PicksInSix Review: Come From Away - Marriott Theatre

Where The River Meets The Sea …
PicksInSix® Gold Review | Ed Tracy

It is startling to realize that twenty-five years have passed since a savage attack on America changed the world as we know it. Ask anyone born before 1996 and they can tell you where they were that fateful day, how shocked and saddened they felt in the weeks and months that followed, and how they grieved for the nearly 3,000 souls lost at the World Trade Center, the Pentagon and in a field near Shanksville, Pennsylvania.

And on Wednesday evening, a truly stunning production of “Come From Away” opened at the Marriott Theatre in Lincolnshire. Director Jessica Fisch and choreographer Katie Spelman have assembled an unmatched Chicago-based ensemble of stage veterans presenting a tapestry of true stories of compassion and kinship in the days following the 9/11 attacks. This show is electric, inspiring and fits the Marriott Theatre’s in-the-round-stage like a glove.

In the moments following the terrorist attacks, life as we know it came to a full stop. All air traffic within the United States was grounded. International travel was immediately restricted and commercial passenger flights that had sufficient fuel to return to their city of origin in Europe or Asia did so. Those that could not were forced to land wherever they could.

Three locations in Canada—Halifax Stanfield International Airport in Nova Scotia, Vancouver International Airport in British Columbia, and Gander International Airport in Newfoundland— served as a safe haven for thousands of international travelers until operations could be restored.

Gander was a small provincial town of approximately 10,000 when 38 planes landed on September 11, 2001 with nearly 7,000 passengers aboard. As residents quickly mobilized resources, food, medical care and services, all of the passengers were not allowed to deplane for nearly 24 hours. In the days that followed, the “plane people” of all nationalities—known as “come from aways”—received an epic outpouring of support from the Newfoundlanders. Together, over the hours and days that followed, everyone learned the universal language of patience, compassion, and generosity.

We might not know as much of this heartfelt story if the husband and wife team of Irene Sankoff and David Helm had not attended a reunion in 2011 and conducted hundreds of interviews. That source material forms the core of their brilliant 2017 Broadway musical “Come From Away,” distilled into dozens of composite characters of immense warmth and humor, each with a strong sense of resilience and pride. It is a substantial piece for 12 actors in a fast-paced 100-minute format which in the capable hands of Fisch and Spelman is quite literally a work of art.

Marriott’s “Come From Away” is also a bit of a professional homecoming all its own. The key romantic storyline is the heartfelt relationship of Diane and Nick, served up perfectly by Heidi Kettenring and Matt Crowle, both returning to the Chicagoland stage after recent national tours. Sharriese Hamilton is marvelous reprising the role of Hannah that she played recently in the Australian touring production of the show. The extraordinary talent and wide-ranging stage skills—and dialects—of Alex Goodrich, Devin DeSantis and Sarah Bockel are on full display, as are Justin Allbinder, Denise Devlin, Madison Kauffman, Michael Earvin Martin and Jonathan Shaboo. Lexie Dorset Sharp shines in the role of Captain Beverley Bass, the first female commercial pilot.

The story develops organically on Scott Penner’s scenic design that incorporates a stage revolve, tables and industrial stair units that are all integrated seamlessly in the flow of the piece. From the rousing “Welcome To The Rock,”“38 Planes,”“Screech In,” and “On the Edge,” to the more contemplative “Stop the World,”“Prayer,” and “Me and the Sky,” this is musical emotion in motion under Music Director Ryan T. Nelson. Celia Villacres conducts nine musicians through a score that features nearly twenty instruments nested squarely in traditional themes and melodies.

“Come From Away” serves as a vivid reminder that even in the grip of an international tragedy, ordinary people from all walks of life are capable of acts of kindness and generosity well beyond our imagination. It also speaks to our own capacity to overcome adversity for the new life that awaits us and assurance that the newfound relationships forged during difficult times will give us comfort and hope for the future.

