PicksInSix Review: The Front Page - Northlight Theatre

‘The Front Page’ - A Grand Slam!
PicksInSix® Review | Ed Tracy

As if ripped from the headline of a major market daily, Northlight Theatre opened their sparkling new Evanston home on Friday night with a fast, fierce and uproariously funny production of “The Front Page” on the very day that the First Amendment is again under siege in Washington.

And even as life imitates art, and that other story is still playing out at our press time, the headline here is that BJ Jones, the Walter C. Greenough Artistic Director and the entire Northlight organization have checked every box for success. A new, state-of-the-art home. A terrific world premiere adaptation of the Ben Hecht|Charles Macarthur Chicago-based classic by Jeffrey Hatcher. A magnificent company of actors that reads like a who’s who of theatre royalty in town, and; a wildly appreciative audience soaking up every memorable moment. Simply put, Northlight’s “The Front Page” is a Grand Slam!

Without missing a beat, Hatcher has winnowed the original script down to two highly entertaining acts with a fast-paced run time of just over 100 minutes. The action flies by with the likes of the exquisite duo of Kate Fry as ace reporter Hildy Johnson and real-life husband Timothy Edward Kane as her dominating editor Walter Burns, and a press room that includes Guy Swearington (Endicott), Kelan M. Smith (Kruger), Joe Dempsey (McCue) and Mark David Kaplan (Bensinger) caught in the middle of an escalating crisis involving Earl Williams (John Drea), an escaped man convicted of murder and destined for the gallows the following day.

The political twist to the story is served up by the hilarious performances of William Dick as Sheriff Hartman, John Lister as The Mayor and Tim Kazurinsky, who all but steals the show as Pincus, the bearer of good news for Williams and bad news for the pending election only a few days away. As Hildy does all she can to follow through with her plans to run away to New York with her fiancé Brad Hefflefinger (Peter Moore), Burns lures her back to cover the story of the century. All the while, Brad, his staunchly suspicious mother, brilliantly played by Cindy Gold, and the sultry Rae Gray as Williams love interest, Mollie Maloy, are comically nibbling around the action.

It all takes place in and around a gritty and artfully detailed set of the Chicago Criminal Courts Building Press Room by Jeffrey D. Kmiec, enhanced by Izumi Inaba’s era-appropriate costumes and the slick, stark lighting of JR Lederle. Andre Pluess’s superb soundscape is key here as the dialogue flies effortlessly to everyone in the new 287-seat space.

It all harkens back to the day when print headlines in the morning edition decisively ruled the news cycle. More than any other profession, the newspapermen—and newspaperwomen—of legacy publications depicted in Northlight’s terrific production of “The Front Page” lived by the phrase: “If your mother says she loves you, check it out!” The lesson learned is that, then as now, there exists a highly competitive atmosphere where dedicated, hardworking reporters are rewarded with a byline, where managing editors must continue to relentlessly push their organizations for all the facts with faith that publishers will stand firm and wield their great power and influence against corruption whenever and wherever it threatens our democracy and quality of life.

PHOTO | Michael Brosilow

Northlight Theatre
presents
World Premiere
The Front Page
1012 Church St,
Evanston, IL

through October 25, 2026

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PicksInSix Review: The Merry Wives of Windsor - Chicago Shakespeare Theater

Delightfully Devious Duo Meets Rotund Rapscallion!
PicksInSix® Review | Ed Tracy

Directed with comic zeal by Phillip Breen and featuring Jason Simon in a terrific performance as the rotund rapscallion Sir John Falstaff, Chicago Shakespeare Theater’s lively production of “The Merry Wives of Windsor” is a rip-roaring farce if ever there was one. Set in modern times that often stretch the imagination, the sparkling cast delivers a robustly-paced theatrical gem on Navy Pier!  

