PicksInSix Review: Big White Fog - Court Theatre

Court’s ‘Fog” A Lesson in Time
PicksInSix® Review | Guest Contributor | Ronald Keaton

The theatre pioneer Theodore Ward's ambitious “Big White Fog” is the latest offering at Court Theatre, playing through October 12. It is directed in unabashedly huge strokes by Court Resident Artist Ron OJ Parson and, in many ways, is both a grand story of impact and resulting fallout and a lesson in time. There is an inevitable connection/comparison between Mr. Ward's opus and the delicate, powerful classic “A Raisin In The Sun” by Lorraine Hansberry. They are two plays in dialogue that address family and, more pointedly, the Black experience in America. They share the same soil but blossom differently in their individual stories. The period in which the Ward play is written—the edge of the Great Depression into those years of unrelenting economic challenge and unending—magnifies that painful reality.

It is about three generations of the Mason family, who live on the South Side of Chicago. It's the 1920s, and the economic disparity between races is never more pronounced. The family itself is split across ideological lines. There is a fussy, battling matriarch Martha (Greta Oglesby is a strong, appealing presence) who shuttles from one location to another to find peace. Victor, a construction worker and the head of his family (Joshua L. Green, magnetic and powerful) is exhausted by the frustration of the family's economic woes, so he turns to Marcus Garvey and the “Back to Africa” movement for a kind of guidance. Meanwhile, brother-in-law Daniel (Amir Abdullah, ever present and antagonistic), wants to beat society at its own game, so he's diving into capitalism full-bore. He even buys a building to turn into apartments. And the problem for Victor is that Daniel seems to always have just enough money, which makes the more difficult philosophical stance in following Garveyism even more pronounced. The family is constantly battling to hang onto each other.

Meanwhile Lester (effectively understated by Patrick Newson Jr.) is about to go to college and waiting on scholarship money. When the money is denied to him because of his race, it begins in Lester's mind a long-range consideration in banding groups together with his Jewish friend Nathan (Artem Kreimer, quiet and appropriately supportive) to solve the family's issues. Ella (the marvelous Sharriese Hamilton) is constantly pushed to the brink, trying to hold onto a family that seems more and more bent on self-destruction. Ella has a breakdown about husband Victor where she finally shares her frustrations. Yet she continues to be a stoic presence and will not bend to the pressure, no matter how it affects her personally. Family, first and foremost.

When the Great Depression hits, the family is one of many facing eviction. In time, there are officers sent to make sure the eviction is carried out, becoming a behemoth that the Masons simply cannot fight. Lester, in the meantime, has gathered his friend Nathan and several others to make sure that the family stays in the house. The ending is still a surprise in its violence, and Victor pays the ultimate price for his will to keep the family moving forward.

The seventeen-player ensemble is exactly that—an actor's ensemble to the end. They feed off each other well, and each leaves a strong, individual mark. Ayanna Bria Bakari (Wanda Mason), Saran Bakari (Claudine/Sister Gabriella), Jada Jackson (Caroline Mason), Ronald L. Conner (Percy Mason), Alanna Lovely (Juanita Rogers), and John McBeth III (Philip Mason) are the family unit. Other strong contributions come from Anthony Irons and Lionel Gentle as the officers who help Victor in his adaption to Garveyism; Brandon Dahlquist as the Lieutenant in the eviction; and Nathan Daniel Goldberg as Bailiff.

Mr. Ward was a playwright and writer of strong leftist stance and allowed it all to reflect in his work. The “fog” is both literal poverty and figurative uncertainty about the right path forward. The "dream deferred" from the Langston Hughes poem is a reflection of how Ms. Hansberry viewed the same experience, some twenty years later, in her own activist outlook. In a way, she stands on Mr. Ward's shoulders. Both deal with dreams, with housing, with systemic racism. Both the fog and the dream deferred represent the same frustrating viewpoint. And both stand out loud in their own ways to shout the virtues, and the very tightness, of the family unit.