PHOTO|Justin Barbin

Marriott Theatre
presents
Come From Away
Ten Marriott Drive
Lincolnshire, IL
through October 18, 2026

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PicksInSix Review: The Notebook - Broadway in Chicago

Love Notes: For Better Or Worse.
PicksInSix® Review | Guest Contributor | Sarah Frances Fiorello

The musical “The Notebook” has returned to Chicago, ready to meet all new audiences and be reacquainted—and reintroduced—with theatregoers who found themselves at Chicago Shakespeare Theatre’s pre-Broadway production in the fall of 2022.  The musical, based on the book by Nicholas Sparks and subsequent 2004 hit film, plays now through August 16th at the Nederlander Theatre at Broadway in Chicago.

The story weaves through the lives of star-crossed lovers Noah and Allie, played in the musical by three actors for each character—Younger, Middle, and Older—jumping from present day to their carefree youth and everywhere in between. Older Noah and Older Allie recall and revisit their love story through the center inanimate character, a notebook, read from Noah to Allie as she grasps and struggles with deteriorating dementia. “The Notebook” is a beautifully told story of fleeting time and fervent love, one that you have not seen told in the current format—the touring production has undergone changes from the Broadway production and, of course, from its pre-Broadway run. Easter eggs only here for those who have seen previous versions of the show; I encourage you to head to the Nederlander to see for yourself.

On to this production, which deserves a review in its own right. Directed by Schele Williams alongside Broadway juggernaut and five-time Tony Award nominee Michael Greif (“Rent”, “Next to Normal”, “Dear Evan Hansen”) with choreography by Katie Spelman, “The Notebook” serves a visual treat to audiences, with staging and storytelling that often feels like poetry in motion. Multiple versions of Noah and Allie exist simultaneously on stage throughout much of the musical; what transpires at the expert direction of Williams and Grief is a journey through time, memory, while taking honest stock of our relationship to our past and future selves.

“The Notebook” marks the theatrical and Broadway debut of singer/songwriter Ingrid Michaelson, alongside book writer Bekah Brunstetter (most notably television’s “This is Us” writer, story editor, and producer). The duo have created a musical that is as strikingly unique as it is true to the original book while also somehow capturing fan-favorite moments from the film starring Ryan Gosling and Rachel McAdams.

The cast is replete with Broadway veterans, each as fantastic as the next. Alysha Deslorieux as “Middle Allie” soars vocally in her full-throated 11 o’clock number “My Days” while Beau Gravitte as “Older Noah” delivers a sincere, earnest, and loving performance as the idyllic spouse any married person would be lucky to have. Connor Richardson as Johnny, the physical therapist to Older Allie and the Gen Z point-counterpoint to Baby Boomer Older Noah offers a delightful performance, highlighting the power of platonic love alongside the romantic love of our main characters.  Sharon Catherine Brown as Older Allie brings this story home with her devasting portrayal of life while suffering with dementia.  Brown brings both a gentleness and fierceness to the role and gives us a heartbreaking glimpse into what it feels like to navigate this disease—constantly searching for answers while also searching for yourself.

I never read the Sparks novel but when I saw the film all those years ago, I immediately fell in love with what it stood for: real love can persist and stand firm in the face of life’s hardest struggles and most difficult tests. All these years later, as I’m sure is true for most of us, life has a way of testing that belief. Perhaps that’s why we go to the theatre. To be reminded of what is possible in life and in love, and that what we see beyond the footlights, even on our most difficult days, might find its way across the threshold.

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. 
Instagram: @writtenbysarahfrances

PHOTO | Roger Mastroianni

Broadway in Chicago
presents
National Tour
The Notebook

James N. Nederlander Theatre
24 W. Randolph St.

