesn’t believe women have the emotional depth to be songwriters. Vy pushes back, but there isn’t much follow through on this. Which leads me to wonder—when Duke learns his beloved collaborator is a woman, does that change his perception of all women, or does he just see Vy as the exception? As much as I’d like to dig into the darkness and discomfort, that’s not what this show is about. “Play On!” is lighthearted and rousing, guaranteeing you walk out of the theater happier than when you walked in. The influence of Shakespearean comedy is strong, but you don’t need to know much about “Twelfth Night” to understand and enjoy the show. Because indeed, enjoyment is the most important factor of “Play On!” and this musical knocks it out of the park!

GUEST CONTRIBUTOR | PERSE GRAMMER is a multidisciplinary writer and theatre artist based in Chicago. Grammer is currently developing their latest play through a mentorship with Sandy Shinner at Shattered Globe Theatre. They hold a BFA in Playwriting from The Theatre School at DePaul University.  www.persegrammer.com

PHOTO|Kyle Flubacker

Chicago Shakespeare Theater
presents
PLAY ON!
The Yard
Navy Pier
through October 18, 2026

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PicksInSix Review: The Merry Wives of Windsor - Chicago Shakespeare Theater

Delightfully Devious Duo Meets Rotund Rapscallion!
PicksInSix® Review | Ed Tracy

Directed with comic zeal by Phillip Breen and featuring Jason Simon in a terrific performance as the rotund rapscallion Sir John Falstaff, Chicago Shakespeare Theater’s lively production of “The Merry Wives of Windsor” is a rip-roaring farce if ever there was one. Set in modern times that often stretch the imagination, the sparkling cast delivers a robustly-paced theatrical gem on Navy Pier!  

Breen’s familiarity with the challenging material pays off. He has certainly discovered every intended comic opportunity—and countless others for good measure—and hits the mark at every turn, all centered around the dubious exploits of Simon’s Falstaff that fail like clockwork, not once, but three times at the hands of the delightfully devious duo of Mistress Ford (Issy Van Randwyck) and Mistress Page (Ora Jones). From the moment they receive identical love letters from Sir John, the two work in tandem to cook his goose while remaining undetected by their husbands, Master Page (Chiké Johnson) and Master Ford (Timothy Edward Kane), despite suspicions to the contrary. Aye, there’s the rub!

Who could blame them for their playful mischievousness? Falstaff’s overt desires turn away his entourage (the entertaining trio of Bardolph (Teddy Gales), Pistol (Colin Huerta), and Nym (Zack Bloomfield)—leaving him vulnerable to the combined forces of the merry wives and the spirited Mistress Quickly (a charming role for Nancy Voigts). As a result, Falstaff must unwittingly fend for himself, eluding discovery by the jealous Ford (Kane) by stuffing his magnificence in a laundry box that is later tossed away in the Thames and then forced to don lady’s clothing and endure an unseen thrashing during a hasty retreat. Throughout, Simon’s Falstaff is never the victim, but rather a hapless fop, like a dog with bone, easily swayed by flattery and the promise of passionate fulfillment. When he concedes a third time to a meeting in Windsor Park, now in the guise of “Herne the Hunter” with everyone in on the ruse, Falstaff is finally, and publicly, humiliated for his transgressions, and must makes amends.

In addition to the brilliant performances by Randwyck, Jones and Kane, the cast is loaded with Chicago talent from top to bottom including Nick Sandys (Sir Hugh Andrews), Paul Oakley Stovall (Justice Shallow), Alex Weisman (Slender), Nate Burger (Dr. Caius) and Bret Tuomi (Host of the Garter Inn). In the love story, Oliva Pryor is an earnest Anne Page, whose marital future lies with one of three suitors, Caius, Slender and Fenton, who is played by Sam Bell-Gurwitz, and is the true object of her affections.

