PicksInSix Review: A Christmas Carol - Goodman Theatre

‘A Christmas Carol’ Returns to Goodman!
PicksInSix® Review | Ed Tracy

Tis the season at Goodman Theatre and Charles Dickens’ “A Christmas Carol” opened on Sunday, heralding in the holiday in festive form. The classic adaptation by Tom Creamer is stylishly directed this year by Malkia Stampley and once again stars Christopher Donahue in an outstanding performance as the irascible humbug Ebenezer Scrooge who finds the true meaning of Christmas, life, and the errors of his ways, through the eyes of three devilishly haunting spirits.

Over the years, Goodman Theatre’s “A Christmas Carol” has consistently delivered a rousing good story, richly told with magical special effects, live music and merriment, and thrilling suspense mixed with a wholesome moral message of the importance of kindness and goodwill to all. That story, and the characters telling it, change a bit from year to year and the production now on stage in the Albert seems to be as fresh and vibrant as the first time I saw it over two decades ago. That is not to say that one particular year is remarkably more entertaining than any other, however, there is a pep in the step of this production that flows smartly from Donahue’s endearing performance and infects everyone else involved in this much beloved holiday classic.

Stampley’s heartwarming production follows Donahue’s Scrooge as he discovers the poignant flashpoints of his life—what was, what is, and what will be. His excessive disdain first manifests itself in his domineering relationship with Bob Cratchit (a terrific turn for Jon Hudson Odom) on Christmas Eve in the office of Scrooge and Marley. It is the anniversary of the death of Scrooge’s malevolent partner Jacob Marley (a chilling Daniel José Marina) and Scrooge is soon confronted by Marley still shackled in purgatory, warning of a similar demise if Scrooge does not heed his warning. That all sets in motion visits by the Ghosts of Christmas Past (Lucky Stiff), Present (Bethany Thomas) and a formidably dark Christmas Future (Molina) to lead Scrooge to his eventual enlightenment.

The festive pageantry of Stampley’s production shines brightly thanks to the multi-talented ensemble who serve as guests who raise the temperature of the holiday party hosted by the Fezziwig’s (Robert Schleifer and Christina Clark, a glorious match), the Christmas Day gatherings at the home of Scrooge’s adoring niece Frida (Amira Danan) and her partner Abigail (Jazzlyn Luckett Aderele), there’s a modern twist, and passersby in the holiday street scenes and within the sobering darkness that is Scrooge’s uncertain future.

Through it all, Donahue captures the essence of the darker side of Scrooge’s lowly persona and his joyous, almost childlike, exuberance in rebirth that bursts forth with all the joy and revelry one can imagine. Along the way, it is fascinating to watch the infinite layers of emotions peeled away as he observes the Fezziwig party from aloft, at the Cratchit’s Christmas dinner and in the joyous enlightenment that finally rings the Christmas bells with reckless abandon. And in supporting roles, Thomas is terrific in a return performance as Christmas Present and as Scrooge’s cantankerous charwoman, the versatile Anthony Irons and Austin Tichenor are delightful everywhere, and, the stunning Sól Fuller sings beautifully as the young Fan along with roles as Catherine and Martha Cratchit.

Todd Rosenthal’s iconic set design, Heidi Sue McMath’s stunning costumes and all the technical aspects from Keith Parham’s lighting and sound design by Pornchanok Kanachanabanca based on Richard Woodbury’s original, add to the eye-popping aura of the show. With the on-stage musicians—including and under the longtime direction of Gregory Hirte who perform original music by Andrew Hansen—young and old alike will share in every facet of this unforgettable experience. There is simply no better way to welcome the holiday season than a visit to Goodman Theatre’s “A Christmas Carol.”        

PHOTO|Brett Beiner

Goodman Theatre
presents
Charles Dickens’

A Christmas Carol
Albert Theatre
through December 31, 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: A Christmas Carol - Goodman Theatre

“A Man’s Actions Foreshadow Certain Ends”
PicksInSix Review | Ed Tracy

The corner of Randolph and Dearborn was abuzz Sunday afternoon with the thriving Christkindlmarket on Daley Plaza and patrons, all decked out for the holidays, pouring in and out of Petterino’s that has a festive seasonal atmosphere all its own this time of year. And next door at Goodman Theatre, carolers entertained the crowd and lit the Goodman tree prior to the press opening of the 47th annual production of Charles Dickens’ “A Christmas Carol.”