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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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PicksInSix Review: The Notebook - Chicago Shakespeare Theater

Love Beats Beyond Waves of Time.
PicksInSix® Gold Review | Guest Contributor | Scott Gryder

It was an unexpectedly quiet beginning for the world premiere performance of “The Notebook” at Chicago Shakespeare’s The Yard last night. With an unannounced, subtle start of general actor activity onstage, versus the typical darkened house and scolding pre-show curtain speech, the audience gently honed in on the stage. There had also been no pre-show music or ambient sound filling the house, preparing the audience for the energy and theme of the show. It felt as if CST wasn’t going to give anything away for this new work. Thus, we were in no way prepared for the 2 hour and 15 minute epically emotional voyage ahead of us.

That made the ride all the better.

Based on the bestselling 1996 novel by Nicholas Sparks, which also inspired the beloved 2004 film, “The Notebook“ tells the story of love across multiple waves of time. Not only do we thrill at the blossoming of a new, forbidden love, but we witness how love can lead us to overcome the many unexpected, inopportune challenges of life. Adding the heightened musical element to the already volatile romance within “The Notebook“ creates the perfect storm for any audience to get swept away. As a musical, “The Notebook“ further solidifies the truth that not even time, place nor sickness can ever carry away our true love.

“The Notebook“ may be focused on the love of one central couple, but the staging succeeds thanks to an ensemble of over a dozen actors building a multi-dimensional theatrical experience. With six main actors portraying various versions of the main lovers, the extended ensemble highlights each scene with the roles of friends, family, and medical professionals across each time line, masterfully slipping in and out of various characters, never overplaying into the stereotypes. Standout Liam Oh boldly suggests that ignorance is bliss, and it is a gift to be cherished. Most moving was Maryann Plunkett’s Older Allie, gracefully searching and tormented in the role of a person with dementia. Bonus applause for Jerome Harmann Hardeman, who appeared in the role of Older Noah for this performance, with such solid faith in his commitment to his life partner that he nearly pushes himself too far in order to reach her again. As for the young and middle lovers, John Cardoza’s Younger Noah and Jordan Tyson’s Younger Allie share shimmering moments of zingy vocals literally vibrating one’s heartstrings. Additionally, the warmth and golden vocals produced by Ryan Vasquez and Joy Woods’s Middle Noah and Middle Allie reveal that their love has only grown warmer and more intensified with age.

Each creative element gently holds the hand of the other, creating a balanced bond throughout. To start, Ingrid Michaelson’s music is both darling and passionate. Utilizing mostly clichés, the song forms are less traditional musical theater, with a more folksy, organic feel; repeating lyrics over and over as if to reflect the pattern of waves lapping at the shore, slowly wearing away at the sand with the passage of time.

Choreographically, Katie Spelman follows suit, creating mirrored movements across multiple levels of the stage, as if catching a rippling reflection upon a pool. Co-scenic designers David Zinn and Brett Banakis have created a set almost like a diorama. With the bare bones structure of a house as its foundation, the set effortlessly flows between locations and places in time. And Ben Stanton’s lighting design echoes the reflective spirit by brightening and dimming depending on the emotional and physical intensity of each scene.

Literally splashing onto the stage, Broadway directing duo Michael Greif and Schele Williams then layer Bekah Brunstetter’s witty and cutting book into picturesque moments of storytelling as if each scene is a bubble in time, appearing before us and then popping as we drop into each timeline. Taking the emotional experience almost too far, but in a most profound way, Music Director Geoffrey Ko shapes and builds the voices to palpably invoke harmonious heartache and joy.

At first, I was disheartened by the almost elementary lyrics of Ingrid Michaelson’s music, but it didn’t take long to realize that it wasn’t simplicity, but Michaelson was setting simple universal truths to her signature folk-pop style. These songs sounded too familiar because they are comprised of nuggets of wisdom passed down through generations, appropriately set for a show about time.

Thanks to a well-aligned creative team and stunning acting, “The Notebook“ hopscotches through time so clearly that, for a show about time travel, no one gets left behind. It’s no wonder that when the sourcebook was published in 1996, it sold more than 105 million copies worldwide. As overly allegorical as it may seem, “The Notebook’s“ characters and their story are a retelling of famed and personal loves that any human can relate to.

