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PicksInSix Review: Harry Potter and the Cursed Child - Broadway in Chicago

 
 

A THRILL-A-MINUTE BLOCKBUSTER ADVENTURE!
PicksInSix® Gold Review | Ed Tracy

Broadway in Chicago’s Nederlander Theatre is the first stop for the national tour of “Harry Potter and the Cursed Child” that had an epic premiere on Thursday, primed and ready for a long sit-down for the holiday season in Chicago that will no doubt fill every corner of Randolph and Dearborn with junior-level sorcerers with maroon and gold striped scarves and wands.

This is the final saga in J. K. Rowling’s spellbinding series of books that continue to engage readers of all ages, has spawned six epic films, and a hugely successful Broadway run garnering ten 2018 Tony Nominations winning six including Best Play. Following a Covid shutdown, the original two-part version was modified to one two-act play that has been retooled by one of the largest—and most celebrated—production teams ever assembled for the tour.

For anyone still wondering if this robust and heart-pounding show can do justice to all that has come before, rest assured that “Harry Potter and the Cursed Child” truly is a thrill-a-minute blockbuster adventure with all the magical twists and eye-popping special effects imaginable. It’s also an intriguing heartfelt story—filled to the brim with surprises that befit the original—written by Rowling, playwright Jack Thorne and director John Tiffany. Tiffany, with movement director Steven Hoggett, have assembled a superb cast to play new versions of the familiar characters that successfully tap into the memories of diehard fans who are sure to flock to this show, and are clever enough to captivate first timers and the young-at-heart from beginning to end. It’s a win-win all around!

To the story, it’s 19 years later. Harry Potter (John Skelley) and Ginny Weasley (Trish Lindstrom) are now married, as are Ginny’s brother Ron (Matt Mueller) and Hermione Granger (Ebony Blake), who is now serving as Head of the Ministry of Magic. Their children—Albus Severus Potter (Emmet Smith) and Rose Granger-Weasley (Naiya Vanessa McCalla)—board the Hogwarts Express where they meet Scorpius Malfoy (Aiden Close) son of Harry’s nemesis Draco Malfoy (Bejamin Thys). There is a dark cloud hovering over Scorpius and once at Hogwarts, the two form an alliance after being selected to Slytherin.

After meeting Amos Diggory (Larry Yando), the two join forces with his niece Delphi (Julia Nightingale) and plan to change the trajectory of the competition that ultimately cost the life of Amos’s son, Cedric Diggory (Caleb Hafen). Using a flurry of magical spells, the trio infiltrate the Ministry, abscond with the Time-Turner orb and are off on a race across time to save Cedric, only to realize that their impact on the past has a devastating effect on the present.

The fascinating arc of the story allows us to experience an exciting new adventure. The Dementors are here, along with Albus Dumbledore (the brilliant Yando who also plays Severus Snape), Moaning Myrtle (a delightful Mackenzie Lesser-Roy) and Professor McGonagall (Katherine Leask, who also shines as Professor Umbridge).

On the creative side, scenic designer Christine Jones uses massive arches to frame the Hogwarts action that then evolve seamlessly to establish other places and time periods. Among the many ingenious elements—including a plethora of magical entrances, high flying exits and cape-flashing scene changes—are the almost balletic use of twin stair units at Hogwarts and a delightfully carnivorous bookshelf. Imogen Heaps’s costumes are sensational. Neil Austin’s lighting and sound by Gareth Fry all complement Jamie Harrison’s astounding illusions that all contribute to a stunning, visual extravaganza.   

The message of love, family and friendship—and of good vs. evil—at the heart of this story courses through Skelley’s moving portrayal of Harry and in his relationship with his son. The younger clan form a union against the ever present dark arts to the extent that there feels like there could be much more to come in this franchise, despite Rowling’s assertion that this is Potter’s crowning achievement.

If that is the case, we will all have to join the next generation of adventure seekers and relive this series all over again. For the present, “Harry Potter and the Cursed Child” will be making magic every night at the Nederlander for all to see—a memorable holiday outing that will last well into the new year and beyond.

PHOTO|Matthew Murphy

Broadway in Chicago
presents
National Tour Debut
Harry Potter and the Cursed Child
James N. Nederlander Theatre
through February 1, 2025

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NATIONAL TOUR WEBSITE

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PicksInSix Review: Back to the Future-The Musical-Broadway in Chicago

 
 

“It works. It Works. IT WORKS!”
PicksInSix® Review | Ed Tracy

It’s hard to avoid the what-if’s of time travel when it comes to the 1985 Robert Zemeckis film “Back to the Future” and its two sequels that have been entertaining audiences over the last 40 years. Jettisoning back along the space-time continuum to intentionally—or unintentionally—reorder events, change the future or restore balance to the universe has always been the stuff of classic science fiction storytelling.

The original “Back to the Future” was a real crowd-pleaser and a revelation for those of us around at the time. Sure, we had home movies, photo albums and family histories, but we could only imagine the past through the memories of those closest to us. Years from now, those memorable moments will be documented on a digital device in all formats, but obviously none of that existed when we were first introduced to a youthful rock n’ roller and his eccentric pal, the physicist who discovers a way to go back in time 1985 style. Taking the story from film to a live stage version creates some challenges and provides a splendid opportunity for eye-popping special effects.

At the opening of the national touring production of the John Rando directed “Back to the Future—The Musical” on Wednesday at the Cadillac Palace Theatre, I realized there was now a new generation introducing live theater to a much younger version as evidenced by a family of five sitting directly in front of me.  It was apparent to me that somewhere along the line I had taken for granted Doc Brown’s childlike wonder or the campy awkwardness of George McFly as he heroically confronts Biff in a parking lot, but not this crew.

For at least one of the three boys ranging in age from eight to mid-teen, this show was a first and they had a blast! Their joyous, wild enthusiasm for the extraordinary special effects and the techno star of the show—a slick, shiny DeLorean DMC-12 that makes a series of dramatic entrances and exits—was infectious. As avid young fans, their enjoyment was enhanced by the story as well because of its close proximity to the film and as a result, they followed along intently. And while we all know pretty much what was coming next, the Bob Gale book wisely stays within the margins and allows the stage version of “Back to the Future-The Musical” to evolve into a night of fun-filled family entertainment with more than enough whimsy and heart to wow the crowd.  

Or to borrow one of the Alan Silvestri/Glen Ballard lyrics sung by Doc Brown (a terrific role for Don Stephenson) when he first discovers proof of the viability of the flux capacitor: “It works. It Works! IT WORKS!” From Caden Brauch’s energetic portrayal of Marty McFly coaching the younger version of his dad George (a hilarious Burke Swanson) in “Put Your Mind To It” and the sultry Zan Berube’s rendition of “Pretty Baby” as the youthful Lorriane Baines in her bedroom with a trio of singers to Cartreze Tucker knocking the stuffing out of “Gotta Start Somewhere” as the young Goldie Wilson with the multi-talented ensemble and Stephenson’s blissful ballad “For the Dreamers,” this show has something for the young-at-heart of all ages.  But, oh that car is the real star!

When the original 2020 production was shut down in its first week due to the pandemic, you can bet that producers had no idea that four years later productions of “Back to the Future—The Musical” would be running concurrently in London, on Broadway and now in a 28 city national tour through August 2025. Safe to say that Marty, Doc and all the rest will be back in time well into the foreseeable future.       

PHOTO|Matthew Murphy & Evan Zimmerman

BROADWAY IN CHICAGO
presents
National Tour
BACK TO THE FUTURE—THE MUSICAL
Cadillac Palace Theatre
through September 1, 2024


TICKETS

SHOW WEBSITE

TOUR WEBSITE

BROADWAY IN CHICAGO

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PicksInSix Review: BOOP! The Musical - Broadway in Chicago

 
 

“BOOP! The Musical” Has It All!
PicksInSix® Gold Review | Ed Tracy

When the stunning new show “BOOP! The Musical” arrives on Broadway next year, a new generation will discover the iconic Betty Boop through the spellbinding performance of Jasmine Amy Rogers in the title role, and through the eyes of one of their own—16 year-old pop media phenom Angelica Hale, making her stage debut as Betty’s new pint-sized BFF.  

At the magical moment that Betty catapults into present day Comicon from her cartoon world of the 1930s, she is searching to both escape the adulation of her own time and to satisfy her yearning to discover an answer to the pivotal question: “Who am I?” Upon arrival, she finds a vibrant world in the radiant colors of the rainbow, none of which she knows by name. She also has a predilection to put an ‘L’ in everything, so her new marshmallow world is “plurple.”

It's the black, white and red-hot opening sequence of “BOOP! The Musical” with Rogers as the charming, charismatic, and confident heroine created by illustrator, animator and cartoon innovator Max Fleischer who revolutionized the graphic technology of the day, merging illustrations and live action to create whimsical cartoon series and shorts featuring Betty Boop, Popeye and a cavalcade of quirky characters who morph from inanimate objects to all forms of comic incarnations.

The world premiere of “BOOP!” opened Wednesday at Chicago's CIBC Theatre. After years in development, there is now a dream team in place for the Broadway-bound project directed and choreographed by multi-Tony Award winner Jerry Mitchell, the first musical venture by Grammy and Emmy award-winning composer/producer David Foster with lyrics by Susan Birkenhead (“Jelly’s Last Jam”) and book by Bob Martin (“Drowsy Chaperone,” “Elf”). The creative team includes a spectacular scenic design by David Rockwell that is beautifully enhanced by Finn Ross’s projections and Gareth Owen’s sound design, Philip S. Rosenberg’s lighting and the stunning costumes of Greg Barnes.

With big, boisterous dance numbers, tender ballads, an extraordinary scenic landscape and masterful illusions courtesy of Skylar Fox, “BOOP!” has it all. It's a love story—three actually—but even more it’s a free-spirited and endearing comedy that has a message for all of us about who we are and the impact we can make on the world and the people in it.

At Comicon, Betty collides with Dwayne (Ainsley Melham) a jazz musician and for maybe the first time, Betty senses an attraction. Overcome by her new surroundings, Betty forges a friendship with Trisha (Hale) a young fan and aspiring artist in need of a little confidence of her own. It doesn't take long before we find that Trisha lives with her aunt Carol (Anastacia McCleskey), who serves as manager for the New York City mayoral campaign of Raymond Demerest (Erich Bergen) and Carol’s brother, who just happens to be Dwayne. The hook is set and a youthful love story begins to unfold.

Back in early 30s, the studio directors, Aubie Merrylees and Ricky Schroder, are in a tizzy when they discover that Betty is nowhere to be found. Grampy (Stephen DeRosa) realizes that Betty’s absence will have a disastrous impact on their present and the future, so he embarks on a cross-dimensional journey of his own with his dog Pudgy (the brilliant marionette artist Phillip Huber). In Times Square he meets up with Valentina (Faith Prince) a retired NASA scientist who is still holding a torch for Grampy that was lit 40 years earlier. At first on a quest to find Betty before it’s too late, Grampy discovers that the fire is still smoldering between the two.

The cat’s out of the bag on the secret that Betty Boop is now alive in the present when she shows up and brings the house down at Nellie’s Place, the jazz club where Dwayne is trying to get a regular gig. Once the news is public, the corrupt Demerest, the King of Waste, tries to hitch his dump truck, and whatever else he has at his disposal, to Betty’s instant celebrity. But it’s Betty who turns the tables on the plan and as always, love wins out overall.  

Martin’s book moves briskly and effortlessly with zingers and easter eggs, old and new, along the way. Musically, Foster has infused the score with a plethora of styles from jazz and pop to some socko Broadway show tunes that allow Mitchell a full range of dance routines for the superb, multi-talented ensemble. Among the highlights, Rogers leads the ensemble in the opening “A Little Versatility,” “My New York” and “In Color,” and the show is at full throttle for the truly sensational Act I closer “Where I Wanna Be.”

World Premiere of “BOOP ! The Musical” at Broadway in Chicago’s CIBC Theatre through December 24, 2023.

Price and DeRosa shine in “A Cure for Love” and the touching “Together, You and Me.” Melham joins Schroder and Probst for “Sunlight” and delivers a blissful “She Knocks Me Out.” Hale’s powerful “Portrait of Betty” is a smash and the lovely “My Hero” with Rogers is one of the show’s many highlights.

It all comes down to Rogers though, whose radiant stage presence is all at once inquisitive, vulnerable and decisive as she evolves to the real version of who she will become: a loving role model of strength and independence.

Rogers’s charismatic performance of “Something to Shout About” is a showstopper. After taking center stage surrounded by a glistening celestial panorama, she steps decisively and defiantly forward and, in that one moment, appears larger-than-life, captivating the audience and signaling the presence of a star.

That she is.  

PHOTO|Matthew Murphy and Evan Zimmerman

Broadway in Chicago
presents the
World Premiere of
BOOP! The Musical
CIBC Theatre
through December 24, 2023

TICKETS
SHOW WEBSITE

For more reviews, visit: Theatre In Chicago

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PicksInSix Review: The Wiz - Broadway in Chicago

 
 

“THIS IS A WHOLE ‘NOTHER LEVEL!”
PicksInSix® Review | Ed Tracy

The national tour of the Broadway-bound musical “The Wiz” opened its limited Chicago engagement at the Cadillac Palace on Wednesday with all the blissful promise and brilliant colors of the rainbow you could ever imagine. With a massive, techno-landscape—a marvel all in itself—the L. Frank Baum-based classic that made its groundbreaking 1974 debut in Baltimore and conquered Broadway the following year with eight nominations and seven Tony® Awards on the way to a four-year run, now comes vibrantly alive for a new generation.

“The Wiz” is ingeniously directed by Schele Williams with some clever choreography by JaQuel Knight that amplifies a superb company large in number and steeped with talent running through their paces at a size and scope rarely seen in a touring production. The show premiered in Baltimore in late September and is making a multi-city tour in advance of its scheduled debut on Broadway in March 2024 with a lot of professional steam behind the William F. Brown book with music and lyrics by Charlie Smalls.

The revival includes new musical moments from Joseph Joubert (music supervision, orchestrations, & music arrangements), vocal arrangements and music arrangements by Allen René Louis and additional material by Amber Ruffian. Nearly sixty producers and co-producers led by Kristin Caskey, Mike Isaacson, Brian Anthony Moreland, Kandi Burruss, Todd Tucker, Common, MC Lyte and The Ambassador Theatre Group are the team behind the curtain making this a feat of epic proportions.

Those elements work extremely well for “The Wiz” and are sure to be crowd-pleasers at every stop along the way. The tour will also allow time for the performance elements to coalesce for what is one of the most highly anticipated Broadway openings next spring—a straight-up adaptation focused squarely and beautifully on the central themes of friendship, family and home with just the right touch of panache—with all the right stuff to appeal to contemporary audiences of all ages. If you are a fan who knows this familiar, and much beloved, score that includes “Ease On Down The Road,” “If You Believe,” “Everybody Rejoice” and “Home” by heart, you will not be disappointed.  

Nichelle Lewis’s debut performance as Dorothy will be turning heads in the months to come with her charm, wholesome innocence with a little sass, and heavenly vocal range. Melody A. Betts is a powerhouse in the dual role of Aunt Em/Evillene. You will love the cohort of the remarkably limber Avery Wilson’s Scarecrow, the soulfully spirited Phillip Johnson Richardson’s Tinman and Kyle Ramar Freeman’s effervescent Lion. Alan Miongo, Jr. delights as the inimitable Wiz. The charismatic and glamorous Deborah Cox as Glinda, another superb vocalist, looks amazing in costume designer Sharen Davis’s creations.

The journey begins in Kansas, on a black and white tapestry by scenic designer Hannah Beachler. Once in the full color Land of Oz, the opulent scenic transitions race by at the speed of light through imaginative corn fields with tilted windmills, dark forests and a lion’s den in the jungle, to a stunning glimpse of the Emerald City. Once in Oz, the palate turns emerald and the majestic lighting design (Ryan J. O’Gara), sound design (Jon Weston) and projections (Daniel Brodie) continue to an awe-inspiring scene in Evillene’s lair for “Don’t Nobody Bring Me No Bad News” and Lewis’s soaring delivery of “Home” that will sweep you away and ease on down the road all the way to Broadway. No bad news here. 

Post Script: André De Shields
Earlier this week via text, I asked the original Wiz, the omnipresent André De Shields, if he would share a memorable highlight from the original 1974 production. He told me that during the run, the entire company was invited to a homecooked meal prepared by his mother and two of his sisters:  

“The group was so large, that it spilled out of my family’s modest two-story row house onto the 1800 block of Division Street. Forty-nine years later, in September 2023, the revival of “The Wiz” opened in Baltimore at the Hippodrome Theatre, during the same week that the 1800 block of Division Street was renamed ‘André De Shields Way.’”  