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 | Michael Brosilow

Court Theatre
presents
Big White Fog
5535 South Ellis Avenue
though October 12

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PicksInSix Review: Hymn - Chicago Shakespeare Theater

Crisp, Compelling ‘HYMN’ at Chicago Shakes.
PicksInSix® Review | Ed Tracy

Lolita Chakrabarti’s absorbing new play “Hymn” that opened Saturday at Chicago Shakespeare Theater’s Courtyard Theater directed by Ron OJ Parson features two of Chicago’s most accomplished actors, Chiké Johnson and James Vincent Meredith. The show follows two 50ish Black men who share much more than the fact that their birthdays are a few days apart. That fact may be enough to set up what follows without blatantly divulging the other, more significant, genetic marker they have in common.

“Hymn” plays out in a series of scenes set in South Side Chicago over the course of a year in the lives of Benny (Johnson), a logistics professional and family man who grew up in a tough neighborhood and Gil (Meredith), whose father, an accomplished dry cleaning business owner has recently passed. Gil has been engaged as a partner in the family operation that has allowed an affluent lifestyle. When we first meet Benny, things are a bit unhinged.

Early on we discover some radical lifestyle differences. While Benny attended public school in Englewood, Gil graduated from prestigious Saint Ignatius. Both are tentative at first, understandably wary on many levels. That all dissolves away into a fast and meaningful friendship, sharing common experiences, life lessons and future dreams with a strong, fulfilling brotherhood developing. Gil is welcomed into Benny’s family and a warm, respectful kinship takes hold. Things turn quickly though as other forces beyond their control eventually come into play and the partnership that started with such promise is suddenly in serious jeopardy.

Chakrabarti’s characters are superbly defined and Johnson and Meredith are excellent in this 100 minute drama. Parson, a multiple Jeff award-winning director in his first production at Shakes, skillfully maneuvers the ebb and flow of the action as the men rekindle experiences missed from an earlier era through the music of their lives. These are two wonderfully warm and genuine performances filled with sincerity and humor.

Scenic/projections designer Rasean Davonté Johnson has replicated an elegant, wood hewed set on the Courtyard Theatre’s thrust stage with multi-purpose benches on each side with elaborate drops that frame the various projections. Jason Lynch’s lighting and Yvonne Miranda’s costumes complete the savory visual landscape. There is a definite wink and a nod in the timely use of music to punctuate the story, much a part of the script and expertly executed by sound designer and composer Willow James.

“Hymn” is a powerful example of what Chakrabarti calls “a universal story of finding commonality and love” even as it reaches out with music to build a bridge of trust and brotherly love. The influential women in these men’s lives, though unseen, radiate an extraordinary level of love and support which comes through brilliantly in the rich text and Parson’s crisp, compelling production.     

PHOTO|Vashon Jordan Jr.

Chicago Shakespeare Theater
presents
World Premiere
HYMN
Jentes Family Courtyard Theater
Navy Pier
through May 25, 2025

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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: East Texas Hot Links - Court Theatre

Articulate, Impactful ‘East Texas Hot Links’
PicksInSix® Review | Guest Contributor | Ronald Keaton

There is a stellar production of Eugene Lee’s signature play “East Texas Hot Links” playing now at Court Theatre in Chicago through September 29. It is an articulate, impactful play that echoes in one’s mind long after the curtain comes down in its eloquent and painful comment on the remnants of the civil rights movement in America, how it continues to resonate and affect so many of our societal mores.  It 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.

Imagine the mid-1950s in the South—in this case, east Texas—at a small café/saloon back in the “piney woods.”  We are privy to a group of folks who all know each other, whose familiarity is not just palpable, it’s vital for the telling of this story. And this production offers one of the finest presentations of true ensemble acting we will ever see.  The intimate banter, the intuitive approaches in character, the story’s roadmap that is laid out for the cast, enhancing each actor’s planting of their artistic feet by literally grabbing and shaking us. It’s as hard as anything we may have seen in recent seasons at Court.  And it’s all couched in, yes, the love that people can have for each other by pointing out the bad and raising high the good in us.