For those fans of the best-selling novel and the cherished film, “The Notebook“ enhances this timeless tale of romance in a way only musical theater storytelling can. This powerful performance reminds us of how life’s hardships may make us feel adrift, but it also shows us that we are never beyond righting our ship if we only listen to our hearts and look to those who love us most.

GUEST CONTRIBUTOR | SCOTT GRYDER received a Non-Equity Jeff Award for his performance in the one-man show BUYER & CELLAR. www.thescottgryder.com  

PHOTO|Liz Lauren

CHICAGO SHAKESPEARE THEATER
presents
World Premiere
THE NOTEBOOK
through October 30, 2022

The Yard
Navy Pier

(312) 595-5600

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PICKSINSIX Review: INDECENT

GRIPPING ‘INDECENT’ FEATURES STIRRING ENSEMBLE PERFORMANCES

The play-within-the play “Indecent” by the Pulitzer Prize-winning playwright Paula Vogel, unfolds over decades and across continents to tell the story of the life and times of Sholem Asch and the players who perform his work, God of Vengeance, a singular piece of performance art that was revered, censored and then shamefully reviled in its Broadway debut. “Indecent” champions the ideal that our unending responsibility to protect the essence of art that brings us together – truth, acceptance, freedom and love – can be ripped away in a moment.  Director Gary Griffin, and the stirring ensemble playing multiple roles, deliver an inspiring and gripping production now playing at Victory Gardens Theater.

God of Vengeance, written in 1906, is a controversial love story involving a prostitute and a young woman whose father runs a brothel.  As this “true story of a little Jewish play” begins, the players tell the compelling story of the inception of Asch’s work and the long and successful runs in Paris, Berlin, Constantinople and other European locations that followed, before Asch immigrates to America.

In New York, the play has an extraordinarily successful run in the Yiddish theater circuit before a muted English translation moves to Broadway, a 1923 debut that is shuttered in mid-performance on charges of obscenity that lead to the arrest and conviction of everyone involved.

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At the dramatic center, the structure of Vogel’s fascinating piece – using subtitles in English and Hebrew, native language alternatives and dialects, and traditional music – accentuates the bitter attitudes of anti-Semitism and the heart-wrenching struggle for survival that Jewish immigrants faced in 1920s America and during the occupation in the ghettos of Warsaw during World War II.

This powerful ensemble piece features stirring performances from: Benjamin Magnuson (The Stage Manager: Lemml), Catherine LeFrere (The Middle: Halena), Noah LaPook (The Ingenue: Avram), Matt Deitchman (Accordian: Moriz Godowsky/Music Director), Kiah Stern (The Ingenue; Chana), Andrew White (The Middle: Mendel) Cindy Gold (The Elder: Vera), David Darlow (The Elder: Otto) and Elleon Dobias (Violin: Nelly Friedman).

In the concluding scene of “Indecent,” there is a glorious feeling of transformation to another place and time. That beautiful moment benefits from an amazing scenic treatment and the haunting musical score by Lisa Gutkin and Aaron Halva performed live and directed by Matt Deitchman. Deitchman also leads an inspiring pre-show performance by Dobias (Violin), LaPook (Mandolin) and Magnuson (Bass). The superb creative and production team assembled by Griffin includes Scenic Designer Jeffrey D. Kmiec, Costume Designer Mara Blumenfeld. Lighting Designer Keith Parham, Choreographer Katie Spelman, Sound Designer Christopher M. LaPorte and Projection Designer Stephen Mazurek.

PHOTOS|Michael Brosilow

VICTORY GARDENS THEATER
Presents
INDECENT
Written by Paula Vogel
Directed by Gary Griffin
through November 4th
2433 North Lincoln Avenue
(773) 871-3000

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