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

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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: HELLO, DOLLY! Marriott Theatre

Marriott’s “HELLO, DOLLY!” True Theatrical Magic!
PicksInSix® Review | Ed Tracy

Pandemic-era theater audiences are pretty used to some unexpected drama with their drama these days. So when things did not go according to Hoyle with the hydraulic system at the highly-anticipated opening of “Hello, Dolly!” on Thursday at the Marriott Theatre Lincolnshire, everyone took it in stride. On the heels of a troubling Covid outbreak, one might suspect some other-worldly intervention at work—perhaps the spirit of Thornton Wilder himself—on the beloved Michael Stewart/Jerry Herman musical starring the equally beloved Heidi Kettenring in a role that she was born to play.

Whether or not Wilder had a mystic hand in it all, the show went on and, just like that, musical theatre as we know it returned in fine form. Resplendent in picture-perfect period costumes by Teresa Ham, Kettenring’s Dolly is elegant, understated and flawless. The action moves briskly from the imaginative ride on a turn-of-the-century street car from Yonkers to New York’s Harmonia Gardens, where Dolly and her Vandergelder—real life heartthrob and husband David C. Girolmo—create true theatrical magic together.

Director and choreographer Denis Jones, musical director Ryan T. Nelson and conductor Brad Haak have welcomed Dolly Levi back where she belongs with the grace and high society style that this legendary show deserves. The terrific supporting cast is filled to the brim with seasoned players and triple-threat newcomers including Rebecca Hurd (Irene Molloy), Alex Goodrich (Cornelius Hackl), Amanda Walker (Minnie Fay), Spencer Davis Milford (Barnaby Tucker), Emily Ann Brooks (Ermengade), Michael Turrentine (Ambrose Kemper), George Keating (Rudolph) and Johanna McKenzie Miller (Ernestina).

The musical, based on Wilder’s 1954 play “The Matchmaker,” is equal parts farce and uproarious comedy wrapped in lush, musical explorations of love and longing, with a healthy dose of chicanery and lighthearted larceny rolled in. Jones has stepped up the production numbers which move on and off Marriott’s in-the-round configuration seamlessly thanks to scenic designers Jeffrey D. Kmiec and Milo Blue.

The ensemble soars in the spirited “Yonkers March” and then Jones pulls out all the stops for the crowd-pleasing “Waiters’ Gallop.” Hurd’s lovely, quiet “Ribbons Down My Back” and Goodrich’s touching “It Only Takes A Moment” are particular standout selections in the familiar score. The multi-talented Milford and Walker’s charming turn as Fay make for a perfect match all their own.

But at every turn, all eyes are on the mesmerizing performance of Kettenring—vulnerable and demure in one moment; captivatingly and brilliantly comical in the next—whose interplay with Girolmo is heartwarming and real. From the elegant rendering of “Before The Parade Passes By,” and a side-splitting dinner sequence, to the capstone title number, Marriott’s “Hello, Dolly!” will leave you with a wonderfully joyous feeling to savor for a long time to come.   

PHOTO|Liz Lauren

Marriott Theatre Lincolnshire
presents
HELLO, DOLLY!
through October 16

WEBSITE | TICKETS

(847) 634-0200

HEALTH PROTOCALS

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PICKSINSIX Review: Photograph 51

Sharp Focus Drives Winning ‘Photograph 51’

The moment Dr. Rosalind Franklin learns that she has received a grant to lead a genetics research team at Kings College, she makes three requests in writing: a cube, a camera and the date of delivery so that she may begin her work at once. From that declaration in December 1951 through the course of Anna Zielger’s insightful Court Theatre production of “Photograph 51,” directed by Vanessa Stalling, Chaon Cross delivers an exhilarating and flawless performance as Franklin, the British chemist whose groundbreaking work in the male-dominated world of scientific research provided the key to our understanding of DNA’s molecular structure.

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Upon arrival at the Kings College research laboratory, Franklin discovers that the brash Dr. Maurice Wilkins (Nathan Hosner) has a completely different perception of their professional association creating an intolerable – and what we would today call ‘toxic’ – work environment. Undaunted, Franklin forges an alliance with her research assistant Ray Gosliing (Gabriel Ruiz) to refine the X-ray technology to photograph the shape and pattern of DNA. As successive images become more illuminating, word leaks to James Watson (Alec Goodrich) and Francis Chick (Nicholas Harazin), a competitive team of scientists at the University of Cambridge. Along the way, Franklin corresponds with Don Casper (Yousof Sultani), a doctoral student who vies for a fellowship to work alongside Franklin. It is around the reflections of all of these men that the portrait of Franklin’s life emerges.

The injustice defined in “Photograph 51” involves sexism, deception, greed and unethical behavior, all tinged with anti-Semitism. As she feels progressively more suffocated by the hierarchy in the post-war scientific research community, Franklin’s only recourse is to isolate herself. With only a few steps left in her research, a pair of fresh eyes – three pairs, actually – obtain key information and are able to break the code ahead of her. Without an earnest ally in the group, Franklin’s significant contributions are obscured and marginalized.    

This compelling story unfolds through the voices of the men, all superbly cast, recalling pivotal scenes with Franklin, and among themselves, presented in rapid succession over a span of roughly 18 months into mid-1953. The narratives, according to the fine program notes by Production Dramaturg Derek Matson, are rooted in the contrasting view of Franklin’s work first addressed in James Watson’s controversial 1968 memoir The Double Helix, which compelled other works, all represented here, and Maurice Wilkins own account in which he accepts responsibility for minimizing Franklin’s contributions when he, with Crick and Wilkins, received the 1962 Nobel Prize for Physiology for the discovery. 

Arnel Sancianco’s arresting scenic design includes a massive, two-story wall framed with definitive circular stairs on either side while the laboratory’s main floor has period card catalogs, lab tables and equipment on an ingenious floor design. It is all integrated with Keith Parham’s superb illumination, Jeffrey Levin’s stirring sound, stunning projections by Paul Deziel and Mieka van der Ploeg’s impeccable costumes.

“Photograph 51” is an empowering statement about equality, perseverance and truth. While “the world wins,” the moving and heartfelt performance of Chaon Cross reveals Franklin as a complex, compassionate, driven chemist with an extraordinary thirst for knowledge. Most importantly, as art and science intersect, Rosalind Franklin’s rightful place as a trailblazer is assured.

PHOTOS|Michael Brosilow

Court Theatre
Presents
Photograph 51
through February 17th
5535 S Ellis Ave
(773) 753-4472

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PICKSINSIX Review: SWEET CHARITY

“CAUGHT IN THE FLYPAPER OF LIFE.”

Appearing nightly… The story of a dance hall girl looking for love in all the wrong places is wrapped in a lush musical score, sassy dance numbers and a cast of characters who like the girls at Fandango Ballroom are caught in the flypaper of life. If you want to have fun, fun, fun, one of the sweetest Charity’s of all is appearing nightly at the Marriott Lincolnshire -- and her name is Anne Horak!

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Rich legacy… Sweet Charity is the only musical conceived, directed and choreographed by Bob Fosse that has a book by Neil Simon (adapting the screenplay for the Frederico Fellini film Nights of Cabiria), music by Cy Coleman and lyrics by Dorothy Field. The show has a rich legacy, debuting on Broadway in 1966 starring the beloved Gwen Verdon who had already created the roles of Lilo in ‘Can Can’, Lola in ‘Damn Yankees’, and a decade later, Roxie Hart in ‘Chicago’. A revival in 1986 starred Bebe Newirth.

 Lots of laughs… Charity Hope Valentine wants to be loved. She is a ‘social consultant’ at a dance hall, a sordid occupation from which she desperately wants to escape. Rejected and abandoned by her current boyfriend, Charity stumbles into a relationship that forces her to confront the truth of her existence, a decision that could certainly threaten her future with the new man in her life. Although Charity may be a bit misguided, she is genuinely truthful and wants to do the right thing. There are a lot of laughs along the way in this terrific production directed and choreographed by Alex Sanchez.

Multi-faceted gem… Anne Horak’s self-effacing performance is a force of nature bringing a Broadway-sized talent to the intimacy of Marriott’s stage. Horak delivers a multi-faceted singing, dancing, comic gem. Alex Goodrich’s hyper-active, uber-sensitive Oscar Lindquist falls head over heels in love with Charity. The two are perfectly cast in this highly-paced, finely-tuned production.

Explosive energy… The professional company is filled to the brim with talent. The commanding Adam Jacobs (Vittorio) delivers a stirring ‘Too Many Tomorrows’. Horak combines with Dani Spieler (Nickie) and NaTonia Monet (Helene) in the poignant ‘There’s Gotta Be Something Better Than This’ while Spieler and Monet roll it out in ‘Baby Dream Your Dreams’. The explosive energy of Kenny Ingram (Daddy Brubeck) is on full display in the show-stopping company number ‘The Rhythm of Life’. Sanchez and Assistant/Dance Captain Laura Savage’s choreography soars with the iconic ensemble dance numbers ‘Big Spender’ and ‘Rich Man’s Frug’, the classic Fosse-infused triplet.

All signs lead to laughter… The spirited orchestra is conducted by Patti Garwood and visually, the Mieka van der Ploeg costumes and scenic design by Scott Davis combine with Jesse Klug lighting to set the stage perfectly from the Fan Dango to Vittorio’s lush suite, and the hotel elevator, a showcase scene for the comic talents of Horak and Goodrich. All signs lead to laughter, fun and a night of non-stop entertainment.

PHOTOS|Michael Brosilow

Marriott Theatre Lincolnshire
Presents
Sweet Charity
through October 28th
Ten Marriott Drove, Lincolnshire
(847) 634-0200

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PICKSINSIX Review: BUDDY - THE BUDDY HOLLY STORY

Zachary Stevenson's ‘Buddy’ is a 'WOW!' 

Eighteen glorious months. … Strip away social media, cable television, satellite and internet radio, downloads, Amazon, Google, iTunes and what do you have left? Posters, vinyl records, small live venues, local television and radio, which makes what Buddy Holly did for eighteen glorious months in the late 50s all the more incredible.

Explosive performance … Times may have changed in the past sixty years, but they have not changed that much. Everyone is still looking for a sure thing and we’ve got one right here in Chicago on West Belmont – the explosive performance of Zachary Stevenson in the American Blues Theater revival of Buddy - The Buddy Holly Story at Stage 773.

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Like a classic film .... we know how this bittersweet story ends, so it’s the actors — who are an amazing collection of singers and instrumentalists — that make this jukebox musical soar. Director Lili-Anne Brown and Musical Director Michael Mahler, who also performs, have brought a multi-talented company together around these iconic hits - well over two-dozen songs played out on the radio and in a series of recording sessions, club dates and concert appearances to frame the backstory. And they knock every one of them out of the park! 

Extraordinary musical journey… Stevenson and the Crickets, Kieran McCabe, Shaun Whitley and Mahler — are at the core of this extraordinary musical journey. Liz Chidester, is perfect as Vi Petty (and really rocks the keyboards) as is Derek Hasenstab (Norman Petty), a blistering guitarist. The strong company features fine vocal performances by Angela Alise, Chuckie Benson and Daniel Riley at the Apollo, along with Alex Goodrich, Ann Delaney, Lauren Vogel and Molly Hernandez who also nails the endearing role of Maria Elena, and Ian Paul Custer, an affable Hi Pockets. The rockin’ talents of Cisco Lopez (Ritchie Valens) and Vasily Deris (Big Bopper) will blow you away, but this take-no-prisoners musical extravaganza belongs to one person: Zachary Stevenson’s 'Buddy' is a 'WOW!'

Educational and community outreach … American Blues Theater has partnered with Chicago Public Schools to encourage student attendance while cast members are also performing mini-concerts at assisted-living facilities and hospitals. No finer way to bring the arts and entertainment, and first-class musical opportunities, to an appreciative extended audience.

What are you waiting for? … Ready Teddy! You have until September 15th to see this one. Oh Boy!  [Updated: July 5, 2018]

PHOTOS|MICHAEL BROSILOW

AMERICAN BLUES THEATER
Presents
Buddy-The Buddy Holly Story
through September 15th

JUST ANNOUNCED!
Buddy Holly Returns for 'Encore' Run
June 29th - Sept 15th

Stage 773
1225 West Belmont
(773) 327-5252

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PICKSINSIX Review: The Importance of Being Earnest

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"Ah! A life crowded with incident..."

What’s it about … Oscar Wilde’s hilarious unraveling of the double lives of two men who unsuspectingly propose to two women who will settle for none other than an ‘Earnest(ly)’ named gentleman.

How does the story unfold... With the aristocratic rogue Algernon Moncrieff(Steve Haggard) wondering where his next — and indeed, greatest — ‘Bunbury’ excursion will take him, his love-struck friend Ernest (Alex Goodrich) is forced to confide that he is in actuality ‘Jack’ Worthing in the country. There resides his lovely ward, Cecily Cardew(Rebecca Hurd), under the watchful eye of the matronly Miss Prism(Anita Chandwaney) and the well-intentioned Reverend Chasuble(Aaron Todd Douglas). After confessing his love and proposing marriage to Algernon’s cousin Gwendolen Fairfax(Jennifer Latimore), Jack is denied the privilege by her mother, the imposing Lady Bracknell(Shannon Cockran). Undaunted, he proceeds to hatch a plan to rid himself of his alter ego in the country, radify his lineage and thereby win Gwendolen’s hand. Things go quickly awry leading to an uproariously funny series of surprises with more than a few satisfying resolutions.

Who stands out... This is a superbly paced, colorful and visually stunning production with Wilde’s rich observations on society and stature streaming through Cockran’s blustering turn as Lady Bracknell who with Hurd and Latimore, are picture perfect. The contrast between Haggard’s dashing and clever Algernon and Goodrich’s staunch, be mused Jack, makes for a wildly entertaining evening. In the dual roles of Lane and Merriman, Ross Lehman performance is hilarious.

Brilliant design... The three compact acts have distinctly different textural and color patterns, lavish majestic columns and rich stone framework in a brilliant Collette Pollard design that with Mara Blumenfeld’s elegant costumes provides a fashionable turn-of-the-century backdrop in the Montcrieff study, the Worthing manor house garden and the morning-room at the Manor House.

A Wilde adventure... Writers Theatre has established an extensive audience engagement program initiative that provides discussion events with artists, educational outreach opportunities and many other activities for interested students and patrons.

What you may not know... Writers is also working with the Chicago Public Schools to conduct in-class student sessions and have made multiple performances available to students in support of their educational mission. A very worthy enterprise, indeed.

Photos|Michael Brosilow

WRITERS THEATRE
The Importance of Being Earnest
through December 23, 2017
325 Tudor Court, Glencoe

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847-242-6000
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