PicksInSix Review: The Dance of Death - Steppenwolf Theatre Company

Steppenwolf Steps Boldly Into Strindberg’s ‘Dance’
PicksInSix® Review | Guest Contributor | Ronald Keaton

Now playing at Steppenwolf through March 22, the Swedish playwright August Strindberg's taut, visceral play “The Dance of Death” is a story of a power struggle within a long marriage, the emotional abuse it produces, and the influence of societal laws on personal relationships. And in a remarkable adaptation by the great Irishman Conor McPherson, it becomes more than just a dark comedy full of societal turmoil as molded from the grand hands of a Steppenwolf stalwart, director Yasen Peyankov.

There are three characters in this play, all filled with their angst. The story is about a married couple storming quite haphazardly toward their 25th wedding anniversary. They hate each other in brutal and ferocious ways. The husband, who is called Captain, is an artilleryman who rules his home with a military fervor of iron. His wife, Alice, is a former actress. They live in isolation on an island— it doesn't matter where it is. Their two children don't live with them, as their parents have methodically turned them against the other parent. The Captain is having heart problems and may not have long to live. Alice sometimes plays the piano as her husband dances a kind of bizarre sword pattern. As he dances, she hopes it might kill him, and he threatens to cut her out of his will. Enter Kurt, a distant cousin to Alice, and the man who introduced the couple to each other. Kurt has his own history about him. He's divorced and the courts have banned him from contact with his own children. Kurt has come to the island to, as he says, "find peace"... read: got religion. Both Captain and Alice have their own versions of Kurt's role in their beginnings. All three are doggedly distrusting of life and of each other.

Jeff Perry offers one of the most eccentric, unique comic performances imaginable as the dominating Captain. It's complex and challenging, almost Pythonesque. In these experienced hands, Captain is at once a full-on monster of a marriage partner, only to be self-denigrating and capricious in his authoritarian revealing of his own inferiority. With an ever-present mustache and brass-buttoned coat, Mr. Perry grabs us from his first entrance with a wild walk and interpretation that forces us to hold on in its creative joy. Thank you, costume designer Ana Kuzmanic.

Kathryn Erbe as Alice, the long-suffering yet dish-it-back wife, is also elegantly inflated in her opinion of herself. Alice has funneled her theatrical ways into her married life. So many of her responses, while just as withering, take on a sniper's mount. Ms. Erbe is simply marvelous in her expertise here. The entire relationship moves almost violently toward an obvious, modern comparison—Edward Albee and his George and Martha. Both couples can only express their hate and anger in such ways that somehow the codependency evolves into a strange kind of love. And unlike Martha, who lets it all go all the time, this Alice takes her shots carefully without much raising of the voice.

Alice and Kurt show a sexualized regard for each other, one that takes a bit of a side trip into aggressive behavior. Kurt (Cliff Chamberlain as a man seemingly unaware of his own weaknesses in character) is, at first, so innocent and righteous, dazzled by the emotional battle in front of him. Then he lets his guard down, expresses his long-dormant attraction to Alice, and realizes the predicament into which he has arrived. It all, of course, drives him out the door with the proclamation "You both deserve this hell you've created!" Mr. Chamberlain is both charming and powerful.

The monolithic castle the couple lives in was born from the fertile imagination of scenic designer Collette Pollard. Lee Fiskness creates a lighting design of wide variety, with subtle tones in the family battleground area combined with sharp, revealing shafts of light and shading. Ultimately, one might rightfully ask what makes such desecration of the human spirit so funny. In the knowing minds of both Mr. Strindberg and Mr. McPherson, we are held in total thrall by an excellent cast and crew that step so boldly toward such storytelling.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.org.  Coming soon, his new solo play about Ben Franklin, THE FIRST EMBASSY.

PHOTO|

Steppenwolf Theatre Company
presents
The Dance of Death
Downstairs Theater
1650 North Halsted Street
through March 22, 2026

WEBSITE

PROGRAM

STUDY GUIDE

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: Salome - Lyric Opera of Chicago

“A Dark and Enthralling Operatic Experience”
PicksInSix® Review | Guest Contributor | Kaitlyn Linsner

Richard Strauss’s “Salome” premiered in Chicago in 1910 and caused such uproar that after two performances, the opera was moved to Milwaukee. Soprano Mary Garden starred in the title role with a portrayal of the unsettling teenage princess that the president of the Chicago Law and Order League called “disgusting” in a letter to the Chief of Police. What a scandalous and iconic debut.

Now, after a twenty-year absence, “Salome” returns to the Lyric Opera of Chicago as provocative as ever. This North American premiere of Sir David McVicar’s production, directed by Julia Burbach, examines greed, lust, delusion, and obsession against a brutalist, raw concrete backdrop in 1930s fascist Italy. This production also marks my very first experience at the opera. What a thrilling and delightfully gory introduction to the art form.

Based on Oscar Wilde’s one-act play, “Salome” beautifully captures a dark world of limitless power and entitlement. Salome (Jennifer Holloway) leaves a lavish dinner party to escape the lustful and predatory gaze of her stepfather Herod (Alex Boyer). She then discovers the mesmerizing voice of Jochanaan (Nicholas Brownlee) imprisoned below the basement and demands to see him. Salome convinces Narraboth (Ryan Capozzo), a man utterly infatuated with her, to release the prophet momentarily so she can promptly appease her fascinations. Feelings escalate for Salome, and she quickly descends into a ravenous obsession with Jochanaan which drives an unrelenting pursuit of his adoration and affection. Jochanaan, however, denies every single one of her advances. He remains steadfast in his repulsion, curses Salome, curses her mother, and then returns to the prison.

Following this haunting display, and brilliant vocal performance, of Salome’s desperation and the prophet’s rejection, Herod, Salome’s mother Herodias (Tanja Ariane Baumgartner) and the dinner guests enter the basement for more madness. Jochanaan continues his misogynistic railing against Herodias from the cistern. Dinner guests argue over theology. The powerful orchestra under Tomáš Netopil delivers drama and extravagance. Herod remains fixated on Salome and promises her anything she wants if she dances for him. Despite her mother’s protests, Salome accepts the offer and the infamous “Dance of the Seven Veils” begins. In this staging, Salome performs the dance for her stepfather with hesitation. She struggles with the power she yields over Herod, and the brooding set design (Es Devlin and revival lighting design by Chris Maravich) creates an undertone of distress, not eroticism. As they move through the changing environments, we too experience her inner turmoil, and for those who chose not to read the synopsis beforehand like myself, we wonder which of Salome’s desires pushes her to undergo such deep and twisted pain.

Is it love? Surely love cannot be what drives Salome to demand the prophet’s head on a silver platter in exchange for her dance. But what is love in a palace of egomania? To have? To hold? Herod offers Salome jewels, royalty, land, anything else, and yet, all Salome wants is the head of a man who denied her—the “scarlet viper” tongue that “spat its venom” upon her. She gets his head, of course, delivered by a naked executioner no less, and then begins a mesmerizing near 17-minute monologue completely detached from reality. Covered in his blood, she lays with Jochanaan’s head, toggling between boasting about how she can kiss him now and lamenting over how he still will not return her gaze. Holloway’s commanding, all-consuming performance and the shocking conclusion left me stunned in the best way.

Between the dark story, history, powerful vocalists, cold and jarring staging, and dramatic score, I have not seen anything quite like “Salome.” The production works well as an introduction to opera while also showcasing the high-level vocal artistry, raw emotion, beautiful music, and an epic set design that I am told veteran opera-goers love. I feel compelled to express my gratitude to the Lyric, the production team, and the company for this memorable experience. Brava! Bravo! Well done!

GUEST CONTRIBUTOR | KAITLYN LINSNER serves as an Assistant Attorney General in the Public Utilities Bureau of the Office of the Illinois Attorney General.

PHOTO CREDIT
Kyle Flubacker
Andrew Cioffi

Lyric Opera of Chicago
presents
Salome
20 North Wacker Drive
through February 14, 2026

TICKETS

WEBSITE

PROGRAM BOOK

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: Stereophonic - Broadway in Chicago

Rumour Has It: The Radio Edit
PicksInSix® Review | Guest Contributor | Sarah Frances Fiorello

In 2024, “Stereophonic” made history garnering a whopping 13 Tony Award nominations, the most ever received by a play. It went on to win five Tony Awards, as well as a smattering of Drama League Awards, Outer Critics Circle Awards. The prior year, it brought home an impressive seven Drama Desk Awards from its off-Broadway production at Playwrights Horizons. A shortened version of the play, dubbed as “The Radio Edit” by writer David Adjmi, is embarking on its First National Tour, opening Wednesday and playing at Broadway In Chicago’s CIBC Theatre through February 8.

The play begins nearly mid-sentence, dropping us in without a running start to the durational drama of seven characters (eight if you count the recreational drugs)—five bandmates and two sound engineers—who bear a striking and legally controversial resemblance to “Fleetwood Mac,” the subject of a now-settled lawsuit over the story loosely tracing the recording of “Rumours,” the legendary and notorious album. “Stereophonic” spans one year in four acts, over roughly 2 hours and 50 minutes of stage time, cut from its Broadway run time of 3 hours and 10 minutes. We watch this group of deeply talented and deeply troubled musicians struggle with their rising fame, inner demons, and what it means to gain the world while simultaneously losing the most important things in it: all while making a live, one-of-a-kind album right before our eyes.

There’s much to appreciate about this production, not the least of which is a truly talented group of multi-hyphenate artists who, for nearly three hours, deliver faithfully to their characters, the story, and, well, a delightfully nostalgic ‘70s vibe. Christopher Mowod as the lovable drunk-sober-drunk again Reg is charming and heartbreaking, all wrapped up in one.  Jack Barrett as Grover shows us what it’s like to love something so much, you’d go to hell and back for it, and how to perfectly time the swivel of a chair to get a laugh from an 1,800-seat theatre. Denver Milord as Peter gives us a front row seat on his genius-narcissist rollercoaster, while Claire Dejean as Diana, his lover and bandmate, suffers underfoot. And did I mention? They do all this while recording a live, one-of-a-kind album, right before our very eyes.

