PicksInSix Review: The First Lady of Television - Northlight Theatre

Sherman’s Marvelous, Articulate Plunge Hits Home!
PicksInSix® Review | Guest Contributor | Ronald Keaton

This is the story of a grand storyteller named Gertrude Berg. She is the subject of James Sherman's marvelous, articulate plunge into show business history, “The First Lady of Television.” It's the latest production from Northlight Theatre currently at the North Shore Center for the Performing Arts in Skokie and now playing through October 12. Given the subject matter within the play—dealing with McCarthyism, the House Un-American Activities Committee in the 1950s and the blacklist known as Red Channels—what unfolds are unsettling, almost frightening precedents of today's politics. Artistic director BJ Jones comfortably guides his ensemble through Mr. Sherman's encompassing wallop of a script, complete with meticulous research and loving dialogue.

Gertrude Berg was a pioneer of classic radio. She was one of the first people to create, write, produce, and star in a long-running hit when she premiered her comedy-drama "The Rise Of The Goldbergs" in 1929, as network radio was in its infancy. NBC ran her series, which eventually settled as "The Goldbergs," for seventeen years. Molly Goldberg was a big-hearted matriarch of a Jewish family in The Bronx. And that family—husband Jake, the always supportive Uncle David, daughter Rosalie and son Sammy—comprised a tight-knit group that went through common issues that all families experience: love and loss, celebrations of all kinds, personal growth and family discussion. It was a 15-minute show on radio. In 1949, Gertrude was able to transfer the show intact to television for a nearly ten-year run on CBS and DuMont.

The episode in question here they are shooting really doesn't matter. Molly is preparing for a July 4th celebration at home. The real drama is from outside the studio, where HUAC is making its presence known on the set. Suddenly the director Walter Hart (Joe Dempsey in a purposeful, strong turn) calls out "Hold, please!" for the umpteenth time in the rehearsal. The actor playing Loeb/"Jake" has learned that he has been listed in the pamphlet called Red Channels, along with 150 other show business types. The show's sponsor, Sanka, began to pressure Ms. Berg and the network to fire Mr. Loeb, however it got done. But such action was delayed. And delayed for well over a year. Finally, Gertrude is placed in the untenable position of deciding, on the set right then and there, whether or not to fire Mr. Loeb.

And that sets off, from the actor's reality in losing his job and fearing he'll never work again, a remarkable monologue from Mr. Sherman's pen. Mr. Loeb (the absolute best work ever from William Dick as Loeb/"Jake") takes us on an emotional, staccato journey about life. Union friendships. Family failure. Stories of literal survival at a time in America when hate filled the walls of Congress and threatened the very life of the country. Sound familiar? And Mr. Dick expertly takes us through all this with a deft combination of dread and confusion and, when it was all said and done, some inner panic for an artist who "just wants to work."

Mark David Kaplan shares such a gentle Eli Mintz/"Uncle David", so accommodating and helpful, as he becomes a kind of staff for Philip. Sarah Coakley Price as Arlene McQuade/"Rosalie" says yes, fire him. She emotionally forces a real wrench into the story with the fear that she doesn't want to lose HER job either; she just wants to move on and become what Gertrude is—star, writer, director of her own show. Ty Fanning (Larry Robinson/"Sammy") plays it all smarter than we know in showing how simply Larry negotiates his own path through the maze.

And at last, there's the great Cindy Gold in the title role. Gertrude/"Molly" is fully committed to this process. She says, in fact, that this cast is her family and she cannot abandon family for any reason. So, she gives everyone a strong boost in looking at their own stead—even Philip, the obvious tool to put away. Yes, Gertrude stays loyal right to the end. And Ms. Gold is simply wonderful in her consistent, charming take on a woman much more accomplished than people knew. It's all done within the guise of family loyalty, in a world turned upside down outside the studio, by a movement of hate ironically prescient to what many experience today. This is an ensemble play built on purpose and earnest leanings, as playwright Sherman shows us all, despite the history we think we know, what was still good in that time and place.

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

Northlight Theatre
presents
World Premiere
The First Lady of Television
North Shore Center for the Performing Arts
9501 Skokie Boulevard
through October 12, 2025

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PicksInSix Review: Dial M for Murder - Drury Lane Theatre

Betrayal, Deception Abound In Classic Thriller!
PicksInSix® Review | Guest Contributor | Regina Belt-Daniels

What comes to mind when you hear or see the title “Dial M for Murder?” The popular Alfred Hitchcock film starring Ray Miland and Grace Kelly, correct? Well, that may be no more; the production currently running at the Drury Lane Theatre Oakbrook is the one to remember now. Written in 1952 by English playwright Frederick Knott, Drury Lane’s chilling production—a tight, carefully orchestrated, thriller—has gone one step farther with Jeffrey Hatcher’s compelling adaptation.

Set in the 1950s, “Dial M for Murder” tells the story of the fractious marriage of the wealthy socialite Margot Wendice (Amanda Drinkall) and her husband, Tony (Erik Hellman) who plans to murder her for her fortune (rather than lose her money to divorce) after discovering her affair with American murder mystery writer Maxine Hadley (Alexandra Silber). Tony blackmails a former Cambridge acquaintance into committing the murder while he establishes an alibi with his BBC radio interview. Of course, the plan goes astray.

Making his Drury Lane debut, Director Adam Immerwahr’s production is suspenseful, engaging, and extremely well-paced as he skillfully weaves the plot together navigating its many dramatic twists and turns with a creative flair for the genre. Upholding a unified vision and mood, Paige Hathaway’s detailed set design of the Wendice’s elegant London living room is plush, lush and gorgeous. All of the technical elements are effective and focused from the lighting design by Emma Deane, the sound design and music composition by Joshua Schmidt, and the beautiful era-appropriate costume design by Nicole Boylan, to the wigs and hair by Bridget Rzymski, and properties by Cassy Schillo. The strong performances of the ensemble benefit from the work of intimacy/violence choreographer David Blixt and dialect coach Julie Foh.

Immerwahr has assembled an incredibly charismatic ensemble of five—in roles that feel tailor made for them—focusing on the intricacies and interactions while heightening tension and suspense. The dialogue is sharp, and precise, revealing the character motivations with themes aplenty: betrayal, deception, justice, greed, love and loyalty.

Drinkall’s Margot is stunning—both in appearance and acting ability—all at once charming, naïve, kind, and with a quiet air of wealth. In Hellman’s Tony, we find a failed novelist who shows the conflicting emotions of a meticulous planner whose selfishness, arrogance, and jealousy run deep. Silber lands a skilled turn as the quick witted and plucky Hadley, the American murder mystery writer who is still in love with Margot. Ian Paul Custer is the man of many names, most recently Captain Lesgate, a shady, convicted criminal accomplice of Tony’s. Custer is very believable, starting out as a nice mustached, three-piece suited colleague who is soon willing to murder Margot for money. Chief Inspector Hubbard (Jonathan Wier) of Scotland Yard doesn’t appear until Act Two and may be a bit eccentric, but he is thorough and steady, thoughtful and intelligent. This is a delightfully strong, talented, and masterful cast.

