PicksInSix Review: Natasha, Pierre & The Great Comet of 1812 - Writers Theatre

‘GREAT COMET’— Big, Bright, Beautiful Star!
PicksInSix® Review | Ed Tracy

The Chicago premiere of “Natasha, Pierre & The Great Comet of 1812” is lighting up the Glencoe sky over Writers Theatre in a soaring production directed and choreographed by Katie Spelman with music direction by Matt Deitchman. Spelman has assembled an exceptional ensemble who deliver a flawless performance of Dave Malloy’s groundbreaking electropop opera that received a dozen 2017 Tony Award nominations.

There is a lot to unpack in this love story derived from a 70-page section of Tolstoy’s War & Peace. The first path of two storylines that are destined to intersect involve the emotional struggles of Natasha (Aurora Penepecker) a free-spirited young woman who is visiting Moscow to meet relatives of her soldier fiancé who is away at war. Natasha becomes wildly tempted by the deceptive Anatole (Joseph Anthony Byrd) whose seductive charms compel her to break her engagement and make plans to elope with Anatole. But there is more to Anatole than meets the eye.

The second path involves the unhappily married Pierre (Evan Tyrone Martin) who is tormented by drink and depression and searching for his own way out of the situation. Pierre’s promiscuous wife Hélène (Bri Sudia) happens to be Anatole’s sister and takes macabre pleasure in helping him lure Natasha’s affection. Pierre is lost in his own obsessions to the point where he publicly confronts one of Hélène’s lovers, Dolokhov (Andrew Mueller), who also happens to be a friend of Anatole, and, in a drunken rage, challenges him to a duel.

Natasha’s host and godmother Marya D (Bethany Thomas), Natasha’s cousin Sonya (Maya Rowe) and Mary (Julia Wheeler Lennon) Andrey’s sister have vastly conflicting interests while, at home, Mary must contend with the eccentric Bolkonsky (Rob Lindley) and keep a watchful eye on Natasha as events unfold. By the time Andrey (Matthew C. Yee) arrives, there is glass all over the floor and only with Pierre’s influence can there be a hopeful solution for both Natasha and for himself.   

This glorious work is sung-through, a highly ambitious undertaking that could only be accomplished with the superb ensemble—including those mentioned with Sophie Grimm, Will Lidke and Jonah D. Winston—steeped in seasoned Chicago talent and showcasing many fine newcomers to Writers, including the luminous Penepacker whose voice and presence as Natasha is intoxicating in a big, bright, beautiful star turn. Rowe is perfect as Sonya, particularly in the memorable “Sonya Alone.” Martin’s brilliant vocal range is on full display as the conflicted Pierre. Winston has the reins well in hand in “Balaga” leading the company on a wild crowd-pleasing ride.

The creative team of scenic designer Courtney O’Neill, costume designer Raquel Adomo, sound designer Eric Backus and lighting designer Yael Lebetzky create a stellar, unified experience, and the magnificent work of Dietchman, conductor/pianist Charlotte Rivard-Hosler and the orchestra shines brightly all night long to deliver Malloy’s complicated and intricate score with elegance and precision. Altogether, it’s a compelling, cosmic adventure that just might be a once-in-a-lifetime event!

PHOTO|Liz Lauren

Writers Theatre
presents
Natasha, Pierre & The Great Comet of 1812
through October 27

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PicksInSix Review: Young Frankenstein - Mercury Theater Chicago

Mercury’s “Young Frankenstein” High-Flying Fun!
PicksInSix® Review | Guest Contributor | Ronald Keaton

The brilliance of the 1974 film Young Frankenstein comes from the ability of Mel Brooks its director and screenwriter (with Gene Wilder) to alternately pay tribute to Hollywood’s past, while parodying scenes from great films. The stage musical version of “Young Frankenstein”—with music and lyrics by Brooks and book by Brooks and Thomas Meehan—now playing at the Mercury Theater Chicago under the direction of J. Walter Stearns and musical direction of Eugene Dizon, delivers a high-flying fun night with all of that same pathos and side-splitting comedy thanks to some spirited performances and a hard-working ensemble of endless invention.

As the story goes: Dr. Frederick Frankenstein (the great and versatile Chicago actor Sean Fortunato) is fighting the family legacy to make his own name, right down to the pronunciation – “Fronk-en-steen.”  He’s a university professor and lecturer who is constantly denigrating his grandfather’s work, calling it the “ravings” of a lunatic mind.  Now that his grandfather has passed away, he is called to Transylvania to settle the family estate. He leaves behind a fiancé Elizabeth (a fine comic performance by Lillian Castillo), who is a truly spoiled girl that he really doesn’t love, it seems. There is a fun song – “Please Don’t Touch Me”— at the pier where Frederick is about to depart that showcases the terrific ensemble that is immensely valuable in this production.  While Elizabeth is distressed that he is leaving right before their wedding, she accepts the inevitable.

Frederick arrives in Transylvania, meeting Igor (Ryan Stajmiger in an energetic turn), hiring a tall demure assistant named Inga (the lovely and talented Isabella Andrews) and meeting the boss of the house, Frau Blücher (Mary Robin Roth, who steals every scene she’s in – cue the horses).  Frederick is convinced, in time, by reading his grandfather’s record on his work – a book entitled “How I Did It” – and assumes the responsibility to replicate the recreation of life at last.

The Monster (the wonderful Andrew MacNaughton, who makes a role with nifty footwork and practically no dialogue a truly enjoyable experience, because he’s enjoying it himself) comes to life and runs to the countryside and freedom.  Jonah D. Winston is an articulate Inspector who rouses the hoi polloi to action against the Monster. There’s an unforgettable scene with the blind Hermit (Samuel Shankman in great voice – “I was going to make espresso…”)

In this production, the ensemble leaves a strong mark on the story, particularly when choreographer Brenda Didier is putting them through their paces.  Playing everything from Elizabeth’s “staff” to the citizenry of Transylvania to passengers at the pier to tap-dancing fools and supporting the Monster and Frederick and, well, everyone else in a finale of impressive tap dancing that’s fit for the Ritz!

I’ve always been a huge Mel Brooks fan but that’s not a requirement to enjoy this stellar laugh-out-loud night of frivolity that’s playing through December 31.  

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|Liz Lauren

Mercury Theater Chicago
presents
YOUNG FRANKENSTEIN
3745 N Southport Avenue
through December 31, 2023

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PicksInSix Review: Damn Yankees - Marriott Theatre

A DEVIL OF A GOOD TIME!
PicksInSix® Review | Ed Tracy

Looking to fill your breezy summer evening with the crack of the bat and a stadium-size offering of blockbuster musical numbers mixed with an offer of immortality? All these merge in “Damn Yankees,” the 1955 award-winning hit with book by George Abbott and Douglass Wallop, lyrics and music by Richard Adler and Jerry Ross, choreography by Bob Fosse and starring Ray Walston and Gwen Verdon. “Damn Yankees” received seven Tony Awards, spawned a hit film, and is playing now in a robust and rollicking revival at Marriott Theatre that’s a devil of a good time!

The musical, based on Wallop’s “The Year the Yankees Lost the Pennant,” holds up well nearly 70 years later even with a cluster of eye rollers in the script that require a special comic touch these days. But all is forgiven when this time capsule begins delivering a string of socko company numbers like “Heart,” “Shoeless Joe from Hannibul, MO,” “Who’s Got the Pain,” and “The Game” in showstopping style. And that’s exactly what happened—twice—at Wednesday’s opening performance with the top-flight talent assembled by director James Vásquez and Tyler Hanes’s Fosse-infused choreography.

Vásquez has stacked the lineup for laughs, too, with Sean Fortunato in a wickedly sardonic performance as the devious devil Mr. Applegate who grants the wish of Joe Boyd (Ron E. Rains) for the Washington Senators to win the pennant. With a slight of hand, a whiff of smoke and a change of name, Applegate creates Joe Hardy (Andrew Alstat) whose youth, power and abilities will pick the hapless Senators out of the cellar and into the World Series for the small price of Joe’s eternal damnation. As the team rises in the standings, the story clings to some detective work by ace reporter Gloria Thorpe (Erica Stephan) whose curiosity threatens to expose Joe before he can finish the job and lead the team to victory.

It doesn’t take long for Joe to realize that he’d rather be home with his wife Meg (Daniella Dalli) than face Applegate’s mounting pressure to stay within the baselines. As Joe begins to waver, Applegate enlists the services of Lola (Michelle Aravena), an irresistible temptress, to woo Joe back on his team. But even Lola’s sexy and sultry advances fail and Lola instead conspires to help unravel Applegate’s plan. As the clock ticks down, things start to heat up in Joe’s world.

In addition to the many memorable individual highlights in the show—Aravena’s playful, coy “A Little Brains, A Little Talent” and the steamy “Whatever Lola Wants” are truly topflight and Fortunato knocks “Those Were the Good Old Days” out of the park—the ensemble’s work throughout, and especially in “Two Lost Souls,” a dark, smoky ode to Fosse that virtually oozes up from the underworld, is phenomenal.   

In a cast of venerable Chicago talent, Lorenzo Rush Jr. stands out as the Senators coach Van Buren who leads the ensemble in “Heart” and plays some solid work with Jonah D. Winston and Michael Kingston. Erica Stephan steps up front and center for the crowd-pleaser “Shoeless Joe” that includes the amazing jump rope talents of Ben Broughton. Heidi Kettenring and Lydia Burke team up on the sidelines as kooky, adoring Senators fans, spreading gaiety and a little fog around on Regina Garcia’s sharp and versatile set. With Jesse Klug’s surreal lighting effects, Michael Daly’s subterrain sound and truly gorgeous 50s era costumes by Teresa Hams, the stage is awash in vibrant color to match the music directing talents of Ryan T. Nelson and Noah Landis’ orchestra, and to make Marriott’s “Damn Yankees” the show to see in Chicago.  

PHOTO|Liz Lauren

MARRIOTT THEATRE LINCOLNSHIRE
presents
DAMN YANKEES
through June 4, 2023

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TICKETS

(847) 634-0200

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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

WEBSITE | TICKETS

(847) 634-0200

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PicksInSix Review: The Play That Goes Wrong - Broadway in Chicago

The Best Laid Plans Gone Awry!
Guest Contributor | Ronald Keaton

Please allow this writer to share with you about “The Play That Goes Wrong” now offering its wares for a hoped-for extended engagement at the Broadway Playhouse in downtown Chicago by a hardy, hometown band of Chicago actors.  And believe me when you read that this really is the title of the play as presented by an immensely talented, tight group of performers and stagehands and audience members, because everything—literally everything—goes wrong.  And that’s the point.

The time-honored concept of farce steps into sharp focus here. There are two sets of theatrical credits in the program.  One, of course, is devoted to the professionals who are actually involved in the production itself—Colton Adams (Trevor), Joseph Anthony Byrd (Jonathan), Ernaisja Curry (Annie), Michael Kurowski (Dennis), Matt Mueller (Chris), Kelly O’Sullivan (Sandra), Jarred Webb (Max), and Jonah D. Winston (Robert).  The other is a list and bios of the “actors” from the Cornley University Drama Society as they present the world premiere of Chris Bean’s “The Murder at Haversham Manor” (cue: organ).

As guided in brilliant fashion by director Matt DiCarlo, we immediately sense a rollicking tone in a “pre-show” speech, designed to soften the blow of what was to come next. This man, “Chris Bean”, has done nearly everything in and for the show—Author. Director. Designer. Dialect and Voice Coach.  He even sold the tickets and created the PR.  And naturally, Mr. Bean plays Inspector Carter, the hero-with-a-twist who tries to solve the murder in the title.

And so the entire evening goes. It’s a cast that commits itself fully and joyfully to every miserable event.  Actors playing actors who play characters in a murder-mystery.   We see everything go terribly awry, and we absolutely go along with it all.  One actor playing a butler forgets his lines and refers to them, written down on his hand.  Another (a stagehand) is shoved into a role herself—script in hand—when her predecessor onstage is literally knocked out with an open door and is dragged through an open window to help the action continue. Still another actor/character loves the limelight so much that he allows his awareness of the proceedings to filter into his character and thus begins flirting and smiling and laughing with the actual audience. And when the set itself begins to disintegrate, well…

Please know that more can be shared, but too much has already been said.  Such is the priceless value of farce that is well-done. The less you know, the more you’ll be pleased at the joyous ride you’ve taken.  And yes, this play is a wonderful, expertly conceived farce, a real rarity these days. One that all can identify with. The best laid plans gone awry with hugely satisfying and hilarious dividends.

We’ve all had quite a time now in our COVID world, where for the longest time, laughter seems to be not only absent, but a bit inappropriate.  “The Play That Goes Wrong” erases such feelings. This group of creative spirits—an authentic ensemble whose oneness bands its members together—will gleefully take you down a merry path.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL www.solochicagotheatre.com    

PHOTO: Jeremy Daniel

BROADWAY IN CHICAGO
presents
THE PLAY THAT GOES WRONG
The Broadway Playhouse
Water Tower Place

through May 29, 2022

WEBSITE

TICKETS

For More About the Show, Visit: CONVERSATIONS | Kelly O’Sullivan December 13, 2021

For more reviews, visit: Theatre In Chicago

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PICKSINSIX Review: AVENUE Q

FAST-PACED, LAUGH-OUT-LOUD HIT!

Far-out puppets... AVENUE Q, that bawdy, irresistibly appealing three-time Tony Award-winning Broadway musical about an out of the way New York City neighborhood where far-out puppets and humans alike face life-changing situations, is right back where it belongs at the Mercury Theater. L. Walter Stearns directs a seasoned company of top returning and new talent in a fast-paced, laugh-out-loud hit!

Adult-themed musical... There are more than a few reasons that AVENUE Q had a six-year run on Broadway, can still be seen Off-Broadway and in major productions around the country, of which this is certainly one. The neighborhood is full of lovable and often extremely inappropriate puppets whose take on everything from racism, sex, gender issues, and internet porn have made this adult-themed musical sure-fire, head-bobbing fun.

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Power of giving... Whether you choose to watch the puppets or their handlers - and there is a lot of mischievous handling going on - there is so much to see, hear and enjoy. At the center of the story of Princeton’s quest to find his purpose in life is the touching love story that evolves with Kate Monster whose goal is to establish a school for monsters. Along the way, Princeton and Kate learn from their neighbors about life, love and the power of giving, proving that when you have a puppet in your hand, you can get away with a lot of things.

Delightfully endearing... This production is a bit of a renaissance - with a few carefully chosen script enhancements - of the one that flourished at the Mercury for seven months and 169 performances in 2014. Stearns and Musical Director Eugene Dizon have now assembled a top-flight ensemble around the delightfully endearing return performances of Jackson Evans (Princeton) and Leah Morrow (Kate Monster). Dan Smeriglio is hilarious in his return in the split roles of Nicky (with Jonah D. Winston, who is also a perfect Trekkie Monster) and Bad Idea Bear (with Stephanie Herman, who splits as the salacious Lucy and Mrs. T). Rounding out the superb multi-talented cast are David S. Robbins (Gary Coleman), Christian Siebert(Rod), Matthew Lies(Brian) and Audrey Billings (Christmas Eve).

Subtly nuanced additions... The all-star creative team includes Broadway veteran puppet designer Russ Walko whose work has come to life with the imagination of Rick Lyon, creator of the original Broadway puppets (and Broadway company cast member) who worked extensively with the Chicago cast during the rehearsal process. With Lyons’ subtly nuanced additions, choreography by Kevin Bellie, the picture-perfect set and state-of-the-art digital elements by set designer Alan Donohue, video design by Max Maxin IV, lighting by Dustin L. Derry, sound by Carl Wahlstrom and Rachel Boylan’s costumes, this high-octane AVENUE Q is running on all cylinders.

One naughty night out... Mercury Theater Chicago is again collecting for Season of Concern, an organization that has raised hundreds of thousands of dollars from generous artists and theater patrons to benefit people in the entertainment industry who are experiencing health-related emergencies and medical issues. There is an opportunity during the show when one could make a substantial contribution to support this worthy cause, so if you are planning only one naughty night out this summer, find your purpose on AVENUE Q.

PHOTOS|Brett A. Beiner

MERCURY THEATER CHICAGO
Presents
AVENUE Q
through September 9th
3745 N Southport Ave
Chicago, IL ‎60613
TICKETS: 773 325-1700

WEBSITE
Listen to our June 18th CONVERSATION with Leah Morrow and Jackson Evans
For more reviews, visit: Theatre In Chicago

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