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: 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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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.com  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: 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: 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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PicksInSix Review: Dial M for Murder - Drury Lane Theatre

Betrayal, Deception Abound In Classic Thriller!
PicksInSix® Review | Guest Contributor | Regina Belt-Daniels

What comes to mind when you hear or see the title “Dial M for Murder?” The popular Alfred Hitchcock film starring Ray Miland and Grace Kelly, correct? Well, that may be no more; the production currently running at the Drury Lane Theatre Oakbrook is the one to remember now. Written in 1952 by English playwright Frederick Knott, Drury Lane’s chilling production—a tight, carefully orchestrated, thriller—has gone one step farther with Jeffrey Hatcher’s compelling adaptation.

Set in the 1950s, “Dial M for Murder” tells the story of the fractious marriage of the wealthy socialite Margot Wendice (Amanda Drinkall) and her husband, Tony (Erik Hellman) who plans to murder her for her fortune (rather than lose her money to divorce) after discovering her affair with American murder mystery writer Maxine Hadley (Alexandra Silber). Tony blackmails a former Cambridge acquaintance into committing the murder while he establishes an alibi with his BBC radio interview. Of course, the plan goes astray.

Making his Drury Lane debut, Director Adam Immerwahr’s production is suspenseful, engaging, and extremely well-paced as he skillfully weaves the plot together navigating its many dramatic twists and turns with a creative flair for the genre. Upholding a unified vision and mood, Paige Hathaway’s detailed set design of the Wendice’s elegant London living room is plush, lush and gorgeous. All of the technical elements are effective and focused from the lighting design by Emma Deane, the sound design and music composition by Joshua Schmidt, and the beautiful era-appropriate costume design by Nicole Boylan, to the wigs and hair by Bridget Rzymski, and properties by Cassy Schillo. The strong performances of the ensemble benefit from the work of intimacy/violence choreographer David Blixt and dialect coach Julie Foh.

Immerwahr has assembled an incredibly charismatic ensemble of five—in roles that feel tailor made for them—focusing on the intricacies and interactions while heightening tension and suspense. The dialogue is sharp, and precise, revealing the character motivations with themes aplenty: betrayal, deception, justice, greed, love and loyalty.

Drinkall’s Margot is stunning—both in appearance and acting ability—all at once charming, naïve, kind, and with a quiet air of wealth. In Hellman’s Tony, we find a failed novelist who shows the conflicting emotions of a meticulous planner whose selfishness, arrogance, and jealousy run deep. Silber lands a skilled turn as the quick witted and plucky Hadley, the American murder mystery writer who is still in love with Margot. Ian Paul Custer is the man of many names, most recently Captain Lesgate, a shady, convicted criminal accomplice of Tony’s. Custer is very believable, starting out as a nice mustached, three-piece suited colleague who is soon willing to murder Margot for money. Chief Inspector Hubbard (Jonathan Wier) of Scotland Yard doesn’t appear until Act Two and may be a bit eccentric, but he is thorough and steady, thoughtful and intelligent. This is a delightfully strong, talented, and masterful cast.

“Dial M for Murder” is not a murder mystery; it is quite definitely a thriller. We know who’s doing what and what’s going to happen. The suspense is will he get away with it or will he get caught? You may be holding your breath for Margot as this Drury Lane thriller definitely keeps the audience on the edge of their seats— a fresh take on a classic thriller and, by the way, the ending will make you feel happy.

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 | Kyle Flubacker

Drury Lane Theatre
presents
Dial M for Murder
100 Drury Lane
Oakbrook Terrace
through October 26, 2025

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PicksInSix Review: Things With Friends - American Blues Theater

Well-Done: Absurdist Things, Euphemistic Friends
PicksInSix® Review | Guest Contributor | Sarah Frances Fiorello

American Blues Theater kicks off its 40th anniversary season by kicking down the fourth wall with the world premiere of “Things With Friends” by Tony Award nominee, Pulitzer Prize in Drama finalist, Jeff Award Winner, and American Blues Theater Artistic Affiliate playwright, Kristoffer Diaz.  Diaz ushers us in voyeuristically, with the help of an immersive narrator, to this absurdist dinner party trapped in a Manhattan high-rise. Bring your metaphorical silverware and be prepared to dig in existentially: the menu includes (actual pan-cooked) steak, bottomless red wine, and never-ending euphemisms for the title of the play.

With a perfect view of the now-collapsed George Washington Bridge, Adele (Audrey Billings) and Burt (Casey Campbell) prepare for the arrival of their longtime friends, Vy (Cruz Gonzalez-Cadel) and Chabby (Jon Hudson Odom) against the backdrop of a real time climate disaster.  We watch as the two couples trade pawns in a twisted game of chess that reaches a boiling point just as a surprise visitor arrives. “Things With Friends” asks more questions than it answers, inviting its audience to think critically—not just as theatre goers but as global citizens.

Dexter Bullard’s direction is clear and specific, illuminating a string of pathway lights through the world of the play, telling us where to look, what to remember, and what to talk about on the way home. The direction also gives the ensemble of actors a well-defined sandbox in which to play, which they do with stamina and intention. Worth mentioning are standout performances by the quick-witted and slippery Jon Hudson Odom (Chabby) as well as the charismatic and irreverent Maya Lou Hlava (Joony), who rejoins the cast after appearing in the “Things With Friends” stage reading at American Blues Theatre in 2023, part of its Blue Ink Award recognition. 

Our narrator, NYC (played by Nate Santana) blurs the line between the audience’s role as observers and the actors’ role as storytellers, never allowing us to get too comfortable or judgmental of what we are witnessing. He comments on, and occasionally influences, the action while playing point-counterpoint to the more illogical and absurdist moments. He unpacks what the piece might otherwise leave to our imagination (or perhaps, confusion). Diaz’s inclusion of a narrator feels thoughtful: a nod to our effort of making it to the theatre to see something outside-of-the-box. A promise to leave us thinking about what we just saw, not wondering what we just saw.

“Things With Friends” is a slow burn, a methodical singe of the outermost sheen of these frenemies, while diving headfirst into the question American Blues Theater poses in its mission statement: “What does it mean to be American?” Who will we become as a society if we continue to crumble, like the bridges and tunnels of the ill-fated Manhattan of our play? What will happen when we are overrun with greed, selfishness, and fear—willing to sacrifice what arguably matters most?