“Dial M for Murder” is not a murder mystery; it is quite definitely a thriller. We know who’s doing what and what’s going to happen. The suspense is will he get away with it or will he get caught? You may be holding your breath for Margot as this Drury Lane thriller definitely keeps the audience on the edge of their seats— a fresh take on a classic thriller and, by the way, the ending will make you feel happy.

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 | Kyle Flubacker

Drury Lane Theatre
presents
Dial M for Murder
100 Drury Lane
Oakbrook Terrace
through October 26, 2025

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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

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PicksInSix Review: Come From Away - Paramount Theatre

Paramount’s Heartwarming Hit Channels Friendship, Hospitality.
PicksInSix® Review | Guest Contributor | Regina Belt-Daniels

A quandary—at least that must have been what the residents of the Newfoundland town of Gander were dealing with as 38 airplanes carrying 6,579 passengers from 100 countries landed at the Gander airport on September 11, 2001. “Come From Away” marks both Paramount Theatre’s season opener for the 25-26 Broadway Bold Series as well as the Chicago Regional premiere of the show based on hundreds of hours of interviews with the Gander townspeople and the “come from away”(a.k.a. stranded) passengers. The award-winning show, the work of playwrights Irene Sankoff and David Hein who are also responsible for the music and lyrics, originated at the Jolla Playhouse in San Diego on its way to earning three Drama Desk awards (including Best Musical) and seven 2017 Tony Award nominations, winning for Best Direction.

The 90-minute musical (no intermission) is masterfully directed by the multiple Jeff Award-winning Trent Stork, and joins a prestigious string of hits—27 in all—of outstanding Paramount productions including “Cats,” “Frozen,” “Kinky Boots,” and “School of Rock” among others. Stork has assembled a clever and creative production team including choreographer Kasey Alfonso, scenic designer Milo Bue, costume designer Izumi Inaba, lighting designer Greg Hoffman, sound designer Adam Rosenthal, projections Mike Tutaj, wigs hair and makeup designer Katie Cordts and dialect coach Susan Gosdick. Stage manager Amber R. Dettmers keeps the well-paced show running smoothly.

This production is in the capable hands of Music Director Kory Danielson with the very talented Associate Musical Director Kailey Rockwell conducting the performance on Sunday evening. The songs are heart-tugging, lively, energetic, determined and performed flawlessly by Danielson’s eight-piece band, some who are seated on stage and are included in the story. Most notable of the 14 songs are the company sung “Welcome to the Rock,” “Screech In,” “Something is Missing,” and the standout performances of “I Am Here” by Soara-Joye Ross (Hannah) and “Me and the Sky” by Andrea Prestinario (Captain Beverley), both of whom have amazing vocal ranges.

Each member of the ensemble of 18 create multiple endearing and vibrant characters celebrating friendship, compassion, and extraordinary hospitality. The themes of kindness, global community and resilience resonate in everyone, however, I did favor Russell Konstans’s Mayor; Nick Druzbanski’s Constable Oz; Abby C. Smith’s Gander citizen Beulah, and the already mentioned Soara-Joyce Ross’s worried mom Hannah and Beverley Bass, the first female American Airline captain played by Andrea Prestinario.

There is plenty of charming humor in both the songs and dialogue surprisingly in such a historically tragic event. In “Welcome to the Rock,” which introduced both the plot and setting, we hear “small place on a rock in the ocean, and you won’t understand half of what we say,” comments about the infamous Tim Horton’s where everything starts and ends, the six cardiologists dance and the reason why the planes were sent to Gander.

“Come From Away” is entertaining, educational and sings of miracles. There is something for everyone, even as we recognize and remember the tragedy of 911. You will be crying and dancing through the finale with the superb cast. You don’t have to ‘come from away’ to enjoy this heartwarming story and you have until October 12 to experience it yourself.

Postscript: There is another existing quandary in Aurora. The City Council of Aurora has cut Paramount’s budget impacting future shows at the Copley—which closed a critically acclaimed production of “True West” last weekend—and has already canceled upcoming productions of “Covenant” and “Ride the Cyclone.” Paramount Theatre is among the largest subscription series in the country and yet the theater now is facing an inevitable reduction to its overall programming from 900 to 700 performances annually. “Million Dollar Quartet” is thriving at the year-old Stolp Island Theatre even as additional reductions to the Riveredge Park and Paramount School of the Arts are on the table. Hopefully, the City Council will reconsider this key investment in the arts for the citizens of Aurora and the surrounding region.

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|Brett Beiner 

Paramount Theatre
presents
Chicago Regional Premiere
Come From Away
23 E Galena Blvd
Aurora
through October 12, 2025

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PicksInSix Review: Rachmaninoff and the Tsar - Writers Theatre

Hershey Felder’s ‘Rachmaninoff’ Scores at Writers
PicksInSix® Review | Guest Contributor | Ronald Keaton

There really are few people in the theatre like the renaissance man Hershey Felder. Concert-level pianist. Producer in charge of his own fate. Actor with, in this case, a surprisingly high-quality Russian dialect, when many actors shy away from such things. Writer of a meticulously researched story and script. He has a strong influence on behind-the-scenes activity as well—scenic, projections, even a question-and-answer exchange with his audience AFTER ninety-plus minutes of a challenging performance that would intimidate others. And now, at Writers Theatre in Glencoe through September 21, Mr. Felder offers his latest in his series of solo narratives that concentrate on the great composers, “Rachmaninoff and the Tsar.”

Except in this one case, he has a partner onstage, the British-Italian standout actor Jonathan Silvestri, who plays Tsar Nicholas II, the last Emperor of Russia. The Tsar is a conjured character in the mind of Sergei Rachmaninoff, who helps the celebrated music icon near the end of his life to find common ground with his Russian roots again. The Tsar believed that he and family were "blessed by God" and thus being placed in a position of ruling Russia before the Bolshevik period began during the October Revolution of 1917. Almost the entire ruling family was murdered by the Lenin-led Bolsheviks nine months later in July 1918.

Meanwhile, Rachmaninoff and his family escaped Russia during the Revolution before first landing in New York City, beginning his fabled American and European concert tours. In time, the great man realized that his voice as a composer was missing and he yearned to be back in Russia. But most of his years through the rest of his life were lived out as arguably the most celebrated pianist of his day. He became close friends with his equally gifted compatriot Vladimir Horowitz. But to be precise, he and his wife Natalia lived in Switzerland for six years during this period in a kind of break from the grueling concert schedule until his health forced him to seek warmer climate. Hence, they moved back to the United States and settled in Beverly Hills. Rachmaninoff obtained his American citizenship in February 1943, roughly seven weeks before he died of advanced melanoma in March 1943.

