PicksInSix Review: Catch Me If You Can - Marriott Theatre

Marriott’s Whopping “Catch” Is A Winner!
PicksInSix® Review | Ed Tracy

If you are wondering what you get when you put a real-life copper caper in the hands of a master storyteller like the late Terrence McNally and the musical team of Marc Shaiman and Scott Wittman, make a date to see the sensational revival of “Catch Me If You Can” now playing at the Marriott Theatre. Directed with panache by Jessica Fisch featuring the equally stylish choreography by Dierdre Goodwin, the show features an outstanding company led by the effervescent JJ Niemann as Frank Abagnale Jr., the 60s era con artist and international fraudster who amassed $2M before the age of twenty-two. Niemann is a remarkable talent whose power-packed performance and engagingly youthful persona—yeah, he gets that a lot—belies an artful ease and ever-present synergy with the plum role of making a jet-setting swindler the most likable guy in any room.

It all starts at the end where the FBI, led by agent Carl Hanratty (a rock solid Nathaniel Stampley) and his minions Agents Dollar, Cod and Branton (the hilarious team of Justin Allbinder, Alex Goodrich and Karl Hamilton) have cornered Abagnale at gunpoint in a Florida airline terminal. As he begs for one last chance to plead his case, everything transforms into the show within the show, a flashback forward to the early days in a subdivision in New Rochelle, New York with his charismatic, but flawed, father, Frank Sr. (Sean Fortunato) and French mother, Paula played by the captivating Jessie Fisher. Fortunato is brilliant as the suave, sophisticated shyster who mentors Frank Jr. on the ins and outs of his street game. It is in these early scenes— wonderfully crafted by these two fine actor/singer/dancers—that the hook is set for McNally’s father/son experience that runs as the subplot to the main adventure story.

Things don’t work out so well for the couple, however, and Frank Jr. is soon off on his own, quickly advancing his special brand of check fraud and impersonation schemes as a lawyer—yes, he passed the bar—pilot and a pediatrician supervisor in a hospital emergency ward where he falls hard for Brenda Strong (the lovely and talented Mariah Lyttle). Brenda’s love and affection leads him to consider giving it all up, settling down and proposing marriage at dinner with Brenda’s parents Roger and Carol (the delightfully comic pairing of James Earl Jones II and Alexis J. Roston). It looks like things might turn out okay for our high-flying hero, but then Hanratty is as persistent as a dog with a bone and isn’t about to give up.

The nonstop momentum of “Catch Me If You Can” comes courtesy of the talented and versatile ensemble, filled to the brim with newcomers, who cover dozens of supporting roles and a bevy of flight attendants, Playboy bunnies, and attending nurses, all glammed in Sully Ratke’s dazzling array of costumes. Under the music direction of Ryan T. Nelson and the marvelous melodious mayhem of conductor Christopher Sargent and the orchestra, Niemann and company takeoff at full speed with “Live in Living Color” and set the flight path for the fun and frivolity right from the top. The company numbers “Jet Set” and act II’s “Nurses” are crowd favorites, along with Fortunato’s “The Pinstripes Are All That They See.” The buddy numbers “Butter Outta Cream” and “Little Boy, Be a Man” are balanced with Stampley’s introspective theme “The Man Inside the Clues” and Niemann and Lyttle’s lush “Seven Wonders.” The solo performance of the night belongs to Lyttle for the soaring confession of love “Fly, Fly Away.”

The ingenious stage design of Andrew Boyce and Lauren M. Nichols, awash in Jesse Klug’s evocative lighting, incorporates a pair of multi-functional set pieces that glide effortlessly on a circular track that mirrors the video diorama above showcasing Anthony Churchill’s fascinating video/projection design. This is one of the most creative and functional uses of Marriott’s challenging in-the-round configuration ever. A visual stunner!

Abagnale’s bold musical crime spree is sure to be another big hit for the popular regional theater at the Marriott Lincolnshire Resort celebrating its 50th Anniversary this year. Paired with the delicious and affordably-priced pop-up cuisine of the Three Embers Pan Am Grille inspired by First-Class Menus of the Pan Am Clippers, you can show up early, park for free, and stay for the show. It doesn’t get better that this!

PHOTO|Michael Brosilow

Marriott Theatre
presents
Catch Me If You Can
10 Marriott Drive
Lincolnshire
through October 19, 2025

Website   

Tickets

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: The Full Monty-Paramount Theatre

Paramount’s “Full Monty” Really Measures Up!
PicksInSix® Review | Ed Tracy

Do not fear. If you are looking for a big, bawdy, unabashed comic revival—with all the twists, turns and pelvic thrusts you can imagine—then Paramount Theatre’s “The Full Monty” is the show for you. Sure, it’s suggestive and saucy, but beyond the boisterousness, it’s a moving story about building self-esteem through dedication, hard work and the support of friends and family. Adapted for the stage by Terrence McNally with a lot of heart there are surprises galore to be found in the music and lyrics by David Yazbek. Add in a terrific cast and you’ve got a winner from top to bottom!

Based on the 1997 hit film about six out-of-work steel workers who decide to bare it all at a local nightclub to pay the bills, the ten-time Tony Award nominated 2000 Broadway musical was reset to middle class America in Buffalo, New York. Jerry Lukowski (Ben Mayne) is struggling to maintain a relationship with his son Nathan (a split role for Will Daly and Ellis Myers) and stuck trying to catch up with child support payments to his wife Pam (Rebecca Hurd) during their divorce. Jerry and his buddy Dave Bukatinsky (Jared David Michael Grant), who is under similar pressure from his wife Georgie (Veronica Garza) to take a security job to tide things over, decide to hatch a plan to make a bundle at a one-night-only strip show at Tony Girodano’s club.

The two first recruit the depressed and despondent Malcom MacGregor (Adam Fane) and then turn to Harold Nichols (Jackson Evans), a former plant supervisor-turned-dance-instructor to help them put the act together. The men then team up with Jeanette Burmeister (Liz Pazik), an adorably salty rehearsal pianist for auditions. Busting out of the pack at auditions Noah “Horse” T. Simmons (Bernard Dotson) and Ethan Girard (Diego Vazquez Gomez) round out the somewhat dubious, but committed, sextet who hilariously transform into “Hot Metal” before the night is done.

At every turn, Director Jim Corti with choreographer Tor Campbell meticulously move the men from initial awkwardness and insecurity forward. It all plays out against scenic designer Michelle Lilly’s brilliant skyline of Buffalo, framed by a massive, multi-story urban landscape that morphs effortlessly from night club to rehearsal hall where the men perfect their dance steps often in uncontrolled unison when least expected.

Music director/conductor Kory Danielson and the orchestra are in exceptionally fine form with Yazbek’s first Broadway score that features the men in “Scrap,” “Michael Jordan’s Ball” and “Big Black Man” (featuring Dotson in a commanding performance), the women in “It’s a Woman’s World,” and the company in the rousing “The Goods.”  Pazik is a blast in “Jeanette’s Showbiz Number” while Mayne and Grant team up well for “Man” and are joined by Fane in the somewhat dark themed, but clever, “Big-Ass Rock.”

Among the quieter moments, Ann Delany “Life with Harold” is a delight. Mayne is superb in “Breeze Off the River” while Evans and Grant shine in the anthem “You Rule My World.”  The inspirational musical highlight of the night belongs to Fane for his soaring vocal in the hymn-like “You Walk with Me” with Gomez that helps pave the way for the showstopping finale “Let it Go” which is full of bright lights and “Hot Metal” enough for everyone.  

PHOTO|Liz Lauren

PARAMOUNT THEATRE
presents
THE FULL MONTY
The Broadway Musical
through October 6, 2024

23 East Galena Boulevard
Aurora, IL 60506

(630) 896–6666

WEBSITE

TICKETS

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PICKSINSIX Review: MASTER CLASS

CALLAS: "Ho dato tutto a te."

The TimeLine Theatre Company production of Terrence McNally’s 1996 Drama Desk and Tony Award-winning “Master Class” now playing at Stage 773 traces the life and career of opera diva Maria Callas as immigrant, daughter, student, artist, spouse, lover and mentor starring one of Chicago’s most gifted actors, Janet Ulrich Brooks, as Callas. McNally’s play evokes the live experience of opera classes that were held twice a week at the Julliard School from October 1971 to March 1972.  

View fullsize

“Master Class” delivers the lessons of a lifetime to three students, expertly cast as Tenor Tony (Eric Anthony Lopez), First Soprano Sophie (Molly Hernandez) and Second Soprano Sharon (Keirsten Hodgens), composites from the 25 of Callas’ students who participated in the Julliard events and based on McNally’s firsthand observations. A magnificent 12 foot Steinway grand piano is the centerpiece of the sweeping design by Arnel Sancianco that engulfs the thrust space to bring Callas, her students and accompanist Manny (Stephen Boyer) eye-to-eye with the audience.

That imposing juxtaposition helps Brooks immediately establish full and complete authority. At one juncture, as she sizes up the second of her three students, the teacher chides the young woman on her appearance then instructs her to start all over from the beginning. The consequences of the inappropriate exchange pries into the defiant Callas, exposing what is her essential truth: “Ho dato tutto a te.”  — I gave everything to you.

Nick Bowling, a TimeLine founder and Associate Artistic Director, directs his 30th production with musical direction by Doug Peck. Ingeniously interspersed throughout McNally’s work are recordings from Callas’ professional career while the fiery temperament and her unequalled understanding of the composer’s intent erupts forcefully from the text in Brooks artfully rich performance.

Uniformly the voices of the students are exceptional. Hodgens delivers a powerful Lady Macbeth. Lopez gives a fine tenor performance and Hernandez is delightful as the soprano. Boyer is a superb musician and fine vocalist. It is Brooks, however, who is captivating as she navigates the story of the legendary artist who painfully struggled with obesity, a volatile marriage to Giovanni Battista Meneghini and anguish of her long-time relationship with Aristotle Onassis.

Although Maria Callas’ final performance on stage (in Tosca) was in July 1965, the Julliard master classes launched a series of recitals from 1973 to 1974 throughout Europe, the U.S and Asia.  Life in the world of opera is not so far removed from our own, however. Callas’ legacy is summed in her teaching of the art – be passionate, feel it in your gut, show up prepared, be willing to sacrifice and give everything to the work and, ultimately, to the audience. That includes knowing when to take a final bow, which Callas sadly did in 1977 at the age of 53.        

PHOTOS|LARA GOETSCH

TIMELINE THEATRE COMPANY
Presents
MASTER CLASS
through December 9th
STAGE 773
1225 W. Belmont Avenue
(773)327.5252

TICKETS
WEBSITE

For more reviews, visit: Theatre In Chicago

ARCHIVE