This play takes its time. It settles into long pauses and relishes in the pedestrian and mundane dialogue you very well might hear sitting around with a group of friends or artists who don’t realize they are on stage and responsible for entertaining you. It moves at a pace that mimics the painstaking and methodical slowness of making something excellent. It details the granularity of perfection and the all-too-common breakdown that accompanies it. I minded none of these things. In a time when entertainment moves at frames per second as if cooked in a microwave oven, I was grateful to slow all the way down to sit with these characters on a cold January evening in Chicago.

That said, I was left wanting more. Having not seen the Broadway production, the version that made a big splash and churned out tons of happy patrons, I can’t say for sure what is lacking here or what changed. Perhaps it has lost layers of character development when trimming down to “The Radio Edit” version—those small twists and turns that are revelatory, allowing us to see ourselves in the characters and have compassion for them. The plot—while intentionally left at a low hum—felt muddied. Some points were under-developed, like the relationship between Holly and Reg, and others overly-stressed, like Peter’s run amok, self-destructive journey. Maybe something intimate is foregone in moving to a theatre house nearly double the size of the Golden Theatre, where it received such a warm Broadway reception. Maybe something is lost in moving the show, period. Some spaces are sacred and carry a bit of magic. Just like the recording studios legendary musicians have been flocking to for decades.

Still: go see “Stereophonic.”  I will always advocate that a night at the theatre is a night well spent and that theatre doesn’t need to be great or perfect to be moving or important. Anything that reveals our shared humanity, especially right now, is worthy of our time. Go enjoy some classic rock music, composed by Arcade Fire’s Will Butler, performed in a setting that—in the context of the music industry—that is all but ancient history.

GUEST CONTRIBUTOR | SARAH FRANCES FIORELLO is a graduate of Shenandoah Conservatory with a BFA in Music Theatre and a Chicago-based poet, writer, and performer.  Instagram: @writtenbysarahfrances

PHOTO|Julieta Cervantes

Broadway in Chicago
presents
First National Tour
Stereophonic
CIBC Theatre
17 East Adams Street
through February 8, 2026

WEBSITE

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: Birds of North America - A Red Orchid Theatre

The Father-Daughter Emotional Field Guide.
PicksInSix® Review | Guest Contributor | Sarah Frances Fiorello

Nestled snugly in their intimate Old Town storefront performance space, A Red Orchid Theatre is lighting a slow, smoldering fire of generational drama with the Chicago Premiere of “Birds of North America” set to warm the coldest of Chicago winter nights.

John and his daughter, Caitlyn, are birding from John’s backyard in suburban Maryland, while the two travel through a decade of relational touchpoints. Stage lights rise and fall on this father-daughter duo, marking the many seasons of their respective lives as well as demonstrating time’s ability to erode even the most certain of those seasons. John and Caitlyn peer through their binoculars searching for rare birds, while simultaneously searching for the missing connection within their relationship. Like those elusive winged creatures, they never quite seem to find each other, despite their love and obvious devotion. Their profound humanity in continuing to try will have you rooting for them until the final curtain.

What the ensemble of A Red Orchid Theatre manages to produce in what I’d affectionately call a “micro” theatre space is inspiring and invigorating with “Birds of North America” being no exception: there is nowhere to hide from the themes playwright Anna Ouyang Moench asks us to examine. Her writing nearly demands us to think with adequate complexity on “Us vs. Them” political and philosophical arguments, taking big swings at touchy ideologies: privilege of principle-based living and “working to live vs. living to work” chief among them. Her writing is compassionate while necessarily confrontational—pushing on that stubborn wall between our differing views, pulling on our shared humanity to connect in spite of it.

“Birds of North America” is directed by A Red Orchid Theatre Artistic Director Kirsten Fitzgerald and features standout original composition by Composer and Sound Designer Ethan Korvne. The play’s soundscape is contemplative, gentle, and stirring, offering a surprisingly moving touch to the feel of the story with Morgan Laszlo’s rustic scenic design matched by Seojung Jang’s lighting design. On a particularly blustery winter night, I was warmed to the core by this striking, original, powerful new work.

Equity Jeff-Award winner Cassidy Slaughter-Mason offers a composed and contemplative performance as Caitlyn. Deftly portraying the woes and realities of young adult life in the 21st Century, we share her hope against hope that her science-minded father might understand her, as a person first and a statistic second. A Red Orchid Theatre Ensemble Member John Judd expertly unravels the character of John, a committed conservationist and scientist who isn’t entirely wrong in his staunch pragmatism but often fails to see exactly why that matters. There are about as many iterations of father-daughter struggles as there are bird calls in the wild; this piece drills down to the essence of them all, managing to capture something deeply personal while being sweepingly universal and hauntingly specific.

“Birds of North America” is playing now through February 22nd at A Red Orchid Theatre and is worth braving whatever snow and cold may stand between you and their space on Wells St. There is no need to brush up on your North American Field Guide before attending, but you may find yourself wanting to dig it out on your way home. Before bundling up to attend the theatre, leave it on your nightstand as the second special treat of the evening.

CONTENT ADVISORY: This production includes discussion of miscarriage and brief violence.

GUEST CONTRIBUTOR | SARAH FRANCES FIORELLO is a graduate of Shenandoah Conservatory with a BFA in Music Theatre and a Chicago-based poet, writer, and performer. Instagram: @writtenbysarahfrances

PHOTO|Evan Hanover

A Red Orchid Theatre
presents
Chicago Premiere
Birds of North America
1531 North Wells Street
through February 22, 2026

WEBSITE

TICKETS

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

DRAW THE CURTAIN. DIM THE LIGHTS. MEMORABLE PERFORMANCE PICKS FOR 2025

DRAW THE CURTAIN. DIM THE LIGHTS.
Memorable Performance Picks for 2025
PicksInSix® Review | Ed Tracy

It is hard to believe that CONVERSATIONS|PicksInSix® turned ten this year. To be honest, with the shutdown, it feels a bit more like the second act of a ten scene play with an overly long intermission. The post-pandemic era in which we live still has mighty challenges for the performing arts, but the new normal has had a spirited rebirth that continues to provide a wide range of offerings to Chicago audiences.

It is always a challenge to single out the memorable moments of the shows we cover each year, including both onstage artists and off stage creative teams. We cannot see everything, but we try to do our best in theaters across the city and suburbs as well as the work of producers who bring their projects for Chicago’s diverse and discerning audiences.

Among the notable productions in that last category that fall outside the year-end review were “Sunny Afternoon,” and “Billy Jean” at Chicago Shakespeare, “Kimberly Akimbo,” “Parade” and “The Sound of Music” at Broadway in Chicago and the touring production of “Les Miserables” that we saw at Broadway in South Bend with Chicago’s own Matt Crowle in the role of Thenardier. Chicago’s Larry Yando is still out making magic on the road with “Harry Potter,” as are the wonderful Heidi Kettenring and Gene Weygandt with “A Beautiful Noise: The Neil Diamond Musical” and a rising star we think you will be hearing a lot more about, Darilyn Burtley, who is touring as Tina Turner in “Tina.” Chicago talent is making an impression everywhere.

There were some disappointments, too, chiefly that “BOOP! The Musical,” with the stunning Jasmine Amy Rogers and Steppenwolf’s “Little Bear Ridge Road,” with the captivating Laurie Metcalf, did not transfer well to New York after sensational runs in town.  

Chicago is a creative laboratory for theatre, despite the challenges facing everyone at a time when our arts and live performance creators are reimagining operating models. It is a big lift to maintain the delicate balance between developing new talent and consistently presenting ambitious, unique and profitable projects. The responsibility for future success does not rest with one faction. It will take the combined efforts of emerging artists, educators, every theatre company and their leadership working with angel donors, sponsors, technical professionals and volunteer organizations like the Jeff Committee to infuse energy, enthusiasm and financial support.

It is a business, however, and all creative artists involved deserve to be respected for their own investment and given the opportunity to earn a living doing what they do so well. One of the most exciting developments evolving now is the three-year, $600,000 grant from the Paul M. Angell Foundation for Theater Wit's Shared Spaces program that allows the organization to offer reduced rates to producing companies. Imagine if other like-minded philanthropists joined to establish a universal live production endowment, perhaps managed independently on a pro-bono basis by a group of investment and industry professionals who distributed funds solely for the benefit and sustainability of performing artistic organizations in Chicago. If you would like to talk about the possibilities, let’s get in touch.

In the meantime, there are dozens of individuals who dedicate their time and talent to the Chicago theatre community. Our regional and national publicists provide invaluable, comprehensive support—at all times of the day and night—and allow the media access to create features, promotional pieces and reviews. It’s an honor to be invited and a responsibility that we all take very seriously. Thank you!

The brilliant Chicago theatre photographers like Michael Brosilow, Brett Beiner, Joe Mazza, Todd Rosenberg, Evan Hanover, Kyle Flubacker, Justin Barbin, Boris Martin and videographers HMS Media, among many others, commit their expertise and professionalism to document these productions and preserve a vivid archive for future generations. A special mention to the late Rich Hein (a/k/a/ Liz Lauren) whose passing this year was a stunning loss. Our gallery tribute was a testament to only a small portion of his work over a decades long photographic career.

This year CONVERSATIONS|PicksInSix® celebrated 10 years creating a fascinating archive of conversations and hundreds of reviews that would have not been possible without the support of writers like Ronald Keaton, Scott Gryder, Kaitlyn Linsner, Sarah Frances Fiorello, Catey Sullivan and Regina Belt-Daniels. Thank you most sincerely. Special thanks to the American Theatre Critics/Journalists Association and Theatre in Chicago’s Mark Meyer for coalescing critical reviews for the public at large.

