PicksInSix Review: Disney's Finding Nemo - Marriott Theatre

Get In The Swim Of Things!
PicksInSix® Review | Guest Contributor | Regina Belt-Daniels

“Disney’s Finding Nemo,” the current Marriott Lincolnshire production for their Theatre for Young Audiences series, is a stunning staged musical remake of the 2003 Disney Pixar film with elaborately creative puppetry. The actors are resplendent in dabbled blues, yellows and purple colored onesies as they energetically and believably bring the adorable seafaring characters to life in the best visual display and use of puppets I’ve seen in my two decades of reviewing.

The familiar adventure story begins with Nemo’s mother’s death by a frightening barracuda before he is hatched. Nemo is one of 400 clownfish eggs, and the only survivor. From there, the staged musical quickly enters the evolving tale of Nemo and his overprotective father Marlin. Both face the unknown for someone they love—each other. Nemo dreams of venturing beyond their cozy anemone home into the vast ocean. But he is captured and taken to Sydney, ending up in an aquarium. Determined to bring Nemo home, Marlin pushes past his fears, and embarks on a daring ocean journey, aided by allies Dory, Crush the 150 year-old sea turtle, and the Tank Gang.

Directed and choreographed by the extremely gifted Amber Mak, with flawless musical direction by Ellie Kahn and a live band, the production boasts breathtaking puppetry design by Jesse Mooney-Bullock, costumes by Theresa Ham (wait till you see the jellyfish) and wigs, hair and makeup by Miquel Armstrong. A simple, easily manipulated Great Barrier Reef setting designed by Milo Blue with soothing oceanic lights designed by Brian Easton and sounds by John Johnson complements the talented ensemble on the intimate theater’s in-the-round stage.

And what an ensemble! Avelyn Lena Choi is an innocent and spirited Nemo, whose chemistry with Devon DeSantis‘s overly protective father clownfish, Marlin, is heart tugging. DeSantis’s Marlin is afraid of whales, sharks and leaving his home, but he is very good at delivering dad jokes and rescuing his son. The ever optimistic Dory, who can read, but is extremely forgetful, especially of Nemo‘s name—Elmo, Mosquito, Harpo, Lego, to mention a few misnomers—is wonderfully portrayed by Leah Morrow. Dory provides some of the show’s most hilarious moments and Morrow’s impeccable timing is a non-stop delight.

The ensemble plays an array of fascinating characters each with their own presence and personality. I especially loved Lorenzo Rush Jr. who among others, plays Nigel the pelican swooping in to narrate/move the plot along and entertainingly engage the audience (“Clap your fins if you think…”) I could easily list every single cast member, but other notables include, Andres J. Deleon (Gurgle, Crush, Moonfish), Adelina Marinello (Pearl’s mom, Chum, Peach, Jellyfish, Moonfish, Turtle), Tommy Rivera-Vega (Gil, Moonfish, Jellyfish, Turtle) and Maya Rowe (coral, Tad’s mom, Bloat, Anchor, Moonfish, Jellyfish, Turtle). The ensemble sings many of the most touching songs amplifying the show’s themes of resilience, courage, love and, especially survival, in “Just Keep Swimming.”

The audience was composed of babes in arms to grandparents, all enthralled with this fun filled production. Be sure to plan to stay after the show for a question and answer session with some of the cast members and production team engaging with the kids who not only say the darnedest things but ask them too! Get in the swim of things for Marriott’s production of “Disney’s Finding Nemo.” A magical journey under the sea is awaiting you!

Casting Note: Patrick Michael Tierney will play Marlin at selected performances.

Guest Contributor | REGINA BELT-DANIELS is a retired special education teacher who has acted, directed, and staged managed throughout Illinois and has reviewed theater for numerous publications for over a decade.
PHOTO|Justin Barbin

Marriott Theatre
presents
Disney’s Finding Nemo
‍10 Marriott Drive
Lincolnshire, IL 60069
though January 4, 2026

847-634-0200

WEBSITE

SHOW SENSORY GUIDE

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PicksInSix Review: 1776 - Marriott Theatre

“TO THINK THAT HERE WE ARE.”
PicksInSix® Review | Ed Tracy

The inspiring production of “1776” that opened Wednesday at the Marriott Theatre brought a few familiar thoughts to mind about our young and exuberant country.  Democracy is messy. The more things change, the more they stay the same. And a line from one of Sherman Edwards’ songs: “To think that here we are.”

