PicksInSix Review: Come From Away - Marriott Theatre

Where The River Meets The Sea …
PicksInSix® Gold Review | Ed Tracy

It is startling to realize that twenty-five years have passed since a savage attack on America changed the world as we know it. Ask anyone born before 1996 and they can tell you where they were that fateful day, how shocked and saddened they felt in the weeks and months that followed, and how they grieved for the nearly 3,000 souls lost at the World Trade Center, the Pentagon and in a field near Shanksville, Pennsylvania.

And on Wednesday evening, a truly stunning production of “Come From Away” opened at the Marriott Theatre in Lincolnshire. Director Jessica Fisch and choreographer Katie Spelman have assembled an unmatched Chicago-based ensemble of stage veterans presenting a tapestry of true stories of compassion and kinship in the days following the 9/11 attacks. This show is electric, inspiring and fits the Marriott Theatre’s in-the-round-stage like a glove.

In the moments following the terrorist attacks, life as we know it came to a full stop. All air traffic within the United States was grounded. International travel was immediately restricted and commercial passenger flights that had sufficient fuel to return to their city of origin in Europe or Asia did so. Those that could not were forced to land wherever they could.

Three locations in Canada—Halifax Stanfield International Airport in Nova Scotia, Vancouver International Airport in British Columbia, and Gander International Airport in Newfoundland— served as a safe haven for thousands of international travelers until operations could be restored.

Gander was a small provincial town of approximately 10,000 when 38 planes landed on September 11, 2001 with nearly 7,000 passengers aboard. As residents quickly mobilized resources, food, medical care and services, all of the passengers were not allowed to deplane for nearly 24 hours. In the days that followed, the “plane people” of all nationalities—known as “come from aways”—received an epic outpouring of support from the Newfoundlanders. Together, over the hours and days that followed, everyone learned the universal language of patience, compassion, and generosity.

We might not know as much of this heartfelt story if the husband and wife team of Irene Sankoff and David Helm had not attended a reunion in 2011 and conducted hundreds of interviews. That source material forms the core of their brilliant 2017 Broadway musical “Come From Away,” distilled into dozens of composite characters of immense warmth and humor, each with a strong sense of resilience and pride. It is a substantial piece for 12 actors in a fast-paced 100-minute format which in the capable hands of Fisch and Spelman is quite literally a work of art.

Marriott’s “Come From Away” is also a bit of a professional homecoming all its own. The key romantic storyline is the heartfelt relationship of Diane and Nick, served up perfectly by Heidi Kettenring and Matt Crowle, both returning to the Chicagoland stage after recent national tours. Sharriese Hamilton is marvelous reprising the role of Hannah that she played recently in the Australian touring production of the show. The extraordinary talent and wide-ranging stage skills—and dialects—of Alex Goodrich, Devin DeSantis and Sarah Bockel are on full display, as are Justin Allbinder, Denise Devlin, Madison Kauffman, Michael Earvin Martin and Jonathan Shaboo. Lexie Dorset Sharp shines in the role of Captain Beverley Bass, the first female commercial pilot.

The story develops organically on Scott Penner’s scenic design that incorporates a stage revolve, tables and industrial stair units that are all integrated seamlessly in the flow of the piece. From the rousing “Welcome To The Rock,”“38 Planes,”“Screech In,” and “On the Edge,” to the more contemplative “Stop the World,”“Prayer,” and “Me and the Sky,” this is musical emotion in motion under Music Director Ryan T. Nelson. Celia Villacres conducts nine musicians through a score that features nearly twenty instruments nested squarely in traditional themes and melodies.

“Come From Away” serves as a vivid reminder that even in the grip of an international tragedy, ordinary people from all walks of life are capable of acts of kindness and generosity well beyond our imagination. It also speaks to our own capacity to overcome adversity for the new life that awaits us and assurance that the newfound relationships forged during difficult times will give us comfort and hope for the future.

PHOTO|Justin Barbin

Marriott Theatre
presents
Come From Away
Ten Marriott Drive
Lincolnshire, IL
through October 18, 2026

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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: FALSETTOS - TimeLine Theatre Company - Court Theatre

“Things Rarely Go According To Plan.”
PicksInSix® Gold Review | Ed Tracy

The flawless production of “Falsettos”—one of the most enjoyable, heartfelt and moving productions you will ever see—opened Saturday in the intimate Abelson Auditorium at Court Theatre. The show is directed by TimeLine co-founder and Associate Artistic Director Nick Bowling and presented in partnership with Court.

