PicksInSix Review: West Side Story - Music Theater Works

Stellar Revival at Music Theater Works!  
PicksInSix® Review | Guest Contributor | Ronald Keaton

To borrow from the barrister, it is nowadays considered a kind of 'settled literature' that the pedigree of “West Side Story” is thick and heavy with legend and quality. It allowed Jerome Robbins—a one-of-a-kind director, creator, and choreographer—to push dance toward its now familiar dominance in storytelling mode. It inspired its still-young American composer Leonard Bernstein to create soaring melodies and rapid-fire musical passages steeped in both tradition and innovation. It pushed playwright Arthur Laurents to draw its story from the greatest of all playwrights—William Shakespeare—by writing dialogue that was both conventional and inventive. He borrowed from the Bard the tool of creating new words to fit this vision of the star-crossed story sparked by the erstwhile lovers Romeo and Juliet. And partially through Mr. Laurents, it launched the astounding career of a young Hammerstein protege in the theatre, initially as a lyricist, one Stephen Sondheim.

Music Theater Works is now offering its version of this timeless endeavor at the North Shore Center for the Performing Arts in Skokie through August 30. And this production team has created their own pedigree in a marvelous way. There is a full 22-piece orchestra directed by Linda Madonia, under the expert baton of Justin Kono. There is oh-so-smart, insightful direction by Sasha Gerritson. Clayton Cross and Isa Ramirez share choreography credit. The intimacy/violence choreographer Nick Sandys created sharp, well-paced gang fights between the Sharks and the Jets, while tenderly and deftly weaving the romantic moments between Maria and Tony.

Most people know now the plot points that surround two young lovers from different races and their plight to find a future. But the battle for gang turf stands in the way, exacerbated by the racial stances each gang possesses. “West Side Story,” because of this issue alone, will always be relevant—even more so in today's sociology. But as the man says, "Love is love is love..." and both these young lovers believe it wholeheartedly. The scenes between Tony (Luke Nowakowski, his eloquent singing belies a touching simplicity) and Maria (Isabella Ruono in a bravura vocal performance) are so well done. They are packed with an unhurried warmth and real emotion, bringing the romantics in the audience to swooning.

The Jets and Sharks are each one strong character in the play. Yes, there are wonderful individual personalities in each gang, but both sides create their unison from the outset. They remain of one attitude, each balanced by the other side. It's really fun to watch, tragic to realize and hard to stage. Connor Ripperger is a stout Riff—"Cool" was fabulous. The Bernardo of Emmanuel Ramirez was smooth and prodding in his insistence that his sister Maria accept Chino (Kameron Rojas-Schueneman, properly hapless and shy) as her lover.

The cops in the show—Lieutenant Schrank (Ivan James) and Officer Krupke (Eric Desnoyers)— nobly bring their brands of gravitas and humor, respectively. Anita (the marvelous Pauleth Jauregui) is a constant presence who reminds Maria of the dangers of her particular love and what it might cost. Ms. Jauregui leads a rousing version of "America" while her duet with Ms. Ruano warning of "A Boy Like That" is fierce and personal. Matt Rosin turns what could be a thankless role in Doc into a real, poignant influence. The entire ensemble of Jets and Sharks brought a creative energy and verve to a piece that demands it in every musical note.

With a striking scenic design by Bob Knuth and lush costumes by Bob Kuhn, the show is visually striking and easily one of the best and most complete productions this writer has seen from Music Theater Works. When we consider our present world in its own exacerbation of the racial stances these gangs possess, this story stands hard and firm. “West Side Story,” because of this issue alone, will always be relevant—both a blessing and a curse. Fortunately for us, it is the blessing part that remains stalwart in the endless creativity here.

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 about Ben Franklin, THE FIRST EMBASSY.

PHOTO|Brett Beiner

Music Theater Works
presents
West Side Story
North Shore Center for the Performing Arts
through August 30, 2026

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PicksInSix Gold Review - Damn Yankees - Theo Ubique Cabaret Theatre

Be Careful What You Wish For.
PicksInSix® Gold Review | Ed Tracy

There is nothing quite like the experience of sitting in the dark as the lights come up on opening night. It matters little what the show is, how big the theater is or whether or not it is a world premiere or a revival. There is no doubt that a similar thrill lies deep in the dark reaches of every performer on stage, in the pit orchestra and behind the scenes.

There is unmistakable excitement for official opening nights, even if the show has had multiple previews and whether or not the words “critically acclaimed” appear in notices.

Not all of that exuberant energy can be harnessed for the length of a run. Conversely, many facets of the production mature with the benefit of successive live audiences. As the show coalesces, it becomes a more satisfying experience for the company and, in turn, the audience. Live audience reaction builds confidence and consistency. That is one of the chief reasons that live theater is truly irresistible: you never get the same performance twice.

Since theater critics routinely have that opening night opportunity, they often do not see the mature production. Covering a show deep in its run, especially a run that has been extended by high critical praise and word of mouth, is altogether new territory for me.

With all this in mind, I was excited on Sunday evening to finally see the revival of “Damn Yankees” that opened in late May at Theo. This 1955 musical classic—book by George Abbott and Douglass Wallop and music and lyrics by Richard Adler and Jerry Ross—is an ambitious undertaking and popping up more often with a Broadway revival scheduled for next season. But it is rarely seen in such an intimate space as Theo, a company that has a fine reputation for producing exceptional, memorable musical productions.

"Damn Yankees," as directed by Daryl D. Brooks and choreographed by Christopher Chase Carter, is the story of Joe Boyd (Thomas M. Shea), the frustrated Washington Senators fan who says that he would give anything to be able to beat their dreaded pinstriped nemesis and win the American League pennant. As the words leave his lips, on comes Mr. Applegate (Tommy Thurston) with a diabolical bargain that seems too good to be true—become the best baseball player to ever play the game, lead the Senators to the pennant, and all for one small offering from Boyd: his soul.

