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

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PicksInSix Review: Big Fish - Marriott Theatre

“Stories Under Every Leaf And Stone.”
PicksInSix® Review | Ed Tracy

“Big Fish,” the musical based on Daniel Wallace’s novel about an alluring travelling salesman and his larger-than-life experiences that also spawned the 2003 Tim Burton directed film, had its 2013 pre-Broadway tryout in Chicago. With music and lyrics by Andrew Lippa and a book by John August, Edward Bloom’s exploits, were expanded and enlarged to epic proportions by director/choreographer Susan Stroman. The show had too much happening, for so long, that it was hard to believe it would be able to survive its fall opening in New York. The script was considerably reworked over the summer, however, the show did not see the new year.

But that was only an early chapter in the “Big Fish” story, a musical that deserved to live on. It has been regularly produced including at the Boho Theatre in a blackbox space at Chicago’s Greenhouse Theatre a few years ago. The scaled down production fit the space well and captured the essence of the central story that tracks Bloom’s son Will on a journey to learn the truth behind his father’s wide-eyed stories. What resonated most to me at the time was how the score had coalesced and matured. In such an intimate setting, and even at the expense of the sizable scope of the stories being told, this sparkling gem of show had me hooked.

Now comes an exciting, new Equity production that brings together the best of all possible creative Chicago worlds to the Marriott Theatre in Lincolnshire. Director Henry Godinez and Associate Director and Choreographer Tommy Rapley have expertly infused the small-cast version of the show, designed for a dozen players, into a sweeping musical tapestry of fabric, color and light. The work is superbly paced, the staging fresh and creative, and the crowning achievement is that it takes full advantage of Marriott’s in-the-round, ramped access configuration, effortlessly flowing from one scene to the next, beginning to end. The stunning first act closing number is a sight to behold!

Leading the all-star cast and ensemble is Alexander Gemignani as the always engaging Edward Bloom, a husband, father, salesman and teller of stories. Thirty-six to be exact, with many multiple versions of encounters: a prediction from a witch, a gentle giant friendship, the first kiss from a girl in the water, a hyperbolic werewolf and the love of his life, a vivacious redhead named Sandra played by the equally vivacious Heidi Kettenring. Gemignani and Kettenring are terrific together.  That goes for Michael Kurowski as Will and his Josephine, Lydia Burke, too.

The ensemble, all under the musical direction of Ryan T. Nelson, is a force to be reckoned all its own, top drawer Chicago talent all worthy of mention including:  Brandon Dahlquist, Allison Sill, Christopher Kale Jones, Ayana Strutz, Lucy Godinez, Emma Rosenthal, William Daly and Archer Geye, splitting the role of Young Will, and the commanding presence of Jonah D. Winston.  Strutz does some nifty aerial work and you will want to have the Alabama Lambs at your garden party this summer. Conductor Kevin Reeks and the orchestra are in fine form.

Godinez has assembled a diverse production team with wide-ranging credits from theaters across Chicagoland. With the ruddy scenic design by Collette Pollard with its many surprises, hidden panels, trap doors, tiny towns and reams of fabric that appear out of thin air exploding in the colors of Jesse Klug’s lighting design, Amanda Vander Byl’s costumes and Michael Daly’s sound, Marriott’s “Big Fish” is a magical night of theater not to be missed.  

PHOTO | Liz Lauren

Marriott Theatre Lincolnshire
presents
BIG FISH
through March 19, 2023

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(847) 634-0200

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PICKSINSIX Review: LAST STOP ON MARKET STREET

“DANCING TO THE BEAT OF LIFE”

All you need to know is … The seven-year-old future zoologist CJ is on his way to his Nana’s when we meet him in the opening moments of the world premiere of Last Stop on Market Street directed by Henry Godinez now playing at the Chicago Children’s Theatre. He is savvy enough for his age, but not comfortable in a neighborhood vastly different from his own and is nervously counting down the hours until he will be back at home with his parents and his aptly-named canine pal, Doggy. With only the security of his backpack, a few bucks in his turtle pillow, and his cell phone, tablet and headphones, CJ is not at all prepared for what comes next. After first applying sugar, Nana tells it like it is and draws a line by singing “All you need to know is that I said so!”

A glorious, inspiring and heartwarming journey … As you might imagine, things get off to a rocky start, mostly because CJ is convinced, as most seven-year-olds are, that he is in charge. That begins to change as the two embark on Nana's regular crosstown adventure to the other side of town. Through her wise and insightful observations, CJ learns that the excitement of discovery is as much in the journey as it is in reaching the destination. And what a glorious, inspiring and heartwarming journey it is!

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Bowl of soul … The new musical adapted by Cheryl L. West with a hip score by Motown legend Lamont Dozier and his son, Paris Ray Dozier, is based on the 2016 Newbery award-winning children’s book written by Matt de la Peña and illustrated by Christian Robinson. Add the considerable stage and vocal talent of E. Faye Butler, a terrific ensemble with musical direction by Andra Velis Simon, ingenious staging(John Musial), choreography(Stephanie Paul), costumes (Izumi Inaba), sound(Ray Nardall) and lighting(Alexander Ridgers), and with a bus that appears virtually out of nowhere, Last Stop on Market Street is truly a “bowl of soul” for all ages.

Magical chemistry … Parents and fans of the book, written for preschoolers, will thoroughly enjoy this expanded stage version of the touching story of a bus ride across town for a young boy, played at the Saturday afternoon opening performance by the endearing Kei Rawlins (sharing the role with Alejandro Medina) and his no-nonsense Nana, the incomparable Butler. There are a lot of lessons to learn and this show is a real conversation starter for youngsters five and up. Every one of the fascinating characters influence CJ in his quest for answers including (in multiple roles): the bus driver, Mr. Dennis (Breon Arzell), the blind musician, Vernon (Jesse Bhamrah), the rapper Tat Man (Brian Keys), Butterfly & Posey (Melanie Brezill), and a young homeless girl Jojo (Kirra Silver).

Every morning brings a new song … the Dozier score rocks a range from the jiving opening company number “Hello, Goodbye” to the poignant “Servin’ Up Love” … Butler’s “Cause I Said So” and “Praise the Lord” are terrific. You are sure to be humming “The Beat of Life” on the way home.

Next stop: Minneapolis … Director Godinez and his team have created an ingenious, colorful panorama of urban neighborhood locations. For those of us without prior knowledge of the material, our discovery is as fulfilling as CJ’s. For that reason alone, you should climb aboard and make a date to see this show running through May 27th. Bring a youngster. Support the Greater Chicago Food Depository with a donation. Buy the book in the gift shop and get ready for a heartwarmingly wonderful hour of entertainment. After the CCT engagement, the next stop: Children’s Theatre Company of Minneapolis, also directed by Godinez. 

PHOTOS|CHARLES OSGOOD

CHICAGO CHILDREN's THEATRE
Presents
A New Musical
LAST STOP ON MARKET STREET
through May 27th
The Station
100 S. Racine Avenue
(312) 374-8835

WEBSITE

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