Breen’s familiarity with the challenging material pays off. He has certainly discovered every intended comic opportunity—and countless others for good measure—and hits the mark at every turn, all centered around the dubious exploits of Simon’s Falstaff that fail like clockwork, not once, but three times at the hands of the delightfully devious duo of Mistress Ford (Issy Van Randwyck) and Mistress Page (Ora Jones). From the moment they receive identical love letters from Sir John, the two work in tandem to cook his goose while remaining undetected by their husbands, Master Page (Chiké Johnson) and Master Ford (Timothy Edward Kane), despite suspicions to the contrary. Aye, there’s the rub!

Who could blame them for their playful mischievousness? Falstaff’s overt desires turn away his entourage (the entertaining trio of Bardolph (Teddy Gales), Pistol (Colin Huerta), and Nym (Zack Bloomfield)—leaving him vulnerable to the combined forces of the merry wives and the spirited Mistress Quickly (a charming role for Nancy Voigts). As a result, Falstaff must unwittingly fend for himself, eluding discovery by the jealous Ford (Kane) by stuffing his magnificence in a laundry box that is later tossed away in the Thames and then forced to don lady’s clothing and endure an unseen thrashing during a hasty retreat. Throughout, Simon’s Falstaff is never the victim, but rather a hapless fop, like a dog with bone, easily swayed by flattery and the promise of passionate fulfillment. When he concedes a third time to a meeting in Windsor Park, now in the guise of “Herne the Hunter” with everyone in on the ruse, Falstaff is finally, and publicly, humiliated for his transgressions, and must makes amends.

In addition to the brilliant performances by Randwyck, Jones and Kane, the cast is loaded with Chicago talent from top to bottom including Nick Sandys (Sir Hugh Andrews), Paul Oakley Stovall (Justice Shallow), Alex Weisman (Slender), Nate Burger (Dr. Caius) and Bret Tuomi (Host of the Garter Inn). In the love story, Oliva Pryor is an earnest Anne Page, whose marital future lies with one of three suitors, Caius, Slender and Fenton, who is played by Sam Bell-Gurwitz, and is the true object of her affections.

Rich scenic and lavish costume designs by Max Jones—particularly the Ford’s elegant home, the Garter Inn and in the haunting Windsor Park—are visually striking with notable surprises dropping down from above and phoning in from below. The Jentes Family Courtyard Theatre is awash in Marcus Doshi’s crisp lighting design and the lush soundscape by Lindsay Jones, with the clever use of some contemporary songs that bust out along the way.

All in, Shakes “Merry Wives” is at its’ very merry best when Simon is uproariously navigating the fine line of reckless passion and the resulting over-the-top antics set in motion by the far superior wives who keep us rooting for his inevitable comeuppance. From his larger-than-life grand entrance to his humbling demise, Simon delivers a flawless performance and rightly receives a glorious and genuinely warm last laugh for his efforts, sprinkled with a tender touch of finality for one of Shakespeare’s most enduring characters.

PHOTO|Kyle Flubacker

Chicago Shakespeare Theater
presents
The Merry Wives of Windsor
Navy Pier
through May 3, 2026

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PicksInSix Review: An Iliad - Court Theatre

Kane’s Mesmerizing Performance Returns To Court!
PicksInSix® Gold Review | Guest Contributor | Ronald Keaton

Bravura. That's the appropriate word for the Court Theatre production of “An Iliad,” running now through June 29.

It's a solo play based on the legendary epic poem by the Greek poet Homer, who also wrote The Odyssey. Both these poems form the foundation of Greek literature, even as there are continuous attempts to deny authorship, not unlike what the reputation of William Shakespeare occasionally experiences. This version is co-authored by Lisa Peterson and Denis O'Hare in an endlessly eloquent fashion.

The term 'bravura' is most often used to praise what musical elements are being presented, as well as to the skills of the performers sharing their wares. This play offers itself in such a way that it is quite easy to compare it to a musical motif. The play itself is a kind of verbally spectacular music on its own, and Ms. Peterson and Mr. O'Hare hold nothing back in what they offer.