Rich scenic and lavish costume designs by Max Jones—particularly the Ford’s elegant home, the Garter Inn and in the haunting Windsor Park—are visually striking with notable surprises dropping down from above and phoning in from below. The Jentes Family Courtyard Theatre is awash in Marcus Doshi’s crisp lighting design and the lush soundscape by Lindsay Jones, with the clever use of some contemporary songs that bust out along the way.

All in, Shakes “Merry Wives” is at its’ very merry best when Simon is uproariously navigating the fine line of reckless passion and the resulting over-the-top antics set in motion by the far superior wives who keep us rooting for his inevitable comeuppance. From his larger-than-life grand entrance to his humbling demise, Simon delivers a flawless performance and rightly receives a glorious and genuinely warm last laugh for his efforts, sprinkled with a tender touch of finality for one of Shakespeare’s most enduring characters.

PHOTO|Kyle Flubacker

Chicago Shakespeare Theater
presents
The Merry Wives of Windsor
Navy Pier
through May 3, 2026

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PicksInSix Review: Hamnet - Royal Shakespeare Company - Chicago Shakespeare Theater

‘Hamnet’: “A Wonderous Trick of Nature”
PicksInSix® Review | Ed Tracy

The Royal Shakespeare Company’s “Hamnet”—a stunning co-production with Neal Street Productions adapted for the stage by Lolita Chakrabarti based on the best-selling novel by Maggie O’Farrell and directed by Erica Whyman—opened the US tour in The Yard at Chicago Shakespeare Theater this weekend. The captivating play imagines the courtship, marriage and family life of William Shakespeare (Rory Alexander) and Agnes Hathaway (Kemi-Bo Jacobs) and provides a fascinating fictional portrait of how Shakespeare’s plays may have been influenced by their time together and the tragic death of their young son Hamnet (Ajani Cabey).

It is, of course, the story that has received recent, multiple Oscar Award nominations for the 2025 film—a separate adaptation by Chloé Zhao, who also directed, with O’Farrell that followed the 2023 play—and places Agnes as the central figure in a family coping with separation, grief and unfathomable loss. If you have seen the film, do not expect a true-to-form stage representation but rather a compelling and emotionally-charged production that shares the same emotional space, but is itself a unique story all its own and richly told.

Despite many theories, history is sparse on Shakespeare’s personal life. Shakespeare and his first wife met, married and Agnes gave birth to a daughter, Susanna (Ava Hinds Jones) and twins Judith (Saffron Dey) and Hamnet (Cabey) in Stratford-upon-Avon. As Shakespeare’s literary career in London began to flourish, he was often away from the day-to-day life of his family. Chakrabarti’s adaption expands O’Farrell’s vision of how those early days unfolded with Shakespeare serving as a Latin tutor to local children of Agnes’s brother Bartholomew (Troy Alexander) who is owed a large debt by Shakespeare’s belligerent father John (Nigel Barrett). During their brief, passionate courtship, Agnes, who is a healer and one with nature, experiences mystical visions of her family and Shakespeare as her soulmate. Throughout the first act, there are moments of foreshadowing of the close relationship between the twins and an ominous event that hangs thick in the air.

The second act picks up a decade forward. Hamnet and Judith are the life’s blood of the home, inseparable and even indistinguishable one from the other. Shakespeare is now well-established in London at the Globe, his company performing before the Queen. Back at home on Henley Street, as Agnes waits for the family to be reunited, Judith is suddenly bed-ridden with only Hamnet there to provide comfort and care until Agnes returns to take charge. Though successful in bringing Judith through the night, Hamnet, who has challenged death to save his sister, falls ill and dies over the three days it takes Shakespeare to return.

Intermixed throughout are vignettes of the players in London, rehearsal scenes and references to Midsummer Night’s Dream, Measure for Measure and Romeo and Juliet—Barrett is hilarious as Globe actor Will Kempe—and a riveting, climactic scene from Hamlet. The shock of a public presentation of a personal tragedy rocks Agnes, compelling her to travel to London with Bartholomew to confront Shakespeare on his perceived insensitivity and discover for herself the powerful relationship between grief, loss and eternal love.

