PicksInSix Review: Things With Friends - American Blues Theater

Well-Done: Absurdist Things, Euphemistic Friends
PicksInSix® Review | Guest Contributor | Sarah Frances Fiorello

American Blues Theater kicks off its 40th anniversary season by kicking down the fourth wall with the world premiere of “Things With Friends” by Tony Award nominee, Pulitzer Prize in Drama finalist, Jeff Award Winner, and American Blues Theater Artistic Affiliate playwright, Kristoffer Diaz.  Diaz ushers us in voyeuristically, with the help of an immersive narrator, to this absurdist dinner party trapped in a Manhattan high-rise. Bring your metaphorical silverware and be prepared to dig in existentially: the menu includes (actual pan-cooked) steak, bottomless red wine, and never-ending euphemisms for the title of the play.

With a perfect view of the now-collapsed George Washington Bridge, Adele (Audrey Billings) and Burt (Casey Campbell) prepare for the arrival of their longtime friends, Vy (Cruz Gonzalez-Cadel) and Chabby (Jon Hudson Odom) against the backdrop of a real time climate disaster.  We watch as the two couples trade pawns in a twisted game of chess that reaches a boiling point just as a surprise visitor arrives. “Things With Friends” asks more questions than it answers, inviting its audience to think critically—not just as theatre goers but as global citizens.

Dexter Bullard’s direction is clear and specific, illuminating a string of pathway lights through the world of the play, telling us where to look, what to remember, and what to talk about on the way home. The direction also gives the ensemble of actors a well-defined sandbox in which to play, which they do with stamina and intention. Worth mentioning are standout performances by the quick-witted and slippery Jon Hudson Odom (Chabby) as well as the charismatic and irreverent Maya Lou Hlava (Joony), who rejoins the cast after appearing in the “Things With Friends” stage reading at American Blues Theatre in 2023, part of its Blue Ink Award recognition. 

Our narrator, NYC (played by Nate Santana) blurs the line between the audience’s role as observers and the actors’ role as storytellers, never allowing us to get too comfortable or judgmental of what we are witnessing. He comments on, and occasionally influences, the action while playing point-counterpoint to the more illogical and absurdist moments. He unpacks what the piece might otherwise leave to our imagination (or perhaps, confusion). Diaz’s inclusion of a narrator feels thoughtful: a nod to our effort of making it to the theatre to see something outside-of-the-box. A promise to leave us thinking about what we just saw, not wondering what we just saw.

“Things With Friends” is a slow burn, a methodical singe of the outermost sheen of these frenemies, while diving headfirst into the question American Blues Theater poses in its mission statement: “What does it mean to be American?” Who will we become as a society if we continue to crumble, like the bridges and tunnels of the ill-fated Manhattan of our play? What will happen when we are overrun with greed, selfishness, and fear—willing to sacrifice what arguably matters most?

Come ready to think and be prepared to leave wishing for more new works like this one: ingenious, thoughtful, and unafraid. This piece left me craving more original and daring art on our Chicago stages. That, and a perfectly cooked, medium rare steak.

GUEST CONTRIBUTOR | SARAH FRANCES FIORELLO is a graduate of Shenandoah Conservatory with a BFA in Music Theatre and a Chicago-based poet, writer, and performer. 
@writtenbysarahfrances

PHOTO|Michael Brosilow

American Blues Theater
presents
World Premiere
Things With Friends
5627 N Lincoln
through October 5, 2025

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PicksInSix Review: No Man's Land - Steppenwolf Theatre Company

“a wonderfully full and fleshed-out diamond”
PicksInSix® Review | Guest Contributor | Ronald Keaton

There is a great deal that one might say about the 1975 Harold Pinter classic “No Man’s Land.”  It is a concentrated collage of all kinds of theatre with its drama so surreal, its absurdist bent quite humorous and insightful, its echoes of entities as disparate as Monty Python and Samuel Beckett.  But one thing is not in dispute: the current revival at Steppenwolf Theatre, which opened Sunday and runs through August 20, is a wonderfully full and fleshed-out diamond.  I would urge those here to come and learn from truly professional actors with purpose, who offer their own clinic in ensemble acting.

Directed in easy, informed touches by Les Waters, the play’s plot is honestly simple.  Two men with varying degrees of literary accomplishment meet in the lavish home of the more successful writer, Hirst (a sparkling, brilliant turn by Jeff Perry).  The guest Spooner (in endlessly varied and superb strokes by Mark Ulrich) talks and talks about, well, nothing that they might have in common.  The beginning of the piece is, in essence, a monologue for Spooner, and the loving exchange between them—two totally different kinds of actors in different modes of intoxication—also reflects the respect that each performer has for the other.

As the plot goes on, two employees of the house—Foster (a wonderful imposing, yet innocent presence by Samuel Roukin), a housekeeper and bodyguard; and Briggs (a marvelous, inspired Jon Hudson Odom), the house butler and, oh yes, bodyguard as well—make sure that this stranger Spooner is no threat to the ‘boss’, as they refer to Hirst.  Hirst is both authoritarian and host, as he imagines Spooner to be an old school chum.  And maybe he is, which brings us to story.

Much of the time in theatre of the absurd, there are questions as to what in the world the playwright is trying to say.  Story, of course, is different than plot, and each character has a very interesting story of his own to tell. Hirst is a writer/critic/essayist of high regard who constantly damages his gift with his drinking.  Yet he has moments of linguistic fancy that take the communal breath of the audience away and tries to answer those questions… Pinter at his true best.

Spooner is a lifelong aspiring poet who talks a great game in conversation but seems to say little. What he does say is a thick and potentially emotional comment on loneliness and isolation. Briggs is the cynic in the group.  He always doubts Spooner’s veracity and tends to rule the roost in the house.  But even when threatened with being fired for insubordination, Briggs stays with Hirst—a kind of tough love on both sides.  Foster is yet another poet-who-hasn’t-done-much and wants fervently to “do” the work needed.  But as a big tough guard in the house (Mr. Roukin’s physical presence emphasizes that skillfully), he feels stuck and wonders what he really can do with his life.  We’ve all been there.  Hirst, who is the one with the most to lose in practicality, simply moves on in his entitled existence, treating the help as if he were royalty, living with the realization that his best years are behind him, and almost casually accepting the losses of family and friends in his life—an experience he shares with Spooner in a very touching Act II give-and-take.

The great collective lesson learned here is two-fold.  First, we are confronted in the storytelling by the prospect of memory that is skewed, even imperfect, and how it affects the stark reality existing between these splendid characters.  And second, we are captured by the sight of four actors totally in love with their craft—and how they can so eloquently share it with each other and with the audience as well. A brilliant combination that makes Steppenwolf’s “No Man’s Land” an actor’s treat and an audience’s delight.  

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 “Echo Holler.” www.echoholler.com

PHOTO|Michael Brosilow

Steppenwolf Theatre Company
presents

No Man’s Land

Downstairs Theater
1650 N. Halsted St.
through April 20, 2023

(312) 335-1650

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PicksInSix Review: Toni Stone - Goodman Theatre

“…wide, tender eyes and knowing delivery.”
Ronald Keaton | Guest Contributor | PicksInSix® Review

“Why would I eat crackers in your bed?”  The character of Toni Stone asks this literal question of a prospective lover, as well as other hugely unconventional issues in Lydia R. Diamond’s sparkling, creative play “Toni Stone,” now playing at the Goodman Theatre. Stone is a historic figure who infuses her world with all kinds of sociological change, being the first woman to ever play on the field in men’s professional baseball… in this case, the Indianapolis Clowns of the Negro Leagues in the 1940s and 50s.

You may ask: “Why does the world not know more about her?” That is beginning to change with this expertly-crafted memory play that maps out Stone’s path in a pleasingly helter-skelter manner, allowing for a full and articulate explanation of who she is, what she wants, and how she gets there.  Doesn’t matter that it might be a tad confusing to some; that’s the nature of our memories, after all, and what they mean to our own histories.  Ms. Diamond has infused Toni Stone with an unflinching, iron-clad commitment to not only the game, but how she fits into it.  Her very first monologue talks of her own ‘reach’ through the ‘weight’ of the ball itself; she holds the ball for the audience as if it were her own child.  And in essence, that’s how committed, singular paths make their own mark.