Come ready to think and be prepared to leave wishing for more new works like this one: ingenious, thoughtful, and unafraid. This piece left me craving more original and daring art on our Chicago stages. That, and a perfectly cooked, medium rare steak.

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|Michael Brosilow

American Blues Theater
presents
World Premiere
Things With Friends
5627 N Lincoln
through October 5, 2025

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PicksInSix Review: Catch Me If You Can - Marriott Theatre

Marriott’s Whopping “Catch” Is A Winner!
PicksInSix® Review | Ed Tracy

If you are wondering what you get when you put a real-life copper caper in the hands of a master storyteller like the late Terrence McNally and the musical team of Marc Shaiman and Scott Wittman, make a date to see the sensational revival of “Catch Me If You Can” now playing at the Marriott Theatre. Directed with panache by Jessica Fisch featuring the equally stylish choreography by Dierdre Goodwin, the show features an outstanding company led by the effervescent JJ Niemann as Frank Abagnale Jr., the 60s era con artist and international fraudster who amassed $2M before the age of twenty-two. Niemann is a remarkable talent whose power-packed performance and engagingly youthful persona—yeah, he gets that a lot—belies an artful ease and ever-present synergy with the plum role of making a jet-setting swindler the most likable guy in any room.

It all starts at the end where the FBI, led by agent Carl Hanratty (a rock solid Nathaniel Stampley) and his minions Agents Dollar, Cod and Branton (the hilarious team of Justin Allbinder, Alex Goodrich and Karl Hamilton) have cornered Abagnale at gunpoint in a Florida airline terminal. As he begs for one last chance to plead his case, everything transforms into the show within the show, a flashback forward to the early days in a subdivision in New Rochelle, New York with his charismatic, but flawed, father, Frank Sr. (Sean Fortunato) and French mother, Paula played by the captivating Jessie Fisher. Fortunato is brilliant as the suave, sophisticated shyster who mentors Frank Jr. on the ins and outs of his street game. It is in these early scenes— wonderfully crafted by these two fine actor/singer/dancers—that the hook is set for McNally’s father/son experience that runs as the subplot to the main adventure story.

Things don’t work out so well for the couple, however, and Frank Jr. is soon off on his own, quickly advancing his special brand of check fraud and impersonation schemes as a lawyer—yes, he passed the bar—pilot and a pediatrician supervisor in a hospital emergency ward where he falls hard for Brenda Strong (the lovely and talented Mariah Lyttle). Brenda’s love and affection leads him to consider giving it all up, settling down and proposing marriage at dinner with Brenda’s parents Roger and Carol (the delightfully comic pairing of James Earl Jones II and Alexis J. Roston). It looks like things might turn out okay for our high-flying hero, but then Hanratty is as persistent as a dog with a bone and isn’t about to give up.

The nonstop momentum of “Catch Me If You Can” comes courtesy of the talented and versatile ensemble, filled to the brim with newcomers, who cover dozens of supporting roles and a bevy of flight attendants, Playboy bunnies, and attending nurses, all glammed in Sully Ratke’s dazzling array of costumes. Under the music direction of Ryan T. Nelson and the marvelous melodious mayhem of conductor Christopher Sargent and the orchestra, Niemann and company takeoff at full speed with “Live in Living Color” and set the flight path for the fun and frivolity right from the top. The company numbers “Jet Set” and act II’s “Nurses” are crowd favorites, along with Fortunato’s “The Pinstripes Are All That They See.” The buddy numbers “Butter Outta Cream” and “Little Boy, Be a Man” are balanced with Stampley’s introspective theme “The Man Inside the Clues” and Niemann and Lyttle’s lush “Seven Wonders.” The solo performance of the night belongs to Lyttle for the soaring confession of love “Fly, Fly Away.”

The ingenious stage design of Andrew Boyce and Lauren M. Nichols, awash in Jesse Klug’s evocative lighting, incorporates a pair of multi-functional set pieces that glide effortlessly on a circular track that mirrors the video diorama above showcasing Anthony Churchill’s fascinating video/projection design. This is one of the most creative and functional uses of Marriott’s challenging in-the-round configuration ever. A visual stunner!

Abagnale’s bold musical crime spree is sure to be another big hit for the popular regional theater at the Marriott Lincolnshire Resort celebrating its 50th Anniversary this year. Paired with the delicious and affordably-priced pop-up cuisine of the Three Embers Pan Am Grille inspired by First-Class Menus of the Pan Am Clippers, you can show up early, park for free, and stay for the show. It doesn’t get better that this!

PHOTO|Michael Brosilow

Marriott Theatre
presents
Catch Me If You Can
10 Marriott Drive
Lincolnshire
through October 19, 2025

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PicksInSix Review: Come From Away - Paramount Theatre

Paramount’s Heartwarming Hit Channels Friendship, Hospitality.
PicksInSix® Review | Guest Contributor | Regina Belt-Daniels

A quandary—at least that must have been what the residents of the Newfoundland town of Gander were dealing with as 38 airplanes carrying 6,579 passengers from 100 countries landed at the Gander airport on September 11, 2001. “Come From Away” marks both Paramount Theatre’s season opener for the 25-26 Broadway Bold Series as well as the Chicago Regional premiere of the show based on hundreds of hours of interviews with the Gander townspeople and the “come from away”(a.k.a. stranded) passengers. The award-winning show, the work of playwrights Irene Sankoff and David Hein who are also responsible for the music and lyrics, originated at the Jolla Playhouse in San Diego on its way to earning three Drama Desk awards (including Best Musical) and seven 2017 Tony Award nominations, winning for Best Direction.

The 90-minute musical (no intermission) is masterfully directed by the multiple Jeff Award-winning Trent Stork, and joins a prestigious string of hits—27 in all—of outstanding Paramount productions including “Cats,” “Frozen,” “Kinky Boots,” and “School of Rock” among others. Stork has assembled a clever and creative production team including choreographer Kasey Alfonso, scenic designer Milo Bue, costume designer Izumi Inaba, lighting designer Greg Hoffman, sound designer Adam Rosenthal, projections Mike Tutaj, wigs hair and makeup designer Katie Cordts and dialect coach Susan Gosdick. Stage manager Amber R. Dettmers keeps the well-paced show running smoothly.