In the end, it’s all about the show. Our thanks to all of the artists and organizations who invited us to share in their productions. Each performance is a new and exciting experience. What follows, in alphabetical order, are a few of the memorable moments, with a link to the review, from the shows that stood out as among the best and brightest for 2025:

Shanésia Davis – The storyline of the classic “A Raisin in the Sun” at Court Theatre, directed by Senior Artistic Producer Gabrielle Randle-Bent, is largely based on playwright Lorraine Hansberry’s own experiences growing up on the South Side of Chicago. The brilliant company was led by the riveting performance of Shanésia Davis as Lena ‘Mama’ Younger, the matriarch of the family. Simply astounding! P6

Sean Fortunato – Over the years, Sean Fortunato has expertly been reshaping dramatic, comic and musical roles on stages across the city and suburbs. This year, Fortunato shined in Marriott’s “Catch Me If You Can” but it was his inspired take on Dogberry in Chicago Shakespeare’s “Much Ado About Nothing”—which you can still see on stage there—that has elevated his comic abilities to a new level of entertainment. A tour-de-force performance! P6  

David Girolmo – For decades, working actors like David Girolmo go whenever and wherever the job sends them. Thankfully this year, we have had two opportunities to view this fine actor at work. In “Titanic” at Marriott Theatre, Girolmo’s Captain E.J. Smith was dashing, stalwart and vulnerable. Now playing in Paramount’s glorious production of “White Christmas,” Girolmo renders a commanding performance as the beloved General Waverly. A stately and superb craftsman! P6

 “Jeykll & Hyde” – Simply everything about Derek Van Barham’s direction of the Kokandy production at Chopin Theater was fabulous on opening night, from the soaring vocals of David Moreland, Ava Lane Stovall and Emily McCormick, Brenda Didier’s dynamic choreography, the on-stage presence of a 15-piece orchestra, and a multi-talented ensemble under the extraordinary musical direction of Nick Sula. Still playing at Chopin with limited availability. P6

Michelle Lauto – One of our favorite shows of the year, Paramount’s “Waitress,” starred Michelle Lauto as Jenna whose transition in life plays out in a single moment of truth in Lauto’s stunning, soul-searching rendition of “She Used to Be Mine.” A stunner! P6

James Sherman – Ronald Keaton wrote that “First Lady of Television” is “Sherman's marvelous, articulate plunge into show business history,” with William Dick and Cindy Gold playing beautifully together. “This is an ensemble play built on purpose and earnest leanings, as playwright Sherman shows us all, despite the history we think we know, what was still good in that time and place.” P6

A very worthy final bow to: 

Roberts Falls’ directorial debut of “Amadeus” at Steppenwolf and Charles Newell’s “Berlin.” Each one quite simply a masterpiece! … the captivating stage presence of Aurora Penepacker in Kokandy’s “Amélie.” More please! … the depth and experience of Francis Guinan on full display in Goodman’s “Ashland Avenue” … Phoebe Gonzalez’s bravura performance in Writers’ “As You Like It”…  puppet master Jesse Mooney-Bullock’s stunning work on Marriott’s “Nemo” … exceptional scenic designers Collette Pollard (Northlight’s “Gaslight” and Marriott’s “Titanic: The Musical”) and Andrew Boyce (Court Theatre’s “A Raisin in the Sun” and Writer’s “Translations”) and a few world-class stocking stuffers: Liz Callaway:To Steve with Love, the live concert tribute to Stephen Sondheim (as seen and heard at the Studebaker Theater) … Paul Marinaro’s – Mood Ellington and Elaine Dame’s – Reminiscing. You can still order all of them in time for Christmas!

Happy Holidays!

See you on the other side of the aisle!

Ed Tracy is an award-winning television and webcast producer, author, editor and program host. A career nonprofit professional, Tracy is President of Roxbury Road Creative, LLC, a professional management company and is a licensed real estate agent with Cressy & Everett Real Estate in St. Joseph, Michigan. CONVERSATIONS|PicksInSix® reviews theatre in Chicago and throughout the Midwest. American Theatre Critics/Journalists Association

PHOTO Credits: Michael Brosilow, Brett Beiner, Joe Mazza, Todd Rosenberg, Evan Hanover, Kyle Flubacker, Justin Barbin, Boris Martin

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: Manual Cinema's "Christmas Carol" - Studebaker Theater

PHANTASMIC: SCROOGE OF SHADOW AND STRINGS!
PicksInSix® Review | Guest Contributor | Sarah Fiorello

Emmy Award-winning Manual Cinema returns to the historic Studebaker Theater with their one-of-a-kind production of “Christmas Carol,” adapted from the Charles Dickens novel.  Now in its fifth year, “Christmas Carol” was born on Zoom screens during the pandemic in December 2020 before moving to Writer’s Theatre in 2022 where it was first mounted for a live audience. This classic story, playing through December 28th, is reimagined in a way that is sure to give you hope for not just the holiday season, but for the future of live performance.

Manual Cinema is a Chicago-born performance collective founded in 2010, perhaps most known for “The Forger,” their 2017 Emmy Award-winning video for The New York Times. A modern take that is true to the novel, “Christmas Carol” is redefining theatricality with their multimodal approach to this stage adaptation: shadow puppetry, original live music, multi-screen cameras and projections, puppets, actors, and most importantly: heart.

As the houselights dim, we drop in on Aunt Trudy, spending her first Christmas alone after the passing of Joe, her husband/long-time partner/it’s just a little bit complicated. Left to begrudgingly carry on his Christmas Eve tradition for her quasi-in-laws, Aunt Trudy stumbles through a half-hearted performance of Joe’s Christmas Carol puppet show, amidst the pandemic familiarities of no contact food delivery and above average alcohol consumption. Before long, we see the lines blur between the story Trudy is telling and her own, as her ‘For Sale’ home fills with the ghosts of Christmas past, present, and future.

The story is seamlessly anchored by LaKecia Harris’s performance as Aunt Trudy, and the production comes to vivid life with storyboards and puppet design by Co-Artistic Director Drew Dir (with additional puppet design and fabrication by the Chicago Puppet Studio) and original score and sound design by Co-Artistic Directors Ben Kauffman and Kyle Vegster. With a stellar group of live musicians, magic-making puppeteers, and reportedly over 300 cues of live, prerecorded sound effects, “Christmas Carol” accomplishes something fresh, unique, and at the cutting-edge of human-powered creativity.

Manual Cinema’s creators of “Christmas Carol” lean into the emotional heart of this story and the holiday season, not shying away from the flip side of all that holiday cheer: the inevitable sadness of lost loved ones. This production provides a space to journey through grief and joy, isolation and connection, regret and compassion. It brings as much heart as it does ingenuity: a truly special night of theatre.

I’ll be back before the holiday season is out, no doubt with a friend or two in tow. Manual Cinema has found a new supporter in me, and I look forward to their next local production “The 4th Witch”—an inversion of Macbeth—presented as part of the International Puppet Theater Festival in January. I’ll be hard pressed to miss whatever future phantasms Manual Cinema brings to Chicago, keeping creativity alive and well in our fair Second City.

GUEST CONTRIBUTOR | SARAH FRANCES FIORELLO is a graduate of Shenandoah Conservatory with a BFA in Music Theatre and a Chicago-based poet, writer, and performer. Instagram: @writtenbysarahfrances

PHOTO|Jenn Udoni, Franco Images

Manual Cinema
presents
Christmas Carol
Studebaker Theater
Fine Arts Building
410 S Michigan Avenue
through Dcember 28

WEBSITE

TICKETS

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Q & A: In The Fast Lane with Hadestown's T. Oliver Reid

In The Fast Lane with Hadestown’s T. Oliver Reid
PicksInSix® Q & A | Ed Tracy

T. Oliver Reid, the accomplished 20-year Broadway veteran, cabaret performer, choreographer and educator, was an original member of the Tony Award-winning company of “Hadestown,” and served as dance captain and cover for principle roles before taking over the role of Hermes after Broadway legend André De Shields. The show continues to be an integral part of his professional career as choreographer for the second national tour that has production dates coming up at South Bend’s Morris Performing Arts Center December 19-21. We caught up via Zoom recently as Reid drove from New York to Philadelphia for the evening’s performance of the show, a true testament to his ability to multi-task, even at 70 miles an hour.

Reid credits the influence and encouragement of his musical family and teachers in Gastonia, North Carolina for his strong interest in the performing arts. He received a music scholarship at the North Carolina School of the Arts—now the University of North Carolina School of the Arts—with an eye on a completely different career trajectory in architecture that never materialized. Immediately upon graduation, Reid was cast in the 2nd national tour of “Once On This Island,” honed his choreographic skills and connected with a small circle of creatives who were all destined for Broadway success.

At about the same time, in the Green Mountains of Vermont, Anaïs Mitchell was developing a fascinating project of her own, a folk-opera based on the Greek myth of the tragic love story of Orpheus and Eurydice and the story of Hades and Persephone. “Hadestown” evolved through early development concerts in Vermont and workshops that led to a 2010 concept album. In 2012, Mitchell joined forces with director Rachel Chavkin and the project continued to coalesce with workshops in New York and Canada. Reid recalls that he was among those who heard the captivating score early on and felt an irresistible connection to the material.

Fast forward to 2019 and the Broadway run that received 14 Tony Award nominations and 8 Tony Awards including Best Musical, Original Score and Best Performance in a Featured Role for André De Shields. The stars in Reid’s universe aligned when in 2022, he was cast as Hermes. Later that year, Reid became the co-choreographer with David Neumann for the first national tour and, in 2024, the choreographer of the second national tour, along with serving on the production’s expanding creative development team.

All this and maintaining a faculty position at Rider College in Lawrenceville, New Jersey keep Reid busy these days as one of the connecting creatives responsible for the continuing success of the national tour and lots of other exciting irons in the fire for the future.

The following has been edited for clarity and length.

Ed Tracy: You are a skilled choreographer and you joined this show as dance captain, however, the choreography in this show is a different than most Broadway shows.

T Oliver Reid: For sure. And I think that is why I was so daunted and why David Neumann, the choreographer, and I have gotten along so well. The previous show that I danced captain was “Once On This Island” working with Camille Brown, who is a contemporary choreographer dancer as well. I understand the way that their brains want to work, and that it is about movement and how they move. Then I add the numbers to it—the one through eight—so that things can be set and be recreated on different people as casts are changing. I think it’s been a good combination for me being able to work with people who come from the contemporary dance world. And for me, I happen to have facility to dance, but I truly come from a singing world. Musically, I hear everything and I understand where movement needs to be with the music. That's why it has been such a good fit with “Hadestown.”

ET: Well, I have spoken with André De Shields often and I have to say that it is quite an experience to spend even 10 minutes in a room with André. You can learn a lot, but taking over the role from him must have been quite a moving experience.

