DRAW THE CURTAIN. DIM THE LIGHTS. MEMORABLE PERFORMANCE PICKS FOR 2025

DRAW THE CURTAIN. DIM THE LIGHTS.
Memorable Performance Picks for 2025
PicksInSix® Review | Ed Tracy

It is hard to believe that CONVERSATIONS|PicksInSix® turned ten this year. To be honest, with the shutdown, it feels a bit more like the second act of a ten scene play with an overly long intermission. The post-pandemic era in which we live still has mighty challenges for the performing arts, but the new normal has had a spirited rebirth that continues to provide a wide range of offerings to Chicago audiences.

It is always a challenge to single out the memorable moments of the shows we cover each year, including both onstage artists and off stage creative teams. We cannot see everything, but we try to do our best in theaters across the city and suburbs as well as the work of producers who bring their projects for Chicago’s diverse and discerning audiences.

Among the notable productions in that last category that fall outside the year-end review were “Sunny Afternoon,” and “Billy Jean” at Chicago Shakespeare, “Kimberly Akimbo,” “Parade” and “The Sound of Music” at Broadway in Chicago and the touring production of “Les Miserables” that we saw at Broadway in South Bend with Chicago’s own Matt Crowle in the role of Thenardier. Chicago’s Larry Yando is still out making magic on the road with “Harry Potter,” as are the wonderful Heidi Kettenring and Gene Weygandt with “A Beautiful Noise: The Neil Diamond Musical” and a rising star we think you will be hearing a lot more about, Darilyn Burtley, who is touring as Tina Turner in “Tina.” Chicago talent is making an impression everywhere.

There were some disappointments, too, chiefly that “BOOP! The Musical,” with the stunning Jasmine Amy Rogers and Steppenwolf’s “Little Bear Ridge Road,” with the captivating Laurie Metcalf, did not transfer well to New York after sensational runs in town.  

Chicago is a creative laboratory for theatre, despite the challenges facing everyone at a time when our arts and live performance creators are reimagining operating models. It is a big lift to maintain the delicate balance between developing new talent and consistently presenting ambitious, unique and profitable projects. The responsibility for future success does not rest with one faction. It will take the combined efforts of emerging artists, educators, every theatre company and their leadership working with angel donors, sponsors, technical professionals and volunteer organizations like the Jeff Committee to infuse energy, enthusiasm and financial support.

It is a business, however, and all creative artists involved deserve to be respected for their own investment and given the opportunity to earn a living doing what they do so well. One of the most exciting developments evolving now is the three-year, $600,000 grant from the Paul M. Angell Foundation for Theater Wit's Shared Spaces program that allows the organization to offer reduced rates to producing companies. Imagine if other like-minded philanthropists joined to establish a universal live production endowment, perhaps managed independently on a pro-bono basis by a group of investment and industry professionals who distributed funds solely for the benefit and sustainability of performing artistic organizations in Chicago. If you would like to talk about the possibilities, let’s get in touch.

In the meantime, there are dozens of individuals who dedicate their time and talent to the Chicago theatre community. Our regional and national publicists provide invaluable, comprehensive support—at all times of the day and night—and allow the media access to create features, promotional pieces and reviews. It’s an honor to be invited and a responsibility that we all take very seriously. Thank you!

The brilliant Chicago theatre photographers like Michael Brosilow, Brett Beiner, Joe Mazza, Todd Rosenberg, Evan Hanover, Kyle Flubacker, Justin Barbin, Boris Martin and videographers HMS Media, among many others, commit their expertise and professionalism to document these productions and preserve a vivid archive for future generations. A special mention to the late Rich Hein (a/k/a/ Liz Lauren) whose passing this year was a stunning loss. Our gallery tribute was a testament to only a small portion of his work over a decades long photographic career.

This year CONVERSATIONS|PicksInSix® celebrated 10 years creating a fascinating archive of conversations and hundreds of reviews that would have not been possible without the support of writers like Ronald Keaton, Scott Gryder, Kaitlyn Linsner, Sarah Frances Fiorello, Catey Sullivan and Regina Belt-Daniels. Thank you most sincerely. Special thanks to the American Theatre Critics/Journalists Association and Theatre in Chicago’s Mark Meyer for coalescing critical reviews for the public at large.

In the end, it’s all about the show. Our thanks to all of the artists and organizations who invited us to share in their productions. Each performance is a new and exciting experience. What follows, in alphabetical order, are a few of the memorable moments, with a link to the review, from the shows that stood out as among the best and brightest for 2025:

Shanésia Davis – The storyline of the classic “A Raisin in the Sun” at Court Theatre, directed by Senior Artistic Producer Gabrielle Randle-Bent, is largely based on playwright Lorraine Hansberry’s own experiences growing up on the South Side of Chicago. The brilliant company was led by the riveting performance of Shanésia Davis as Lena ‘Mama’ Younger, the matriarch of the family. Simply astounding! P6

Sean Fortunato – Over the years, Sean Fortunato has expertly been reshaping dramatic, comic and musical roles on stages across the city and suburbs. This year, Fortunato shined in Marriott’s “Catch Me If You Can” but it was his inspired take on Dogberry in Chicago Shakespeare’s “Much Ado About Nothing”—which you can still see on stage there—that has elevated his comic abilities to a new level of entertainment. A tour-de-force performance! P6  

David Girolmo – For decades, working actors like David Girolmo go whenever and wherever the job sends them. Thankfully this year, we have had two opportunities to view this fine actor at work. In “Titanic” at Marriott Theatre, Girolmo’s Captain E.J. Smith was dashing, stalwart and vulnerable. Now playing in Paramount’s glorious production of “White Christmas,” Girolmo renders a commanding performance as the beloved General Waverly. A stately and superb craftsman! P6

 “Jeykll & Hyde” – Simply everything about Derek Van Barham’s direction of the Kokandy production at Chopin Theater was fabulous on opening night, from the soaring vocals of David Moreland, Ava Lane Stovall and Emily McCormick, Brenda Didier’s dynamic choreography, the on-stage presence of a 15-piece orchestra, and a multi-talented ensemble under the extraordinary musical direction of Nick Sula. Still playing at Chopin with limited availability. P6

Michelle Lauto – One of our favorite shows of the year, Paramount’s “Waitress,” starred Michelle Lauto as Jenna whose transition in life plays out in a single moment of truth in Lauto’s stunning, soul-searching rendition of “She Used to Be Mine.” A stunner! P6

James Sherman – Ronald Keaton wrote that “First Lady of Television” is “Sherman's marvelous, articulate plunge into show business history,” with William Dick and Cindy Gold playing beautifully together. “This is an ensemble play built on purpose and earnest leanings, as playwright Sherman shows us all, despite the history we think we know, what was still good in that time and place.” P6

A very worthy final bow to: 

Roberts Falls’ directorial debut of “Amadeus” at Steppenwolf and Charles Newell’s “Berlin.” Each one quite simply a masterpiece! … the captivating stage presence of Aurora Penepacker in Kokandy’s “Amélie.” More please! … the depth and experience of Francis Guinan on full display in Goodman’s “Ashland Avenue” … Phoebe Gonzalez’s bravura performance in Writers’ “As You Like It”…  puppet master Jesse Mooney-Bullock’s stunning work on Marriott’s “Nemo” … exceptional scenic designers Collette Pollard (Northlight’s “Gaslight” and Marriott’s “Titanic: The Musical”) and Andrew Boyce (Court Theatre’s “A Raisin in the Sun” and Writer’s “Translations”) and a few world-class stocking stuffers: Liz Callaway:To Steve with Love, the live concert tribute to Stephen Sondheim (as seen and heard at the Studebaker Theater) … Paul Marinaro’s – Mood Ellington and Elaine Dame’s – Reminiscing. You can still order all of them in time for Christmas!

Happy Holidays!

See you on the other side of the aisle!