This production is in the capable hands of Music Director Kory Danielson with the very talented Associate Musical Director Kailey Rockwell conducting the performance on Sunday evening. The songs are heart-tugging, lively, energetic, determined and performed flawlessly by Danielson’s eight-piece band, some who are seated on stage and are included in the story. Most notable of the 14 songs are the company sung “Welcome to the Rock,” “Screech In,” “Something is Missing,” and the standout performances of “I Am Here” by Soara-Joye Ross (Hannah) and “Me and the Sky” by Andrea Prestinario (Captain Beverley), both of whom have amazing vocal ranges.

Each member of the ensemble of 18 create multiple endearing and vibrant characters celebrating friendship, compassion, and extraordinary hospitality. The themes of kindness, global community and resilience resonate in everyone, however, I did favor Russell Konstans’s Mayor; Nick Druzbanski’s Constable Oz; Abby C. Smith’s Gander citizen Beulah, and the already mentioned Soara-Joyce Ross’s worried mom Hannah and Beverley Bass, the first female American Airline captain played by Andrea Prestinario.

There is plenty of charming humor in both the songs and dialogue surprisingly in such a historically tragic event. In “Welcome to the Rock,” which introduced both the plot and setting, we hear “small place on a rock in the ocean, and you won’t understand half of what we say,” comments about the infamous Tim Horton’s where everything starts and ends, the six cardiologists dance and the reason why the planes were sent to Gander.

“Come From Away” is entertaining, educational and sings of miracles. There is something for everyone, even as we recognize and remember the tragedy of 911. You will be crying and dancing through the finale with the superb cast. You don’t have to ‘come from away’ to enjoy this heartwarming story and you have until October 12 to experience it yourself.

Postscript: There is another existing quandary in Aurora. The City Council of Aurora has cut Paramount’s budget impacting future shows at the Copley—which closed a critically acclaimed production of “True West” last weekend—and has already canceled upcoming productions of “Covenant” and “Ride the Cyclone.” Paramount Theatre is among the largest subscription series in the country and yet the theater now is facing an inevitable reduction to its overall programming from 900 to 700 performances annually. “Million Dollar Quartet” is thriving at the year-old Stolp Island Theatre even as additional reductions to the Riveredge Park and Paramount School of the Arts are on the table. Hopefully, the City Council will reconsider this key investment in the arts for the citizens of Aurora and the surrounding region.

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|Brett Beiner 

Paramount Theatre
presents
Chicago Regional Premiere
Come From Away
23 E Galena Blvd
Aurora
through October 12, 2025

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PicksInSix Review: Rachmaninoff and the Tsar - Writers Theatre

Hershey Felder’s ‘Rachmaninoff’ Scores at Writers
PicksInSix® Review | Guest Contributor | Ronald Keaton

There really are few people in the theatre like the renaissance man Hershey Felder. Concert-level pianist. Producer in charge of his own fate. Actor with, in this case, a surprisingly high-quality Russian dialect, when many actors shy away from such things. Writer of a meticulously researched story and script. He has a strong influence on behind-the-scenes activity as well—scenic, projections, even a question-and-answer exchange with his audience AFTER ninety-plus minutes of a challenging performance that would intimidate others. And now, at Writers Theatre in Glencoe through September 21, Mr. Felder offers his latest in his series of solo narratives that concentrate on the great composers, “Rachmaninoff and the Tsar.”

Except in this one case, he has a partner onstage, the British-Italian standout actor Jonathan Silvestri, who plays Tsar Nicholas II, the last Emperor of Russia. The Tsar is a conjured character in the mind of Sergei Rachmaninoff, who helps the celebrated music icon near the end of his life to find common ground with his Russian roots again. The Tsar believed that he and family were "blessed by God" and thus being placed in a position of ruling Russia before the Bolshevik period began during the October Revolution of 1917. Almost the entire ruling family was murdered by the Lenin-led Bolsheviks nine months later in July 1918.

Meanwhile, Rachmaninoff and his family escaped Russia during the Revolution before first landing in New York City, beginning his fabled American and European concert tours. In time, the great man realized that his voice as a composer was missing and he yearned to be back in Russia. But most of his years through the rest of his life were lived out as arguably the most celebrated pianist of his day. He became close friends with his equally gifted compatriot Vladimir Horowitz. But to be precise, he and his wife Natalia lived in Switzerland for six years during this period in a kind of break from the grueling concert schedule until his health forced him to seek warmer climate. Hence, they moved back to the United States and settled in Beverly Hills. Rachmaninoff obtained his American citizenship in February 1943, roughly seven weeks before he died of advanced melanoma in March 1943.

It's reasonable to assume that both Sergei and Nicholas felt a similar spiritual tie to the homeland. Indeed, Mr. Felder's tight script has two constant themes—the soul, which is what is frequently referred to in emotional exchanges between both characters; and home, where they both yearn to find peace of mind. To both characters, these two factors are inextricably bound in influence. Mr. Felder, in a long and emotional monologue detailing those last years, emphasizes that the great man left the 'soul' of his composing back home. And it is true that the vast majority of his compositions were done while still there.

Mr. Silvestri is an imposing Tsar Nicholas, trying to be controlled and authoritative throughout, until the story of his daughter Anastasia comes to light. Mr. Felder cleverly allows the Tsar to be told a tragic tale of how his family was murdered in a forest and how his daughter miraculously survived after the Tsar's death in 1918, as Sergei helped to finance Anastasia for most of the rest of her life. Then, in a bit of a surprise, Rachmaninoff quietly confesses that he had serious doubts about whether she actually was who she claimed she was.

Mr. Felder's consistency of character here is an achievement in itself. He carries the man with strength and conviction. The dialect is strong and articulate. The spacing onstage, thanks to economical and tight direction from an experienced-with-Felder hand Trevor Hay, maintains a lovely pace with the script. The scenic design is a grassy garden of sorts with the piano in the center, while elegant projections of both the Tsar's and Rachmaninoff's families reigned large behind the set itself in black-and-white and maybe even a little sepia. The entire production is a totally unique theatrical experience that encourages the audience to escape to another time.