This cast. The play begins with Kelvin Roston Jr., a Court favorite, as Roy, a man whose checkered past (a trait shared by others here) has made him look at starting over in a more productive way. He’s always had a huge attraction for the owner/bartender Charlesetta (a glowing AnJi White), who keeps him and all the men in the bar constantly at bay. There’s Adolph (Willie B. in a strong portrayal), a blind philosopher of sorts whose gravitas helps steer the conversation. Beside him at his table is Columbus (Alfred H. Wilson is a compelling influence) whose ownership of property gives him a more telling voice.

There’s the formidable AC Smith whose hustler/fortune teller Broochie dominates the story halfway through by a simple reading of the palm of Delmus (a naïve young man given wonderful shrift by David Dowd), a kid with big dreams and plans. Then there’s Buckshot (a dark and yet emotionally delicate performance by Geno Walker) who’s just gotten out of jail and simply trying to find his way.  And there’s Juwan Lockett in a defining portrayal as XL, a man whose instinct for survival overpowers his sense of decency and responsibility to his friends and family.

Little by little, the silence at the beginning of the play—one that is held to observe for a reason—gives way to exchanges between characters that make you listen to the words, other times to their rhythms, all the time to the presence and power of the voices. With the specter of the Klan exerting power all through it, director Parson deftly handles the intensity with the skill of a surgeon. This kind of story telling is indeed his specialty and it’s marvelous to watch.  And it’s a simple, highly effective Jack Magaw set design, this small tavern that offers big story. It’s highly complimented by a soft, layered lighting design from Jason Lynch.

Let us also remember that the setting and locale for “East Texas Hot Links” lives in the wake of Brown vs. Board of Education and Emmitt Till and Rosa Parks and the emergence of MLK in the public eye. This is not just Black history, but American history, no matter any regard for political expedience. These characters are etched so well within these creative walls by Mr. Lee, an August Wilson disciple and accomplished actor/writer in his own right, and expertly guided by Mr. Parson to the ultimate surprise at the end of the play.  Well, unfortunately not a surprise to all, as you will see.  

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|Michael Brosilow

COURT THEATRE
presents
East Texas Hot Links
5535 S Ellis Ave.
through September 29, 2023

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PicksInSix Review: Toni Stone - Goodman Theatre

“…wide, tender eyes and knowing delivery.”
Ronald Keaton | Guest Contributor | PicksInSix® Review

“Why would I eat crackers in your bed?”  The character of Toni Stone asks this literal question of a prospective lover, as well as other hugely unconventional issues in Lydia R. Diamond’s sparkling, creative play “Toni Stone,” now playing at the Goodman Theatre. Stone is a historic figure who infuses her world with all kinds of sociological change, being the first woman to ever play on the field in men’s professional baseball… in this case, the Indianapolis Clowns of the Negro Leagues in the 1940s and 50s.

You may ask: “Why does the world not know more about her?” That is beginning to change with this expertly-crafted memory play that maps out Stone’s path in a pleasingly helter-skelter manner, allowing for a full and articulate explanation of who she is, what she wants, and how she gets there.  Doesn’t matter that it might be a tad confusing to some; that’s the nature of our memories, after all, and what they mean to our own histories.  Ms. Diamond has infused Toni Stone with an unflinching, iron-clad commitment to not only the game, but how she fits into it.  Her very first monologue talks of her own ‘reach’ through the ‘weight’ of the ball itself; she holds the ball for the audience as if it were her own child.  And in essence, that’s how committed, singular paths make their own mark.

The wonderful Tracey N. Bonner inhabits Toni Stone with a child’s longing, a woman’s continual feist against conformity, and an athlete’s endless vision.  Ms. Bonner presents someone absolutely on point in her feelings about baseball, almost obsessively so.  Stone is a baseball computer; she uses her knowledge of baseball players and statistics as a salving tool in constant recitative to survive what is thrown at her on the diamond by opposing teams and, indeed, the world at large.  The self-advocating side of Stone only serves to further strengthen the obvious calling that baseball was to her; Bonner offers this in wide, tender eyes and knowing delivery.  This is an actor’s masterclass in fully inhabiting one’s character in a show that I would see again and again.

