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PicksInSix Review: The Front Page - Northlight Theatre

 
 

‘The Front Page’ - A Grand Slam!
PicksInSix® Review |
Ed Tracy

As if ripped from the headline of a major market daily, Northlight Theatre opened their sparkling new Evanston home on Friday night with a fast, fierce and uproariously funny production of “The Front Page” on the very day that the First Amendment is again under siege in Washington.

And even as life imitates art, and that other story is still playing out at our press time, the headline here is that BJ Jones, the Walter C. Greenough Artistic Director and the entire Northlight organization have checked every box for success. A new, state-of-the-art home. A terrific world premiere adaptation of the Ben Hecht|Charles Macarthur Chicago-based classic by Jeffrey Hatcher. A magnificent company of actors that reads like a who’s who of theatre royalty in town, and; a wildly appreciative audience soaking up every memorable moment. Simply put, Northlight’s “The Front Page” is a Grand Slam!

Without missing a beat, Hatcher has winnowed the original script down to two highly entertaining acts with a fast-paced run time of just over 100 minutes. The action flies by with the likes of the exquisite duo of Kate Fry as ace reporter Hildy Johnson and real-life husband Timothy Edward Kane as her dominating editor Walter Burns, and a press room that includes Guy Swearington (Endicott), Kelan M. Smith (Kruger), Joe Dempsey (McCue) and Mark David Kaplan (Bensinger) caught in the middle of an escalating crisis involving Earl Williams (John Drea), an escaped man convicted of murder and destined for the gallows the following day.

The political twist to the story is served up by the hilarious performances of William Dick as Sheriff Hartman, John Lister as The Mayor and Tim Kazurinsky, who all but steals the show as Pincus, the bearer of good news for Williams and bad news for the pending election only a few days away. As Hildy does all she can to follow through with her plans to run away to New York with her fiancé Brad Hefflefinger (Peter Moore), Burns lures her back to cover the story of the century. All the while, Brad, his staunchly suspicious mother, brilliantly played by Cindy Gold, and the sultry Rae Gray as Williams love interest, Mollie Maloy, are comically nibbling around the action.

It all takes place in and around a gritty and artfully detailed set of the Chicago Criminal Courts Building Press Room by Jeffrey D. Kmiec, enhanced by Izumi Inaba’s era-appropriate costumes and the slick, stark lighting of JR Lederle. Andre Pluess’s superb soundscape is key here as the dialogue flies effortlessly to everyone in the new 287-seat space.

It all harkens back to the day when print headlines in the morning edition decisively ruled the news cycle. More than any other profession, the newspapermen—and newspaperwomen—of legacy publications depicted in Northlight’s terrific production of “The Front Page” lived by the phrase: “If your mother says she loves you, check it out!” The lesson learned is that, then as now, there exists a highly competitive atmosphere where dedicated, hardworking reporters are rewarded with a byline, where managing editors must continue to relentlessly push their organizations for all the facts with faith that publishers will stand firm and wield their great power and influence against corruption whenever and wherever it threatens our democracy and quality of life.

PHOTO | Michael Brosilow

Northlight Theatre
presents
World Premiere
The Front Page
1012 Church St,
Evanston, IL

through October 25, 2026


WEBSITE

TICKETS

For more reviews, visit: Theatre In Chicago

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PicksInSix Review: Little Bear Ridge Road - Steppenwolf Theatre Company

 
 

METCALF IN MESMERIZING RETURN AT STEPPENWOLF
PicksInSix® Review | Ed Tracy

Samuel D. Hunter’s brilliant new play “Little Bear Ridge Road” now enjoying an extended world premiere run at Steppenwolf’s Downstairs Theater might not have ever happened if Tony Award winning director Joe Mantello and iconic Steppenwolf Ensemble member Laurie Metcalf had not approached Hunter to develop a project for Metcalf.  

That was a little more than a year ago and the resulting work traces the reemerging relationship between Metcalf’s irascible character Sarah and her gay nephew Ethan (Micah Stock), the last surviving members of the Fernsby family who are navigating the aftermath of the death of Ethan’s estranged father. Ethan has arrived on Sarah’s doorstep near Moscow, Idaho with little more than a writing degree and the wherewithal to rent a hotel room for a few days let alone the weeks he would need to settle his father’s estate. Sarah lives a private, secluded life alone on Little Bear Ridge Road, her 40 year nursing career shrinking to three shifts a week and is not at all excited that Ethan may now be her house guest for an undetermined period of time.

Things move quickly in conversations between the two, exposing Sarah’s unbridled opinions and hilariously mundane lifestyle, Ethan’s conflicted relationship with his father in the years prior to his death and his own disheveled personal life and uncertain future. The combination of Metcalf and Stock, with Mantello’s expertly paced direction, allow the series of crisp early scenes of Hunter’s script to seamlessly define both characters.  As time passes, Ethan ventures out to a bar and hooks up with James (a rock solid performance by John Drea), who sees some potential in a relationship, but wants to slow things down at first. As that relationship takes shape, James finds himself in a revealing conversation with Sarah. Details about Sarah’s health challenges emerge, which have the two-fold effect of bringing the two men closer together and shifting the dynamics of the drama in Sarah’s direction.

Hunter’s writing is clever, succinct and punctuated by Metcalf’s marvelous presence on stage. Even as we revel in the robust early comic interaction of the play, it is the dramatic turn of the piece that elevates this drama, exemplifies Hunter’s exceptional storytelling ability and exposes the emotional core of the piece.

The elegant, stylized stage design by Scott Pask is set with a home theater seating unit that revolves to suggest alternate scenes. There is a lone ceiling fan above and an expansive, circular stage floor all enhanced by Heather Gilbert’s lighting design and Mikhail Fiksel’s sound design. The look of this show is clean, simple and amazingly effective.

Over the course of ninety minutes, Metcalf is a mesmerizing force on stage and a joy to watch, her flawless, wide range of comic timing and dramatic sensibilities on full display. Stock plays Ethan with a fragile, measured intensity that emerges in a definitive scene with Drea and then becomes unhinged in a stunning definitive confrontation with Metcalf. And when Meighan Gerachis appears in a brief but powerful and satisfying coda to the drama, we are left to ponder the importance of making choices that look forward with hope rather than backward with regret.

PHOTO|Michael Brosilow

STEPPENWOLF THEATRE COMPANY

Presents

WORLD PREMIERE

LITTLE BEAR BRIDGE ROAD
Downstairs Theater
1650 N. Halsted
Extended
through August 4, 2024

WEBSITE
TICKETS

For more reviews, visit: Theatre In Chicago

ARCHIVE

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