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|Stefano DeCarli

Writers Theatre
presents
Midwest Premiere
Hershey Felder's
Rachmaninoff and the Tsar

325 Tudor Court
Glencoe
through September 21, 2025

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PicksInSix Review: PASS OVER - Fleetwood-Jordain Theatre

Searing Performances Drive Poignant ‘PASS OVER’
PicksInSix® Review | Guest Contributor | Ronald Keaton

There's a striking production of “Pass Over,” the tale of two lost souls trying to find their way, now playing in Evanston at the Noyes Cultural Arts Center, produced by the Evanston-based company Fleetwood-Jordain Theatre, through August 10. Stylishly directed by their producing artistic director Tim Rhoze, this provocative story of two young men looking for their own kind of 'promised land' comes from the hand and heart of Antoinette Chinonye Nwandu, whose creative juices here have seen this play go through an original production at Steppenwolf in 2017; a film recording of one of those performances headed up by Spike Lee; and a Broadway premiere, complete with a new ending, in 2021. So, this piece already has a high pedigree of regard.

Two young Black men, Moses and Kitch, live in a depressed part of town (could be Chicago, could be any large city, really), wondering about their next meal, and dreaming of the future.  They try to list all their friends who have died at the hands of the police—only to realize there are so many, they simply can't list them all. And what hangs over their heads on their street corner is the stark reality that one or both of them could be next. The stakes for survival are almost impossibly high.

Yet they continue to fashion, in their minds and their conversation, a future that shines for them, that gives them pause whenever it comes up. Moses (arguably the stronger influence between the two, given a wonderful fleshing out by Tyshaun Meekie) is talked into initiating a game they apparently play daily, the ‘Promised Land Top Ten,’ one might call it. This time Moses counts off while Kitch (an almost innocent character through the fine skills of Tyrone Norwood, Jr.) tells what he looks for. Air Jordans, travel, a girlfriend, on and on he goes. Both young men play the game fully, and it's lighthearted and smart, and full of hope... a hope always tempered by the reality of their conditions.

The two are interrupted by an impossibly naive gentleman called Mister, whose pseudo Little Red Riding Hood attitude shows him with a basket of food, an awful sense of direction and a really bad knowledge of the ghetto. Later on, we see an entitled, angry white police officer who shakes the men down every chance he gets. Both roles are played by Tiemen Godwaldt in distinct and individual manners. Fun to watch.

There is a strong influence here from other literary sources, especially Samuel Beckett. The ghost of his classic “Waiting For Godot” shadows heavily here—not inappropriately by any means. But Kitch and Moses both share similar outlooks in their own 'waiting' for the sun to figuratively shine for them. The rapport between Mr. Meekie and Mr. Norwood is thick with camaraderie and familiarity. It has to be; the language in the play is just as thick and almost poetic in its idiosyncratic creation, with sharp and poignant airs in the exchange between them.

Mr. Rhoze deserves special mention here.  He has directed the play with a deft delicacy in recognizing the moments at hand. Much of the work seems almost improvised, a tribute to the actors and the director who allows them to ride it as far as they can. Mr. Rhoze also has created a sparse set with a streetlight as a focus and suggested cityscapes lining the background. It reflects the simplicity of the scene and belies the intense complications that these men face daily. Oh, and the title becomes a kind of reverie between Kitch and Moses. "Pass Over" takes on several different guises throughout—from being the escape from the neighborhood to a surprising exploration of slavery, and then to a proposed suicide pact between them. It's quite an eloquent study of the dreams that these young men conjure and what they might be willing to do to make them come true.

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|Basil Clunie

Fleetwood-Jordain Theatre
presents
PASS OVER

Noyes Cultural Center
927 Noyes Street
Evanston
though August 10

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Sundays 3pm

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PicksInSix Review: She Loves Me - Dunes Arts Summer Theatre

At the Dunes, Love Conquers All!
PicksInSix® Review | Ed Tracy

The Chicago-based Artistic Director Steve Scott has been creating a unique and highly developed string of productions, youth programs and cabarets in recent years at the Dunes Arts Summer Theatre in Michigan City. Scott, with the able leadership of Managing Director Elise Kermani, has attracted and developed talent during the summer season at the theater in the woods on Shady Oak Drive that now guarantees a level of entertainment unmatched in the region. It is all translating into higher visibility, a growing subscriber base and a long range plan that has been enhancing the nearly 75 year-old venue just in time for next season’s Diamond Anniversary.

The facility has gone through a steady transformation that is immediately apparent when you settle into the comfortable and cool theater that is now featuring the Scott-directed musical “She Loves Me” which is running on select dates through August 10. Based on the 1937 Miklos Laszio play “Parfumerie,” it is a familiar story for those romantics among us, adapted and starring James Stewart in the 1941 film “The Shop Around the Corner” and in 1998 was the basis for the hit film “You’ve Got Mail.”  

And it was in 1963 that the story of star-crossed lovers who meet through the Lonely Hearts Club and end up coworkers in Maraczek's Parfumerie became the Broadway musical “She Loves Me,” with a book by Joe Masteroff, music by Jerry Bock, and lyrics by Sheldon Harnick. The show was revived in 2016 and has been widely produced in recent years—a mid-sized musical that fits perfectly in the Dunes on a wonderfully functional set by longtime designer Michael Lasswell, whose investment in the quality of the Dunes stagecraft is one of the theater’s signature elements, along with stunning period costumes by Emily Chidalek and Arturo Pozos lighting design.

At the heart of the story is the budding relationship between Mr. Maraczek’s right hand, Georg Nowack (Tristan Haberland) and a new, strong-willed salesperson, Amalia Balash (Kate Turner), each yearning to meet the mysterious special friend they know only from the letters that they write to each other. We quickly learn that something is troubling Mr. Maraczek (Khyel Roberson) and with no one to turn to except the ambitious delivery boy Arpad Laszio (Jackson Mikkelsen), he looks elsewhere for the answer. Along the way, there is another on again, off again relationship between two other coworkers: the womanizer Steven Kodaly (Tommy O’Brien) and the steamy Illona Ritter (Emmie Reigel). Of course, nothing happens in the shop or gets by Ladislav Sipos (Jake Busse) who has a keen eye for the young lovers especially as the truth about another relationship emerges.

Director Scott has brought together two fine performers in Haberland and Turner. Haberland’s charming demeanor and superb vocal range is perfectly, right-sized for the Dunes stage. He is a terrific singer/actor, light on his feet with a sincerity that effortlessly alarms, then charms, Turner’s Amalia. Turner, who has matured into an amazing vocalist and actor of considerable talent, matches Haberland at every turn, glowing with innocence and displaying a magnetic stage presence. The chemistry between these two is something to see.

