PicksInSix Review: Jersey Boys - Mercury Theater Chicago

Sweet, Sassy, Success Story, Richly Told!
PicksInSix® Gold Review | Ed Tracy

After an electrifying opening on Thursday night at Mercury Theater Chicago,  “Jersey Boys,” the mega-hit Tony Award-winning musical has officially launched its first regional production in Chicagoland. Get in step, folks. This will be the hot ticket to get in town!

The Marshall Brickman and Rick Elice book follows the origin story of The Four Seasons, one of the top selling vocal groups of their, or any, time told from the perspective of each of the four guys who traded up from a Newark street corner to the Rock and Roll Hall of Fame – Tommy DeVito (Adrian Aguilar), Nick Massi (Jason Michael Evans), Bob Gaudio (Andrew MacNaughton) and Frankie Valli (Michael Metcalf).

JERSEY BOYS: The Story of Frankie Valli & The Four Seasons at Mercury Theater Chicago through May 19, 2024.

Along the way, all night long, the memorable Bob Gaudio and Bob Crewe hits keep coming, backed by the highly-charged Mercury Theater band under co-musical directors Eugene Dizon and Linda Madonia, and with choreography by Christopher Chase Carter, all under the co-stage direction of L. Walter Stearns and Brenda Didier.

And everyone on and off stage make it look easy, something that this magnificent show is decidedly not. With over 30 numbers, lots of moving parts, and barely over a dozen players covering numerous roles, Mercury’s “Jersey Boys” is a sweet, sassy, success story, richly told. Things move along at lightning speed on Bob Knuth’s mammoth, two-story scenic design framed with G. “Max” Maxin IV graphics that serve to both reinforce the story and provide multiple visual surprises. With Rachel Boylan’s costumes, lighting by Denise Karzcewski and Stephanie M. Senior’s sound design, this marvelous production is everything you could hope for.

The show also serves as a right of passage for a very select group of actor/singers at the top of their craft who can navigate a musical marathon of intricate harmonies, stage show choreography and the rigorous ebb and flow of a dramatic story that allows for multiple narrators to tell their own version of the story about friendship, family, overcoming obstacles and achieving success.

The multi-layered Mercury creative team hit solid gold with this extraordinary cast. Aguilar’s gritty, commanding portrayal of Tommy DeVito, the hardened, street smart leader of the group, propels the origin story forward at the outset while Evans’s superb, more introspective, troubled Nick Massi wins us over, particularly when the stress of keeping up wears him out.

The teaming of MacNaughton and Metcalf is inspired. MacNaughton’s pure voice and vocal range add depth to the musical mix and Metcalf has all the right stuff for the demanding vocal range and lush delivery of Frankie Valli—a star turn of the first order—charming and poised, with just the right mix of confidence and vulnerability.

Grant Alexander Brown shines as the ebullient matchmaker Joe Pesci. Starmaker producer/songwriter Bob Crewe is played by the multi-faceted Adam Fane who hires the group as backup singers to his corral of recording artists and becomes the pivotal driving force in their success co-writing with Gaudio. It’s in Crewe’s studio where the transformation begins, their unique sound starts to coalesce and the show throttles up. And true to the real-life rags-to-riches story, Gaudio delivers the chart busting hit they have been waiting for and “Sherry” vaults the Four Seasons on to fame, fortune and all the trappings that follow.

From top to bottom, strong supporting performances from the ensemble are delivered by Dan Gold (Nick DeVito), Eric A. Lewis (Barry Belson), Kayla Shipman (Mary), Jason Richards (Norm Waxman), Haley Jane Schafer (Lorraine), Carl Herzog (Gyp) and Maya McQueen (Francine).

When we get through the drama of it all, Frankie Valli and the Four Seasons find their place in history, and Mercury’s “Jersey Boys” is on a path all its own–another milestone run on Southport for the foreseeable future.

Oh, what a night, indeed!  

