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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: Amélie - "A Feeling of Absolute Harmony" - Kokandy Productions

 
 

Amélie - "A Feeling of Absolute Harmony"
PicksInSix® Review |
Ed Tracy

The Chicago premiere of “Amélie: The Musical,” now playing in an exquisite Kokandy production at Chopin Theatre that opened Saturday in the intimate Downstairs Studio, is based on the 2001 award-winning French film written by Jean-Pierre Jenet and Guillaume Laurent. It was adapted for the stage—book by Craig Lucas, music by Dan Meese and lyrics by Meese and Nathan Tysen— and debuted in 2015 at the Berkeley Repertory Theater followed by a brief Broadway run in 2017, a UK tour in 2019 moving to the West End for a summer 2021 run.

The Kokandy production is directed and choreographed by Artistic Director Derek Van Barham with music direction by T. J. Anderson and Anna Wegener. The already lush and whimsical score has been enhanced with additional instrumentation that, in the talented and capable hands of twelve superb actors/singers/musicians, create a glorious experience of sight, sound and song. “Amélie” fits perfectly in the Chopin space and has all the makings of a colossal hit for Kokandy.

Amélie Poulain is a dreamer who overcomes early childhood isolation, and unimaginable loss, using all she has learned for good, to approach the world with wonder and spreading playful joy to everyone around her. Along the way, she builds confidence and develops a circle of friends and mentors who help her gain her own independence, ultimately, revealing the elusive love and affection she has yearned for all her life.

Aurora Penepacker is simply mesmerizing as Amélie, displaying a captivating stage presence that is only surpassed by her stunning vocal abilities. Penepacker, whose star shone brightly last season in Writers “Great Comet,” delivers a multi-layered performance, bursting with enthusiasm and beguiling charm, that is delightful to watch. True to the original story, Penepacker’s Amélie leads us through the mystery of a 40 year-old tin treasure box; the forging of romantic relationships at the café where she works; healing the broken heart of a co-worker; and, bringing peace and solitude to her grieving father.

All the while, the evolving relationship with Nino Quincampoix (Joe Giovannetti, in top form), the object Amélie’s desire, becomes her passionate focus. It is not just how Amélie attracts Nino, the shy and earnest collector of discarded subway photo booth images, but the interconnecting paths of all of the unique characters who serve as narrators to move the story along. Even though this feels very much like a collaborative ensemble experience throughout, Amélie’s parents Amandine (Rachel Carreras) and Raphael (Kelan M. Smith, who also covers Bretodeau), Sonia Goldberg’s Gina (“Window Seat”) and Jon Patrick Penick (Collignon/Julien Dufayel) and the company’s Act I closer “Goodbye, Amélie” leave memorable impressions.

The fine work of dialect coach Carrie Hardin is evident. The vast instrumentation—I lost count at twelve—and the quality of the musical performances is a credit to every member of the company—backed up by Kara Olander and Anna Wegener—who contribute to the exquisite harmonies. “Amélie: The Musical” has it all from an outstanding, energetic cast to an accomplished technical team—sound design by Matt Reich, mixed and engineered by Lynsy Folckomer and Mackenzie Hahn, set and lights by G “Max” Maxin IV and costumes by Rachel Sypniewski—all combining for a rich and robust vocal and instrumentation mix that is in a word: Magnifique!  

PHOTO|Michael Brosilow

Kokandy Productions
presents
Amélie
Chopin Theatre
Downstairs Studio
1543 W. Division Street
through September 28, 2025


WEBSITE

PROGRAM

For more reviews, visit: Theatre In Chicago

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