The action unfolds on a massive, multi-story post and beam scenic design that strongly evokes the Globe by Tom Piper who also designed period costumes, all of which utilize bold on-stage transformations that allow the story to move forward remarkably well despite a tendency to linger on exposition in the early going. That is a very minor point since, when the dramatic arc of the story matures, the drama erupts as Cabey’s commanding performance rises to the level of the stellar turns of Jacobs and Alexander, all leading to a revelatory conclusion—every bit as thrilling as one would expect from the world-class partnership between Royal Shakespeare Company and the Chicago Shakespeare Theater.

Audience Notice: Mature themes including scenes of domestic violence, child loss and grief, scenes of childbirth, and depictions of sexual activity.

“Hamnet” runs through March 8 on Navy Pier and then on to the Shakespeare Theatre Company in Washington, DC (March 17- April 12, 2026), and American Conservatory Theater in San Francisco (April 22 to May 24, 2026).

PHOTO | Kyle Flubacker

Chicago Shakespeare Theater
Royal Shakespeare Company
Neal Street Productions
presents
Hamnet
The Yard
Navy Pier
through March 8, 2026

WEBSITE

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PROGRAM

For more reviews, visit: Theatre In Chicago

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DRAW THE CURTAIN. DIM THE LIGHTS. MEMORABLE PERFORMANCE PICKS FOR 2025

DRAW THE CURTAIN. DIM THE LIGHTS.
Memorable Performance Picks for 2025
PicksInSix® Review | Ed Tracy

It is hard to believe that CONVERSATIONS|PicksInSix® turned ten this year. To be honest, with the shutdown, it feels a bit more like the second act of a ten scene play with an overly long intermission. The post-pandemic era in which we live still has mighty challenges for the performing arts, but the new normal has had a spirited rebirth that continues to provide a wide range of offerings to Chicago audiences.

It is always a challenge to single out the memorable moments of the shows we cover each year, including both onstage artists and off stage creative teams. We cannot see everything, but we try to do our best in theaters across the city and suburbs as well as the work of producers who bring their projects for Chicago’s diverse and discerning audiences.

Among the notable productions in that last category that fall outside the year-end review were “Sunny Afternoon,” and “Billy Jean” at Chicago Shakespeare, “Kimberly Akimbo,” “Parade” and “The Sound of Music” at Broadway in Chicago and the touring production of “Les Miserables” that we saw at Broadway in South Bend with Chicago’s own Matt Crowle in the role of Thenardier. Chicago’s Larry Yando is still out making magic on the road with “Harry Potter,” as are the wonderful Heidi Kettenring and Gene Weygandt with “A Beautiful Noise: The Neil Diamond Musical” and a rising star we think you will be hearing a lot more about, Darilyn Burtley, who is touring as Tina Turner in “Tina.” Chicago talent is making an impression everywhere.

There were some disappointments, too, chiefly that “BOOP! The Musical,” with the stunning Jasmine Amy Rogers and Steppenwolf’s “Little Bear Ridge Road,” with the captivating Laurie Metcalf, did not transfer well to New York after sensational runs in town.  

Chicago is a creative laboratory for theatre, despite the challenges facing everyone at a time when our arts and live performance creators are reimagining operating models. It is a big lift to maintain the delicate balance between developing new talent and consistently presenting ambitious, unique and profitable projects. The responsibility for future success does not rest with one faction. It will take the combined efforts of emerging artists, educators, every theatre company and their leadership working with angel donors, sponsors, technical professionals and volunteer organizations like the Jeff Committee to infuse energy, enthusiasm and financial support.

It is a business, however, and all creative artists involved deserve to be respected for their own investment and given the opportunity to earn a living doing what they do so well. One of the most exciting developments evolving now is the three-year, $600,000 grant from the Paul M. Angell Foundation for Theater Wit's Shared Spaces program that allows the organization to offer reduced rates to producing companies. Imagine if other like-minded philanthropists joined to establish a universal live production endowment, perhaps managed independently on a pro-bono basis by a group of investment and industry professionals who distributed funds solely for the benefit and sustainability of performing artistic organizations in Chicago. If you would like to talk about the possibilities, let’s get in touch.

In the meantime, there are dozens of individuals who dedicate their time and talent to the Chicago theatre community. Our regional and national publicists provide invaluable, comprehensive support—at all times of the day and night—and allow the media access to create features, promotional pieces and reviews. It’s an honor to be invited and a responsibility that we all take very seriously. Thank you!

The brilliant Chicago theatre photographers like Michael Brosilow, Brett Beiner, Joe Mazza, Todd Rosenberg, Evan Hanover, Kyle Flubacker, Justin Barbin, Boris Martin and videographers HMS Media, among many others, commit their expertise and professionalism to document these productions and preserve a vivid archive for future generations. A special mention to the late Rich Hein (a/k/a/ Liz Lauren) whose passing this year was a stunning loss. Our gallery tribute was a testament to only a small portion of his work over a decades long photographic career.

This year CONVERSATIONS|PicksInSix® celebrated 10 years creating a fascinating archive of conversations and hundreds of reviews that would have not been possible without the support of writers like Ronald Keaton, Scott Gryder, Kaitlyn Linsner, Sarah Frances Fiorello, Catey Sullivan and Regina Belt-Daniels. Thank you most sincerely. Special thanks to the American Theatre Critics/Journalists Association and Theatre in Chicago’s Mark Meyer for coalescing critical reviews for the public at large.

In the end, it’s all about the show. Our thanks to all of the artists and organizations who invited us to share in their productions. Each performance is a new and exciting experience. What follows, in alphabetical order, are a few of the memorable moments, with a link to the review, from the shows that stood out as among the best and brightest for 2025:

Shanésia Davis – The storyline of the classic “A Raisin in the Sun” at Court Theatre, directed by Senior Artistic Producer Gabrielle Randle-Bent, is largely based on playwright Lorraine Hansberry’s own experiences growing up on the South Side of Chicago. The brilliant company was led by the riveting performance of Shanésia Davis as Lena ‘Mama’ Younger, the matriarch of the family. Simply astounding! P6

Sean Fortunato – Over the years, Sean Fortunato has expertly been reshaping dramatic, comic and musical roles on stages across the city and suburbs. This year, Fortunato shined in Marriott’s “Catch Me If You Can” but it was his inspired take on Dogberry in Chicago Shakespeare’s “Much Ado About Nothing”—which you can still see on stage there—that has elevated his comic abilities to a new level of entertainment. A tour-de-force performance! P6  

David Girolmo – For decades, working actors like David Girolmo go whenever and wherever the job sends them. Thankfully this year, we have had two opportunities to view this fine actor at work. In “Titanic” at Marriott Theatre, Girolmo’s Captain E.J. Smith was dashing, stalwart and vulnerable. Now playing in Paramount’s glorious production of “White Christmas,” Girolmo renders a commanding performance as the beloved General Waverly. A stately and superb craftsman! P6

 “Jeykll & Hyde” – Simply everything about Derek Van Barham’s direction of the Kokandy production at Chopin Theater was fabulous on opening night, from the soaring vocals of David Moreland, Ava Lane Stovall and Emily McCormick, Brenda Didier’s dynamic choreography, the on-stage presence of a 15-piece orchestra, and a multi-talented ensemble under the extraordinary musical direction of Nick Sula. Still playing at Chopin with limited availability. P6

Michelle Lauto – One of our favorite shows of the year, Paramount’s “Waitress,” starred Michelle Lauto as Jenna whose transition in life plays out in a single moment of truth in Lauto’s stunning, soul-searching rendition of “She Used to Be Mine.” A stunner! P6