“Falsettos,” a two-time 1992 Tony Award-winning musical, has a fascinating origin story. With music and lyrics by William Finn and a book by Finn and James Lapine (Into The Woods), it began in 1979 as Finn’s—and Playwrights Horizon’s—first musical “In Trousers” about the trials and tribulations of Marvin, a gay Jewish man coming out and presented in, what was then, the unique and evolving sung-through format.

In 1981, Finn teamed with Lapine on “March of the Falsettos”—which later became the first act of “Falsettos.” Set in 1979, the story begins as Marvin and his wife Trina separate on the news that Marvin is moving in with his male lover, Whizzer. In an attempt to keep Trina and their young son Jason together as a family, Marvin steps up sessions with his therapist Mendel. When Mendel falls for and marries Trina, Marvin’s possessive and passive-aggressive nature impacts his relationship with everyone, including his pre-Bar Mitzvah son who begins questioning his own sexuality. Marvin’s need for a monogamous relationship with the more free-wheeling Whizzer leads to the breakup, and although Marvin is inconsolable, he has matured and become better able to relate to Jason when his son needs him most.

It's important to note that “March of the Falsettos” is set prior to the widespread awareness of HIV or AIDS and deals, often hilariously, with the complex dynamics of the personal relationships and acceptance of the changing social norms of the time.

Following the explosion of the AIDS crisis, Finn and Lapine returned in 1991 to pen “Falsettoland” which will become Act II of “Falsettos.” Set a year later in 1981, when the family is moving on while Marvin still yearns for Whizzer, who reenters his life and rekindles the relationship. Two additional characters are introduced—Dr. Charlotte and her lesbian lover, Cordelia—who live next door and become fast friends with Mendel, Trina and Jason. It is Dr. Charlotte who recognizes that ‘something bad is happening’ and it is not long that “Falsettoland” takes on a whole new powerful storytelling line all its own.

Bowling, movement director William Carlos Angulo and music director Otto Vogel have assembled an amazing cast. In the role of Marvin, Stephen Schellhardt displays an extraordinary range of emotions teetering between the need to be loved and respected and the frustration, resentment and rage he feels from and toward the family he desperately wants to salvage. Jack Ball expertly plays Whizzer, the carefree gay man with needs of his own, who is quick to recognize that Marvin may want more from him than he is willing to give but later reconciles with Marvin in a way that is moving and real, particularly as he is forced to face his own mortality. .

Sarah Bockel’s Trina tugs endlessly at our heartstrings. She is an open book of emotions, channeling both keen comic sensibilities and a enormous capacity for empathy. Jackson Evans gives a terrific multi-faceted performance as the intellectually neurotic Mendel, savoring every comic moment with child-like enthusiasm while expertly delivering the more serious interchanges with Bockel and Jason (Charlie Long, who alternates with Eli Vander Griend). Long is a superb young talent and in step, stride for stride, with everyone on stage. Sharriese Hamilton is perfect as the compassionate Dr. Charlotte and partner for Cordelia, played beautifully by Elizabeth Stenholt, who round out the company of gloriously nuanced voices who deliver this fast-paced, challenging score with precision and ease.

Amel Sancianco’s scenic design ingeniously places the band shrouded on the second level within the multi-colored stage wall that is highlighted by three doors and an oculus window that is utilized effectively throughout the show. The open style chessboard tile floor plan serves to magnify one of the main themes and allows for effortless scene changes which keep things moving along briskly. Lighting and sound designs by Maggie Fullilove-Nugent and Stephanie Farina and period costumes by Teresa Ham are all excellent.

For those of us who lived through this period, TimeLine’s “Falsettos” is a moving tribute to the memory of all who passed and renews our commitment to those whose lives have been immeasurably changed. For everyone else, it serves as a reminder of the importance of cherishing our relationships and instills in us a better understanding of the universal power of love, kindness and acceptance.

