PicksInSix Review: Urinetown - Theo Ubique | The Fred Anzevino Theatre

No Pity Potty at Theo’s ‘Urinetown!’
PicksInSix® Review | Guest Contributor | Ronald Keaton

There aren't many pieces of theatre that so expertly lets its audience members know the authors are winking at them, that everyone is in on the joke, as in the energetic musical satire “Urinetown,” now playing at Theo through December 21.  All elements in the show own this attitude throughout. There's the strong, self-effacing book of Greg Kotis, which makes fun of, well, nearly everything either Broadway musical-ish or municipal efficiency-like. The stylish score by Mark Hollmann makes marked bows to Weill and Bernstein and Harnick and even blues, while pointedly using “Les Misérables” as a musical inspiration at the end of Act I in articulating the satire.

Director Danny Kapinos has smartly, and with a lot of fun, shaped this story as an immersive, get-the-folks-involved experience. More kudos for Brenda Didier’s tight choreography. She adapts expertly to the space available, and it is a joy to watch. If you've ever seen a production at Theo, you know that every inch of the space is often used with platforms, steps, light shafts and sound effects as much as possible, and it's an enjoyable signature of the theatre. The story itself—an informed examination of social conscience, human rights and corporate greed—offers eerie echoes to American society today, even though “Urinetown” was created more than a quarter century ago.

Right from the get-go Officer Lockstock (Ryan Stajmiger in a charming performance of a pervasive character) greets everyone in narrator fashion with "Hello there and welcome to Urinetown!" Then he tags it with "Not the place, of course. The musical!''  And the audience understands the ride will be unique. Little Sally (a strong Theo debut for Maya Tanaka Allwardt) starts out innocently in similar fashion and becomes almost a conscience for good as the story progresses. In that story, there is a dramatic water shortage from a 20-year drought, so the town contracts for and sees the creation of a corporate arm that charges all people whenever they use the water. And yes, that means for all purposes; hence, the title. It's run by Caldwell B. Cladwell (an aware, deft portrayal by Drew Longo), whose daughter Hope (Amanda Rodriguez and her glorious singing) has just joined the company after college.

Then there's Bobby Strong, the one who stirs up good trouble (Luke Nowakowski is clear-eyed and purposeful here) by getting the hoi polloi to rebel against the powers-that-be, drawing his line in the sand as his love for Hope becomes more evident. And Penelope Pennywise, Cladwell's enforcer (the powerful Alicia Berneche ... wow!) keeps everyone in line by taking payment as that line goes through its daily chore. And Pennywise reveals a twist in the plot that takes everyone off guard. The satire is the boss here, and everyone in the theatre becomes a part of it.

At Theo, an audience can always depend on one thing: the high quality of its musical stance. Music director Aaron Kaplan and Associate and Keyboardist Kevin Zhou, along with their four players, have done wonders in reducing the score while maintaining its full and robust presence. And they handle the various jumps in genre and parody with style. They have also coaxed the same from a fully committed, talented ensemble, many of whom are making their Theo debuts here. It’s the main reason this writer enjoys Theo offerings, because their musical approach upholds the theatre's professional promise. Bravo!

As you enter Theo these days, you see outside on the building's wall a lovely tribute to its Founder/Artistic Director Fred Anzevino, who passed away earlier this year. It's worth noting that Mr. Anzevino's commitment results in the legacy of professionalism and the sheer number of productions that Theo has offered over the years. It's a marvelous reminder how artistic endeavor lives on through such a legacy.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.org.  Coming soon, his new solo play about Ben Franklin, THE FIRST EMBASSY.

PHOTO | Liz Stenholt Photography

Theo Ubique Cabaret Theatre
presents
URINETOWN
721 Howard Street
Evanston
through December 21

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PicksInSix Review: DIANA: The Musical - Theo Ubique Cabaret Theatre

Powerhouse Central Performance Drives THEO’s ‘DIANA’!
PicksInSix® Review | Guest Contributor | Ronald Keaton

The great Fred Anzevino, founder and executive director of THEO up on Howard Street in Evanston, passed away recently. The last production on his watch, co-directed and choreographed by Brenda Didier, was “DIANA,” the musical piece that delves into the lives of Diana, Princess of Wales, and Britain's Royal Family. “DIANA” opened this past weekend and plays at THEO through July 6. From the time of her late teens—when she was literally selected by Queen Elizabeth II as a bride for her first-born son Prince Charles—to the time of her tragic death in 1997, Diana was daily exposed to the international spotlight.

As created by Joe DiPietro (book/lyrics) and David Bryan (music/lyrics), Diana is taken from her position as a nursery school assistant in early 1981 and whisked through what amounts to a crash course in royal life and expectation. By July that year, she and Charles have their royal wedding with an international television audience viewing the event at St. Paul's Cathedral, chosen over the traditional Westminster Abbey because it offered more seating.

From there, we see all the ups and downs of life with Diana and Charles. Very little is spared in the script—two sons, at least two affairs (one of which, of course, included the now-wife of Charles III, Camilla Parker-Bowles)—and a great deal of societal exposure for a woman who is not ready for such an experience, but learns well on the job. The public embraces her fully, thanks to Diana's own brand of a common touch, and it couldn't get enough of her.

Neither could the British press. It hounds her constantly, with photographers and reporters waiting at every turn. Such a reality naturally puts pressure on the marriage. Diana tries to plant her feet and be her own person, while Charles expects her to fall in line with every piece of royal etiquette and tradition as the wife of the heir to the British throne. With each child born (William in 1982, Harry in 1984), the couple makes amends and tries yet again to overcome the obstacles. But in time, there are simply too many walls to climb, and they divorce in 1996.

The best parts of the story come after. Diana visits an AIDS ward, where she reaches out to meet the sick and fights the protocol to don protective outerwear, producing a touching exchange between visitor and patients. Diana (a powerhouse vocal performance by Kate McQuillan) speaks and sings openly of her desire to truly impact the world. Charles (Jack Saunders in his Theo debut) sticks to the palace traditions throughout, costing him dearly. A real delight is Jacqueline Grandt in the dual role of Queen Elizabeth/Barbara Cartland, as she plays the author in a marvelous comic turn and the Queen as the rock of the family. Her song in Act II, "An Officer's Wife," shows a vulnerability that belies the Queen's tough exterior. Colette Todd marvelously underplays her Camilla Parker-Bowles in a strong portrayal.

This is a difficult story to tell onstage, and the ensemble is more than up to the task. They play everything from royal staff to paparazzi to intimate friends to outlandish partygoers at every turn. The three-player music ensemble led by keyboardist Kevin Zhou expertly guides his band through a long list of twenty-nine pieces of music, all the while being supportive and controlled in the small environment that is THEO's stage and trademark.

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 “Teddy’s Last Ride.”

PHOTO | Time Stops Photography

Theo Ubique Cabaret Theatre
presents
Midwest Premiere
Diana
721 Howard Street
Evanston, IL
through July 6, 2025

WEBSITE

For more reviews, visit: Theatre In Chicago

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