James Sherman – Ronald Keaton wrote that “First Lady of Television” is “Sherman's marvelous, articulate plunge into show business history,” with William Dick and Cindy Gold playing beautifully together. “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.” P6

A very worthy final bow to: 

Roberts Falls’ directorial debut of “Amadeus” at Steppenwolf and Charles Newell’s “Berlin.” Each one quite simply a masterpiece! … the captivating stage presence of Aurora Penepacker in Kokandy’s “Amélie.” More please! … the depth and experience of Francis Guinan on full display in Goodman’s “Ashland Avenue” … Phoebe Gonzalez’s bravura performance in Writers’ “As You Like It”…  puppet master Jesse Mooney-Bullock’s stunning work on Marriott’s “Nemo” … exceptional scenic designers Collette Pollard (Northlight’s “Gaslight” and Marriott’s “Titanic: The Musical”) and Andrew Boyce (Court Theatre’s “A Raisin in the Sun” and Writer’s “Translations”) and a few world-class stocking stuffers: Liz Callaway:To Steve with Love, the live concert tribute to Stephen Sondheim (as seen and heard at the Studebaker Theater) … Paul Marinaro’s – Mood Ellington and Elaine Dame’s – Reminiscing. You can still order all of them in time for Christmas!

Happy Holidays!

See you on the other side of the aisle!

Ed Tracy is an award-winning television and webcast producer, author, editor and program host. A career nonprofit professional, Tracy is President of Roxbury Road Creative, LLC, a professional management company and is a licensed real estate agent with Cressy & Everett Real Estate in St. Joseph, Michigan. CONVERSATIONS|PicksInSix® reviews theatre in Chicago and throughout the Midwest. American Theatre Critics/Journalists Association

PHOTO Credits: Michael Brosilow, Brett Beiner, Joe Mazza, Todd Rosenberg, Evan Hanover, Kyle Flubacker, Justin Barbin, Boris Martin

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PicksInSix Review: 2024 Year in Review

Tip The Hat. Turn The Page.
Memorable Performances for 2024
PicksInSix® Review | Ed Tracy

Singling out six of the most memorable performances of artists we covered in 2024 who turned heads and left lasting impressions long after the final bow was a daunting task. So difficult, in fact, that there is also special mention to others who have had terrific years on multiple Chicago stages.

It was a year that included the Royal Shakespeare Company’s return with “Pericles” at Chicago Shakespeare Company, pre-Broadway runs of “Death Becomes Her,” Steppenwolf’s “Purpose” directed by Phylicia Rashad—and, we expect, Sam Hunter’s “Little Bear Ridge Road,” a compelling new work starring Laurie Metcalf—and touring productions like the sensational “Harry Potter and The Cursed Child,” among others. While all deserving of mention, you will find others on the 2024 PicksInSix Year in Review list, our first post-pandemic yearend review.

A special note of thanks to every theatre company, their dedicated boards, administrative, artistic and technical teams, and the unending support of publicists who invest their time and talent in support of the Chicagoland theater community and made it possible to review these shows. It’s an honor to be invited and a responsibility that we take very seriously.

CONVERSATIONS|PicksInSIx® celebrates 10 years in 2025 and owes much to writers like Ronald Keaton, Scott Gryder and Kaitlyn Linsner who have contributed mightily to our archive of Chicago theatre during that time. Thank you!

And, a deserved tip of the hat to the brilliant Chicago theatre photographers Michael Brosilow, Liz Lauren, Brett Beiner, Joe Mazza and videographers HMS Media, among many others, whose expertise and professionalism continues to document these productions and preserve the image archive for future generations.

