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: Disney's The Little Mermaid - Drury Lane Theatre

This ‘Little Mermaid’ Has Got Legs!
PicksInSix® Review | Ed Tracy

Sparkling performances that shimmer from head to tail highlight director Scott Weinstein’s delightfully bewitching and hugely entertaining revival of Disney’s “The Little Mermaid” that opened Thursday at Drury Lane Theatre in Oakbrook. The royal love story—with Alan Menken score, lyrics by Howard Ashman and Glenn Slater, and book by Doug Wright—is anchored by the stunning presence of Sarah Kay as Ariel and her stalwart Prince Eric played by Patrick Johnson. The timeless classic is a heartwarming fantasy adventure in a world that includes whimsical puppets, gorgeous costumes and magical special effects that will take your breath away.

That love story begins when Ariel, who has yearned for a new part of the world, away from the isolation of the underwater kingdom ruled by her father, King Triton (Anand Nagraj) and from her siblings, the Mersisters, saves Prince Eric from drowning. Fleeing from her father’s rage when he discovers what she has done, Ariel is lured into a pact with her evil aunt Ursula (Sawyer Smith) to trade her enchanting voice for the opportunity to explore the world in human form. But it all comes with a heavy price of Disney-style drama.

Ariel’s glistening underwater world is the work of scenic designer Tijana Bjelajac who crafts rock formations and massive stone laid columns together with sheer fabric all highlighted by Anthony Churchill’s projections and Ryan O’Gara’s lighting to simulate the mystical ocean depths and the stately kingdom that bursts with the color and rich texture of the costume design by Ryan Park and Zhang Yu. Those finely-feathered and floppy-finned friends in Ariel’s oceanic sphere—the creative artistry of Chicago Puppet Studio—come to glorious life in Kasey Alfonso’s superbly choreographed ensemble sequences. Music director Ellie Kahn brings out the brilliance in the iconic Menken/Ashman/Slater score performed in fine form by the Drury Lane Orchestra under the direction of Chris Sargent.

Michael Earvin Martin is terrific as the crab companion Sebastian, leading the company in the crowd pleasing “Under the Sea” and “Kiss the Girl.” Maya Lou Hlava’s Flounder, with the array of Sea Creatures, Gulls and Animals, are sure to make you smile. Landree Fleming shines as Scuttle in the playful “Positoovity|Positaggity” and you’ll love the zany antics of Matt Edmonds as the kooky French Chef Louis in “Les Poissons” along with the wonderful, and often hilariously understated, work of Rob Lindley as Grimsby, the Prince’s dutiful Guardian.

Few Disney villains compare in sinister scope to the sea-witch Ursula and Smith’s commanding presence in the role as the cunning sorcerous, with a couple of slippery eel sidekicks like Ryan Michael Hamman (Jetsam) and Leah Morrow (Flotsam) in tow, is magnificent. The trio are chilling in “Daddy’s Little Angel” and Smith brings the house down in a dazzling performance of “Poor Unfortunate Souls.”

It’s a night of fun filled comic chaos that keeps bubbling up with Kay’s marvelous, multi-layered performance at the heart of the show. Her exuberance, youthful charm and soaring vocal talents make Disney’s “The Little Mermaid” at Drury Lane a joy to watch and a destination for the holiday season and New Year.   

PHOTO|Brett Beiner

Drury Lane Theatre
presents
Disney’s
The Little Mermaid
100 Drury Lane
Oakbrook Terrace
through January 12, 2024

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PicksInSix Review: The Lehman Trilogy - Timeline Theatre Company | Broadway in Chicago

Searching For The Next Big Thing!
PicksInSix® Gold Review | Ed Tracy

Though it's not customarily appropriate to disclose the ending of a dramatic piece up front—and certainly one as consequential as the Chicago premiere of the 2022 Tony Award-winning “The Lehman Trilogy,” a brilliantly staged co-production of TimeLine Theatre Company and Broadway in Chicago that opened at the Broadway Playhouse on Wednesday night—there it is right in front of us all at the top of the show: A blinding frenzy of news reports cascading across multiple screens on Collete Pollard’s striking, multi-level set composed of stacks of banker’s boxes, copy machines and office furniture. Few born before 1990 will need to know much more about the 2008 subprime mortgage crisis that toppled world financial organizations and placed tremendous hardship on America’s middle class.

“The Lehman Trilogy” serves as a rich and compelling reflection of our troubling financial times and a largely fact-based interpretation of the journey that led to this unimaginable end. The story hinges on the notion that the events that we know all too well are actually a consequence of succession and not of the vision and passion of its founders.

Wisely, and with blistering speed, “The Lehman Trilogy” focuses on the burgeoning path of their family pilgrimage to America, their aspirations and legacy. We first meet Heyum ‘Henry’ Lehman (Mitchell J. Fain), the eldest brother and patriarch of the family empire, as he arrives in New York in September 1844 and establishes a storefront business in Montgomery, Alabama.  Henry is joined by Mendel ‘Emanuel’ (Anish Jethmalani) in a few years and then by younger brother Maier ‘Mayer’ (Joey Slotnick).