PHOTO|Liz Lauren

Mercury Theater Chicago
presents
JERSEY BOYS
3745 N Southport Avenue
EXTENDED through July 28, 2024

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PicksInSix Review: The Gospel at Colonus - Court Theatre

Infectious… spectacular and from the heart.
PicksInSix® Review | Guest Contributor Ronald Keaton

There is so much to share about “The Gospel at Colonus,” the absolutely marvelous production now playing at Court Theatre through June 11, that one hardly knows where to start – or whether all the praise can fit in here.  Based on the Oedipus trilogy by Sophocles, it views the Greek tragedy – and in this case a specific tale that shows subsequent comparisons to Christian fact and legend – through the energetic prism of the Black Pentecostal Church.  It’s a fascinating adaptation that seems naturally to play into such customs and stories.

Some background: “Oedipus at Colonus” is the middle play in the trilogy.  Oedipus has already experienced what the gods say he will endure.  His father the king is killed in battle by his son’s hand.  In mourning, the son attends his mother Jocasta and, in time, they have three children together.  When that shame is discovered by the world, Oedipus then blinds himself as punishment for his sins and wanders the world for twenty years. Yes, that’s quite thumbnail in description, but it sets up the second play, where Oedipus is now cared for, by first one and then both daughters, as he is guided back to Thebes, desiring now to go home and die quietly.  And of course, nothing is quiet in Greek storytelling.

The versatile Kelvin Roston Jr. gives an Oedipus of great emotion and strength that translates into non-stop passion throughout the play.  As the two sisters, Aeriel Williams (Antigone) and Ariana Burks (Ismene) are both zealous, vulnerable guards of their father’s welfare.  Mark Spates Smith (Theseus, King of Athens) is a calming presence as his character converts to a narrator/minister of the church here. And it’s lovely to watch the wisdom in his work.  Timothy Edward Kane is a smooth, slick Creon, who is Jocasta’s brother, tempting Oedipus to return to his birthplace, so that the fortunes the gods have predicted will not come true and Creon can retain power in Thebes… And on the story goes.

There are so many high points from a talented ensemble, a most entertaining entity this writer enjoyed thoroughly.  Juwon Tyrel Perry portrays The Friend, who first tells Oedipus he cannot enter a holy place, in a stunning vocal turn. Kai A. Ealy as the evil son Polyneices offers wonderful character work, full of depth and deception.  As dual Choragos whose advice Oedipus accepts, Eric A. Lewis and Shari Addison deftly lead the citizenry in alternating moments of huge passion and quiet choral harmonies, all rooted in the Pentacostal tradition of call-and-response that is nothing if not exciting to watch here.  Everyone deserves mention – Jessica Brooke Seals as a knowing preacher of sorts, augmented by a Greek chorus (Jerica Exum, Cherise Thomas, Isaac Ray, Shantina Lynet, Eva Ruwe) who takes the captivating music to emotional heights in a totally unique take of the Court’s classic theatre mode.

“The Gospel at Colonus” is co-directed with an elegant combination of big choral strokes and intimate individual moments by Mark J.P. Hood and Charles Newell with associate director Taron Patton. A sparse scenic design by John Culbert; the colorful Raquel Adomo costuming; the wonderful, attentive shafts of sharp light in one moment and warm, enveloping light in another by Keith Parham; the complimentary sound layers designed by Sarah Ramos – all eloquent pieces to a puzzle of thick design and story.  All of these elements, expert as they are, grabbed onto the coattails of the exciting, heartfelt gospel blues from the five-piece unit led by Mahmoud Khan. Along with the audience, one could even see Production Stage Manager Kate Ocker clapping along from the stage manager’s booth. That’s how infectious it is – spectacular and from the heart.

Created by Lee Breuer and Bob Telson, the show had its original 1983 production at the famed Brooklyn Academy of Music in New York – after workshops at the Walker Art Center in Minneapolis and in London – with Morgan Freeman as the preacher and the great Blind Boys of Alabama as Oedipus, in what Mr. Breuer and Mr. Telson called a “eureka moment” in their casting. It is a fascinating adaptation of an exceedingly challenging story to tell that naturally plays into the customs and traditions of Black churches.  I would venture to say that if they saw this production in all its fullness and nuance, they would be quite happy with the result.

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|Michael Brosilow

COURT THEATRE
presents
THE GOSPEL AT COLONUS
5535 S Ellis Ave.
EXTENDED through June 18, 2023

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