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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

James Sherman – Ronald Keaton wrote that “First Lady of Television” is “Sherman's marvelous, articulate plunge into show business history,” with William Dick and Cindy Gold playing beautifully together. “This is an ensemble play built on purpose and earnest leanings, as playwright Sherman shows us all, despite the history we think we know, what was still good in that time and place.” P6

A very worthy final bow to: 

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

Happy Holidays!

See you on the other side of the aisle!

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

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

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PicksInSix Review: Gaslight - Northlight Theatre

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. The result here is “Gaslight,” a taut and fun thriller now playing at Northlight Theatre through January 4.

Mr. Dietz has crafted a period piece of murder, thievery and deception at a fashionable home in New York City, with all the weighty circumstance the great writer will muster. The proceedings are conducted in a stylish, loving way by Jessica Thebus, whose direction changes tempo often enough to instill a sense of variety in what could have been a creaky idea without taking away from the expert storytelling. It is almost symphonically steered, if that makes sense, like a stellar musical score. There is lots to enjoy here for mystery and thriller fans, as the words of Mr. Dietz and the vision of Ms. Thebus seek to collaborate directly to register those multiple points of impact.

To give away the plot to those who may not know it would be to deprive them of a joyful discovery. But in a nutshell: Jack and Bella are a married couple who face constant problems. Bella is experiencing a kind of slow-motion emotional freefall, as Jack seemingly tries to be a calming influence. They have gone to doctors galore to decipher the problem. Bella apparently forgets small things like where she put a grocery bill, where a painting on the wall has disappeared to and then suddenly is found. The damage it is all doing to their marriage is almost irreparable. And there are all kinds of distractions along the way. There are unexplained footsteps that are heard in the night, footsteps that only Bella hears. Jack, in the meantime, goes out at night and enjoys his friends and his revelry, ignoring his wife's travails. And slowly we begin to recognize the real intention here—Jack is driving his wife to madness. But why?

Then there is the sudden and remarkable appearance of a quirky Scotland Yard officer, who explains why he is there to Bella. Bella, of course, is practically on the brink of insanity by this time. But the officer somehow earns her trust and goes along with his plan to find missing gems and to capture the murderer of a woman in that same house so long ago. Along the way, there are two employees of the house, both of whom are loyal to Bella, and who bring a pronounced mystery and fun to the moments at hand, as they assist the officer in their own ways.

A stellar cast brings it all to life. Cheyenne Casebier is eloquent and emotional as Bella, the tender-hearted wife who is slowly being driven crazy. Lawrence Grimm is Jack, and he's properly villainous and smarmy as the manipulative husband. Timothy Edward Kane is Sergeant Rough, the officer from across the pond and the marvelous comic lynchpin in the story. The wonderful Kathy Scambiatterra is Elizabeth, one of the maids who has lovely comic moments in her assistance of the Sergeant, and Janyce Caraballo is Nancy, played as lively and brassy and especially flirtatious to Jack near the end. Two young officers, portrayed by Gavin Rhys and Nathan Reilly, arrive for the final arrest at the play's conclusion.

Much admiration should go to Collette Pollard's set design of the house, both cavernous in one sense and sparse in another, in its depiction of two floors of the home. JR Lederie's light plot is highly mysterious and almost noir-like in its intent. The expert Andre Pluess layers a sound design of sparse touches and variety into the gathering, a perfect approach for this play. All in all, “Gaslight” is a fabulous experience to witness at this holiday season.

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

Northlight Theatre
presents
Gaslight
9501 Skokie Boulevard
Skokie
through January 4, 2026

WEBSITE

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PicksInSix Review: Inherit the Wind - Goodman Theatre

“THE RIGHT TO THINK ON TRIAL”
PicksInSix® Review | Ed Tracy

The image has all the makings of a Norman Rockwell painting.

The citizens of rural Hillsboro, clustered four-deep in the steamy courthouse, leaning in and transfixed by the sudden turn of events at the trial of Bertram Cates (Christopher Llewyn Ramirez), accused of teaching Darwin’s theory of evolution in his 2nd grade classroom. Leading Cates’s defense is Henry Drummond (Harry Lennix) who is grilling the prosecuting attorney—and his old friend—Matthew Harrison Brady (Alexander Gemignani) on the witness stand about philosophy and scriptures after the judge (Kevin Gudhal) has refused to allow any men or women of science to testify for the defense.