Mikkelsen, Reige, Busse and O’Brien each have strong featured numbers. Music Director Katelyn Leonard-White leads the talented ensemble and musicians expertly through the score to the heartwarming Christmas Eve revelation that confirms love conquers all.

PHOTO|Tony Martin

Dunes Arts Foundation
Summer Theatre
She Loves Me
288 Shady Oak Drive
Michigan City, Indiana
through August 10, 2025
(219) 879-7509

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PicksInSix Review: Billie Jean - Chicago Shakespeare Theater

BILLIE JEAN: Winners Find A Way.
PicksInSix® Gold Review | Ed Tracy

Earlier this month at the WNBA All-Star game, players donned tee shirts with a message to owners engaged in collective bargaining negotiations for better pay, upgrades in travel and accommodations, and other aspects for a new—and richly deserved—contract.

Back in the days of Billie Jean King, with no collective bargaining options, it was up to a few of the uber-talented competitors to lay it on the line, buck the status quo for women and galvanize the public and sponsors to force change, provide educational opportunities in sports camps and raise all boats to a more equitable level.

From the early moments of the world premiere of Lauren M. Gunderson’s fast-paced and superb biographical play “Billie Jean” that opened Thursday in Chicago Shakespeare’s Yard, there is no doubt that the life and times of tennis great Billie Jean King are safely, and most exquisitely, in the capable hands of Chilina Kennedy whose explosive interpretation is shoulder-to-shoulder with the iconic ground-breaking spirit of the competitor she portrays. A valiant crusade by a central figure who is a champion to many causes and a force that we can both admire and respect. Kennedy’s performance is a grand slam.

Directed with a sensitivity and purpose by Marc Bruni, the show transitions on a dime from the raw innocence of a driven young talent (a delightful and impulsive Julia Antonelli) to King’s early success to achieving the dream of competing, and winning, at Wimbledon and reaching the precipice of the sport as her generation’s most dominant star.

King was not alone in the emerging sport of women’s tennis, and she and those around her challenged the staggering imbalance in valuation between men’s and women’s tennis. That part of King’s professional development, and how she relentlessly focused her energy and support to affect change, is central to the “Billie Jean” storyline.

This all plays out in a blistering series of scenes that follow a linear path, winning at Wimbledon, meeting and marrying Larry King (a solid performance by Dan Amboyer), developing her reputation as a fierce, no-holds-barred competitor on the court, and, as an unstoppable personality in the public spotlight. Consistently challenging the male-dominated social atmosphere around her, many of her most critical public turning points have as much to do with the breakdown of the trust of others as it does with following her own feelings. Which brings us to that commitment to truth and her very public personal life that is one of the most powerful and moving elements of “Billie Jean.” Overcome and swept up in her whirlwind relationship and marriage to King, who would become her manager, she was at the same time questioning her own sexuality, which leads to an ill-fated relationship that hovers over the story until the public exposure leaves her personal life and professional career in shambles. Finding her own truth, and the relationship with her eventual life partner, Ilona Kloss (Callie Rachelle Johnson in a brilliantly understated performance), leads to the triumphant conclusion of “Billie Jean.”

Gunderson has constructed the play as an ensemble piece with all of the intersecting players moving in and out of Billie Jean’s public and private life as activist, champion and survivor. It all plays out appropriately on Wilson Chin’s stylized tennis court set with bleacher-like seating for the company on either side with an ingeniously incorporated turntable center court. The stage is framed with a backdrop of forty-five Wimbledon-like trophy lights serving many scenic purposes, and, modular screens with artfully produced projections by David Bengali intermingled with live video segments. Together with Jane Shaw’s versatile costumes, and the fine work of movement director Steph Paul, the entire production is a visual feast.

But, make no mistake, this is Kennedy’s show—an extraordinary performance that is compelling, heartfelt and richly-crafted, effortlessly navigating the highs and lows of King’s life from adolescent adulation, lover, mentor, friend to legend and allowing the legacy of Billie Jean King to land powerfully in our memory as a poignant reminder of how far we have come, and how far we have still to go.     

PHOTO|Justin Barbin

Chicago Shakespeare Theater
presents
World Premiere
BILLIE JEAN
The Yard
Navy Pier
through August 10, 2025

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PicksInSix Review: The Color Purple - Goodman Theatre

High Wattage Hit at Goodman Theatre!
PicksInSix® Gold Review | Guest Contributor | Catey Sullivan

It’s been 43 years since I first read Alice Walker’s Pulitzer-winning novel “The Color Purple,” yet I can vividly recall how stunned I was by its immersive, explosive power. Walker’s great American novel (arguably the Great American Novel) is a testimony to the unstoppable power of language and storytelling.

 The musical version of “The Color Purple” debuted 21 years ago in collaboration with Walker, featuring a score and lyrics by Brenda Russell, Allee Willis, and Stephen Bray, with a book by Marsha Norman. Directed by Lili-Anne Brown for the Goodman Theatre, “The Color Purple” has the wattage of a thousand suns. Running through August 3 at the venerable Loop theater, Brown has shaped the musical into a tale of resistance, joy and humanity in a world that is systemically dehumanizing. The musical might be decades old, but its themes have never been more timely.

The Tennessee-set, sprawling plot spans from 1911 to the 1940s, and is centered on Celie (Brittney Mack), 14 and pregnant when “Purple” opens. Like the book, the musical doesn’t flinch from the brutality Celie endures for decades, first from her father, and then from her husband. Celie is an Everest of a role: The character evolves over the course of more than three decades. Mack delivers with relentless intensity that travels the emotions spectrum alpha to omega. Her barn-burning vocals blaze through a score that incorporates blues, jazz and demanding a cappella phrases—a live orchestra.  

Also unforgettable: Nicole Michelle Haskins’ Sofia, a strong-willed woman who carries herself like a queen and is proportionately respected. Haskins turns Sofia’s “Hell No” into the anthem of a revolution. 

As Celie’s heinously cruel husband Mister, Evan Tyrone Martin goes from despicable to something like compassionate, with a hallucinatory mental breakdown in between. Martin makes every note ring true. Celie’s world begins to brighten with the arrival of Mister’s lover Shug Avery (Aerie Williams), a juke joint chanteuse with the seductive powers of a Siren. Williams moves through the raucous, sex-positive “Push the Button” with a celebratory carnality that rightfully stops the show. 

