PICKSINSIX Review: LITTLE SHOP OF HORRORS

“OH GOD HOW I MIST YOU!”

Oh pod how you tease… Seymour Krelborn has a lot of problems. He lives and works at a flower shop on skid row. His boss is not very nice to him. He is in love with his co-worker Audrey who is being abused by her boyfriend, the sadistic dentist who enjoys causing pain. Then there is the sick plant he discovered during a solar eclipse that he has been fretting over. Nothing works, no matter what he tries. “I’ve given you plant food and water to sip. I’ve given you potash, you’ve given me zip! Oh god how I mist you. Oh pod how you tease. So please – grow for me.”

Captivating performances… ‘Little Shop of Horrors’, now playing at Drury Lane in all its joyfully macabre and touchingly poignant splendor, is the product of the first collaboration of Howard Ashman and Alan Menken — an early ‘80s time capsule for the team who later developed Disney’s ‘The Little Mermaid’, ‘Aladdin’ and ‘Beauty and the Beast’ before the 40 year-old Ashman succumbed to AIDS in 1991. The Drury Lane incarnation, keenly directed and choreographed by Scott Calcagno with musical direction by Roberta Duchak, includes a top-notch company led by the captivating performances of Kelly Felthous and Will Lidke whose star-crossed love story — like just about everyone else — runs smack into the jaws of a ravenous leafy bottom feeder.

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Richly enjoyable comic romp… Things are looking up for everyone early on around the Mushnik Flower Shop. Seymour has a thing for Audrey who imagines a better life of her own. And while business is booming, Mr. Mushnik worries that Seymour’s new-found popularity could disrupt the first real opportunity in years to balance the books. Of course, there is only one key ingredient that helps make Audrey II, the aforementioned bottom feeder, grow. Once things start to sprout there is no turning back for the young and ambitious Seymour whose wish to escape the dead-end prospects of a skid row existence to live happily-ever-after with Audrey are only a few gallons of hemoglobin-enriched plasma away. It is all a clever setup for the dark and richly enjoyable comic romp that follows.

Powerhouse voice… Kelly Felthous is on fire as Audrey with a powerhouse voice that flows effortlessly through the beautiful anthems ‘Somewhere That’s Green’ and ‘Suddenly Seymour’. Felthous evokes a truthful innocence that aligns perfectly with Will Lidke’s frenetically awkward charm. Ron E. Rains is perfect in the role of Mr. Mushnik, and shows off some nifty footwork in ‘Mushnik and Son’ with Lidke. Steven Strafford, in multiple roles including Dr. Orin Scrivello D. D. S., nails ‘Be A Dentist’ and ‘Now’. Rounding out the ensemble in plain sight is the fabulous trio of Melanie Brezill (Ronette), Candace C. Edwards (Crystal) and Melanie Loren (Chiffon) who, with Strafford, make the cast appear much larger than it is with split-second costume changes and high-energy numbers including the title song and ‘Skid Row’ where Edwards particularly shines.

Eerie and fiendishly fun… Audrey II is voiced by the incomparable Lorenzo Rush, Jr. and animated by puppeteer Matthew Sitz. The teaming of these two seasoned performers bring the eerie and fiendishly fun Martin P. Robinson designed plant to glorious life. Rush’s deep, booming, blues vocals in ‘Git It’ and ‘Suppertime’ rock.

Be careful what you wish for… 1313 Skid Row is realized in the efficient and rugged staging by Kevin Depinet, enhanced by Ryan O’Gara’s lighting design and Linda Myers costumes. Chris Sargent directs The Little Shop of Horrors Band in this throughly entertaining musical sendup that just might have you whispering, “Be careful what you wish for.” and “Don’t feed the plants!” on your way home.

PHOTOS|Bruce Beiner

Drury Lane Theatre
Presents
LITTLE SHOP OF HORRORS 
through October 28, 2018
100 Drury Lane
(630) 530-0111

WEBSITE

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PICKSINSIX Review: RADIO GOLF

‘RADIO GOLF’ - A Stroke of Genius!
by Kaitlyn Linsner

An inspiring, must-see… A captivated audience rose to their feet on opening night of Court Theatre’s Radio Golf to applaud a powerful cast and resonating performance. The production explores pressing societal issues at the intersections of race, politics, and morality with engaging dialogue, deep humanity, and some hearty laughs. An inspiring, must-see for Chicagoans.   

What it’s about …  ‘Radio Golf’ sets the stage in Pittsburgh’s Hill District during the late 1990s where three determined black real-estate developers Harmond Wilks (Allen Gilmore), his wife Mame Wilks (Ann Joseph) and their partner Roosevelt Hicks (James Vincent Meredith) are on the verge of completing an economic development plan in hopes of restoring the blighted neighborhood and positioning themselves to reach their desired social status. This project could bring great success to all of them, specifically to Harmond Wilks, who grew up in the neighborhood and is now in the midst of his campaign to become the first black mayor of the city. However, over the course of several visits by insightful, long-time community members Elder Joseph Barlow (Alfred H. Wilson) and Sterling Johnson (James T. Alfred), who disagree with the development plan, conflicts arise and play out through the lens of the black experience to offer a complex exploration of change.

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“Hail Hail, the Gang’s all Here” … The cast is terrific. Each member delivers an impactful performance perhaps most notable being Wilson’s portrayal of his eccentric character with genuine warmth and wisdom. Watch and wait for the gut-wrenching exchanges between the players especially when two commanding performers, Gilmore and Meredith, go head-to-head over purpose and calling.

Brilliant and thoroughly entertaining … While ‘Radio Golf’ takes place nearly twenty years ago, the story could not be more relevant today. It approaches uncomfortable truths about race dynamics and the nuances of human existence in a divisive society unapologetically. We celebrated moments of achievement with those on stage but remain unsure as to who truly wins in the end. We struggled through their conflicts of preservation or gentrification, moving up or selling out, right or wrong. We were ultimately given a brilliant, and thoroughly entertaining, opportunity to self-reflect on the impact we have on a profoundly personal and broader systemic level.

Detailed by design … Jack Magaw’s set design features impressive construction that accurately depicts the seasoned grit and character of a charming, old, unrestored building. An incredible amount of rigor was displayed in the smallest details, from the classic dirty crown molding to the concrete graffiti-ed stairs behind the windows. By not overlooking these details, the scenic elements enhanced by Clair Chrzan’s light design, engulfs the audience and enhances the believability in which this world exists.

Continue the Conversation … Court Theatre’s fine educational outreach programs continue with a panel discussion featuring director of ‘Radio Golf,’ Ron OJ Parson, and neighborhood-focused commercial real estate developer Leon I. Walker on Sunday, September 30 at 4:45 p.m. in the Abelson Auditorium about issues of urban revitalization and neighborhood economic development in Chicago. Admission is free.

PHOTOS|Michael Brosilow

COURT THEATRE
Presents
August Wilson’s
RADIO GOLF
through October 6th
5535 Ellis Avenue
(773) 753-4472

WEBSITE

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PICKSINSIX Review: VIETGONE

RAUCOUS COMIC RENDERING OF IMMIGRANT EXPERIENCE

Parent’s love story… Qui Nguyen’s “Vietgone” now playing at Writers Theatre in Glencoe, is first and foremost his parent’s love story set primarily in a refugee camp at Fort Chaffee, Arkansas in July 1975 following the fall of Saigon. As directed by Lavina Jadhwani, the true story, and the hauntingly real events surrounding the traumatic separation from their homeland and loved ones, unfolds as a raucous comic rendering of the immigrant experience. It all comes together extremely well. When this one is over, it will stay with you.

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Facts first… The very serious reality of the story is that during this period, the U. S. established and coordinated a Vietnamese resettlement system that aided over 130,000 evacuees. It’s facts first for Nguyen who pulls no punches in establishing how this tale will be told and the range of hopelessness in his parent’s individual perspectives — one desperately seeking to recapture what has been lost and the other struggling to cope with grief and move on. With immigration and family separation issues front and center, “Vietgone” is a piece that has clearly found its time. It is a remarkably touching show that is rapping down the highway at breakneck speed with an imaginative, modern-day voice spewing no-holds-barred language that is very, very funny.

Yes, there are ninjas… Quang (Matthew C. Yee), a helicopter pilot with a wife and two young children he barely knows, is separated from his family following an evacuation flight from Saigon with his wingman, Nhan (Rammel Chan). The strong-willed Tong (Aurora Adachi-Winter) escapes with her mother, Huong (Emjoy Gavino) leaving her brother behind.  Quang is determined to reunite with his family as Tong accepts that her future is in America which results in one of the most moving and powerful rap anthems in the show, “I’ll Make It Home.” Quang’s cross-country journey on a motorcycle with Nhan provides both the through line and light-hearted comic road trip moments. Along the way, the story is playing out ninja-style in flashbacks with assorted characters from Vietnam and Fort Chaffee where eventually Tong is courted by Bobby (Ian Michael Minh) who envisions a prosperous, but ultimately ill-fated, future for the couple. And, yes, there are ninjas.

Industrial shell… Jadhwani and the creative team including scenic designer Yu Shibagaki, costume designer Melissa Ng, lighting designer Sarah Hughey with projections and sound by Rasean Davonte Johnson and Kevin O’Donnell and Tommy Rapley's choreography, all utilize a stark, industrial shell that is ingeniously transformed with color, eye-popping graphics and fluid, minimalist scenic elements to effectively stage a variety of locales from Saigon to the refugee camp and the open road.

The takeaway… Understanding the interaction of all cultures and languages is at the heart of this work, embodied in the central Asian American characters and the inspired, table-turning device that results in English being the “othered” language. There are fine performances throughout and several storylines to explore, which explains why Nguyen is already well in development on two sequels based on his family’s immigrant experience.

Lots to discuss… A superb overview of the era is authored by production dramaturg, Carol Ann Tan and the program is abundantly filled with relevant commentary and interviews. Writers has also scheduled two audience engagement events, the first with artists and experts on the Gabriel Ruiz music on September 10th and a pre-show discussion with historians as part of the Sunday Spotlight series on September 16th, in addition to regularly scheduled post-performance talkbacks. There will be lots to discuss.

PHOTOS|Michael Brosilow

Writers Theatre
presents
VIETGONE
Written by Qui Nguyen
Directed by Lavina Jadhwani
through September 23rd
325 Tudor Court|Glencoe
(847)242-6000

WEBSITE
WT VIETGONE PROGRAM 

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PICKSINSIX Review: HAYMARKET

‘HAYMARKET’ – MUCH MORE HERE THAN HISTORY!

Spirited Retelling... Underscore Theatre Company’s HAYMARKET - A New Folk Musical has transferred from a highly successful five-week run at Den Theatre to Theater Wit now playing through September 2nd. With book and lyrics by Alex Higgin-Houser and music by David Kornfeld, directed and choreographed by Nick Thornton with musical direction by Robert Ollis, HAYMARKET is a spirited retelling of the May 1886 events surrounding the deadly clash of workers and Chicago police at Haymarket Square on May 4th and its aftermath.

Lyrical and Inspiring... The Higgin-Houser/Kornfeld score is fresh, lyrical and inspiring. The ensemble, an extremely talented and versatile cast of over a dozen actors who sing, dance and accompany themselves on multiple instruments throughout, portray a vast array of fascinating characters. And there is much more here than history. HAYMARKET will touch you in ways that you did not see coming.

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What it's about... A national strike on May Day 1886 – the largest occurring in Chicago – saw workers walking out in support of an eight-hour workday imagined in the rallying cry: “Eight hours to work. Eight hours to rest. Eight hours of what we will.” Leading the Chicago protest organizers are the true-to-life main characters of HAYMARKET -  Albert (Erik Pearson) and Lucy Parsons (Khloe Janel), August Spies (T.L. Anderson), Adolph (Josiah Robinson) and Joanna Fischer (Melanie Vitaterna), George (Eric Loughlin) and Jane Engel (Sarah Beth Tanner) and Nina Van Zandt (Katherine Duffy). The outlier of the group, an anarchist named Louis Lingg (Joey Herbert), has other diabolical compulsions.  The interplay of the organizers to keep the movement peaceful and orderly provide layers of dramatic undertones to the story which boil up in a confrontation on May 3rd, leading to the death of workers at the hands of the police, and the bombing and riot in Haymarket Square the following day. Absent a primary suspect, the protest organizers are held accountable, arrested, tried and put to death. Their memory and mission become the legacy of activist Lucy Parsons, whose efforts well into the 20th century helped to forge the labor movement in America.

Vaulted moment... Framed with the reflective and beautiful recurring anthems, 'Hear the News' and 'Leading the March' (the latter providing a vaulted moment for Janel in Act II), the chemistry between Janel’s Lucy and Pearson’s Albert is exemplified in the tender ballad Letters 'From My Love'.  T. J. Anderson’s inspiring presence is evident in the company numbers 'Workingmen, To Arms!' and 'Keep on Talking, August Spies'. Janel and Duffy lead the company powerfully in 'The Order of the Gallows'. Harbert’s chilling 'Lady Dynamite' is also a standout.  

Sizzling charge effects... The lush staging and period costumes by Eric Luchen and Christina Leinicke are enhanced by Erik Barry’s lighting, sizzling charge effects by Lee Moore and Brandon Reed’s sound to effectively create a rustic 1880’s backdrop for this sweeping historical saga.   

Brazen New Musical... The themes of HAYMARKET are profoundly resonant and the continuing evolution of this brazen new musical work - by a talented, creative team in ascension - a credit to Underscore's development program. In addition to exploring a central voice for human rights, the show reminds us again that much of what we take for granted came at the supreme sacrifice of others. HAYMARKET also addresses issues of law enforcement of the day. The tragic and senseless death of protesters and officers, and an act that we would call ‘terrorism’ today, is only the tip of the spear of the poignant story being told that leads to a corrupt criminal prosecution and the injustice of a sentence carried out against innocent men. In the end, we can never truly make amends for the miscarriage of justice. We can only pledge to never forget.

PHOTOS|Michael Brosilow
(Images from 2018 Den Theater run)

Underscore Theatre
in association with
Theater Wit
presents
HAYMARKET
A New Folk Musical
Book and Lyrics by Alex Higgin-Houser
Music by David Kornfeld
through September 2nd
1229 W. Belmont Ave.
(773) 975-8150

WEBSITE

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PICKSINSIX Review: SOMETHING IN THE GAME

"A LOT OF PROMISES TO KEEP."

Smart, clever and inspiring... There is something magical stirring up the turf in Evanston. Something in the Game: An All-American Musical, with a book by Buddy Farmer, shepherded through development by director and choreographer David H. Bell and put to music by the multi-talented Michael Mahler, is now having a professional staging at the Wirtz Center for the Performing Arts. An earlier version entitled ROCKNE received a major production in 2008 and there was an impressive staged reading in 2016, which I had the pleasure of seeing. The new musical, presented under the auspices of the American Music Theater Project(AMTP) at Northwestern University, tells the life and career of Notre Dame’s famed football coach Knute Rockne and Bell has assembled the top-shelf creative team and company necessary to bring this smart, clever and inspiring story to life.

What’s it about… Knute Rockne(1888-1931) grew up in the Logan Square neighborhood of Chicago, the son of an immigrant craftsman. Rockne’s collegiate career began at Notre Dame in 1910 majoring in chemistry, playing football and developing creative ways to make a buck. Together with teammate Gus Dorais, Rockne is credited with incorporating the forward pass into the Notre Dame game plan. Later on, as head coach, Rockne recruited the legendary George Gipp whose play established Notre Dame as a national powerhouse and earned Gipp honors as the University’s first All American before his untimely death in December 1920. Rockne’s 13-year coaching career, cut short by a fatal plane crash in 1931, included the development of the Notre Dame Shift, a box formation that led the famed “Four Horsemen” to consecutive national championships in the mid-20s and solidified Rockne as one of the greatest coaches of all time. Against this professional backdrop, the musical delves into the deeper context of Rockne’s relationships with his family, administrators and his players, most notably Gipp, whose extraordinary skills on the gridiron and sordid exploits off it are at the core.  Though Rockne is not always a devoted husband and father, he is a good and decent man we can cheer for who has, as it is told, “a lot of promises to keep.”

