PicksInSix Review: SHUCKED - Broadway in Chicago - CIBC Theatre

‘SHUCKED’ — A FIELD FULL OF FUN!
PicksInSix Review |Guest Contributor Ronald Keaton

There’s some grand escapist fare going on at the CIBC Theatre on Monroe through January 19.  SHUCKED is the musical story of a community that seems to want to hide away from the world and be left alone, until their lesson is learned. Now that doesn’t seem like a premise that would appeal to more worldly types, admittedly. But the way in which it’s done is an engaging and deceptively simple story told with huge doses of professionalism and humor. And it’s done with expert contributions from all quarters of the creative cache. It's not just about the active performance onstage.

For instance, the fascinating scenic design by Broadway veteran Scott Pask is an encompassing, barn-like roof with beams that stretch all the way across the stage and to the ceiling, symbolically protecting the citizens from nature like a protective bubble of sorts—all while allowing the sun to shine through on the crop and the denizens involved. That lighting design by Japhy Weideman is rich and full and compliments the action onstage brilliantly. Tony Award winner John Shivers layers in a fun sound scheme in a simultaneously subtle and obvious way. When you see it, you’ll understand that strange comparison.

A real star of the show is the endlessly inventive book by Robert Horn, who has taken the low humor form of the pun and shaken it to its core in a gorgeous manner, sprinkling the entire evening with endless, rollicking jokes that have little to do with the plot and everything to do with simply making us laugh. The story offered is surprisingly thick and challenging, which makes it even more a treat. Another is the decidedly enjoyable dance sequences created by the accomplished choreographer Sarah O’Gleby. I dare you not to sit back and smile at the ensemble dancing with ears of corn in their hands, like countrified Rockettes in tight formation.

Okay. Within this community are little stories galore all over the place. The pride of its existence is in living with/among/for corn. Yes, corn. The folks in town (the actual name is Cobb County) have made all things ‘corn’ their literal survival milieu. They live it, breathe it.  It’s the very taste in the air. They make liquor with it, they dress up in it.  Now one day, it is realized that the Cobb County corn is actually dying. The very entity that they depend on to get up every day seems to be drying up. The focus then shifts to a young engaged couple, Maizy and Beau (with Danielle Wade and a constant, boisterous song about her and Jake Odmark as a stoic, traditional hero whose morals form the foundation of the story). Maizy wants to go out into the world and find an answer to the community problem, while Beau resists her leaving, because of his own fears. And it damages their relationship. But leave she does to the big city of Tampa.

Maizy meets and finds Gordy, a well-dressed con artist (Quinn VanAntwerp in a smart turn), who has financial troubles of his own. He spies a bracelet that Maizy owns and wonders about the value of its stones. This launches him, Maizy and the audience into a hustler’s story of greed and desperation, where Gordy convinces Maizy that he is the one with the answers to the corn blight. Appropriately they all go back to the “corn”, where everyone in town—especially Beau and Lulu (Miki Abraham is an absolute joy to watch as she brings down the house whenever she sings), a cousin of Maizy. In fact, there are several smart performances in the show: Mike Nappi as Peanut, Beau’s brother, who carries the heavy load expertly in making us both laugh uproariously and cringe at the puns; Grandpa (Erick Pinnick with gravitas galore); two young storytellers (Maya Lagerstam and Tyler Joseph Ellis) who keep us on the straight and narrow with their own charm and their own jokes to share; and an ensemble augmenting the tale with joy and commitment to the cause.

Two more things to mention. The score by Brandy Clark and Shane McAnally is marvelous and tuneful, a collection of melodies that become real signposts of the action. And the clean, easy direction of legendary Broadway director Jack O’Brien reminds us that true creativity comes from within us at any age…bravo, sir. There is so much more to share about SHUCKED. Suffice it to say that it is a classic story of low humor and familiar notes, given the highest professional commitment by theatrical artists who know what they are doing.

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|Matthew Murphy and Evan Zimmerman

Broadway in Chicago
presents

SHUCKED

CIBC Theatre

through January 19

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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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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

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BROADWAY IN CHICAGO

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PicksInSix Review: The Kite Runner—Broadway In Chicago

“Kite Runner” poignant, moving… and shocking.
PicksInSix® Review | Guest Contributor | Ronald Keaton

If you’ve never read the bestselling novel The Kite Runner by Khaled Hosseini—a tale of friendship between two Afghan boys and how their choices dictate their adult lives—you are missing a real treatise in the nature of youth growing up. And as the audience was witness to the luscious theatrical take of the novel by Matthew Spangler, playing at Broadway in Chicago’s CIBC Theatre through June 23, it is striking how many of the themes that progress throughout the story are so universal and timeless, both in the family dynamic and inside us all as individuals. Friendship, betrayal, bigotry, sacrifice, courage (or lack of), there is an endless touch on all these ideas. It’s a stark lesson for all in Afghan culture and tradition that becomes highly accessible to all who invest in the storytelling, which, even in its challenges, is first rate and quite articulate.

The play opens atmospherically with a tabla player, offering some gentle, syncopated rhythm on his hand drum set, even as the audience enters the house.  Most of the story then revolves around the main character telling his side of things. His name is Amir, a comparatively well-to-do boy whose family has servants. One of the servants is Hassan, who serves Amir not only in deed but in their relationship as best friends. The separation between them is never really forgotten, it’s simply cast aside when convenient for the two boys to enjoy each other in growing up. There is an annual kite competition and Amir and Hassan enter it. It’s not a normal kite fight, so to speak. Contestants also have to run down the competition while in the air, last man standing. Amir feels special pressure from his father Baba to participate, since Baba senses that his sensitive son is not up to all the expectations that are placed in front of him. As the father did as a youth, Amir (with Hassan’s expert help) stunningly wins the competition and find at least a little compassion and respect in Baba’s house, even if it’s temporary.

Amir and Hassan are menaced by a gang of young thugs, whose claim on the prize for the kite competition was interrupted. That gang, in its continual harassment of the two friends, steals the magic blue kite that wins the prize and physically assault Hassan in the process while Amir watches helplessly.  Amir acquires a growing, lifelong guilt for not having stopped the violence, and Hassan is so loyal to his friend and master that he takes whatever punishment comes. In fact, the guilt is so strong that Amir simply denies the friendship any more influence and even tries to plant a theft under Hassan’s bed, so that he and his family will be banished. To Amir’s utter surprise, Hassan confesses to a crime he did not commit. And a bigger surprise comes when Baba forgives him—something that shapes the father/son relationship for the rest of their lives.  Eventually Hassan and his father leave the house in shame, taking with them a dreadful family secret owned by both fathers. In the meantime, the country is invaded by the Russians (the entire story all takes place between 1973-2001), and so Baba and his family need to leave for their own protection and come to America, specifically San Francisco. And this is just Act I.

From then on, the family becomes somewhat Americanized. Amir becomes the writer he always wants to be. He meets his future wife Soraya, a teacher in her own right. They want to have children but cannot conceive and consider adoption. Her father, a general back home, distastefully rejects such a notion because of a “blood” consideration—a bit like the old notion “but you don’t know where that’s been” in his regard for adoption. You know, purity of the bloodline and all. And at this point, Amir goes back to Afghanistan to discover the moment in his own life where guilt can at last be assuaged and shape itself into a kind of redemption. It’s a part of the story that one needs to witness to understand its impact. It’s abrupt and shocking and very personal. And quick, almost too much for some. But it works in a grandly affecting manner, as a part of the entire directing challenge ably steered by Giles Croft, who also directed the Broadway production.

Truth is, this is a full ensemble play at its core; everyone is not only involved in character, but to support the story as props and musicians. The two most elegant and touching scenes they have are where kites are flown in a ritualistic, poetic presentation. There is also a gorgeous set of kite representations onstage that are used as a kind of combination curtain and backdrop to separate the scenes out, arriving onstage like a giant butterfly. Wind effects, background noise, all are offered up by the marvelous ensemble here. 

Ramzi Khalaf is a wonderfully effective Amir and does the really difficult task of narrator/actor a great justice. Shahzeb Zahid Hussain as Hassan grabs you hard and eloquently in his character’s vulnerability and loyalty. As the well-to-do merchant Baba, Haythem Noor is both menacing and vulnerable in trying to find a way to identify with the son Amir.  As Soraya, Awesta Zarif is properly reserved at first, only to finally open up to Amir in that awkward, loving way that all youth discovers love.  The entire experience here is poignant and moving. And shocking. And just what theatre, in my eyes, should be. It’s not at all like humming a tune from a musical, but leaving the theatre in a thoughtful mood.  

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|Bekah Lynn Photography

Broadway in Chicago
presents
The Kite Runner
CIBC Theatre
through June 23, 2023

TICKETS

TOUR WEBSITE

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