So here we go in alphabetical order and with a link to the PicksInSix Review (P6):

Sarah Bockel—Falsettos - TimeLine & Court Theatre - The critically-acclaimed co-production of director Nick Bowling’s “Falsettos” featured an ensemble of superb actors and singers in one of two sung-through shows on this list. In the role of Trina, Bockel delivered an extraordinary performance, navigating a delicate emotional path with heartfelt passion and homespun humor. Stunning! P6  

Mark David Kaplan—Fiddler on the Roof at Drury Lane Theatre - In the little town of Anatevka, director Elizabeth Margolius’s ‘memory play’ was, according to Kaitlyn Linsner, an opportunity for Kaplan to display “excellent comedic timing and whimsy” in the critically-acclaimed turn as Tevya. L'Chaim! P6

Beth Stafford Laird—FROZEN at Paramount Theatre - In an epic production directed by Trent Stork that includes several of Disney’s most popular songs and beloved characters, you just might take for granted a character whose youthful exuberance is at the heart of the story. The multi-talented Laird exudes unmatched charm in a rich performance as Anna that is marked by superb vocals, effortless company dance numbers and a shimmering presence all her own. Spellbinding! P6

Meghan Murphy—Anything Goes at Porchlight Music Theatre - Even a blizzard could not keep us away from director Michael Weber’s “Anything Goes” starring the captivating Meghan Murphy in a commanding performance as the seaworthy siren Sweeney. A topflight, take-no-prisoners, star turn. Anchors Away! P6

Aurora Penepecker—Natasha, Pierre and the Great Comet of 1812 at Writers Theatre - The other sung-through musical/pop opera on this list—one of the most ambitious all-around artistic undertakings of the year by any theater directed by Katie Spelman—featured an extraordinarily multi-talented ensemble of players. And there, at the center of this glorious production, was Penepecker whose lyrical voice and pristine talent was simply intoxicating. Magnificent! P6    

Sawyer Smith—Little Mermaid at Drury Lane Theatre - When you hear the term “over the top” in stage performances, it is often afforded to a performer who has elevated their role beyond the script and score to a new level of excellence. The showstopping turn for Smith, in the Scott Weinstein directed “Little Mermaid,” set a new standard that is certain to change the trajectory of Smith’s exceptional career. Wowza! P6

There are six other artists who excelled in multiple productions deserving of special mention: 

Jackson Evans displayed his wide range for musical comedy in four critically-acclaimed roles: Porchlight’s “Anything Goes,” Drury Lane’s “Guys and Dolls,” Paramount’s “Full Monty” and the Timeline/Court production of “Falsettos.” 

Heidi Kettenring delivered her special brand of star power to Drury Lane’s “Guys and Dolls,” Marriott’s “1776,” “Cinderella” and her concert performance of “Something Wonderful.” A true Chicago stage treasure!

We have been watching Evan Tyrone Martin for years and his compelling and beautifully sung Pierre in Writers “Comet” was central to the overwhelming success of this challenging production.

In addition to all of the projects the busy Ron OJ Parson has been delivering, Ronald Keaton noted that “East Texas Hot Links” at Court Theatre “bears the unmistakable stamp of the great director Ron OJ Parson, who has a relationship with this piece that forces us, in its sheer professionalism alone, to see an unencumbered view of what Jim Crow has done to our world and continues to do today.”

And as much as we never really give credit to the people who support everyone else, the masterful career of Nick Sula has been elevating the work of Sondheim enthusiasts throughout Chicago. Sula followed last season’s stellar production of “Kokandy’s Sweeney Todd” with the unique two piano presentation of Kokandy’s “Into the Woods.”  We can hardly wait to see what the next project will be.

Last, but not least, a tip of the hat to Charles Newell whose long-standing career as Artistic Director has come to a close at Court Theatre, You can be sure we have not heard the last from him. The Newell directed “An Iliad” starring Timothy Edward Kane returns in early June 2025. Bravo!

Happy Holidays!

See you on the other side of the aisle!

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PicksInSix Review: All's Well That Ends Well - Chicago Shakespeare Theater

IN THE END… THERE IS LOVE.
PicksInSix® Review | Ed Tracy

Shakespeare’s “All’s Well That Ends Well,” rarely staged on the opulent scale of director Shana Cooper’s production that opened Friday at Chicago Shakespeare’s Courtyard Theater on Navy Pier, is deemed a problematic work, fused with a tapestry of uneven plot variations and equally flawed characters. Cooper’s work, highlighted with interpretive dance, rises well above these challenges, thanks to a stellar cast and a fair bit of magic and imagery.