TOR: It was and (André) is one of the reasons that I wanted to do this show, to be able to watch him and understand how he brings the role together. I got to do that and then when the offer came for me to take over the role, it was the moment of “This is great!” and now I need to strip away some André and find the T, holding onto the things that really worked for me and resonated, but also then finding my own voice within the character within what I already knew of it from André. Hearing the text that Anaïs has written so beautifully, but really hearing it through my own voice, my own lens, so I could figure out where the pauses were for me, where there were commas within sentences, where the periods were, and when there was breadth in a way that didn't feel like it was a carbon copy of something that André had already done.

ET: Why do you think Hadestown is such a popular piece?

TOR: I think we are all looking for these stories of love and redemption, understanding and also the beauty of what Hermes says: We're going to tell this story until we get it right. And the audience is a witness, and they are an active member of the storytelling in this show. And there are things that we are going through—our humanity—that we have not gotten right yet, that we have not understood. We have not treated each other well and not treated the planet well. Until that full circle moment comes where we get that understanding and we fix all of the things that we have broken, we have to stay here, we have to continue to tell the story.

I am a firm believer—and I'm not sure where this this came from early on—that we are put on this planet until we learn all the lessons we need to learn. Once we have learned them, we can move on. I think this story has a bit of that feeling that until we have learned all the lessons that we need to learn, we have to tell this story again. We get to hear Hermes in any of the forms, give us the okay to tell the story. We get to see and hear this story about Hades and Persephone and where they are in this millennia old love story that they are telling. We get to see this young love (between Orpheus and Eurydice) and what that means and what you are willing to do for that.

ET: It is a fascinating story, musically generated out of the brilliant mind of Anaïs Mitchell, the Vermont resident who created the show. It went through many developmental workshops throughout the northeast, in Canada and then back to New York. And after your time with the show on Broadway, you became associate choreographer for the first tour and now choreographer for the second tour. Talk about the transition from the Broadway experience to the tour experience.

TOR: Well, part of the transition is that I am also full-time faculty member at Rider University in New Jersey. When the offer came for me to take over Hermes, I did not know if it was sustainable for me to do eight shows a week and be a full-time teacher. We had the conversation and the contract was the length that it was so that at the end of the contract, I could focus on school. It also meant that because of the institutional knowledge that I had of the show, the thing that made sense was for me to move into the role of associate choreographer so that I could still be there and help maintain the show and the choreography.

I have always known at some point that I would be teaching. It is a part of the journey of those who have some type of wisdom in something and to be able to impart that wisdom on a younger generation. I come from a family that is steeped in the educational system in this country, especially my hometown of Gastonia, North Carolina. Knowing that, I no longer needed to be on stage in that way. There are those who have that aching to be a star and luckily the universe puts them in those positions. That has never really been my journey.

ET: And you bring back to the classroom all of this hands-on experience that others do not have. And fortunate for those students to have professional, real world experience to tap into. The first tour lasted for four years. It was an Equity tour and ended in May 2024 and then the second tour picked up in October. How does that impact what you're doing now?

TOR: It has been a lot of compartmentalizing.

ET: You had the summer to put things together?

TOR: Yes. The second national tour is wildly different from the first national tour, which is different from Broadway. We have found ways to restage and re-choreograph the show so that the story makes sense for the staging and the set that we have and it feels like it is a new and inspired telling of the show.

There are some projections involved, but the humans on stage—the workers, the fates, the principles—are a vital part of the storytelling and how the story moves literally and figuratively around the stage.

ET: Talk about a regular week of your life in terms of dropping in on the cast wherever they are. How does that work out for you?

TOR: It is a lot of time on a calendar, making sure that everything lines up in the way that it needs to. I got up this morning in New York, went to physical therapy, drove to Lawrenceville, New Jersey so I could teach at Rider, and then got on the road to Philadelphia where the tour is this week. We are going to watch the show tonight, have rehearsal tomorrow, watch the show tomorrow night, then drive back to New York for a rehearsal of a reading of a new musical. Every week is a little different. I know if I have to see the tour in a month that I probably have already planned out with company management, booked flights that do not have a lot of stops, so I can get in and out as easily as possible to get back to the other things that have to happen in New York. And that may mean going to the Broadway company to watch a show there, take notes that may be a cleanup rehearsal with the workers on Broadway, and then figuring out the rest of the schedule. The beautiful thing about “Hadestown” is that there are multiple companies. I helped set the company this past summer in Amsterdam, working it out so that we could be there for eight weeks and then come back and get new people into the Broadway company. In September, we had a couple of new company members that joined the second national tour and got them ready before that show went out on the road.

ET: How often do you see Rachel or Anaïs along the way?

TOR: I see Rachel more frequently in New York because she has so many projects going on and will come out on the road. The show is going to Burlington, Vermont, so she will definitely be there. If there is a place that is close by or she happens to need to see the show somewhere like this summer in Amsterdam, she happened to be traveling and stopped in so that she could see that production. The entire creative team is still very attached to the show.

ET: Anaïs Mitchell is probably the most famous Vermonter since Calvin Coolidge or maple syrup. It is an extraordinary piece of work to put this thing together and also put all these creative people around her to bring it to what it has become. You have been involved with this show for over seven years. Does it feel the same as it did day one?

TOR: No. Do I still have the same love for the show and the material that I did day one? Absolutely! I think the beauty of this show—and seeing so many people tell it over the years—is that the show changes and has a life of its own with new breath from the people who are inhabiting these roles. This is so unexpected the way that they are sharing the information with us. And that is because of who they are as human beings. Every time there is someone new, it feels like there is a new telling of the story in these roles because of what each of us brings to the table. All of those experiences of love, loss and misunderstanding that each of the humans playing these five principles. That is something that feels so special about this show, allowing the individuals who come in and inhabit the roles for however long they do to really breathe that life into them.

 The 2nd national tour of “Hadestown” has multiple performance dates coming up including The Flynn Theatre, Burlington, VT (Dec 13-14) and The Morris Performing Arts Center, South Bend, IN (Dec 19-21). For a complete schedule, visit: Hadestown National Tour

PHOTO|Evan Zimmerman for MurphyMade

Broadway in South Bend
presented by
The American Theatre Guild
National Tour
HADESTOWN
The Morris Performing Arts Center
South Bend, Indiana
December 19-21, 2025

TICKETS

TOUR WEBSITE

PicksInSix® Review - 1st National Tour

Sarah Siddons Award Interview with André De Shields

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: Gaslight - Northlight Theatre

Northlight’s Taut Thriller Keeps You Guessing.
PicksInSix® Review | Guest Contributor | Ronald Keaton

One of our most prolific and respected American playwrights, Steven Dietz, takes on a famous story based on a 1938 Patrick Hamilton play, which then turns into a 1944 George Cukor classic film with an Academy Award-winning performance by Ingrid Bergman. The result here is “Gaslight,” a taut and fun thriller now playing at Northlight Theatre through January 4.

Mr. Dietz has crafted a period piece of murder, thievery and deception at a fashionable home in New York City, with all the weighty circumstance the great writer will muster. The proceedings are conducted in a stylish, loving way by Jessica Thebus, whose direction changes tempo often enough to instill a sense of variety in what could have been a creaky idea without taking away from the expert storytelling. It is almost symphonically steered, if that makes sense, like a stellar musical score. There is lots to enjoy here for mystery and thriller fans, as the words of Mr. Dietz and the vision of Ms. Thebus seek to collaborate directly to register those multiple points of impact.

To give away the plot to those who may not know it would be to deprive them of a joyful discovery. But in a nutshell: Jack and Bella are a married couple who face constant problems. Bella is experiencing a kind of slow-motion emotional freefall, as Jack seemingly tries to be a calming influence. They have gone to doctors galore to decipher the problem. Bella apparently forgets small things like where she put a grocery bill, where a painting on the wall has disappeared to and then suddenly is found. The damage it is all doing to their marriage is almost irreparable. And there are all kinds of distractions along the way. There are unexplained footsteps that are heard in the night, footsteps that only Bella hears. Jack, in the meantime, goes out at night and enjoys his friends and his revelry, ignoring his wife's travails. And slowly we begin to recognize the real intention here—Jack is driving his wife to madness. But why?

Then there is the sudden and remarkable appearance of a quirky Scotland Yard officer, who explains why he is there to Bella. Bella, of course, is practically on the brink of insanity by this time. But the officer somehow earns her trust and goes along with his plan to find missing gems and to capture the murderer of a woman in that same house so long ago. Along the way, there are two employees of the house, both of whom are loyal to Bella, and who bring a pronounced mystery and fun to the moments at hand, as they assist the officer in their own ways.

A stellar cast brings it all to life. Cheyenne Casebier is eloquent and emotional as Bella, the tender-hearted wife who is slowly being driven crazy. Lawrence Grimm is Jack, and he's properly villainous and smarmy as the manipulative husband. Timothy Edward Kane is Sergeant Rough, the officer from across the pond and the marvelous comic lynchpin in the story. The wonderful Kathy Scambiatterra is Elizabeth, one of the maids who has lovely comic moments in her assistance of the Sergeant, and Janyce Caraballo is Nancy, played as lively and brassy and especially flirtatious to Jack near the end. Two young officers, portrayed by Gavin Rhys and Nathan Reilly, arrive for the final arrest at the play's conclusion.

Much admiration should go to Collette Pollard's set design of the house, both cavernous in one sense and sparse in another, in its depiction of two floors of the home. JR Lederie's light plot is highly mysterious and almost noir-like in its intent. The expert Andre Pluess layers a sound design of sparse touches and variety into the gathering, a perfect approach for this play. All in all, “Gaslight” is a fabulous experience to witness at this holiday season.

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 about Ben Franklin, THE FIRST EMBASSY.

PHOTO|Michael Brosilow

Northlight Theatre
presents
Gaslight
9501 Skokie Boulevard
Skokie
through January 4, 2026

WEBSITE

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: A Christmas Carol - Goodman Theatre

‘A Christmas Carol’ Returns to Goodman!
PicksInSix® Review | Ed Tracy

Tis the season at Goodman Theatre and Charles Dickens’ “A Christmas Carol” opened on Sunday, heralding in the holiday in festive form. The classic adaptation by Tom Creamer is stylishly directed this year by Malkia Stampley and once again stars Christopher Donahue in an outstanding performance as the irascible humbug Ebenezer Scrooge who finds the true meaning of Christmas, life, and the errors of his ways, through the eyes of three devilishly haunting spirits.

Over the years, Goodman Theatre’s “A Christmas Carol” has consistently delivered a rousing good story, richly told with magical special effects, live music and merriment, and thrilling suspense mixed with a wholesome moral message of the importance of kindness and goodwill to all. That story, and the characters telling it, change a bit from year to year and the production now on stage in the Albert seems to be as fresh and vibrant as the first time I saw it over two decades ago. That is not to say that one particular year is remarkably more entertaining than any other, however, there is a pep in the step of this production that flows smartly from Donahue’s endearing performance and infects everyone else involved in this much beloved holiday classic.

Stampley’s heartwarming production follows Donahue’s Scrooge as he discovers the poignant flashpoints of his life—what was, what is, and what will be. His excessive disdain first manifests itself in his domineering relationship with Bob Cratchit (a terrific turn for Jon Hudson Odom) on Christmas Eve in the office of Scrooge and Marley. It is the anniversary of the death of Scrooge’s malevolent partner Jacob Marley (a chilling Daniel José Marina) and Scrooge is soon confronted by Marley still shackled in purgatory, warning of a similar demise if Scrooge does not heed his warning. That all sets in motion visits by the Ghosts of Christmas Past (Lucky Stiff), Present (Bethany Thomas) and a formidably dark Christmas Future (Molina) to lead Scrooge to his eventual enlightenment.

The festive pageantry of Stampley’s production shines brightly thanks to the multi-talented ensemble who serve as guests who raise the temperature of the holiday party hosted by the Fezziwig’s (Robert Schleifer and Christina Clark, a glorious match), the Christmas Day gatherings at the home of Scrooge’s adoring niece Frida (Amira Danan) and her partner Abigail (Jazzlyn Luckett Aderele), there’s a modern twist, and passersby in the holiday street scenes and within the sobering darkness that is Scrooge’s uncertain future.

Through it all, Donahue captures the essence of the darker side of Scrooge’s lowly persona and his joyous, almost childlike, exuberance in rebirth that bursts forth with all the joy and revelry one can imagine. Along the way, it is fascinating to watch the infinite layers of emotions peeled away as he observes the Fezziwig party from aloft, at the Cratchit’s Christmas dinner and in the joyous enlightenment that finally rings the Christmas bells with reckless abandon. And in supporting roles, Thomas is terrific in a return performance as Christmas Present and as Scrooge’s cantankerous charwoman, the versatile Anthony Irons and Austin Tichenor are delightful everywhere, and, the stunning Sól Fuller sings beautifully as the young Fan along with roles as Catherine and Martha Cratchit.

Todd Rosenthal’s iconic set design, Heidi Sue McMath’s stunning costumes and all the technical aspects from Keith Parham’s lighting and sound design by Pornchanok Kanachanabanca based on Richard Woodbury’s original, add to the eye-popping aura of the show. With the on-stage musicians—including and under the longtime direction of Gregory Hirte who perform original music by Andrew Hansen—young and old alike will share in every facet of this unforgettable experience. There is simply no better way to welcome the holiday season than a visit to Goodman Theatre’s “A Christmas Carol.”        

PHOTO|Brett Beiner

Goodman Theatre
presents
Charles Dickens’

A Christmas Carol
Albert Theatre
through December 31, 2025

WEBSITE

TICKETS

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: Much Ado About Nothing - Chicago Shakespeare Theater

“This Looks Not Like A Nuptial.”
PicksInSix® Review | Ed Tracy

The excitement in the Jentes Family Courtyard Theater on Sunday was palpable for the return of director Selina Cadell and the opening of Chicago Shakespeare Theater’s “Much Ado About Nothing.” It is light, airy fare, after all, with the perfect holiday mix for Navy Pier— a romantic comedy framed in a drama of deception, briskly staged and presented with a wink and a nod for the delight of audiences of all ages.

Led by the finely crafted and immensely entertaining performances of Deborah Hay and Mark Bedard as Beatrice and Benedick, a seasoned company of gifted actors make one of Shakespeare’s most accessible, and hilarious, offerings sparkle and shine. While “Much Ado” tells the fractured story of two couples facing different challenges on the way to altar, with its spirited dialogue, broad humor and jesting frivolity, it is all for fun in the end.

It is also a battle of the sexes with the lines drawn early between Hay’s spritely and truly original Beatrice and Bedard’s bombastic Benedick as they are reacquainted at the palatial home of Leonato (a strong, measured performance by Kevin Gudhal). As Beatrice taunts Benedick, his disdain takes comic flight, swearing to himself (and an audience member in the front row) never to marry. There are no guardrails on Benedick’s disdain and Bedard spins into a frenzy that sends the message that he may indeed be enchanted by Beatrice’s charms.

Hay’s Beatrice most assuredly takes the upper hand in the relationship, teasing Benedick at the masked ball, calling him “the ‘Prince’s Jester’” and “duller than a great thaw!” outwardly shunning any man who would come her way. But privately, in her most quiet moments with those close to her, Beatrice yearns for the passion of true love, a fine line that Hay skillfully navigates between her robust obstinance towards Benedick, and a curiously obsessive comic quest to learn his true intentions. Hay is both a superb, multi-layered dramatic artist and a brilliant physical comedienne, qualities that serve her extremely well.

The two would-be lovers become the target of light-hearted deception and firmly on love’s collision course until the denizen of deceit Don John (Erik Hellman) concocts a plan to deceive his brother Don Pedro (Debo Balogun) and Benedick’s compatriot Claudio (Samuel B. Jackson) who has fallen hopelessly in love for Leonato’s daughter Hero (Mi Kang). Brokered by Don Pedro, the wedding ultimately evaporates when Claudio falsely claims Hero’s unfaithfulness and the once amiable wedding party turns quickly to the sullen side with Benedick’s frank assessment “This looks not like a nuptial.” The play turns on that bit of drama but all is never lost.

Enter the irascible constable Dogberry (Sean Fortunato) whose watchmen overhear the details of the nighttime deception and bring the matter to the court’s attention with his hilarious prosecution, one of the finest individual comic moments of the season. Indeed, Dogberry is “an ass,” but a raucous knave, to be sure, and Fortunato, one of Chicago’s most engaging performers, elevates the role to new heights. While leading his merry band of misfits through their paces in a truly glorious series of outrageous antics, the plot is exposed, another ruse set, and things begin to sort themselves out. It all leads to the eventual happy ending of this charming production—perfect family-centric fare for this or any holiday season.

PHOTO|Kyle Flubacker

Chicago Shakespeare Theater
presents
Much Ado About Nothing
Jentes Family Courtyard Theatre
Navy Pier
through December 21, 2026

WEBSITE

PROGRAM

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: White Christmas - Paramount Theatre

Counting Blessings at Paramount’s ‘White Christmas!”
PicksInSix® Review | Guest Contributor | Regina Belt-Daniels

What better way to kick off the holiday season than a visit to a cozy Vermont inn courtesy of Paramount Theatre’s phenomenal production of “White Christmas” now playing through January 11 in Aurora. With iconic musical numbers written by Irving Berlin, a book by David Ives and Paul Blake, and the big stage production values that are the hallmark of Paramount’s 1900-seat show palace, this satisfying slice of holiday nostalgia will take your breath away.

The show is expertly directed by Stephen Schellhardt who makes his directorial debut for Paramount’s Broadway Series after directing “The 25th Annual Putnam County Spelling Bee” at the Copley last spring. Schellhardt’s “White Christmas” is brilliantly cast, extremely well-paced and very entertaining with dynamic choreography by Tiffany Krause and tap choreography by Annie Jo Fischer. Music director/conductor Kory Danielson delivers 21 songs with a flawless 15-piece orchestra including heartfelt musical numbers ranging from “Blue Skies” and “Happy Holidays” to the iconic “Sisters” and the incredible finale “White Christmas.”

This much you probably know: The show is based on the 1954 Bing Crosby/Danny Kaye film, the plot is sweet, simple and memorable. With World War II over, former GIs Bob Wallace and Phil Davis (Alex Syiek and Evan C. Dolan) are now a popular song and dance team who meet an equally talented sister act in Betty and Judy Haynes (Sophie Grimm and Jesse J. Potter) They travel to Vermont to a quaint inn owned by their former Army General Henry Waverly (David Girolmo) who is on the verge of losing everything. One thing leads to another and the gang convert the barn to a theater to put on a show that features a show-stopping list of Irving Berlin’s best songs and memorable dance numbers.

Syiek is superb as the stoic crooner Bob Wallace, the guiding force behind the song and dance team of the Wallace and Davis, the toast of Broadway. Syiek’s Wallace, who is occasionally gruff on the surface and shies away from love, is excellent as the dignified half of the team rendering calm and soothing vocals in all his duets especially “Count Your Blessings” and “Love and the Weather.” Dolan is a very talented singer/actor/comedian and a masterful dancer especially in Act Two’s showstopper “I Love a Piano” with Potter, the blonde bombshell of the Haynes Sisters’ act. Potter is a very talented singer/actor/dancer and has a sunny engaging personality and plays well with Dolan. Grimm is fantastic as the logical and level-headed Betty Haynes, the mature half of the sister’s team. Her complicated relationship with Wallace is central to the story and Grimm’s incredible solo appearance at Manhattan’s Imperial Theater is a sultry, star-making performance.

The ensemble of 22 are charismatic, powerful and energetic in their pursuit of perfection, and oh so talented! I wish I could mention them one and all as everyone in this gifted ensemble plays multiple roles. There are six supportive standouts: Susan Waverly, the perky visiting granddaughter of the General is portrayed by Omi Lichtenstein and knocks it out of the park. (Lichtenstein alternates the role with Tessa Mae Pundsack). Abby C. Smith is Martha, the loyal adjunct to the General managing his Inn (while hiding the bills) and is a potential love interest and definitely competition for Ethel Merman with her stunning presence and vocal range. Ralph Sheldrake, the Ed Sullivan TV associate and Army buddy is played by the wonderful Jason Richards, who provides levity with his “million dollar proposition.” The commanding Girolmo is incredible as the no nonsense retired General/reluctant innkeeper Henry Waverley. You will enjoy the riotously funny showgirls Rita and Rhoda—“cousins of Phil Davis”— delightfully portrayed by Alexandra Palkovic and Emma Ogea, and, Carl Draper as the steadfast, honest, and slow moving Ezekiel Foster, the Inn’s barn protector/cleaner/lighting designer for the show.

For the Paramount stage production, striking images of the 50’s and ‘60’s are invoked by the scenic and projection design of Jeffrey D. Kmiec (especially the Manhattan skyline), the sumptuous era-appropriate costume designs of Mara Blumenfeld, that range from sparkly show dresses and tuxes to colorful rehearsal clothes, and the gorgeous wigs, hair, and makeup designs of Katie Condis. Craig Hoffman’s riveting lighting design and the crisp sound design of Adam Rosenthal make “White Christmas” a stunning visual feast and truly a rich and engaging production for the entire family that is brimming with the spirit of Christmas. Fill your holiday season with Paramount’s “White Christmas” and you will be ‘counting your blessings’ and singing these cheerful Irving Berlin tunes right into the New Year!

Guest Contributor | REGINA BELT-DANIELS is a retired special education teacher who has acted, directed, and staged managed throughout Illinois and has reviewed theater for numerous publications for over a decade.
Editor’s Note: An earlier version of this review omitted Annie Jo Fischer’s contribution as tap choreographer.

PHOTO | Boris Martin

Paramount Theatre
presents
Irving Berlin’s
White Christmas
23 E Galena  Blvd, Aurora
through January 11, 2026

WEBSITE

TICKETS

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: Sister Act - Drury Lane Theatre

“Father, Son, Holy Smokes” … Fantastic Show!
PicksInSix® Review | Guest Contributor | Kaitlyn Linsner

Standing tall and proud, the nuns of Queens of Angels cathedral have the world listening. Laughing, too, in the high-energy musical “Sister Act” now playing at Drury Lane Theatre. The accomplished director E. Faye Butler has assembled a superbly talented company backed by a stellar creative team including music director David Fiorello, choreographer Kenny Ingram and costume designer Leon Dobkowski. “Father, Son and Holy Smokes,” this is one fantastic show!

Based on the hit 1992 film, the show features music by Alan Menken, lyrics by Glenn Slater and a book by Bill and Cheri Steinkellner, with Douglas Carter Beane. “Sister Act” follows nightclub singer Deloris Van Cartier (Rae Davenport) from chasing fame to hiding in a convent after witnessing a crime committed by her boyfriend Curtis played devilishly well by Kelvin Roston Jr. The police and Mother Superior (Michelle Duffy) need Deloris to blend in as “Sister Mary Clarence,” but Deloris struggles with the rigid convent life which sets the stage for many comedic clashes with her sisters. The plot also leaves plenty of room for heartfelt moments as Deloris helps transform the choir from timid and terrible to an empowered and talented group that begins to fill the seats of a once-empty church.

The show takes off when the nuns sing “It’s Good to be a Nun” in the first act after they ask Deloris her favorite part about being a nun. Davenport has solid comedic timing, and the nuns sing powerfully together. Of note are the performances of Sisters Mary Theresa (Kelly Anne Clark) and Mary Robert (Amanda Walker). “It’s Good to be a Nun” also marks the moment where the audience is really encouraged to embrace and enjoy the exaggerated musical numbers and overall campy style of “Sister Act.” Leaning into the camp makes this production all the more enjoyable.

One of the best numbers, “I Could Be that Guy,” showcases what makes this production so entertaining—sincere goofiness, very talented vocalists, and top-notch costuming. The remarkably good Eddie Souther (Lawrence Flowers) shines in this piece as a gang of “Street People” dance behind him in tattered clothes. Twice they tear away Eddie’s clothes to showcase a glitzed out disco suit and then back to his police uniform as he pines for Deloris’ love and affection with stellar vocals. It is simply wonderful.

Joey (Jonah D. Winston), Pablo (Trey Deluna), and TJ’s (Richaun Stewart) performance of “Lady in the Long Black Dress” also stacks up well in combining strong vocals, great 1970s menswear, and hilarious lyrics about how to romance their way into the convent to get Deloris. The show repeatedly achieves the perfect combination of these elements in more ways than can be covered in this review. The joy radiates from the stage so much that when Monsignor O’Hara (Lorenzo Rush Jr.) starts service and the nuns begin to sing, you are ready to jump up and rejoice.

“Sister Act” also does big, ensemble pieces very well. The entire cast performs the heck out of this show, nearly bringing down the house in “Spread the Love Around,” which also reminds us of the warm life lessons just beneath the surface of this over-the-top musical. For every laugh, there is also friendship, connection, hope, soul, and love to be experienced making “Sister Act” a bright celebration not to be missed this holiday season.

GUEST CONTRIBUTOR | KAITLYN LINSNER serves as an Assistant Attorney General in the Public Utilities Bureau of the Office of the Illinois Attorney General.

PHOTO|Justin Barbin

Drury Lane Theatre
presents
Sister Act
100 Drury Lane
Oakbrook Terrace
through January 11, 2026

WEBSITE - TICKETS

BOX OFFICE (630) 530-0111

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: Amadeus - Steppenwolf Theatre Company

‘Amadeus’: God Works In Strange Ways.
PicksInSix® Review | Ed Tracy

Wolfgang Amadeus Mozart (David Darrow), the impetuous, child prodigy of Peter Shaffer’s brilliant play “Amadeus,” bestowed with a supernatural ability to visualize music far more complex than his contemporaries, is undermined by an envious and influential Vienna court rival Antonio Salieri (Ian Barford) who recognizes the youthful threat and prays to God that he himself would be blessed with that same celestial talent. Salieri’s punishment, in the scintillating Robert Falls directed Steppenwolf production that opened Sunday, is to live a very public 30-year long career of mediocrity, cursed all the while by the now long deceased Mozart’s flourishing legacy and immortality.

It is at this critical juncture of reckoning that Shaffer’s fictionalized version of events begins, with Salieri, as narrator, delusional and near death, praying to be absolved for his deceptive and underhanded role in driving Mozart into an early grave.  Over the course of the play, we discover the origin of the relationship and learn that if spirituality had any impact on the situation, it would be to Mozart’s benefit to seek some assistance for himself, but he is too self-absorbed. The wunderkind faces a painful decline as commission fees are diminished, students go elsewhere and a prestigious court appointment passes him by.

In the deeply layered role of Salieri, Barford explores a wide range of emotions from beleaguered hack to ruthless villain. He is initially entranced by Mozart’s music, then appalled when, in a moment, Mozart transforms his own lifeless march into a breathtaking aria and then is overcome with rage when he realizes that he will never achieve an ounce of the extraordinary success that Mozart displays in virtually every project he undertakes.

As Mozart, Darrow is a captivating personality, absorbing early scenes with boyish, frenzied enthusiasm, frolicking with his fiancé Contanze Weber (a poised and elegant performance by Jaye Ladymore) and cleverly taunting the conservative members of the court who regard his demeanor as disrespectful and revolting. If there is a clear turning point for Mozart, it occurs when he accepts Salieri into his trust offering no possible recovery. With Mozart’s demise complete, Salieri has won a fruitless victory fraught with guilt and regret.

In supporting roles, John Lister (Count Orsini-Rosenberg), Robert Breuler (Kapellmeiter Bonno), Yasen Peyankov (Baron Van Sweiten) and Gregory Linington (Joseph II) all stand out in the matchless ensemble. The two Venticellos, played exquisitely by Ora Jones and Sawyer Smith, breeze in and around the action as Salieri’s confidants and conscience, moving more than the story along.

Scenically, Todd Rosenthal creates a versatile atmosphere which enables seamless transformations from scene to scene, framed in an impressive, if representatively imperfect, glass valance with an opulent period ceiling fresco and twin chandeliers. The ensemble transforms this elegant backdrop to opulence with an impressive series of Amanda Gladu’s stunning costumes that envelope the stage with color, texture and movement under Falls’ artful direction. “Amadeus” is sure to be one of the season’s most heralded works on stage in Chicago and has already been extended deep into January.

PHOTO | Michael Brosilow

Steppenwolf Theatre Company
presents
Amadeus
1650 N. Halsted St.
EXTENDED through January 25, 2026

WEBSITE

TICKETS

PROGRAM

AUDIENCE GUIDE

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: Urinetown - Theo Ubique | The Fred Anzevino Theatre

No Pity Potty at Theo’s ‘Urinetown!’
PicksInSix® Review | Guest Contributor | Ronald Keaton

There aren't many pieces of theatre that so expertly lets its audience members know the authors are winking at them, that everyone is in on the joke, as in the energetic musical satire “Urinetown,” now playing at Theo through December 21.  All elements in the show own this attitude throughout. There's the strong, self-effacing book of Greg Kotis, which makes fun of, well, nearly everything either Broadway musical-ish or municipal efficiency-like. The stylish score by Mark Hollmann makes marked bows to Weill and Bernstein and Harnick and even blues, while pointedly using “Les Misérables” as a musical inspiration at the end of Act I in articulating the satire.

Director Danny Kapinos has smartly, and with a lot of fun, shaped this story as an immersive, get-the-folks-involved experience. More kudos for Brenda Didier’s tight choreography. She adapts expertly to the space available, and it is a joy to watch. If you've ever seen a production at Theo, you know that every inch of the space is often used with platforms, steps, light shafts and sound effects as much as possible, and it's an enjoyable signature of the theatre. The story itself—an informed examination of social conscience, human rights and corporate greed—offers eerie echoes to American society today, even though “Urinetown” was created more than a quarter century ago.

Right from the get-go Officer Lockstock (Ryan Stajmiger in a charming performance of a pervasive character) greets everyone in narrator fashion with "Hello there and welcome to Urinetown!" Then he tags it with "Not the place, of course. The musical!''  And the audience understands the ride will be unique. Little Sally (a strong Theo debut for Maya Tanaka Allwardt) starts out innocently in similar fashion and becomes almost a conscience for good as the story progresses. In that story, there is a dramatic water shortage from a 20-year drought, so the town contracts for and sees the creation of a corporate arm that charges all people whenever they use the water. And yes, that means for all purposes; hence, the title. It's run by Caldwell B. Cladwell (an aware, deft portrayal by Drew Longo), whose daughter Hope (Amanda Rodriguez and her glorious singing) has just joined the company after college.

Then there's Bobby Strong, the one who stirs up good trouble (Luke Nowakowski is clear-eyed and purposeful here) by getting the hoi polloi to rebel against the powers-that-be, drawing his line in the sand as his love for Hope becomes more evident. And Penelope Pennywise, Cladwell's enforcer (the powerful Alicia Berneche ... wow!) keeps everyone in line by taking payment as that line goes through its daily chore. And Pennywise reveals a twist in the plot that takes everyone off guard. The satire is the boss here, and everyone in the theatre becomes a part of it.

At Theo, an audience can always depend on one thing: the high quality of its musical stance. Music director Aaron Kaplan and Associate and Keyboardist Kevin Zhou, along with their four players, have done wonders in reducing the score while maintaining its full and robust presence. And they handle the various jumps in genre and parody with style. They have also coaxed the same from a fully committed, talented ensemble, many of whom are making their Theo debuts here. It’s the main reason this writer enjoys Theo offerings, because their musical approach upholds the theatre's professional promise. Bravo!

As you enter Theo these days, you see outside on the building's wall a lovely tribute to its Founder/Artistic Director Fred Anzevino, who passed away earlier this year. It's worth noting that Mr. Anzevino's commitment results in the legacy of professionalism and the sheer number of productions that Theo has offered over the years. It's a marvelous reminder how artistic endeavor lives on through such a legacy.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.org.  Coming soon, his new solo play about Ben Franklin, THE FIRST EMBASSY.

PHOTO | Liz Stenholt Photography

Theo Ubique Cabaret Theatre
presents
URINETOWN
721 Howard Street
Evanston
through December 21

WEBSITE

TICKETS

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: Million Dollar Quartet Christmas - Marriott Theatre

Shake, Rattle and Roll at Marriott!
PicksInSix® Review | Guest Contributor | Regina Belt-Daniels

There’s a whole lotta shakin’ goin’ on with the Marriott Theatre production of “Million Dollar Quartet Christmas.” Running through January 5, the 90-minute sequel to “Million Dollar Quartet” with book by Colin Escott is brilliantly directed by the Jeff-award winning Scott Weinstein, who developed and directed the show for the national tour. The Marriott production is well cast, evenly paced, and superbly staged in the intimate in-the-round configuration with actors always visible to the audience. Weinstein is supported by the flawless music direction of Matt Deitchman and music supervision by Ryan T. Nelson. There are 21 songs including a seamless blend of 50’s rock ‘n’ roll hits and holiday favorites performed by each actor who play their own instrument with vim, vigor, and verve.

Following the December 4, 1956, impromptu jam session at Sun Records Studio in Memphis that inspired the original, four legendary performers—Elvis Presley (Colton Sims), Carl Perkins (Trevor Lindley Craft), Johnny Cash (Michael D. Potter), Jerry Lee Lewis (J. P. Coletta)—have reunited. As the story evolves, the diverse and engaging past, present and future Christmas’s of the four unfolds and their almost sibling rivalry with father figure/mentor Sam Phillips, the founder and manager of Sun Records, is examined. And when you hear those backgrounds, you appreciate the paths of the four from poverty to fame.

The cast is powerful, fresh, and truly fantastic in their characterizations. There is no impersonation, just a thrilling group of talented performers with the ability to capture and inhabit the essence of these amazing personalities. Craft is marvelous, playing Perkins with a seriousness about his music blended with a fear of being overshadowed and pushed to the background, displaying Perkin’s sensitivity and sarcasm with a subtle undercurrent of his emotional struggles. Sims is an incredible Elvis, worried about participation in Hollywood movies, Colonel Parker’s influence, and his “Christmas card from Uncle Sam.” You can’t help falling in love with him. Sims is a gifted dancer—watch those gyrations and amazing leg work—and an honest, charming, and magnetic actor who plays the pivotal character in the production. Potter’s Cash is exceptional. He very clearly wants to be a better man. Potter has a deep voice that resonates and has a powerful physicality. He also exhibits an epic smoothness and sincerity in his masculinity. Coletta is a riveting Jerry Lee Lewis and his portrayal is brash, energetic, arrogant, and so much fun. He makes Lewis larger than life, an unleashed pianist on the cusp of fame. Coletta’s hair flipping, wild jumps, leaps, and bending are athletic and demonstrate Lewis’ boyishness. He also possesses exceptional comedic skills. Another stunner in the acting department!

The supporting cast includes Jed Feder as Carl Perkin’s drummer, Fluke, and Cody Siragusa as Perkin’s brother Jay, who as history tells us, was instrumental in setting up the impromptu session. Both Feder and Siragusa are amazingly talented musicians and their characters supply moments of levity. Dyanne, Elvis’s girlfriend who has journeyed with him from Los Angeles, is portrayed by Teah Kiang Mirabelli and she is a spitfire, with more dialogue and songs than in the original “MDQ.” Mirabelli’s talents especially shine with her rendition of “Santa Baby” and “Que Sera Sera.” She can also be found playing the ukulele, maracas, and the tambourine as backup to the four. Mirabelli is an appealing singer with a phenomenal vocal range. Her character provides the romantic subplot with an interesting twist at the end. Sam Phillips is credibly and calmly portrayed by Ross Griffin. Griffin does exceedingly well as the charismatic father of rock ‘n’ roll who subtly allows insecurity and some resentment to seep through his character.

Milo Bue’s simple but cohesive scenic design of stand-up mics, piano, rehearsal room benches and stands echoes Sun Records Studio, and is enhanced by Jesse Klug’s masterful lighting design, and Michael Daly’s strong and clear sound design. Nicholas Hartman‘s costumes capture everything from Johnny Cash‘s man in black to Elvis Presley’s black and white loafers.

Jukebox musical or unique rock ‘n’ roll play? Does it matter? You’ll have a rocking good time with “Million Dollar Quartet Christmas.” The festive Christmas songs and 50’s rock ‘n’ roll hits set the perfect tone and are a wonderful present of holiday spirit for the audience. But rest up in advance—you’ll be exhausted by the time the glam finale comes!

Post Script:

The Three Embers Restaurant ‘s final pop up of the season, “Ember’s Christmas Grille,” ties in with the show. Offerings include Carl Perkins’ “Run Rudolph Run” Chicken Gumbo, Jerry Lee Lewis‘s “Jingle Bell Rock” Cobb Salad, Elvis‘s “Blue Christmas” PB and J Chicken, and Johnny’s “Santa Claus Is Coming To Town” Pork Chop, among others. The grill is available Wednesday through Friday. LINK

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

PHOTO | Justin Barbin

Marriott Theatre
presents
Million Dollar Quartet
10 Marriott Drive
Lincolnshire
through January 5, 2026

Website

Tickets

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: As You Like It - Writers Theatre

TOP-NOTCH ENSEMBLE SHINES AT WRITERS!
PicksInSix® Review | Guest Contributor | Ronald Keaton

There is, up in Glencoe, a unique and striking musical adaptation of William Shakespeare's comedy masterpiece “As You Like It” playing at Writers Theatre through December 14. It's directed by Nichols Artistic Director Braden Abraham in bold, wonderfully outlandish strokes that enhance this story of lost souls who all find each other in the Forest of Arden. There is a magic in Arden. Everyone experiences a kind of ethereal conversion in attitude and outlook. Arden thus symbolizes more—a place of refuge and spiritual comfort, a haven of freedom.

There is a great deal of plot in the play that is simply too thick to fully share. Yet the adaptation by Shaina Taub and Laurie Woolery make highly accessible, in plain language, the various plot points that the Bard offers. They do not hesitate to use plain and modern language to help the storytellers along, and it's a welcome tool to have. Yes, the aficionado does miss some of that wonderful poetry, chiefly Jaques' classic, rueful rumination on life about the "seven ages of man." And then there's his sharp and welcome banter with the fool Touchstone in Shakespeare's play. But in hindsight, this approach doesn't really serve the Taub and Woolery vision. They see other ways to go.

Instead, the migration of unhappiness from the Court of Duke Frederick that ends up in Arden takes the well-known sentiment of contemporary life 'love is love is love...' to new places here. There is a company of subjects—including Duke Senior, his daughter Rosalind, his niece Celia and Touchstone—who all leave to find their romantic fortunes, banished by Frederick. One young man, Orlando, has become a kind of celebrity for his win in a wrestling match, while his brother Oliver starts out as a real bully in picking on Orlando. Through their own issues, they both end up in Arden and mend fences. And we've only just begun.

Eventually in this story, there is a literal quartet of lovers—traditional, same-sex, comic and dramatic—that celebrates their newly found love and release from the pressures of the world. The music/lyrics by Tony winner Taub are a potpourri of folk styles and rock rhythms, all filled with style and maturity. The music is played by an onstage, ragtag group, perfectly complimenting the action. Music direction came from the versatile Michael Mahler. The band is fronted by Matthew Yee as Jaques, who here becomes a kind of eloquent narrator of the action, while performing his scenes with the ever-present guitar in hand. It's an inspired placement of the character and fabulous usage of Mr. Yee's talents.

The tight cast is one of the great examples of ensemble acting this writer has seen in musical theatre in quite a while, as well as top-notch creators to represent. Everyone (and I mean everyone) has a moment or two to shine while being present in the story for the others. A few to mention, while honoring the truly professional level that all the actors reached: Benjamin Mathew's Orlando is passionate and aware of those passions at every turn. The Rosalind of Phoebe Gonzalez, whose male guise of Ganymede teaches Orlando to woo Rosalind, is charming and full. Andrea San Miguel offers a Celia ripe with energy and purpose. The great clown Touchstone lives in the capable, expert hands of Jackson Evans. There's the overbearing brother Oliver (the smooth, deep-voiced Anand Nagraj). The two Dukes—Frederick (Scott Aiello, tough and demanding) and Senior (Paul Oakley Stovall, subtle and tender)—show their family leadership constantly, even as they are on opposite sides. Chicago treasure Janet Ulrich Brooks shows up in at least three different characters, each expertly articulated. Please take note: the entire cast knows how to support each other, a refreshing and telling sign with work of such high quality. And a real bow to Mr. Abraham's direction.

Shakespeare's famous line "All the world's a stage, and all the men and women merely players" is not forgotten here either, and it receives a Taub examination in a song lyric:  "All the world's a stage / And everybody's in the show / No one's a pro" is the first song we hear. It's sung by Mr. Yee as Jaques, the character who speaks the original line in the Shakespeare play. Same sentiment, more accessible and, in its own way, properly applied to today.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.org.  Coming soon, his new solo play about Ben Franklin, THE FIRST EMBASSY.