The wonderful Tracey N. Bonner inhabits Toni Stone with a child’s longing, a woman’s continual feist against conformity, and an athlete’s endless vision.  Ms. Bonner presents someone absolutely on point in her feelings about baseball, almost obsessively so.  Stone is a baseball computer; she uses her knowledge of baseball players and statistics as a salving tool in constant recitative to survive what is thrown at her on the diamond by opposing teams and, indeed, the world at large.  The self-advocating side of Stone only serves to further strengthen the obvious calling that baseball was to her; Bonner offers this in wide, tender eyes and knowing delivery.  This is an actor’s masterclass in fully inhabiting one’s character in a show that I would see again and again.

There is much gorgeous work here. Jon Hudson Odom as the madam Millie is not only a soothing influence on Stone; we see from the actor a total calm and command from the get-go. As Stone’s lover and eventual husband, the marvelous Chiké  Johnson imbues his Alberga with a strong, yet quiet pseudo-Nick Arnstein presence for us to hold our collective breath, in his three-piece dark blue suit and habitual smooth.  The supporting cast portrays a rogue’s gallery of characters – mothers, bartenders, team owners, baseball players and coaches. The fabulous ensemble – Kai A. Ealy, Joseph Aaron Johnson, Travis A. Knight, Victor Musoni, Matty Robinson, Edgar Miguel Sanchez, Terence Sims, and Jabari Khaliq – use every Diamond phrase, both intellectual and profane, to full advantage in support of the storytelling.

The impressive Todd Rosenthal set design is a suggested baseball field – in fact, the name on it was Victory Field in Indianapolis, where this writer attended games as a child. Mara Blumenfeld’s costumes are simple and excellently functional for the character changes the ensemble are assigned.  Keith Parham designed soft layers in a variety of ever-moving lighting effects, effortlessly following the Toni Stone life road.  Andre Pluess and his period music/sound design literally inhabits Stone’s mind as they assist to buoy the script in those memories. And Mike Tutaj once again imbues his projections with touches of elegance and documentary-like effect (“Jack’s Tavern” the on-the road landscapes for the team).

Ms. Diamond has always been a favorite writer at the Goodman, and she’s earned it – a real Chicago treasure.  “Toni Stone” is among her best work.  And the celebrated director Ron OJ Parson has given this play and these actors a clear, accessible and fully non-conformist track that keeps up with Ms. Bonner’s inventive and keen actor/storyteller.  Everyone in this process, in fact, either is or became an expert storyteller.  The fact that it all comes through one of the most inventive characters written in a long time only magnifies the quality of every creative person involved here.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL www.solochicagotheatre.com 

PHOTO|Liz Lauren

GOODMAN THEATRE
presents
TONI STONE
through March 20
Albert Theatre
170 N. Dearborn St.

(312) 443-3800

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PicksInSix Review: ON CLOVER ROAD American Blues Theater

“One memory can save a life.”

Many of us cherish items that have a rich personal storyline connecting us to another time when we felt safe and that remind us of someone we love. We surround ourselves with these things because they bring us joy; A photograph from long ago. A song sung at the holidays. These things divert our thoughts away from the present. As we reminisce, we are vulnerable to outside influences that can be used to alter our state of mind in ways both good and bad. Rational people understand the difference and how to cope with these feelings, but what about those who have otherwise lost their own free will, have rejected everything and everyone from their previous lives, and who run toward something—anything, really—that will free them from a life they feel trapped inside?

More than 1.6 million children run away each year in America from abusive homes: sexual or physical abuse, bullying or substance abuse. They simply can’t cope. The question then, as a parent, is what can be done to reconnect with these children? How can behavior that drove the children away in the first place be wiped away to start again? Who can be trusted to help? And, perhaps most importantly, what are the consequences of the desperation, anxiety and fear of facing up for the child who does not want to be found?

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Something happened to Jesse Hunter at a mall with friends on March 11, 2014. Two days later, she was several states away in the company of two men. Then, she vanished. At one point, a substantial ransom was paid for information about Jesse, but nothing came of it. As the American Blues Theater production of Steven Dietz’s mind-bending thriller, “On Clover Road,” begins four years later, it’s dawn in a seedy, ramshackle room of a deserted motel. An all-business investigator of sorts—Stine—has located Jesse in a radical commune. He briefs Jesse’s emotionally wrought mother Kate about his plan to rescue her. Kate has brought along a small box of Jesse’s favorite things because, Stine tells her, “One memory can save a life.”

