PicksInSix Review: The Color Purple - Goodman Theatre

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

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

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

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

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

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

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

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

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

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

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

PHOTO|Brett Beiner

Goodman Theatre
presents
THE COLOR PURPLE
Albert Theatre
170 North Dearborn

EXTENDED through August 3, 2025

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PicksInSix Review: 2024 Year in Review

Tip The Hat. Turn The Page.
Memorable Performances for 2024
PicksInSix® Review | Ed Tracy

Singling out six of the most memorable performances of artists we covered in 2024 who turned heads and left lasting impressions long after the final bow was a daunting task. So difficult, in fact, that there is also special mention to others who have had terrific years on multiple Chicago stages.

It was a year that included the Royal Shakespeare Company’s return with “Pericles” at Chicago Shakespeare Company, pre-Broadway runs of “Death Becomes Her,” Steppenwolf’s “Purpose” directed by Phylicia Rashad—and, we expect, Sam Hunter’s “Little Bear Ridge Road,” a compelling new work starring Laurie Metcalf—and touring productions like the sensational “Harry Potter and The Cursed Child,” among others. While all deserving of mention, you will find others on the 2024 PicksInSix Year in Review list, our first post-pandemic yearend review.

A special note of thanks to every theatre company, their dedicated boards, administrative, artistic and technical teams, and the unending support of publicists who invest their time and talent in support of the Chicagoland theater community and made it possible to review these shows. It’s an honor to be invited and a responsibility that we take very seriously.

CONVERSATIONS|PicksInSIx® celebrates 10 years in 2025 and owes much to writers like Ronald Keaton, Scott Gryder and Kaitlyn Linsner who have contributed mightily to our archive of Chicago theatre during that time. Thank you!

And, a deserved tip of the hat to the brilliant Chicago theatre photographers Michael Brosilow, Liz Lauren, Brett Beiner, Joe Mazza and videographers HMS Media, among many others, whose expertise and professionalism continues to document these productions and preserve the image archive for future generations.

So here we go in alphabetical order and with a link to the PicksInSix Review (P6):

Sarah Bockel—Falsettos - TimeLine & Court Theatre - The critically-acclaimed co-production of director Nick Bowling’s “Falsettos” featured an ensemble of superb actors and singers in one of two sung-through shows on this list. In the role of Trina, Bockel delivered an extraordinary performance, navigating a delicate emotional path with heartfelt passion and homespun humor. Stunning! P6  

Mark David Kaplan—Fiddler on the Roof at Drury Lane Theatre - In the little town of Anatevka, director Elizabeth Margolius’s ‘memory play’ was, according to Kaitlyn Linsner, an opportunity for Kaplan to display “excellent comedic timing and whimsy” in the critically-acclaimed turn as Tevya. L'Chaim! P6

Beth Stafford Laird—FROZEN at Paramount Theatre - In an epic production directed by Trent Stork that includes several of Disney’s most popular songs and beloved characters, you just might take for granted a character whose youthful exuberance is at the heart of the story. The multi-talented Laird exudes unmatched charm in a rich performance as Anna that is marked by superb vocals, effortless company dance numbers and a shimmering presence all her own. Spellbinding! P6

Meghan Murphy—Anything Goes at Porchlight Music Theatre - Even a blizzard could not keep us away from director Michael Weber’s “Anything Goes” starring the captivating Meghan Murphy in a commanding performance as the seaworthy siren Sweeney. A topflight, take-no-prisoners, star turn. Anchors Away! P6

Aurora Penepecker—Natasha, Pierre and the Great Comet of 1812 at Writers Theatre - The other sung-through musical/pop opera on this list—one of the most ambitious all-around artistic undertakings of the year by any theater directed by Katie Spelman—featured an extraordinarily multi-talented ensemble of players. And there, at the center of this glorious production, was Penepecker whose lyrical voice and pristine talent was simply intoxicating. Magnificent! P6    

Sawyer Smith—Little Mermaid at Drury Lane Theatre - When you hear the term “over the top” in stage performances, it is often afforded to a performer who has elevated their role beyond the script and score to a new level of excellence. The showstopping turn for Smith, in the Scott Weinstein directed “Little Mermaid,” set a new standard that is certain to change the trajectory of Smith’s exceptional career. Wowza! P6

There are six other artists who excelled in multiple productions deserving of special mention: 

Jackson Evans displayed his wide range for musical comedy in four critically-acclaimed roles: Porchlight’s “Anything Goes,” Drury Lane’s “Guys and Dolls,” Paramount’s “Full Monty” and the Timeline/Court production of “Falsettos.” 

