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: 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

WEBSITE

(312) 443-3800

TICKETS

For more reviews, visit: Theatre In Chicago

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PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: A Christmas Carol - Goodman Theatre

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Pure, Timeless Dickens Magic and Merriment!
Guest Contributor | Scott Gryder

With over 100 different versions of this classic story available, I was ready to enjoy the popular Charles Dickens’ classic “A Christmas Carol,” but I was nowhere near prepared for the magic that Goodman Theatre would bring to its 44th annual production! With the entire house packed with families and friends of all ages on Thursday night snuggled into the Albert Theatre, enjoying the soft, welcoming glow of the stage’s London street scene, it warmed the heart to see the return of this beloved holiday tradition.

After over four decades of performances, you’d expect a production to show some wear and tear, but Goodman Theatre’s “A Christmas Carol” ages like a fine gluhwein. Chicago favorite Jessica Thebus, co-adaptor/director of Goodman’s superb 2020 audio streaming version, creates directorial magic onstage. Thebus masterfully presents flawlessly flowing stage pictures, especially considering the could-be intimidatingly large ensemble, peppered with delightful surprises. The famous plot focuses mainly on Ebenezer Scrooge’s personal reflection and growth; however, the theme that rings truest reminds us to be kind to everyone, for you never know where they’re coming from, nor what they’re going through.

As for Goodman’s Scrooge, Larry Yando delivers a masterclass in performance. Returning for his 14th year, Yando incorporates delightfully shifting vocal stylings and physical energy that keeps the audience continually falling in love with the antagonist. From a graveled character voice, reminiscent of a barren tree branch scratching across a wintery windowpane, to his spontaneous celebratory gyrations, comparable to a joyful toddler learning to walk, Yando’s ability to balance moments of sinister humbug with physical comedy are remarkable. Contrastingly, Thomas J. Cox amuses and captivates with a mousy timidity and enthusiasm as the underpaid clerk Bob Cratchit. And the epic ensemble doesn’t waste a beat onstage. Whether filling a London street scene or attending a private party, each cast member brings a fully developed character, nuanced and alive to every moment. Particular standouts include Gayatri Gadhvi’s stirring and poignant Tiny Tim Cratchit and the silver-and-gold vocals of Bethany Thomas’ Ghost of Christmas Present.

The show starts unexpectedly small, using the concept of intimate fireside storytelling; however, it doesn’t take long for the stage to hustle and bustle with an ensemble that glides so meticulously into stage pictures as if choreographed. Although slower paced and delivered in a more formal language style than I’d expected of a family-centric production, Thebus’ casting admiringly celebrates gender, color, and orientation, and the audience is captivated throughout as the multitude of cast members and mammoth set pieces continually dissolve and materialize before our very eyes as we weave through the time-honored plot. The subtle, natural use of performer amplification was also greatly appreciated.

The true abracadabra comes from the combined design genius of “A Christmas Carol.” Set designer Todd Rosenthal’s use of nearly invisible multi-layering and floating sets, along with staggering control over special effects, breathtakingly recreates the realistic and idyllic scenes of a Thomas Kinkade painting. In perfect complementarity, Keith Parham’s lighting wizardry only further illuminates Rosenthal’s sets, providing secret passageways for sudden reveals and visual trickery. The charming mix use of muted and lush palettes of Heidi Sue McMath’s costume designs provided just enough visual punch without losing the traditional touch of Victorian England garb. Contrastingly delving fiercely into the realm of Scrooge’s visiting spirits, McMath assembles looks of a Lady Gaga/Liza Minnelli red carpet affair; a personified, propagating Tannenbaum; and the soul-sucking menace of a Rowling-Dementor-meets-Henson-Skeksis. And the cinematic sound design of Richard Woodbury creates palpable layers of emotional sustenance, fervidly transporting the audience from beginning to end.

After witnessing the transformation from holiday hooey to pure childlike innocence, I left the Goodman Theatre filled with Scrooge’s (or should I say Yando’s?) contagious holiday gratitude and cheer. It’s no wonder it’s been a Chicago holiday tradition now in its fifth decade, Goodman’s “A Christmas Carol” triggered the start of the holiday season in my heart!  

PHOTO| Liz Lauren

Goodman Theatre
presents
Charles Dickens’
A Christmas Carol
through December 31

WEBSITE
(312) 443-3800
TICKETS

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC