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PicksInSix Review - Nunsense - Drury Lane Theatre

 
 

Holy and Hilarious, ‘Nunsense’ Delivers Big!
PicksInSix® Review | Guest Contributor | Kaitlyn Linsner

Five nuns from the Little Sisters of Hoboken have taken the stage at Drury Lane Theatre to sing and dance and hopefully raise enough money to give some of their fellow sisters a proper burial. You see, these sisters died from botulism and will be stuck in the freezer if the nuns’ variety show fundraiser fails. This production, however, has absolutely nothing to worry about. What talent and what fun!

Drury Lane’s “Nunsense,” wonderfully directed by E. Faye Butler, features some heavenly performers who know how to work the crowd and a top-notch creative team including music director Julia Schade, choreographer Kenny Ingram, and lighting design by Lee Fiskness. This beloved musical comedy originated from a line of greeting cards. Creator Dan Goggin later expanded the material to a cabaret show and then eventually to the full blown musical performed for the past 40 years.

One of the key features of “Nunsense” is audience participation. The nuns interact with the audience throughout and play in particular to those who went to Catholic school. Breaking the fourth wall works well here thanks largely to the comedic talents of Sister Mary Amnesia (Kelly Felthous). Felthous does a fine job improvising with audience members, and her goofy and campy performance brings on big laughs.

Sister Robert Anne (Rachel Carreras) also shines with great comedic timing. Overall, while some of the humor is dated (and very Catholic), this production is hilarious. There are great one-liners, raunchy content, physical humor, and a very memorable scene from Sister Mary Regina (Cory Goodrich) when she accidentally gets high. Sister Mary Regina and Sister Mary Hubert (Sharriese Hamilton) have great banter, and even when dancing for God, Sister Mary Leo (Aurora Boe) finds ways to make the audience laugh.

The talented cast has superior chemistry and sings beautifully together. The individual spotlight numbers for each nun, though, really showcase their vocal talents. “I Just Want to be a Star” stands out as a remarkable musical number where Sister Robert Anne (Carreras) finally gets her moment in the spotlight and performs a real show-stopper. High praise must also be given to Hamilton who, as Sister Mary Hubert delivers a powerful rendition of “Holier Than Thou.” Plus, there’s tap dancing, ballet, puppeteering, and even a sketch about cooking shows. You really cannot go wrong with “Nunsense.”

Of course, that is the appeal of this musical. You get a bit of everything from the Little Sisters of Hoboken who more than anything just want to entertain. They want you to laugh, tap your toes, clap your hands, and enjoy yourself. “Nunsense” delivers all of this and more and will be sure to keep you smiling from start to finish.

GUEST CONTRIBUTOR | KAITLYN LINSNER serves as an Assistant Attorney General in the Public Utilities Bureau of the Office of the Illinois Attorney General.

PHOTO|Caitlyn Dennis

Drury Lane Theatre
presents
NUNSENSE
Drury Lane Oakbrook
100 Drury Lane
Oakbrook Terrace, IL
through August 2, 2026

WEBSITE

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

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