PHOTO|Michael Brosilow

Editors Note: The TimeLine alliance with Court follows critically-acclaimed productions of “OSLO” and “The Lehman Trilogy” with Broadway in Chicago and the recent transfer of the stunning production of Tyla Abercrumbie’s “Relentless” to Goodman Theatre in 2022. TimeLine’s Artistic Director PJ Powers has tapped into an excellent model that requires a long view for the future, the coalescing of like-minded theatre administrators and boards willing to take a sizable financial risk, and mining sufficient sponsor and donor funds for the arts in a very tentative post-pandemic production climate. That long view applies to just about every facet of the arts right now with no better example and track record of unqualified success than TimeLine Theatre Company. While construction continues on the new center for theatre, education and community engagement at 5035 N. Broadway slated for a 2026 opening, the current season is being staged in partnership with institutions across Chicagoland. “Falsettos” is the first of three such partnerships that will continue next year with The Theatre School at DePaul University and Writers Theatre in Glencoe. For more, read TimeLine’s excellent BACKSTORY publication available online here.

TimeLine Theatre Company
and Court Theatre
present
FALSETTOS

EXTENDED
through December 15, 2024

Court Theatre
5535 S. Ellis Ave
Chicago, IL 60637

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PicksInSix Review: Cinderella

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“THE PRINCE IS GIVING A BALL!”

There is a new glistening pair of glass slippers in town and thank the heavens that they fit Mikayla Renfrow, the enormously talented star of Paramount Theatre’s shimmering new production of Rodgers and Hammerstein’s Cinderella directed by Brenda Didier that opened Friday night.

In a graceful and superbly poised debut performance, Renfrow’s soaring voice, arresting presence, and effortless dancing ability, anchors an all-star cast in this year’s holiday offering at Chicagoland’s largest regional professional theater. The timeless message of hope and resilience that the show delivers is just the heartwarming tonic that everyone needs right about now. Adapted by Tom Briggs for the stage from the 1997 teleplay by Robert L. Feedman, this edgy version has a rich and storied history. Yes, there’s that brilliantly imaginative moment in Act I—the one that people in every little corner will be talking about, but you’ll not get a peep out of me—during which I could hear audible gasps of wonder from youngsters of all ages. It’s the beginning of a bright and fantastic journey that will make you believe that anything is possible.

Cinderella’s dashing prince Christopher—the kind of guy who “can turn a girl to gravy”—is played by Marckus Blair whose earnest demeanor, lush voice and wide range are a perfect fit for Renfrow’s alluring affection. Ever the optimist, Cinderella blossoms from the shadows of her domineering stepmother, done up with sinister flair by the brilliant Sarah Bockel and matched in all their despicable hilarity by Jacquelyne Jones as the itchy Grace and Tiffany T. Taylor’s chortling Joy. The two are terrific comic foils and nail the duet “Stepsisters’ Lament.”

There are many outstanding feature performances: Chicago favorite Lorenzo Rush Jr. as the steward Lionel and leading the ensemble in “The Prince Is Giving A Ball”; the enchanting Jerica Exum’s as Cinderella’s Fairy Godmother; and, the captivating duo of Rashada Dawan (Queen Constrantina) and Michael Kingston (King Maximillian) at their stately best.

The ensemble of well over twenty is packed with exceptional singers and dancers who all look stunning in Teresa Ham’s gorgeous costumes especially during the opulent ball, a fine example of the lavish choreography by Didier and co-choreographer Tiffany Krause throughout. Cinderella’s closest, and tiniest confidants, the mighty nice mice, a perky pigeon and a cagey cat in the cupboard are lots of fun. Music director Kory Danielson leads the Paramount Orchestra’s exceptional performance of the memorable score that includes “In My Own Little Corner,” “Impossible,” “Ten Minutes Ago” and “Do I Love You Because You’re Beautiful”.

Scene designer Angela Weber Miller has framed the proscenium with an intricate and detailed weave that evokes a wrought iron system with a leaf and flower design complimented by the starry effects of lighting designer Victoria Bain. The festive ballroom, with a grand central staircase, is awash in lavender and blue, an elegant fairy tale setting for Cinderella’s eye-popping entrance on the way to making her dreams come true.  

PHOTO|Liz Lauren

Paramount Theatre
presents
Rodgers and Hammerstein’s
CINDERELLA
through January 9, 2022

23 East Galena Boulevard
Aurora, IL 60506
(630) 896–6666

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HEALTH & SAFETY PROTOCALS

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