PHOTO | Jenn Udoni

Writers Theatre
presents
AS YOU LIKE IT
325 Tudor Court
Glencoe, IL
through December 14

WEBSITE

TICKETS

PROGRAM

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: JEKYLL & HYDE - Kokandy Productions - Chopin Theatre

“Go Where No Angel Will Go.”
PicksInSix® Review | Ed Tracy

It’s no surprise that any revival of “JEKYLL & HYDE” requires a blockbuster performer in the challenging dual role of the steadfast Dr. Henry Jekyll and his evil alter ego, Edward Hyde. Director Derek Van Barham has accomplished just that in casting the explosive David Moreland in the Kokandy Productions revival that opened Saturday on the Chopin Theatre Mainstage. Moreland’s dynamic presence, with Ava Lane Stovall as the sultry Lucy and Emily McCormick as Jekyll’s conflicted fiancé Emma, anchor a top flight ensemble of enormous depth and versatility, buoyed by Brenda Didier’s delightfully quirky choreography, Nick Sula’s exceptional music direction and the on-stage presence and staggering brilliance of a 15-piece orchestra.

The story, based on the Robert Louis Stevenson classic novella, examines the medical phenomenon of dual personalities and the research of Jekyll, a highly regarded physician in 1888 London. Jekyll must defend his seven years of research before a skeptical Board of Governors of St. Jude’s Hospital. His proposal is to divide a human subject’s personality in two—one good, the other evil; “compassion and hate”—in an attempt to rid the world of evil. Provoked by Jekyll’s arch nemesis, Simon Stride (Quinn Kelch), the Governors flatly reject the proposal with only Emma’s father Sir Danvers Carew (Nathan Calaranan) abstaining. Incensed and bitter, Jekyll is left to explore other means to test his theory.

At the engagement party at Danvers’ home, Emma confirms her devotion to the troubled Jekyll. Later, along the streets of London, he and his friend and lawyer, Gabriel John Utterson (Kevin Webb), visit The Red Rat, a brothel run by Spider, where Jekyll meets the ravishing Lucy who unsuccessfully plies her charms only to receive an earnest promise of assistance in the future from him. On the way home, Jekyll tells Utterson that his only course forward is to take the potion himself. Despite the consequences, Jekyll proceeds and the catastrophic result is the awakening of the merciless killer Edward Hyde who begins his deadly campaign of retribution.

 “JEKYLL & HYDE” was conceived for the stage by Frank Wildhorn and Steve Cuden with music by Wildwood and book and lyrics by Leslie Bricusse. The challenging piece is in expert hands here with an intriguing gothic aesthetic at work in the creative scenic design of Sotirios Livaditis, a multi-level chamber that serves the movement of the piece well and frames the orchestra upstage. Rachel Sypniewski’s goth influenced costumes provide rich texture against the stark atmospheric lighting design of G “Max” Maxin IV. Matt Reich’s sound work here is simply exceptional.

The show relies on expressive, full featured arrangements and nuanced underscoring that are all expertly interpreted by Sula to provide a rich and unmatched musical foundation. Moreland’s vocal work throughout, and especially on the soaring anthem “This Is The Moment,” is flawless. McCormick delivers a commanding “Take Me As I Am” and “Once Upon A Dream.” Stovall sets the table with the boisterous “Bring On The Men,” her powerful delivery of “Someone Like You,” and then brings the show to a full stop with her exquisite and impassioned “A New Life.”

It doesn’t get better than this!

PHOTO|Evan Hanover

Kokandy Productions
presents
JEKYLL & HYDE
Chopin Theatre
1543 W. Division
through December 21, 2025

WEBSITE

TICKETS

PROGRAM

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: The Sound of Music - Broadway in Chicago

She is gentle! She is wild!
PicksInSix® Review | Ed Tracy

“How do you hold a moonbeam in your hand?” That lyric from “Maria” was top of mind going in to the sensational touring production of “The Sound of Music,” directed by Jack O’Brien, now playing at Broadway in Chicago’s James M. Nederlander Theatre. The answer is, of course, you can’t, especially when that shimmering moonbeam is the marvelous Cayleigh Capaldi who portrays Maria, the true-to-life postulant turned governess, wife and survivor, on full display.

Up to this production, I have never fully appreciated the resonance of the Sisters character-defining song “Maria.” It may stem from always being swept away by the intensity of one of the great opening numbers of this, or any, musical of the era that precedes it. Once again I was stunned, lulled and thrust into the iconic Rodgers and Hammerstein score by Capaldi’s rapturous voice beckoning us into the last of the great collaborators eleven Broadway musicals. And then I thought it just might be natural to settle in during “Maria” before looking ahead to the beloved “My Favorite Things” duet that follows it.

Why delve into “Maria” in a musical that delivers so many other iconic works including “Climb Ev’ry Mountain,” “Edelweiss,” “Do-Re-Mi” and “Something Good” all wonderfully performed by this superb company? It’s a beautifully constructed song with every phrase pointing to a nuance of her identity from her singular radiance, exuberance and defiance of norms to her personal magnetism that eventually wins over each of the Sisters and Mother Abbess (played here by the sensational Christiane Noll) by songs’ end.

It’s a tall order to match for an actor, but Capaldi inherently understands Maria, her motivations and the impact that she has on every character in the show, delivering a performance that, like much of the show, is of the moment, fresh, vibrant and overflowing with enthusiasm. In navigating her relationship with Chicago native Kevin Farley’s Captain Georg von Trapp and his children—always the blooming centerpiece of the show and a very endearing group here—Capaldi elevates Maria once again, maturing into her new found purpose as partner and protector.

In every aspect, O’Brien’s production honors the valiant journey of the von Trapp family who escaped oncoming Nazi oppression in 1938 and ultimately delivered them to the mountains of Vermont where the family still maintains a lasting legacy today. The book by Howard Lindsay and Russel Crouse is suggested by Maria’s book The Trapp Family Singers and over the years the elegant Vermont establishment was home. Even a devastating fire that destroyed the main building in 1980, and with it all of Maria’s personal papers and artifacts, did not deter the matriarch of the family to rebuild. Earlier this year, the picturesque 2,600 acre resort celebrated its 75th anniversary, a testament to the lasting legacy of the family at the heart of this beautiful story.

Whether this is the first or fourth viewing for you, “The Sound of Music” at the Nederlander will provide a deep appreciation for the courage, resilience and hope embodied in the von Trapp family and, as well, one of the most satisfying and enjoyable theatrical experiences you will ever have.  

PHOTO|Jeremy Daniel

Broadway in Chicago
presents
The Sound of Music
The James M. Nederlander Theatre
24 W Randolph Street
through November 2, 2025

WEBSITE

TICKETS

OFFICIAL SHOW WEBSITE

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: Disney's Finding Nemo - Marriott Theatre

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

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

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

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

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

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

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

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

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

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

847-634-0200

WEBSITE

SHOW SENSORY GUIDE

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: Paranormal Activity - Chicago Shakespeare Theatre

Collectively Spooked: No Spoilers, Macabre Chills
PicksInSix® Review | Guest Contributor | Sarah Frances Fiorello

The Yard is thick with an eerie haze this Halloween season as “Paranormal Activity” settles in to spook Navy Pier patrons right out of their seats. Before the house lights dim, be sure to say a proper hello to your seatmates—you may find yourself gripping their hand before the night is over.

Written and restaged by Chicago’s own Levi Holloway (Broadway: “Grey House”), “Paranormal Activity” receives its North American debut now through November 2nd at Chicago Shakespeare Theater. Rounding out the creative team are director Felix Barrett (Broadway: “Viola’s Room”, Off Broadway: “Sleep No More”) and Drama Desk Award / Outer Critics Circle / Tony Award Winning Stage Illusionist Chris Fisher (Broadway: “Stranger Things: The First Shadow”, “Harry Potter and the Cursed Child”). This new, original play lives in the world of the film franchise by the same name. The film “Paranormal Activity" is an indie-horror classic, reportedly shot on a home video camera with a $15,000 budget before ultimately grossing over $193 million.

The curtain rises on newlyweds James and Lou settling into their cozy new home in rainy London. Relieved to leave behind their haunted life in Chicago, the couple slowly learns the truth of the play’s tagline: places aren’t haunted, people are. Bolstered by the incredible hyperrealism of Fly Davis’s scenic design, we are immediately transported into the most micro and intimate moments of their marriage: Lou’s struggle with mental health, James’s often misguided but loving desire to support her, and his overbearing mother who adds stress and strain to the seams of their relationship in a way that only a mother-in-law can. There are plenty of scares to come before the final curtain, but not at the expense of rock-solid storytelling: an emotionally driven journey of two people who, despite supernatural odds, are fighting tooth and nail for their relationship.

Cher Álvarez (Lou) and Patrick Heusinger (James, who also originated the role at Leeds Playhouse) brilliantly navigate two plus hours of emotional complexity alongside expertly timed edge-of-your-seat thrills as they explore and unpack, literally and figuratively, what has followed them across the pond. Fisher’s illusions are a must see and second to none: elegant, subtle, and exacting, drawing us in to ask the same questions as Lou and James—did you see what I just saw, or am I not-so-slowly going crazy?

“Paranormal Activity” at its core, reinforces so many of the reasons we go to the theatre. Two such elements are on full display in this piece: a voyeuristic look from a safe distance into the human condition and a reminder that our lives, both in the physical and metaphysical world, contain a full range of thought-provoking experiences without the need for AI, glossy filters, or overblown CGI. Life itself is often terrifying enough.

“Paranormal Activity” is for adult audiences and contains disturbing content, horror, loud noises, sudden darkness, and stage blood. This hair-raising production will continue its North American tour with stops in Los Angeles, Washington, DC, and San Francisco on both ends of a 12-week scheduled engagement on the West End, beginning in December 2025.

GUEST CONTRIBUTOR | SARAH FRANCES FIORELLO is a graduate of Shenandoah Conservatory with a BFA in Music Theatre and a Chicago-based poet, writer, and performer. Instagram: @writtenbysarahfrances

PHOTO | Kyle Flubacker

Chicago Shakespeare Theatre
presents
Paranormal Activity
The Yard
Navy Pier
through November 2, 2025

WEBSITE | TICKETS

PROGRAM

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC