PicksInSix Review: Little Bear Ridge Road - Steppenwolf Theatre Company

METCALF IN MESMERIZING RETURN AT STEPPENWOLF
PicksInSix® Review | Ed Tracy

Samuel D. Hunter’s brilliant new play “Little Bear Ridge Road” now enjoying an extended world premiere run at Steppenwolf’s Downstairs Theater might not have ever happened if Tony Award winning director Joe Mantello and iconic Steppenwolf Ensemble member Laurie Metcalf had not approached Hunter to develop a project for Metcalf.  

That was a little more than a year ago and the resulting work traces the reemerging relationship between Metcalf’s irascible character Sarah and her gay nephew Ethan (Micah Stock), the last surviving members of the Fernsby family who are navigating the aftermath of the death of Ethan’s estranged father. Ethan has arrived on Sarah’s doorstep near Moscow, Idaho with little more than a writing degree and the wherewithal to rent a hotel room for a few days let alone the weeks he would need to settle his father’s estate. Sarah lives a private, secluded life alone on Little Bear Ridge Road, her 40 year nursing career shrinking to three shifts a week and is not at all excited that Ethan may now be her house guest for an undetermined period of time.

Things move quickly in conversations between the two, exposing Sarah’s unbridled opinions and hilariously mundane lifestyle, Ethan’s conflicted relationship with his father in the years prior to his death and his own disheveled personal life and uncertain future. The combination of Metcalf and Stock, with Mantello’s expertly paced direction, allow the series of crisp early scenes of Hunter’s script to seamlessly define both characters.  As time passes, Ethan ventures out to a bar and hooks up with James (a rock solid performance by John Drea), who sees some potential in a relationship, but wants to slow things down at first. As that relationship takes shape, James finds himself in a revealing conversation with Sarah. Details about Sarah’s health challenges emerge, which have the two-fold effect of bringing the two men closer together and shifting the dynamics of the drama in Sarah’s direction.

Hunter’s writing is clever, succinct and punctuated by Metcalf’s marvelous presence on stage. Even as we revel in the robust early comic interaction of the play, it is the dramatic turn of the piece that elevates this drama, exemplifies Hunter’s exceptional storytelling ability and exposes the emotional core of the piece.

The elegant, stylized stage design by Scott Pask is set with a home theater seating unit that revolves to suggest alternate scenes. There is a lone ceiling fan above and an expansive, circular stage floor all enhanced by Heather Gilbert’s lighting design and Mikhail Fiksel’s sound design. The look of this show is clean, simple and amazingly effective.

Over the course of ninety minutes, Metcalf is a mesmerizing force on stage and a joy to watch, her flawless, wide range of comic timing and dramatic sensibilities on full display. Stock plays Ethan with a fragile, measured intensity that emerges in a definitive scene with Drea and then becomes unhinged in a stunning definitive confrontation with Metcalf. And when Meighan Gerachis appears in a brief but powerful and satisfying coda to the drama, we are left to ponder the importance of making choices that look forward with hope rather than backward with regret.

PHOTO|Michael Brosilow

STEPPENWOLF THEATRE COMPANY

Presents

WORLD PREMIERE

LITTLE BEAR BRIDGE ROAD
Downstairs Theater
1650 N. Halsted
Extended
through August 4, 2024

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PicksInSix Review: Judgment Day - Chicago Shakespeare Theater

“WHAT GOES ON IN YOUR HEAD?”
PicksInSix® Review | Ed Tracy

There’s a deliciously hilarious show now playing in The Yard at Chicago Shakespeare Theater, a spritely, unabashed, comic romp that centers on a deceitful and wretched lawyer named Sammy Campo (Jason Alexander) who gets what everyone wants out of life: a second chance. The world premiere of “Judgment Day,” with a whip-smart, no-holds-barred script by Rob Ulin that’s loaded with laughs, casts the irrepressible Alexander as one of the most crass and insincere bottom feeders you will ever imagine, thanks as well to the crisp satiric direction of Moritz von Stuelpnagel.

Right at the top, coming on the heels of one of his greatest and most sinister of schemes, the throttled Sammy suffers a massive heart attack. During Sammy’s near-death experience, he is greeted in purgatory by an Angel (Candy Buckley) who appears to him as his former Catholic school teacher. No salvation here, though, as she welcomes the idea that Sammy will finally and forever be “attacked by pecking birds” and boiled in “flaming diarrhea” in Hell to pay for his sins.  

But, since there are always technicalities when you are dealing with matters of Heaven and Hell, Sammy is miraculously restored to the living, armed with a new mantra to accumulate points for good deeds that will realign the trajectory of his afterlife upward. All the insincerity that follows, spewing effortlessly from the irreverent Sammy Campo, begs the question: What will it take to turn this self-centered manipulator into a person worthy of the glory of Heaven?

Sammy first makes a pact with Father Michael (Daniel Breaker), a conflicted priest who jeopardizes his own well-being by ruffling the feathers of the by-the-good-book Monsignor (Michael Kostroff) by helping Sammy. There’s the hard luck story about Edna (Meg Thalken), a member of Father Michael’s congregation who is being evicted from her house for non-payment of her dead husband’s insurance claim. The third opportunity is the reconciliation with his love-lorn wife Tracy (Maggie Bofill) and son Casper (Ellis Meyers). As the relationship with Father Michael develops, Sammy reconciles with Tracy and settles in with Casper. Soon, even his steadfast and delightfully direct assistant Della (Olivia D. Dawson) begins to recognize glacial changes in Sammy’s demeanor. But the question of salvation remains to be answered and this is where “Judgment Day” must meet its maker.

In its best and most hilarious moments—and there are many—Ulin’s script clips along much like a television sitcom, dealing with our hard fast perceptions of spirituality, morality, sex and love. The lawyerly, contrary point of view that Alexander’s self-centered despot espouses is perfectly counterbalanced by Breaker’s everyman character. Ulin allows Father Michael to complete our thoughts at Sammy’s outrageous observations at every turn, whether in the confessional, on a stakeout of insurance adjuster Jackson (Joe Dempsey) or simply finding consolation and ultimately friendship on a park bench.

Beowulf Boritt’s scenic design elements transition from Sammy’s office to the confessional and Tracy’s home all framed in a massive faux stained glass backdrop that offers otherworldly opportunities for the combined efforts of Amith Chandrashaker’s lighting design, Mikaal Sulaiman’s sound and Tilly Grimes costumes. The open design allows Alexander full range of mobility, stepping in and out of scenes in search of his comic salvation in this highly entertaining piece that feels very much like it was heaven sent just for him.  

PHOTO|Liz Lauren

Chicago Shakespeare Theater
presents
World Premiere
Jason Alexander
JUDGMENT DAY
through May 26

The Yard
Navy Pier

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PicksInSix Review: FLOOD - Shattered Globe Theatre

“FLOOD” Hits Absurdist High-Water Mark!
PicksInSix® Review | Guest Contributor | Ronald Keaton

In today’s world, we are so attuned to what our own realities are and don’t always know how to adjust them to fit the moment at hand.  We forget sometimes that satire in all its challenging glory is a prime path to making such changes and to look at life in a totally different way.  Shattered Globe Theatre’s Chicago premiere of “FLOOD” by Mashuq Mushtaq Deen grabs its audience by the throat and takes it on an unusual journey of absurdity—admittedly the kind of trip we are not taken on much these days in the theatre.

Deen has fashioned a story with what would normally be quite opposing elements.  The Lauren Nichols design of the set we view in its telling—an apartment or condo setting that looks like a colorized version of an old 1950s situation comedy (read: Father Knows Best, Bachelor Father, etc.)—sets us up from the beginning; there is no doubt as to its functionality as the story goes.  There is a desk with a man (an impervious HB Ward as Darren, the family patriarch) sitting with sections of a model he’s been working on for quite a while.  Darren wears a mask for practically the entire play, one that covers his eyes and nose and hairline; there are other identical masks hanging on the wall behind him.  Darren’s attitudes are almost authoritarian and solid, as if it were what he learned from his own parents, and the hierarchy here is well-defined.  Mr. Ward is appropriately manipulative and commanding in Darren’s position up center stage, almost dictator-like in perception; he controls every conversation, every breathing moment between husband and wife. We don’t know about his job, his early history…he is simply a constant where he is.

Meanwhile, Darren’s wife Edith (the great SGT stalwart Linda Reiter) is frustrated with her husband, because he seems to have created an impenetrable cocoon of focus on the project he is building.  And all she wants to do is have a cup of tea with him and rebuild those ties that seem to be rapidly disappearing from her emotional reference.  Edith is a grand example of that 50’s housewife—keeping the home in order, doing most of the talking to the children—while wondering openly for the audience to see how long she can maintain this “peaceful” aura.  Ms. Reiter expertly shares Edith’s feelings and uses only a glance or a body shift to get it all across.  Edith is always asking questions.  Indeed, Darren and Edith have a “book of unanswered questions” that has regular entries put into it—all pointing toward the day when the building and creating is done and they can sit and actually talk about those questions, and whatever else might come up.  Like their future.

There are two children—Darren Jr. (Carl Collins) and Edith Jr. (Sarah Patin)—who are totally unlike their parents in nearly every way.  They live on lower floors of this tall apartment building.  At first, we think they live together, to be honest—an absurdity if ever there was one in the family dynamic.  But we do discover in time that they have their own lives (Darren Jr. is actually a father himself).  And, they are wet.  It’s raining outside at this locale, set by a beach bordering the ocean. And the water is rising, and apparently very quickly.

In experiencing all this, the kids are trying to share with Mom in phone calls—the phones, by the way, are simple tin cans with twine as electrical cord—that they are drowning and they need help. But their cries go unheeded, for the most part, as Darren has convenient excuses and reactions for everything that happens, except for the obvious: the building is flooding. And not just now; RIGHT now.

Directed by Ken Prestininzi in detailed, intimate strokes that all strike a familiar chord, Deen has thrown many of the elements in theatre of the absurd to good use. Dialogue here harkens back strongly to Beckett and Ionesco. Disparate elements of time and space here create much debate on what exactly this family is facing.  There are moments that comment in their presentation on everything from climate change to social media to parental regard for children to marital challenges to the creative impulse in people… I could go on and on.  FLOOD is a difficult piece to absorb, but upon examination, that’s actually in its favor.  Certainly, there is lots for the audience to chew on.  And I won’t share the play’s ending.  But Deen and Shattered Globe Theatre are both to be commended for taking a chance on new work in an art form that audiences really do not see much of anymore in a full play.  “FLOOD” forces the audience to look at life in a more encompassing way than the day-to-day aspect by actually utilizing that same thought to show the absurdities we all face every day… and how one family deals with them.

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

PHOTO|Liz Lauren

Shattered Globe Theatre
presents
Chicago Premiere
FLOOD
Theater Wit
1229 W Belmont
through March 9, 2024

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PicksInSix Review: It's a Wonderful Life: Live in Chicago!-American Blues Theater

A New Home. An Enduring Classic!
PicksInSix® Review|Ed Tracy

American Blues Theater has officially opened their permanent home—the first in the 35-year history of the professional theater company in Chicago—and they did it in grand style with the 22nd annual production of the holiday chestnut “It’s a Wonderful Life: Live in Chicago!” The theatrical tradition—a family show with a message for the young at heart—is year after year ABT’s delightful homespun offering. On Sunday afternoon, the show took on special meaning as the first to officially christen the 137-seat main stage with music, mirth and merriment that makes it the perfect choice to ring in the season.

The live radio show— based on the short story The Greatest Gift by Philip Van Doren Stern that was the basis for the 1946 Frank Capra film—is under the direction of longtime Executive Artistic Director Gwendolyn Whiteside and features Christmas carols, local “on-air“ commercials, audience shout-outs and a warm, engaging show that looks, feels and sounds—thanks to Foley artist J.G. Smith—every bit like a broadcast from the 1940s. That is except when music director Michael Mahler is delightfully churning out a holiday parody to a familiar REO Speedwagon tune in the pre-show. That’s one of several clever additions to previous sing-alongs I have attended. The ensemble was having a blast warming up the audience prior to the main event—a 90-minute true-to-telling of one of the most heartfelt of all holiday stories about the fateful day in Bedford Falls when George Bailey learns from his guardian angel Clarence that no man is failure who has friends.

Returning with gusto for his seventh run on the Bailey Building and Loan, Brandon Dahlquist has the corner on George Bailey, delivering a marvelously sensitive and present performance—a fine balance between familiarity with the material and navigating the limitations of the radio play format where scenic elements and props are all but non-existent, unless they make a sound. We are truly moved by George’s anguish as he struggles to confess his love for Mary—beautifully portrayed by Audrey Billings— and the explosive frustration unleashed upon Manny Buckley’s befuddled Uncle Billy when Billy is duped by Mr. Potter (played superbly by Joe Dempsey) and threatens the solvency of Bailey’s Building and Loan setting the wheels in motion for George’s frenzied emotional collapse. George’s redemption may be the most familiar part of this story, but Dahlquist keeps the dramatic tension fresh, coming literally unhinged at the sight of the world without him a player in it.

Along with Mahler, who shines as announcer and pianist, the company includes Dara Cameron, Mahler’s real-life spouse who is lovely as Violet and Zuzu; the multi-talented Ian Paul Custer and versatile Buckley, who collectively have many of the most heartfelt and touching moments in the show. At the opening press performance on Sunday, Cameron was honored by the onstage company for her longtime service and contributions. Richly deserved!

Over the years, I look forward to coming back to “It’s a Wonderful Life: Live in Chicago!” In 2016, I recorded a delightful conversation with Wendy Whiteside together with then-Foley artist Shawn Goudy on main stage at The Greenhouse Theater. It was Dahlquist’s first year and the 15th for the late John Mohrien whose performance as Clarence/Potter was broadcast in a memorable pandemic era broadcast that elevated my deep respect and admiration for the ABT Ensemble who have continued to adapt, enhance and deliver truly inspired work at venues across Chicagoland.

Brandon Dahlquist (George Bailey) and Joe Dempsey (Mr. Potter) in the 2023 American Blues Theater production of “It’s a Wonderful Life: Live in Chicago!” now playing through December 31, 2023. Video|The Stage Channel

As much as their sparkling new home is a labor of love and an extraordinary accomplishment for Whiteside, the ABT Board and Artistic Ensemble, it is just the beginning. The new facility has a second, small flexible rehearsal studio that will serve as a venue for other theatrical companies and, altogether, a stunning cultural anchor for the neighborhood and lots of old and new friends.  