There is much gorgeous work here. Jon Hudson Odom as the madam Millie is not only a soothing influence on Stone; we see from the actor a total calm and command from the get-go. As Stone’s lover and eventual husband, the marvelous Chiké  Johnson imbues his Alberga with a strong, yet quiet pseudo-Nick Arnstein presence for us to hold our collective breath, in his three-piece dark blue suit and habitual smooth.  The supporting cast portrays a rogue’s gallery of characters – mothers, bartenders, team owners, baseball players and coaches. The fabulous ensemble – Kai A. Ealy, Joseph Aaron Johnson, Travis A. Knight, Victor Musoni, Matty Robinson, Edgar Miguel Sanchez, Terence Sims, and Jabari Khaliq – use every Diamond phrase, both intellectual and profane, to full advantage in support of the storytelling.

The impressive Todd Rosenthal set design is a suggested baseball field – in fact, the name on it was Victory Field in Indianapolis, where this writer attended games as a child. Mara Blumenfeld’s costumes are simple and excellently functional for the character changes the ensemble are assigned.  Keith Parham designed soft layers in a variety of ever-moving lighting effects, effortlessly following the Toni Stone life road.  Andre Pluess and his period music/sound design literally inhabits Stone’s mind as they assist to buoy the script in those memories. And Mike Tutaj once again imbues his projections with touches of elegance and documentary-like effect (“Jack’s Tavern” the on-the road landscapes for the team).

Ms. Diamond has always been a favorite writer at the Goodman, and she’s earned it – a real Chicago treasure.  “Toni Stone” is among her best work.  And the celebrated director Ron OJ Parson has given this play and these actors a clear, accessible and fully non-conformist track that keeps up with Ms. Bonner’s inventive and keen actor/storyteller.  Everyone in this process, in fact, either is or became an expert storyteller.  The fact that it all comes through one of the most inventive characters written in a long time only magnifies the quality of every creative person involved here.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL www.solochicagotheatre.com 

PHOTO|Liz Lauren

GOODMAN THEATRE
presents
TONI STONE
through March 20
Albert Theatre
170 N. Dearborn St.

(312) 443-3800

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PicksInSix Review: Arsenic and Old Lace - Court Theatre

‘Bully!’ for the Brewsters of Brooklyn.
PicksInSix® Review | Guest Contributor | Scott Gryder

As the sounds of Duke Ellington and the like jazzed throughout the venue, a true mansion of elegant decadence transported last night’s audience back to 1940’s Brooklyn at Court Theatre’s 2022/23 Season opener “Arsenic and Old Lace.” The lights went down, and the packed house began to giggle with delight and anticipation as if they knew they were soon to be reminded as to why Court Theatre so-deserved their recent 2022 Regional Theatre Tony Award. And they were right!

Centered on the multi-generational home of Brewster sisters Martha and Abby, undoubtedly beloved by all Brooklynites, “Arsenic and Old Lace” is a rollercoaster of discovery. In true farcical fashion, “Arsenic and Old Lace” reveals outlandish truths, exposes unexpected identities, and packs perfectly-timed quirks and turns that trigger endless cackles of laughter. As each character is introduced, don’t be fooled! There is more than meets the eye, and the once happy home becomes a near house of horrors, brimming with hilarity.

The play rightfully focuses on the home’s current occupants, Celeste Williams’s oh-so-huggable Martha Brewster and TayLar’s strict-yet-kind Abby Brewster. The pair is so wholly lovable and frank, you truly believe they should be reprimanded with nothing more than a rap on the wrist for the atrocities they have committed. Although less criminal than the rest of the Brewster family, it’s Allen D. Edge who shows the greatest facet of acting duplicity with his quick-changing, manic Teddy Brewster, while love interests Emma Jo Boyden’s effervescent Elaine Harper reveals bold strength and Eric Gerard’s sleek Mortimer Brewster stokes the fires of self-discovery. The malicious duo of Guy Van Swearingen and A.C. Smith’s Dr. Einstein (no, not THAT Dr. Einstein) and Jonathan Brewster almost too realistically execute their scene of attack, but they expertly ease us back into the dramedy like the smooth-moving criminals that they think they are. A quarter dozen of officers sprinkle comedic tension throughout, played smartly by Norm Boucher, Matthew Lunt, Allen Gilmore, and Thomas J. Cox, with the latter’s multiple appearances so neatly crafted to be nearly indiscernible as being played by the same actor.

Court Theatre has so deftly fulfilled their mission to reimagine classic theatre for modern audiences, it’s hard to believe that Joseph Otto Kesselring’s “Arsenic and Old Lace” premiered in 1941! More of an ensemble piece, each character is so fully realized that, despite their outrageous natures, they’re never pushed beyond believability. In a cast of could-be zany caricatures, each actor stays true to their subtext and intentions, never allowing the absurdity of their circumstances to overstep reality. That’s what truly seals the deal for a masterful production!

Although categorically a period piece, beloved Chicago director Ron OJ Parson pushes the text and action to such a nearly unrecognizable contemporary energy, regifting modern audiences with this sparkling vintage. That being said, as consistently engaging as it is, the play begins to sputter post-intermission with multiple spliced scenes, marked with full blackouts. However, even the last beat before lights out continues to tickle. Scenic Designer John Culbert’s detailed Brewster mansion is an almost “I Spy” of ornamentation, so filled with photos and knicknacks (obviously hoarded over multiple generations) to such an extreme, one could not help but feel right at home. Rachel Anne Healy’s costume designs mirror Culbert’s set, with stunning works of ornamental patterns in intricate and fashionable styles of the time. Even sound designer Sarah Ramos gets a part of the action with a bombardment of doorbells and eerie ambience.

After two-and-a-half hours of exceptional mirth and amusement, I was nearly too exhausted to cross the University of Chicago campus to return to the nearby parking garage in order to drive home. In short, if you’re looking for a show with such excellent comic timing that you’ll find yourself reacting in the most merrily and embarrassing manner in public that you can remember, make your way to Court Theatre’s “Arsenic and Old Lace” running now through Oct 2. Now, if you’ll excuse me, I suddenly have a taste for homemade elderberry wine. #IYKYK

GUEST CONTRIBUTOR | SCOTT GRYDER received a Non-Equity Jeff Award for his performance in the one-man show BUYER & CELLAR. www.thescottgryder.com 

PHOTO | Michael Brosilow

COURT THEATRE
presents
Arsenic and Old Lace
through October 2, 2022

5535 S. Ellis Ave. (map)
Chicago, IL 60637
(773) 753-4472
info@courttheatre.org

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PicksInSix Review: SWEAT

SIZZLING ‘SWEAT’ FEATURES POWERFUL CORE PERFORMANCES

“Sweat,” the 2017 Pulitzer Prize-winning play by Lynn Nottage that opened Monday in a crisply directed Ron OJ Parson Chicago premiere production at Goodman Theatre, is set in Reading, Pennsylvania, a steel mill town in the midst of the cyclical industrial turmoil that threatens blue-collar families in communities across America.  

The action occurs at pivot points in 2000 and 2008, bookends that allow for the dramatic elements of the storyline to evolve in vignettes that initially include parole officer Evan (Ronald L. Conner) in meetings with Jason (Mike Cherry) and Chris (Edgar Miguel Sanchez) who have recently been released from prison.

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The livelihood of every character in Nottage’s compelling story is tied to the prosperity of the Olstead steel tubing plant. In the opening scene set eight years earlier at a local bar managed by Stan (Keith Kupferer), three women who have worked together on the factory floor since high school–Chris’s mother, Cynthia (Tyla Abercrumbie) who is African-American, Jason’s mother, Tracey (Kirsten Fitzgerald), and their over-served wingman Jessie (Chaon Cross)–are celebrating Tracey’s birthday.  Stan’s Colombian employee Oscar (Steve Casillas) is present, as well as Cynthia’s ex-husband, Brucie (André Teamer), whose life and familial relationships have spiraled out of control since he lost his job.  