It's reasonable to assume that both Sergei and Nicholas felt a similar spiritual tie to the homeland. Indeed, Mr. Felder's tight script has two constant themes—the soul, which is what is frequently referred to in emotional exchanges between both characters; and home, where they both yearn to find peace of mind. To both characters, these two factors are inextricably bound in influence. Mr. Felder, in a long and emotional monologue detailing those last years, emphasizes that the great man left the 'soul' of his composing back home. And it is true that the vast majority of his compositions were done while still there.

Mr. Silvestri is an imposing Tsar Nicholas, trying to be controlled and authoritative throughout, until the story of his daughter Anastasia comes to light. Mr. Felder cleverly allows the Tsar to be told a tragic tale of how his family was murdered in a forest and how his daughter miraculously survived after the Tsar's death in 1918, as Sergei helped to finance Anastasia for most of the rest of her life. Then, in a bit of a surprise, Rachmaninoff quietly confesses that he had serious doubts about whether she actually was who she claimed she was.

Mr. Felder's consistency of character here is an achievement in itself. He carries the man with strength and conviction. The dialect is strong and articulate. The spacing onstage, thanks to economical and tight direction from an experienced-with-Felder hand Trevor Hay, maintains a lovely pace with the script. The scenic design is a grassy garden of sorts with the piano in the center, while elegant projections of both the Tsar's and Rachmaninoff's families reigned large behind the set itself in black-and-white and maybe even a little sepia. The entire production is a totally unique theatrical experience that encourages the audience to escape to another time.

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|Stefano DeCarli

Writers Theatre
presents
Midwest Premiere
Hershey Felder's
Rachmaninoff and the Tsar

325 Tudor Court
Glencoe
through September 21, 2025

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PicksInSix Review: Les Misérables - Broadway in South Bend

‘Will You Join In Our Crusade!’
PicksInSix® Gold Review | Ed Tracy

Cameron MacKintosh’s “Les Misérables,” the juggernaut of North American tours, opened at the historic Morris Performing Arts Center in South Bend to an exuberant audience which, by all appearances, was equal parts lifelong fans and first-timers, including an aspiring Cosette or two at every turn.

It is no surprise. The 1987 Tony Award-winning musical (eight total including Best Musical) that has had two revivals on Broadway and several tours that preceded this 2022 reimagined version, has, as a result, remained in the public consciousness for nearly 40 years. You can be sure that the current edition still has all of the spit, fire and brimstone of the original. Quite simply, “Les Mis” is a soaring musical masterpiece, centered on a brilliant story by Victor Hugo and bursting with magnificent performances.

And while the music—a memorable score that includes a cavalcade of anthems, ballads and rousing company numbers including “Bring Him Home,” “I Dreamed A Dream,” “On My Own,” “Do You Hear the People Sing,” “One More Day” and “Master of the House”—is among the most recognizable and beloved in musical theater, the true test of the longevity of the show is how it matures over time, capturing the essence of the original and staying relatable for modern audiences.

The strength of the 19th century set piece—music by Claude-Michel Schönberg and Lyrics by Herbert Kretzmar—centers on the conflict between Jean Valjean (Nick Cartell), the former prisoner ‘24601’ turned fugitive who seeks peace and redemption, and his captor Javert (Nick Rehberger), whose sole purpose is to return Valjean to stand trial for his criminal past. While Valjean rises to a prominent position in society as a factory owner and mayor, he is ultimately exposed and must reckon his own well-being and the fate of others under the threat of Javert’s single-minded fury.

As the story unfolds, Valjean comforts the dying Fantine (Lindsay Heather Pearce) and promises to seek out and care for her young daughter Cosette (Emerson Mae Chan) who is under the stewardship of the Thénardiers (Matt Crowle and Victoria Huston-Elem), a pair of clever despots whose livelihood hinges on deception, theft and wickedness at the expense of everyone except their own daughter Éponine (Greta Schaefer).

Valjean rescues Cosette and raises her as his own. Years pass and the threat of revolution is in the air in Paris. Now young women, Cosette (Delany Guyer) and Éponine (Mya Rena Hunter) are in the company of student revolutionaries including Enjolras (Christian Mark Gibbs) and Marius (Jake David Smith), who is attracted to Cosette. Against her own true feelings, Éponine aids in bringing the two lovers together as tensions rise, the barricade is formed, and the bloody revolution begins.

Cartell’s powerfully moving Valjean—a masterful performance of “Bring Him Home”— and Javert’s soul-searching “Soliloquy” are among the many highlights, as is Hunter’s beautiful and touching “On My Own,” which very nearly stopped the show on opening night. Gibbs and Smith are phenomenal in “Red and Black” followed by Gibbs and the company’s inspirational “Do You Hear the People Sing.”  Delivering comic gold all night long, Crowle and Huston-Elem are terrific in the wily Thénardiers blistering “Master of the House” and in the reprise parody “Beggars at the Feast.”

The entire production is under the direction of Laurence Conner and James Powell and sports a full orchestra, under the superb direction of Glenn Alexander II. Every aspect of the technical elements is meticulously executed, electrifying the massive Morris stage with colossal moving scenic elements, state-of-the-art lighting effects and stunning projections inspired by Hugo’s original paintings, that make the climactic Act II barricade battle and sewer scene visually spectacular.

It is astounding that after nearly four decades, “Les Misérables” feels even more timely and relevant today with a new generation of performers. The sheer magnitude of this superb production is sure to leave you breathless.

PHOTO|Matthew Murphy

Broadway in South Bend
presents
National Tour
Les Misérables
The Morris Performing Arts Center
211 N. Michigan Street,
South Bend, IN
through August 10

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FEATURE: CONVERSATIONS|On the Road with Matt Crowle
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PicksInSix Review: She Loves Me - Dunes Arts Summer Theatre

At the Dunes, Love Conquers All!
PicksInSix® Review | Ed Tracy

The Chicago-based Artistic Director Steve Scott has been creating a unique and highly developed string of productions, youth programs and cabarets in recent years at the Dunes Arts Summer Theatre in Michigan City. Scott, with the able leadership of Managing Director Elise Kermani, has attracted and developed talent during the summer season at the theater in the woods on Shady Oak Drive that now guarantees a level of entertainment unmatched in the region. It is all translating into higher visibility, a growing subscriber base and a long range plan that has been enhancing the nearly 75 year-old venue just in time for next season’s Diamond Anniversary.

The facility has gone through a steady transformation that is immediately apparent when you settle into the comfortable and cool theater that is now featuring the Scott-directed musical “She Loves Me” which is running on select dates through August 10. Based on the 1937 Miklos Laszio play “Parfumerie,” it is a familiar story for those romantics among us, adapted and starring James Stewart in the 1941 film “The Shop Around the Corner” and in 1998 was the basis for the hit film “You’ve Got Mail.”  

And it was in 1963 that the story of star-crossed lovers who meet through the Lonely Hearts Club and end up coworkers in Maraczek's Parfumerie became the Broadway musical “She Loves Me,” with a book by Joe Masteroff, music by Jerry Bock, and lyrics by Sheldon Harnick. The show was revived in 2016 and has been widely produced in recent years—a mid-sized musical that fits perfectly in the Dunes on a wonderfully functional set by longtime designer Michael Lasswell, whose investment in the quality of the Dunes stagecraft is one of the theater’s signature elements, along with stunning period costumes by Emily Chidalek and Arturo Pozos lighting design.

At the heart of the story is the budding relationship between Mr. Maraczek’s right hand, Georg Nowack (Tristan Haberland) and a new, strong-willed salesperson, Amalia Balash (Kate Turner), each yearning to meet the mysterious special friend they know only from the letters that they write to each other. We quickly learn that something is troubling Mr. Maraczek (Khyel Roberson) and with no one to turn to except the ambitious delivery boy Arpad Laszio (Jackson Mikkelsen), he looks elsewhere for the answer. Along the way, there is another on again, off again relationship between two other coworkers: the womanizer Steven Kodaly (Tommy O’Brien) and the steamy Illona Ritter (Emmie Reigel). Of course, nothing happens in the shop or gets by Ladislav Sipos (Jake Busse) who has a keen eye for the young lovers especially as the truth about another relationship emerges.

Director Scott has brought together two fine performers in Haberland and Turner. Haberland’s charming demeanor and superb vocal range is perfectly, right-sized for the Dunes stage. He is a terrific singer/actor, light on his feet with a sincerity that effortlessly alarms, then charms, Turner’s Amalia. Turner, who has matured into an amazing vocalist and actor of considerable talent, matches Haberland at every turn, glowing with innocence and displaying a magnetic stage presence. The chemistry between these two is something to see.

Mikkelsen, Reige, Busse and O’Brien each have strong featured numbers. Music Director Katelyn Leonard-White leads the talented ensemble and musicians expertly through the score to the heartwarming Christmas Eve revelation that confirms love conquers all.

PHOTO|Tony Martin

Dunes Arts Foundation
Summer Theatre
She Loves Me
288 Shady Oak Drive
Michigan City, Indiana
through August 10, 2025
(219) 879-7509

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PicksInSix Review: Billie Jean - Chicago Shakespeare Theater

BILLIE JEAN: Winners Find A Way.
PicksInSix® Gold Review | Ed Tracy

Earlier this month at the WNBA All-Star game, players donned tee shirts with a message to owners engaged in collective bargaining negotiations for better pay, upgrades in travel and accommodations, and other aspects for a new—and richly deserved—contract.

Back in the days of Billie Jean King, with no collective bargaining options, it was up to a few of the uber-talented competitors to lay it on the line, buck the status quo for women and galvanize the public and sponsors to force change, provide educational opportunities in sports camps and raise all boats to a more equitable level.

From the early moments of the world premiere of Lauren M. Gunderson’s fast-paced and superb biographical play “Billie Jean” that opened Thursday in Chicago Shakespeare’s Yard, there is no doubt that the life and times of tennis great Billie Jean King are safely, and most exquisitely, in the capable hands of Chilina Kennedy whose explosive interpretation is shoulder-to-shoulder with the iconic ground-breaking spirit of the competitor she portrays. A valiant crusade by a central figure who is a champion to many causes and a force that we can both admire and respect. Kennedy’s performance is a grand slam.

Directed with a sensitivity and purpose by Marc Bruni, the show transitions on a dime from the raw innocence of a driven young talent (a delightful and impulsive Julia Antonelli) to King’s early success to achieving the dream of competing, and winning, at Wimbledon and reaching the precipice of the sport as her generation’s most dominant star.

King was not alone in the emerging sport of women’s tennis, and she and those around her challenged the staggering imbalance in valuation between men’s and women’s tennis. That part of King’s professional development, and how she relentlessly focused her energy and support to affect change, is central to the “Billie Jean” storyline.

This all plays out in a blistering series of scenes that follow a linear path, winning at Wimbledon, meeting and marrying Larry King (a solid performance by Dan Amboyer), developing her reputation as a fierce, no-holds-barred competitor on the court, and, as an unstoppable personality in the public spotlight. Consistently challenging the male-dominated social atmosphere around her, many of her most critical public turning points have as much to do with the breakdown of the trust of others as it does with following her own feelings. Which brings us to that commitment to truth and her very public personal life that is one of the most powerful and moving elements of “Billie Jean.” Overcome and swept up in her whirlwind relationship and marriage to King, who would become her manager, she was at the same time questioning her own sexuality, which leads to an ill-fated relationship that hovers over the story until the public exposure leaves her personal life and professional career in shambles. Finding her own truth, and the relationship with her eventual life partner, Ilona Kloss (Callie Rachelle Johnson in a brilliantly understated performance), leads to the triumphant conclusion of “Billie Jean.”

Gunderson has constructed the play as an ensemble piece with all of the intersecting players moving in and out of Billie Jean’s public and private life as activist, champion and survivor. It all plays out appropriately on Wilson Chin’s stylized tennis court set with bleacher-like seating for the company on either side with an ingeniously incorporated turntable center court. The stage is framed with a backdrop of forty-five Wimbledon-like trophy lights serving many scenic purposes, and, modular screens with artfully produced projections by David Bengali intermingled with live video segments. Together with Jane Shaw’s versatile costumes, and the fine work of movement director Steph Paul, the entire production is a visual feast.

But, make no mistake, this is Kennedy’s show—an extraordinary performance that is compelling, heartfelt and richly-crafted, effortlessly navigating the highs and lows of King’s life from adolescent adulation, lover, mentor, friend to legend and allowing the legacy of Billie Jean King to land powerfully in our memory as a poignant reminder of how far we have come, and how far we have still to go.     

PHOTO|Justin Barbin

Chicago Shakespeare Theater
presents
World Premiere
BILLIE JEAN
The Yard
Navy Pier
through August 10, 2025

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PicksInSix Review: You Will Get Sick - Steppenwolf Theatre Company

Electric performances, Impressive Illusions, Frustrating Script. 
PicksInSix® Review | Guest Contributor | Catey Sullivan

The irrevocable breakdown of the human body comes for all of us sooner or later, the inevitable manifestation of the most primal fear. Coping when you can no longer deny your end is nigh is a treacherous obstacle course of grieving, profundity, surrealism and gallows humor. Or so it is in Steppenwolf Theatre’s production of Noah Diaz’ “You Will Get Sick,” directed by Steppenwolf Co-Artistic Director, Audrey Francis. But for all its undeniable humor and electric performances, “You Will Get Sick” ultimately delivers a confused web of references that are more baffling than meaningful. 

The plot magically moves through time and space (terrific magic and illusion design by Skylar Fox) as a something-like-friendship develops between Callan (Steppenwolf ensemble member Amy Morton) and an unnamed man suffering from a  mysterious illness (Steppenwolf Ensemble Member Namir Smallwood). Smallwood makes the man rich, layered, and just cryptic enough to add a dash of mystery to the proceedings. His illness is never named, but his symptoms are horrific. His legs give way from under him. His smile has gone lopsided. He bleeds and vomits hay. To deal with telling his family, he plans a rehearsal. He’ll pay a stranger to call him, and to listen to him divulge his illness. Callan answers the flier he puts on a phone pole.

As Smallwood’s garish symptoms become more debilitating, Callan and the sick man form a singular bond. But this is no “Beaches.” Their relationship is as contractual as it is emotional. Callan charges every time she wipes the sick man’s brow. 

Diaz wraps a layer of magical realism around the bleak plot. Dinosaur-like birds are plucking humans up for dinner. A latter day snake oil salesman (Steppenwolf Ensemble member Cliff Chamberlain, quadruple cast and displaying comic brilliance as an overly earnest acting student) peddles “bird insurance.” Set designer Andrew Boyce pays a striking homage to Hitchcock’s 1963 masterpiece, “The Birds” (specifically the jungle gym scene where a playground is overtaken by winged predators). There are also repeated references to “The Wizard of Oz.” Late in the 85-minute drama, we see a replica of Dorothy’s costume in the 1939 movie, Raquel Adorno’s recreation detailed down to the bows on those iconic ruby slippers.

In addition to Royce’s towering web of a set (complete with massive reveal), “You Will Get Sick” is bolstered by Jen Shriever ’s lighting which veers from golden to blackout, all of it deployed with cinematic verve.

None of the above can stop the script from spiraling into whimsy. The final moments feel abrupt and incomplete. “You Will Get Sick” brings up a universally relatable existential crisis – but in the end, it is more nonsensical than not.

GUEST CONTRIBUTOR | CATEY SULLIVAN has been covering Chicago theater for more than 30 years. Her work has been published in the Chicago Sun-Times, Chicago Reader, Windy City Times, Playbill, Chicago Magazine, Chicago Tribune and New City, among others. She has an MFA in creative writing from the University of Illinois. 

PHOTO|Michael Brosilow

Steppenwolf Theatre Company
presents
You Will Be Sick
Downstairs Theater
1650 N. Halsted St.
through July 20, 2025

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BOX OFFICE: (312) 335-1650

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PicksInSix Review: Misery - Dunes Arts Summer Theatre

Gripping ‘Misery’ Opens Dunes Summer Season!
PicksInSix® Review | Ed Tracy

The Dunes Arts Summer Theatre opened their 74th season Friday with a chilling production of William Goldman’s “Misery,” based on Stephen King’s 1987 bestselling thriller about a well-known romance novelist who awakens from a near-fatal car crash in a blizzard to find himself in the remote Colorado home of Annie Wilkes, his self-proclaimed number one fan.

The book, and 1990 film version starring Kathy Bates and James Caan, ranks high among psychological thrillers and the nefarious Annie Wilkes is considered one of the wickedest characters ever imagined, earning Bates the Academy Award for Best Actress. Laurie Metcalf played the role in the 2015 Broadway production opposite Bruce Willis.

Veteran director John Hancock’s tightly wound show stars Janet Davies, the multi-talented Chicago entertainment television reporter and program host and Dunes veteran Kevin Lee Giese as the incapacitated writer Paul Sheldon whose dire predicament goes from bad to worse with no end in sight. Davie’s Annie crackles with intensity as she shifts effortlessly from dutiful caretaker to ruthless despot. Hancock is able to draw out the macabre comic sensibility in the text and Davies makes the most of every opportunity.

Things start to heat up when it comes to light that Sheldon has put an end to Misery Chastain (Emmie Reigel) in his ninth and final book of the series. Annie’s intentions are revealed as she spirals into a rage and demands that they bring her back for another book. Giese expertly navigates the shock and uncertainty of his situation with a desperation and fear that you can feel. As weeks turn quickly into months, it’s clear that he is a prisoner, that Annie has no plans to let him go and is taking steps along the way to prolong his agony and inflict more pain.

Dunes veteran Jim Lampl plays the inquisitive local sheriff Buster who comes around in the spring when the snow cover reveals Sheldon’s car wreck. But when Annie learns that the news of Sheldon’s disappearance has piqued the interest of the FBI, the story takes yet another dark and sinister turn.

The drama plays out on Michael Lasswell’s stunning, and amazingly versatile, set with surprises all its own. When combined with an exceptional atmospheric lighting design by Arturo Pozos, the captivating sound by Jake Tillman and music by composer Christopher Ussery, the Dunes “Misery,” running through June 15, is one of the most visually compelling and suspenseful productions in recent years.  The 2025 season continues with “Outside Mullingar” from June 27 through July 13 and the musical “She Loves Me” July 25 through August 10.

PHOTO | Tony V. Martin

Dunes Arts Summer Theatre
presents
Misery
268 Shady Oak Drive
Michigan City, Indiana
through June 15, 2025

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PicksInSix Review: The Antiquities - Goodman Theatre

A Journey Through Space and Time.
PicksInSix® Review | Guest Contributor | Ronald Keaton

“The Antiquities,” written by Pulitzer Prize nominee Jordan Harrison and running downtown at the Goodman's Owen Theatre through June 1, is a fascinating piece that takes us on a proverbial journey through time and space in a unique way. It considers the potential that all our technological wonders might eventually take over the earth and leave humanity wondering—as it often does—what happened.

To be perfectly candid—and I mean it in the highest complimentary way—it reminded this writer of the best of my youth in science fiction and imaginary happenstance on television. We dearly loved shows with quality writing and storytelling that skirted the outposts of humanity's mind like The Twilight Zone and The Outer Limits. They both frightened and fascinated people simultaneously. Mr. Harrison has created a wonderfully realized tale, a psychologically advanced state of awareness within that story about man's ability to imagine and create (even in fiction) another life entity that stands on its own and his inability to understand that such a creation might actually surpass him, even eliminate him, as a species.

The actors all portray multiple roles—a total of 47, to be sure—so this is authentically an acting ensemble of the highest caliber. We begin with two women standing before the audience in muted light (marvelous lighting design throughout by Tony recipient Tyler Micoleau), as if they are regarding and observing the audience like an exhibit in a kind of life's museum. We then move to a firepit on a beach, where noted names from the past are casually shared: Byron. Shelley. Mary. Clare. Lake Geneva. History tells us that there was, in 1816, a kind of poet's summit with friends and lovers for a summer's visit in Switzerland. They all gather around the fire and begin telling each other ghost stories. There is an unlikely winner in the group, Mary Shelley, Percy's wife, who became the author of one of the first great books about creating another being, Frankenstein, or more accurately, Frankenstein's monster. 

From there, the play takes us on a breathless path through man's inventions. The telephone. The computer. The internet. All right through the 20th and 21st centuries to the ultimate creation, at least so far—artificial intelligence. And the stout, insightful direction of David Cromer and Caitlin Sullivan keeps it all at a fast pace and hides nothing in the plot's speculation. All this keeps us on a linear balance and helps us ground the story until the really creative moments come. AI has begun to take over humanity at every turn, as humanity itself becomes fragile and unable to fully fight back. Echoes of Planet of the Apes here, except that the machines are much more sophisticated well into the 23rd century. And they are surprisingly empathic with human history.

Then the story takes yet another turn and we are thrown into reverse. Back through time again, we revisit each stop shown along the way, realizing some kind of ending point, if not outright resolution. And throughout, there are exchanges on bracing and debilitating issues that people face each day. Single mothers. Gay couples. Feminist ideals. Child abandonment. The responsibility of government. The technology of war. The clash between courage and cowardice.  All very human in their presence. And all quite involved in the fight on both sides, man vs. machine. And the oh-so-smart way that Mr. Harrison, in the end, ties the computer together with Ms. Shelley's monster is ingenious.

The acting ensemble is first-rate and quite versatile. Marchánt Davis, Layan Elwazani, Andrew Garman, Helen Joo Lee, Thomas Murphy Molony, Aria Shahghasemi, Kristen Sieh, Ryan Spahn and Amelia Workman all worked the play at New York's fabled Off-Broadway giant Playwrights Horizon, which is part of the production package with Goodman Theatre and another Off-Broadway stalwart, Vineyard Theatre in New York.

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 | Hugo Hentoff

Goodman Theatre
presents
The Antiquities
170 North Dearborn Street
through June 1

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PicksInSix Review: CATS - Paramount Theatre

Spectacular Revival Under The Big Top!
PicksInSix® Review | Guest Contributor | Kaitlyn Linsner

I must admit something. Despite being a big musical theater and even bigger cat fan, Andrew Lloyd Webber’s “Cats” never appealed to me. I more so enjoyed the pop culture references that poked fun of cats singing and dancing on stage. Even one of my favorite cartoons as a kid, Hey Arnold, had an episode where one of the characters attends, and laughs through, a musical called Rats—an obvious parody of “Cats.” I found that quite funny, and so, as one might expect, I arrived at Paramount Theatre’s revival of “Cats” with some hesitancy.

It did not take me long to change my tune. This circus-themed production of “Cats,” directed by Trent Stork, transforms the Jellicle Ball into a larger-than-life event. As one of the longest-running shows in Broadway history, clearly the glitz, glam and weirdness of “Cats” has mesmerized audiences for over 40 years. Paramount Theatre takes the dazzling dance musical to literal new heights with aerial arts, acrobatics, contortion and juggling. The audience “ooo’d” and “ahh’d” from start to finish.

The scenic design by Jeffrey D. Kmiec and projections design by Paul Deziel are remarkable. From the big top tent to the oversized props and big glowing moon, a magical world was created where cats displayed their vast array of talents and embraced fanciful oddities. It took me some time to realize “Cats” is basically a talent show for cats. By making the production a circus, leaning into the spectacle of it all felt both natural and quite fun. Plus, the addition of circus props, like red balloons, made for visually stunning moments throughout.

The impressive choreography by Kasey Alfonso did well to capture the essence of feline behavior and tell the story of each cat with energetic and stylish flair. Stand out dance performances include Bombalurina (Tiffany Topol), Demeter (Alexandra Palkovic) and Company during “Macavity: The Mystery Cat” and Mistoffelees’ (Christopher Kelley) dance solo. Kelley was a real showman and executed his dance solo with ease. The costumes by Izumi Inaba also added such personality by featuring a unique mixture of lush colors and textures. Old Deuteronomy’s (Lorenzo Rush Jr.) coat stood out in particular with its fuzzy opulence.

The sheer talent of this ensemble also makes “Cats” a must-see. The production features a whimsical combination of breathtaking circus artistry, stunning vocals and movement. Emily Rohm delivers an enchanting performance as Grizabella which earns her the ascent to the Heavyside Layer via a high-flying trapeze up and over the audience and into the balcony. Old Deuteronomy’s (Rush) sweet-sounding and smooth vocals enhanced each scene he entered, and Rum Tum Tugger (Donovan Hoffer) packs a ferociously controlled punch throughout the show.

Die hard “Cats” fans, newbies and even skeptics like me will find this revival truly entertaining. With such wide appeal, and in true circus fashion, seems only fitting to say “come one, come all” You don’t want to miss this.

GUEST CONTRIBUTROR | Kaitlyn Linsner serves as an Assistant Attorney General in the Public Utilities Bureau of the Office of the Illinois Attorney General.

PHOTO|Brett Beiner Photography

Paramount Theatre
presents
CATS
23 East Galena Boulevard
Aurora, IL
through June 15, 2025

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PicksInSix Review: Betrayal-Goodman Theatre

BETRAYAL: If You Know, You Know.
PicksInSix® Review | Ed Tracy

It is no surprise that there was high anticipation for the opening Monday of the Goodman Theatre production of Harold Pinter’s “Betrayal,” directed by Artistic Director Susan V. Booth. With a seasoned, all-star cast that includes Helen Hunt, Ian Barford and Robert Sean Leonard, the show is a fictionized account of Pinter’s own marital infidelity. It is a remarkably succinct play, told in reverse order with scenes that unfold from 1977, two years after the clandestine seven-year affair ended, to the moment of its inception in 1968 while delving into how these affairs of the heart occur in the lives of otherwise well-meaning and trustworthy adults.

On those last few points, none of Pinter’s flawed characters in “Betrayal” are even remotely close to well-meaning and trustworthy, with the exception of Nico Grelli whose comic turn as an Italian waiter is a delight. We know at the top everyone is playing with fire and it’s just a matter of time for all of the deception, tension and misinformation to be revealed. And when it ends, the 75-minute drama feels remarkably like it is just getting started.

Jerry (Leonard) is married to Judith (unseen) and was best man at the wedding of Emma (Hunt) and Robert (Bedford). As the backstory is revealed to its eventual beginning, the betrayals that the audience are already aware of are realized in such rapid succession that you may need a scorecard to keep track. It’s as if Pinter took a page from the Dale Carnegie playbook: “Tell ’em what you’re going to tell ’em; then tell ’em; then tell ’em what you told ’em.” He with him. She with he. Him with her. And that’s not counting the unseen who are affected, including, well, if you know you know.

Pinter was 38 years old and married a year when his longtime affair with Joan Bakewell began and in his mid-40s when it ended which is more than a decade removed from anyone on the Goodman stage. All that was a conscious decision by Booth in casting the work around Hunt. Leonard plays the closest to that range throughout in a fine performance even if the heat of the romance is a bit more of a glowing ember than a red hot flame. Beford’s Robert pulses with an undercurrent of hostility though not quite enough to serve as an impetus for Hunt’s Emma to seek comfort elsewhere.

There is no doubt that Hunt has the most challenging assignment of all. From the shocking truths of the opening scene to the first embrace, she is fascinating to watch at work mining the complex relationships with both men.  

This all plays out on the very stylized scenescape by Neil Patel that incorporates massive translucent panels providing a palette for Rasean Davonté Johnson’s rich projection design. The atmospheric sound design and composition by Rob Milburn and Michale Bodeen and lighting by Xavier Pierce all combine with Linda Rothke’s costumes to make Goodman’s “Betrayal” a unique and absorbing production.

PHOTO|Joan Marcus

GOODMAN THEATRE
presents
BETRAYAL
170 N Dearborn St

EXTENDED through March 30

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PicksInSix Review: A Raisin in the Sun - Court Theatre

What Happens To A Dream Deferred?
PicksInSix® Review | Ed Tracy

Lorraine Hansberry’s arresting triumph “A Raisin in the Sun” is playing now in a brilliant production at Court Theatre. Directed by Senior Artistic Producer Gabrielle Randle-Bent, the 1957 play—penned by the 27-year-old Hansberry and largely based on her own experiences growing up on the South Side of Chicago—has been lauded since for its defining influence on American theatre, the sheer poetry of the text and its stirring depiction of an urban Black family and their individual dreams for a better life.

Randle-Bent has amassed a powerhouse company, led by the remarkable performances of Shanésia Davis as Lena ‘Mama’ Younger, the matriarch of the family; her impulsive son Walter Lee, played on an emotional edge by Brian Keys; a moving and truly sentient turn by Kierra Bunch as Walter’s pregnant wife, Ruth; Martasia Jones as the progressive daughter Beneatha; and, Jeremias Darville (who alternates with Di'Aire Wilson) as Travis, the youngest son and hope for the next generation in the family.

Set in a cramped South Side tenement in the late 1950s amid the segregation and racially restrictive covenants of the era that fueled the redlining of neighborhoods, Mama and the Younger family are expecting a $10,000 death benefit payment, the legacy of her late husband’s lifetime of service and sacrifice for the family. There is debate about how the money should be spent, but not about who is the decision maker.

On one side, Walter pleads with Ruth to join him in convincing Mama to invest the sum in a liquor store that he hopes will both raise his stature from the service job he has been trapped in and provide a better life for everyone. Ruth and Beneatha, who is studying to be a doctor, both agree that it is Mama’s decision, leaving Walter to make a direct appeal that Mama rejects in favor of her own dream: a home of their own. Once that decision sinks in, Walter embarks on a three-day bender that threatens his employment and alienates everyone in the family. In a true act of trust and love, Mama makes a concession that leads to trouble ahead for the Younger family.

Along the way, we watch Beneatha evolve from a bobby socks college student to free-spirit, influenced by the scholarly atmosphere she inhabits during the day and the attention of George Murchison (Charles Andrew Gardner), a relationship she is far less attracted to than the new ideals of Joseph Asagai (Eliott Johnson), a charming Nigerian suitor who introduces her to a culture that awakens a passion within her. Julian Parker (Bobo), Vincent Teninty (Karl Lindner) and J. Nicole Brooks (Mrs. Johnson) round out the superb cast.

Andrew Boyce’s robust scenic design—an elevated, angular stage framed in a series of large-scale urban-themed panels behind the detailed close quarters of the Younger’s meager row house flat—provides multiple obscure and semi-obstructed interior views while serving as a fascinating template for cast movement in, out and within the space. Maximo Grano De Oro evocative lighting, Willow James’s subtle sound design and superb costumes by Raquel Adorno with Jeanette Rodriguez elevate Court Theatre’s production of “A Raisin in the Sun” to a new artistic standard for this enduring American classic and the show to see now in Chicago.

PHOTO | Michael Brosilow

Court Theatre
presents
A Raisin in the Sun
5535 S Ellis Ave.
Chicago, IL 60637

Extended through March 23, 2025

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(773) 753-4472

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PicksInSix Review: Native Gardens - Buffalo Theatre Ensemble

Neighbor’s Conflict Makes For Engaging Comedy
PicksInSix Review | Guest Contributor Kaitlyn Linsner

Karen Zacarías’ “Native Gardens,” a zippy comedy about a disagreement between new neighbors, is now playing in a Buffalo Theatre Ensemble production at the McAninch Arts Center through March 2. The audience sits just beyond two backyards - one tidy and well-manicured and the other unkempt—split by a flimsy chain link fence. Between the title and the visually stunning Mara Ishihara Zinky set, you may be wondering will the next 90 minutes be spent delving into these glaringly different attitudes toward yard work? Well, sort of.

Directed by Steve Scott, longtime producer at the Goodman Theatre, “Native Gardens” does in fact examine these two yards and how two families maintain them. It also explores the values and belief systems that influence even the most seemingly inconsequential decisions. Digging a bit deeper (but not too much deeper), the show examines how social constructs such as class, race and gender intersect to guide those values, and then what happens when faced with challenges to all of the above.

On one side of the fence stands Pablo (Richard Gomez) and Tonia (Sofia Tew), a younger, progressive, Latinx, married couple new to the neighborhood and eager to finesse the yard of their first home into a native garden that Tonia insists will benefit the environment. Pablo over-zealously invites his entire law firm over for a party that Tonia agrees to host outside only if they replace the unsightly chain link fence with a statelier wooden one.

That brings us to the other side of the fence where Virginia (Kelli Walker) and Frank (Bryan Burke) live. An older couple, the Butleys are white conservatives having lived in the neighborhood for many years. They take no issue with the proposed wood fence. Frank has meticulously tended his garden, and while he agrees that the wood fence is the better choice, he disagrees with Tonia over whether a native garden is really just a plot of weeds and insects. Frank offers to teach Tonia some things. Virginia tries to relate to Pablo about being disenfranchised in the workplace. They even bring Pablo and Tonia wine and chocolate to welcome them to the neighborhood.

How nice! What could possibly go wrong when both sides agree to a nicer looking fence and pretend to like each other? The answer is a lot when Tonia and Pablo discover that their yard extends further into the Butley’s garden. Soon the amiable discussions about flowers, insects and children shift to disagreements over land, intentions and entitlement. The phrase “you people” gets hurled about as the conflict escalates, and this is when “Native Gardens” really hits its stride. The most comedic, amusing and insightful moments shine through the friction especially when the cast volleys lines back and forth at the height of the land battle.

All this to say that while “Native Gardens” explores differences in a rather conventional manner (and has the unsurprising positive ending most folks would want if in the same situation) there is something to be said about all the good parts happening when conflict erupts. Conflict can be beneficial as it can lead to growth, stronger relationships and deeper understandings, and in the case of “Native Gardens,” it can also be quite entertaining.

GUEST CONTRIBUTROR | Kaitlyn Linsner serves as an Assistant Attorney General in the Public Utilities Bureau of the Office of the Illinois Attorney General.

PHOTO | Rex Howard Photography

Buffalo Theatre Ensemble
presents
Native Gardens

McAninch Arts Center
College of DuPage
425 Fawell Blvd.
through March 2

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PicksInSix Review: JAJA'S AFRICAN HAIR BRAIDING - Chicago Shakespeare Theater

Hilarity, Heartbreak Weaved Together at ‘Jaja’s’
PicksInSix Review | Ed Tracy

Jocelyn Bioh’s vibrant “Jaja’s African Hair Braiding” now playing at Chicago Shakespeare Theater unfolds in a series of fast-paced scenes over a single day in a Harlem salon. The year is 2019, but it could be last year, last month or even this week, considering the looming era of uncertainty. It’s here that during the comings and goings of clients we learn about the promise of immigrant life in America, sisterhood and the struggle for social and economic independence. The show also delivers high-spirited comedy that’s baked into the richly defined characters who create their art one lovely strand of hair at a time.

The salon itself has an ecosystem all its own. Jaja (Victoire Charles), the owner of the salon, is getting married and her daughter Marie (Jordan Rice), the high school valedictorian who is currently managing the salon, has her hands full with a trio of seasoned braiders— Bea (Awa Sal Secka), Ndidi (Aisha Sougou) and Aminata (Tiffany Renee Johnson)—who hold back nothing with each other. A fourth braider, Miriam (Bisserat Tseggai) has a powerful immigrant story that plays out in a conversation with one customer over the course of the play.

Chief among these spirited and feisty entrepreneurs is Bea who was there at the beginning with Jaja (the shop was Bea’s idea, after all) and Ndidi who Bea claims has been stealing her clients and her livelihood. Bea also irritates Aminata, whose marriage is on the rocks, but Aminata gives as good as she gets. There is general agreement that Jaja, who has built the business from the ground up and brought along each of them in one way or another, could be making a mistake, despite the celebratory toast they share when Jaja stops by. How this all plays out, and how the women support each other, is at the heart of the story.

The ensemble is rounded out by the exceptional talent of Melanie Brezill and Leovina Charles who cover a fascinating array of salon clients and Yao Dogie who plays the neighborhood merchants and Aminata’s husband, James.  

Director Whitney White’s ensemble is brilliantly supported by a Tony-nominated artistic and technical team that includes Nikiya Mathis, who received a well-deserved special Tony Award for Hair and Wig Design, and Dede Ayite who received the Tony Award for Best Costume Design. Among the four additional nominations—including White for direction and Bioh for Best Play—are David Zinn’s expertly detailed set design and original music and sound by Justin Ellington and Stefania Bulbarella.

Bioh’s uproarious comic banter leads to a stellar, finely-crafted, gut-punch of reality in “Jaja’s African Hair Braiding” that offers a powerfully moving statement on the immigrant experience. The show, a coproduction with Arena Stage, Berkley Repertory Theatre and La Jolla Playhouse, is playing in a limited run at The Yard through February 2nd and tickets are already in high demand.

PHOTO|T. Charles Erickson

Chicago Shakespeare Theater
presents
JAJA’s AFRICAN HAIR BRAIDING
The Yard
Navy Pier
through February 2, 2025

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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: A Christmas Carol - Goodman Theatre

“A Man’s Actions Foreshadow Certain Ends”
PicksInSix Review | Ed Tracy

The corner of Randolph and Dearborn was abuzz Sunday afternoon with the thriving Christkindlmarket on Daley Plaza and patrons, all decked out for the holidays, pouring in and out of Petterino’s that has a festive seasonal atmosphere all its own this time of year. And next door at Goodman Theatre, carolers entertained the crowd and lit the Goodman tree prior to the press opening of the 47th annual production of Charles Dickens’ “A Christmas Carol.”

If you are counting, that’s a magnificent accomplishment. Presenting a timeless classic for nearly five decades—over 20 of them in the Goodman’s elegant Albert Theatre—takes some inventive twists and artistic turns to keep it fresh and engaging for multiple generations of returning audiences and edgy enough to attract newcomers. The Goodman, now under the artistic leadership of Susan V. Booth, succeeds again on both counts.

In Director Jessica Thebus’s delightfully haunting new offering of Tom Creamer’s adaptation with contributions from Neena Arndt, Christopher Donahue wraps his own distinctive style of demonic humbuggery around Ebenezer Scrooge as he transforms from an embittered loner to the toast of the town after facing three spirits who show him the implicit error in his ways. Right from the start, Donahue infuses Dickens erasable miser with a dark and heavy dose of disgust for all things Christmas, from chastising his earnest clerk Bob Cratchit (Anthony Irons) over a lump of coal and dismissing the loving affection of his niece Frida (Dee Dee Batteast), to summarily rejecting the appeals for support from Mr. Ortle (Wai Yim) and Miss Crumb (Penelope Walker). The levels of meanness in Donahue’s Scrooge appear to have no bounds early on and provide the brilliant actor a wide range of emotions for the transformative scenes that follow.

The story—which is smartly narrated throughout by the charming Kate Fry—follows Scrooge and the spirits in a trip to his own past, present and future, foretold in the chilling visitation from his dead-as-a-doornail partner Jacob Marley (William Dick). In Scrooge’s high-flying encounter with the Ghost of Christmas Past (Lucky Stiff) a visit to his former school and sister Fan (Tafadzwa Diener) is followed by a vision of his apprenticeship with Fezziwg (Robert Schleifer) who communicates with sign language and the aid of his interpreter Max (Mark Bedard). The festive Fezziwig party atmosphere is shrouded by the ambitious young Scrooge (Daniel José Molina) and Marley (Arash Fakhrabadi) who hatch a devious plot at the expense of any future relationship that Scrooge might have had with the lovely Belle (Amira Danan).

The Ghost of Christmas Present (Bri Sudia) drops Scrooge in to observe Bob Cratchit’s family and the plight of Tiny Tim (Ava Rose Doty) which leads to the dark predictions of the Ghost of Christmas Future (Danan). It’s then all up to Donohue’s masterfully jubilant self-realization and redemption in understanding the true spirit of Christmas.

There are supreme elements of joy for everyone in Goodman’s fine production of “A Christmas Carol”—the superb on-stage musicians, long a distinctive element of this show, here performed by Hillary Bayley, Brian Goodwin, Malcom Ruhl and Gregory Hirt; Todd Rosenthal’s arresting scenic design colorfully awash with Keith Parham’s lighting; elegant period costumes by Heidi Sue McMath; and, a multi-talented ensemble playing many roles—all making this satisfying and heartfelt show a perfect family destination for the holiday season.   

PHOTO|Liz Lauren

Goodman Theatre
presents
Charles Dickens’
A Christmas Carol
through December 30

WEBSITE

(312) 443-3800

TICKETS

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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

WEBSITE

PROGRAM

BACKSTORY

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