PHOTO|Michael Brosilow

American Blues Theater
presents
It’s a Wonderful Life: Live in Chicago!
through December 31, 2023

5627 N. Lincoln
(773) 654-3103

WEBSITE | TICKETS

2023 BACKSTAGE GUIDE

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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

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PicksInSix Review: Twelfth Night - Chicago Shakespeare Theater

“Twelfth Night” — Free-Spirited, Comic Gem!
PicksInSix® Review | Ed Tracy

Without a doubt, the astounding quality and resulting popularity of productions of Shakespeare’s work at Chicago Shakespeare Theater rests firmly on the theater’s decades-long artistic commitment to presenting work with universal clarity and understanding, multi-talented casts and purely whimsical staging. A large part of this artistic ethos has to do with the diversity of the massive audiences drawn to Navy Pier, a top Midwest destination attraction that offers a once-in-a-lifetime experience for visitors to Chicago and an endless stream of students whose trip to the magnificent Courtyard Theatre is often their introduction to both theater and Shakespeare.

So, it is no surprise that the opening of “Twelfth Night”—a free-spirited, comic gem directed by Tyrone Phillips—was enthusiastically received on Thursday night. Shakespeare’s celebration of the many facets of love, and its impact on who we are, takes on new meaning in Phillips adaptation which is at the same time true to the comic roots of the original and cleverly awash with 21st century references that fit together seamlessly. With Shakespeare’s robust characters bursting forth with purpose, passion and promise, Chicago Shakespeare’s “Twelfth Night” is clever, smart and a joy to watch from beginning to end.

Set in the Caribbean, the story revolves around the separation of shipwrecked twins Viola (Jaeda LaVonne) and Sebastin (Justen Ross) on the island of Illyria. In order to deal with the grief and abandonment that she is feeling with the supposed loss of her brother at sea, Viola disguises herself as a young man named Cesario and takes a position as page to Duke Orsino(Yao Dogbe). The Duke implores Viola(as Cesario) to become the intermediary for his love interest, the Countess Olivia(Christiana Clark) who is in mourning herself about the recent passing of her brother. While Viola finds herself falling hard for the Duke, Olivia, determined to shun the Duke, begins to woo Viola(as Cesario).

Olivia lives with her uncle Sir Toby Belch(Ronald L. Conner) who spends most of his time in drunken—and hilarious—merrymaking with his companion Sir Andrew Aguecheek(Alex Goodrich) along with Olivia’s gentlewoman Maria(Danielle Davis), Fabian(Shelby Lynn Bias) and the jester Feste(Israel Erron Ford).  The group’s brand of roguish behavior riles Olivia’s cynical steward Malvolio(Paul Oakley Stovall) into such a fit that the group conspires to deceive him into believing that Olivia is enamored with him. One comic situation follows another with love eventually conquering all.

The show is infused with a universal blend of contemporary hip-hop and reggae music by music director Robert Reddrick and movement director Sadira Muhammad that befits the storytelling. Philips and his creative team, led by scenic designer Sydney Lynne with costume designer Christine Pascua, have conceived a striking seaside atmosphere that transitions effortlessly from scene to scene. With extraordinary precision, the crystal blue Caribbean skies turn to a thunderous rainstorm in the blink of an eye and a nod to the evocative lighting design of Xavier Pierce, stunning projections by Mike Tutaj and an intricately charged sound design by Willow James.

It all feels like an expertly-crafted ensemble piece. LaVonne’s earnest and engaging Viola/Cesario is a delight. Sir Toby Belch and Aguecheek, two of Shakespeare’s most beloved comic foils, are played here by Conner and Goodrich with reckless comic abandon. Davis, whose sustained laughter is infectious, and the sublime vocals of Ford, round out the band of hooligans at the center of the comic subplot to upend Stovall’s staunchly priggish servant turned infatuated manic lover Malvolio—the brilliant and commanding performance of the night—all make “Twelfth Night” a show to see and enjoy!  

PHOTO|Liz Lauren

Chicago Shakespeare Theater
presents
TWELFTH NIGHT
Courtyard Theater
Navy Pier
through November 26

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PicksInSix Review: Little Shop of Horrors - Paramount Theatre

Boy Meets Girl Meets Bloodthirsty Plant.
PicksInSix® Review | Ed Tracy

There’s a little show about plant food and world domination that’s getting a big-stage theatrical revival at a theatre near you. The smash hit 1982 Off-Broadway musical “Little Shop of Horrors” featuring book and lyrics by Howard Ashman and music by Alan Menken is currently blooming nightly in a fast-paced and highly entertaining production directed by Landree Fleming at the Paramount Theatre in Aurora.

For the humble and lovable Seymour Krelborn (Jack Ball), being on Skid Row as a junior employee at Mushnik’s Flower Distributors is looking more and more like a dead-end job every day. It doesn’t help that the awkward and inept Seymour is hopelessly infatuated with his coworker, Audrey (Teressa LaGamba), who happens to be entangled with a sick, demented and abusive lover Orin (Russell Mernagh), the nitrous oxide addicted dentist from hell you love to hate.

The Mushnik flower shop is on a perennial bubble of its own. With his inventory shriveling and not one sale for the day, the dejected Mushnik (Gene Weygandt) is about to throw in his trowel and pull the door shades down for the final time. Grasping for a hopeful life-vine, Audrey urges Seymour to bring out his newest project, a fascinating and irresistible plant he has dutifully named “Audrey II” in honor of the woman of his dreams.

What starts out as fun-loving camp turns quickly to ghoulish satire with a succulent score and a top rate ensemble led by Ball and LaGamba as the unwitting marks for the charismatic, and inherently evil, foliage from another planet that has a taste for world domination and fresh hemoglobin. It’s Ball’s Seymour who is first enchanted into feeding his own fancy for fame and fortune until those closest to him begin to succumb to Audrey II’s insatiable erythrocytic appetite.

Along the way, Ashman and Menken’s brilliant collaboration shines in the capable hands of music director Kory Danielson who conducts the Paramount Band and choreography by Michael George and Mariah Morris. LaGamba’s lofty and poignant rendition of “Somewhere That’s Green” and the superb duet with Ball “Suddenly, Seymour” are particular highlights. Standout performances abound from the Urchins—Lydia Burke (Crystal), Tickwanya Jones (Ronnette) and Marta Bady (Chiffon)—who serve as the show’s Greek chorus, to Weygandt’s irascible turn as Mushnik in “Mushnik and Son.”

The magnificent multi-level Skid Row set is the work of Jeffrey D. Kimec. Add Jose Santiago’s crisp lighting and Yvonne Miranda’s evocative 60s era costumes and you have the perfect backdrop for the ever-present, and all-consuming, Audrey II—voiced by Je’Shaun Jackson and puppeteered by Adam Fane—designed and created by Skylight Music Theatre and the props team who are working overtime for this show and make Paramount’s “Little Shop of Horrors” a creeping-crawling hit that’s good to the last drop!     

PHOTO|Liz Lauren

Paramount Theatre
presents
LITTLE SHOP OF HORRORS
through October 15, 2023

23 East Galena Boulevard
Aurora, IL 60506

(630) 896–6666

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HEALTH & SAFETY PROTOCALS

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Lucy and Charlie's Honeymoon - Matthew C. Yee

Spend a little time speaking with Matthew C. Yee these days and you come away with a feeling that the thoughtful, passionate and committed artist is in the middle of telling one of the most important cultural stories of his life. Not that his debut musical “Lucy and Charlie's Honeymoon,” currently in previews at Lookingglass Theatre, is really his life story but, it is a very unique take on his own Asian heritage. And, as you will hear, one of the characters in the show is based on his grandmother.

The central theme of the show came from a short 2012 on-camera scene in college about an Asian American couple who argue outside of a convenience store that they are about to rob. The dramatic relationship between the two and their aspirations – an alternative take on the American Dream with a country western musical twist – compelled Yee to write the first draft of the show a few years later. That work then attracted creative artists and friends who helped move the project along to the point where the opportunity for a production at Lookingglass materialized.

Chicago audiences have surely seen the multi-talented Yee over the last decade plying his craft at Steppenwolf, Writer’s Theater and Paramount, among others, in a developing career that led to a role in the Broadway production of “Almost Famous” last year. Along the way, he has been collaborating on the show with a wide range of artists in Chicago’s rich creative community.

Aurora Adachi-Winter and Yee star as Lucy and Charlie in the show about two first generation Asian Americans who meet, fall in love and then decide to start a life of crime together. Yee termed the genre of music “Countrypolitan” – a mix of the “Nashville Sound” of artists from the 40s through the 70s that he was drawn to in his youth – and credits the diverse cast who both sing and play instruments throughout for broadening the overall vision for the production.

“Lucy and Charlie’s Honeymoon” is directed by Amanda Dehnert and features: Matt Bittner, Wai Ching Ho, Rammel Chan, Harmony Zhang, Doug Pawlik, Daniel Lee Smith and Mary Williamson.

There is much more about the show in our conversation with Matthew C. Yee, whose passion to realize the exact intersection of storytelling, music and theater is playing on stage now at Lookingglass. PODCAST

The development process: “I started working on this story in 2012. … a little scene for an on-camera class that I was taking in college about a couple arguing outside of a convenience store about how they were going to rob the convenience store. I sat on that for a long time and it was always just ruminating… these two characters who were in love with each other, but very, very bad for each other. They sort of battled each other in a lot of different ways and I wanted to expand that into something bigger.”

“I started working on an expanded version in 2016-17. We did a read of it at the Steppenwolf’s Front Bar and from there I turned it into a full-length play. It was still very, very rough… we had a reading of it with some friends and our costume designer, Sully Ratke, an artistic associate at Lookingglass, who passed it along to Heidi Stillman, the artistic director. Heidi contacted me and she's like, “I want to do a reading of this. We should get a cast together. I want to hear this out loud.” And so we did that in 2019… then Phil Smith and Heidi said they want to do a full production. … We were going open in the spring of 2020 and that didn't happen, for obvious reasons. And then we kept working on it… doing workshops when we could. …a zoom version we shared on the internet. And then we were going to do it in the spring of 2022 and “Almost Famous” on Broadway happened. And so we pushed again and then here we are.”

The story: “Without giving too much away… this couple, Lucy and Charlie, who are first generation Asian Americans, fall in love at a time in their life when they are trying to figure out who they are and how they fit into American culture. And they're having trouble. And Charlie especially is having a lot of trouble figuring out what it means to be an Asian American, especially a male Asian American. There is a lot of baggage that can come along with being a male Asian American. They fall in love and they get married after knowing each other for two weeks. And they have this brilliant idea that they are going to start a life of crime together because nothing else has worked. And they think that this is going to be a really beautiful, romantic sort of American outlaw cowboy story, that they are going to go out west and live this outlaw life together. They end up meeting a woman along the way who has come from China to help her sister, who months before also had come to America in search of her American Dream. They start to suspect that something bad has happened and they try to rescue this woman and things don't go well because she doesn't want to be rescued. She doesn't think that she needs to be helped by these people. And they all also don't know what the hell they are doing. They become this trio and go on this adventure together. And from there, you should come see it because a lot of other crazy stuff happens.”

The music: “I wrote the music in the style of mid-century, Americana country western folk expanding from the 1940s to the 1970s. I got really interested in something that people call “Nashville Sound” or sometimes it's called “Countrypolitan”… country music mixed with pop music and Americana… It's a style that can feel very insular because a lot of us think that it belongs to a specific group of Americans. I wanted to change that perception. I was really excited to have a cast of Asian Americans playing this music because it is the music that I grew up with and I've loved for a long time… so I wanted to take the feeling that I had as a kid that it was weird that I liked this style of music and I wanted to bring that on onto the stage.”

Bao’s Song: “Our character Bao, who is the woman who has come from China, has this dream of reuniting with her sister, moving out west and living in the mountains together. She talks about seeing an old movie in China, an American western… cowboys who stole gold and went to live in the mountains together. And she loved that idea and she wanted to live that adventure. So, “Bao’s Song” is very much the ‘This is what I want song” that tells you all about who she is as a person, where she's come from and what she wants out of life.” (Editor’s Note: Listen to a featured performance by Yee of “Bao’s Song” on the podcast.)

On Collaboration: “One of the benefits of having all of these people that I've worked with for a long time in the room and who have worked on this project for a long time is that they know what the vision is, they know what's inside my head, and they're able to help guide me in ways that we just wouldn't be able to do if these were new people we had just cast. They understand me and what I'm trying to get at and they understand that no matter what state the text is in, it's going to get to a place that it's going be the best version that it can be. So, there's a lot of trust that they put in me, and there's a lot of trust that I put in them that we're going to figure out what this is together.” PODCAST

Comments have been edited for length and clarity.

REHEARSAL PHOTO| Sarah Elizabeth Larson
PRODUCTION PHOTOS|Liz Lauren

LOOKINGGLASS THEATRE COMPANY
presents
WORLD PREMIERE
LUCY AND CHARLIE’S HONEYMOON
In previews
Opens June 3 - July 11, 2023

Tickets

312.337.0665

Website

Program

Health and Safety

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MotherFreakingHood! Sara Stotts

If only children came with a user manual there might be fewer twists and turns along the journey.

But then again, no birthing guide could produce the kind of hilarious observations that co-writers Sara Stotts and Julie Dunlap have realized in the hilarious musical “MotherFreakingHood!” now playing at Mercury Theater Chicago’s intimate Venus Cabaret.

They were college roommates who took an interest in writing songs together. Then, several years – and, at last count, seven children – later, they were inspired to turn real-life maternal experiences into a free-wheeling, fun-filled musical comedy about motherhood. 

Co-writers of MotherFreakingHood! (l-r) Julie Dunlap and Sara Stotts and director Heidi Van.

The show first debuted in 2013 in Lawrence, Kansas with Dunlap directing and Stotts in the cast. With director Heidi Van and a new cast on board, the show moved on to Kansas City in 2015, was a featured selection in the New York Musical Festival in 2017 and played to sold-out houses at The Blackbox Theater in Kansas City last fall.

The show is now playing at Venus Cabaret where the top-flight Chicago-based cast includes Jacqueline Jones, Leah Morrow, Tafadzwa Diener and Maya Rowe in a fast-paced musical comedy about friendship and child-rearing. 

Sara Stotts joined the CONVERSATION shortly after the show opened to talk about the production from the moment of theatrical conception. PODCAST

Conception: “Well, it all started with my co-writer Julie Dunlap. We were at a significant birthday of mine – let's just say there's a couple digits in it and they're not small. Anyway, we had friends and family there… friends of mine from Second City, from when I was doing the Second City, they had created a band called “Listening Zoo.” They sing all original songs about funny stuff. Like “Darn you Tom Hanks for making me cry again!” All really funny and we had a wonderful time. And then at some point after the party, I got a call from Julie saying, “You know, we could write funny songs about motherhood.” And I thought she was still drunk, quite honestly, because that's just insanity… So, a few months later, songs just started coming out of me. I mean, I just was barfing out songs while I'm brushing my teeth in the bathroom. I called Julie and I said, “You know, Julie… I don't know if you were serious about this, but I've kind of started writing some songs. She says, “I've written three songs!” and it was on.”

Truth in storytelling: “All of the songs are absolute truths. One of the sayings about doing improv is truth and comedy. You know, it's funny because it's true. I mean, we're not making this stuff up. Some stories are a little bit embellished for comedic purposes, but it's based on true stories. That's why it's so relatable to mothers because they've lived it, they've gone through it and we're just putting a funny lens to the absurdities of motherhood.”