A supervisor opening at the mill has everyone talking. Cynthia views the promotion as a chance to finally leave the floor and applies. However, when she gets the job, the friction riles her relationship with Tracey and Jessie, who know that a change in their work association will be fatal to the friendship. It all starts to unravel when a notice is distributed in Spanish; lines are drawn and tempers begin to flare.

The sizzling emotional interaction of Abercrumbie and Fitzgerald–alternating between sisterhood and disdain for one another–provide the show’s powerful core performances. Kupferer is terrific in the role of the former mill worker whose career was cut short due to injury. The entertaining Cross spends most of the evening delightfully inebriated, while the friendships between the women is mirrored in the fine portrayals of the sons by Cherry and Sanchez, who, with Casillas, raise the dramatic tension of the piece to a fever pitch.

The creative design team–Kevin Depinet (set), Mara Blumenfeld (costumes), Keith Parham (lighting) and Richard Woodbury (sound)–have created a stunner for this production that evokes the pre-911 post-market collapse span of the era as a defining moment for generations of factory workers whose lives and world view have been irreparably altered. Nottage’s profoundly insightful work reminds us of the collateral damage that hateful dialogue and pent-up rage can inflict on others–a stark and valuable lesson for our time. 

PHOTOS|Liz Lauren

GOODMAN THEATRE
Presents
SWEAT
through April 14th
ALBERT THEATRE
170 NORTH DEARBORN
(312) 443-3800

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PicksInSix Review: Ma Rainey's Black Bottom

“AN EMPTY WORLD WITHOUT THE BLUES”

Two seismic shifts create the drama in August Wilson’s “Ma Rainey’s Black Bottom,” now playing in a stunning revival at Writers Theatre in Glencoe. Director Ron OJ Parson masterfully allows one moment to erupt as if from thin air. The other comes on so ferociously that it will take your breath away as the startling summation of the power of Wilson’s driving narrative about discrimination and the unhinged rage from within that it fosters.

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All of this occurs on a single afternoon in 1927 at a Paramount Records recording studio in Chicago.  Ma Rainey (Felicia P. Fields) and her band–piano man Toledo (David Alan Anderson), guitarist Cutler (Alfred H. Wilson), bassist Slow Drag (A.C. Smith) and trumpeter Levee (Kelvin Roston Jr.)–along with her partner Dussie Mae (Tiffany Renee Johnson) and speech-impaired nephew Sylvester (Jalen Gilbert), are scheduled to meet with her manager Irvin (Peter Moore) and the studio owner Sturdyvant (Thomas J. Cox). 

With Rainey’s arrival delayed, the band sets up in the rehearsal room. The men draw lines concerning who is in charge when Irwin selects Levee’s new arrangement of Rainey’s iconic “Black Bottom” for the recording session. It becomes clear that the ambitious Levee has been working a side deal with Sturdyvant for new material. Convinced that he will be fronting his own band before too long, Levee ends up squarely at odds with Toledo, while Cutler and Slow Drag choose to just get along. All that changes when the notoriously feisty Rainey arrives and refuses to sing until everyone sees things her way, right down to giving Sylvester multiple tries at announcing.

Rainey is a survivor in a business that has exploited her talent. Fields takes full advantage of the inherent power of the role and her interactions with Levee–and everyone else–who challenges her authority. What Levee says and does may well cost him the job, particularly if his intimate relations with Dussie Mae are revealed. Roston expertly navigates the deep-seated hostility and remorse of Levee’s youth with powerful conviction. The brilliant individual performances of Anderson, Wilson and Smith establish an immediate connection together, with the mounting tension that drives the men to a tragic breaking point spurred on by the greed and careless disregard of the men holding the purse strings, roles Moore and Cox skillfully deliver.     

The studio setting, a gritty, ingenious Todd Rosenthal jewel, allows continuous, flow—inside-out and up-and-down—on three floors. Myrna Colley-Lee’s Roaring ’20s-era costumes glow under the rich hues of Jared Gooding’s lighting. Ray Nardelli’s sound mix is a key element in the superb music segments.   

One of the many inspiring and uplifting messages of this stirring production is that it would be “an empty world without the blues.” When Fields proceeds to prove Ma’s point and dazzle us vocally in an electrifying performance, we are literally transported back to a moment in time when the oppressive racist attitudes against generations of African-American entertainers were momentarily stripped away and what was left, and which endures today, is Ma Rainey’s soaring musical legacy.

PHOTOS|Michael Brosilow

WRITERS THEATRE
Presents
MA RAINEY’S BLACK BOTTOM
through March 17th
325 Tudor Court, Glencoe
(847) 242-6000

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PICKSINSIX Review: RADIO GOLF

‘RADIO GOLF’ - A Stroke of Genius!
by Kaitlyn Linsner

An inspiring, must-see… A captivated audience rose to their feet on opening night of Court Theatre’s Radio Golf to applaud a powerful cast and resonating performance. The production explores pressing societal issues at the intersections of race, politics, and morality with engaging dialogue, deep humanity, and some hearty laughs. An inspiring, must-see for Chicagoans.   

What it’s about …  ‘Radio Golf’ sets the stage in Pittsburgh’s Hill District during the late 1990s where three determined black real-estate developers Harmond Wilks (Allen Gilmore), his wife Mame Wilks (Ann Joseph) and their partner Roosevelt Hicks (James Vincent Meredith) are on the verge of completing an economic development plan in hopes of restoring the blighted neighborhood and positioning themselves to reach their desired social status. This project could bring great success to all of them, specifically to Harmond Wilks, who grew up in the neighborhood and is now in the midst of his campaign to become the first black mayor of the city. However, over the course of several visits by insightful, long-time community members Elder Joseph Barlow (Alfred H. Wilson) and Sterling Johnson (James T. Alfred), who disagree with the development plan, conflicts arise and play out through the lens of the black experience to offer a complex exploration of change.

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“Hail Hail, the Gang’s all Here” … The cast is terrific. Each member delivers an impactful performance perhaps most notable being Wilson’s portrayal of his eccentric character with genuine warmth and wisdom. Watch and wait for the gut-wrenching exchanges between the players especially when two commanding performers, Gilmore and Meredith, go head-to-head over purpose and calling.

Brilliant and thoroughly entertaining … While ‘Radio Golf’ takes place nearly twenty years ago, the story could not be more relevant today. It approaches uncomfortable truths about race dynamics and the nuances of human existence in a divisive society unapologetically. We celebrated moments of achievement with those on stage but remain unsure as to who truly wins in the end. We struggled through their conflicts of preservation or gentrification, moving up or selling out, right or wrong. We were ultimately given a brilliant, and thoroughly entertaining, opportunity to self-reflect on the impact we have on a profoundly personal and broader systemic level.

Detailed by design … Jack Magaw’s set design features impressive construction that accurately depicts the seasoned grit and character of a charming, old, unrestored building. An incredible amount of rigor was displayed in the smallest details, from the classic dirty crown molding to the concrete graffiti-ed stairs behind the windows. By not overlooking these details, the scenic elements enhanced by Clair Chrzan’s light design, engulfs the audience and enhances the believability in which this world exists.

Continue the Conversation … Court Theatre’s fine educational outreach programs continue with a panel discussion featuring director of ‘Radio Golf,’ Ron OJ Parson, and neighborhood-focused commercial real estate developer Leon I. Walker on Sunday, September 30 at 4:45 p.m. in the Abelson Auditorium about issues of urban revitalization and neighborhood economic development in Chicago. Admission is free.

PHOTOS|Michael Brosilow

COURT THEATRE
Presents
August Wilson’s
RADIO GOLF
through October 6th
5535 Ellis Avenue
(773) 753-4472

WEBSITE

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