PicksInSix Review: SUFFS - Broadway in Chicago

‘The Young Are At The Gates!’
PicksInSix® Review | Ed Tracy

Political activism of any kind, especially the Suffragists Movement and the crusade for the right for women to vote, requires the kind of universal commitment and passion that is at the heart of Shaina Taub’s brilliant Tony Award winning musical “Suffs” directed by Leigh Silverman. Two factions—the wives, mothers and daughters of the socially elite who are members of the National American Woman Suffrage Association (NAWSA) led by Carrie Chapman Catt (Marya Grandy), and a youthful, spirited group of protesters headed by Alice Paul (Maya Keleher) demanding immediate change—each contribute in their own way to the cause even, as they are constantly at odds with each other on the answer to the big question: How long must we wait?

For Catt and the women of the NAWSA, it was already over 65 years since Susan B. Anthony and Elizabeth Cady Stanton founded the National Woman Suffrage Association who opposed the 15th Amendment— allowing Black men to vote—unless it extended to women. A rival organization—the American Woman Suffrage Association—was formed to support a state by state initiative. The two groups merged decades later in 1890 to form NAWSA. The movement for equality then took a major step forward in 1913 when Paul organized and led the first national march on Washington.

It is at this historical turning point that “Suffs” takes shape, with Paul, her college classmate Lucy Burns (Gwynne Wood), a public personality, Inez Milholland (Monica Tulia Ramirez), who becomes the face of the cause, along with a Polish immigrant Ruza Wenclawska (Joyce Meimei Zheng) and writer Doris Stevens (Livvy Marcus) organize the march to pressure President Woodrow Wilson (Merrill Peiffer) for federal legislation. Their efforts draw national attention and thousands, including Ida B. Wells (Danyel Fulton), whose stunning anthem “Wait My Turn” pushes back at the racist undertones in the movement in both camps.

Wilson relents and meets with the Suffs, but no action is forthcoming. Years pass and the threat of war and other national priorities add to the delay until Paul’s group forms the National Woman’s Party (WAP) and rallies to oppose Wilson’s reelection. Though unsuccessful, Baum’s story then turns as Wilson gets the message and begins to aggressively take political steps to stonewall the upstarts.

The universally superb all-woman cast with exceptionally powerful voices are a perfect fit for Baum’s elegant and complex sung-through score. Silverman and choreographer Mayte Natalio have staged a striking visual masterpiece on the Christine Peters designed tour set based on Riccardo Hernandez Broadway version with resplendent costumes by Paul Tazewell, Lap Chi Chu’s stunning lighting and Jason Crystal’s crisp sound design.

There must be something in the water in the Green Mountains of my home state of Vermont. Baum, a Waitsfield native who ten years ago appeared as one of the Fates in “Hadestown”—written by another Vermont native, Anaïs Mitchell—created a remarkably, cinematic treatment of the suffragist movement that reflects sharply on the present moment. “Suffs” is and will always be, a rallying call to the next generation and to the legions of mothers and grandmothers who came before and were in jubilant solidarity on Wednesday night at the CIBC and is not to be missed. It is a nod to the past and an ode to the future, all summed in the lyric: “The old way always dies. The young are at the gate!”

PHOTO|Joan Marcus

Broadway in Chicago
presents
National Tour
SUFFS
CIBC Theatre
18 W Monroe
through July 19, 2026

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PicksInSix Review: As You Like It - Writers Theatre

TOP-NOTCH ENSEMBLE SHINES AT WRITERS!
PicksInSix® Review | Guest Contributor | Ronald Keaton

There is, up in Glencoe, a unique and striking musical adaptation of William Shakespeare's comedy masterpiece “As You Like It” playing at Writers Theatre through December 14. It's directed by Nichols Artistic Director Braden Abraham in bold, wonderfully outlandish strokes that enhance this story of lost souls who all find each other in the Forest of Arden. There is a magic in Arden. Everyone experiences a kind of ethereal conversion in attitude and outlook. Arden thus symbolizes more—a place of refuge and spiritual comfort, a haven of freedom.