Stine raises doubts about whether Kate will recognize her own daughter after all the communal brainwashing and exploitation that has kept her under the emotional spell of the cult leader, Harris McClain. And while Stine’s maniacal deprogramming preparations and procedures seem ominous, when Kate considers the alternative of another failed opportunity and a long walk back, she agrees to go along. Let’s just say that it doesn’t take long at all to realize that things will go downhill quickly for Kate. Very quickly.

Director Halena Kays has assembled a superbly talented ensemble featuring ABT’s artistic director Gwendolyn Whiteside (Kate) with fellow ABT ensemble member Philip Earl Johnson (Stine). I found it especially satisfying to see these two fine Chicago actors rip through Dietz’s irresistibly suspenseful 90-minute work, which is set in three movements over the course of a single day. Jon Hudson Odom adds his formidable skills to the role of Harris McClain, and Grace Smith is terrific in the role of The Girl.

Lizzie Bracken’s scenic design will shock you as soon as you take your seat in Stage 773’s 78-seat Box Theatre. The production fits perfectly in the intimate confines and is framed in a striking neon effect by lighting designer Alexander Ridgers, ground-swelling sound effects by Rick Sims, and costumes by Alison Siple—which must entail a massive turnaround show-to-show. There’s more than enough eerie pleasure here to keep you wildly on edge, up a little later at night and hoping you never, ever end up anywhere along Clover Road.

PHOTOS|Michael Brosilow

AMERICAN BLUES THEATER
Presents
ON CLOVER ROAD
through March 16th

STAGE 773
1225 W Belmont Ave.
(773) 654-3103

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PICKSINSIX Review: WITCH

Jen Sliverman’s absorbing new dark comedy “Witch,” now in its world premiere production at the Gillian Theatre at Writers in Glencoe, is set in the village of Edmonton in a time long ago with edgy, contemporary dialogue. Inspired by the 1621 play “The Witch of Edmonton,” by William Rowley, Thomas Dekker and John Ford, “Witch” tells the story of Elizabeth (Audrey Francis), a mysterious village resident with an equally mysterious past, Sir Arthur, the castle-dweller (David Alan Anderson), his son, Cuddy (Steve Haggard), ward, Frank (Jon Hudson Odom) and the winsome maid, Winnifred (Arti Ishak), all of whom, one way or the other, are about to have a life-changing encounter with Scratch (Ryan Hallahan) on the terms for their respective souls.

Not long after Cuddy sells his soul, he is hatching a scheme to turn the tables on Frank. Meanwhile, Scratch learns that Elizabeth, the talk of the town, may well be a witch. But when Scratch comes with his own personal sales pitch, Elizabeth is not buying. In fact, for the first time ever, Scratch appears to be getting nowhere.

During the era associated with this play, which is hard to nail precisely, witches tend to make people uncomfortable. According to Elizabeth, they feel like outcasts, not equal to men and resent being subjugated and dismissed. So, when the Devil makes his entrée to Elizabeth, it is no surprise that she wants much more. For starters, you need to talk to her like a man. And you better be ready to up the ante for this soul, sister.

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For his part, Scratch has not taken the shape of a dog (although that would have been a good bit of business), but rather a handsome, soft-spoken young man who gave up assuming the embodiment of women, he says, because he was tired of people simply admiring him, ah, her. That all sounds familiar to Elizabeth, but her guard remains way up. Meanwhile, back at the castle, Sir Arthur is considering his legacy and heir. Will it be the snivelling Cuddy or the scheming Frank?

This is an introspective piece, with truly inspired comic moments, that ultimately tackles the very serious topics of sexism and avarice through the ages, while addressing the hopelessness that we all face from time to time: a desire to push the reset button and start all over again.

All of the flawed characters in “Witch” are vulnerable, including Scratch himself. That fact alone is reason enough to see Silverman’s new work and examine the power of deception and deceit for yourself.  

PHOTOS|Michael Brosilow

WRITERS THEATRE
Presents
WITCH
Written by Jen Silverman
Directed by Marti Lyons
through December 16th
325 Tudor Court
(847) 242-6000
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