That jubilant statement is sung out by Benjamin Franklin (Richard R. Henry) to John Adams (Tyrick Wiltez Jones) and Thomas Jefferson (Erik Hellman) as the newly drafted Declaration of Independence is being read to the 2nd Continental Congress. They know that there are pitfalls and more debate ahead—and the reality of the bloody war already underway that is underscored throughout the show with missives from ‘G. Washington’ himself—but for a brief instant, getting to this point feels like a small victory.

Obviously, no one truly knows what transpired in the room where this happened. That said, Edwards’ 1969 Tony Award-winning concept, music and lyrics and Peter Stone’s book together create a captivating menagerie of historical characters who are (mostly) bent on unification. All those years later we are today mired in a never-ending election cycle and immersed in an escalating debate about the future vision for our democracy. There is hope and we do generally agree that a new, yet imperfect, nation was formed on July 4, 1776 for the people of the thirteen original colonies, even as freedom and equality for all is still lagging woefully behind.

With director Nick Bowling’s steady hand, sharp choreography by Tanji Harper and a casting coup that has assembled many of Chicago’s top performing artists together on one stage, Marriott Theatre’s “1776” has a sweeping professional sheen as one of the finest and most unique shows on stage right now.

The opposing voice to Adams’s passionate colonial independence is embodied in Pennsylvania delegate John Dickinson, a stellar performance by Heidi Kettenring. The two opposing forces—mediated by Joel Gelman’s stalwart John Hancock and Gabriel Lott-Rogers‘s Charles Thomson with assistance from the ever-present Karl Hamilton as Andrew McNair—weave arguments and slow progress to a bitter stalemate. Along the way, songs teeter from the humorous—“Sit Down, John,” “The Lees of Old Virginia” and “He Plays The Violin”—to the horrific, by South Carolina’s Edward Rutledge (Matthew Hommel) whose chilling referendum to slavery “Molasses to Rum” is alarmingly prophetic. The moving performances of Katherine Alexis Thomas (Abigail Adams), Alicia Kaori (Martha Jefferson), Lucy Godinez (Richard Henry Lee) and a remarkable performance by Jay Westbrook (Courier) in “Momma Look Sharp” deserve special mention in a company stocked with extraordinary voices under the musical direction of Ryan T. Nelson and conductor Brad Haak.

Regina Garcia’s crisp, multi-level scenic design expands Marriott’s in-the-round configuration to create a wide and striking panorama of the chamber interior punctuated by Jesse Klug’s evocative light design and Michael Daly’s pinpoint sound design. The visual picture is complete with Theresa Ham’s gorgeous costumes that make “1776” a truly wonderful—and historic—theatrical event.  

PHOTO|Liz Lauren

Marriott Theatre Lincolnshire
presents
1776
through October 13, 2024

Ten Marriott Drive
Lincolnshire, IL 60069

WEBSITE

TICKETS

847-634-0200 (Box Office)

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PicksInSix Review: Gypsy: A Musical Fable - Marriott Theatre

“A PIONEER WOMAN WITHOUT A FRONTIER.”
PicksInSix® Review | Ed Tracy

Say what you will about the manipulative Rose Hovik—the complex character and commanding force at the center of “Gypsy: A Musical Fable,” the 1959 Arthur Laurents book with music by Jules Styne and lyrics by Stephen Sondheim that has its origins in the memoirs of Gypsy Rose Lee—she proves that very little will stand in the way of her personal ambitions. Whether it’s stealing from her father for the next big break, relentlessly pushing her two daughters into the business that passed her by or leaning on everyone around her whenever necessary, Rose is the engine that’s barreling down the track. Never giving up, whatever the cost. It’s all the stuff of epic musical theatre, and the fruit of a historic collaboration, that opened Wednesday at Marriott Theatre Lincolnshire in a bright, brassy and entertaining production, directed by Amanda Dehnert and choreographed by Stephanie Klemons.

The show features Broadway veterans and vocal powerhouses, Lucia Spina and Nathaniel Stampley as Rose Hovik and manager/companion Herbie, who ‘pool their resources by joining forces” to create a vaudeville show around Rose’s daughters Louise played by Lauren Maria Medina and June played by newcomer Tori Heinlein. Always the star in Rose’s dream of greatness, Heinlein’s June leads an endearing group of youngsters in the early years of the act, to the exclusion of the insecure and vulnerable Louise, who lacks the confidence of her sister and is earnestly along for the ride.