There is a great deal of plot in the play that is simply too thick to fully share. Yet the adaptation by Shaina Taub and Laurie Woolery make highly accessible, in plain language, the various plot points that the Bard offers. They do not hesitate to use plain and modern language to help the storytellers along, and it's a welcome tool to have. Yes, the aficionado does miss some of that wonderful poetry, chiefly Jaques' classic, rueful rumination on life about the "seven ages of man." And then there's his sharp and welcome banter with the fool Touchstone in Shakespeare's play. But in hindsight, this approach doesn't really serve the Taub and Woolery vision. They see other ways to go.

Instead, the migration of unhappiness from the Court of Duke Frederick that ends up in Arden takes the well-known sentiment of contemporary life 'love is love is love...' to new places here. There is a company of subjects—including Duke Senior, his daughter Rosalind, his niece Celia and Touchstone—who all leave to find their romantic fortunes, banished by Frederick. One young man, Orlando, has become a kind of celebrity for his win in a wrestling match, while his brother Oliver starts out as a real bully in picking on Orlando. Through their own issues, they both end up in Arden and mend fences. And we've only just begun.

Eventually in this story, there is a literal quartet of lovers—traditional, same-sex, comic and dramatic—that celebrates their newly found love and release from the pressures of the world. The music/lyrics by Tony winner Taub are a potpourri of folk styles and rock rhythms, all filled with style and maturity. The music is played by an onstage, ragtag group, perfectly complimenting the action. Music direction came from the versatile Michael Mahler. The band is fronted by Matthew Yee as Jaques, who here becomes a kind of eloquent narrator of the action, while performing his scenes with the ever-present guitar in hand. It's an inspired placement of the character and fabulous usage of Mr. Yee's talents.

The tight cast is one of the great examples of ensemble acting this writer has seen in musical theatre in quite a while, as well as top-notch creators to represent. Everyone (and I mean everyone) has a moment or two to shine while being present in the story for the others. A few to mention, while honoring the truly professional level that all the actors reached: Benjamin Mathew's Orlando is passionate and aware of those passions at every turn. The Rosalind of Phoebe Gonzalez, whose male guise of Ganymede teaches Orlando to woo Rosalind, is charming and full. Andrea San Miguel offers a Celia ripe with energy and purpose. The great clown Touchstone lives in the capable, expert hands of Jackson Evans. There's the overbearing brother Oliver (the smooth, deep-voiced Anand Nagraj). The two Dukes—Frederick (Scott Aiello, tough and demanding) and Senior (Paul Oakley Stovall, subtle and tender)—show their family leadership constantly, even as they are on opposite sides. Chicago treasure Janet Ulrich Brooks shows up in at least three different characters, each expertly articulated. Please take note: the entire cast knows how to support each other, a refreshing and telling sign with work of such high quality. And a real bow to Mr. Abraham's direction.

Shakespeare's famous line "All the world's a stage, and all the men and women merely players" is not forgotten here either, and it receives a Taub examination in a song lyric:  "All the world's a stage / And everybody's in the show / No one's a pro" is the first song we hear. It's sung by Mr. Yee as Jaques, the character who speaks the original line in the Shakespeare play. Same sentiment, more accessible and, in its own way, properly applied to today.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.org.  Coming soon, his new solo play about Ben Franklin, THE FIRST EMBASSY.

PHOTO | Jenn Udoni

Writers Theatre
presents
AS YOU LIKE IT
325 Tudor Court
Glencoe, IL
through December 14

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PicksInSix Review: The Devil Wears Prada - Broadway In Chicago

Sarcasm and Sacrifice Rule the Runway!
PicksInSix® Review | Guest Contributor | Scott Gryder

In its usual fashion, Chicago welcomed another debut to the world stage with “The Devil Wears Prada: The Musical” at the historic Nederlander Theatre, with music by Elton John, lyrics by Shaina Taub, and a book by Kate Wetherland. The packed house fervently cheered as the theater was filled with the sound of echoing high heels, and the curtain rose to reveal devilish red stilettos, clacking their way across the stage to start off the pandemic-postponed premiere. We were ready for the runway!

“The Devil Wears Prada” brings to musical life the 2006 film of the same name, originally based on the true-story memoir by Lauren Weisberger. A young, aspiring writer, Andrea “Andy for short” Sachs,  takes an unexpected turn down her career path to becoming a legitimate journalist, winding up as the 2nd assistant to the infamous editor-in-chief of the acclaimed fashion magazine Runway. What begins as a means to paying bills, with the promised potential of launching her career if she ‘survives it,’ soon becomes a revealing tell-all of sinister truths behind the scenes of this bedazzled industry and the sacrifices one must make for beauty and fame. If beauty is pain, is it worth the price?

The vibrant ensemble of character singers and dancers, with their effortless exuberance and exquisite timing, are the true lifeblood of energy throughout the musical, physically driving the movement of “The Devil” forward. An iconic role to say the least, Tony Award winner Beth Leavel engages less of the venomous villain of the film’s Miranda Priestly and turns to sheer presence as her weapon of choice, making her more revered for her industry experience than feared for her wickedness. The shimmering, bright-eyed ambition of Taylor Iman Jones’ Andy Sachs is a very welcome opposition to the anxiety-ridden and hardened vibe of the film; however, Jones’ portrayal seems less driven by her passion for writing, and more led by her eagerness to please and succeed. The true cast standout is the lovable, Javier Muñoz, who captures the charm of the film’s beloved Nigel Owens, while adding personalized layers of humanity and commitment. Muñoz is surely destined for a Tony nom for Best Featured Actor. What’s missing is a bolder uniqueness between characters. Wetherhead’s book pits each character's subtext in a constant battle of wit and sarcasm, which inspires loads of laughter to start, but soon becomes wearing. Special shout outs to Chicago favorites, Sawyer Smith, who’s a living work of art, and Marya Grandy, scene-stealing character actress extraordinaire.

“The Devil” completes the franchise trifecta with respectable charm, tipping its chapeau to the original source materials in a way to delight the fans of the film and book. In doing so; however, it almost too closely follows the source material, dropping in lines made famous by the film’s stars as glaring Easter eggs, which lose their shine over time. With its broad-stroked homage style, the piece fails to find its own voice, floundering between dated material that would make an HR department’s head spin and overbearing social media references. The energy and visual excitement are there, but “The Devil” fails to take off. As a show based on the eye-popping, dynamic inner workings of the fashion industry, it contextually lacks luster. The creative team would have been wise to remember that the devil is in the details.

August 7, 2022 - World Premiere at Nederlander Theatre - Chicago | Courtesy of Broadway in Chicago

Visually captivating, “The Devil” reaches its most Broadway-bound pinnacle in the 2nd Act as Andrea falls under the spell of Paris Fashion Week. Tony and Oscar nominated costume designer Arianne Phillips steals the show with looks that leave you wishing they were available for purchase in the lobby after the show. And choreographer James Alsop brings a fabulous hybrid of early 2000 campy charm and feverish runway fashion voguing. Anna D. Shapiro’s direction truly clicks in the non-musical book scenes, fiercely juxtapositioning the songs. If only that grounded character development had been infused into the fluffier musical moments, which do less to serve the plot and more to quirkily emphasize each principle character’s tropes. Scenic designers Christine Jones and Brett Banakis elicit audible gasps as their set seamlessly shape-shifts to Paris and back again. As for the tunes of the show, much like his legendary pop hits, Elton John’s music is delightfully catchy, but Shaina Taub’s lyrics try to squeeze a size 6 into a size 4 and fail to advance the plot.

If you’re looking for an evening of visual stimulation and amusing bops, with a touch of nostalgic bronzer, be sure to catch this limited run at the Nederlander. You’ll be catwalking out of the theater to the fresh tunes of Elton John, inspired by an enthusiastic ensemble. Although “The Devil” brings blips of Broadway-quality punch, to quote Andy Sachs, they’ve “got work to do.”

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

PHOTO|Joan Marcus

Broadway in Chicago
presents
WORLD PREMIERE
The Devil Wears Prada
Nederlander Theatre
through August 21

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