If you are expecting one of Shakespeare’s robust comedies, this is not one of those. It begins cloaked in the grief of the death of nobility in Italy and pivots quickly to the uncertain future of the King of France (Francis Guinan) who is gravely ill. Central to the coming of age story is Helen (Alejandra Escalante), daughter of a physician who confesses to her guardian, the Countess of Rossillion (Ora Jones), of her desires to wed her son Bertram (Dante Jemmott), heir to the throne. When Bertram departs to serve under the charge of the King, Helen secretly follows him to France and into the King’s graces to affect a cure of the disease that is killing him. That medical miracle performed—and it is a doozy—the King allows Helen to choose a suitor from the court of eligible men that includes Bertram. However, shunning the King’s decree, Bertram spurns Helen and flees the kingdom for Italy, which launches Helen on a life, to death, to life quest of her own.

The charming Escalante brings a demure, vulnerability to Helen that modulates from a young, impetus woman in love to the heroine we can pull for in her pursuit of Jemmott’s likeable Bertram. Once away and under a false pretense, Bertram directs his attention to Diana (Emma Ladji) a lady of the court who knows much more about his situation than he does himself. As this love triangle sorts itself out, Bertram struggles with issues of trust that come back to roost in the deeds of Mark Bedard’s multi-layered turn as Parolles– “a good drum, but a naughty orator.” At odds with the always steady William Dicks’ splendid French lord Lafeu, Parolles must face the consequence of his ill-natured trickery to the King—a stately and commanding performance by Guinan—before finding personal redemption.

On the lighter side of “All’s Well” is Elizabeth Ledo’s entertaining romp as Lavatch, the Countess’s court jester and confidant whose exuberant nature and keen delivery might seem out of place in a plot that keeps lopping off options until only the lovers remain. Not so with Ledo, whose bawdy, of-the-moment, presence is the refreshing and engaging performance of the night.

Christina Clark is strong in dual roles as the Duchess of Florence and the Widow Capilet, as are Ladji as Diana, who ties up the plot strings nicely, and Tanya Thai McBride as Mariana. The ensemble plays numerous roles and performs the interpretive dance choreography of Stephanie Martinez, a staple in Cooper’s work, which serves to establish and transition between scenes.

While there is often a darkness that prevails over the play that mirrors our pandemic times, this show will play well to the Navy Pier audience looking for an escape on a grand scale that is at once magically entertaining and modestly paced. The elements of magic in the King’s chambers and elsewhere, are the fine work of Dendy and are particularly noteworthy. Set in a period dubbed “Bohemian-Edwardian” by Cooper and the creative team, “All’s Well” unfolds on the vast thrust Courtyard stage, an Andrew Boyce design framed in massive, courtly drapes in Act I and a colossal sagebrush spectacle in Act II punctuated by Adam Monroe’s lighting design. With Raquel Barreto’s colorfully textured costumes evoking a rustic era, “All’s Well That Ends Well” is a splendid visual treat for young and old alike.

PHOTO|Liz Lauren

Chicago Shakespeare Theater
presents
ALL’s WELL THAT ENDS WELL
Courtyard Theater
Navy Pier
through May 29

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PicksInSix Review: Othello - Court Theatre

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A SINGULAR KIND OF OTHELLO
Guest Contributor | Ronald Keaton

The Tragedy of Othello, the Moor of Venice by William Shakespeare. It is a long title for what is generally a longer play. At over 3600 lines, it’s among the Bard’s longer pieces and would generally take around three hours to perform. Not so with the production currently playing at Court Theatre. It is compact, judiciously and smartly edited, and fits admirably into the hands of co-directors Charles Newell and Gabrielle Randle-Bent in a challenging and engaging 100 minutes or so. A real and unusual feast for all one’s senses. The presentation, a world of balletic physical battle, where few people touch each other (a marvelous response to the COVID battle we currently wage), is a uniquely timeless setting that also gives pointed contemporary commentary. It is accompanied by a complimentary soundscape created by the fine sound designer Andre Pluess. This writer admits that, at first, this use of an original body-expression language to help further the action was, in a word, unusual. It does take a little time to adapt to the way this Othello is offered. But in time, the audience is eventually taken into this new reality, and the new language itself becomes a character to understand and appreciate.

There is no “place”, per se, for all the action.  Indeed, the physical set makeup enacted by designer John Culbert and Court scenic artists has five separate seating areas of roughly 50 patrons onstage along with a small section of the traditional gallery offering another 50 seats or so.  The cast works in the bordered aisles among the audience, resplendent in costumes by Rachel Adorno and Gregory Graham in the stark hues of Keith Parham’s lighting design.  Additionally, canvased scaffolding and platforms hover over the main playing areas, all further comments on the continuing transition of time in this production and our present pandemic war. Whether or not it’s intended—and I give the Court folks all due for intent whenever I see a play there—it’s an effective theatrical contour.

The story itself is one of extreme jealousies—of power, of property, of love.  The script editing by Mr. Newell and Ms. Randle-Bent changes the focus of the story from one dominated by Iago’s treachery to one that shapes Othello’s foibles and weaknesses more succinctly.  And Kelvin Roston, Jr.’s visceral, physical Othello spares no quarter in his difficult transformation from arrogant leader to suspicious lover to murderous husband and, finally, to his own demise.  Mr. Roston shows us, in deep and short bursts, how the mind is deceived and how quickly he accepts such manipulation until he finally recognizes what he’s done, and what has happened to him.

Iago.  One of the great villains in Shakespeare, whose motivations are constantly characterized (and rightly so) as true evil.   But here, the wonderful Timothy Edward Kane—whose stunning turn in An Iliad at Court remains alive in this writer—actually makes Iago seem almost vulnerable.  It doesn’t last long, of course, because of all the control that Iago exerts throughout the story.  Mr. Kane imbues Iago with an almost touching, I-am-forced-to-do-so aura that is quite unique from other portrayals. Amanda Drinkall’s Desdemona was, at once, delicate and strong in standing up to Roston’s Moor.  A refreshing presence and relief from the intensity of the plot, even as she has her own to proffer to her husband and is unfortunately rejected. A striking and articulate presence, she is.

Two nice surprises in the evening. One was Cruz Gonzalez-Cadel as Emilia, Iago’s wife.  It’s a role that could be hugely difficult, as Emilia seems to accept much of what Iago says and wants with no explanation to her, until she realizes her husband’s truth.  Ms. Gonzalez-Cadel’s death scene, being murdered by her husband, capped a far-ranging portrait from an actor new to me.  More, please. Then there was Court stalwart Erik Hellman’s intense Roderigo, who combines with Iago in the manipulations to wound Cassio, gets wounded himself, and then ultimately is betrayed and killed by the very man he works with.

Sean Fortunato is his stylish, confident self in dual roles of Brabantio and Montano. Sheldon Brown, whom I’ve seen at About Face Theatre in the city, is energetic and clear-eyed as Cassio, one of Iago’s lieutenants and victims in the charade of evil. Darren Patin aka Chicago Drag Queen Ari Gato is simply invigorating as Bianca, Cassio’s lover. And starting at the top of the production, Karissa Murrell Myers’ Duke presents proper authority and wisdom, clear and concise.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL www.solochicagotheatre.com

PHOTO|Michael Brosilow

COURT THEATRE
presents
The Tragedy of Othello, the Moor of Venice
through December 5, 2020

5535 S. Ellis Ave. (map)
Chicago, IL 60637
(773) 753-4472
info@courttheatre.org

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