Finally, there’s Sean Blake as Mister’s father Old Mister, the owner of land he was once enslaved on. Blake has been consistently excellent since his days playing Richie in “A Chorus Line” at the long-gone Pheasant Run dinner theater in the olden, Pre-Millennium days. He does not disappoint here. Listen for Old Mister’s, wrenching, blistering monologue toward the finale. In that one passage, Blake makes your entire perception of the character change. 

Breon Arzell’s wildly creative choreo is storytelling in motion, its vocabulary moving between Praise Dance, African traditions, burlesque, and ballet, plus dance hall blowouts that evoke Archibald John Motley Jr.’s “Nightlife.” At one point, Arzell puts his own spin on Bob Fosse’s iconic amoeba dance. It’s simply marvelous. 

Set designer Arnel Sancianco pays homage to Walker in the opening scene, text from the book faintly visible over a massive clothesline. Veils of Spanish Moss hang from above, the botanic signature of the Deep South’s singular climate. 

Brown’s sensitive, astute direction, paired with music director Jermaine Hill’s inspired work, makes the show seamless. As “The Color Purple” winds up toward its roof-raising finale, Celie leans into a climactic vocal moment “I’m Here” with a belt of galvanic force. Mack makes the number feel like a battle cry. “The Color Purple” was revolutionary way back in ‘82. It remains so at the Goodman, where Brown captures struggle and triumph with the fire of a preacher at a revival.

GUEST CONTRIBUTOR | CATEY SULLIVAN has been covering Chicago theater for more than 30 years. Her work has been published in the Chicago Sun-Times, Chicago Reader, Windy City Times, Playbill, Chicago Magazine, Chicago Tribune and New City, among others. She has an MFA in creative writing from the University of Illinois. 

PHOTO|Brett Beiner

Goodman Theatre
presents
THE COLOR PURPLE
Albert Theatre
170 North Dearborn

EXTENDED through August 3, 2025

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PicksInSix Review: You Will Get Sick - Steppenwolf Theatre Company

Electric performances, Impressive Illusions, Frustrating Script. 
PicksInSix® Review | Guest Contributor | Catey Sullivan

The irrevocable breakdown of the human body comes for all of us sooner or later, the inevitable manifestation of the most primal fear. Coping when you can no longer deny your end is nigh is a treacherous obstacle course of grieving, profundity, surrealism and gallows humor. Or so it is in Steppenwolf Theatre’s production of Noah Diaz’ “You Will Get Sick,” directed by Steppenwolf Co-Artistic Director, Audrey Francis. But for all its undeniable humor and electric performances, “You Will Get Sick” ultimately delivers a confused web of references that are more baffling than meaningful. 

The plot magically moves through time and space (terrific magic and illusion design by Skylar Fox) as a something-like-friendship develops between Callan (Steppenwolf ensemble member Amy Morton) and an unnamed man suffering from a  mysterious illness (Steppenwolf Ensemble Member Namir Smallwood). Smallwood makes the man rich, layered, and just cryptic enough to add a dash of mystery to the proceedings. His illness is never named, but his symptoms are horrific. His legs give way from under him. His smile has gone lopsided. He bleeds and vomits hay. To deal with telling his family, he plans a rehearsal. He’ll pay a stranger to call him, and to listen to him divulge his illness. Callan answers the flier he puts on a phone pole.

As Smallwood’s garish symptoms become more debilitating, Callan and the sick man form a singular bond. But this is no “Beaches.” Their relationship is as contractual as it is emotional. Callan charges every time she wipes the sick man’s brow. 

Diaz wraps a layer of magical realism around the bleak plot. Dinosaur-like birds are plucking humans up for dinner. A latter day snake oil salesman (Steppenwolf Ensemble member Cliff Chamberlain, quadruple cast and displaying comic brilliance as an overly earnest acting student) peddles “bird insurance.” Set designer Andrew Boyce pays a striking homage to Hitchcock’s 1963 masterpiece, “The Birds” (specifically the jungle gym scene where a playground is overtaken by winged predators). There are also repeated references to “The Wizard of Oz.” Late in the 85-minute drama, we see a replica of Dorothy’s costume in the 1939 movie, Raquel Adorno’s recreation detailed down to the bows on those iconic ruby slippers.

In addition to Royce’s towering web of a set (complete with massive reveal), “You Will Get Sick” is bolstered by Jen Shriever ’s lighting which veers from golden to blackout, all of it deployed with cinematic verve.

None of the above can stop the script from spiraling into whimsy. The final moments feel abrupt and incomplete. “You Will Get Sick” brings up a universally relatable existential crisis – but in the end, it is more nonsensical than not.

GUEST CONTRIBUTOR | CATEY SULLIVAN has been covering Chicago theater for more than 30 years. Her work has been published in the Chicago Sun-Times, Chicago Reader, Windy City Times, Playbill, Chicago Magazine, Chicago Tribune and New City, among others. She has an MFA in creative writing from the University of Illinois. 

PHOTO|Michael Brosilow

Steppenwolf Theatre Company
presents
You Will Be Sick
Downstairs Theater
1650 N. Halsted St.
through July 20, 2025

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BOX OFFICE: (312) 335-1650

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PicksInSix Review: An Iliad - Court Theatre

Kane’s Mesmerizing Performance Returns To Court!
PicksInSix® Gold Review | Guest Contributor | Ronald Keaton

Bravura. That's the appropriate word for the Court Theatre production of “An Iliad,” running now through June 29.

It's a solo play based on the legendary epic poem by the Greek poet Homer, who also wrote The Odyssey. Both these poems form the foundation of Greek literature, even as there are continuous attempts to deny authorship, not unlike what the reputation of William Shakespeare occasionally experiences. This version is co-authored by Lisa Peterson and Denis O'Hare in an endlessly eloquent fashion.

The term 'bravura' is most often used to praise what musical elements are being presented, as well as to the skills of the performers sharing their wares. This play offers itself in such a way that it is quite easy to compare it to a musical motif. The play itself is a kind of verbally spectacular music on its own, and Ms. Peterson and Mr. O'Hare hold nothing back in what they offer.