On a grand scale, a production of “Damn Yankees” can be filled with the kind of fire and brimstone effects that befit a modern day Mephistopheles. At Theo, Brooks and Chase expertly turn the focus on the more emotional aspects of the story, the deep sense of loss that Meg Boyd (Megan Hoyt) feels when Joe has gone away, her interaction with Joe Hardy (Luke Nowakowski) and the collegial harmony of the team itself, a rag tag bunch with a lotta heart under the stewardship of the manager Van Buren (Reginald Hemphill). And then there is the snooping, scooping reporter Gloria Thorpe (Alex Madda) who leads a rousing rendition of “Shoeless Joe from Hannibal, MO.”

Nowakowski’s flawless performance as Joe Hardy brims with confidence, sincerity and charm. We know just how spectacular this show will be from the get-go in “Goodbye Old Girl,” the transformational ballad beautifully sung by Shea and masterfully completed by Nowakowski.

But there is more. Much more.

The electrifying performance of the night goes to Jenny Couch as the fiery temptress Lola. Couch is a fine singer, a superbly skilled dancer and has the acting chops for a role that drips with alluring appeal in the early scenes—with Thurston in “A Little Brains, A Little Talent,” Nowakowski in “Whatever Lola Wants, Lola Gets,” and the red-hot, Latin-infused mambo number “Who’s Got The Pain” with Quinn Rigg—then evolves into the touching central character of the show, someone we can really root for and whose change of heart is uniquely essential to the storyline. It takes a special talent to pull that off and Couch is the real deal. Without Lola in his corner, there is no way out for Joe and his eternal fate is sealed. It’s a pivotal turning point that Couch and Nowakowski navigate with gusto in “Two Lost Souls.” Wowzah!

With an upbeat combo under the steady hand of Ryan Brewster on the terrific Adler/Ross score, a creative raked baseball diamond set design by Manuel Ortiz, gorgeous costumes by Marquecia Jordan and, yes, hot dogs at intermission, Theo’s “Damn Yankees” is one of the best shows on stage in Chicago right now.

PHOTO|Elizabeth Stenholt Photography

Theo Ubique Cabaret Theatre
presents
Damn Yankees
The Fred Anzevino Theatre
721 Howard Street
Evanston
EXTENDED through July 12

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PicksInSix Review: Anything Goes - Porchlight Music Theatre

Blow Gabriel! Murphy is Heaven Sent!
PicksInSix® Review | Ed Tracy

Porchlight Music Theatre celebrates the Chicago Cole Porter Festival and launches their 29th Season with a sparkling, effervescent 90th anniversary production of “Anything Goes” superbly directed by Michael Weber featuring Meghan Murphy in a big, boisterous star turn as the seaworthy siren Reno Sweeney. The book by Timothy Crouse and John Weidman, was adapted for the 1987 Broadway revival from the 1934 original by P.C. Woodhouse, Guy Bolton, Howard Lindsay and Russel Crouse. It tells the story of an oceanic crossing with a zany cast of characters with Murphy’s Sweeney at the delectable center of Porter’s most beloved music and lyrics.

Luke Nowakowski shines in the role of Billy Crocker who yearns for Hope Harcourt (played beautifully by Emma Ogea) even as he falls in with a gangster named Moonface Martin (an inspired performance by Steve McDonaugh) and his partner Erma (a scintillating Tafadzwa Diener) who all want to flip the tables on the wedding between Harcourt and Lord Evelyn Oakleigh (Jackson Evans). At the matinee on Saturday, Evans—in one of the most hilarious of his many stage appearances to date—and Murphy create an irresistible comic cosmos in “The Gypsy in Me” that literally brought tears to my eyes. In the end, of course, love conquers all and everything works out, except for a few clay pigeons off the starboard bow and anyone who actually sold their Amalgamated stock.

Under the lush musical direction of Nick Sula, Porter’s rich, melodic score comes vibrantly alive in “You’re The Top,” “Friendship” and “It’s De-lovely.” And when conductor Linda Madonia’s band kicks into high gear, it’s time to clear the decks for Tammy Mader’s rock-solid, toe-tapping choreography—and one of the finest singing and dancing ensembles seen on a Porchlight stage—to blast the big production numbers like “Anything Goes,” and “Blow, Gabriel Blow” straight to the heavens, with Murphy leading the way.

Jeffrey D. Kmiec’s magnificent two-story ship deck is dressed in navy blue and white with seaworthy stairs that frame a series of three revolving doors providing access to the main stage area. Kmiec’s masterfully sturdy design, complete with ship’s railing and arched pylons, reveals more than a few surprises along the way.

Under the steady hand of artistic director Michael Weber, Porchlight Music Theatre has built a superb reputation for developing exceptional new talent. In recent years, on the intimate Ruth Page Center for the Arts main stage, the company has forged full steam ahead through harsh winds and heavy seas to stay on course despite the challenges that the performing arts community has been navigating. Weber and Executive Director Jeannie Lukow’s bold, innovative, award-winning, musical productions include a long list of outstanding veteran performers like the late Hollis Resnick in a memorable production of “Sunset Boulevard,” E. Faye Butler’s showstopping performance as Mama Rose in “Gypsy” and Broadway veteran Felicia P. Fields in “Blues in the Night” who elevate the performances of everyone around them to new heights.

Add the exquisite Meghan Murphy to the company of Chicago’s all-time brightest stars. What a performance. What a show! 

PHOTO|Liz Lauren

PORCHLIGHT MUSIC THEATRE
presents
ANYTHING GOES
Ruth Page Center for the Arts
EXTENDED
through March 10, 2024

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