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Northlight’s Taut Thriller Keeps You Guessing.
PicksInSix® Review | Guest Contributor | Ronald Keaton
One of our most prolific and respected American playwrights, Steven Dietz, takes on a famous story based on a 1938 Patrick Hamilton play, which then turns into a 1944 George Cukor classic film with an Academy Award-winning performance by Ingrid Bergman.
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Reduced Retelling with Epically Goofy Grandeur!
PicksInSix® Review | Guest Contributor | Scott Gryder
The star-swirled proscenium of the Goodman’s Owen Theatre playfully invoked the essence of a childhood bedroom, ripe with stories to be told, creating the perfect backdrop for the opening night/world premiere performance of Mary Zimmerman’s “The Matchbox Magic Flute.” A spirited reworking of a centuries-old tale, this playful mini-rendition is the perfect introduction to the piece and the artform of classical storytelling, while maintaining a respectful reverence for the opera’s origin.
“The Matchbox Magic Flute” follows the adventures and trials of Prince Tamino, your stock prince charming. Along the way, he makes a bird-brained friend, Papageno, and they are tasked with finding and rescuing the Queen of the Night's daughter, Pamina, who’s been captured by a sinister fiend. A completely family-friendly event, this production takes the original Singspiel source material of Mozart’s “The Magic Flute” and powders it with a more floral, playful Gilbert & Sullivan operetta flair.
In keeping with the original operatic style, “The Matchbox Magic Flute” weaves together a spellbinding storytelling through song, with very minimal moments of dialogue, and the star-studded cast commits full tilt. In a way, as the text has been thinned, the characterizations and their goals have been inflated. Of the trio of Ladies, reminiscent of the witchy sisters of Hocus Pocus, First Lady Lauren Molina truly captures the manic intensity of over-the-top subtext, while later naturally transforming into the frolicking and foul beloved Papagena. As Tamino, the always-handsome Billy Rude plays a dependable Prince. Although beautifully layered in vocal range, Rude lacks a solid singing line in comparison to the rest of the cast. Speaking of, watch out, Maria Callas! The fierce, fiery vocals of Emily Rohm’s Queen of the Night truly strike fear in all hearts who share her stage! Even her dress flows with a magma-like rage as her vocal acrobatics sear. And, like mother, like daughter, Marlene Fernandez’s Pamina warbles a range of deep richness, while also enchanting with a soaring soprano. Pair Fernandez with the clownish Papageno of Shawn Pfautsch, part Piglet/part Tigger, and their schmaltzy repartee is endearing and amusing. Most vocally soothing is Keanon Kyles as Sarastro, whose basso profondo delivers chills and thrills.
Whether you’re a fan of the original story, or hardly familiar with it at all, you’ll be truly captivated by Chicago-favorite Mary Zimmerman’s adaptation and direction. Zimmerman is no stranger to this elevated artform, with a resume reaching all the way to the Metropolitan Opera. What she does with “The Matchbox Magic Flute” is combine her knack for musical theater timing with the grandeur strokes of opera, creating a youthful retelling. For the music, while lyrics sometimes edge more toward basic rather than inventive, music adaptors and arrangers Amanda Dehnert and Andre Pluess refreshingly revive these original melodies, succinctly capturing the frothy character motivations.
The more petite venue of the Owen Theatre helps to capture the matchbox concept of the show, further instilling the image that “The Matchbox Magic Flute” could be boxed up and set on wheels to travel from town to town, with a Jack in the Box ease. Even the dual role casting throughout emphasizes the traveling troupe aesthetic. Set designer Todd Rosenthal leans into the collapsible concept with tracked, sliding flats and effortlessly spun walls, painted pastorally and with brocade patterns. And what a delightful concept to have the orchestra in a raised pit at the foot of the stage, bringing the musicians into the action, sometimes literally, within arm’s reach of the vaudeville style stage.
The production elements of “The Matchbox Magic Flute” are so cleanly executed, it’s as if you could simply close the door on the Owen, latch it securely and then carry this marvelous musical moment onto another venue entirely; opening it like a music box to reveal the same darling show on the move. For patrons who don’t fancy themselves operagoers, or for anyone wishing to dabble in the genre, “The Matchbox Magic Flute” satisfies. The sure sign of a winning musical experience is when the melodies linger in your ear as you leave. And how could these tuneful masterpieces not, especially when so daringly and darlingly delivered? Bravi tutti!
GUEST CONTRIBUTOR | SCOTT GRYDER received a Non-Equity Jeff Award for his performance in the one-man show BUYER & CELLAR. www.thescottgryder.com
PHOTO|Liz Lauren
Goodman Theatre
presents
The Matchbox Magic Flute
Adapted and Directed By Mary Zimmerman
EXTENDED
through March 24, 2024
WEBSITE
TICKETS
For more reviews, visit: Theatre In Chicago
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“…wide, tender eyes and knowing delivery.”
Ronald Keaton | Guest Contributor | PicksInSix® Review
“Why would I eat crackers in your bed?” The character of Toni Stone asks this literal question of a prospective lover, as well as other hugely unconventional issues in Lydia R. Diamond’s sparkling, creative play “Toni Stone,” now playing at the Goodman Theatre. Stone is a historic figure who infuses her world with all kinds of sociological change, being the first woman to ever play on the field in men’s professional baseball… in this case, the Indianapolis Clowns of the Negro Leagues in the 1940s and 50s.
You may ask: “Why does the world not know more about her?” That is beginning to change with this expertly-crafted memory play that maps out Stone’s path in a pleasingly helter-skelter manner, allowing for a full and articulate explanation of who she is, what she wants, and how she gets there. Doesn’t matter that it might be a tad confusing to some; that’s the nature of our memories, after all, and what they mean to our own histories. Ms. Diamond has infused Toni Stone with an unflinching, iron-clad commitment to not only the game, but how she fits into it. Her very first monologue talks of her own ‘reach’ through the ‘weight’ of the ball itself; she holds the ball for the audience as if it were her own child. And in essence, that’s how committed, singular paths make their own mark.
The wonderful Tracey N. Bonner inhabits Toni Stone with a child’s longing, a woman’s continual feist against conformity, and an athlete’s endless vision. Ms. Bonner presents someone absolutely on point in her feelings about baseball, almost obsessively so. Stone is a baseball computer; she uses her knowledge of baseball players and statistics as a salving tool in constant recitative to survive what is thrown at her on the diamond by opposing teams and, indeed, the world at large. The self-advocating side of Stone only serves to further strengthen the obvious calling that baseball was to her; Bonner offers this in wide, tender eyes and knowing delivery. This is an actor’s masterclass in fully inhabiting one’s character in a show that I would see again and again.
There is much gorgeous work here. Jon Hudson Odom as the madam Millie is not only a soothing influence on Stone; we see from the actor a total calm and command from the get-go. As Stone’s lover and eventual husband, the marvelous Chiké Johnson imbues his Alberga with a strong, yet quiet pseudo-Nick Arnstein presence for us to hold our collective breath, in his three-piece dark blue suit and habitual smooth. The supporting cast portrays a rogue’s gallery of characters – mothers, bartenders, team owners, baseball players and coaches. The fabulous ensemble – Kai A. Ealy, Joseph Aaron Johnson, Travis A. Knight, Victor Musoni, Matty Robinson, Edgar Miguel Sanchez, Terence Sims, and Jabari Khaliq – use every Diamond phrase, both intellectual and profane, to full advantage in support of the storytelling.
The impressive Todd Rosenthal set design is a suggested baseball field – in fact, the name on it was Victory Field in Indianapolis, where this writer attended games as a child. Mara Blumenfeld’s costumes are simple and excellently functional for the character changes the ensemble are assigned. Keith Parham designed soft layers in a variety of ever-moving lighting effects, effortlessly following the Toni Stone life road. Andre Pluess and his period music/sound design literally inhabits Stone’s mind as they assist to buoy the script in those memories. And Mike Tutaj once again imbues his projections with touches of elegance and documentary-like effect (“Jack’s Tavern” the on-the road landscapes for the team).
Ms. Diamond has always been a favorite writer at the Goodman, and she’s earned it – a real Chicago treasure. “Toni Stone” is among her best work. And the celebrated director Ron OJ Parson has given this play and these actors a clear, accessible and fully non-conformist track that keeps up with Ms. Bonner’s inventive and keen actor/storyteller. Everyone in this process, in fact, either is or became an expert storyteller. The fact that it all comes through one of the most inventive characters written in a long time only magnifies the quality of every creative person involved here.
GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL www.solochicagotheatre.com
PHOTO|Liz Lauren
GOODMAN THEATRE
presents
TONI STONE
through March 20
Albert Theatre
170 N. Dearborn St.
(312) 443-3800
WEBSITE | TICKETS
For more reviews, visit: Theatre In Chicago
PicksInSix® is a registered trademark of Roxbury Road Creative, LLC
Northlight’s ‘Warhol’ “Brings Home The Bacon!”
PicksInSix® Review | Ed Tracy
Iran in the 70s – a fight for political, moral and individual rights that led to targeted suppression of protests by a regime that wielded torture and fear as the rule of law. Fast forward nearly fifty years and women’s rights now take center stage in regional protests. Radical change in our time is both momentary and glacial. A single act of violence broadcast on social media ignites instantaneous worldwide condemnation, while the exhaustive search for truth and justice that follows moves at an exhaustingly slow pace.
Throughout the life and times of Andy Warhol from the late 40s until his death in 1987 at 58, every encounter was a rich story worthy of being told. If you experienced the work of the iconic pop creator/activist/artist/filmmaker firsthand, the repetition of Warhol’s single images were unavoidably captivating. Shades of Marilyn Monroe, Richard Nixon, and Campbell’s Soup. Films that captured the personal stories of his subjects, or nothing at all, always inquisitive, searching for the essence that makes each subject unique. In the telling, Warhol built a worldwide following, amassed wealth, influence, access and fame with a single superpower: his ability to observe.
Warhol’s adept skill and fascination with his subject’s uniqueness, that also nearly took his life, is a central theme of Northlight Theatre’s absorbing production of Brent Askari’s “Andy Warhol in Iran,” directed by Northlight’s Artistic Director BJ Jones. The byproduct of this fascinating piece is a broader understanding of who Warhol was as a person, told through monologues highlighted with fast-moving images that frame the fictional confrontation between Warhol, masterfully interpreted in a brilliant performance by Rob Lindley, and a young radical named Farhad, played superbly by Hamid Dehghami.
It is difficult to determine when the razor-sharp dialogue of Askari’s writing ends and the pinpoint pacing of Lindley’s seamless delivery begins. Given the show’s premise of a politically-motivated celebrity kidnapping, one might not imagine that the storyline would be deliciously layered with so many hilarious Warhol-esqe observations. To Lindley’s credit, he both feeds off of and into Dehghami’s frenetic obsession to further his group’s cause by way of Warhol’s fame. The cause of Farhad’s pain at the hands of Iran’s torturous and oppressive regime is very real. Askari’s script exploits Warhol’s astute and inquisitive nature to disarm his potential captor and Lindley skillfully knocks it out of the park. The result is a free-flowing narrative of discovery that, along the way, retells Warhol’s early years in Pittsburgh, tumultuous relationships, a near-death experience that altered his life forever and his personal view on a range of topics from capitalism to life and death. On the former, it’s like he always says: “You gotta bring home the bacon!” To the latter, he muses: “Dying is not hard; it’s the waking up part.”
Dehghami, an accomplished Iranian actor and recent MFA graduate of Northwestern University, evokes a generation of college students caught up in the political turmoil of the era that would lead to their expulsion from academic communities across the United States. That brief, but powerful, intersection with western culture, was the single act for that generation, prompting life-alerting choices of family and freedom for countless Iranians who oppose tyranny.
Set in a suite at the Royal Tehran Hilton smartly designed by Todd Rosenthal, the room serves as an oasis of the decadence of the period where Warhol discovers perhaps for the first time what the world view of his work truly means to those who exploit it for their own means. Mike Tutaj’s riveting historical projections are enhanced by the collaborative sound design of Andre Pluess and Forrest Gregor. But it is Lindley’s crisp, clever and measured approach that pours out and will ignite the inevitable conversation about Warhol’s vast complexity.
PHOTO|Michael Brosilow
through February 19, 2023
WEBSITE
(847) 673-6300
HEALTH & SAFETY
For more reviews, visit: Theatre In Chicago
PicksInSix® is a registered trademark of Roxbury Road Creative, LLC
A Mesmerizing and Unforgettable Theatrical Treasure!
PicksInSix® Review | Guest Contributor | Kaitlyn Linsner
The beloved and delightfully creative holiday treasure, “The Steadfast Tin Soldier,” is now playing at the Lookingglass Theatre in the Water Tower on Michigan Avenue. Mary Zimmerman first brought the Hans Christian Andersen tale to life in 2018 and years later, it remains an unforgettable theatrical experience.
“The Steadfast Tin Soldier” follows a small tin soldier through a whirlwind of adventures including falling in love with a ballerina, getting swallowed by a fish and befuddling a rat working in the sewage system’s customs department. The story itself has great charm and enduring life lessons, but it is Zimmerman’s use of wordless storytelling techniques that make this a larger-than-life spectacle.
Why speak the language of love when you can dance? Or better yet, just slick back your hair, stand up tall and ask your crush out by pantomiming a play-by-play of your ideal date. It’s an absolute riot, and not only does this approach work for the show, it lingers outside of the theater by striking up a curiosity about how to interact in time and space with that same childlike playfulness and imagination.
In addition to the stellar pantomiming, the puppetry, visual imagery and original music by Andre Pluess and Amanda Dehnert elevate this production from endearing to truly remarkable. The musicians play well together, and with the cast, to deepen the experience and connection with the characters. The costumes from Ana Kuzmanic and sets from Todd Rosenthal also dazzle.
Same goes for the exceptionally talented ensemble cast - Kasey Foster as the Ballerina, Anthony Irons as Goblin, Christopher Donahue as the Nursemaid, John Gregorio as the Rat, and Adeoye as the Tin Soldier - who skillfully play multiple roles and cultivate magic on the stage. Highlights include Irons’ animated movements as the haunting jack-in-the-box Goblin and Gregorio’s hilarious pantomiming as the Rat and the googly-eyed fish monger.
At a running time of only an hour, the show is perfect for all ages looking to enjoy music, movement, charisma and great comedic timing. “The Steadfast Tin Soldier” continues to embody whimsy and wonder and will leave a lasting impression of just how darling things can be.
GUEST CONTRIBUTOR | KAITLYN LINSNER is a Chicago-based attorney practicing construction and surety law.
PHOTO CREDIT | LizLauren
LOOKINGGLASS THEATRE COMPANY
Presents
THE STEADFAST TIN SOLDIER
through January 8, 2023
Water Tower Water Works
821 N Michigan Ave.
(312) 337-0665
WEBSITE
TICKETS
2019 PicksInSix Review
Listen to our 2018 CONVERSATIONS podcast with Mary Zimmerman
For more reviews, visit: Theatre In Chicago
PicksInSix® is a registered trademark of Roxbury Road Creative, LLC
Sean Hayes Soars as Oscar Levant!
PicksInSix® Gold Review | Ed Tracy
There was a time not too long ago when Broadway viewed biography plays as generally risky ventures. Either the subject was too close to current culture or so far removed that the life and times of the individual might take over the storytelling. Still others involved long, linear decade-crunching history requiring a deep understanding of the era for context.
Times are about to change. Oscar Levant is back and appearing nightly at Goodman Theatre!
Read More“Like a Thief in the Night”
PicksInSix Review® | Ed Tracy
One of the many devastating pandemic-induced hard stops in Chicago was Court Theatre’s production of Henrik Ibsen’s “The Lady from the Sea” that closed on March 11, 2020 after the first dress rehearsal. The eagerly anticipated production, directed by Shana Cooper and starring Chaon Cross as Ellida, was part of a season commemorating the 25th anniversary of Charles Newell, Court’s Marilyn F. Vitale Artistic Director. Compounding the situation, Court also lost several weeks of Newell’s monumental restaging of “An Illiad” starring Timothy Edward Kane at the Oriental Institute.