If you are counting, that’s a magnificent accomplishment. Presenting a timeless classic for nearly five decades—over 20 of them in the Goodman’s elegant Albert Theatre—takes some inventive twists and artistic turns to keep it fresh and engaging for multiple generations of returning audiences and edgy enough to attract newcomers. The Goodman, now under the artistic leadership of Susan V. Booth, succeeds again on both counts.

In Director Jessica Thebus’s delightfully haunting new offering of Tom Creamer’s adaptation with contributions from Neena Arndt, Christopher Donahue wraps his own distinctive style of demonic humbuggery around Ebenezer Scrooge as he transforms from an embittered loner to the toast of the town after facing three spirits who show him the implicit error in his ways. Right from the start, Donahue infuses Dickens erasable miser with a dark and heavy dose of disgust for all things Christmas, from chastising his earnest clerk Bob Cratchit (Anthony Irons) over a lump of coal and dismissing the loving affection of his niece Frida (Dee Dee Batteast), to summarily rejecting the appeals for support from Mr. Ortle (Wai Yim) and Miss Crumb (Penelope Walker). The levels of meanness in Donahue’s Scrooge appear to have no bounds early on and provide the brilliant actor a wide range of emotions for the transformative scenes that follow.

The story—which is smartly narrated throughout by the charming Kate Fry—follows Scrooge and the spirits in a trip to his own past, present and future, foretold in the chilling visitation from his dead-as-a-doornail partner Jacob Marley (William Dick). In Scrooge’s high-flying encounter with the Ghost of Christmas Past (Lucky Stiff) a visit to his former school and sister Fan (Tafadzwa Diener) is followed by a vision of his apprenticeship with Fezziwg (Robert Schleifer) who communicates with sign language and the aid of his interpreter Max (Mark Bedard). The festive Fezziwig party atmosphere is shrouded by the ambitious young Scrooge (Daniel José Molina) and Marley (Arash Fakhrabadi) who hatch a devious plot at the expense of any future relationship that Scrooge might have had with the lovely Belle (Amira Danan).

The Ghost of Christmas Present (Bri Sudia) drops Scrooge in to observe Bob Cratchit’s family and the plight of Tiny Tim (Ava Rose Doty) which leads to the dark predictions of the Ghost of Christmas Future (Danan). It’s then all up to Donohue’s masterfully jubilant self-realization and redemption in understanding the true spirit of Christmas.

There are supreme elements of joy for everyone in Goodman’s fine production of “A Christmas Carol”—the superb on-stage musicians, long a distinctive element of this show, here performed by Hillary Bayley, Brian Goodwin, Malcom Ruhl and Gregory Hirt; Todd Rosenthal’s arresting scenic design colorfully awash with Keith Parham’s lighting; elegant period costumes by Heidi Sue McMath; and, a multi-talented ensemble playing many roles—all making this satisfying and heartfelt show a perfect family destination for the holiday season.   

PHOTO|Liz Lauren

Goodman Theatre
presents
Charles Dickens’
A Christmas Carol
through December 30

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(312) 443-3800

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PicksInSix Review: The Steadfast Tin Soldier - Lookingglass Theatre Company

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

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PicksInSix Review: ACT(S) OF GOD

Six characters in search of something.

With a teasing setup about a family gathering impacted by a letter that will alter lives, Kareem Bandealy’s dark comedy “Act(s) of God” was already a fascinating curiosity before anyone took their seats at Lookingglass Theatre Friday evening. As the play unfolds, it becomes curiouser and curiouser—a sprawling three-act theatrical experience better to be discovered than recalled.

There is, as advertised, a family weekend in a desert-plains home. It begins Friday, April 13, 2029, in a living room that has a ’60s-era retro-provincial feel. An old-time radio broadcasts an interview on a cosmic anomaly. While Mother (Shannon Cochran) busily sorts the mail, Father (Rom Barkhordar), a theologian, philosopher and narcoleptic, reads nearby. One of the letters is impossible to open. When their son Middle (Anthony Irons) arrives with Fiancée (Emjoy Gavino) and Youngest (Walter Briggs), and the power appears to fail, it becomes clear that other forces are at work, particularly when Eldest (Kristina Valada-Viars) finally drops in.

The deep convictions of Bandealy’s characters form the context of Director Heidi Stillman’s finely paced production about six characters in search of something. Mother provides the spiritual center of the family, a woman whose faith in God is reflected in her two sons, and shared by Father, although the men are skeptical about her conviction that God is a woman. Eldest, a lesbian writer, is more attuned to Father’s pragmatic views. She is at odds spiritually with Mother and Middle, whose grounded nature has brought him success, but little confidence or emotional security with his long-standing Fiancée. The impressionable Youngest has teetered between Mother’s obsessive nurturing and the radical views of Eldest all his life.

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Technologically, we seem to be all over the map in 2029. There are state-of-the-art smart phones and something called “Telepathy 2.0” with wall clocks, Bundt cake, fruit, whiskey and trains. In its most reflective moments, Father recounts parables while Middle references the sciences comparing Mother to lonsdaleite, an element much harder and rarer than diamonds.

When a misunderstanding arises between Middle and Eldest, the resulting pent-up hostilities spiral out of control like any other family where age-old frictions exist, pivoting the trajectory of the work in another direction. It is then that the seasoned ensemble navigates a series of twists and turns on the way to unravelling everything that has come before.  

The versatile Brian Sidney Bembridge’s set and lighting are exceptional feats of engineering. The Mara Blumenfeld costumes, Rick Sims sound—the aural experience of this production is in a class by itself— and the collective skills of a wide-ranging list of technicians and craftsmen, all help to make the otherworldly “Acts(s) of God” a clever, absurdist adventure.

PHOTOS|Liz Lauren

LOOKINGGLASS THEATRE COMPANY
Presents
ACT(S) OF GOD
through April 7th

821 N Michigan Ave.
(312) 337-0665

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TICKETS

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PICKSINSIX Review: HOW TO USE A KNIFE

"SEARING 'KNIFE' LEAVES DEEP, HAUNTING WOUNDS"

A pivotal reckoning … The stark and haunting wounds of civil strife that lay at the center of playwright Will Snider’s searing drama How to Use a Knife directed by Shattered Globe’s producing artistic director Sandy Shinner are now nearly 25 years old. Coincidentally, news reports have surfaced recently about ongoing efforts to identify the staggering number of more than 800,000 victims of the genocide in Rwanda, a defining event for one of the two main characters whose personal coping methods begin to emerge as the pivotal reckoning for his boss, Chef George, who has a thousand-yard stare all his own.  

What’s it about … Michael worked on the line for Michelin star Chef George years ago. Not very talented, George recalls, but, smart enough to parley meetings with George’s patrons, raise capital and launch his own restaurant.  Meanwhile, after George invented the “12/12 Pairing Menu” his fast-paced lifestyle took a gut-wrenching turn. So now George “needs to get his wings back” and Michael has hired him as the new chef in his trendy Wall Street restaurant.

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Everyone has a story … Peter DeFaria delivers a fine, multi-layered performance as the complex and tortured chef who suffers from drug and alcohol addiction.  Helping George find his way out of the darkness is Steve – Anthony Irons in a powerful, measured performance – whose willingness to learn quickly moves him up as a confidant and mentee. As Steve's past comes back to roost, it is the impassioned, deeply personal, interplay that brings them together and ultimately drives them apart.

A terrific pairing … Snider’s frank statements about accountability and loss permeate this story and there is a depth chart running through each character. Michael (a solid role for Shattered Globe ensemble member Brad Woodard) appears to have completely lost touch with the business and those he works with, so must rely on someone he can trust in the kitchen. The line cooks, Miguel and Carlos, a terrific pairing of Victor Marana and Dennis García, share the responsibility of keeping things running at the restaurant but also need to protect their jobs. Everyone is seemingly trying to stay ahead of Kim (Michelle Bester) from the immigration authorities while Jack, the busboy/writer that Dillon Kelleher splendidly embodies as the voice of the playwright, is happy to just get a paycheck.

Precise detailing … the precise detailing of the set design by Jeffrey Bauer, elaborate props by Abigail Cain, costumes by Hailey Rakowiecki, sizzling lights and sound by Shelley Strasser and Christopher Kriz is so striking that you almost smell the steak coming off the grill. One can imagine what’s happening just outside the swinging doors as the activity on stage heats up and more of this heart-wrenching story unfolds.

A lot to be learned … recreating a busy, fast-paced kitchen environment requires the kind of ingenious staging that Shinner has fashioned with the audience on two-sides in Theater Wit's Theater Three. There is a lot to be learned about the inner workings of expeditors, line cooks, and busboys but not everyone is who they appear to be - particularly when they are holding the knife, which adds an effective and chilling element to the dark side of this play full of manic, unhinged emotions, and mind-searing life experiences that are hauntingly familiar.

PHOTOS|MICHAEL BROSILOW

SHATTERED GLOBE THEATRE
Presents
HOW TO USE A KNIFE
Written by Will Snider
Directed by Sandy Shinner
through June 9th
Theatre Wit
1229 W Belmont Ave
Chicago, IL 60657
773-770-0333

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