That is until the girls age out of the act and Rose’s attention, and livelihood, turns to making Louise star of the show. Medina’s transformation from little Dutch to the scintillating Gypsy in the show’s climax is as electrifying as Spina’s skillful and emotional “Rose’s Turn,” a transformation all her own from “a pioneer woman without a frontier” to the self-realization that there is more to life than unkept promises and broken dreams.

The ensemble is layered deep with exceptional talent. J’Kobe Wallace’s Tulsa offers up a smooth and savvy song and dance routine to “All I Need Is the Girl.”  Elin Joy Seiler (Baby June) and Milla Liss (Young Louise) are picture perfect in the opening of “Let Me Entertain You” as are all the youthful performers. Cedric Young, Joseph Primes and Steve O’Connell are among many in the ensemble who stand out in supporting roles.

But things come to an uproarious full stop in the free-wheeling performances of Emily Rohm (Tessie Tura), Leeanna Rubin (Electra) and Sawyer Smith (Mazeppa) who guide the wholesome Louise in the hilarious, tear-inducing dressing room number “You Gotta Have A Gimmick.” Between Rohm’s blooming butterfly in flight replete with spinning tassels, Rubin’s incandescent aura and the sheer magnificence of Smith’s statuesque presence in one of Theresa Ham’s inspired costume designs, it’s sheer bliss!

Collette Pollard’s scenic design is decked out from top to bottom in vaudeville flair that frames the action—and defines the journey incorporating Anthony Churchill’s unique media design—punctuated by Jesse Klug’s stellar lighting design, particularly during Gypsy’s coming of age. Music director Ryan T. Nelson and Marriott’s superb orchestra, conducted by Brad Haak, deliver every note from the fast-paced company numbers to Spina’s dynamic performance of the show’s iconic Act I closer “Everything’s Coming Up Roses” to make “Gypsy” a musical night to remember.      

PHOTO|Liz Lauren

MARRIOTT THEATRE LINCOLNSHIRE
presents
GYPSY: A Musical Fable
through October 15, 2023

WEBSITE

TICKETS

(847) 634-0200

HEALTH PROTOCALS

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PICKSINSIX Review: Million Dollar Quartet

A ROCKET SHIP OUT OF ORBIT!

“Million Dollar Quartet,” the Colin Escott|Floyd Mutrux mega-hit jukebox musical set during the first and only meeting of Elvis Presley, Carl Perkins, Johnny Cash and Jerry Lee Lewis at the Sun Records recording studio owned by the man who made it all happen, music impresario Sam Phillips, opened Wednesday night in a terrific new James Moye directed production at Marriott Theatre Lincolnshire.

The now familiar flashpoint, a photograph of the quartet taken on December 4, 1956, serves as the catalyst to tell the backstory of the professional relationships, the choice Phillips made to sell Presley's contract to RCA, how Columbia eventually signed both Cash and Perkins, and the pursuit of the next big hit for Perkins, the reason for the recording session in the first place. It’s all packed in here and interesting enough, but the pure abundant joy of this rock-solid production is the explosive musical performances. For that, a multi-talented cast is critical and Moye (who played Phillips in both the original Broadway and Off-Broadway productions) with music director Ryan T. Nelson, have assembled a stunner. All together, “Million Dollar Quartet” soars into uncharted musical territory like a rocket ship out of orbit!

A consummate piano man, Nat Zegree delivers a standout performance, literally propelling himself into the role of Jerry Lee Lewis capturing the unbridled energy and explosive musical talent of the young performer on the verge of launching his meteoric career.  

The brilliant musician, singer and actor, Shaun Whitley, plays the legendary country star Carl Perkins, who along with Zegree and studio musicians, Brother Jay (Zach Lentino) and Fluke (Kieran McCable), provide superlative back up all night long in addition to Whitley's "Who Do You Love?”, "Party,” and "See You Later Alligator.” Christopher J. Essex brings a rich vocals and the homespun style of Johnny Cash to his renditions of "Sixteen Tons,” I Walk the Line,” and “Rider in the Sky.” Rustin Cole Sailors is a smoldering Elvis Presley, exuding natural charm in "Long Tall Sally,” and "Hound Dog.” David Folsom is perfect in the role of Sam Phillips and a sultry Laura Savage, as Dyanne, turns up the temperature in "Fever” and “I Hear You Knocking."