Ed Tracy is an award-winning television and webcast producer, author, editor and program host. A career nonprofit professional, Tracy is President of Roxbury Road Creative, LLC, a professional management company and is a licensed real estate agent with Cressy & Everett Real Estate in St. Joseph, Michigan. CONVERSATIONS|PicksInSix® reviews theatre in Chicago and throughout the Midwest. American Theatre Critics/Journalists Association

PHOTO Credits: Michael Brosilow, Brett Beiner, Joe Mazza, Todd Rosenberg, Evan Hanover, Kyle Flubacker, Justin Barbin, Boris Martin

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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: Into The Woods - Kokandy Productions

Ensemble Vocals Dazzle in Kokandy’s ‘Woods’
PicksInSix® Review | Guest Contributor | Ronald Keaton

This was the very first time in all the years I have worked in the theatre that I have seen a full production of “Into the Woods,” the Sondheim/Lapine creation from 1997, currently produced by Kokandy Productions and presented at the Chopin Theatre in Chicago through December 22. It’s a show of far-reaching ambition and clever story and character. Drawing from the fairy tales of the Brothers Grimm, the authors have brilliantly created a place that is mostly referred to as ‘the woods,’ and every Grimm story one can remember is weaved throughout the plotline. “Into the Woods” purports to show what happens when a fairy tale ending isn’t really that happy in the face of real-life situations that affect such feelings and moments.

You name it, it’s there—Cinderella and her stepsisters and mother… Jack and his beanstalk, with his mother constantly trying to keep the boy in line. Oh, and giants not seen but certainly heard. Little Red Riding Hood and the Big Bad Wolf. Rapunzel and her long golden hair. A Witch who moves in and out of all the tales. Two young, full-of-themselves Princes, whose total delight with themselves eventually take them on separate journeys. There are even two characters that Mr. Sondheim and Mr. Lapine create out of thin air—a Baker and the Baker’s Wife. At least I don’t know what story they are in, but they are smartly used to plant the image of magic beans into Jack’s mind as he sells them the family cow, Milky White. And throughout the action, there is a Narrator who plays a Mysterious Man, guiding the players and the audience through the minefield of ‘the woods,’ learning lessons about life and death and how to survive.

And that’s just Act I. Act II takes an entirely different turn, as all the characters realize that life is not at all the happily ever after ending offered by the Brothers Grimm. Cinderella marries one of the princes, who turns around and has a quick tryst with the Baker’s Wife. After killing one of the Giants, young Jack discovers that the Giant’s wife wants revenge and intends to kill him for the death and thievery he has caused. Meanwhile, the Baker and Wife have had a child and discover just how difficult parenthood can be in maintaining a loving family. And on and on the story goes as one character after another learns different, but appropriate lessons on growing up. Taking responsibility. Realizing (painfully at times) that they can be better people than they might have been in the past. As a lyric goes: “children will listen.”

The plot and background are being laid out carefully here, because this is how thick the storytelling has to be to get everything told that the authors wish to include. The Lapine book is articulate and, despite all the plot twists, highly entertaining to watch. The Sondheim score is one of the most challenging ever written for the theatre, with intricate lyrics and music stylings that draw from the Romantics and patter songs a la Gilbert and Sullivan and even a jazz turn or two. His brilliance can never be overstated.

Kokandy Artistic Director Derek Van Barham and music director Nick Sula have taken over the lower level of the Chopin space in a stylish manner and, with single colorful lights augmenting the G Max Maxin IV lighting design and the posts in that space decorated to be imagined trees in the forest (also Maxin IV), the cast moves about with ease and energy.  My favorite idea in the entire production was the placing of two pianos at centerstage—the staging is in the round, by the way—and the two musicians Ariana Miles and Evelyn Ryan almost stole the show as they showcase their two-piano arrangement of one of the most formidable scores in the Sondheim canon flawlessly, all while reacting to characters approaching them with personal charm and grace.

“Into the Woods” is truly an ensemble piece, much like the great “Sweeney Todd,” and the actors need to be on their game to compliment each other doing the same. The vocal work is quite dazzling. There were standout moments – Madison Kauffman offers a simultaneously vulnerable and strong Cinderella who becomes a Princess not always willing to rule; Kevin Webb’s Baker is achingly tender and confused and ultimately learns his lesson well about fatherhood; Stephanie Stockstill as the Witch lovingly chews every bit of scenery as a proper witch should; and August Forman’s Narrator is a calming, sometimes even charming influence amid all the chaos that boils up in ‘the woods.’  

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|Evan Hanover

KOKANDY PRODUCTIONS
presents
INTO THE WOODS
Chopin Theater
1543 West Division
through December 22, 2024

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CHOPIN THEATRE

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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

WEBSITE

TICKETS

DIGITAL PROGRAM

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