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Impressive Equity lineup… The ‘Dream Team’ in this new version is front and center. Those long-associated with the material in the impressive Equity lineup - Stef Tovar(Rockne), Adrian Aguilar(Gipp) and Dara Cameron(Bonnie)  - are joined by the formidable Chicago talents Rashada Dawan(Thelma), James Earl Jones II(Jimmy the Goat), James Rank(Father Walsh) and Brandon Springman(Coach Harper). Charlie Herman is perfect as young Billy Rockne. The high-energy ‘Special Team’ ensemble is the thrill of the show. Comprised of at least a dozen current students or recent Northwestern graduates, this spirited group of actors, singers and dancers play multiple roles and nail all the big numbers.
 

Rich and colorful… Northwestern alum Michael Mahler’s body of work is significantly expanded with the emergence of Something in the Game. With Farmer’s book and lyrics by Mahler and Bell, the production team also includes returning set designer Alan Schwanke and lighting designer Jesse Klug whose crisp and clean work is complemented by the rich and colorful Robert Kuhn period costumes, football jerseys and speakeasy outfits.

Raise the roof… Tovar is terrific as Rockne, leading the ensemble, driving the action and delivering the memorable ‘Ordinary Heroes.’ The tuneful Mahler/Bell score soars with Dawan in the saucy ‘Easy Come, Easy Go’, leading the cast in ‘All American’ and in Cameron’s ballads ‘Reach High’, ‘Father and Son’ and the magnificent ‘If There Had Been Roses.’ The cast numbers include ‘Fighting Irish’, ‘There’s Something in the Game’ and the Four Horsemen stomping ‘The Shift.’ Aguilar’s moving ‘Confession’ and his three-hander ‘Welcome to the Bottom’ with Dawan and Jones raise the roof. 

Importance of collaboration… David H. Bell and I discussed the ROCKNE project in a wide-ranging 2016 podcast CONVERSATION about AMTP's outreach in Edinburgh, the annual student-produced Waa Mu Show and the importance of collaboration between career professionals and undergraduates in new work development. You will find no better example of Bell's vision and this collaboration than Something in the Game.

PHOTOS|JUSTIN BARBIN

SOMETHING IN THE GAME
An All-American Musical
Book by Buddy Farmer
Music by Michael Mahler
Lyrics by David H. Bell & Michael Mahler
Directed by David H. Bell
through August 5th
Wirtz Center for the Performing Arts
Josephine Louis Theater
Northwestern University
(847) 491-7292

American Music Theatre Project (AMTP) at Northwestern University and the Wirtz Center for the Performing Arts present the Chicago premiere of “Something in the Game: An All-American Musical,” produced by special arrangement with Coaches, LLC, John Girardi and Greg Schaffert.

WEBSITE
2016 CONVERSATION with David H. Bell
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PICKSINSIX Review: VICTIMS OF DUTY

'VICTIMS' - "ODDLY ENGROSSING, WATER-INFUSED ESCAPADE"

Firmly affixed... In 1995, two years after Eugene Ionesco died, A Red Orchid Theatre mounted a production of his 1953 play Victims of Duty. That production, much like the one that is currently playing on North Wells, was directed by Shira Piven and featured founding ensemble members Michael Shannon and Guy Van Swearingen. If you are counting, 23 years have passed and as Piven admits in the program notes, between the three of them, they now have six kids. The brilliant actress Karen Aldridge is the third central character in the story about a detective (Shannon) who visits the apartment of Choubert (Swearwingen) and his wife Madeline (Aldridge) in search of the former tenant, Mallot – three capitivating performances that will have you firmly affixed to 'le siege.'

A summer bonus... In addition to Victims, AROT mounted Hunger and Thirst, directed by Shannon in 2005 and The Killer in 1997 none of which I had the pleasure of seeing,  so I was thrilled that the 25th Anniversary season included a summer bonus remount of the rarely-produced Victims of Duty.  The question that I have heard most often is: “Why revisit this play?” to which I say: “Why not? I could watch these exceptional actors fold towels for 90 minutes and be thoroughly entertained." Having now seen the show, and given the aquatic nature of things that are unique to this production, there probably is a fair amount of towel-folding going on.

Somewhat abstract... Victims, Piven notes, is an elevation of the meanings that were, in 1995, “very personal and somewhat abstract” to the present where there is a “social|political resonance that we can’t escape, as much as we might want to.” All that water may be a metaphor for our current societal submersion. That said, we are not supposed to delve too deeply or, as Piven says, "...try too hard for perfect unserstanding." It is Theater of the Absurd, after all. (There was a moment, midway through the Saturday press matinee, when Michael Shannon, coming out from a hostage-like situation, had a nick on his cheek that developed into a stream of very real looking blood. And it was. Nothing to stop the show, but it did add a bit of reality to the absurdist drama that only live theatre can provide.)

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Dark reaches... The Detective, who is also a lover and despot, leads Choubert on an exploration of his mind descending and ascending through the dark reaches of imagination from patriotic husband to son to infant while Madeline’s journey from wife to lover and old age all find their place within the pages of a play. It is a detective story, of course, the kind about which all great drama revolves, we are told. If you are having a hard time following this, you will not be alone. Such is the world that Ionesco creates, where traditional perceptions and characterizations are virtually non-existent. Victims of Duty may not be everyone’s cup of coffee, but there are plenty of cups to go around. 

Oddly engrossing... In addition to those mentioned, there are two additional characters Nicholas D’eu (Richard Cotovsky) and The Lady (ensemble member Mierka Girten) who are page turners for the larger work. In the theatre, as in life, it is the cyclical nature of things that matter most and these two lay in wait for the next chapter. I consider myself a bit of a page turner after this experience and extremely fortunate to have had the opportunity to share the same intimate space with this company of actors – highly-skilled theatrical artists who have recreated a uniquely watchable, oddly engrossing, water-infused escapade. I will not soon forget the experience and if you have already made plans to attend, I am sure that you will agree. If not, you may be completely out of luck unless you stand-by for a ticket. The run of the show has been sold-out for months and for good reason. Magnifique!

PHOTOS|fadeout foto

A RED ORCHID THEATRE
Presents
EUGENE IONESCO'S
VICTIMS OF DUTY
Directed by Shira Piven
through August 5th
1531 N Wells Avenue
(312) 943-8722

WEBSITE

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PICKSINSIX Review: PAMPLONA

‘PAMPLONA’ - “LIKE STANDING BEHIND A WATERFALL.”

Mano a mano... Not a soul was shuffling in their seats at the Goodman Theatre when the lights came up on Stacy Keach as Ernest Hemingway in opening moments of the world premiere of PAMPLONA. The actor, who last year had to step away from the production for health reasons, has returned to complete the job. And that he did, in fine form, mano-a-mano, with the audience. Bravo!

Personal timeline... The play, written by Jim McGrath and directed by Goodman Artistic Director Robert Falls, unfolds on October 11, 1959 as Hemingway is struggling to complete an article on bullfighting in Spain for Life magazine. The particular stumbling block that proves elusive for him is the roadmap for the story of his life, told often in Hemingway’s own words in flashback – as they relate to his literary work and personal timeline – and with stunning projected images that evolve seamlessly throughout.

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Skillful approach... In a profoundly reflective moment of youthful promise midway through, the dialogue turns to Hemingway’s World War I service as a Red Cross ambulance volunteer when he was severely wounded and hospitalized in Milan. During the long recuperation that followed, the 19 year-old met and fell deeply in love with Agnes von Kurowsky. The experience is a pivotal turning point and inspiration for the writer that Hemingway would become. For Keach, it was a superb example of the skillful approach to the material that spans the tumultuous life, loves, and near-death experiences, all played out in Room 217 at the Gran Hotel La Perla in Pamplona, Spain.

Gritty, purposeful and complete... Falls and Keach do not allow the pace of this often-troubled story, fraught with anger, remorse, and regret, to waver from the ever-present knowledge that there are precious few glorious days ahead. Watching Keach is, as the text states, “like standing behind a waterfall” - his nuanced performance gritty, purposeful and complete.

Stunning projection... Kevin Depinet’s impressive scenic design is strikingly enhanced with the stylized lighting of Jesse Klug, Noël Huntzinger's costume, Michael Roth's music|sound and Adam Fleming’s stunning projection.  Goodman dramaturge Tanya Palmer provides a fascinating overview of Hemingway’s life in the program notes, supplemented by Jerry Patch, which when combined with all of the stage elements help to frame Hemingway’s extraordinary life.

Masterful ... Closing out a rich and glorious season at Goodman Theatre, Stacy Keach as Ernest Hemingway delivers a masterful, not-to-be-missed, performance. Olé!

PHOTOS|Liz Lauren

GOODMAN THEATRE
Presents
STACY KEACH
PAMPLONA
Written by Jim McGrath
Directed by Robert Falls
through August 19th
Owen Theatre
(312) 443-3800

WEBSITE

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PICKSINSIX Review: CAT ON A HOT TIN ROOF

"BIG DADDY HAS ALWAYS FAVORED BRICK."

Captivating interpretation... A defining moment in Drury Lane’s stirring production of Tennessee Williams’ Cat on a Hot Tin Roof occurs when Big Mama, resigned to a certain future that she has heretofore denied, slowly climbs the sweeping staircase toward Big Daddy’s bedroom. She is intent on working her way back into any personal space left in a man she has loved unconditionally, who is now terminally ill, bitter and stoked with avarice. The hopelessness of the situation is writ large throughout Cindy Gold’s riveting performance of director Marcia Milgrom Dodge’s captivating interpretation.

Everyone on edge... In Big Daddy’s sprawling estate, the family has gathered to celebrate his 65th birthday. There is a cloud of uncertainty around the recent results of a medical examination and why his son Brick and wife Maggie have yet to produce an heir. The other son, Gooper, and his wife Mae, have produced five children of their own – with another on the way – who have just about everyone on edge. Nothing Gooper and Mae do matters much because Big Daddy has always favored Brick. But with Brick immobilized by a broken leg and prisoner to his spiraling depression and alcohol dependency, Maggie becomes fearful of losing everything and starts battering him into submission.

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Lost expectations... Director Marcia Milgrom Dodge skillfully unearths the tense relationship between Big Daddy and Brick which is at the disturbing core of this drama exposing the pain of lost expectations and the fear of choosing those we love and living with the consequences. Self-interest has a powerful place in the room, which Big Daddy says is permeated with “the unpleasant odor of mendacity... it smells like death.”

Master manipulator... Genevieve Angelson’s Maggie is a scorcher, tipping around the corners of her own vulnerability, savoring the ability to twist perceptions as Brick’s master manipulator, preparing to take charge and forge her own future. Anthony Bowden’s Brick is resolute and defiant, equal parts obsessed, contrite and then emboldened in the face of the commanding performance of Matt DeCaro as Big Daddy. DeCaro’s fierce indignation is magnified so intensely in Gold’s heart-wrenching Big Mama that we are allowed to fully experience the transformation from the depths of her anguish to her stalwart determination to survive at all costs.

Fine supporting performances... Michael Milligan (Gooper) and Gail Rastorfer (Mae) deliver fine supporting performances in a cast that includes Craig Spidle (Doctor Baugh), Joe Bianco (Reverend Tooker), Reginal Robinson, Jr. (Lacey) and a featured performance by Donica Lynn (Sookey) whose soaring vocals add depth to the drama.

Superbly woven together... The setting, a majestic and expansive upper floor suite of a decaying mansion, is the work of Kevin Depinet, complimented by Sully Ratke costumes, Driscoll Otto lighting|projection and Ray Nardelli sound, superbly woven together for an enormously satisfying experience.   

PHOTOS|Bruce Beiner Photography

DRURY LANE
Presents
CAT ON A HOT TIN ROOF
Written by Tennesee Williams
Directed by Marcia Milgrom Dodge
through August 16th
100 Drury Lane
Oakbrook Terrace
(630) 530-0111

WEBSITE

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PICKSINSIX Review: MURDER FOR TWO

‘MURDER’ is a “Perfectly Lovely Surprise!”

The (usual) Suspects... You already know judging from the title that "Murder for Two" - now playing at the Marriott Theatre Lincolnshire - involves at least one murder which occurs as the surprise birthday party for mystery novelist Arthur Whitney is about to begin. Early on we meet The (usual) Suspects including the victim’s wife, a prima ballerina, a wheel-chair bound psychiatrist, a feisty old couple, a demur wanna-be caper-cracker, a fireman, and a 12-member boys choir, of which all but three are elsewhere.

Strap yourself in... Officer Marcus Moscowicz, who is vying for a promotion to detective, is quickly on the scene with his partner Lou and determines that everyone has a motive. What is unusual about The Suspects, is that they are all played by one actor. In case you are thinking that there is no way all this can possibly happen in the course of 90 minutes, strap yourself in for a comic tour de force directed by Scott Weinstein. 

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Rollicking madcap musical mystery... This two-hander – which is more like a 26-hander, not counting two more thrown in for good measure along the way – originated in New York at Second Stage Theatre, had its world premiere at Chicago Shakespeare (2011 Jeff Award for Best Musical) then again to New York and a national tour. With book and music by Joe Kinosian and book and lyrics by Kellen Blair, Murder for Two is a rollicking madcap musical mystery sendup energized in the Marriott production by the stellar performances of Noel Carey and Jason Grimm - a pair of amazingly gifted actors and musicians with superb comic instincts – who work terrifically well together.

Seasoned flair... Protocol says that the plot will not be revealed, so this ‘Murder’ is, and will remain, as one of the many tuneful songs confesses, a “Perfectly Lovely Surprise!” Carey brings a seasoned flair and single-minded energy to Moscowicz, a role that he has played on national tour. Weinstein has expertly matched Carey with the explosive Grimm, whose out-of-body, split-second transformations appear effortless. When the two are not trading verbal banter at breakneck speed, they accompany each other on the grand piano – often both at the same time – under the artful musical direction of Matt Desitchman.

Stage set perfectly... All of the mayhem is staged in the round on an exquisite Scott Davis multi-level interior set that has more than a few special features allowing the story to ingeniously unfold so that every seat is the best in the house. With sound design by Robert E. Gilmartin, lighting by Jesse Klug, costumes by Emily Arnold and music supervision by Patti Garwood, the stage is set perfectly for a non-stop evening of entertainment.

Funny business... Things get started right away so if your head is buried in your program or you are running late, you may miss some of the funny business. There is plenty of convenient free and low-cost valet parking and many dining options in the area to help make Murder for Two a not-to-be-missed summertime treat.

PHOTOS|Liz Lauren

MARRIOTT THEATRE
Presents
MURDER FOR TWO
through August 26th
10 Marriott Drive, Lincolnshire
(847)634-0200
WEBSITE

For more reviews, visit: Theatre In Chicago

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PICKSINSIX Review: SUPPORT GROUP FOR MEN

TALK ONLY WHEN HOLDING THE STICK!

Uproarious new comedy… Life is made up of rules and rituals, a fact that is clearly established in the opening moments of Ellen Fairey’s uproarious new comedy Support Group for Men now in its world premiere at Goodman Theatre. The answer to the question of what might happen when four men gather for their Thursday night session - away from the watchful eyes of wives, lovers, and friends - is in the expert hands of director Kimberly Senior who deftly navigates a talented cast through the root causes of loneliness, inadequacy, and aging we all experience. It’s all from the man’s point of view - the inside story about how men are perceived by other men, how they may react under certain circumstances and ultimately, whether or not they are ready to talk only when holding the stick. Spoiler Alert: They are not. 

A sacred place of safety… The seven rules of the group to live by are: “We are in a sacred place of safety. We are brothers. We are men. Our feelings are our own. We DO NOT give advice or comment on other people’s feelings or situations. We are only here to bear witness. We only talk when we have THE STICK.” In this support group, as in life, breaking the rules can have hilarious consequences.

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Sorting through issues… The primary ritual, which involves a sort of confessional that has been developed by group host Brian (Ryan Kitley), allows the support group members to express themselves and share their feelings without the interruption of the other members. The group includes Roger (Keith Kupferer), Delano (Anthony Irons) and Kevin (Tommy Rivera-Vega) who have assigned group names Floating Squirrel (Kupferer), Running Buffalo (Irons), Silver Eagle (Rivera-Vega), and Sleeping Hawk (Kitley).  The group is sorting through issues related to changing social norms at a precise moment in 2017 when the #MeToo movement is evolving.

Wide-ranging conversation… There are a few outrageously funny twists along the way involving the patrol team of Officers Caruso and Nowak (Sadieh Rifai and Eric Slater) and Alex (Jeff Kurysz). The other aspects of this 90-minute night out, set in a third-story apartment in Wrigleyville (brilliant work by set designer Jack Magaw, lighting designer Jen Schriever with Jeremy Cunningham and sound by Richard Woodbury), are best discovered in the course of watching all the delightfully entertaining chaos unfold.

A sensitive balance… This is a play primarily about and including men, all decent, regular, rosé-swilling, power-meditating guys, who react protectively, as everyone tends to do, especially if we feel threatened or witness injustice. It is clear from Fairey’s clever script that we – that is, all human beings - are in this together. Or to put it another way, we never fail in our human interactions if we always try to do the right thing and are not afraid to examine our own feelings along the way. There is a sensitive balance shining from within Fairey’s refreshing and ground-breaking work that Senior has unearthed for our own enjoyment.

The takeaway… Perhaps the world would be a much better place if we could follow the rules, only express ourselves when holding the stick, acknowledge everyone’s right to an opinion, treat those opinions with respect even if they differ from our own, and above all, listen more, both to the people around us and to the conversation we are having with ourselves. All of this is progressively harder to grasp as we age into the third act of life, a time that even though we may be better prepared to follow the rules, we are not ready to ignore that youthful feeling inside that allows us to bend them. The secret, of course, in this new age of social awareness, is to find the sweet spot between the rules and the rituals,  something that the brilliant cast of Support Group for Men will be doing through July 29th at Goodman.

PHOTOS|LIZ LAUREN

World Premiere
Goodman Theatre
Presents
SUPPORT GROUP FOR MEN
Written by Ellen Fairey
Directed by Kimberly Senior
through July 29th
TICKETS
WEBSITE
312.443.3800

Listen to our podcast CONVERSATION with Kimberly Senior
For more reviews, visit: Theatre In Chicago

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PICKSINSIX Review: AVENUE Q

FAST-PACED, LAUGH-OUT-LOUD HIT!

Far-out puppets... AVENUE Q, that bawdy, irresistibly appealing three-time Tony Award-winning Broadway musical about an out of the way New York City neighborhood where far-out puppets and humans alike face life-changing situations, is right back where it belongs at the Mercury Theater. L. Walter Stearns directs a seasoned company of top returning and new talent in a fast-paced, laugh-out-loud hit!

Adult-themed musical... There are more than a few reasons that AVENUE Q had a six-year run on Broadway, can still be seen Off-Broadway and in major productions around the country, of which this is certainly one. The neighborhood is full of lovable and often extremely inappropriate puppets whose take on everything from racism, sex, gender issues, and internet porn have made this adult-themed musical sure-fire, head-bobbing fun.

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Power of giving... Whether you choose to watch the puppets or their handlers - and there is a lot of mischievous handling going on - there is so much to see, hear and enjoy. At the center of the story of Princeton’s quest to find his purpose in life is the touching love story that evolves with Kate Monster whose goal is to establish a school for monsters. Along the way, Princeton and Kate learn from their neighbors about life, love and the power of giving, proving that when you have a puppet in your hand, you can get away with a lot of things.

Delightfully endearing... This production is a bit of a renaissance - with a few carefully chosen script enhancements - of the one that flourished at the Mercury for seven months and 169 performances in 2014. Stearns and Musical Director Eugene Dizon have now assembled a top-flight ensemble around the delightfully endearing return performances of Jackson Evans (Princeton) and Leah Morrow (Kate Monster). Dan Smeriglio is hilarious in his return in the split roles of Nicky (with Jonah D. Winston, who is also a perfect Trekkie Monster) and Bad Idea Bear (with Stephanie Herman, who splits as the salacious Lucy and Mrs. T). Rounding out the superb multi-talented cast are David S. Robbins (Gary Coleman), Christian Siebert(Rod), Matthew Lies(Brian) and Audrey Billings (Christmas Eve).

Subtly nuanced additions... The all-star creative team includes Broadway veteran puppet designer Russ Walko whose work has come to life with the imagination of Rick Lyon, creator of the original Broadway puppets (and Broadway company cast member) who worked extensively with the Chicago cast during the rehearsal process. With Lyons’ subtly nuanced additions, choreography by Kevin Bellie, the picture-perfect set and state-of-the-art digital elements by set designer Alan Donohue, video design by Max Maxin IV, lighting by Dustin L. Derry, sound by Carl Wahlstrom and Rachel Boylan’s costumes, this high-octane AVENUE Q is running on all cylinders.

One naughty night out... Mercury Theater Chicago is again collecting for Season of Concern, an organization that has raised hundreds of thousands of dollars from generous artists and theater patrons to benefit people in the entertainment industry who are experiencing health-related emergencies and medical issues. There is an opportunity during the show when one could make a substantial contribution to support this worthy cause, so if you are planning only one naughty night out this summer, find your purpose on AVENUE Q.

PHOTOS|Brett A. Beiner

MERCURY THEATER CHICAGO
Presents
AVENUE Q
through September 9th
3745 N Southport Ave
Chicago, IL ‎60613
TICKETS: 773 325-1700

WEBSITE
Listen to our June 18th CONVERSATION with Leah Morrow and Jackson Evans
For more reviews, visit: Theatre In Chicago

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PICKSINSIX Review: 20,000 LEAGUES UNDER THE SEAS

"ONE STAGGERING VISION HEAPED ON ANOTHER."

First things first... If you are looking for a rousing adventure story, rich and rugged scenic elements, dynamic performances, imaginative puppetry and high-flying excitement above and below the waterline - or as the script says, "one staggering vision heaped on another" - Lookingglass Theatre Company's 20,000 Leagues Under the Seas is sure to rock your boat!

High seas exploits... The Jules Verne classics have been majestically reimagined for the stage and this fascinating science fiction epic bubbles up from the deep in a new stage adaptation by David Kersnar and Steve Pickering(Althos Low) weaving all the mystery and suspense of Captain Nemo's high seas exploits together with shipwrecks and sea creatures, great and small, in a thrilling evening of entertainment. 

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What it's about... Prisoners from a Confederate prison camp escape and crash land a hot-air balloon on a remote island. In time they discover and recognize the Natalius from a familiar published work by the noted French expert Professor Morgan Aronnax, and meet its aging, anguished and sole surviving crew member, Captain Nemo (a spellbinding Kareem Bandealy). The story unfolds through the recollections of Professor Aronnax(the dynamic Kasey Foster), her compatriot, Brigette Conseil(a spirited performance by Lanise Antoine Shelley) and the swashbuckling harpooner Ned Land(a beefy, rugged role for Walter Briggs) who are central to the inner story of seas storms, intrigue and more than a few twists and turns. The superb supporting ensemble includes Thomas J. Cox, Joe Dempsey, Micah Figueroa, Edwin Lee Gibson, Glenn-Dale Obrero and an extraordinary stage crew who make the magic happen.

Fantastic voyage... Fans of the Jules Verne classics or the film version will find this reimagined story right in their wheelhouse, a fantastic voyage with a new, engaging twist of character relationships. 

A visual feast... Todd Rosenthal's ruddy, versatile set design is complemented by Sully Ratke's brilliant period costumes highlighted by Christine Binder's lighting and Rick Sims sound. The inspired circus choreography by Slyvia Hernandez-DiStasi, massive rigging by Issac Schoepp and the creative puppet designs of Blair Thomas, Tom Lee and Chris Wooten, make this David Kersnar directed production a visual feast. 

REFLECT... Lookingglass presents a post-show discussion entitled REFLECT following the 2:00 p.m. matinees on select Sundays. The June 24th topic: Jules Verne and Victorian Sci-Fi... the July 15th offering is Creatures From The Deep presented in partnership with scientists from Chicago's Shedd Aquarium. For the complete schedule, visit: REFLECT.

PHOTOS|Liz Lauren

Lookingglass Theatre Company
presents
20,000 LEAGUES UNDER THE SEAS
Adapted by David Kersnar and Althos Low
From the Books by Jules Verne
Directed by David Kersnar
through August 19th
821 N Michigan Ave.

TICKETS: 312.337.0665
WEBSITE

For more reviews, visit: Theatre In Chicago

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PICKSINSIX Review: Father Comes Home from the Wars (Parts 1, 2 & 3)

“HERO HAS BEEN CALLED TO SERVE!”

An ageless struggle... The lyric voice of the Oldest Old Man rings true when he confronts Penny about the reasons for Hero to join the Confederate cause early in Part 1 of the Chicago premiere of Suzan-Lori Parks' epic Father Comes Home from the Wars (Parts 1, 2 & 3) directed by Niegel Smith. With all the passion of one who understands an ageless struggle for a cause greater than himself, he emphatically pleads “Hero has been called to serve!” It is a complex and conflicted decision that Hero alone must make in this dark and sullied era of our nation’s history.

No common ground... It is clear from Hero’s journey that we are today no better connected together than 150 or 200 years ago. Our culture, so often portrayed in only black or white, seems to have no common ground. There is a reason to hope that Ms. Parks will help to heal the open wounds that her glorious work exposes so well, with so much passion, humor and at a tempo that makes us lose ourselves in the telling and our deep sense of regret and despair. 

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The heroic myth ... You will be both rewarded for your time and well-prepared for the next six-parts of the story which are in development now from an astoundingly original playwright who is the first African-American woman to win the Pulitzer Prize for Drama. Decades from now, all this will certainly be a commanding challenge for any theater company to play in repertory and one that is already highly-anticipated – the heroic myth – an epic journey of intersected characters and generational transformations as the title suggests. In the meantime, we are fortunate to have an extraordinary ensemble on full display at Goodman in a stirring production worthy of the material.

Challenging loyalty... Be sure to pay particular attention to the Homeresque opening monologue artfully delivered by the Leader(Jacqueline Williams) that sets the stage for all that follows. Struggling with the impact of slavery and all of the ideals restricting freedom and challenging loyalty, there is one particularly astonishing moment in Part 2 when the Colonel(an icy William Dick) revels in the thrill of human ownership and in so doing, sucks the air out of the room.

The wrong side of history... With the war drawing closer to home, the conflict of slaves conscripted to fight on the wrong side of history is the pivotal decision Hero must make in Part 1. Part 2 is set on a hot afternoon in a shady grove with the Colonel, Hero and a wounded Union prisoner. Part 3, aided by a Greek chorus of runaways and a human dog, unravels the futility of the conflict and lays forth the inevitable, sordid human costs of war.

Highly-charged... It is the riveting, highly-charged performance of Kamal Angelo Bolden’s Hero that churns mightily throughout while Jaime Lincoln Smith’s resonate Homer and the impassioned performance of Aimè Donna Kelly as Penny are capitivating. Dick and Demetrios Troy’s Smith propel Hero's journey in Part 2 and provide the most chilling and acerbic views of what it is to be white, own property and place race at the center of the argument. Watching this unfold and leading the way is the Musician, a superb crossover performance from Chicago blues artist Melody Angel. The exceptional cast includes Ernest Perry, Jr (Oldest Old Man) and BrittanyLove Smith, perfect as man’s best friend, of which there are few in this darkly rich introduction to what is sure to be a much-talked-about epic trilogy... only at Goodman through June 24th, and then the journey continues elsewhere.

PHOTOS|Liz Lauren



Goodman Theatre
Presents
Father Comes Home from the Wars (Parts 1, 2 & 3)
Written by Suzan-Lori Parks
Directed byNiegel Smith
through June 24th
312.443.3800

WEBSITE

For more reviews, visit: Theatre In Chicago

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PICKSINSIX Review: The Originalist

A FASCINATING, PROVOCATIVE EVENING OF THEATRE

Firing on all cylinders ... John Strand’s The Originalist is a richly-complicated exploration of The Honorable Antonin Scalia, showcasing a superb performance by Edward Gero. The Asolo Repertory Theatre|Arena Stage|Pasedena Playhouse production, directed by Molly Smith with Associate Director Seema Sueko, also features fine performances by Jade Wheeler and Brett Mack. The Originalist premiered in March 2015 at Arena Stage in Washington, and then at Asolo and Pasadena in January and May 2017 before a return engagement in Washington last summer. This production is currently firing on all cylinders, from all chambers, and at least one rifle range, at Court Theatre through June 10th.
  
Heated discussions ... I will leave the historical and legal commentary regarding the arc of the discussions in dialogue to the scholars in those disciplines. What I will say is that the heated discussions between Scalia, the late Supreme Court Justice and Cat (Wheeler), a Liberal (capital “L”) law clerk and the Conservative (capital “C”) Brad, a recent law school graduate unwind and expose an array of the major positions in his judicial career. This is a fascinating, provocative evening of theatre!

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Always right ... Scalia was a colorful portrait in complexity. An exceptional student - he admits to being “only wrong once" - Scalia lived by the tenet that rulings are to be made “on law, not emotion.” Brilliant, articulate, exasperating, and described as a “monster,” which he took as a compliment, Scalia was a self-described “shin-kicker” and a bit of a “contrarian.” In the political spectrum, Scalia was convinced that strong opinions, thoughtfully and constructively presented, are of vital importance. He was respected by his peers on the Court, most notably Ruth Bader Ginsburg, even as they considered his opinions flawed. In his own estimation, Scalia was always right. Always. Except for that one time.

Outspoken, determined and controversial ... Strand has artfully fashioned a story in and around Washington, D.C. during the 2012-2013 Supreme Court term, which seems like a very long time ago politically. This timing allows for Scalia to extoll and vehemently defend his positions while at the same time exposing the more deeply religious, family man who appreciated Shakespeare and opera, had a keen sense of humor, and an intensely competitive spirit. As an originalist – one defined as a defender of the literal interpretation and principles of the U.S. Constitution as the foundation of our democracy – Scalia was outspoken, determined and controversial. In his interchanges about court actions, we see through Scalia’s lens that it is as important to understand and respect opposing opinions as it is to defend our own.

A conversation starter ... This production is a conversation starter as evidenced by the comprehensive program notes, interviews and programming schedule that Court Theatre has developed over the run of the show. 

The takeaway... Don’t waste your time in the “wishy-washy” middle. Take a stand. Go for the jugular. Be respectful, but set your sights on the bullseye every time.

CAST PHOTOS|Gary W. Sweetman
EDWARD GERO|C. Stanley Photography

ASOLO REPERTORY THEATRE
ARENA STAGE
PASADENA PLAYHOUSE PRODUCTION
THE ORIGINALIST
COURT THEATRE
through June 10th
WEBSITE | TICKETS
(773) 753-4472

For more reviews, visit: Theatre In Chicago

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CONVERSATIONS PODCAST: Season 3 Episode 10 (Originally Posted May 30, 2018) Award-winning actor Edward Gero joined the conversation to discuss his portrayal of Supreme Court Justice Antonin Scalia in John Strand's The Originalist during the Chicago run at Court Theatre. The compelling and provocative Asolo Repertory Theatre, Arena Stage, Pasadena Playhouse production is directed by Molly Smith with Associate Director Seema Sueko. 

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

WEBSITE

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PICKSINSIX Review: HAVING OUR SAY

COLLECTIVE MEMORY OF JOY AND SORROW

Sweeping narrative ... In the opening moments of Emily Mann's Having Our Say: The Delany Sisters’ First 100 Years, Bessie and Sadie Delany gather us up in the living room of the Mount Vernon, New York home they have lived in since 1957 and begin a conversation that takes us on the fantastic journey of their lives together. There are powerful resonant truths, sadness, and abundant humor in director Chuck Smith’s inspiring production, now playing at the Goodman Theatre. The consummate performances by Ella Joyce and Marie Thomas tell a sweeping narrative about racial inequality in America and overcoming adversity with grace and dignity.

A beehive of people … The year is 1993. The Delany Sisters - Bessie(Joyce), at 101 and Sadie(Thomas), at 103  - were 19 and 21 when Haley’s Comet streaked by in 1910. They saw it again in 1986. The two are delightfully entertaining together, finishing sentences and picking playfully at each other as siblings do. Sadie, who used a sort of beguiling charm to make her way through life, is balanced by the speak-your-mind activist that Bessie came to be. They learned discipline, manners, economics and the importance of education from their parents, and were surprised that their beloved father - who was born a slave and became the first African American Episcopal bishop - left out key parts of the Bible when he read it to them. Moving to New York City together in 1917, the sisters settled into ground-breaking professional careers and the pace and excitement of “a beehive of people” in Harlem. Nights were spent at Small’s Paradise associating with the likes of Ethel Waters, Cab Calloway, Duke Ellington, Lena Horne, Paul Robeson and others.

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Smith’s 25th season …  Following a 1991 New York Times article by Amy Hill Hearth, the Delany story emerged in a book published in 1994. A year earlier, director Chuck Smith began a long and distinguished career with Goodman Theatre. Smith's unique and powerful storytelling vision allows Joyce and Thomas the full range to revel in the depth of the material, gliding through the fascinating dialogue as they prepare a special celebration to honor their father’s birthday. The Delany home feels richly intimate and familiar with Linda Buchanan’s magnificent turntable set design, striking costumes by Birgit Rattenborg Wise, Mike Tutaj’s stunning projection, and, sound and lights by John Culbert and Ray Nardelli.

Collective memory … Our lives are measured in milestones – birthdays, anniversaries, professional accomplishments – and yet it is our collective memory of joy and sorrow and the people who influenced and sustained us through those times, that truly matter. Lucky for us that the right questions were asked all those years ago and that someone was listening. If you are fortunate to have had a conversation already about family legacy and cultural heritage, you know how important that gift is from one generation to the next. If not, remember the Delanys had their say after turning 100, so it is never too late.

Help somebody … We will never know whether their presidential predictions for the future truly fell short, or what influence the 1991 article, book, play and film may have had on the course of events that followed. Either way, the secret to a long and satisfying life might best be summed up by Sadie’s advice that “your mission is to help somebody”... and to be sure your diet includes seven different vegetables a day, vitamins, yoga, a big meal at lunch, milkshakes ... and a lot of love.

PHOTOS|LIZ LAUREN

GOODMAN THEATRE
Presents
HAVING OUR SAY
THE DELANY SISTERS' FIRST 100 YEARS
through June 10th
170 North Dearborn
312.443.3800

WEBSITE  TICKETS
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PICKSINSIX Review: BUDDY - THE BUDDY HOLLY STORY

Zachary Stevenson's ‘Buddy’ is a 'WOW!' 

Eighteen glorious months. … Strip away social media, cable television, satellite and internet radio, downloads, Amazon, Google, iTunes and what do you have left? Posters, vinyl records, small live venues, local television and radio, which makes what Buddy Holly did for eighteen glorious months in the late 50s all the more incredible.

Explosive performance … Times may have changed in the past sixty years, but they have not changed that much. Everyone is still looking for a sure thing and we’ve got one right here in Chicago on West Belmont – the explosive performance of Zachary Stevenson in the American Blues Theater revival of Buddy - The Buddy Holly Story at Stage 773.

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Like a classic film .... we know how this bittersweet story ends, so it’s the actors — who are an amazing collection of singers and instrumentalists — that make this jukebox musical soar. Director Lili-Anne Brown and Musical Director Michael Mahler, who also performs, have brought a multi-talented company together around these iconic hits - well over two-dozen songs played out on the radio and in a series of recording sessions, club dates and concert appearances to frame the backstory. And they knock every one of them out of the park! 

Extraordinary musical journey… Stevenson and the Crickets, Kieran McCabe, Shaun Whitley and Mahler — are at the core of this extraordinary musical journey. Liz Chidester, is perfect as Vi Petty (and really rocks the keyboards) as is Derek Hasenstab (Norman Petty), a blistering guitarist. The strong company features fine vocal performances by Angela Alise, Chuckie Benson and Daniel Riley at the Apollo, along with Alex Goodrich, Ann Delaney, Lauren Vogel and Molly Hernandez who also nails the endearing role of Maria Elena, and Ian Paul Custer, an affable Hi Pockets. The rockin’ talents of Cisco Lopez (Ritchie Valens) and Vasily Deris (Big Bopper) will blow you away, but this take-no-prisoners musical extravaganza belongs to one person: Zachary Stevenson’s 'Buddy' is a 'WOW!'

Educational and community outreach … American Blues Theater has partnered with Chicago Public Schools to encourage student attendance while cast members are also performing mini-concerts at assisted-living facilities and hospitals. No finer way to bring the arts and entertainment, and first-class musical opportunities, to an appreciative extended audience.

What are you waiting for? … Ready Teddy! You have until September 15th to see this one. Oh Boy!  [Updated: July 5, 2018]

PHOTOS|MICHAEL BROSILOW

AMERICAN BLUES THEATER
Presents
Buddy-The Buddy Holly Story
through September 15th

JUST ANNOUNCED!
Buddy Holly Returns for 'Encore' Run
June 29th - Sept 15th

Stage 773
1225 West Belmont
(773) 327-5252

WEBSITE

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PICKSINSIX Review: HOW TO USE A KNIFE

"SEARING 'KNIFE' LEAVES DEEP, HAUNTING WOUNDS"

A pivotal reckoning … The stark and haunting wounds of civil strife that lay at the center of playwright Will Snider’s searing drama How to Use a Knife directed by Shattered Globe’s producing artistic director Sandy Shinner are now nearly 25 years old. Coincidentally, news reports have surfaced recently about ongoing efforts to identify the staggering number of more than 800,000 victims of the genocide in Rwanda, a defining event for one of the two main characters whose personal coping methods begin to emerge as the pivotal reckoning for his boss, Chef George, who has a thousand-yard stare all his own.  

What’s it about … Michael worked on the line for Michelin star Chef George years ago. Not very talented, George recalls, but, smart enough to parley meetings with George’s patrons, raise capital and launch his own restaurant.  Meanwhile, after George invented the “12/12 Pairing Menu” his fast-paced lifestyle took a gut-wrenching turn. So now George “needs to get his wings back” and Michael has hired him as the new chef in his trendy Wall Street restaurant.

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Everyone has a story … Peter DeFaria delivers a fine, multi-layered performance as the complex and tortured chef who suffers from drug and alcohol addiction.  Helping George find his way out of the darkness is Steve – Anthony Irons in a powerful, measured performance – whose willingness to learn quickly moves him up as a confidant and mentee. As Steve's past comes back to roost, it is the impassioned, deeply personal, interplay that brings them together and ultimately drives them apart.

A terrific pairing … Snider’s frank statements about accountability and loss permeate this story and there is a depth chart running through each character. Michael (a solid role for Shattered Globe ensemble member Brad Woodard) appears to have completely lost touch with the business and those he works with, so must rely on someone he can trust in the kitchen. The line cooks, Miguel and Carlos, a terrific pairing of Victor Marana and Dennis García, share the responsibility of keeping things running at the restaurant but also need to protect their jobs. Everyone is seemingly trying to stay ahead of Kim (Michelle Bester) from the immigration authorities while Jack, the busboy/writer that Dillon Kelleher splendidly embodies as the voice of the playwright, is happy to just get a paycheck.

Precise detailing … the precise detailing of the set design by Jeffrey Bauer, elaborate props by Abigail Cain, costumes by Hailey Rakowiecki, sizzling lights and sound by Shelley Strasser and Christopher Kriz is so striking that you almost smell the steak coming off the grill. One can imagine what’s happening just outside the swinging doors as the activity on stage heats up and more of this heart-wrenching story unfolds.

A lot to be learned … recreating a busy, fast-paced kitchen environment requires the kind of ingenious staging that Shinner has fashioned with the audience on two-sides in Theater Wit's Theater Three. There is a lot to be learned about the inner workings of expeditors, line cooks, and busboys but not everyone is who they appear to be - particularly when they are holding the knife, which adds an effective and chilling element to the dark side of this play full of manic, unhinged emotions, and mind-searing life experiences that are hauntingly familiar.

PHOTOS|MICHAEL BROSILOW

SHATTERED GLOBE THEATRE
Presents
HOW TO USE A KNIFE
Written by Will Snider
Directed by Sandy Shinner
through June 9th
Theatre Wit
1229 W Belmont Ave
Chicago, IL 60657
773-770-0333

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PICKSINSIX Review: LAST STOP ON MARKET STREET

“DANCING TO THE BEAT OF LIFE”

All you need to know is … The seven-year-old future zoologist CJ is on his way to his Nana’s when we meet him in the opening moments of the world premiere of Last Stop on Market Street directed by Henry Godinez now playing at the Chicago Children’s Theatre. He is savvy enough for his age, but not comfortable in a neighborhood vastly different from his own and is nervously counting down the hours until he will be back at home with his parents and his aptly-named canine pal, Doggy. With only the security of his backpack, a few bucks in his turtle pillow, and his cell phone, tablet and headphones, CJ is not at all prepared for what comes next. After first applying sugar, Nana tells it like it is and draws a line by singing “All you need to know is that I said so!”

A glorious, inspiring and heartwarming journey … As you might imagine, things get off to a rocky start, mostly because CJ is convinced, as most seven-year-olds are, that he is in charge. That begins to change as the two embark on Nana's regular crosstown adventure to the other side of town. Through her wise and insightful observations, CJ learns that the excitement of discovery is as much in the journey as it is in reaching the destination. And what a glorious, inspiring and heartwarming journey it is!

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Bowl of soul … The new musical adapted by Cheryl L. West with a hip score by Motown legend Lamont Dozier and his son, Paris Ray Dozier, is based on the 2016 Newbery award-winning children’s book written by Matt de la Peña and illustrated by Christian Robinson. Add the considerable stage and vocal talent of E. Faye Butler, a terrific ensemble with musical direction by Andra Velis Simon, ingenious staging(John Musial), choreography(Stephanie Paul), costumes (Izumi Inaba), sound(Ray Nardall) and lighting(Alexander Ridgers), and with a bus that appears virtually out of nowhere, Last Stop on Market Street is truly a “bowl of soul” for all ages.

Magical chemistry … Parents and fans of the book, written for preschoolers, will thoroughly enjoy this expanded stage version of the touching story of a bus ride across town for a young boy, played at the Saturday afternoon opening performance by the endearing Kei Rawlins (sharing the role with Alejandro Medina) and his no-nonsense Nana, the incomparable Butler. There are a lot of lessons to learn and this show is a real conversation starter for youngsters five and up. Every one of the fascinating characters influence CJ in his quest for answers including (in multiple roles): the bus driver, Mr. Dennis (Breon Arzell), the blind musician, Vernon (Jesse Bhamrah), the rapper Tat Man (Brian Keys), Butterfly & Posey (Melanie Brezill), and a young homeless girl Jojo (Kirra Silver).

Every morning brings a new song … the Dozier score rocks a range from the jiving opening company number “Hello, Goodbye” to the poignant “Servin’ Up Love” … Butler’s “Cause I Said So” and “Praise the Lord” are terrific. You are sure to be humming “The Beat of Life” on the way home.

Next stop: Minneapolis … Director Godinez and his team have created an ingenious, colorful panorama of urban neighborhood locations. For those of us without prior knowledge of the material, our discovery is as fulfilling as CJ’s. For that reason alone, you should climb aboard and make a date to see this show running through May 27th. Bring a youngster. Support the Greater Chicago Food Depository with a donation. Buy the book in the gift shop and get ready for a heartwarmingly wonderful hour of entertainment. After the CCT engagement, the next stop: Children’s Theatre Company of Minneapolis, also directed by Godinez. 

PHOTOS|CHARLES OSGOOD

CHICAGO CHILDREN's THEATRE
Presents
A New Musical
LAST STOP ON MARKET STREET
through May 27th
The Station
100 S. Racine Avenue
(312) 374-8835

WEBSITE

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PICKSINSIX Review: MEMPHIS

"THE BIRTH OF ROCK AND ROLL."

Something in the water … There are a lot of reasons for you to run to see MEMPHIS, the exhilarating new Porchlight Music Theatre production directed by Daryl Brooks that opened Wednesday at the Ruth Page Center for the Arts. One is certainly the charismatic performance of Liam Quealy as Huey Calhoun, a character inspired by the life and career of Memphis DJ and personality Dewey Phillips. Another is the radiant and explosive Aerial Williams in the role of Felicia Farrell. Then there is an amazing company of talented dancers, singers, actors, and musicians who are non-stop great! Maybe there is something in the water at PMT these days. They've done it again. MEMPHIS is a SMASH!

Embraces R&B music … Part revolutionary, part rebel, Quealy’s Calhoun oozes with the kind of passion that drives a dream - a crusader who rejects stereotypes, fights bigotry, racism and the segregation of the era in which he lived. Against the odds, he embraces R&B music as a way of bringing people together, first on the radio, and then on television. As this engaging, often dark and richly soul-filled journey unfolds in Calhoun’s 1950s Memphis, what we are really seeing is the birth of rock and roll.

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On the radio … From his musical awakening in a black nightclub on Beale Street with “The Music In My Soul” and falling for Felicia, we follow Calhoun through his unlikely success as a D.J in a department store and eventually on the radio extolling his commitment to African-American music. Along the way, Williams thrills with the poignant “Ain’t Nothin’ But a Kiss” with Quealy, “Colored Woman” and “Love Will Stand When All Else Fails”.

Musical revolution ... The bittersweet love story inevitably leads to rejection and reprisals. Felicia’s brother, nightclub owner Delray Jones (Lorenzo Rush, Jr.) sees only trouble and Huey’s mom, Gladys (Nancy Wagner) experiences hate firsthand. Through it all, Huey single-mindedly pursues what is right until his own musical revolution - and rebellious nature – wear him out. Rush makes the role of Delray all his own and in Bobby, the triple-threat talents of James Earl Jones II are on full and glorious display. Gator finds his voice in fine form from Gilbert Domally.  

What to watch and wait for … so many spirited, high-energy company numbers including “Scratch My Itch” … “Everybody Wants to Be Black On A Saturday Night” … “Someday” and “Stand Up” … Rush’s powerful “She’s My Sister” … Jones at his best in “Big Love” ... Christopher Carter & Reneisha Jenkins dynamic choreography ... be sure to lean in and listen every time Williams steps up to the microphone. 

Porchlight motto … fulfilling the Porchlight motto - “american musicals. chicago style” - in rousing fashion,  MEMPHIS completes the 23rd season for the company and the first in their new home at the Ruth Page Center for the Arts. MEMPHIS has already been extended to June 10th, but don’t wait a moment longer to see this show.    

PHOTOS|MICHAEL COURIER

PORCHLIGHT MUSIC THEATRE
Presents
MEMPHIS
through June 10th
Ruth Page Center for the Arts
1016 N. Dearborn St.
773.777.9884
WEBSITE

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