As the audience watches and takes it in, the story becomes easily absorbed in each movement, much like a symphony or even an opera, with its tragic plotlines that challenge believability in today's terms but were comfortably accepted back in "the day". And each character—Achilles the god-like Greek warrior; Hector, the greatest soldier of Troy; Patroclus, the Greek second-in-command; Agamemnon and Paris, the two sons whose actions make them so vulnerable—has his/her own section of the story devoted to them. It really is symphonic itself, both tragic and grand.

This sounds odd, but all the almost fantastical elements that the great director Charles Newell has assembled are almost players in their own right. Scenic Designer Todd Rosenthal and his Associate Scenic Designer Lauren M. Nichols have created a dystopian-like shelter with a variety of levels and steps and holes in the back wall, as well as a very sharp raked platform that an actor can negotiate for any part of the play. Sound Designer André Pleuss and Associate Sound Designer Josh McCommon share an almost constant low-level drone that surrounds the storytelling with an enhanced tension, matching the language and character in its various and sundry auditory nooks that push the environs of the piece even higher.

Rachel Anne Healy's costume for the actor Timothy Edward Kane is a highly layered vision, where Mr. Kane takes off pieces as he goes in a compliment to the exposure of man's vulnerability to his thoughts and actions, one by one. Lighting Designer Keith Parham and his Associate LD Josiah Croegaert have done absolute yeoman work in "giving light to the dark," so to speak, with their angles and shafts of light and faded colors that enhance what is seen. All this expert technicality greatly heightens the elegiac authenticity and makes this truly a special ensemble experience.

And the conductor of this symphonic reality is Mr. Kane as The Poet. He sings. He speaks in an otherworldly language. He moves balletically across the stage. His seasoned command of the character—in rage and in vulnerability, with the entire range of the actor's voice and emotions—is one of the best this writer has ever witnessed. Yes, there is lots of purple prose here, but it's all well-earned. Mr. Kane takes us on a journey that, even if you've never read the original epic poem, you can easily understand and appreciate the flowing, heightened story—another bow to the authors. He has mined humor where it's a surprise, and his own relationship with the audience is at once intimate and grand. It's one of the great performances presented this year at Court and, dare we say, ever in Chicago.

A favorite actor, Robert Duvall, said once: "I remember something Sandford Meisner told us. When you create a character, it's like making a chair, except instead of wood, you make it out of yourself. That's the actor's craft—using yourself to create the character." This is indeed what Mr. Kane, Mr. Newell and the other fabulous artists of this exceptional orchestra have ultimately accomplished over the course of four productions of the piece dating back to 2011—unique, mesmerizing and an extraordinary accomplishment that is not to be missed.

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

Court Theatre
presents
An Iliad
featuring
Timothy Edward Kane

Abelson Auditorium
5535 S Ellis Ave
through June 29, 2025

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PicksInSix Review: Kimberly Akimbo - Broadway In Chicago

Achingly Touching Story Bursts With Joy!
PicksInSix® Review | Ed Tracy

The national tour of “Kimberly Akimbo,” directed by Jessica Stone with choreography by Danny Mefford, opened at the CIBC Theater on Wednesday. The recipient of eight 2023 Tony nominations, that won five including Best Musical, Best Book and Lyrics by David Lindsay-Abaire (who also wrote the original play), and Best Score for Jeanine Tesori (“Fun Home”), “Kimberly Akimbo” is the achingly touching story of a teenager navigating a rare disease that has been aging her five years to one since birth. The cast is steeped in talent—many connected with the Broadway production—and stars the luminous Broadway veteran Carolee Carmello in the tender role of Kimberly. It is a story with abundant heart, bursting with joy and the promise of a life well-lived, even as the end is so crucially near.

It’s 1999 and Kimberly is trying to fit in with classmates who are focused on other aspects of their lives (read that: normal teenagers). There is one exception in the group, Seth (a terrific national tour debut for Miquel Gil), who plays the tuba and works at the local skating rink. Like Kimberly, Seth is a bit of an outcast, too, but he is wired just tight enough to stand out in a crowd as the keenly analytical guy with a penchant for anagrams. Seth and Kimberly team up on a class project that defines her medical situation and, as the show unfolds, their friendship and support for each other blossoms. While the rest of the world is closing around her, they each become the others anchor.

The clock is ominously ticking for Kimberly, her life plotting to pass her by as she turns sixteen still dreaming of having enough time to do the things she wants to do. At home, her dysfunctional family is another story. Her hilarious mom, Patti (Laura Woyasz), who is pregnant and nearly incapacitated with dual carpal tunnel, and a broken leg; her irresponsible dad, Buddy (Jim Hogan) who’s drunken lapses constantly add pressure to Kimberly‘s life; and then there is the boisterous Aunt Debra (Emily Koch) who barges back into their lives unannounced with yet another hare brained scheme to bilk people out of money, needing only a small crew to pull it off.

That crew—Grace Capeless (Delia), Darron Hayes (Martin), Skye Alyssa Friedman (Teresa), and Pierce Wheeler (Aaron)—are Kimberly’s delightfully engaging classmates who have a chemistry all their own, join forces and fall under Debra’s charms. After a joyous celebration of her sixteenth birthday, and as Kimberly‘s condition progresses, an event triggers the real sensibilities of everyone around her. It is then that Kimberly realizes it’s time to take charge of her own destiny and set out on the adventure of a lifetime.

The relationship between Carmello and Gil feels very much in the moment from their first encounter at the skating rink. As she navigates this challenging role with the wide-eyed innocence of a teenager, Gil immediately connects with the young woman inside, forming a strong emotional bond that melts away the darker aspects of the story unfolding around them. Tapping into the uncertainty of simply trying to get through their teenage years, being accepted for who they are and finding some joy in life together.

Some of this on one level or another could have only happened in 1999 when the skating rink was the place to be, kids played UNO, sang harmonies, played instruments and did dance routines for fun instead of being transfixed on a cell phone. One of those modern devices went off during Act 2, but even that reminder of the world we live in could not dampen the uplifting elements of this truly memorable and remarkable show coming to a theater near you.