Stefano Massini’s script, adapted by Ben Power, introduces several dozen characters—heirs, wives and business partners—who first emerge as brokers in the cotton industry in the pre-Civil War years; expand their influence with a major move to New York City that would eventually diversify business models during the Industrial Revolution and into the emerging Stock Market and then on to investment banking operations. Along the way, the Lehman’s developed dynamic investment philosophies and successfully navigated the aftermath of the 1929 Stock Market Crash in the face of enormous challenges.

Through it all, there is a willingness by the Lehmans to constantly look for opportunity—the next big thing—by taking a simple idea and making money with it. Lots of money.

Perhaps the most important element of this epic tale is not the accomplishments of the Lehmans to perpetuate their version of the American Dream, but rather the brilliantly imaginative way the story is told: with only three extraordinarily talented actors playing all roles over the course of the three-act production, one that moves so swiftly and with such grace, humor and pathos that we feel a sense of wonder and awe at every turn.  

There is an economy of scale to the entire production that co-directors Nick Bowling and Vanessa Stalling have baked into every scene that is worthy of a Lehman investment. At one moment, the Lehman brothers are head-to-head passionately debating the next iteration of the company or one is playfully wooing a partner into marriage. In the next moment, characters shift, the stage is on fire and the story launches forward, challenging the emergence of the next generation of the family to cope with molding America’s investment infrastructure on their own. It’s all together a fascinating adventure tale.

Pollard’s towering scenic landscape is richly amplified by the collective brilliance of John Culbert’s lighting design, Anthony Churchill’s projections, André Pluess soundscape and Izumi Inaba’s period costumes.

In truth, Robert Lehman, the last of the Lehman heirs to run the company in this exuberant, fast-paced and superbly staged production, passed away in 1969. The play then races to its conclusion with mergers, buyouts and the highly questionable move to mortgage acquisitions that led to the eventual collapse with nary a Lehman in sight.

By that time in the piece, having been gloriously entertained by these gifted performers, we are left with the understanding that the founders, and their heirs, had successfully pivoted in the face of every threat to the survival of the company for the next generation.

It’s no coincidence that “The Lehman Trilogy” is indeed the next big thing to strike a chord with audiences in Chicago. The show has already been extended through November 26.

PHOTO|Liz Lauren

TIMELINE THEATRE COMPANY
BROADWAY IN CHICAGO
present
THE LEHMAN TRILOGY
NOW EXTENDED
through November 26, 2023

BROADWAY PLAYHOUSE
at Watertower Place

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PicksInSix Review: Gypsy: A Musical Fable - Marriott Theatre

“A PIONEER WOMAN WITHOUT A FRONTIER.”
PicksInSix® Review | Ed Tracy

Say what you will about the manipulative Rose Hovik—the complex character and commanding force at the center of “Gypsy: A Musical Fable,” the 1959 Arthur Laurents book with music by Jules Styne and lyrics by Stephen Sondheim that has its origins in the memoirs of Gypsy Rose Lee—she proves that very little will stand in the way of her personal ambitions. Whether it’s stealing from her father for the next big break, relentlessly pushing her two daughters into the business that passed her by or leaning on everyone around her whenever necessary, Rose is the engine that’s barreling down the track. Never giving up, whatever the cost. It’s all the stuff of epic musical theatre, and the fruit of a historic collaboration, that opened Wednesday at Marriott Theatre Lincolnshire in a bright, brassy and entertaining production, directed by Amanda Dehnert and choreographed by Stephanie Klemons.

The show features Broadway veterans and vocal powerhouses, Lucia Spina and Nathaniel Stampley as Rose Hovik and manager/companion Herbie, who ‘pool their resources by joining forces” to create a vaudeville show around Rose’s daughters Louise played by Lauren Maria Medina and June played by newcomer Tori Heinlein. Always the star in Rose’s dream of greatness, Heinlein’s June leads an endearing group of youngsters in the early years of the act, to the exclusion of the insecure and vulnerable Louise, who lacks the confidence of her sister and is earnestly along for the ride.

That is until the girls age out of the act and Rose’s attention, and livelihood, turns to making Louise star of the show. Medina’s transformation from little Dutch to the scintillating Gypsy in the show’s climax is as electrifying as Spina’s skillful and emotional “Rose’s Turn,” a transformation all her own from “a pioneer woman without a frontier” to the self-realization that there is more to life than unkept promises and broken dreams.

The ensemble is layered deep with exceptional talent. J’Kobe Wallace’s Tulsa offers up a smooth and savvy song and dance routine to “All I Need Is the Girl.”  Elin Joy Seiler (Baby June) and Milla Liss (Young Louise) are picture perfect in the opening of “Let Me Entertain You” as are all the youthful performers. Cedric Young, Joseph Primes and Steve O’Connell are among many in the ensemble who stand out in supporting roles.