And in case you were wondering, the company feasted on everything from oyster fritters, steak fish and kidney stew to sweet potato pie and Chesapeake blue crabs, washed down with assorted flavors of Kool-Aid. et  

PHOTO|Jeremy Daniel

BROADWAY IN CHICAGO
presents
THE WIZ
Cadillac Palace Theatre

through December 10


WEBSITE
TICKETS
For more reviews, visit:
Theatre In Chicago

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PicksInSix Review: Beetlejuice-The Musical - Broadway in Chicago

 
 

“Beetlejuice” – ‘Being Dead Has Its Perks!’
PicksInSix® Review | Ed Tracy

There is a monster sandworm burrowing its way into theaters across the country and its filling houses and bucking ticketing trends at every stop. There are levitating bodies and the tiny head guy is there, too, albeit briefly, for the multiple Tony Award nominated musical “Beetlejuice” that opened here at the Auditorium Theatre on Wednesday to the delight of enthusiastic movie followers, cult fans and a dusting of first-timers, of which I was one.

I am pleased to say that those attending were treated to a black and white striped (and green-hued) spectacle of snappy repartee, soaring ballads, splashy production numbers and eye-popping special effects that showcased a superb ensemble. But it is the unhinged brilliance of stage veteran Justin Collette as the sly, demonic and blue-cheesy Beetlejuice, and the enormously talented Isabella Esler making a star turn in her national tour debut as Lydia Deetz, that people will be talking about for a long time.    

For those uninitiated: “Beetlejuice” opened on Broadway in 2019, closed during the pandemic, was successfully resurrected in April 2022, and closed in January 2023 with plans for this tour well underway. The show is based on Tim Burton’s 1988 film starring Michael Keaton with the musical book by Scott Brown and Anthony King, with music and lyrics by Eddie Perfect. It begins with Beetlejuice (Collette) at the graveside services for Lydia’s mother, Emily, who is grief stricken by the loss. Meanwhile, at the home of Adam (Will Burton) and Barbara Maitland (Megan McGinnis), death come quickly and the pair are exiled to the attic. When Charles (Jesse Sharp), along with his gal Friday/lover Delia (Kate Marilley) and Lydia show up to move in, everyone is initially amused by the couple’s ghostly antics, except Lydia, who will do anything to thwart her father’s plan to marry Delia and preserve the memory of her mother.

The Maitland’s form an alliance with Lydia, but when things don’t go very well, Lydia succumbs to Beetlejuice’s deceptive charm, says his name three times, and “It’s Showtime!” From there, it’s not long before this farce gains momentum, the house is overrun with ghouls, goblins and other wild goings-on, and Lydia realizes that she is the only rational living thing in the middle of all the madness. A trip to the Netherworld and lots of freakish folly follows that all adds up to one helluva show.

Collette’s comic timing and impish glee serves his bizarre otherworldly character well. The super-charged chemistry with Esler is a perfect match. And, when she’s by herself, Esler explodes with a powerhouse vocal range that belies her youthful stature. This is a magnificent breakout performance, delivered with charm, passion and sincerity and wonderful to see and hear.

You could not ask for more visually from the Alex Timbers directed production team including the intricate set (David Korins), elaborate projections (Peter Nigrini), stunning costumes (William Ivey Long), raucous choreography (Connor Gallagher) and outstanding music direction (Kris Kukal). Of particular note are the multiple views of the Maitland’s  house through its various transitions and a clever transition to the Netherworld that reminds one of the opening of a Twilight Zone episode. So, if you already have a ticket to see this production of “Beetlejuice-The Musical” you are in luck. The relatively short run through November 19 is selling fast, so quickly, in fact, that it was announced this week that the show would be returning in May 2024 at the Nederlander when everyone will again be saying: Beetlejuice! Beetlejuice! … You get the idea.  

PHOTO|Matthew Murphy

Broadway in Chicago
presents
Beetlejuice
Auditorium Theatre
through November 19


WEBSITE

For more reviews, visit: Theatre In Chicago

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

 
 

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

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

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

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

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

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

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

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

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

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

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

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

PHOTO|Liz Lauren

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

BROADWAY PLAYHOUSE
at Watertower Place


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