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
WEBSITE
TICKETS
For more reviews, visit: Theatre In Chicago
PicksInSix® is a registered trademark of Roxbury Road Creative, LLC
“Where do the old gods go?”
There is a lonesome wail bellowing from within the Oriental Institute’s dark and cavernous Mesopotamia Gallery. Surrounded on two sides by the carved wall reliefs from an Assyrian palace and casting shadows across the imposing winged bull in the Khorsabad Court, you first hear Timothy Edward Kane as The Poet, singing a haunting song of war. As “An Iliad” written by Lisa Peterson and Denis O’Hare from a translation by Robert Fagles begins, the storyteller finds himself very much in the present, compelled by the gods to repeat the story of the Trojan War—that raged nine years with “nothing to show for it but exhaustion, poverty, and loneliness”—and recount the heroic exploits of its two great fighters—Achilles and Hector.
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What it's about ... an inspiring adaptation, originally staged in 2001, of the Charles Dickens classic by Lookingglass Artistic Director and Ensemble member Heidi Stillman, who also directs this story about the life and times, and the great divide between the upper class and working class of Coketown, a mining community in the grip of a powerful and arrogant owner who maintains benevolent control until the innocence of circus arts begin to turn widespread despair into hope.
Just the facts ... in and among Mr. Bounderby’s social circle is the upper crust Gradgrind family, a teacher, whose students include his daughter, Louisa, on whom Bounderby has affections, and wayward son Tom, and Sissy, a young girl raised in the circus who is taken in as a ward after being abandoned by her father, a circus clown. The story centers around Louisa’s evolving education and the unravelling of Stephen Blackpool, a common laborer whose morality transcends everyone else. As fate steps in, Blackpool becomes the unwitting victim of the power and greed of those who wish only to hide their darkest secrets from view at the expense of all others. All is not lost as love triumphs, and light, in the smoke-filled recesses of Coketown, ultimately shines through.
What stands out ... Dickens compellingly rich characters spring to life in Stillman’s absorbing production, which reunites many original cast members with gloriously talented actors who have extraordinary circus and acrobatic skills. The aerial artistry, staged seamlessly with the story in sweeping fashion by Sylvia Hernandez-Distasi, is flawless. The versatile set by Dan Ostling, allows our imagination to trip from classroom to sitting room, from the squalor of a shabby apartment through a busy street to the grandeur of an elegant dining room, and back again, in the blink of an eye, enhanced impeccably by Mara Blumenfeld’s costumes, lighting by Brian Sidney Bembridge and sound by Andre Pluess.
Who to watch ... David Catlin, returning to the roles of Sleary and Stephen Blackpool, Raymond Fox, back as Mr. Gradgrind, and, Louise Lamson, who created the role of Louisa but here plays Rachael, are inspiring to watch together, contributing mightily to the vibrant textural and visual masterpiece. Troy West, once again the irascible Bounderby, brings a chilling level of obstinate authority that is perfectly aligned with the powerhouse performances of Cordelia Dewdney, a sultry Louisa, and Amy J. Carle, the diabolical Mrs. Sparsit. The entire ensemble is superb in multiple roles, however, this story unfolds early on through the eyes of Sissy, played exquisitely by Audrey Anderson, an extremely versatile and captivating newcomer in a breakout role. There is no doubt you will be seeing a lot of performances by Ms. Anderson on and above many stages, but don't miss this one. It’s a gem.
A moment or two to savor ... if you have ever been transfixed by a roaring fire and wondered what you see in it, there is a beautiful moment between Ms. Dewdney and JJ Phillips where the answer is revealed. You will also be in awe of the multi-talented Raphael Cruz right at the top.
Why you should go ... Lookingglass Theatre Company is celebrating their 30th season and an on-going association with The Actors Gymnasium, collaborating to develop engaging, story-centered ensemble productions. Hard Times, first created and produced in 2001, is now presented for the first time in their home since 2003, Chicago’s landmark Water Tower Water Works. A perfect holiday treat for the entire family.
Photos|Liz Lauren