But things come to an uproarious full stop in the free-wheeling performances of Emily Rohm (Tessie Tura), Leeanna Rubin (Electra) and Sawyer Smith (Mazeppa) who guide the wholesome Louise in the hilarious, tear-inducing dressing room number “You Gotta Have A Gimmick.” Between Rohm’s blooming butterfly in flight replete with spinning tassels, Rubin’s incandescent aura and the sheer magnificence of Smith’s statuesque presence in one of Theresa Ham’s inspired costume designs, it’s sheer bliss!

Collette Pollard’s scenic design is decked out from top to bottom in vaudeville flair that frames the action—and defines the journey incorporating Anthony Churchill’s unique media design—punctuated by Jesse Klug’s stellar lighting design, particularly during Gypsy’s coming of age. Music director Ryan T. Nelson and Marriott’s superb orchestra, conducted by Brad Haak, deliver every note from the fast-paced company numbers to Spina’s dynamic performance of the show’s iconic Act I closer “Everything’s Coming Up Roses” to make “Gypsy” a musical night to remember.      

PHOTO|Liz Lauren

MARRIOTT THEATRE LINCOLNSHIRE
presents
GYPSY: A Musical Fable
through October 15, 2023

WEBSITE

TICKETS

(847) 634-0200

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PicksInSix Theater Review - Marriott Theatre Irving Berlin's "Holiday Inn"

“Holiday Inn” Cast Really Making Hay!

In the opening moments of the Marriott Theatre’s glorious new production of “Irving Berlin’s Holiday Inn” that opened Wednesday night, Michael Mahler, one of Chicago’s most gifted actors, a top-tier vocalist, musician and composer, stepped up to the lone stage piece – a ‘40s era console piano – and proceeded to perform selections from the overture live. Mahler played flawlessly, as he does throughout his superb performance as the famous ‘hit man’/crooner turned gentleman farmer Jim Hardy, right in step with conductor Patti Garwood’s orchestra to ring in the rich tones of the Berlin songbook that follows. Under the “Blue Skies” of this Connecticut farm setting, the “Holiday Inn” cast is really making hay!   

“Holiday Inn” — book by Gordon Greenberg and Chad Hodge — is directed by Denis Jones, who also choreographs, as he did in the 2016 Greenberg-directed Broadway production which received a Tony nomination for Jones. That inspired production, which had the benefit of a proscenium stage and wing space, fits very nicely in Marriott’s round configuration. There are a lot of moving parts and the set, lighting and projections/media team — Scott Davis, Jesse Klug and Anthony Churchill — make it all come together seamlessly.

Front and center — a perfect match for Mahler — is the captivating, triple-threat talent, Johanna McKenzie Miller as Linda Mason who just about everyone falls for, right down to the precocious Charlie Winslow played by 9 year-old Patrick Scott McDermott. The drama in this familiar hometown-to-Hollywood love story – based on the 1942 film starring Bing Crosby, Fred Astaire, Marjorie Reynolds and Virginia Dale that featured ‘White Christmas’ – revolves around the schmoozing hoofer Ted Hanover (Will Burton) who crashes the New Year’s Eve party after being ditched by his partner, and Hardy’s fiancé, Lila Dixon (Kimberly Immanuel). Despite the push and pull of efforts back on the farm and on the phone by the handy-dandy Louise (Marya Grandy), the impassioned agent Danny Reed (Lorenzo Rush, Jr.), and, an unsuspecting farm animal, things have a way of sorting themselves out.

Jones’ electrifying ensemble delivers the finest dancing that you will see on a stage anywhere in Chicago right now. There are no less than a half-dozen, lavish, upbeat company numbers, with everyone decked out in Sally Dolemko’s exquisite, holiday-inspired costumes, ripping through the iconic Berlin score under the musical direction of Ryan T. Nelson.

The singing, dancing, heart-tugging joy ride is full-throttle with ‘Shaking the Blues Away,” a scene played out this|close with a stage full of dancers, milk buckets and jump ropes of holiday lights. Burton is terrific as the debonair Hanover who dances up a storm with the ravishing Immanuel, when he is not with Miller, or on his own in the Fourth of July ode “Let’s Say It with Firecrackers.” In the featured dance number “You’re Easy to Dance With,” Burton and ‘the Girls’ delight right down to the perfectly executed backward tap-dancing line!

From the hotter-than-hot “Heat Wave,” the elegance of “Easter Parade” and “White Christmas” and all the holidays in between, when you step out with your baby for this one, you will definitely “Have Plenty to be Thankful For!” Don’t miss it!

PHOTOS|Liz Lauren

MARRIOTT THEATRE
Presents
IRVING BERLIN’S
HOLIDAY INN
through January 6th, 2019

Ten Marriott Drive
Lincolnshire, IL 60069
847-634-0200

WEBSITE

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