PicksInSix Review: 2024 Year in Review

Tip The Hat. Turn The Page.
Memorable Performances for 2024
PicksInSix® Review | Ed Tracy

Singling out six of the most memorable performances of artists we covered in 2024 who turned heads and left lasting impressions long after the final bow was a daunting task. So difficult, in fact, that there is also special mention to others who have had terrific years on multiple Chicago stages.

It was a year that included the Royal Shakespeare Company’s return with “Pericles” at Chicago Shakespeare Company, pre-Broadway runs of “Death Becomes Her,” Steppenwolf’s “Purpose” directed by Phylicia Rashad—and, we expect, Sam Hunter’s “Little Bear Ridge Road,” a compelling new work starring Laurie Metcalf—and touring productions like the sensational “Harry Potter and The Cursed Child,” among others. While all deserving of mention, you will find others on the 2024 PicksInSix Year in Review list, our first post-pandemic yearend review.

A special note of thanks to every theatre company, their dedicated boards, administrative, artistic and technical teams, and the unending support of publicists who invest their time and talent in support of the Chicagoland theater community and made it possible to review these shows. It’s an honor to be invited and a responsibility that we take very seriously.

CONVERSATIONS|PicksInSIx® celebrates 10 years in 2025 and owes much to writers like Ronald Keaton, Scott Gryder and Kaitlyn Linsner who have contributed mightily to our archive of Chicago theatre during that time. Thank you!

And, a deserved tip of the hat to the brilliant Chicago theatre photographers Michael Brosilow, Liz Lauren, Brett Beiner, Joe Mazza and videographers HMS Media, among many others, whose expertise and professionalism continues to document these productions and preserve the image archive for future generations.

So here we go in alphabetical order and with a link to the PicksInSix Review (P6):

Sarah Bockel—Falsettos - TimeLine & Court Theatre - The critically-acclaimed co-production of director Nick Bowling’s “Falsettos” featured an ensemble of superb actors and singers in one of two sung-through shows on this list. In the role of Trina, Bockel delivered an extraordinary performance, navigating a delicate emotional path with heartfelt passion and homespun humor. Stunning! P6  

Mark David Kaplan—Fiddler on the Roof at Drury Lane Theatre - In the little town of Anatevka, director Elizabeth Margolius’s ‘memory play’ was, according to Kaitlyn Linsner, an opportunity for Kaplan to display “excellent comedic timing and whimsy” in the critically-acclaimed turn as Tevya. L'Chaim! P6

Beth Stafford Laird—FROZEN at Paramount Theatre - In an epic production directed by Trent Stork that includes several of Disney’s most popular songs and beloved characters, you just might take for granted a character whose youthful exuberance is at the heart of the story. The multi-talented Laird exudes unmatched charm in a rich performance as Anna that is marked by superb vocals, effortless company dance numbers and a shimmering presence all her own. Spellbinding! P6

Meghan Murphy—Anything Goes at Porchlight Music Theatre - Even a blizzard could not keep us away from director Michael Weber’s “Anything Goes” starring the captivating Meghan Murphy in a commanding performance as the seaworthy siren Sweeney. A topflight, take-no-prisoners, star turn. Anchors Away! P6

Aurora Penepecker—Natasha, Pierre and the Great Comet of 1812 at Writers Theatre - The other sung-through musical/pop opera on this list—one of the most ambitious all-around artistic undertakings of the year by any theater directed by Katie Spelman—featured an extraordinarily multi-talented ensemble of players. And there, at the center of this glorious production, was Penepecker whose lyrical voice and pristine talent was simply intoxicating. Magnificent! P6    

Sawyer Smith—Little Mermaid at Drury Lane Theatre - When you hear the term “over the top” in stage performances, it is often afforded to a performer who has elevated their role beyond the script and score to a new level of excellence. The showstopping turn for Smith, in the Scott Weinstein directed “Little Mermaid,” set a new standard that is certain to change the trajectory of Smith’s exceptional career. Wowza! P6

There are six other artists who excelled in multiple productions deserving of special mention: 

Jackson Evans displayed his wide range for musical comedy in four critically-acclaimed roles: Porchlight’s “Anything Goes,” Drury Lane’s “Guys and Dolls,” Paramount’s “Full Monty” and the Timeline/Court production of “Falsettos.” 

Heidi Kettenring delivered her special brand of star power to Drury Lane’s “Guys and Dolls,” Marriott’s “1776,” “Cinderella” and her concert performance of “Something Wonderful.” A true Chicago stage treasure!

We have been watching Evan Tyrone Martin for years and his compelling and beautifully sung Pierre in Writers “Comet” was central to the overwhelming success of this challenging production.

In addition to all of the projects the busy Ron OJ Parson has been delivering, Ronald Keaton noted that “East Texas Hot Links” at Court Theatre “bears the unmistakable stamp of the great director Ron OJ Parson, who has a relationship with this piece that forces us, in its sheer professionalism alone, to see an unencumbered view of what Jim Crow has done to our world and continues to do today.”

And as much as we never really give credit to the people who support everyone else, the masterful career of Nick Sula has been elevating the work of Sondheim enthusiasts throughout Chicago. Sula followed last season’s stellar production of “Kokandy’s Sweeney Todd” with the unique two piano presentation of Kokandy’s “Into the Woods.”  We can hardly wait to see what the next project will be.

Last, but not least, a tip of the hat to Charles Newell whose long-standing career as Artistic Director has come to a close at Court Theatre, You can be sure we have not heard the last from him. The Newell directed “An Iliad” starring Timothy Edward Kane returns in early June 2025. Bravo!

Happy Holidays!

See you on the other side of the aisle!

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PicksInSix Review: A Christmas Carol - Goodman Theatre

“A Man’s Actions Foreshadow Certain Ends”
PicksInSix Review | Ed Tracy

The corner of Randolph and Dearborn was abuzz Sunday afternoon with the thriving Christkindlmarket on Daley Plaza and patrons, all decked out for the holidays, pouring in and out of Petterino’s that has a festive seasonal atmosphere all its own this time of year. And next door at Goodman Theatre, carolers entertained the crowd and lit the Goodman tree prior to the press opening of the 47th annual production of Charles Dickens’ “A Christmas Carol.”

If you are counting, that’s a magnificent accomplishment. Presenting a timeless classic for nearly five decades—over 20 of them in the Goodman’s elegant Albert Theatre—takes some inventive twists and artistic turns to keep it fresh and engaging for multiple generations of returning audiences and edgy enough to attract newcomers. The Goodman, now under the artistic leadership of Susan V. Booth, succeeds again on both counts.

In Director Jessica Thebus’s delightfully haunting new offering of Tom Creamer’s adaptation with contributions from Neena Arndt, Christopher Donahue wraps his own distinctive style of demonic humbuggery around Ebenezer Scrooge as he transforms from an embittered loner to the toast of the town after facing three spirits who show him the implicit error in his ways. Right from the start, Donahue infuses Dickens erasable miser with a dark and heavy dose of disgust for all things Christmas, from chastising his earnest clerk Bob Cratchit (Anthony Irons) over a lump of coal and dismissing the loving affection of his niece Frida (Dee Dee Batteast), to summarily rejecting the appeals for support from Mr. Ortle (Wai Yim) and Miss Crumb (Penelope Walker). The levels of meanness in Donahue’s Scrooge appear to have no bounds early on and provide the brilliant actor a wide range of emotions for the transformative scenes that follow.

The story—which is smartly narrated throughout by the charming Kate Fry—follows Scrooge and the spirits in a trip to his own past, present and future, foretold in the chilling visitation from his dead-as-a-doornail partner Jacob Marley (William Dick). In Scrooge’s high-flying encounter with the Ghost of Christmas Past (Lucky Stiff) a visit to his former school and sister Fan (Tafadzwa Diener) is followed by a vision of his apprenticeship with Fezziwg (Robert Schleifer) who communicates with sign language and the aid of his interpreter Max (Mark Bedard). The festive Fezziwig party atmosphere is shrouded by the ambitious young Scrooge (Daniel José Molina) and Marley (Arash Fakhrabadi) who hatch a devious plot at the expense of any future relationship that Scrooge might have had with the lovely Belle (Amira Danan).

The Ghost of Christmas Present (Bri Sudia) drops Scrooge in to observe Bob Cratchit’s family and the plight of Tiny Tim (Ava Rose Doty) which leads to the dark predictions of the Ghost of Christmas Future (Danan). It’s then all up to Donohue’s masterfully jubilant self-realization and redemption in understanding the true spirit of Christmas.

There are supreme elements of joy for everyone in Goodman’s fine production of “A Christmas Carol”—the superb on-stage musicians, long a distinctive element of this show, here performed by Hillary Bayley, Brian Goodwin, Malcom Ruhl and Gregory Hirt; Todd Rosenthal’s arresting scenic design colorfully awash with Keith Parham’s lighting; elegant period costumes by Heidi Sue McMath; and, a multi-talented ensemble playing many roles—all making this satisfying and heartfelt show a perfect family destination for the holiday season.   

PHOTO|Liz Lauren

Goodman Theatre
presents
Charles Dickens’
A Christmas Carol
through December 30

WEBSITE

(312) 443-3800

TICKETS

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PicksInSix Review: FALSETTOS - TimeLine Theatre Company - Court Theatre

“Things Rarely Go According To Plan.”
PicksInSix® Gold Review | Ed Tracy

The flawless production of “Falsettos”—one of the most enjoyable, heartfelt and moving productions you will ever see—opened Saturday in the intimate Abelson Auditorium at Court Theatre. The show is directed by TimeLine co-founder and Associate Artistic Director Nick Bowling and presented in partnership with Court.

“Falsettos,” a two-time 1992 Tony Award-winning musical, has a fascinating origin story. With music and lyrics by William Finn and a book by Finn and James Lapine (Into The Woods), it began in 1979 as Finn’s—and Playwrights Horizon’s—first musical “In Trousers” about the trials and tribulations of Marvin, a gay Jewish man coming out and presented in, what was then, the unique and evolving sung-through format.

In 1981, Finn teamed with Lapine on “March of the Falsettos”—which later became the first act of “Falsettos.” Set in 1979, the story begins as Marvin and his wife Trina separate on the news that Marvin is moving in with his male lover, Whizzer. In an attempt to keep Trina and their young son Jason together as a family, Marvin steps up sessions with his therapist Mendel. When Mendel falls for and marries Trina, Marvin’s possessive and passive-aggressive nature impacts his relationship with everyone, including his pre-Bar Mitzvah son who begins questioning his own sexuality. Marvin’s need for a monogamous relationship with the more free-wheeling Whizzer leads to the breakup, and although Marvin is inconsolable, he has matured and become better able to relate to Jason when his son needs him most.

It's important to note that “March of the Falsettos” is set prior to the widespread awareness of HIV or AIDS and deals, often hilariously, with the complex dynamics of the personal relationships and acceptance of the changing social norms of the time.

Following the explosion of the AIDS crisis, Finn and Lapine returned in 1991 to pen “Falsettoland” which will become Act II of “Falsettos.” Set a year later in 1981, when the family is moving on while Marvin still yearns for Whizzer, who reenters his life and rekindles the relationship. Two additional characters are introduced—Dr. Charlotte and her lesbian lover, Cordelia—who live next door and become fast friends with Mendel, Trina and Jason. It is Dr. Charlotte who recognizes that ‘something bad is happening’ and it is not long that “Falsettoland” takes on a whole new powerful storytelling line all its own.

Bowling, movement director William Carlos Angulo and music director Otto Vogel have assembled an amazing cast. In the role of Marvin, Stephen Schellhardt displays an extraordinary range of emotions teetering between the need to be loved and respected and the frustration, resentment and rage he feels from and toward the family he desperately wants to salvage. Jack Ball expertly plays Whizzer, the carefree gay man with needs of his own, who is quick to recognize that Marvin may want more from him than he is willing to give but later reconciles with Marvin in a way that is moving and real, particularly as he is forced to face his own mortality. .