As the audience watches and takes it in, the story becomes easily absorbed in each movement, much like a symphony or even an opera, with its tragic plotlines that challenge believability in today's terms but were comfortably accepted back in "the day". And each character—Achilles the god-like Greek warrior; Hector, the greatest soldier of Troy; Patroclus, the Greek second-in-command; Agamemnon and Paris, the two sons whose actions make them so vulnerable—has his/her own section of the story devoted to them. It really is symphonic itself, both tragic and grand.

This sounds odd, but all the almost fantastical elements that the great director Charles Newell has assembled are almost players in their own right. Scenic Designer Todd Rosenthal and his Associate Scenic Designer Lauren M. Nichols have created a dystopian-like shelter with a variety of levels and steps and holes in the back wall, as well as a very sharp raked platform that an actor can negotiate for any part of the play. Sound Designer André Pleuss and Associate Sound Designer Josh McCommon share an almost constant low-level drone that surrounds the storytelling with an enhanced tension, matching the language and character in its various and sundry auditory nooks that push the environs of the piece even higher.

Rachel Anne Healy's costume for the actor Timothy Edward Kane is a highly layered vision, where Mr. Kane takes off pieces as he goes in a compliment to the exposure of man's vulnerability to his thoughts and actions, one by one. Lighting Designer Keith Parham and his Associate LD Josiah Croegaert have done absolute yeoman work in "giving light to the dark," so to speak, with their angles and shafts of light and faded colors that enhance what is seen. All this expert technicality greatly heightens the elegiac authenticity and makes this truly a special ensemble experience.

And the conductor of this symphonic reality is Mr. Kane as The Poet. He sings. He speaks in an otherworldly language. He moves balletically across the stage. His seasoned command of the character—in rage and in vulnerability, with the entire range of the actor's voice and emotions—is one of the best this writer has ever witnessed. Yes, there is lots of purple prose here, but it's all well-earned. Mr. Kane takes us on a journey that, even if you've never read the original epic poem, you can easily understand and appreciate the flowing, heightened story—another bow to the authors. He has mined humor where it's a surprise, and his own relationship with the audience is at once intimate and grand. It's one of the great performances presented this year at Court and, dare we say, ever in Chicago.

A favorite actor, Robert Duvall, said once: "I remember something Sandford Meisner told us. When you create a character, it's like making a chair, except instead of wood, you make it out of yourself. That's the actor's craft—using yourself to create the character." This is indeed what Mr. Kane, Mr. Newell and the other fabulous artists of this exceptional orchestra have ultimately accomplished over the course of four productions of the piece dating back to 2011—unique, mesmerizing and an extraordinary accomplishment that is not to be missed.

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 “Teddy’s Last Ride.”

PHOTO | Michael Brosilow

Court Theatre
presents
An Iliad
featuring
Timothy Edward Kane

Abelson Auditorium
5535 S Ellis Ave
through June 29, 2025

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PicksInSix Review: The Gospel at Colonus - Court Theatre

Infectious… spectacular and from the heart.
PicksInSix® Review | Guest Contributor Ronald Keaton

There is so much to share about “The Gospel at Colonus,” the absolutely marvelous production now playing at Court Theatre through June 11, that one hardly knows where to start – or whether all the praise can fit in here.  Based on the Oedipus trilogy by Sophocles, it views the Greek tragedy – and in this case a specific tale that shows subsequent comparisons to Christian fact and legend – through the energetic prism of the Black Pentecostal Church.  It’s a fascinating adaptation that seems naturally to play into such customs and stories.

Some background: “Oedipus at Colonus” is the middle play in the trilogy.  Oedipus has already experienced what the gods say he will endure.  His father the king is killed in battle by his son’s hand.  In mourning, the son attends his mother Jocasta and, in time, they have three children together.  When that shame is discovered by the world, Oedipus then blinds himself as punishment for his sins and wanders the world for twenty years. Yes, that’s quite thumbnail in description, but it sets up the second play, where Oedipus is now cared for, by first one and then both daughters, as he is guided back to Thebes, desiring now to go home and die quietly.  And of course, nothing is quiet in Greek storytelling.

The versatile Kelvin Roston Jr. gives an Oedipus of great emotion and strength that translates into non-stop passion throughout the play.  As the two sisters, Aeriel Williams (Antigone) and Ariana Burks (Ismene) are both zealous, vulnerable guards of their father’s welfare.  Mark Spates Smith (Theseus, King of Athens) is a calming presence as his character converts to a narrator/minister of the church here. And it’s lovely to watch the wisdom in his work.  Timothy Edward Kane is a smooth, slick Creon, who is Jocasta’s brother, tempting Oedipus to return to his birthplace, so that the fortunes the gods have predicted will not come true and Creon can retain power in Thebes… And on the story goes.

There are so many high points from a talented ensemble, a most entertaining entity this writer enjoyed thoroughly.  Juwon Tyrel Perry portrays The Friend, who first tells Oedipus he cannot enter a holy place, in a stunning vocal turn. Kai A. Ealy as the evil son Polyneices offers wonderful character work, full of depth and deception.  As dual Choragos whose advice Oedipus accepts, Eric A. Lewis and Shari Addison deftly lead the citizenry in alternating moments of huge passion and quiet choral harmonies, all rooted in the Pentacostal tradition of call-and-response that is nothing if not exciting to watch here.  Everyone deserves mention – Jessica Brooke Seals as a knowing preacher of sorts, augmented by a Greek chorus (Jerica Exum, Cherise Thomas, Isaac Ray, Shantina Lynet, Eva Ruwe) who takes the captivating music to emotional heights in a totally unique take of the Court’s classic theatre mode.

“The Gospel at Colonus” is co-directed with an elegant combination of big choral strokes and intimate individual moments by Mark J.P. Hood and Charles Newell with associate director Taron Patton. A sparse scenic design by John Culbert; the colorful Raquel Adomo costuming; the wonderful, attentive shafts of sharp light in one moment and warm, enveloping light in another by Keith Parham; the complimentary sound layers designed by Sarah Ramos – all eloquent pieces to a puzzle of thick design and story.  All of these elements, expert as they are, grabbed onto the coattails of the exciting, heartfelt gospel blues from the five-piece unit led by Mahmoud Khan. Along with the audience, one could even see Production Stage Manager Kate Ocker clapping along from the stage manager’s booth. That’s how infectious it is – spectacular and from the heart.

Created by Lee Breuer and Bob Telson, the show had its original 1983 production at the famed Brooklyn Academy of Music in New York – after workshops at the Walker Art Center in Minneapolis and in London – with Morgan Freeman as the preacher and the great Blind Boys of Alabama as Oedipus, in what Mr. Breuer and Mr. Telson called a “eureka moment” in their casting. It is a fascinating adaptation of an exceedingly challenging story to tell that naturally plays into the customs and traditions of Black churches.  I would venture to say that if they saw this production in all its fullness and nuance, they would be quite happy with the result.

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
THE GOSPEL AT COLONUS
5535 S Ellis Ave.
EXTENDED through June 18, 2023

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PicksInSix Review: Othello - Court Theatre

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A SINGULAR KIND OF OTHELLO
Guest Contributor | Ronald Keaton

The Tragedy of Othello, the Moor of Venice by William Shakespeare. It is a long title for what is generally a longer play. At over 3600 lines, it’s among the Bard’s longer pieces and would generally take around three hours to perform. Not so with the production currently playing at Court Theatre. It is compact, judiciously and smartly edited, and fits admirably into the hands of co-directors Charles Newell and Gabrielle Randle-Bent in a challenging and engaging 100 minutes or so. A real and unusual feast for all one’s senses. The presentation, a world of balletic physical battle, where few people touch each other (a marvelous response to the COVID battle we currently wage), is a uniquely timeless setting that also gives pointed contemporary commentary. It is accompanied by a complimentary soundscape created by the fine sound designer Andre Pluess. This writer admits that, at first, this use of an original body-expression language to help further the action was, in a word, unusual. It does take a little time to adapt to the way this Othello is offered. But in time, the audience is eventually taken into this new reality, and the new language itself becomes a character to understand and appreciate.

There is no “place”, per se, for all the action.  Indeed, the physical set makeup enacted by designer John Culbert and Court scenic artists has five separate seating areas of roughly 50 patrons onstage along with a small section of the traditional gallery offering another 50 seats or so.  The cast works in the bordered aisles among the audience, resplendent in costumes by Rachel Adorno and Gregory Graham in the stark hues of Keith Parham’s lighting design.  Additionally, canvased scaffolding and platforms hover over the main playing areas, all further comments on the continuing transition of time in this production and our present pandemic war. Whether or not it’s intended—and I give the Court folks all due for intent whenever I see a play there—it’s an effective theatrical contour.

The story itself is one of extreme jealousies—of power, of property, of love.  The script editing by Mr. Newell and Ms. Randle-Bent changes the focus of the story from one dominated by Iago’s treachery to one that shapes Othello’s foibles and weaknesses more succinctly.  And Kelvin Roston, Jr.’s visceral, physical Othello spares no quarter in his difficult transformation from arrogant leader to suspicious lover to murderous husband and, finally, to his own demise.  Mr. Roston shows us, in deep and short bursts, how the mind is deceived and how quickly he accepts such manipulation until he finally recognizes what he’s done, and what has happened to him.

Iago.  One of the great villains in Shakespeare, whose motivations are constantly characterized (and rightly so) as true evil.   But here, the wonderful Timothy Edward Kane—whose stunning turn in An Iliad at Court remains alive in this writer—actually makes Iago seem almost vulnerable.  It doesn’t last long, of course, because of all the control that Iago exerts throughout the story.  Mr. Kane imbues Iago with an almost touching, I-am-forced-to-do-so aura that is quite unique from other portrayals. Amanda Drinkall’s Desdemona was, at once, delicate and strong in standing up to Roston’s Moor.  A refreshing presence and relief from the intensity of the plot, even as she has her own to proffer to her husband and is unfortunately rejected. A striking and articulate presence, she is.

Two nice surprises in the evening. One was Cruz Gonzalez-Cadel as Emilia, Iago’s wife.  It’s a role that could be hugely difficult, as Emilia seems to accept much of what Iago says and wants with no explanation to her, until she realizes her husband’s truth.  Ms. Gonzalez-Cadel’s death scene, being murdered by her husband, capped a far-ranging portrait from an actor new to me.  More, please. Then there was Court stalwart Erik Hellman’s intense Roderigo, who combines with Iago in the manipulations to wound Cassio, gets wounded himself, and then ultimately is betrayed and killed by the very man he works with.

Sean Fortunato is his stylish, confident self in dual roles of Brabantio and Montano. Sheldon Brown, whom I’ve seen at About Face Theatre in the city, is energetic and clear-eyed as Cassio, one of Iago’s lieutenants and victims in the charade of evil. Darren Patin aka Chicago Drag Queen Ari Gato is simply invigorating as Bianca, Cassio’s lover. And starting at the top of the production, Karissa Murrell Myers’ Duke presents proper authority and wisdom, clear and concise.

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

PHOTO|Michael Brosilow

COURT THEATRE
presents
The Tragedy of Othello, the Moor of Venice
through December 5, 2020

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

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PICKSINSIX Review: NELL GWYNN

‘NELL GWYNN’ - FAST, FUNNY COMIC DELIGHT!

Based on the true-to-life story of the mistress of King Charles II, who rose from selling oranges on the streets and a life in the brothels of London’s West End, Jessica Swale’s uproarious comedy “Nell Gwynn” flips the historical script on politics, sex and society in an entertaining, large-scale production, the North American premiere of the Olivier Award-winning comedy now playing at Chicago Shakespeare Theater through November 4th.

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Christopher Luscombe directed the original 2015 London production that premiered at The Globe Theatre. The lavish production Luscombe has conceived on Navy Pier features the lively and thoroughly engaging performances of Scarlett Strallen and Timothy Edward Kane leading a seasoned top-flight company in a richly told, fast, funny comic delight!

Imagine the moment in mid-17th century London that women replaced men playing women on stage. That is essentially the defining moment in time around which everything else revolves for Nell Gwynn. Discovered by Charles Hart (John Tufts), leading actor in the King’s Company, Nell is recruited to play the woman’s roles, much to the disappointment of Edward Kynaston (David Bedella) whose stage career was defined by the female roles he played in the plays written by John Dryden (Christopher Sheard). Thomas Killigrew (Bret Tuomi), the manager of the company, takes an interest in furthering Nell’s career and soon she is the leading actress on the West End stage. Together with her sister, Rose (Emma Ladji) and dresser, Nancy (Natalie West) the story of Nell’s stage career, and a budding romance with Charles, begins to unfold.

King Charles II has returned from exile and, without regard for his Queen Catherine (Hollis Resnik, in one of two superb split roles, the other as Ma Gwynn), taken up with Lady Castlemaine (Emily Gardner Xu Hall, who also plays French mistress Louis de Kerouaille). As soon as he spots her, nothing can stop Charles from his quest for the alluring Nell, including the high-handed Lord Arlington (Larry Yando) his chief advisor who is determined to undermine the relationship.

If this all sounds like a serious Shakespearean history, think again. “Nell Gwynn” is a fresh, imaginative, comic treatment that is beautifully scored by Nigel Hess and choreographed by Amber Mak. Clever, modern references pop up in the most unlikely places throughout Scales delightful script. The over-the-top, riotously funny David Bedella, and the wily comic Natalie West, shoot from a quiver full of comic zingers all night long.  

Hugh Durrant designed an elaborate period courtyard and the exquisite costumes for this visually rich production. Richard Jarvie’s wig and make-up design are inspired as is Jermaine Hill’s superb music direction. Make a reservation now. You will fall in love with “Nell Gwynn!”

PHOTOS|Liz Lauren

CHICAGO SHAKESPEARE THEATER
Presents
NELL GWYNN
through November 4th
Navy Pier
800 East Grand Avenue
(312) 595-5600

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PICKSINSIX Review: BURIED CHILD

“PAIN IS PAIN. PURE AND SIMPLE.”

Flawless performance … It’s raining in the Heartland, on a barren, lifeless parcel in East Central Illinois where the irascible Dodge, his petulant wife Halie and their dysfunctional sons are living out their tepid, worthless lives. The rain exasperates Dodge’s declining health which is fueled by Gold Star Sour Mash whiskey, nicotine, depression, anxiety, and guilt. It’s a formidable bag to unpack for Larry Yando, one of Chicago’s revered actors, whose flawless performance brilliantly anchors the Writers Theatre production of Sam Shepard’s 1979 Pulitzer Prize-winning play, Buried Child. This is a disturbingly dark, raw purposeful drama for which Writers Resident Director Kimberly Senior has assembled a top-flight cast and exposes the long-term effects of grief and remorse while delivering a powerful, one-two punch!

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Open wound … Perhaps there were better day’s years ago, when the farm was thriving and productive. Dodge and Halie (Shannon Cochran) raised three sons, Tilden (Mark L. Montgomery) and Bradley (Timothy Edward Kane), who are very much in the picture, and Ansel, who died unexpectedly and is not. The root cause of Dodge’s bitterness and the secret that is an open wound for the fractured family has now allowed their reality to erode completely.  Whatever bounty that once existed outside the ramshackle house is now a wasteland. Tilden, has slinked back from New Mexico, penniless and broken. Bradley, an amputee from an encounter with a chainsaw, is steeped in resentment. And Halie, who has now taken a fancy to Father Dewis (Allen Gilmore), lives in a tortured, twisted reality that almost appears normal compared to everyone else even as she chimes in from the bedroom upstairs, “Pain is pain. Pure and simple.” There is a lot of that to go around.

Gut-wrenching climax … Things take a turn when grandson Vince (Shane Kenyon) and his girlfriend Shelly (Arti Ishak) arrive on their way to see their father in New Mexico when they realize that Tilden has come back home. Nobody seems to recognize him, which is at the heart of the story leading to a gut-wrenching climax that will leave you stunned. 

Commanding presence … Yando’s commanding presence spews forth effortlessly, whether he is alone on stage or amid the chaos that is unfolding around him. Cochran’s manic sensitivity intersects perfectly with the powerhouse supporting performances of Montgomery and Kane. Kenyon deftly navigates a challenging role. Ishak’s unsettling panic is palpable.

Hauntingly bleak … The imposing Jack Magaw set design, with a jutting second story framed with partially opaque exits in all directions, is hauntingly bleak when paired with Heather Gilbert's rich lighting, Mieka van der Ploeg's costumes, and sound design by Mikhail Fiksel. Scott Dickens props crew is working overtime to stay ahead of the mayhem.

The takeaway … considering the title, this is an adventure. It’s like Dodge says: “Much better to not know anything.” You'll certainly be husked.

PHOTOS|MICHAEL BROSILOW
WRITERS THEATRE
Presents
BURIED CHILD
through June 17th
325 Tutor Court
Glencoe, IL
(847)242-6000

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PICKSINSIX Review: ALL MY SONS

“I ignore what I gotta ignore.”

Precisely imagined... The magnificent revival of Arthur Miller’s All My Sons, now playing at the Court Theatre, is a gripping and compelling production precisely imagined and perfectly staged by Charles Newell, Court’s Marilyn F. Vitale Artistic Director.

Fact-based story... Following the public disgrace of a criminal conviction during World War II, for which he has been officially exonerated, Joe Keller is back on top, having rebuilt his family manufacturing business and unifying the family circle around him. There is a messy untold truth in Miller’s fact-based story that thrusts two families into a morass of moral responsibility, social justice and survival.

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Stellar performances... John Judd brings depth and power to tough guy Joe Keller, haunted by the prospect of losing his family legacy, and fearful of losing the love and respect of his son. His tormented wife Kate, an electrifying performance by Kate Collins, alternates between victim and protector. Timothy Edward Kane is terrific as Chris Keller, the troubled love struck son who lives in his brother’s shadow and longs for happiness with Ann Deever, played by the captivating Heidi Kettenring. Johanna McKenzie Miller(Sue Bayliss), Karl Hamilton(Dr. Jim Bayliss) and Dan Waller(George Deever) all stand out in an ensemble of stellar performances.

Striking scenic design.. John Culbert's striking scenic design with Keith Parham’s dynamic lighting and period costumes by Jacqueline Firkins, all combine to transform the intimate Abelson Auditorium into Joe Keller's multi-tiered back yard of the 1940's.   

A respectfully artful tribute... There was a remarkable sense of presence at the press opening on Saturday, the undeniable sense of loss that courses through All My Sons served as a shining and respectfully artful tribute to everyone connected with Court Theatre, The University of Chicago and the theatrical community out of respect for the family, friends and co-workers of Executive Director Stephen J. Albert who passed away recently. As noted in the program on behalf of the company “All My Sons was the work of art that inspired Steve to make theatre his life’s mission. In his absence, we continue to press onward, finding in our dedication to this play above all others an ideal way of celebrating Steve’s life and artistic vision.” 

The takeaway... An artist’s truth is laid bare when the art painfully intersects with reality. That infusion can only then spew out with equal parts of raw emotion and extraordinary technique. This brilliant combination is at the core of Court Theatre’s exceptional production of Arthur Miller’s All My Sons, a rendering of which the playwright – and Steve Albert – would overwhelmingly approve.

PHOTOS|Michael Brosilow

COURT THEATRE
ALL MY SONS
Written by Arthur Miller
Directed by Charles Newell
through February 11th
5535 S Ellis Avenue
773-753-4472
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