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“Million Dollar Quartet” has a long-standing love affair with Chicago audiences. There have been sell-out productions dating back over a decade — at Goodman, and then the Apollo for years — to only a few years ago, at Paramount, and many in between, a testament to just how rugged and resilient this rock 'n’ roll juggernaut is. You will like the experience of all the sights, sounds and gyrations in the Marriott's unique round configuration, where the studio sound booth is ingeniously incorporated into Jeffrey D. Kmiec's design freeing up the stage area for the session artists and backup instrumentalists to nest in the corners when things start rocking. With Teresa Ham’s gorgeous costumes, lighting by Jesse Klug and sound by Robert E. Gilmartin, it fits like a new pair of “Blue Suede Shoes.”

Considering classics like “That’s All Right” and “Great Balls of Fire” in the mix, there will be little “Peace in the Valley” with the not to be missed “Million Dollar Quartet” rocking the house through March 16th when Elvis, Jerry Lee, Carl and Johnny will leave the building.

PHOTOS|Liz Lauren

MARRIOTT THEATRE
Presents
MILLION DOLLAR QUARTET
through March 16th
10 Marriott Drive
Lincolnshire
(847) 634-0200

WEBSITE
TICKETS

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PICKSINSIX Review: LEGALLY BLONDE

‘LEGALLY BLONDE’ “SISTERHOOD. IT’S FOREVER!”

A champion we can believe in… Elle Woods, the fashionista-turned-law-school-student-turned-goddess in “Legally Blonde,” is a champion we can believe in to succeed at every turn. One of those turns — a dramatic and inappropriate confrontation with a professor — may jolt you like it did everyone I sat next to in a recent matinee. But Elle (the shimmering Casey Shuler) sends a defiant message to Callahan (James Rank) in that moment, firmly standing her ground. It’s powerful stuff and with a mantra like: “Sisterhood. It’s Forever!” there is no doubt that the underlying message of this new age edition has crystalized in the hands of Director Trent Stork. For “OMIGOD!” so many reasons, the Paramount Theatre production of “Legally Blonde” is a monster must-see hit!

"LEGALLY BLONDE" starring Casey Shuler now playing at Paramount Theatre through October 21st. TICKETS

Effervescent romp… There may be no more timely musical on stage in Chicago at this moment than “Legally Blonde.” The rollicking 2007 pop anthem for female empowerment with music and lyrics by Laurence O’Keefe/Nell Benjamin and book by Heather Hach is an effervescent romp that will make you giddy enough to accessorize in pink, get a dog of your own and get into Harvard Law School. (Good luck with that last one!)

Amazingly versatile company… Pursuing what she believes is her endless love, Elle hopelessly yearns for Warner Huntington III (Tyler Lain) the elitest boyfriend who dumped her and took up with Vivienne Kensington (Jacquelyne Jones) who is a bit of a snob. Elle finds that there is more to being accepted than just getting into Harvard. Along the way, she meets Emmett Forrest (Gerald Caesar) an earnest student mentor who sees Elle for herself. The amazingly versatile company includes a terrific Greek Chorus following Elle’s every move led by Serena (Lucy Godinez), Margot (Sara Reinecke), and Pilar (Kyrie Courter) who shake the pillars and rock the house.

Paramount Theatre production of “LEGALLY BLONDE” now playing through October 21st. TICKETS

Pump-It-Up… In the sidetrack to the main story, Paulette (Sophie Grimm) is a hair stylist who enlists Elle and Emmett’s support to retrieve what is rightfully hers. Paulette gets some advice of her own to help break out of her shell in “Bend and Snap.” When the murder mystery points to Brooke Wyndham – the electric, ‘Pump-It-Up!’ workout number “Whipped Into Shape” by Jenna Coker-Jones – things start to go into hyperdrive all the way to the show-stopping courtroom scene “There! Right There!” Featured performances abound but watch for the debonair UPS guy Kyle B. O’Boyle (James Doherty), Carlos (Yando Lopez) a key witness, and a couple of lovable canines named Bruiser (Frankie) and Rufus (Romeo) the two rescue-dog stars.

Top-flight production team… Director Stork, who also choreographs with Megan E. Farley, has assembled a top-flight production team that includes Jeffrey D. Kmiec (Scenic), Theresa Ham (Costumes), Mick Belley (Lighting), Mike Tutaj (Projections) and Adam Rosenthal (Sound). Music Director Kory Danielson conducts the impressive orchestra, so, in short, as the kids say: “OMIGOD! OMIGOD, You Guys! GO!”

PHOTOS|Liz Lauren
VIDEO|Paramount Theatre
Originally Published: September 29, 2018
Revised: October 1, 2018

PARAMOUNT THEATRE
Presents
LEGALLY BLONDE
through October 21st
23 East Galena Boulevard
Aurora, IL
(630) 896-6666

WEBSITE

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