The beating hearts of the show: “It's about three women who get pregnant and one's a first-time mom, Rachel, who's terribly excited to get pregnant. And she's so naive and she has no idea what she's getting into, and therefore she's excited. The second mother is Angie. She's had a baby… right on time and she's going to have another baby and it's going to be a girl because she already had a boy and everything goes for her as planned. The third mother, Marsha, she had three kids. She was ready to send her daughters through high school and college. She was not planning on this at all. And she's, let's say, cantankerous. She thought she was done. She thought she would get to retire.” 

The early years: “We first put it up in Lawrence, Kansas. That's where Julie lives. She directed it. And I got to play the role of Marsha… We did rewriting and then we were picked up by a production company to do a production in Kansas City in 2015. At that point, we picked up Heidi Van, who is our current director. She lives in Kansas City. And she could relate totally to the show because she has two kids. She's a mom and her comedic timing is insane. What she does, not just with our script, but the action, the physical funniness of it… she's brilliant!... we were selected to go to New York City for the New York Musical Festival which was a huge honor… after that we wanted to bring it to Chicago in 2020, but I don't know if you've heard of the musical called “The Pandemic?” Yeah. That ran for a long time… and occupied every theater. So, we had to put it to bed for a while. … Heidi has a theater in Kansas City called The Black Box Theater and we did 10 shows. Sold out. It was great! Great reviews. We won an award from Broadway World for the Best New Musical in the Kansas City region. That was an honor! From there, we made it to the Venus Cabaret Theater here in Chicago.”

Cast of MotherFreakingHood! at Mercury Theater Chicago (l-r) Jacqueline Jones, Tafadzwa Diener, Maya Row and Leah Morrow.

Chicago cast: “They are just so hilarious. The way they connect with the audience… they are so comfortable. We've got Tafadzwa Diener playing Rachel, the young mom. We've got Jacqueline Jones playing Angie the second time, mom… Leah Morrow, who's playing Marsha the third time mom and then we have Maya Row playing the “Every Woman” character. She plays multiple different characters throughout. It is so fun to see them bring these characters alive. Every production's going to be different. Every actor is going to interpret it their own way and bring their own brilliance to it. This cast is having so much fun and there is so much fun coming out of the audience.”

Not just for the moms: “We get great reactions from dads. When we did the Kansas City Show, it was funny because my husband came out of the bathroom at intermission as says: You should hear what the reviews are like in the men's bathroom. These guys are loving it!” We always get good reactions from the guys because we don't exclude the men who made us mothers. We never say anything bad about it, but men go through the same things. The men go through the same absurdities. We are just telling it from our lens as women, but they get a huge kick out of it. They can relate.”

The impact of the show on personal and professional lives: “It makes you appreciate your family more. I do get a little mom guilt because I was already busy and now I've made myself busier… I'm sure my kids would love for me to be home a little bit more… what I love is that my kids' first musical experience in New York City was seeing “MotherFreakingHood!” and I just got a kick out of that. It wasn't “Rent” it was “MotherFreakingHood! That just gave me a, a huge kick. They have been really supportive and I think it's good for them to see we're making fun with them. We're not making fun of them, we're making fun with them.” PODCAST

Excerpts have been edited for length and clarity.

PRODUCTION PHOTOS| Liz Lauren

Mercury Theater Chicago
presents
Chicago Premiere
MotherFreakingHood!
A Musical Comedy

Venus Cabaret
3745 N. Southport Ave
through June 11, 2023

Tickets
(773) 360-7365

Official Show Website

For more reviews, visit: Theatre In Chicago

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PicksInSix Review: The Steadfast Tin Soldier - Lookingglass Theatre Company

A Mesmerizing and Unforgettable Theatrical Treasure!
PicksInSix® Review | Guest Contributor | Kaitlyn Linsner

The beloved and delightfully creative holiday treasure, “The Steadfast Tin Soldier,” is now playing at the Lookingglass Theatre in the Water Tower on Michigan Avenue. Mary Zimmerman first brought the Hans Christian Andersen tale to life in 2018 and years later, it remains an unforgettable theatrical experience. 

“The Steadfast Tin Soldier” follows a small tin soldier through a whirlwind of adventures including falling in love with a ballerina, getting swallowed by a fish and befuddling a rat working in the sewage system’s customs department. The story itself has great charm and enduring life lessons, but it is Zimmerman’s use of wordless storytelling techniques that make this a larger-than-life spectacle. 

Why speak the language of love when you can dance? Or better yet, just slick back your hair, stand up tall and ask your crush out by pantomiming a play-by-play of your ideal date. It’s an absolute riot, and not only does this approach work for the show, it lingers outside of the theater by striking up a curiosity about how to interact in time and space with that same childlike playfulness and imagination.

In addition to the stellar pantomiming, the puppetry, visual imagery and original music by Andre Pluess and Amanda Dehnert elevate this production from endearing to truly remarkable. The musicians play well together, and with the cast, to deepen the experience and connection with the characters. The costumes from Ana Kuzmanic and sets from Todd Rosenthal also dazzle. 