Heidi Kettenring delivered her special brand of star power to Drury Lane’s “Guys and Dolls,” Marriott’s “1776,” “Cinderella” and her concert performance of “Something Wonderful.” A true Chicago stage treasure!

We have been watching Evan Tyrone Martin for years and his compelling and beautifully sung Pierre in Writers “Comet” was central to the overwhelming success of this challenging production.

In addition to all of the projects the busy Ron OJ Parson has been delivering, Ronald Keaton noted that “East Texas Hot Links” at Court Theatre “bears the unmistakable stamp of the great director Ron OJ Parson, who has a relationship with this piece that forces us, in its sheer professionalism alone, to see an unencumbered view of what Jim Crow has done to our world and continues to do today.”

And as much as we never really give credit to the people who support everyone else, the masterful career of Nick Sula has been elevating the work of Sondheim enthusiasts throughout Chicago. Sula followed last season’s stellar production of “Kokandy’s Sweeney Todd” with the unique two piano presentation of Kokandy’s “Into the Woods.”  We can hardly wait to see what the next project will be.

Last, but not least, a tip of the hat to Charles Newell whose long-standing career as Artistic Director has come to a close at Court Theatre, You can be sure we have not heard the last from him. The Newell directed “An Iliad” starring Timothy Edward Kane returns in early June 2025. Bravo!

Happy Holidays!

See you on the other side of the aisle!

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PicksInSix Review: Natasha, Pierre & The Great Comet of 1812 - Writers Theatre

‘GREAT COMET’— Big, Bright, Beautiful Star!
PicksInSix® Review | Ed Tracy

The Chicago premiere of “Natasha, Pierre & The Great Comet of 1812” is lighting up the Glencoe sky over Writers Theatre in a soaring production directed and choreographed by Katie Spelman with music direction by Matt Deitchman. Spelman has assembled an exceptional ensemble who deliver a flawless performance of Dave Malloy’s groundbreaking electropop opera that received a dozen 2017 Tony Award nominations.

There is a lot to unpack in this love story derived from a 70-page section of Tolstoy’s War & Peace. The first path of two storylines that are destined to intersect involve the emotional struggles of Natasha (Aurora Penepecker) a free-spirited young woman who is visiting Moscow to meet relatives of her soldier fiancé who is away at war. Natasha becomes wildly tempted by the deceptive Anatole (Joseph Anthony Byrd) whose seductive charms compel her to break her engagement and make plans to elope with Anatole. But there is more to Anatole than meets the eye.

The second path involves the unhappily married Pierre (Evan Tyrone Martin) who is tormented by drink and depression and searching for his own way out of the situation. Pierre’s promiscuous wife Hélène (Bri Sudia) happens to be Anatole’s sister and takes macabre pleasure in helping him lure Natasha’s affection. Pierre is lost in his own obsessions to the point where he publicly confronts one of Hélène’s lovers, Dolokhov (Andrew Mueller), who also happens to be a friend of Anatole, and, in a drunken rage, challenges him to a duel.

Natasha’s host and godmother Marya D (Bethany Thomas), Natasha’s cousin Sonya (Maya Rowe) and Mary (Julia Wheeler Lennon) Andrey’s sister have vastly conflicting interests while, at home, Mary must contend with the eccentric Bolkonsky (Rob Lindley) and keep a watchful eye on Natasha as events unfold. By the time Andrey (Matthew C. Yee) arrives, there is glass all over the floor and only with Pierre’s influence can there be a hopeful solution for both Natasha and for himself.   

This glorious work is sung-through, a highly ambitious undertaking that could only be accomplished with the superb ensemble—including those mentioned with Sophie Grimm, Will Lidke and Jonah D. Winston—steeped in seasoned Chicago talent and showcasing many fine newcomers to Writers, including the luminous Penepacker whose voice and presence as Natasha is intoxicating in a big, bright, beautiful star turn. Rowe is perfect as Sonya, particularly in the memorable “Sonya Alone.” Martin’s brilliant vocal range is on full display as the conflicted Pierre. Winston has the reins well in hand in “Balaga” leading the company on a wild crowd-pleasing ride.

The creative team of scenic designer Courtney O’Neill, costume designer Raquel Adomo, sound designer Eric Backus and lighting designer Yael Lebetzky create a stellar, unified experience, and the magnificent work of Dietchman, conductor/pianist Charlotte Rivard-Hosler and the orchestra shines brightly all night long to deliver Malloy’s complicated and intricate score with elegance and precision. Altogether, it’s a compelling, cosmic adventure that just might be a once-in-a-lifetime event!

PHOTO|Liz Lauren

Writers Theatre
presents
Natasha, Pierre & The Great Comet of 1812
through October 27

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PROGRAM

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PICKSINSIX Review: OKLAHOMA!

'OKLAHOMA!' ONE GOODBYE IS NEVER ENOUGH.

Right up front … the rollicking production of OKLAHOMA! now playing at Marriott Theatre through June 24th corrals an energized cast in a toe-tapping musical masterpiece. You may want to come again and bring your friends. Like Ali Haxim says: "One goodbye is never enough!”  

Captivating performances ... the 75th-anniversary production of Rodgers and Hammerstein’s first musical OKLAHOMA!, based on Lynn Riggs 1931 play, Green Grow the Lilacs, is directed by Lead Artistic Director Aaron Thielen with choreography by Alex Sanchez and music direction and orchestrations by Ryan T. Nelson. The captivating performances and silky chemistry of Jennie Sophia (Laurey) and Brandon Springman(Curly) lead a multi-talented ensemble who sing and dance up a prairie dust storm all night long.

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Nifty roping …There are no cattle standing like statues in Theilson’s expertly staged production-in-the-round, a particularly challenging feat for a sizable cast that uses the entire expansive theatre – including massive plains projections on a canvas envelope and post & beam rigging - to create the perfect atmosphere for farmer and cowman alike. This approach paves the way for the show to change pace on the fly, none more so than early on when Aaron Umsted (Will Parker) stops the show with some nifty roping while leading the company in “Kansas City”.

Who Stands out ... Aunt Eller, delightfully played by Susan Moniz, oversees the developing courtship of Laurey and Curly and the intrusions of the sinister Jud (a fine turn for Shea Coffman) at the center of this classic story. On the fringe, there is Ado Annie, a charming role for the versatile Michelle Lauto, whose suitors include Umsted’s bumbling Parker and Evan Tyrone Martin, a showcase performance as Ali Haxim.

Watch and Wait for … Springman’s “Oh, What A Beautiful Mornin’”… Umsted’s terrific “Kansas City”… Lauto’s “I Cain’t Say No” … Sophia’s “Many A New Day”... Sophia and Springman’s “People Will Say We’re in Love” …“The Farmer and the Cowman” … “Out of My Dreams – Ballet” ... and, of course, “Oklahoma!”

Cain’t Say No … Marriott Theatre's fine reputation for mounting challenging and exciting musical theatre in the round is on full display, enhanced by state-of-the-art projections, lighting, sound, imaginative scenic elements, exquisite costumes and a seasoned professional cast. With all this and a classic Rodgers & Hammerstein score - expertly served up eight times a week by the superb musical supervisor and conductor Patti Garwood - you just “Cain’t Say No” to OKLAHOMA!   

PHOTOS|Liz Lauren

MARRIOTT THEATRE
Presents
Rodgers & Hammerstein's
OKLAHOMA!
through June 10th
Ten Marriott Drive
Lincolnshire, IL 60069
847-634-0200 

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