The fiery courtroom interchange between the two men leads to the scintillating climax of the Goodman Theatre’s superb revival of “Inherit the Wind” directed by Henry Godinez that opened Monday. The 1955 play, written by Jerome Lawrence and Robert E. Lee, is a fictionalized account of the 1925 Scopes Trial in Dayton, Tennessee that challenged the Butler Act outlawing the teaching of evolution in the classroom. Indeed, the injustice of suppressing alternate opinions and attempting to eliminate the free exchange of ideas flows throughout the play which explains its universal appeal on stage and in the memorable 1960 film starring Spencer Tracy and Frederic March.

For context, the title refers to Proverbs 11:29: “He that troubleth his own house shall inherit the wind: And the fool shall be servant to the wise of heart.” Exemplified in the overbearing nature of Reverend Jermiah Brown (Ryan Kitley) toward his daughter Rachel (Tyler), who is torn between the love she feels for Cates and her strict religious upbringing, and in the exchanges between Drummond and Brady, “Inherit the Wind” lays bare the differences in the individual beliefs of our existence. Perhaps the most salient point belongs to Drummond, who says: “The man who has everything figured out is probably a fool. College examinations notwithstanding, it takes a very smart fella to say ‘I don’t know the answer!’”

Director Godinez has assembled a stellar cast and creative team around the central characters involved in the trial. Lennix is commanding as Drummond, his folksy charm every bit a match for Gemignani’s swaggering fire and brimstone. Together they are simply terrific to watch. In supporting roles, Lawrence Grimm has a slick featured role as the radio man and among the townspeople in the fine ensemble that includes William Dick (Mayor), Terry Bell (Sillers), Charin Álvarez (Mrs. Brady) and Meighan Gerachis (Elijah). On the fringe of the proceedings is E.K.Hornbeck (Mi Kang), the cynical reporter who is covering the trial. The real life father/daughter team of Christopher Kale Jones as the trial attorney Tom Davenport and  Melinda (Presley Rose Jones) who is the friend of Thomas Murphy Molony’s Howard and Robert Schleifer (Meeker) all deserve special mention.

There is a down-home, natural and overall timeless vision on the creative side of the show that is first-rate. Collette Pollard’s elegant scenic design includes a stunning vista of the Hillsboro skyline above the stage, ever present within a shimmering skylight that mirrors the raked stage surface that serves as both the townsquare and the courtroom. Jessica Pabst’s costume design fits the period nature of the piece perfectly along with Jason Lynch’s crisp lighting and the subtle but effective original music and sound design by Richard Woodbury. While the sense is that the action is occurring at another place and time, this thought-provoking piece reflects the here and now, or for that matter, any instance when the threat to free speech and our personal liberties is so great that we must take an active stand and always seek the truth.  

(Note: An earlier version omitted Robert Schleifer..)      
PHOTO|Liz Lauren

Goodman Theatre
presents
Inherit the Wind
EXTENDED through October 20

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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 Collette 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

TICKETS
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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 Review: Big Fish - Marriott Theatre

“Stories Under Every Leaf And Stone.”
PicksInSix® Review | Ed Tracy

“Big Fish,” the musical based on Daniel Wallace’s novel about an alluring travelling salesman and his larger-than-life experiences that also spawned the 2003 Tim Burton directed film, had its 2013 pre-Broadway tryout in Chicago. With music and lyrics by Andrew Lippa and a book by John August, Edward Bloom’s exploits, were expanded and enlarged to epic proportions by director/choreographer Susan Stroman. The show had too much happening, for so long, that it was hard to believe it would be able to survive its fall opening in New York. The script was considerably reworked over the summer, however, the show did not see the new year.

But that was only an early chapter in the “Big Fish” story, a musical that deserved to live on. It has been regularly produced including at the Boho Theatre in a blackbox space at Chicago’s Greenhouse Theatre a few years ago. The scaled down production fit the space well and captured the essence of the central story that tracks Bloom’s son Will on a journey to learn the truth behind his father’s wide-eyed stories. What resonated most to me at the time was how the score had coalesced and matured. In such an intimate setting, and even at the expense of the sizable scope of the stories being told, this sparkling gem of show had me hooked.

Now comes an exciting, new Equity production that brings together the best of all possible creative Chicago worlds to the Marriott Theatre in Lincolnshire. Director Henry Godinez and Associate Director and Choreographer Tommy Rapley have expertly infused the small-cast version of the show, designed for a dozen players, into a sweeping musical tapestry of fabric, color and light. The work is superbly paced, the staging fresh and creative, and the crowning achievement is that it takes full advantage of Marriott’s in-the-round, ramped access configuration, effortlessly flowing from one scene to the next, beginning to end. The stunning first act closing number is a sight to behold!

Leading the all-star cast and ensemble is Alexander Gemignani as the always engaging Edward Bloom, a husband, father, salesman and teller of stories. Thirty-six to be exact, with many multiple versions of encounters: a prediction from a witch, a gentle giant friendship, the first kiss from a girl in the water, a hyperbolic werewolf and the love of his life, a vivacious redhead named Sandra played by the equally vivacious Heidi Kettenring. Gemignani and Kettenring are terrific together.  That goes for Michael Kurowski as Will and his Josephine, Lydia Burke, too.

The ensemble, all under the musical direction of Ryan T. Nelson, is a force to be reckoned all its own, top drawer Chicago talent all worthy of mention including:  Brandon Dahlquist, Allison Sill, Christopher Kale Jones, Ayana Strutz, Lucy Godinez, Emma Rosenthal, William Daly and Archer Geye, splitting the role of Young Will, and the commanding presence of Jonah D. Winston.  Strutz does some nifty aerial work and you will want to have the Alabama Lambs at your garden party this summer. Conductor Kevin Reeks and the orchestra are in fine form.

Godinez has assembled a diverse production team with wide-ranging credits from theaters across Chicagoland. With the ruddy scenic design by Collette Pollard with its many surprises, hidden panels, trap doors, tiny towns and reams of fabric that appear out of thin air exploding in the colors of Jesse Klug’s lighting design, Amanda Vander Byl’s costumes and Michael Daly’s sound, Marriott’s “Big Fish” is a magical night of theater not to be missed.  

PHOTO | Liz Lauren

Marriott Theatre Lincolnshire
presents
BIG FISH
through March 19, 2023

WEBSITE | TICKETS

(847) 634-0200

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PICKSINSIX Review: The Importance of Being Earnest

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"Ah! A life crowded with incident..."

What’s it about … Oscar Wilde’s hilarious unraveling of the double lives of two men who unsuspectingly propose to two women who will settle for none other than an ‘Earnest(ly)’ named gentleman.

How does the story unfold... With the aristocratic rogue Algernon Moncrieff(Steve Haggard) wondering where his next — and indeed, greatest — ‘Bunbury’ excursion will take him, his love-struck friend Ernest (Alex Goodrich) is forced to confide that he is in actuality ‘Jack’ Worthing in the country. There resides his lovely ward, Cecily Cardew(Rebecca Hurd), under the watchful eye of the matronly Miss Prism(Anita Chandwaney) and the well-intentioned Reverend Chasuble(Aaron Todd Douglas). After confessing his love and proposing marriage to Algernon’s cousin Gwendolen Fairfax(Jennifer Latimore), Jack is denied the privilege by her mother, the imposing Lady Bracknell(Shannon Cockran). Undaunted, he proceeds to hatch a plan to rid himself of his alter ego in the country, radify his lineage and thereby win Gwendolen’s hand. Things go quickly awry leading to an uproariously funny series of surprises with more than a few satisfying resolutions.

Who stands out... This is a superbly paced, colorful and visually stunning production with Wilde’s rich observations on society and stature streaming through Cockran’s blustering turn as Lady Bracknell who with Hurd and Latimore, are picture perfect. The contrast between Haggard’s dashing and clever Algernon and Goodrich’s staunch, be mused Jack, makes for a wildly entertaining evening. In the dual roles of Lane and Merriman, Ross Lehman performance is hilarious.

Brilliant design... The three compact acts have distinctly different textural and color patterns, lavish majestic columns and rich stone framework in a brilliant Collette Pollard design that with Mara Blumenfeld’s elegant costumes provides a fashionable turn-of-the-century backdrop in the Montcrieff study, the Worthing manor house garden and the morning-room at the Manor House.

A Wilde adventure... Writers Theatre has established an extensive audience engagement program initiative that provides discussion events with artists, educational outreach opportunities and many other activities for interested students and patrons.

What you may not know... Writers is also working with the Chicago Public Schools to conduct in-class student sessions and have made multiple performances available to students in support of their educational mission. A very worthy enterprise, indeed.

Photos|Michael Brosilow

WRITERS THEATRE
The Importance of Being Earnest
through December 23, 2017
325 Tudor Court, Glencoe

WEBSITE   TICKETS
847-242-6000
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