PHOTO|Joan Marcus

National Tour Premiere
Broadway in Chicago
presents
Kimberly Akimbo
CIBC Theatre
18 West Monroe
through June 22, 2025

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PicksInSix Review: 42 Balloons - Chicago Shakespeare Theater

What Goes Up, Must Come Down.
PicksInSix® Review | Ed Tracy

It’s a simple premise, really. On July 2, 1982, a man named Larry Walters piloted a lawn chair attached to weather balloons to an astounding elevation of 16,000 feet over Los Angeles. Once Larry was airborne, all sorts of things began to happen. And there’s even more to the story when he returns, all playing out in Jack Godfrey’s Broadway-bound musical “42 Balloons” directed by Ellie Coote that opened in The Yard at Chicago Shakespeare Theater on Tuesday night.

There is a mighty producing team behind Godfrey’s whimsical take on the delightfully odd and fascinating true story. It’s a curiosity all by itself to be sure: a sung-through collection of multiple, often brilliant, music styles including 80s pop and soaring ballads, clever lyrics, artful projections, and, a slam-bang ensemble supporting the superb performances of its two principal stars—Charlie McCallagh and Evelyn Hoskins—who plan and finance Walter’s adventurous dream and fall in love along the way.

As “42 Balloons” begins, Walter (McCallagh) enlists in the Air Force during the Vietnam era only to find his dream of being a pilot quashed by his poor eyesight. Walter will not be deterred, even though he lives civilian life as a truck driver. After meeting Carol Van Deusen (Hoskins), he starts making mathematic calculations for his dream flight. Carol is totally against the idea at first but eventually comes around and agrees to take out a $15,000 bank loan to finance the flight. That loan, and how it is repaid, becomes a pivotal turning point in the storyline, their relationship, and Walter’s peace of mind which begins to evaporate in Act II. All the while, the two are in hilarious cahoots with Carol’s mom Margaret (Lisa Howard) and Walter’s pal Ron (Akron Watson) to see things through.

It's a lively, fast-paced, funny story with some quizzical suspense early on as to how this is all going to play out. Despite the fact that I found myself thinking “in a lawn chair” well into the lofty middle of show, I was leaning in all the time. There are facts that cannot be disputed about the flight—which is cleverly done and the visual highlight among many in the show—and others that will not be revealed here. McCallagh creates a character yearning for something beyond what he has, reaching for the stars and falling short thanks to the atmospheric pressure that accomplished what his advance planning, and some missteps, could not.

Driven by his single-minded desire to take flight, Walter is ultimately guilty of looking past all the good that is right in front of him. The dilemma that the charming Hoskins wrestles with throughout “42 Balloons” is that she is trapped in someone else’s story: a woman who will do anything for the man she loves and who receives little in return. It’s a marvelous performance, despite the clouded revelation that her own dreams and aspirations will never be fully realized.

Walter’s lawn chair is now on display in the National Air and Space Museum for all to see. It was a gift from Jerry Fleck—the neighborhood kid played here in a terrific, featured performance by Minju Michelle Lee—years after Walter gave it to him when he landed. Recognizing the historical significance of Walter’s daring encounter in the wild blue yonder is perhaps what the producers of “42 Balloons” are hoping for when the show transfers to New York, and Walter’s star will twinkle even brighter.

PHOTO|Kyle Flubacker

North American Premiere
Chicago Shakespeare Theater
42 Balloons
The Yard
Navy Pier
through June 29, 2025

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PicksInSix Review: DIANA: The Musical - Theo Ubique Cabaret Theatre

Powerhouse Central Performance Drives THEO’s ‘DIANA’!
PicksInSix® Review | Guest Contributor | Ronald Keaton

The great Fred Anzevino, founder and executive director of THEO up on Howard Street in Evanston, passed away recently. The last production on his watch, co-directed and choreographed by Brenda Didier, was “DIANA,” the musical piece that delves into the lives of Diana, Princess of Wales, and Britain's Royal Family. “DIANA” opened this past weekend and plays at THEO through July 6. From the time of her late teens—when she was literally selected by Queen Elizabeth II as a bride for her first-born son Prince Charles—to the time of her tragic death in 1997, Diana was daily exposed to the international spotlight.

As created by Joe DiPietro (book/lyrics) and David Bryan (music/lyrics), Diana is taken from her position as a nursery school assistant in early 1981 and whisked through what amounts to a crash course in royal life and expectation. By July that year, she and Charles have their royal wedding with an international television audience viewing the event at St. Paul's Cathedral, chosen over the traditional Westminster Abbey because it offered more seating.

From there, we see all the ups and downs of life with Diana and Charles. Very little is spared in the script—two sons, at least two affairs (one of which, of course, included the now-wife of Charles III, Camilla Parker-Bowles)—and a great deal of societal exposure for a woman who is not ready for such an experience, but learns well on the job. The public embraces her fully, thanks to Diana's own brand of a common touch, and it couldn't get enough of her.

Neither could the British press. It hounds her constantly, with photographers and reporters waiting at every turn. Such a reality naturally puts pressure on the marriage. Diana tries to plant her feet and be her own person, while Charles expects her to fall in line with every piece of royal etiquette and tradition as the wife of the heir to the British throne. With each child born (William in 1982, Harry in 1984), the couple makes amends and tries yet again to overcome the obstacles. But in time, there are simply too many walls to climb, and they divorce in 1996.

The best parts of the story come after. Diana visits an AIDS ward, where she reaches out to meet the sick and fights the protocol to don protective outerwear, producing a touching exchange between visitor and patients. Diana (a powerhouse vocal performance by Kate McQuillan) speaks and sings openly of her desire to truly impact the world. Charles (Jack Saunders in his Theo debut) sticks to the palace traditions throughout, costing him dearly. A real delight is Jacqueline Grandt in the dual role of Queen Elizabeth/Barbara Cartland, as she plays the author in a marvelous comic turn and the Queen as the rock of the family. Her song in Act II, "An Officer's Wife," shows a vulnerability that belies the Queen's tough exterior. Colette Todd marvelously underplays her Camilla Parker-Bowles in a strong portrayal.

This is a difficult story to tell onstage, and the ensemble is more than up to the task. They play everything from royal staff to paparazzi to intimate friends to outlandish partygoers at every turn. The three-player music ensemble led by keyboardist Kevin Zhou expertly guides his band through a long list of twenty-nine pieces of music, all the while being supportive and controlled in the small environment that is THEO's stage and trademark.

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 | Time Stops Photography

Theo Ubique Cabaret Theatre
presents
Midwest Premiere
Diana
721 Howard Street
Evanston, IL
through July 6, 2025

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