Sarah Bockel’s Trina tugs endlessly at our heartstrings. She is an open book of emotions, channeling both keen comic sensibilities and a enormous capacity for empathy. Jackson Evans gives a terrific multi-faceted performance as the intellectually neurotic Mendel, savoring every comic moment with child-like enthusiasm while expertly delivering the more serious interchanges with Bockel and Jason (Charlie Long, who alternates with Eli Vander Griend). Long is a superb young talent and in step, stride for stride, with everyone on stage. Sharriese Hamilton is perfect as the compassionate Dr. Charlotte and partner for Cordelia, played beautifully by Elizabeth Stenholt, who round out the company of gloriously nuanced voices who deliver this fast-paced, challenging score with precision and ease.

Amel Sancianco’s scenic design ingeniously places the band shrouded on the second level within the multi-colored stage wall that is highlighted by three doors and an oculus window that is utilized effectively throughout the show. The open style chessboard tile floor plan serves to magnify one of the main themes and allows for effortless scene changes which keep things moving along briskly. Lighting and sound designs by Maggie Fullilove-Nugent and Stephanie Farina and period costumes by Teresa Ham are all excellent.

For those of us who lived through this period, TimeLine’s “Falsettos” is a moving tribute to the memory of all who passed and renews our commitment to those whose lives have been immeasurably changed. For everyone else, it serves as a reminder of the importance of cherishing our relationships and instills in us a better understanding of the universal power of love, kindness and acceptance.

PHOTO|Michael Brosilow

Editors Note: The TimeLine alliance with Court follows critically-acclaimed productions of “OSLO” and “The Lehman Trilogy” with Broadway in Chicago and the recent transfer of the stunning production of Tyla Abercrumbie’s “Relentless” to Goodman Theatre in 2022. TimeLine’s Artistic Director PJ Powers has tapped into an excellent model that requires a long view for the future, the coalescing of like-minded theatre administrators and boards willing to take a sizable financial risk, and mining sufficient sponsor and donor funds for the arts in a very tentative post-pandemic production climate. That long view applies to just about every facet of the arts right now with no better example and track record of unqualified success than TimeLine Theatre Company. While construction continues on the new center for theatre, education and community engagement at 5035 N. Broadway slated for a 2026 opening, the current season is being staged in partnership with institutions across Chicagoland. “Falsettos” is the first of three such partnerships that will continue next year with The Theatre School at DePaul University and Writers Theatre in Glencoe. For more, read TimeLine’s excellent BACKSTORY publication available online here.

TimeLine Theatre Company
and Court Theatre
present
FALSETTOS

EXTENDED
through December 15, 2024

Court Theatre
5535 S. Ellis Ave
Chicago, IL 60637

WEBSITE

PROGRAM

BACKSTORY

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PicksInSix Review: Disney's The Little Mermaid - Drury Lane Theatre

This ‘Little Mermaid’ Has Got Legs!
PicksInSix® Review | Ed Tracy

Sparkling performances that shimmer from head to tail highlight director Scott Weinstein’s delightfully bewitching and hugely entertaining revival of Disney’s “The Little Mermaid” that opened Thursday at Drury Lane Theatre in Oakbrook. The royal love story—with Alan Menken score, lyrics by Howard Ashman and Glenn Slater, and book by Doug Wright—is anchored by the stunning presence of Sarah Kay as Ariel and her stalwart Prince Eric played by Patrick Johnson. The timeless classic is a heartwarming fantasy adventure in a world that includes whimsical puppets, gorgeous costumes and magical special effects that will take your breath away.

That love story begins when Ariel, who has yearned for a new part of the world, away from the isolation of the underwater kingdom ruled by her father, King Triton (Anand Nagraj) and from her siblings, the Mersisters, saves Prince Eric from drowning. Fleeing from her father’s rage when he discovers what she has done, Ariel is lured into a pact with her evil aunt Ursula (Sawyer Smith) to trade her enchanting voice for the opportunity to explore the world in human form. But it all comes with a heavy price of Disney-style drama.

Ariel’s glistening underwater world is the work of scenic designer Tijana Bjelajac who crafts rock formations and massive stone laid columns together with sheer fabric all highlighted by Anthony Churchill’s projections and Ryan O’Gara’s lighting to simulate the mystical ocean depths and the stately kingdom that bursts with the color and rich texture of the costume design by Ryan Park and Zhang Yu. Those finely-feathered and floppy-finned friends in Ariel’s oceanic sphere—the creative artistry of Chicago Puppet Studio—come to glorious life in Kasey Alfonso’s superbly choreographed ensemble sequences. Music director Ellie Kahn brings out the brilliance in the iconic Menken/Ashman/Slater score performed in fine form by the Drury Lane Orchestra under the direction of Chris Sargent.

Michael Earvin Martin is terrific as the crab companion Sebastian, leading the company in the crowd pleasing “Under the Sea” and “Kiss the Girl.” Maya Lou Hlava’s Flounder, with the array of Sea Creatures, Gulls and Animals, are sure to make you smile. Landree Fleming shines as Scuttle in the playful “Positoovity|Positaggity” and you’ll love the zany antics of Matt Edmonds as the kooky French Chef Louis in “Les Poissons” along with the wonderful, and often hilariously understated, work of Rob Lindley as Grimsby, the Prince’s dutiful Guardian.

Few Disney villains compare in sinister scope to the sea-witch Ursula and Smith’s commanding presence in the role as the cunning sorcerous, with a couple of slippery eel sidekicks like Ryan Michael Hamman (Jetsam) and Leah Morrow (Flotsam) in tow, is magnificent. The trio are chilling in “Daddy’s Little Angel” and Smith brings the house down in a dazzling performance of “Poor Unfortunate Souls.”

It’s a night of fun filled comic chaos that keeps bubbling up with Kay’s marvelous, multi-layered performance at the heart of the show. Her exuberance, youthful charm and soaring vocal talents make Disney’s “The Little Mermaid” at Drury Lane a joy to watch and a destination for the holiday season and New Year.   

PHOTO|Brett Beiner

Drury Lane Theatre
presents
Disney’s
The Little Mermaid
100 Drury Lane
Oakbrook Terrace
through January 12, 2024

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PicksInSix Review: Disney's FROZEN The Broadway Musical-Paramount Theatre

For the First Time in Forever…
PicksInSix® Review | Ed Tracy

Paramount Theatre’s sensational production of Disney’s “FROZEN The Broadway Musical”— featuring the electrically-charged performances of Emily Kristen Morris and Beth Stafford Laird—opened Friday in Aurora to the thunderous cheers of fans both young and old who have helped to canonize the 2013 film’s anthems “Let It Go” and “For the First Time in Forever” into Disney’s musical lexicon and made modern day icons of a rambunctious reindeer with an attitude and a playful snowman with joie de vivre and a yearning for a summer vacation.  

The show that garnered three 2018 Tony nominations (Best Musical, Book and Original Score) features music and lyrics by Kristen Anderson-Lopez and Robert Lopez and book by Jennifer Lee based on the smash hit 2013 Disney animated film written by Lee. Paramount’s Midwest Regional premiere is directed by Trent Stork with a top-flight creative team including choreographer Tiffany Krause and music director Kory Danielson who also conducts the orchestra.

The story begins in the mythical kingdom of Arendelle and follows the child sorcerous Elsa (Everleigh Murphy shared with Genevieve Jane) and her younger sister Anna (Avelyn Choi shared with Elowen Murphy) whose loving relationship for each other is severed when their parents King Agnarr (Brian Hupp) and Queen Iduna (Allison Sill) discover that Elsa’s inability to control her mystical powers are a direct threat to Anna’s life. When Anna is saved by the Hidden Folk with no memory of the encounter, the parents venture off for a cure and disappear. As time passes, the coming-of-age Anna (Laird) is confused by her sister’s self-isolation in the castle and yearns to be reunited with Elsa (Morris). On the day of Elsa’s coronation, Prince Hans (Jake DiMaggio Lopez) arrives, sweeps Anna off her feet and proposes marriage. Elsa refuses to bless the sudden union and in a frustrated rage, drops her guard and is forced to flee from the castle when her powers are revealed. In the wilderness, Elsa then creates an icy sanctuary of her own, unaware that her awakening has plunged the kingdom into an endless winter. Anna, despondent and desperate, is left with no choice but to pursue her sister and try to bring her back. She is soon joined by the mountain man Kristoff (Christian Andrews), his trustworthy reindeer companion Sven (Adam Fane) and the irrepressible snowman Olaf (Ryan Stajmiger)—courtesy of puppet designer Jesse Mooney-Bullock. Not far behind is Hans and the conniving Duke of Weselton (Jason Richards) who have diabolical plans of their own.

Scenic designer Jeffrey D, Kmiec, projections designer Paul Deziel and lighting and sound designers Greg Hofmann and Adam Rosenthal have created a magical, ever-evolving icy landscape with superb scenic projections—including a wink to Aurora’s Fox River—and eye-popping special effects. Mara Blumenfeld’s stunning costume design has magical treats all their own.

The shimmering and flawless performances of Laird’s “For the First Time in Forever” and Morris’s “Let It Go” are highlights in a score that includes brilliant ensemble arrangements and specialty numbers including the fine company with Oaken (David Blakeman) in the hilarious trading post number “Hygge,” with Elsa in “Dangerous to Dream,” and Kristoff, Olaf and Hidden Folk in “Fixer Upper.”     

Life lessons abound here about remaining positive in the face of adversity, coping with loss and isolation, and understanding ourselves and our place in the world around us. But it’s Anna’s determination to put her love for others above all else that will warm your heart for “FROZEN,” a fun-filled musical extravaganza for the entire family.

PHOTO|Liz Lauren

PARAMOUNT THEATRE
presents
FROZEN
The Broadway Musical
through January 19, 2024

23 East Galena Boulevard
Aurora, IL 60506

(630) 896–6666

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PicksInSix Review: Inherit the Wind - Goodman Theatre

“THE RIGHT TO THINK ON TRIAL”
PicksInSix® Review | Ed Tracy

The image has all the makings of a Norman Rockwell painting.

The citizens of rural Hillsboro, clustered four-deep in the steamy courthouse, leaning in and transfixed by the sudden turn of events at the trial of Bertram Cates (Christopher Llewyn Ramirez), accused of teaching Darwin’s theory of evolution in his 2nd grade classroom. Leading Cates’s defense is Henry Drummond (Harry Lennix) who is grilling the prosecuting attorney—and his old friend—Matthew Harrison Brady (Alexander Gemignani) on the witness stand about philosophy and scriptures after the judge (Kevin Gudhal) has refused to allow any men or women of science to testify for the defense.

The fiery courtroom interchange between the two men leads to the scintillating climax of the Goodman Theatre’s superb revival of “Inherit the Wind” directed by Henry Godinez that opened Monday. The 1955 play, written by Jerome Lawrence and Robert E. Lee, is a fictionalized account of the 1925 Scopes Trial in Dayton, Tennessee that challenged the Butler Act outlawing the teaching of evolution in the classroom. Indeed, the injustice of suppressing alternate opinions and attempting to eliminate the free exchange of ideas flows throughout the play which explains its universal appeal on stage and in the memorable 1960 film starring Spencer Tracy and Frederic March.

For context, the title refers to Proverbs 11:29: “He that troubleth his own house shall inherit the wind: And the fool shall be servant to the wise of heart.” Exemplified in the overbearing nature of Reverend Jermiah Brown (Ryan Kitley) toward his daughter Rachel (Tyler), who is torn between the love she feels for Cates and her strict religious upbringing, and in the exchanges between Drummond and Brady, “Inherit the Wind” lays bare the differences in the individual beliefs of our existence. Perhaps the most salient point belongs to Drummond, who says: “The man who has everything figured out is probably a fool. College examinations notwithstanding, it takes a very smart fella to say ‘I don’t know the answer!’”

Director Godinez has assembled a stellar cast and creative team around the central characters involved in the trial. Lennix is commanding as Drummond, his folksy charm every bit a match for Gemignani’s swaggering fire and brimstone. Together they are simply terrific to watch. In supporting roles, Lawrence Grimm has a slick featured role as the radio man and among the townspeople in the fine ensemble that includes William Dick (Mayor), Terry Bell (Sillers), Charin Álvarez (Mrs. Brady) and Meighan Gerachis (Elijah). On the fringe of the proceedings is E.K.Hornbeck (Mi Kang), the cynical reporter who is covering the trial. The real life father/daughter team of Christopher Kale Jones as the trial attorney Tom Davenport and  Melinda (Presley Rose Jones) who is the friend of Thomas Murphy Molony’s Howard and Robert Schleifer (Meeker) all deserve special mention.

There is a down-home, natural and overall timeless vision on the creative side of the show that is first-rate. Collette Pollard’s elegant scenic design includes a stunning vista of the Hillsboro skyline above the stage, ever present within a shimmering skylight that mirrors the raked stage surface that serves as both the townsquare and the courtroom. Jessica Pabst’s costume design fits the period nature of the piece perfectly along with Jason Lynch’s crisp lighting and the subtle but effective original music and sound design by Richard Woodbury. While the sense is that the action is occurring at another place and time, this thought-provoking piece reflects the here and now, or for that matter, any instance when the threat to free speech and our personal liberties is so great that we must take an active stand and always seek the truth.  

(Note: An earlier version omitted Robert Schleifer..)      
PHOTO|Liz Lauren

Goodman Theatre
presents
Inherit the Wind
EXTENDED through October 20

WEBSITE

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PicksInSix Review: The Audience - Drury Lane Theatre

Brooks Holds Court in “The Audience.”
PicksInSix® Review | Guest Contributor | Ronald Keaton

I had the unique opportunity of seeing the original Broadway production of Peter Morgan’s historical play about Queen Elizabeth II, “The Audience,” back in 2015, with the fabulous Helen Mirren and a host of excellent actors in support.  The research into the subject matter is meticulous and well-organized, and if you’re a history buff, you will absolutely love this wonderful creativity.  If you’re not and you keep an open mind, it will lure you in with a kind of picture-book approach of a history lesson, that couldn’t be more entertaining in its turns, and they’re offered by the fine actors seen here. 

“The Audience” takes place during the reign of Queen Elizabeth II, specifically focusing on her weekly meetings with the prime minister in office.  It’s not told in a linear fashion, but in a kind of memory focus, so we get an interesting and full scrapbook of storytelling.  There’s even a narrator-on-staff, so to speak—the versatile Jürgen Hooper as the Equerry—to help guide us through the maze of time and place and, well, all the prime ministers, as well as a young Elizabeth (Omi Lichtenstein in an impressive turn) to whom the adult Queen can relate to on occasion.

All the meetings are held in what’s called ‘The Meeting Room’ in Buckingham Palace. It is very simple, accessible staging by director Jessica Fisch. Center stage are two chairs with a small table between them, where all the discussions take place. It might have helped a bit to have the prime ministers and/or the Queen get up and move more often to vary the scene, but that’s nothing that overcomes the fine storytelling.  Ms. Fisch also has created a smooth, absolutely silent scene change habit for those chairs and other set pieces, musically underscored, that actually entertains on its own, thanks to a wonderfully restrained, elegant scenic design by Andrew Boyce.

The entire play is owned by Queen Elizabeth II and taken into charge by the redoubtable Janet Ulrich Brooks, one of Chicago’s truly talented, fascinating actors. She plays Elizabeth from the beginnings of her reign in 1952 by meeting her first Prime Minister, Winston Churchill (an irascible, almost knightly Matt DeCaro), who detests and resists any turn from tradition in the meetings and, indeed, reinforces the Queen’s grandfather, George V, in his insistence on maintaining such structure. The Queen stands up to the great man with questions and methods of her own; they reach a shaky truce of sorts by meeting’s end, and one tips a hat to her resolve.

All the Prime Ministers are at once impressed, shaken and establish their own friendly joust with the Queen.  The first PM appointee Anthony Eden (excellently manipulative and fearful by Mark Ulrich) betrays his reputation with his mismanagement of the Suez Canal affair. Ron E. Rains offers a surprisingly full-bodied and humorous Harold Wilson, thanks to the playwright’s gift of three different scenes with the Queen. (Mr. Wilson did have two separate terms in office, thus justifying what we see.) Susie McMonagle clutches the expected aggressive stance as Margaret Thatcher in a gripping, properly uncompromising exchange with Brooks’ Queen. Both John Major (John Judd) and Tony Blair (Alex Goodrich) leave strong marks on their terms in the office for totally disparate reasons. The Scot, Gordon Brown (Raymond Fox) followed the Churchillian path of Chancellor of the Exchequer in stabilizing the UK’s economy, which led to his PM appointment.  And David Cameron (a second turn by Mr. Goodrich) led the first peacetime British coalition government that voted to leave the European Union in 2016, forcing him to resign.

The richness in history is handled by Elizabeth with varying degrees of attitude, but always in support of each charge. And the many physical changes in Ms. Brooks’ appearance onstage are deftly handled through those aforementioned scene changes with wig and dress by a hugely talented palace staff, both in the story and through the craft. This fine production of a rare play runs at Drury Lane Theatre in Oakbrook Terrace through October 20.  

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| Brett Beiner

Drury Lane Theatre
presents
The Audience
100 Drury Lane
Oakbrook Terrace
through October 20, 2024

WEBSITE

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THE LEHMAN TRILOGY - Edward Gero - Guthrie Theater

THE LEHMAN TRILOGY - Edward Gero - Guthrie Theater

The Lehman Trilogy is now in rehearsal at the Guthrie Theater in Minneapolis, Minnesota. Stefano Massini’s epic multi-generational story, adapted by Ben Power and directed by Arin Arbus, chronicles the true-to-life rise of three Jewish immigrant brothers who built their own version of the American Dream from a small fabric business in 1844 to the international financial firm whose spectacular collapse in 2008 sent global markets spiraling out of control. The Guthrie Theater production includes Edward Gero, Mark Nelson and William Sturdivant in the cast of three who play the Lehman brothers and recreate all of the over fifty other roles.

Edward Gero’s performance is another highlight in a distinguished, award-winning career spanning forty-seven years with upwards to one hundred fifty roles and counting. In our 2018 CONVERSATION, Gero was in the middle of a run of The Originalist at Court Theatre in Chicago. Last season in Washington, he appeared in Angels in America at Arena Stage and earlier this year, in the critically-acclaimed production of The Lehman Trilogy at the Shakespeare Theatre Company that has now transferred to the Guthrie and opening September 19, 2024.

There is much more in our CONVERSATION about the inner workings of the show and balancing a professional career with the rigors of serving as a full professor at George Mason University from one of America’s most accomplished and gifted actors, Edward Gero.

LISTEN to the CONVERSATIONS podcast on Apple Podcasts

About The Lehman Trilogy …
Edward Gero: “The Lehman Trilogy is an amazing piece of writing. It's a play that covers the arc of the Lehman Brothers who arrived in 1844 in America and we follow the family over several generations, 150 years, through to the collapse of the Lehman Corporation in 2008. … we're really seeing the story of the rise of America and capitalism through the immigrant experience of these three men and their descendants. It's a remarkable play … three acts. … in a Greek trilogy form. Three actors. Three hours. We never leave the stage and we play the three brothers and a total of probably fifty other characters by the end of the evening.”

On the Washington DC production …
EG: “We did the play back in March (2024) at the Shakespeare Theater Company in Washington, directed by Arin Arbus. That was really daunting. It's a lot of text, right? … each one of us have roles that are longer than King Lear, probably close to Hamlet. So, it took two months to learn it, because it's not just straight dialogue. It's narrative. You become characters. It's a juggling act really and so that style of storytelling was very different. It's very Greek. I think that's my sense of it. It's like, let's gather around a fire and we're going to tell you the story of America through the eyes of these three brothers, and we'll take on the character as we go. We had maybe three and a half, four weeks of rehearsal to put it together. So we had to work ahead of time to be ready to get it up. … we worked very quickly and efficiently. And the design for those who have seen the Broadway production—it's now reopening on the West End—Sam Mendez directed it originally in a sort of acrylic box that moved very sort of contemporary. We did it on the proscenium. It was more open.”

Moving the show to the Guthrie …
EG: “We were very fortunate that the Guthrie was interested in bringing our team up here. We had to replace one actor. René Thornton Jr. was very fortunate to book (the national tour of) Harry Potter. We have William Sturdivant an actor from the Minneapolis area who's terrific. … Mark Nelson and I, who have done the play before, are finding different nuances. But we're shifting from a proscenium to a thrust. So that's challenging to unlearn what we knew … to open it up and change the space. And there's a much more intimate, direct connection to the audience in this configuration than the proscenium. It's the same set. They had to make some modifications. There are a lot of rear projections. So there is a sort of proscenium section of this thrust and the rear projection screens are there.”

Playing Multiple Characters …
EG: “The challenging ones are the ones that you have to turn on a dime and then let it go. And you have to want to find some way to establish it as quickly as you can. … changing the voice or changing the physicality, that's the challenge of keeping the balls up in the air. It really is juggling. Not only is it epic, Homeric—because the original novel is written by an Italian—there's also the Virgil tradition,. There is the Commedia tradition. There is Fellini. There is circus. It really feels like a circus. You're juggling lines, you're juggling characters and the magic of it is to be able to transform in a beat and then let it go in a beat.”

Performing at the Guthrie Theater…
EG: ”I've wanted to work here since I was a young actor. Many of the actors that I admired and watched and emulated and learned from and, in some cases, had the privilege of working with came from the Guthrie, whether it was with Tony Guthrie or Michael Lanham, Garland Wright, Joe Dowling. I have worked with Joe several times. It has been a destination. … The regional theater movement was sort of anchored by Arena Stage in Washington, the Goodman in Chicago, and the Guthrie in Minneapolis. And it took me forty years, but I finally got the trifecta. … It's a thrill and the new building is spectacular. The architecture is really interesting. I have not had a chance yet to explore Minneapolis because we are in rehearsal, but I am looking forward to maybe getting to a Vikings game.”

The Future …
EG: “There are some roles I'd like to do. I would like to get a shot at a play like Death of Salesman … or Prospero or Falstaff. I've done Falstaff in (Henry IV) Part 1. I'd like to finish that. Lear. … There are a few still out there … some got away… like Brutus and Iago, but, you know, maybe there's a chance for Iago. I don't know. I'll do the older version of Iago. Maybe he's just an old grouchy man, who knows.?”  

This content has been edited for clarity and length.

PHOTO|Joshua Cummins

GUTHRIE THEATER
presents

THE LEHMAN TRILOGY

September 14 (Previews)
September 19-October 13, 2024

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PicksInSix Review: The Full Monty-Paramount Theatre

Paramount’s “Full Monty” Really Measures Up!
PicksInSix® Review | Ed Tracy

Do not fear. If you are looking for a big, bawdy, unabashed comic revival—with all the twists, turns and pelvic thrusts you can imagine—then Paramount Theatre’s “The Full Monty” is the show for you. Sure, it’s suggestive and saucy, but beyond the boisterousness, it’s a moving story about building self-esteem through dedication, hard work and the support of friends and family. Adapted for the stage by Terrence McNally with a lot of heart there are surprises galore to be found in the music and lyrics by David Yazbek. Add in a terrific cast and you’ve got a winner from top to bottom!

Based on the 1997 hit film about six out-of-work steel workers who decide to bare it all at a local nightclub to pay the bills, the ten-time Tony Award nominated 2000 Broadway musical was reset to middle class America in Buffalo, New York. Jerry Lukowski (Ben Mayne) is struggling to maintain a relationship with his son Nathan (a split role for Will Daly and Ellis Myers) and stuck trying to catch up with child support payments to his wife Pam (Rebecca Hurd) during their divorce. Jerry and his buddy Dave Bukatinsky (Jared David Michael Grant), who is under similar pressure from his wife Georgie (Veronica Garza) to take a security job to tide things over, decide to hatch a plan to make a bundle at a one-night-only strip show at Tony Girodano’s club.

The two first recruit the depressed and despondent Malcom MacGregor (Adam Fane) and then turn to Harold Nichols (Jackson Evans), a former plant supervisor-turned-dance-instructor to help them put the act together. The men then team up with Jeanette Burmeister (Liz Pazik), an adorably salty rehearsal pianist for auditions. Busting out of the pack at auditions Noah “Horse” T. Simmons (Bernard Dotson) and Ethan Girard (Diego Vazquez Gomez) round out the somewhat dubious, but committed, sextet who hilariously transform into “Hot Metal” before the night is done.

At every turn, Director Jim Corti with choreographer Tor Campbell meticulously move the men from initial awkwardness and insecurity forward. It all plays out against scenic designer Michelle Lilly’s brilliant skyline of Buffalo, framed by a massive, multi-story urban landscape that morphs effortlessly from night club to rehearsal hall where the men perfect their dance steps often in uncontrolled unison when least expected.

Music director/conductor Kory Danielson and the orchestra are in exceptionally fine form with Yazbek’s first Broadway score that features the men in “Scrap,” “Michael Jordan’s Ball” and “Big Black Man” (featuring Dotson in a commanding performance), the women in “It’s a Woman’s World,” and the company in the rousing “The Goods.”  Pazik is a blast in “Jeanette’s Showbiz Number” while Mayne and Grant team up well for “Man” and are joined by Fane in the somewhat dark themed, but clever, “Big-Ass Rock.”

Among the quieter moments, Ann Delany “Life with Harold” is a delight. Mayne is superb in “Breeze Off the River” while Evans and Grant shine in the anthem “You Rule My World.”  The inspirational musical highlight of the night belongs to Fane for his soaring vocal in the hymn-like “You Walk with Me” with Gomez that helps pave the way for the showstopping finale “Let it Go” which is full of bright lights and “Hot Metal” enough for everyone.  

PHOTO|Liz Lauren

PARAMOUNT THEATRE
presents
THE FULL MONTY
The Broadway Musical
through October 6, 2024

23 East Galena Boulevard
Aurora, IL 60506

(630) 896–6666

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PicksInSix Review: 1776 - Marriott Theatre

“TO THINK THAT HERE WE ARE.”
PicksInSix® Review | Ed Tracy

The inspiring production of “1776” that opened Wednesday at the Marriott Theatre brought a few familiar thoughts to mind about our young and exuberant country.  Democracy is messy. The more things change, the more they stay the same. And a line from one of Sherman Edwards’ songs: “To think that here we are.”

That jubilant statement is sung out by Benjamin Franklin (Richard R. Henry) to John Adams (Tyrick Wiltez Jones) and Thomas Jefferson (Erik Hellman) as the newly drafted Declaration of Independence is being read to the 2nd Continental Congress. They know that there are pitfalls and more debate ahead—and the reality of the bloody war already underway that is underscored throughout the show with missives from ‘G. Washington’ himself—but for a brief instant, getting to this point feels like a small victory.

Obviously, no one truly knows what transpired in the room where this happened. That said, Edwards’ 1969 Tony Award-winning concept, music and lyrics and Peter Stone’s book together create a captivating menagerie of historical characters who are (mostly) bent on unification. All those years later we are today mired in a never-ending election cycle and immersed in an escalating debate about the future vision for our democracy. There is hope and we do generally agree that a new, yet imperfect, nation was formed on July 4, 1776 for the people of the thirteen original colonies, even as freedom and equality for all is still lagging woefully behind.

With director Nick Bowling’s steady hand, sharp choreography by Tanji Harper and a casting coup that has assembled many of Chicago’s top performing artists together on one stage, Marriott Theatre’s “1776” has a sweeping professional sheen as one of the finest and most unique shows on stage right now.

The opposing voice to Adams’s passionate colonial independence is embodied in Pennsylvania delegate John Dickinson, a stellar performance by Heidi Kettenring. The two opposing forces—mediated by Joel Gelman’s stalwart John Hancock and Gabriel Lott-Rogers‘s Charles Thomson with assistance from the ever-present Karl Hamilton as Andrew McNair—weave arguments and slow progress to a bitter stalemate. Along the way, songs teeter from the humorous—“Sit Down, John,” “The Lees of Old Virginia” and “He Plays The Violin”—to the horrific, by South Carolina’s Edward Rutledge (Matthew Hommel) whose chilling referendum to slavery “Molasses to Rum” is alarmingly prophetic. The moving performances of Katherine Alexis Thomas (Abigail Adams), Alicia Kaori (Martha Jefferson), Lucy Godinez (Richard Henry Lee) and a remarkable performance by Jay Westbrook (Courier) in “Momma Look Sharp” deserve special mention in a company stocked with extraordinary voices under the musical direction of Ryan T. Nelson and conductor Brad Haak.

Regina Garcia’s crisp, multi-level scenic design expands Marriott’s in-the-round configuration to create a wide and striking panorama of the chamber interior punctuated by Jesse Klug’s evocative light design and Michael Daly’s pinpoint sound design. The visual picture is complete with Theresa Ham’s gorgeous costumes that make “1776” a truly wonderful—and historic—theatrical event.  

PHOTO|Liz Lauren

Marriott Theatre Lincolnshire
presents
1776
through October 13, 2024

Ten Marriott Drive
Lincolnshire, IL 60069

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847-634-0200 (Box Office)

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PicksInSix Review: The Bridges of Madison County - Dunes Arts Summer Theatre

“Spinning By In One Split Second”
PicksInSix® Review | Ed Tracy

Francesca (Kristianna Dilworth) and her husband Richard “Bud” Johnson (Gabriel Reitemeier) have overcome multiple challenges to forge a life on a 300 acre farm in Winterset, Iowa with their two teenage children Michael (Jackson Mikkelsen) and Carolyn (Emma Radtke). As “The Bridges of Madison County” opens, she sings hopefully of the life they have built together, one we find out along the way that is not at all what she envisioned as a young girl growing up in Italy during World War II. She would meet Bud after the death of her soldier fiancé, leave Naples as it was being brutally torn apart and arrive in America to start anew, learning the language and all that comes with raising a family.

Now, years later in 1965, Francesca’s feelings of isolation in the Midwest, trapped within the daily routine of her life, are all consuming. So, with little enthusiasm for the Indiana State Fair and more for reading a book and watching the sky go by, she decides to stay behind alone as Bud takes the kids and a two-ton steer to the 4H national competition. The separation feels natural in a way: Bud, Carolyn and Michael are excited about the event and Francesca admits that having no plans at all for the few days by herself will be a liberating experience.

When Robert Kincaid (Max DeTogne), a National Geographic photographer on assignment, arrives at the door of the Johnson home, Francesca offers to ride with him to the location of Roseman, the last bridge he needs to photograph and the first step on a path that leads the two together into a passionate affair that presents both unimaginable opportunities and a potentially devastating outcome.

The Dunes Arts Summer Theatre production, the brilliant and sensitively staged work of Artistic Director Steve Scott, features the equally superb music direction of Andrew Flasch who renders the rich Jason Robert Brown score brimming with melodies and counter melodies with ease. The book by Marsha Norman is based on the bestselling novel by Robert James Waller that also spawned the 1995 film starring Meryl Streep and Clint Eastwood.

The Dunes ensemble, whose impressive vocal harmonies add depth and nuance to the piece, are led by the extraordinary performances of Dilworth and DeTogne in lead roles. Dilworth, a St. Louis native who now lives in Arlington, Virginia, is simply stunning in all facets of the deeply layered role of Francesca expressing the complexity of a woman at a turning point in her life, upended by passion, conflicted and longing for a path to what could be.  I have long admired DeTogne’s work in Chicago and this may well be one of his finest performances to date, delivering a strong, yet sensitive man who understands the enormous consequences of his deep, abiding love for Francesca.

Director Scott also successfully navigates two delicate relationships in the piece: the ebb and flow between Francesca and Bud, a finely-paced line that Reitemeier follows impeccably with depth and understanding while displaying his own exceptional vocal skills; and, Marge (Kim Lampl) and Charlie (Jim Lampl), the down home neighbors who recognize what is transpiring and provide the caring support that Francesca will need to sort things out. Framed in a sleek modular set designed by Micheal Lasswell, fine costume work by Emily Chidalek with evocative lights and sound by Arturo Pozos and Jake Tillman, the Dunes production of “The Bridges of Madison County” is a moving and memorable evening of theatre not to be missed.

PHOTO|Andy Neal

Dunes Arts Summer Theatre
presents
The Bridges of Madison County
Michiana Shores, Indiana
through August 11

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PicksInSix Review: Blithe Spirit - Dunes Summer Theatre

“I’ll Be Loving You…Always”
PicksInSix® Review | Ed Tracy

Is there a better way to introduce an audience to a superb regional theatre production of Noël Coward’s classic farce “Blithe Spirit” at the Dunes Summer Theatre than a hauntingly beautiful performance of Irving Berlin’s immortal love song “Always” by the enchanting spirit of the play herself? It’s one of many nuanced enhancements by director Michael Lasswell who has crafted a briskly-paced comic offering for the acclaimed summer theatre that opened its 73rd season on Friday night.

The word “crafted” is not used lightly here since in addition to directing an exuberant cast in a smart, spry and entertaining production of one of Coward’s most well-known and challenging works, Lasswell also contributed a stunning 1940s era scenic design. The creative elements of this show—Emily Chidaleck’s stylish costumes accented by Arturo Pozos’s flawless lighting design and the gentle but mystical touch of Jake Tillman’s sound design—and that exquisite performance at the top by Danielle Kerr, set the tone perfectly for all the enjoyable mayhem that follows.

The “Blithe Spirit” of Coward’s title is actually Elvira Condomine (Kerr), the long-deceased first wife of British novelist Charles Condomine (Sean Kelly) who is ‘materialized’ from the otherworld by Madame Arcati (Madeline Pell), an appealingly eccentric psychic who is invited for cocktails, dinner and a séance at the Condomine manor house in southeast London. It’s all a bit of a ruse by Charles who is working on a new project and hopes to gather research into the mixed up, mystic world in which Arcati resides. What starts out as after-dinner entertainment evolves into comic chaos as Elvira answers Arcati’s call and begins to wield her own special havoc first on Charles and then on his current wife Ruth (Danielle Bilderback) for her own ends.

While Ruth tries to rationalize the erratic actions of her husband, things start to fly about and Ruth senses the very real threat that Elvira’s spirit may be settling in to stay. So, it’s up to the spiritual prowess of Madame Arcati to bring things back to normal with a spell or two of her own.

Lasswell draws fine performances from Kelly and Bilderback who have to cope with the haunting presence of Kerr’s captivating Elivira. Pell’s brilliant comic turn as Madame Arcati is a laugh-out-loud riot. Rounding out the cast is Mary Jane Britton as the Condomine’s unwavering maid, Edith, Dean Johanson as Dr. Bradman and Stacy Nelson as Mrs. Bradman.

The Dunes Summer Theatre, the oldest continually produced company in Northwest Indiana, is under the artistic direction of Chicago-based theatre artist and director Steve Scott and managing director Elise Kermani. “Blithe Spirit plays through June 16 and the summer season continues with productions of Talley’s Folly (June 28-July 14) directed by Morgan McCabe and The Bridges of Madison County (July 26-August 11) directed by Scott – exciting and promising nights of theatre for the months ahead in Michiana Shores.

PHOTO|Dunes Summer Theatre
Dunes Arts Summer Theatre
presents
BLITHE SPIRIT
Michiana Shores, Indiana
through June 16

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