Same goes for the exceptionally talented ensemble cast - Kasey Foster as the Ballerina, Anthony Irons as Goblin, Christopher Donahue as the Nursemaid, John Gregorio as the Rat, and Adeoye as the Tin Soldier - who skillfully play multiple roles and cultivate magic on the stage. Highlights include Irons’ animated movements as the haunting jack-in-the-box Goblin and Gregorio’s hilarious pantomiming as the Rat and the googly-eyed fish monger. 

At a running time of only an hour, the show is perfect for all ages looking to enjoy music, movement, charisma and great comedic timing. “The Steadfast Tin Soldier” continues to embody whimsy and wonder and will leave a lasting impression of just how darling things can be. 

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

PHOTO CREDIT | LizLauren

LOOKINGGLASS THEATRE COMPANY
Presents
THE STEADFAST TIN SOLDIER
through January 8, 2023

Water Tower Water Works
821 N Michigan Ave.
(312) 337-0665

WEBSITE
TICKETS

2019 PicksInSix Review

Listen to our 2018 CONVERSATIONS podcast with Mary Zimmerman

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PicksInSix Review: Love Actually? The Unauthorized Musical Parody

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Laughter, Actually, Is Here In Chicago!
Guest Contributor | Scott Gryder

If you search online for the most popular holiday movies of our time, Richard Curtis’s 2003 Love Actually is found in the top 10 of multiple lists. Love Actually? The Unauthorized Musical Parody, now playing at the Apollo Theater through January 2nd, only enhances the original, beloved plot. Whether you’re a diehard fan of the movie, or even a casual lover of general pop culture, Love Actually? will tickle your tinsel!

With the fast-paced hullabaloo execution of Rowan & Martin's Laugh-In, the musical parody Love, Actually? delivers character work harkening back to the genius of Forbidden Broadway, but with a punchier, indelicate wit. Based on the iconic holiday hit, writers Bob and Tobly McSmith resourcefully recreate the rom-com using the names of the actors who originated the roles of each character, resulting in comic gold. And Basil Winterbottom’s music charmingly clips along, making sure that no gag or moment overstays its welcome.

Of course, in order to recreate a Hollywood star-studded cast, you must assemble an all-star, all-Chicago ensemble, who can mutate through an assortment of recognizable character parts with a precision that would make the cast of SNL turn holly green with envy. Each celebrity character was brought to life by Ann Delaney, Jake Elkins, Ryan Foreman, Dan Plehal, Amanda Walker, and Christopher Wayland with almost frightening accuracy, not to mention the required use of a wild variety of accents coupled with musical prowess. Considering the level of commitment required to counterfeit the famous mannerisms and vocal stylings of each celebrity, layered over the practical physical demands of quick-changes unseen by the audience, I was floored to be reminded at curtain call that this entire circus of over 50 characters was brought to life by a mere six performers.

I was initially apprehensive as soon as the first mock celebrity sighting landed center stage. Could frenetic humor at this level sustain itself? Would it grow wearing over the next 85 minutes? In short: no! Not only were the scene transitions technically seamless, with the choreographed use of minimal props and furniture, but the minute the laughter began to subside, another sparkling impression or ludicrous lyric would catch the audience off guard. And music director Ethan Andersen and sound designer Matthew Fischer present this unfamiliar musical material with clarity and understanding through precise diction and balance.

Director Tim Drucker pushes the limits of absurdity with a driven, commedia dell'arte-style physicality, while Brooke Engen’s choreography (originally co-choreographed with Tiffany Engen) refreshes musical theater conventions with a made-for-TV holiday special shine. Set designer Joshua Warner’s farcical element of festive red doors trimming a stunning proscenium-size glitter-wrapped backdrop was a gift in itself; literally. And the ice-rink themed stage floor was a whimsical holiday touch. Brandon Baruch’s brilliant lighting was not only practical, assisting in the execution of flowing transitions, but it served as a comical tool in and of itself, highlighting shenanigans and creating sight gags. Much like the famed backstage peek of Noises Off, one can only imagine that the action behind the scenes, juggling the magical layering of Dustin Cross’s costumes and Conor Donnelly’s hair/wigs, would be just as entertaining as the madness onstage. The flurry of Love Actually? joyfully jostles the audience as if we were inside a giant snow globe, being bombarded by “snowflakes” of sassy scenes and campy musical numbers.

So often, when catching a parody piece, I find myself hungry to watch the original source material; however, Love Actually? is such a winning tribute that I am actually wholly satisfied. If you’re looking for holiday cheer, give yourself the gift of Love Actually? The Unauthorized Parody Musical. Oh, and just try not to leave the theater working on your Keira Knightly smile... grimace?... smile.

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

PHOTO | Timothy M. Schmidt

Right Angle Entertainment
presents
Love Actually? The Unauthorized Musical Parody

Apollo Theater
2550 N Lincoln Ave
through January 2, 2022

TICKETS

(773) 935-6100

CHICAGO CAST

SHOW WEBSITE - CHICAGO & NEW YORK

HEALTH & SAFETY

For more reviews, visit: Theatre In Chicago

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