PicksInSix Review: A Wonderful World - Broadway in Chicago - Cadillac Palace

“Wonderful World” Has Saints Marching In!
PicksInSix® Review | Ed Tracy

The new Broadway bound musical “A Wonderful World” conceived by Christopher Renshaw and Andrew Delaplaine starring James Monroe Iglehart in a commanding performance as the immortal jazz icon Louis Armstrong is playing now in a limited engagement at the Cadillac Palace through October 29.  

As told through the eyes of his four wives–an ever-present Greek chorus of exceptionally powerful vocalists and gifted performers—who anchor the critical turning points of Armstrong’s career, Aurin Squire’s book follows a linear arc from the turn of the 20th century to the early 70s infused with feature performances and explosive, picture perfect, dance routines.

Director Renshaw and choreographer Ricky Tripp have amassed a stellar ensemble who move in and out of the best of Armstrong’s musical legacy on a stunning, scenic landscape created by Adam Roch and Steven Royal that, with Toni-Leslie James’s eye-popping period costumes, provide for truly majestic transitions from the gritty, speakeasys and jazz clubs of the 20s and 30s to a stylized Hollywood soundstage. It’s a visual feast!

At the center of the story—and the major challenge that separates “A Wonderful World” from other musical biographies about entertainers—is Armstrong’s sheer versatility and talent as an innovator and improvisor. The internationally beloved Black performer, musician, composer and singer had a larger-than-life stage presence all his own. Offstage, the pitfalls of Armstrong’s career and his personal, and very public, stand against racial inequality make him a far more complex personality. Iglehart, whose Broadway credits include a Tony Award as the Genie in Disney’s “Aladdin,” brilliantly captures the whole man—Armstrong’s charismatic smile, ebullient energy and the rich, raspy, signature quality of his vocals—in a wide-ranging and fascinating portrayal of a confident, gregarious personality filled with abundant amounts of passion for making music and for making whoopee.  

The women—all saints marching into Armstrong’s life with captivating performances by Daisy Parker (Khalifa White), Lil Hardin (Jennie Harney-Fleming) and Alpha Smith (Brennyn Lark) and Lucille Wilson (Ta'Rea Campbell)—hitch their wagons to the charming star hoping to make their dreams come true. That is until they realize that Armstrong’s insatiable desire to perform and the freedom that a life on the road offers works contrary to his dream to settle down in a home with a family of his own.       

Even though that storyline wrestles a bit with the kind of dramatic thrust necessary to fully connect with all the characters, it always comes back to the music exquisitely arranged and orchestrated by Michael O. Mitchell and Annastasia Victory. And this show is loaded with pulsating dance numbers that place Armstrong at the center of it all in memorable songs like “You Rascal You,” “Heebie Jeebies” and “Black and Blue” and alongside DeWitt Fleming, Jr. in the terrific tap sequence of “When You’re Smiling.” But it is Iglehart’s performance of Armstrong’s last and most enduring classic “What A Wonderful World” that you will want to be humming on the way home.

PHOTO|Jeremy Daniel

A WONDERFUL WORLD
A New Musical
About The Life and Loves
of Louis Armstrong

BROADWAY IN CHICAGO
Cadillac Palace
151 West Randolph
through October 29

TICKETS

OFFICIAL SHOW WEBSITE

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PicksInSix Review: The Nacirema Society - Goodman Theatre

A Powerful, Laugh-Out Loud Triumph!
PicksInSix® Review | Guest Contributor | Kaitlyn Linsner

Expect the unexpected in the Chicago premiere of Pearl Cleage’s extravagant and absurd comedy, “The Nacirema Society.” The play shines as the opener of Susan Booth’s first curated season as Goodman Theatre’s Artistic Director and as a joyous and nuanced exploration of how class, family tradition, honor, privilege, young love, ambition and social responsibility all present in everyday life. These themes mixed with over-the-top drama sets the stage for big gasps and even bigger laughs. Grab a glass of sherry, sit back and welcome to the lavish home of Grace Dubose Dunbar. 

“The Nacirema Society” drops us into the world of a prosperous, aristocratic Black family, the Dunbars, in 1964 Montgomery, Alabama. The mighty and entitled matriarch of the family, Grace Dubose Dunbar (E. Faye Butler), is also the grande dame of the Nacirema Society, a social club for affluent Black women in the South. The Society is preparing for the centennial year of its annual debutante ball, and Grace expects perfection in everything and everyone around her including her effervescent granddaughter Gracie (Demetra Dee) who is making her debut at the centennial ball. 

The plot weaves in another family—the working-class single mother Alpha Campell-Jackson (Tyla Abercrumbie) and her daughter Lille (Felicia Oduh)—who dig up Dunbar family secrets and rattle Dunbar family skeletons. The juxtaposition of these two families during the Civil Rights Movement illuminates the impacts of class and generational expectations in navigating change and legacy. The two families collide with great hilarity in the second act. 

Cleage’s remarkable writing and dialogue are brought to life under the superb direction of Lili-Anne Brown and the outstanding cast of powerhouse talent. Butler and Abercrumbie command the stage. Oduh and Dee are so honest and charming in depicting teenage eagerness, and the ensemble works beautifully together on stage to elevate each scene. 

Plus, the physical comedy is inspired. Ora Jones has a stand-out comedic performance as Grace’s nervous-wreck of a friend lurking on stage at the epicenter of a blackmail scheme. Shariba Rivers as the maid also had the audience buzzing as she collects coats, listens in from the stairs and eventually indulges in a glass of sherry herself as everything unravels.

Perhaps the best part of “The Nacirema Society” is as you find yourself belly laughing from start to finish, you are also deeply moved. This play stands strong as a delightful piece of theater that connects us through its content and characters all while creating an exuberant community in that experience.  

GUEST CONTRIBUTOR | KAITLYN LINSNER is a Chicago-based attorney practicing construction and surety law.

PHOTO|Liz Lauren

GOODMAN THEATRE
presents
The Nacirema Society
EXTENDED through October 22
Albert Theatre
170 N. Dearborn St.

(312) 443-3800

WEBSITE

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PicksInSix Review: The Lehman Trilogy - Timeline Theatre Company | Broadway in Chicago

Searching For The Next Big Thing!
PicksInSix® Gold Review | Ed Tracy

Though it's not customarily appropriate to disclose the ending of a dramatic piece up front—and certainly one as consequential as the Chicago premiere of the 2022 Tony Award-winning “The Lehman Trilogy,” a brilliantly staged co-production of TimeLine Theatre Company and Broadway in Chicago that opened at the Broadway Playhouse on Wednesday night—there it is right in front of us all at the top of the show: A blinding frenzy of news reports cascading across multiple screens on Collete Pollard’s striking, multi-level set composed of stacks of banker’s boxes, copy machines and office furniture. Few born before 1990 will need to know much more about the 2008 subprime mortgage crisis that toppled world financial organizations and placed tremendous hardship on America’s middle class.

“The Lehman Trilogy” serves as a rich and compelling reflection of our troubling financial times and a largely fact-based interpretation of the journey that led to this unimaginable end. The story hinges on the notion that the events that we know all too well are actually a consequence of succession and not of the vision and passion of its founders.

Wisely, and with blistering speed, “The Lehman Trilogy” focuses on the burgeoning path of their family pilgrimage to America, their aspirations and legacy. We first meet Heyum ‘Henry’ Lehman (Mitchell J. Fain), the eldest brother and patriarch of the family empire, as he arrives in New York in September 1844 and establishes a storefront business in Montgomery, Alabama.  Henry is joined by Mendel ‘Emanuel’ (Anish Jethmalani) in a few years and then by younger brother Maier ‘Mayer’ (Joey Slotnick).

Stefano Massini’s script, adapted by Ben Power, introduces several dozen characters—heirs, wives and business partners—who first emerge as brokers in the cotton industry in the pre-Civil War years; expand their influence with a major move to New York City that would eventually diversify business models during the Industrial Revolution and into the emerging Stock Market and then on to investment banking operations. Along the way, the Lehman’s developed dynamic investment philosophies and successfully navigated the aftermath of the 1929 Stock Market Crash in the face of enormous challenges.

Through it all, there is a willingness by the Lehmans to constantly look for opportunity—the next big thing—by taking a simple idea and making money with it. Lots of money.

Perhaps the most important element of this epic tale is not the accomplishments of the Lehmans to perpetuate their version of the American Dream, but rather the brilliantly imaginative way the story is told: with only three extraordinarily talented actors playing all roles over the course of the three-act production, one that moves so swiftly and with such grace, humor and pathos that we feel a sense of wonder and awe at every turn.  

There is an economy of scale to the entire production that co-directors Nick Bowling and Vanessa Stalling have baked into every scene that is worthy of a Lehman investment. At one moment, the Lehman brothers are head-to-head passionately debating the next iteration of the company or one is playfully wooing a partner into marriage. In the next moment, characters shift, the stage is on fire and the story launches forward, challenging the emergence of the next generation of the family to cope with molding America’s investment infrastructure on their own. It’s all together a fascinating adventure tale.

Pollard’s towering scenic landscape is richly amplified by the collective brilliance of John Culbert’s lighting design, Anthony Churchill’s projections, André Pluess soundscape and Izumi Inaba’s period costumes.

In truth, Robert Lehman, the last of the Lehman heirs to run the company in this exuberant, fast-paced and superbly staged production, passed away in 1969. The play then races to its conclusion with mergers, buyouts and the highly questionable move to mortgage acquisitions that led to the eventual collapse with nary a Lehman in sight.

By that time in the piece, having been gloriously entertained by these gifted performers, we are left with the understanding that the founders, and their heirs, had successfully pivoted in the face of every threat to the survival of the company for the next generation.

It’s no coincidence that “The Lehman Trilogy” is indeed the next big thing to strike a chord with audiences in Chicago. The show has already been extended through November 26.

PHOTO|Liz Lauren

TIMELINE THEATRE COMPANY
BROADWAY IN CHICAGO
present
THE LEHMAN TRILOGY
NOW EXTENDED
through November 26, 2023

BROADWAY PLAYHOUSE
at Watertower Place

TICKETS
WEBSITE

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PicksInSix Review: Revolution - A Red Orchid Theatre

REVOLUTION’s Natalie West: “True comic acting.”
PicksInSix® Review | Guest Contributor | Ronald Keaton

There’s a play running now through October 29 at A Red Orchid Theatre on Wells—”Revolution.” It’s a piece written by the fine writer and teacher Brett Neveu, and the play and story themselves become a real subject of conversation; they ask a lot of questions.  Mr. Neveu does so in touching on a great many different subjects along the way of its tightly-drawn 90-minute run. I enjoyed it muchly, don’t get me wrong here.  I’d recommend it to any aspiring playwright who wants to see how a first-rate writer can put together dialogue and conversation in an economic way, while still making its point.

Two friends, Puff and Jame, have just gotten off work and are in the back alley of the hair salon they work at together, a business called Revolution Cuts.  It really should be a celebratory moment for Puff.  She has just been promoted to salon manager. Today is her birthday and yet she seems unable to enjoy and celebrate the moment.  Puff (a strongly etched portrayal by Stephanie Shum) is a child of neuroses, as Mr. Neveu sees her.  Anxiety-ridden, with a fair lack of self-confidence, always asking the questions that push both these factors to the fore in her life.

Her best friend Jame, whose humor and lightness constantly supports Puff in the quest for calm, is an ever-present influence of wonder and positivity (in a charming, knowing performance by Taylor Blim).  The give-and-take between these characters shows Mr. Neveu at his best—sharp, sometimes repetitive, always encapsulating the generational feel of particular misgivings that often accompanies people in their 20s, starting out in life.

I say generational because now comes a twist in the story with the introduction of Georgia, a 50-something employee at a Ross store in the same mall.  Georgia (a pitch-perfect offering of true comic acting from Natalie West) is one of those folks we all know who doesn’t seem to fit in anywhere, and she longs for it.  So she hangs out with Puff and Jame, telling stories that may or may not be true, wanting to be a part of the celebration, so she can find a way to distract herself from her own difficult life at home and at work. Director Travis A. Knight allows and encourages this uneasy-at-first melding of disparate minds to find their way to a common purpose, and it’s smooth and well done. But what that purpose is becomes the job of the audience to absorb and observe. And it magnifies a bit of the problem with the play for this writer.

There are lots of questions on several topics that affect the angst here:  Growing older. How to face your fears on a daily basis.  Making new friendships, while being loyal to those already in your life. Dwelling on life choices, wondering if they were the right ones. Dealing with regret and how it affects our lives.  All these ideas are righteously presented. The problem is that there aren’t many answers to digest; certainly there’s not that much of an attempt to do so, it seems.

But then again, maybe that’s the point.  Jame has taken on the role of being the rock for Puff in those panic-influenced moments, and she seems to do so gladly, as Georgia continually lobs little emotional one-liner distractions into the equation.  These are all ideas that we deal with in our lives.  Some are magnified more than others, depending on the circumstance. And remember, all this lands in the middle of what is to be a celebratory time.  In the middle of an alley after work.  It’s a little uneven and unfinished.  But boy, is it fascinating to watch and take in.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.com  Coming soon, his new solo play “Echo Holler.” www.echoholler.com
PHOTO|Evan Hanover

A Red Orchid Theatre
presents

World Premiere
REVOLUTION
1531 N Wells St, Chicago
through October 29

TICKETS
WEBSITE
(312) 943-8722
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PicksInSix Review: Hamilton-Broadway in Chicago

HISTORY NEVER HAD IT SO GOOD!
PicksInSix® Gold Review | Guest Contributor | Kaitlyn Linsner

“HAMILTON” has returned to Chicago, and everyone is freaking out. Thursday’s opening night performance at The James M. Nederlander Theatre attracted a buzzing full house of people eager to experience the incredibly catchy delight that is the “HAMILTON” phenomenon. So much so that the audience cheered the moment the lights went down. Then Aaron Burr started his introduction of Alexander Hamilton, and if the backs of everyone’s bopping heads could talk, they’d have said to me: “I know every single word to this song, and I love it.”

Now, I have only seen “HAMILTON” this one time, knew maybe two songs going into opening night and most certainly was outnumbered by the repeat show goers. For years I have heard people rave about the award-winning musical’s unique storytelling of American history and great songs. For most of those years I also admittedly leaned into a contrarian disposition and assumed these people were more or less overreacting. Now, I get it. 

Just about every song in “HAMILTON” is a hit. Standouts from opening night include “My Shot” because it hits like a genuine call to Chicago to join in the revolution and “RISE UP” for freedom. “Burn” because of the beautiful lyrics infused with heartbreak and bravery. “The Schuyler Sisters” because the irresistible pop melody catches like wildfire in the phrase “look around, look around” that we hear throughout the production.

Deon'te Goodman as Aaron Burr delivers a powerful performance of “Wait for It.” Throughout the production, Goodman excels in exercising restraint and then, if only for an instant, seemingly breaks free and moves with his impulses. His performance showcases Burr’s inner conflict of wanting power and prestige but being hesitant to look beyond his reservations and take risks. Other notable performances include Jared Howelton as a show-stopping Marquis de Lafayette and Thomas Jefferson, Nikisha Williams as a moving Eliza and Neil Haskell as a hilariously sneering King George. 

As for storytelling techniques, the choreography by Andy Blankenbuehler, and the talented ensemble’s execution thereof, deserves equal if not greater recognition than the toe-tapping songs and creative lyrics. Much of the story relies on the ensemble’s movement. This includes the numerous styles of dance that weave us from streetscape, to bar to war with grace, power and excellent control. The ensemble also carries in props and set pieces, moves slow-motion bullets in duels and ultimately sets the stage by keeping the audience engaged and intrigued. A job well done in meeting the energy of this non-stop production but somehow also creating the necessary breathing room to take it all in. 

Yet, “HAMILTON” does conjure up some ambivalence. There’s conflict between enjoying the show, respecting it for redefining theater and feeling weird about clapping along in celebration of an American nationalism that oversells mainstream history and the American dream that hard work can get you anywhere. We know that’s not true for all of us, but indulging in that narrative for the show’s quite long run-time does open the door to connecting with something better, which is the show’s examination of personal experiences that cannot be separated from larger political structures. Much of “HAMILTON’s” impact is in exploring what it means to be enough, finding community, the limitations of intellectualizing emotions and the power of grief and deep vulnerability. There’s revolution to be had in our collective human experience, and “HAMILTON” is the wildly entertaining reminder to lean into the movement and not throw away your shot.  

GUEST CONTRIBUTOR | KAITLYN LINSNER is a Chicago-based attorney practicing construction and surety law.

PHOTO|Joan Marcus

HAMILTON: An American Musical

North American Tour

James M. Nederlander Theatre

through December 30

Official Show Website
Tickets
Ham4Ham Lottery
Cast

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PicksInSix Review: Gypsy: A Musical Fable - Marriott Theatre

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

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

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

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

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

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

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

PHOTO|Liz Lauren

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

WEBSITE

TICKETS

(847) 634-0200

HEALTH PROTOCALS

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PicksInSix Review: MJ The Musical - Broadway In Chicago

MJ – All about the Music.
PicksInSix® Review | Ed Tracy

If you need a more obvious example of the deep connection of Michael Jackson’s extraordinary pop legacy on our musical culture and psyche, you need look no further than the cover of the Playbill for the North American tour of “MJ” that officially opened at Chicago’s James M. Nederlander Theatre on Wednesday night. The iconic black and white graphic of Jackson in mid-flex, floating with heels high, chin defiantly pitched and shaded by a black fedora and poised in a defiant, forceful motion that appears to glide across the ruby red background on the page, says it all. No title necessary.

As every member of the exuberant, capacity crowd was aware—red carpet A-List attendees and frenzied fans from in and out of town—the long-anticipated opening seemingly electrified the corner of Randolph and Dearborn at the epicenter of Chicago’s Theatre District. And that eager and unabashed excitement continued straight through the performance as Jackson’s musical legacy unfolded from childhood music sensation to pop superstar.

Presented by special arrangement with the estate of Michael Jackson, a book by two-time Pulitzer Prize winner Lynn Nottage and directed and choreographed with unbridled passion by Tony Award®-winner Christopher Wheeldon, “MJ” features a non-stop adrenaline rush of several dozens of Jackson’s chartbusting music including hits from the early days of the Jackson Five and his ground-breaking solo career.

In a sweeping narrative set in 1992 days before the launch of Jackson’s Dangerous World Tour, the show evolves from a rehearsal session that introduces the extraordinary Roman Banks as Jackson—a performer of unparalleled physical and vocal range—whose arresting presence captivates every moment he is on stage. In the context of the rehearsal, Jackson’s story stretches past the sorted familial relationship with his domineering and abusive father Joe (Devin Bowles) and the Jackson’s breakthrough with Berry Gordy, to Michael’s collaborative work with Quincy Jones that paved the way for solo stardom. Nottage delves deeply into the sources of Jackson’s obsession with perfection in his work.

The backstory is framed in flashbacks told through the device of a fictional MTV interview that allows the Jackson catalog to weave in, out and around the action with a team of superb Jackson’s of various ages—Brandon Lee Harris as middle Michael and Josiah Benson as little Michael, at the opening—along the way. All the while, Banks serves as narrator and observer of the story of Jackson’s life as it unfolds, until it is time to return to the iconic vocal performances—and Wheeldon’s spellbinding choreography—buoyed by the rich, and often explosive, scenic elements (Derek McLane) and projections (Peter Nigrini) punctuated with dynamic lighting (Nastasha Katz), pin-point perfect costumes (Paul Tazewell) and sound (Gareth Owen) that magnify the lavish, non-stop musical core of the show.

Jackson’s career as originator, innovator and pop superstar is brilliantly conveyed by Banks, who reveals the aspirational, soft-spoken, visionary artist as one committed to the music at all costs in the face of the rising stakes to his health. During an era when industry views were literally shifting overnight by MTV, the media and public demand, the sheer force of Jackson’s impact becomes a turning-point in the story and the complicated life of one of the most celebrated—and conflicted—performers of all time. At some point, for a future generation, it may be necessary to include “MJ” on the Playbill cover. But, not here and not now. That impact shines vividly through September 2 on the Nederlander stage in Banks’s stunning performance and Wheeldon’s equally extraordinary and exhilarating choreography and direction.     

PHOTO | Matthew Murphy

MJ
The Musical

North American Tour
James M. Nederlander Theatre

through September 2

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PicksInSix Review: No Man's Land - Steppenwolf Theatre Company

“a wonderfully full and fleshed-out diamond”
PicksInSix® Review | Guest Contributor | Ronald Keaton

There is a great deal that one might say about the 1975 Harold Pinter classic “No Man’s Land.”  It is a concentrated collage of all kinds of theatre with its drama so surreal, its absurdist bent quite humorous and insightful, its echoes of entities as disparate as Monty Python and Samuel Beckett.  But one thing is not in dispute: the current revival at Steppenwolf Theatre, which opened Sunday and runs through August 20, is a wonderfully full and fleshed-out diamond.  I would urge those here to come and learn from truly professional actors with purpose, who offer their own clinic in ensemble acting.

Directed in easy, informed touches by Les Waters, the play’s plot is honestly simple.  Two men with varying degrees of literary accomplishment meet in the lavish home of the more successful writer, Hirst (a sparkling, brilliant turn by Jeff Perry).  The guest Spooner (in endlessly varied and superb strokes by Mark Ulrich) talks and talks about, well, nothing that they might have in common.  The beginning of the piece is, in essence, a monologue for Spooner, and the loving exchange between them—two totally different kinds of actors in different modes of intoxication—also reflects the respect that each performer has for the other.

As the plot goes on, two employees of the house—Foster (a wonderful imposing, yet innocent presence by Samuel Roukin), a housekeeper and bodyguard; and Briggs (a marvelous, inspired Jon Hudson Odom), the house butler and, oh yes, bodyguard as well—make sure that this stranger Spooner is no threat to the ‘boss’, as they refer to Hirst.  Hirst is both authoritarian and host, as he imagines Spooner to be an old school chum.  And maybe he is, which brings us to story.

Much of the time in theatre of the absurd, there are questions as to what in the world the playwright is trying to say.  Story, of course, is different than plot, and each character has a very interesting story of his own to tell. Hirst is a writer/critic/essayist of high regard who constantly damages his gift with his drinking.  Yet he has moments of linguistic fancy that take the communal breath of the audience away and tries to answer those questions… Pinter at his true best.

Spooner is a lifelong aspiring poet who talks a great game in conversation but seems to say little. What he does say is a thick and potentially emotional comment on loneliness and isolation. Briggs is the cynic in the group.  He always doubts Spooner’s veracity and tends to rule the roost in the house.  But even when threatened with being fired for insubordination, Briggs stays with Hirst—a kind of tough love on both sides.  Foster is yet another poet-who-hasn’t-done-much and wants fervently to “do” the work needed.  But as a big tough guard in the house (Mr. Roukin’s physical presence emphasizes that skillfully), he feels stuck and wonders what he really can do with his life.  We’ve all been there.  Hirst, who is the one with the most to lose in practicality, simply moves on in his entitled existence, treating the help as if he were royalty, living with the realization that his best years are behind him, and almost casually accepting the losses of family and friends in his life—an experience he shares with Spooner in a very touching Act II give-and-take.

The great collective lesson learned here is two-fold.  First, we are confronted in the storytelling by the prospect of memory that is skewed, even imperfect, and how it affects the stark reality existing between these splendid characters.  And second, we are captured by the sight of four actors totally in love with their craft—and how they can so eloquently share it with each other and with the audience as well. A brilliant combination that makes Steppenwolf’s “No Man’s Land” an actor’s treat and an audience’s delight.  

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.com  Coming soon, his new solo play “Echo Holler.” www.echoholler.com

PHOTO|Michael Brosilow

Steppenwolf Theatre Company
presents

No Man’s Land

Downstairs Theater
1650 N. Halsted St.
through April 20, 2023

(312) 335-1650

WEBSITE

TICKETS

PROGRAM

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PicksInSix Review: The SpongeBob Musical - Kokandy Productions

We All Belong At The ‘Bottom’
PicksInSix® Review | Guest Contributor | Scott Gryder

Waves of gleeful Hawaiian melodies welcomed the patrons into the Chopin Theatre’s basement black box for Kokandy’s 2023 Season kickoff production of Nickelodeon’s “The SpongeBob Musical.” Bathed in buckets of coral, curtains of kelp and barnacled pillars, the audience floated into the bubble-filled venue, while a cartoon montage of the most recognizable SpongeBob characters dashed across shower curtain screens. Submerged in this experiential environment, the venue was brimming with excitement for the underwater opening night adventure to come.

“The SpongeBob Musical,” based on the television series by Stephen Hillenburg, doesn't just tell the story of the titular character, SpongeBob Squarepants, it’s a deep dive into the animated ecosystem that thrives in Bikini Bottom, a fictional underwater city. We meet the characters at the start of a typical Bikini Bottom Day, but the waters soon heat up when the seemingly inevitable eruption of a nearby volcano, aptly named Mount Humongous, threatens the city’s very existence. Faced with their impending doom, “SpongeBob” challenges its cast to band together to find their strength to fight or fly together.

Kicking things off and setting the buoyant bar is Patchy the Pirate, played with plundering aplomb by David Lipshutz, whose puns had the audience hooked from the start. Through a revolving door-style opening montage, we’re whirlpooled through introductions of Bikini Bottom’s inhabitants. From the moment we meet Frankie Leo Bennett’s SpongeBob, we are absorbed by his exceedingly optimistic vitality. And Bennett maintains that same positivity and certainty throughout; both driving his character and energizing the audience. Tempering the spirited tenor of Bennett, Isabel Cecilia García brings a fresh new take with their Patrick Star, less overtly dense than the source animation’s personality and more lovably clueless. Quinn Rigg’s Squidward expertly captures the original cartoon’s Paul Lynde-esque vocal affectations, while fully embodying the cephalopod’s tentacled punctuations. Rigg’s build-up to the explosive, self-celebrating/deprecating showstopper doesn’t “not not” suck in the best way. Most endearing was Sarah Patin’s Sandy Cheeks, who’s land mammal was so refreshingly grounded (pun intended) in the stakes of each moment. Patin shares acorns of truth anchored in such reason that the most outlandish of scenes and scenarios seem completely legitimate. Thwarting our heroes most maniacally and quite fashionably are the diabolical duo of Sheldon J. Plankton and Karen the Computer, played by smashingly villainous Parker Guidry and adorably hesitant hench-device Amy Yesom Kim. And as the script demands, Jennifer Ledesma truly wails every time she belts and riffs as Pearl Krabs. But Bikini Bottom wouldn’t be the aquatic entertainment success it is without the tidal wave of ensemble casting. They school so stylishly through scenes, splashy dances and brisk costume changes, there must be something sustaining in the water.

JD Caudill expertly steers the epic adventure of “The SpongeBob Musical,” teeming with sight gags and continually flooded with stage activity. Even under the frenetic pacing of the plot’s many twists and turns, Caudill never misses an opportunity to extract a brilliant bit. Though set in a more traditionally proscenium style, the pillars, though deep-sea designed, created a few momentary sightline issues. But with a cast mostly moving at a circus tent speed, not too many moments were lost. And the additional use of aisles for entrances and exits inspired the audience to be fully immersed and invested in the action.

With music direction by Bryan McCaffrey, “SpongeBob’s” band is a surge of sound, executing a variety of musical stylings, featuring songs by over a dozen songwriting legends, without missing a beat even if, at times, overpowering the singers and losing the vocals in the wash of sound. But the most treasured noisemaker of all is Foley artist Ele Matelan. Every squish, bounce and awooga was infused with subtext. Jakob Abderhalden’s costume designs made of mixed fabrics, textures and patterns were as captivating and motley as you’d expect from any underwater canyons or amazing coral reef snorkeling exploration. Along with scenic designer Jonathan Berg-Einhorn’s aforementioned undersea achievement, G "Max" Maxin IV’s lighting design accents every gag and caper with toon timing. Combine that with the earthquaking sound design of Mike Patrick, and the audience enjoys a fully immersive, almost theme park-like, sensory experience.

The themes of marine conservation and caring for one’s neighbors bubble to the top of many political and personal conversations across our country today, and “The SpongeBob Musical'' enthusiastically tackles both, making it relevant nearly a decade after its world premiere. What a treasure it would be for a tuneful musical to turn the tides to healing for these topics. Whether you grew up watching the wacky adventures of the yellow protagonist and his friends from SpongeBob SquarePants, or you’ve just landed in Bikini Bottom for the very first time, audiences of all ages are sure to be as happy as a clam after catching Kokandy’s “The SpongeBob Musical.”  

GUEST CONTRIBUTOR | SCOTT GRYDER received a Non-Equity Jeff Award for his performance in the one-man show BUYER & CELLAR. www.thescottgryder.com

PHOTO|Evan Hanover

KOKANDY PRODUCTIONS
presents
Nickelodeon’s
THE SPONGEBOB MUSICAL
The Chopin Theatre
1543 W Division St.
through September 3, 2023

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PicksInSix Review: Merrily We Roll Along - Blank Theatre Company

Now You Know ‘Blank’ Means Business.
PicksInSix® Review | Guest Contributor | Scott Gryder

Edgewater was admirably gifted with a mosaic of melodies and lyrics when the one-month run of Blank Theatre Company’s “Merrily We Roll Along” opened at the Reginald Vaughn Theatre this week. As the audience filled into the impressively intimate venue, who would have guessed that this most modest staging space would so capably present the multi-dimensional musical work of “Merrily.”

Stephen Sondheim (music/lyrics) and George Furth (book) have devised a complex, time-traveling musical, setting its audience on a backwards rollercoaster ride of character development as old friendships become new again and careers unexpectedly careen from finish to start. It’s like watching a trainwreck—set to music—backwards. Acutely fascinating of “Merrily We Roll Along” are the intricate parallels that pop up as the plot unfolds, creating mirrored moments, where once a character’s text meant heartbreak, later, those same words celebrate growth and new beginnings. Moreover, “Merrily” proves to be especially relatable as its audiences can too look back on their own rollercoaster journeys to ask: ‘How did we get here?’… if they dare.

Blank’s Co-Artistic Director & Founder Dustin Rothbart brings a brash and driving wit to writer Charley Kringas, markedly poking knowing holes into the wet rag role of Franklin Shepherd, played by Christopher Johnson. Johnson doesn’t give into the villainized role of Shepherd; instead, he presents us with a convincing underdog charm and passion, while maintaining attention to mixing chest and head voice throughout. And Brittany Brown bears the tragically spiraling novelist Mary Flynn with tortured limerence and vocal confidence. But it’s Justine Cameron’s Beth Spencer that truly shines. Starting with a showstopping rendition of Sondheim fan-favorite “Not A Day Goes By,” Cameron gently layers in subtext while sharing a vocal command of a range that seems limitless in all directions. With a continuously captivating stage presence, Cameron’s Beth delivers a notable range, from gut-punches of pain to subtle perceptive glances, inviting you to fall in love with her at first sight. And providing the most natural execution of musical comedy humor is Blank Managing Director Aaron Mann as producer Joe Josephson, who, with the slightest raise of an eyebrow or sideways look, plays a multitude of nuanced intentions. Mann has also cracked the witty wordplay of Furth’s book, making his scenes alone worth catching “Merrily.”

Boldly kicking off their 2023 Season with “Merrily We Roll Along,” Blank Theatre tackles one of Sondheim’s most mixed musicals. Though often lauded for its score, the original, short-lived, Broadway run proves its lukewarm acceptance by critics and audiences alike. But in the hands of director Danny Kapinos, also a Blank Co-Artistic Director & Co-Founder, the show takes on a bolder, more relatable energy when crunched into the narrow thrust-meets-in-the-round staging. Instead of putting on the Broadway-style overproduction of past productions, Kapinos hones in on the humanity of the characters, refreshingly welcoming us into the up-close living-room drama of their lives. Furthermore, delightfully ironic are Sondheim’s catchy melodies, tricky and almost unnaturally unhummable, that follow us out the door, for the fictional team of Kringas and Shepherd’s songs are so often rapped for taking on non-hummable forms themselves. Ah, the perpetual genius of Sondheim.

Although the skillful band, led by Aaron Kaplan and Sachio Nang, was tucked away in the neighboring cubby of a room, the balance between instrumentation and vocals was impressively set overall, never overcoming the pitapat of lyrics. Spotlight on trumpeter Michael Leavens who kicked things off with a sparkling start in the show-opening overture. Utilizing a very limited light plot, lighting designer Benjamin Carne clearly delineated scene focus with minimal adjustment, swiftly honing in on monologued flashes, while also shining emotional washes across the larger ensemble moments. The buffet of character apparel by costume designer Cindy Moon was visually delicious, brilliantly spanning so many decades of fashion trends with darling dresses and handsome suit options. And Tony Pellegrino expertly choreographed pushes and falls within the compact performance space, tightly yet unforced.

Blank Theatre Company embodies the true essence of Chicago storefront theatre that’s drawn so many aspiring artists to Chicagoland for decades. Presenting a challenging work as Sondheim’s “Merrily We Roll Along” not only proves that Blank Theatre has what it takes, but they are in it for the long haul.

GUEST CONTRIBUTOR | SCOTT GRYDER received a Non-Equity Jeff Award for his performance in the one-man show BUYER & CELLAR. www.thescottgryder.com

PHOTO | Eli Van Sickel/VanCap Images

BLANK THEATRE COMPANY
presents
MERRILY WE ROLL ALONG

The Reginald Vaughn Theater
1106 W. Thorndale Ave.
through July 23, 2023

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PicksInSix Review: The Who's Tommy - Goodman Theatre

Take A Trip Of Rock Absurdity!
PicksInSix® Review | Guest Contributor | Scott Gryder

The effusive level of pre-show chatter seamlessly fed off the whirring rush of interstellar white noise soundscape that filled the theater before the opening night performance of “The Who’s Tommy” at the Goodman Theatre. A packed house of patrons was pumped to celebrate the 30th anniversary of Des McAnuff and Pete Townshend’s musically psychedelic experience.

A rock opera-like concept album-turned-stage production, “The Who’s Tommy” tells the bizarre and unraveled story of Tommy Walker, a young man who becomes almost vegetative after witnessing a horrific tragedy as a child. Although Tommy loses his ability to speak or respond, no matter how the people around him test and manipulate him, the music of “The Who’s Tommy” is anything but muted or stilled. Whether you grew up listening to the 1969 LP or you are new to this musical device, this experiential event is not easily forgotten.

In a show that is so quickly paced that most characters resort to two-dimensional dynamics, “The Who’s Tommy” revolves around the traumatized and zombified life of Tommy Walker. Ali Louis Bourzgui delivers an enigmatic Tommy, who’s rageful yet warm rock baritone fits the score wholly; however, though he shines vocally and physically embodies a contorted delirium with dedication, Bourzgui lacks the enchanting charisma that could drive a troubled crowd to seek him out as their savior in the final moments. The most standout of the principals is Tommy’s mother, Alison Luff, whose Mrs. Walker so smartly and subtly adds compassion to each of her musical moments, devoting her cause to freeing her son from his tortured state. And it’s Bobby Conte as Cousin Kevin, who, although bullies Tommy in despicable ways, generously belts and riffs with an effortless rock-musical ability.

Although familiar with the 1975 film, I hadn’t grown up listening to the original concept album, and I was very eager to see how the team of director McAnuff and choreographer Lorin Latarro was going to bring this semi-delirious dreamstate of a concept musical back to the stage. What I found most challenging was the staging concept distorting the time period of the piece, ranging from the 1940s to the 1970s, and the stylings of the music. It was sometimes jolting that the song genres didn’t align with the time period of the story. Alternatively thinking, with a plot that sometimes sends one’s head spinning with its frenetic, drug-induced book, if one stripped away the repetitive, pop lyrics entirely, it’s feasible that “The Who’s Tommy” could easily transform into a passionate rock ballet. And it’s thanks to the genius of Latarro’s choreography that the ensemble moves as one communal organism, emphasizing the subtext of each scene by storytelling through movement, executed with power and grace.

Within the rapidly pinballing vignettes led by little plot-based lyric, “The Who’s Tommy” hardly allows for character development or discovery, and it’s the production’s creative team that provides the foundation for layers of emotional evolution. David Korin’s set designs literally pulse across the stage, sliding mechanically in and out, framing moments for emphasis to better communicate the wants and needs of characters. Combine that with the laser lighting design of Amanda Zieve and Peter Nigrini’s honed projections, and the essence of each scene is instantly captured through the visual narrator. Even more impressive is the balance between the bombastic voices and the rocking nine-piece band, which brings the sonorous strength of a full orchestra. Rick Fox’s music direction and Gareth Owen’s sound design truly satiate!

Although “The Who’s Tommy” is presented in a succession of pell mell, whirlwinding memorable melodic moments paired with snippets of searing plot, it does remind us to shatter the ring-lit mirrors of our own inhibitions brought about by the traumas of our past in order to clear our minds and live in the present; coming home to our true selves. In a time where being true to oneself can bring about literal violence from those who don’t agree or understand, it’s moving to remember how the power of the universal language of music can deliver a unifying force to bring an entire audience to its feet.

GUEST CONTRIBUTOR | SCOTT GRYDER received a Non-Equity Jeff Award for his performance in the one-man show BUYER & CELLAR. www.thescottgryder.com

PHOTO|Liz Lauren

GOODMAN THEATRE
presents
The Who’s Tommy
EXTENDED through August 6
Albert Theatre
170 N. Dearborn St.

(312) 443-3800

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PicksInSix Review: Lucy and Charlie's Honeymoon - Lookingglass Theatre Company

Talented Ensemble Drives Lookingglass’s Comic “Honeymoon”
PicksInSix® Review | Guest Contributor | Ronald Keaton

Satire is a much-missed tool in our world these days. We are so afraid, it seems, to examine issues from a humorous standpoint for fear of offending someone. The latest offering at Lookingglass Theatre Company, the world premiere of “Lucy and Charlie’s Honeymoon,” seeks in no uncertain terms to conquer such fears. With a bold concept to play with – bringing a suggestion of a concert stage to a theatrical narrative – the play’s creator and Lookingglass ensemble member Matthew C. Yee (who plays Charlie and also a pretty mean guitar) has presented to the audience a kind of amalgam of styles and targets. And it works to a point.

Charlie Chan (yes, that’s the name… the last name of five characters in the piece) and his new bride Lucy (played to a powerful hilt by Aurora Adachi-Winter) set off on a kind of crime spree that begins with robbing $250 from a convenience store. As it happens, there’s a video made of the robbery, and the couple becomes minorly Bonnie-and-Clyde famous. As time passes, the road party becomes a recognition of the fact that these two newlyweds don’t really know each other that well, and that what they have in common boils down to societal anarchy.

At one stop they meet a unique couple. Bao, a Chinese immigrant (Harmony Zhang with fine comic timing), is a victim of a sex trafficking crime syndicate that Lucy seems to have deigned in a divine way. Her other half Gabriel (Matt Bittner) is supposed to guard his “prisoner” and eventually take her to Martin (the excellent Doug Pawlik), along with some cash payment. Of course that doesn’t really happen. It can be a bit muddy, but also playful at times.

The real strength onstage lies in the ensemble work. Director Amanda Dehnert has worked with Mr. Yee to find performers who can play musical instruments, a not uncommon tact in casting these days. Mr. Yee composed the music, of course, and he leads his players with a mean and fun country approach on his guitar. Mr. Pawlik is a fine guitarist and bassist as well. Cast members alternate their efforts on drums and percussion. On the story’s front, two members of law enforcement – Feinberg (Mary Williamson), who happens to love karaoke music, and Peter (Rammel Chan), Charlie’s pretty straight-laced deputy brother – are working with the FBI to crack the case. Fun work from both actors.

Daniel Lee Smith offers Jeff as an almost Cheech-and-Chong homage. Jeff lives with Grandma (Wai Ching Ho, who steals every scene she has in a shining comic performance), whose wisdom as the matriarch of the Chan clan guides all to a reunion at the family cabin in the mountains. Suddenly Martin, gun in hand, shows up with Bao and… well, the ending should remain a surprise for audience members. All of it sits on a visually entertaining set, designed by Yu Shibagaki, that reminds one of the kitsch side of America – truck stops, flea markets and the like.

Now for the satire. It admittedly becomes a little campy at times, but to Mr. Yee’s credit, few stones are left unturned. There is commentary on the Asian immigrant experience, personal responsibility and ethnicity, and traditions. There are looks at gun ownership and family dynamic, as well as a realization of modern life and the difficulty to assimilate in our country these days. It’s a wide-ranging, often hilarious, attempt to satirize and in its own way, the Yee script certainly makes a definitive point or two. All in all, it’s unique and unconventional storytelling with a dramatic narrative unfolding in a high-energy pseudo-concert venue, not unlike Million Dollar Quartet and Pump Boys and Dinettes, with an artful fusion of country western music and Asian culture.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.com  Coming soon, his new solo play “Echo Holler.” www.echoholler.com

PHOTO|Liz Lauren

LOOKINGGLASS THEATRE COMPANY
presents
WORLD PREMIERE
LUCY AND CHARLIE’S HONEYMOON
through July 11, 2023

Tickets

312.337.0665

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Program

Health and Safety

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PicksInSix Review: West Side Story - Lyric Opera of Chicago

Dazzling, Euphoric “West Side Story” Returns!
PicksInSix® Review | Ed Tracy

In the wake of a theatrical dynamic that has been both indecisive and uncertain, Lyric Opera returns with “West Side Story,” a production that captivated audiences in 2019 and one that has now evolved into a dazzling and euphoric experience all its own. Shattering the tentative resurgence to challenge audiences with new works and reimagined classics that theater companies large and small across the nation are grappling with, Lyric has doubled down to present the quintessential production of “West Side Story” – true to form and scale – on Chicago's largest stage.

Conductor James Lowe’s magnificent 40-piece orchestra, original choreography by Jerome Robbins that has been reproduced by Joshua Bergasse and associate choreographer Kiira Schmidt Carper, the stunning set design by Peter J. Davidson with Jessica Jahn’s costumes all under the direction of Francesca Zambello, merge together to create an extraordinary theatrical landscape.

Amanda Castro reprises her exquisite performance as Anita with the dynamic Brett Thiele returning as Riff, leader of the Jets who wage a street war with the Sharks. The beating heart of the Arthur Laurents book that comes to vibrant life with the music of Leonard Bernstein and lyrics by Stephen Sondheim is the ill-fated love story involving the former Jet Tony (Ryan McCartan) and Maria (Kanisha Feliciano), sister of Shark leader Bernardo (Yurel Echezarreta), that plays out over the course of two days and culminates in a deadly dark alley on New York’s upper west side. Zambello’s surging drama, pitting the two timeless warring factions that operate in territories often delineated by sneakers on powerlines, is unrelenting; a series of never-ending grudge matches that escalate, explode and exist long after untimely deaths, all to one of theater’s most memorable scores.

At opening last Friday, the excitement of expectation in the house was palpable as the dance prologue unfolded to juxtapose the Jets and Sharks as bitter enemies for no other reason than their cultural heritage and unified only in their lack of respect for social boundaries and the law – even if the law is personified by two of the four adults present. Lt. Shrank (Keith Kupferer) and Officer Krupke (John Lister), frustrated by their inability to have any impact on the growing hostility, freely expound their own hateful, racial bias. Only Doc—a fine turn for Genevieve VenJohnson—has some influence to strike home but is, ultimately, twisted hopelessly into the story’s tragic conclusion.

So much of “West Side Story” is wrapped in the chemistry between Tony and Maria. McCartan and Felciano, both accomplished actors and seasoned vocalists, are exceptional. McCartan’s vocal skill is apparent in “Something's Coming” but it is his inspiring “Maria” displaying a richly layered, effortless delivery that stunned the opening night audience to a full stop. Feliciano’s lofty, lush soprano is a perfect fit with McCartan in “Tonight” and “One Hand, One Heart,” and underscoring the dream ballet with a celestial version of “Somewhere.”

In an evening of fast-paced highlights, the choreography of the ensemble is universally amazing as are Castro and the Shark women in “America,” Thiele and the Jets in “The Jet Song,” the comedically radical “Officer Krupke” featuring Nathan Keen as Action and the company’s “Tonight Quintet.” Every moment of this classic is noteworthy – a brilliant production not to be missed! 

PHOTO|Todd Rosenberg

LYRIC OPERA OF CHICAGO
presents
WEST SIDE STORY
through June 25, 2023

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CONVERSATIONS: Cabaret ZaZou - Frank Ferrante and James Harkness

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Cabaret ZaZou recently celebrated its 200th performance in the historic Speigeltent located in the Cambria Hotel.

The current high-flying extravaganza features a non-stop mix of music, comedy and stunning international circus acts in an intimate cabaret setting. Add in Blue Plate’s superb multi-course dinner and specialty drinks, while the ensemble interact and entertain, and Cabaret ZaZou is truly a matchless night out in Chicago’s theatre district!

On the eve of the 200th performance, two of the shows stars – comic emcee Frank Ferrante and singer James Harkness – joined the Conversation to talk about the extraordinary cast and how the show continues to evolve over the course of a long run. PODCAST

Cabaret ZaZou is now playing at the Spiegeltent on the 14th floor of the Hotel Cambria at 32 West Randolph, Chicago. For information or to make reservations, visit: cabaretzazou.com

PHOTO|Samuel Rose

Cabaret ZaZou
Cambria Hotel
32 W Randolph 14th Fl

OPEN RUN

WEBSITE

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CONVERSATION with Frank Ferrante ‘The Caesar’ - July 2021

PicksInSix® Review - Ed Tracy - Teatro ZinZanni Love, Chaos and Dinner- August 2019

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PicksInSix Review: SHAW vs. TUNNEY - Grippo Stage Company

Knockout Performances Fuel “SHAW vs. TUNNEY”
PicksInSix® Review | Guest Contributor | Ronald Keaton

Yes, it was very unlikely.  It’s also quite profound, this unique relationship that is the bedrock of “SHAW vs. TUNNEY,” the fascinating new play by Douglas Post, that’s now playing at Theater Wit through July 8.  Mr. Post based his play on the unique biography “The Prizefighter and the Playwright” by Jay R. Tunney, the son of former heavyweight champion Gene Tunney.  It's a challenging, thick work of great research and layered emotion, as time passes, beginning in the spring of 1928.  And it entails some explanation.

It is both a surprisingly bombastic piece that also imparts a subtle exchange between two famous men 40 years apart in age – Tunney, the champ, who longs for a different kind of acceptance by the world; and the great Irish playwright George Bernard Shaw, who shares his intense interest in the classics and turns out to be a huge boxing fan. Who knew?  Shaw encourages young Tunney to refer to him as “GBS” in their growing dialogue.  In turn, Shaw calls his new friend by his entire name, “Gene Tunney,” during the play.  The verbal battles and fun between the two provide revelations about both men. No stone is left unturned, for sure.

And there is yet a third influence at work here – Tunney’s wife Polly, who openly owns in her pseudo-narrative with the audience a kind of dual role in her husband’s life.  She is both the loyal, encouraging wife who understands her husband’s desire to know those who can intellectually feed him and serves as a teacher of sorts who, because of her example and sacrifice, shows Gene how to love within their marriage.  We see that come to fruition when, during their honeymoon and beyond on the island of Brioni in the Adriatic Sea, Shaw is actually invited to join the Tunneys to continue this beguiling triumvirate. Polly becomes desperately ill with what we discover as acute appendicitis and, well, anything more borders on giving the story’s surprise away. Suffice it to say that what we see is indeed a teacher/student scenario of such rarity that we are left with huge ideas to chew on for conversation.  This ultimately is the best thing about Mr. Post’s script, a revival of the art of pure conversation that inspires and stimulates, where people can disagree – and here, it’s a loud and forceful display – while remaining in good stead.

This is arguably the best work this writer has ever seen from Chicago veteran Richard Henzel as Shaw; so many creative layers of his own presented in a philosophic ball, at once malleable and strong. It would have been easy to see Shaw as monolithic and unbending in such a give-and-take, but Mr. Henzel’s natural humor blends comfortably with Shaw’s own inherent bent. As Tunney, Sam Pearson presents an unpretentious vulnerability and openness – in the character, almost to a fault – as we follow his pursuit of a higher plane of life.

The high point is his tender, open monologue to Polly, professing the love he has learned from her while she lays quite ill, while thunder and rain lay understated like war sounds beneath the action.  Maddie Sachs is a new and appealing actor, showing a versatility in jumping back and forth between character and narrator that is smooth and believable in what could have been a difficult tool to share.  She makes Polly sincere and genuine.

Grippo Stage Company producer Charles Grippo and director Nick Sandys, in deft and quiet touches, both deserve much credit for bringing Mr. Post’s play to the spotlight.  They both recognize that the play itself is the star of the evening. It has the potential to go beyond an audience who knows the historical standing of the characters and earns its language-eloquent unveiling.  It just might be one of those “little engine that could” presentations that captures a growing audience for “SHAW vs. TUNNEY” during its world premiere run at Theater Wit. 

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.com  Coming soon, his new solo play “Echo Holler.” www.echoholler.com

PHOTO CREDIT | Anthony Robert LaPenna

GRIPPO STAGE COMPANY
WORLD PREMIERE

SHAW vs. TUNNEY
THEATER WIT
1229 W Belmont Ave Chicago
through July 8

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PicksInSix Review: The Gospel at Colonus - Court Theatre

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

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

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

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

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

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

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

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.com  Coming soon, his new solo play “Echo Holler.” www.echoholler.com

PHOTO|Michael Brosilow

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

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PicksInSix Review: Ernest Shackleton Loves Me - Porchlight Music Theatre

Awakening Adventure Awaits If You Frigidaire.
PicksInSix® Review | Guest Contributor | Scott Gryder

The chilling atmospheric wind sounds and shadowy aquas across the stage of the Ruth Page Center for the Arts were all too familiar to Chicago audiences at Porchlight Music Theatre’s opening night performance of “Ernest Shackleton Loves Me.” The ship of a set, ice-locked within a bleak Brooklynite kitchen, quickly let us know that a 90 minute quest for adventure and danger was soon to begin.

The dream-like hallucination that is “Ernest Shackleton” combines the mundane struggles of out-of-work electronic music composer Kat with the over-the-top epic tale of 20th century Antarctic explorer Ernest Shackleton. Like two chaotic glaciers passing in the night, their stories collide at paralleling pivotal points of survival for each. While Kat’s circumstance might not be so life-threatening, the unlikely pair team up to face life’s unexpected trials to the tune of Kat’s music. Driven by her unique blend of stylings, Ernest and Kat venture forth to battle physical and emotional odds, conquering their fears, facing their losses and finding themselves along the way.

Seemingly most challenging for a production like “Ernest Shackleton” would be the casting. The sheer scope of talent required to meet the musical demands of playing a multitude of complex instruments and map through unmelodious music was most likely as nearly insurmountable as the “impenetrable” mountains that Shackleton’s crew had to face. But Porchlight’s Michael Unger and Eric Svejcar have done just that. Elisa Carlson’s Kat is spunky and full of defiance, with a musical mood to match that of pop superstar P!nk. Carlson has the punk-rock edge of a stereotypical 90’s New York avant-garde artist layered with the scratchy vocals of Miley Cyrus. Marry that airy tone with the crispness of Andrew Mueller’s tenor and the quality is full and moving. Together, they vocally sail toward their destination with a keen optimism. But it’s Mueller’s shining acting chops that deliver the emotional strength within the scenes. Not only does he delight when dabbling in and out of dating app characters, but his presence as Ernest Shackleton is grounded in awareness, personality and honest discovery, a discovery that is somewhat lacking in Carlson. Mueller brings us a Shackleton with profound optimism and a thirst for adventure comparable only to that of the fabled Don Quixote.

“Ernest Shackleton” is not your typical musical theater musical. Brendan Milburn’s music is baked in synthetic sound, looping tools, and echoes. Along with this less than traditional style, Val Vigoda presents more patter-based, organic lyrics, versus something more strongly singable. Not that the music and lyrics detract from the storytelling, they simply take a few beats to adjust to. The piece’s pacing, filled with the vigorous wit of Joe DiPietro’s book, rides this hurricanic cutting electronic edge, weaving through the mosaic plot. The essence of “Ernest Shackleton” is reminiscent of a Second City sketch, with its blizzard of puns and predictable situational comedy; however, the full scope of the show is quite charming.

Scott Davis’s scenic sails standing at full mast are serene and captivating, boldly bearing Smooch Medina’s wash of location projections and G. Max Maxin IV’s aurora borealis lighting, amidst his unnervingly cluttered hybrid home/studio made up of trunks and toys, instruments, and instrumentation. The use of the large screen TV in Kat’s kitchen was a bit jarring, but it provided an entertaining canvas for Mueller’s many momentary comedic characters and stunning actual film clips of Shackleton’s expedition. The most monumental creative feat was audio engineer Lynsy Folckomer’s maestro-like balance between the massive waves of electronic sound and amplified gabby lyrics.

The refreshing message delivered throughout the expeditions of “Ernest Shackleton” is the constant reminder to never lose our sense of adventure nor to forget the power of hope, even as we grow up. “Ernest Shackleton” is a playful romp, pushing the envelope of musical stylings and overflowing with talent. If you’re looking for adventure, catch this show soon, for “Ernest Shackleton Love Me” is forced to leave port on June 1st.

GUEST CONTRIBUTOR | SCOTT GRYDER received a Non-Equity Jeff Award for his performance in the one-man show BUYER & CELLAR. www.thescottgryder.com

PHOTO|Liz Lauren  

PORCHLIGHT MUSIC THEATRE
presents
ERNEST SHACKLETON LOVES ME
Ruth Page Center for the Arts
through June 1, 2023

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PicksInSix Review: Big River - Mercury Theater Chicago

Mercury Delivers Powerfully Moving “Big River”
PicksInSix® Review | Ed Tracy

The seven-time Tony Award-winning musical “Big River: The Adventures of Huckleberry Finn” is now playing in a bold and gritty revival at Mercury Theater Chicago, anchored by the engaging and exuberant performance of Eric Amundson, as the youthful homespun Huck, and a glass-shattering performance by Curtis Bannister as the freedom-longing slave, Jim.

Twain’s 1884 novel, on which the musical book by William Hauptman is based, recounts a coming-of-age story of a young man, desperate to escape an abusive father and a strict authoritarian foster family. Befriending an escaped slave, Huck serves as the narrator on a river adventure that winds its way through a study of race relations, slavery and prejudice in mid-19th century South. The topic is especially relevant these days considering that Twain’s depiction of racial injustice of the era has been banned regularly since it’s publication—despite being required reading in classroom’s throughout most of the 20th century.

Rarely produced regionally at the size and professional scope that director Christopher Chase Carter has so skillfully assembled in the intimate and historic Mercury Theater, “Big River” is stocked with seasoned Chicago talent and exceptional debut performers who together form a universally superb ensemble covering numerous roles. Revealing a true depiction of the underlying drama of the story amid Roger Miller’s highly entertaining and folksy score is the pivotal challenge that director Carter dispatches with a firm hand on the tiller, creating a stark landscape that exposes the racial insensitivity of the time. The no-holds-barred approach is intentionally difficult—we see slave families being ripped apart, chilling frontier justice and hear derogatory racial epithets—but Carter’s daring approach works, and the result is a powerfully moving experience.

The show begins as Huck is disciplined by his court-ordered guardians, the Widow Douglas (Colleen Perry), Miss Watson (McKinley Carter) and company in “Do Ya Wanna Go To Heaven?” Carter chooses to skip through the score earnestly without applause breaks to allow the numbers to coalesce with the story which moves things along from Huck’s fearful treatment at the hands of his drunken father “Pap” Finn (David Stobbe) in the quippy lyrics of “Guv’ment,” the blood pact that Huck, Tom Sawyer (Callan Roberts) and their cronies make in the spirited “The Boys,” Amundson’s silky sweet rendition of “Waitin’ for the Light to Shine” and Roberts letting it fly hog wild in “Hand for the Hog.”

When Huck decides to fake his death and steal away, he meets Jim who is about to escape on a raft. As the river adventure begins, Amundson and Bannister deliver the rousing anthem “Muddy Water.” Huck agrees to assuming “ownership” of Jim to protect him as the two seek to reunite Jim to his wife and children. But almost immediately, a despicable pair of con men—terrific turns for Stobbe as The King and Gabriel Fries as The Duke—lure Huck with promises of wealth in “When the Sun Goes Down in the South.” The two commandeer the raft to Bricktown, Arkansas, shackle Jim in isolation and Huck realizes that his new-found partners are bottom feeders, albeit comical ones. The pair then pose as brothers and heirs of a recently deceased resident and hatch a plan to take things over. When their plan runs aground, Huck and Mary Jane Wilkes (Amanda Handegan) devise Huck’s escape to Hillsboro where Jim has been sold back into slavery.  Handegan’s impressive debut performance includes two gorgeous numbers—“You Oughta be Here with Me” with her sisters Susan (Perry) and Joanna (Haley Jane Schafer) and “Leavin’s Not the Only Way to Go” with Bannister and Amundson who team up again for “World’s Apart.” The performance of the night belongs to Bannister who rocks the house with the soulful ballad “Free at Last.”

The rugged, multi-tiered, post and beam set draped in burlap is designed by Jacqueline and Richard Penrod and includes a central unit that adapts seamlessly with the story. The stage is awash with the auburn hues of Denise Karzcewski’s lighting and gorgeous period costumes by Marquecia Jordan, particularly in the funeral scene and “How Blest We Are” that showcases the talents of Isis Elizabeth (Alice’s Daughter), who I am sure we will be seeing a lot more of in the future. Music director Malcolm Ruhl, conductor Marques Stewart, and choreographer Ariel Etana Triunfo bring the legendary Miller’s beautiful, and only, theatrical score to vibrant life. “Big River” plays through June 11.  

PHOTO|Liz Lauren

Mercury Theater Chicago
presents
BIG RIVER
3745 N Southport Avenue
through June 11

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PicksInSix Review: The Porch on Windy Hill - Northlight Theatre

Seared Memories Evaporate on Northlight’s “Porch”
PicksInSix® Review | Ed Tracy

Music is an extraordinary connector to the people in our lives and to our past. As we age, life-changing memories often linger dormant until they are awakened by a long-forgotten melody that will then burrow into our consciousness, leaving waves of mixed emotions—joy, melancholy and longing. Those feelings intensify in our youth as the music around us serves as the catalyst for the person we are destined to become. But, what happens if, along the way, those brilliantly seared memories evaporate in an instant? The answer to that question can be found in Northlight’s arresting production of “The Porch on Windy Hill,” now playing at Northlight Theatre.

The backstory of this show—billed as “a new play with old music”—is as fascinating as the play itself. Conceived and directed by Sherry Lutken, the writing credits include Lutken and the three accomplished actors and extremely gifted musicians Lisa Helm Johanson, Morgan Morse and David M. Lutken who bring to life the fictional story of a young couple on a musical quest that both satisfies and enlightens us about generational awareness, race discrimination and family dynamics all unfolding on the porch of a family homestead on Windy Hill.

The play, born during the pandemic—which, not surprisingly, has become a theatrical renaissance of sorts with new work that could have only emerged when creative artists were fighting to cope with the isolation of the time—is centered around the relationship of a grandfather and his granddaughter, fractured by decades of silence, fueled by pride, self-righteousness and lack of cultural awareness, who have now found reconciliation through the American folk music that has been the life blood for generations of the family.

The current generation is represented by Mira (Johanson) and her companion, Beckett (Morse), who wind up at the family home of Edgar (Lutken), a Vietnam-era veteran and folk singer for whom music is his salvation. After an incident, Edgar’s daughter abruptly moved to New York with Mira and her Korean husband when Mira was eight, so the visit now is a bit of an uneasy homecoming.  It is not immediately clear at first why Mira has returned, but Beckett, a graduate student, fits right in with Edgar’s folksy, welcoming style and it takes only a minute to realize that the music they will be making comes from another wonderful place altogether. While Beckett provides the documented history of the music, it has always been a part of Edgar’s life, passed down from his family to his daughter and granddaughter all those years ago.

The beauty in the music helps to melt away layers of Mira’s sadness and allows her the strength to both face the issues that have divided the family and to understand, if not accept, her grandfather’s point of view. It takes a few shots of moonshine, an array of instruments and some foot-stomping folk melodies, but Edgar begins to understand things more clearly, too.

The porch exterior set—chalk white siding and weather-worn lattice work—is the fine design work of Mara Ishihara Zinky, right down to the 1960s transistor radio and bird’s nest in the eve. With Lindsey Lyddan’s evocative lighting and all the calming sounds of nature in Rick Sims sound design, the atmosphere is perfect to sit a spell and enjoy the music. “The Porch on Windy Hill” plays through May 14.  

PHOTO|Michael Brosilow
VIDEO|Starbelly Studios

NORTHLIGHT THEATRE
presents
The Porch on Windy Hill
North Shore Center for the Performing Arts
9501 Skokie Blvd.

through May 14, 2023

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(847) 673-6300

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PicksInSix Review: Damn Yankees - Marriott Theatre

A DEVIL OF A GOOD TIME!
PicksInSix® Review | Ed Tracy

Looking to fill your breezy summer evening with the crack of the bat and a stadium-size offering of blockbuster musical numbers mixed with an offer of immortality? All these merge in “Damn Yankees,” the 1955 award-winning hit with book by George Abbott and Douglass Wallop, lyrics and music by Richard Adler and Jerry Ross, choreography by Bob Fosse and starring Ray Walston and Gwen Verdon. “Damn Yankees” received seven Tony Awards, spawned a hit film, and is playing now in a robust and rollicking revival at Marriott Theatre that’s a devil of a good time!

The musical, based on Wallop’s “The Year the Yankees Lost the Pennant,” holds up well nearly 70 years later even with a cluster of eye rollers in the script that require a special comic touch these days. But all is forgiven when this time capsule begins delivering a string of socko company numbers like “Heart,” “Shoeless Joe from Hannibul, MO,” “Who’s Got the Pain,” and “The Game” in showstopping style. And that’s exactly what happened—twice—at Wednesday’s opening performance with the top-flight talent assembled by director James Vásquez and Tyler Hanes’s Fosse-infused choreography.

Vásquez has stacked the lineup for laughs, too, with Sean Fortunato in a wickedly sardonic performance as the devious devil Mr. Applegate who grants the wish of Joe Boyd (Ron E. Rains) for the Washington Senators to win the pennant. With a slight of hand, a whiff of smoke and a change of name, Applegate creates Joe Hardy (Andrew Alstat) whose youth, power and abilities will pick the hapless Senators out of the cellar and into the World Series for the small price of Joe’s eternal damnation. As the team rises in the standings, the story clings to some detective work by ace reporter Gloria Thorpe (Erica Stephan) whose curiosity threatens to expose Joe before he can finish the job and lead the team to victory.

It doesn’t take long for Joe to realize that he’d rather be home with his wife Meg (Daniella Dalli) than face Applegate’s mounting pressure to stay within the baselines. As Joe begins to waver, Applegate enlists the services of Lola (Michelle Aravena), an irresistible temptress, to woo Joe back on his team. But even Lola’s sexy and sultry advances fail and Lola instead conspires to help unravel Applegate’s plan. As the clock ticks down, things start to heat up in Joe’s world.

In addition to the many memorable individual highlights in the show—Aravena’s playful, coy “A Little Brains, A Little Talent” and the steamy “Whatever Lola Wants” are truly topflight and Fortunato knocks “Those Were the Good Old Days” out of the park—the ensemble’s work throughout, and especially in “Two Lost Souls,” a dark, smoky ode to Fosse that virtually oozes up from the underworld, is phenomenal.   

In a cast of venerable Chicago talent, Lorenzo Rush Jr. stands out as the Senators coach Van Buren who leads the ensemble in “Heart” and plays some solid work with Jonah D. Winston and Michael Kingston. Erica Stephan steps up front and center for the crowd-pleaser “Shoeless Joe” that includes the amazing jump rope talents of Ben Broughton. Heidi Kettenring and Lydia Burke team up on the sidelines as kooky, adoring Senators fans, spreading gaiety and a little fog around on Regina Garcia’s sharp and versatile set. With Jesse Klug’s surreal lighting effects, Michael Daly’s subterrain sound and truly gorgeous 50s era costumes by Teresa Hams, the stage is awash in vibrant color to match the music directing talents of Ryan T. Nelson and Noah Landis’ orchestra, and to make Marriott’s “Damn Yankees” the show to see in Chicago.  

PHOTO|Liz Lauren

MARRIOTT THEATRE LINCOLNSHIRE
presents
DAMN YANKEES
through June 4, 2023

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(847) 634-0200

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