PicksInSix Review: CATS - Paramount Theatre

Spectacular Revival Under The Big Top!
PicksInSix® Review | Guest Contributor | Kaitlyn Linsner

I must admit something. Despite being a big musical theater and even bigger cat fan, Andrew Lloyd Webber’s “Cats” never appealed to me. I more so enjoyed the pop culture references that poked fun of cats singing and dancing on stage. Even one of my favorite cartoons as a kid, Hey Arnold, had an episode where one of the characters attends, and laughs through, a musical called Rats—an obvious parody of “Cats.” I found that quite funny, and so, as one might expect, I arrived at Paramount Theatre’s revival of “Cats” with some hesitancy.

It did not take me long to change my tune. This circus-themed production of “Cats,” directed by Trent Stork, transforms the Jellicle Ball into a larger-than-life event. As one of the longest-running shows in Broadway history, clearly the glitz, glam and weirdness of “Cats” has mesmerized audiences for over 40 years. Paramount Theatre takes the dazzling dance musical to literal new heights with aerial arts, acrobatics, contortion and juggling. The audience “ooo’d” and “ahh’d” from start to finish.

The scenic design by Jeffrey D. Kmiec and projections design by Paul Deziel are remarkable. From the big top tent to the oversized props and big glowing moon, a magical world was created where cats displayed their vast array of talents and embraced fanciful oddities. It took me some time to realize “Cats” is basically a talent show for cats. By making the production a circus, leaning into the spectacle of it all felt both natural and quite fun. Plus, the addition of circus props, like red balloons, made for visually stunning moments throughout.

The impressive choreography by Kasey Alfonso did well to capture the essence of feline behavior and tell the story of each cat with energetic and stylish flair. Stand out dance performances include Bombalurina (Tiffany Topol), Demeter (Alexandra Palkovic) and Company during “Macavity: The Mystery Cat” and Mistoffelees’ (Christopher Kelley) dance solo. Kelley was a real showman and executed his dance solo with ease. The costumes by Izumi Inaba also added such personality by featuring a unique mixture of lush colors and textures. Old Deuteronomy’s (Lorenzo Rush Jr.) coat stood out in particular with its fuzzy opulence.

The sheer talent of this ensemble also makes “Cats” a must-see. The production features a whimsical combination of breathtaking circus artistry, stunning vocals and movement. Emily Rohm delivers an enchanting performance as Grizabella which earns her the ascent to the Heavyside Layer via a high-flying trapeze up and over the audience and into the balcony. Old Deuteronomy’s (Rush) sweet-sounding and smooth vocals enhanced each scene he entered, and Rum Tum Tugger (Donovan Hoffer) packs a ferociously controlled punch throughout the show.

Die hard “Cats” fans, newbies and even skeptics like me will find this revival truly entertaining. With such wide appeal, and in true circus fashion, seems only fitting to say “come one, come all” You don’t want to miss this.

GUEST CONTRIBUTROR | Kaitlyn Linsner serves as an Assistant Attorney General in the Public Utilities Bureau of the Office of the Illinois Attorney General.

PHOTO|Brett Beiner Photography

Paramount Theatre
presents
CATS
23 East Galena Boulevard
Aurora, IL
through June 15, 2025

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PicksInSix Review: Ain't Misbehavin' - Drury Lane Theatre

AIN’T MISBEHAVIN’ - Revival Worth Waiting For!
PicksInSix® Review | Guest Contributor | Kaitlyn Linsner

For those looking to enjoy a soulful and spirited night of jazz music, consider a visit to Drury Lane Theatre for the wildly entertaining revival of Richard Maltby Jr. and Murray Horwitz’s 1978 Tony Award–winning musical revue, “Ain’t Misbehavin’: The Fats Waller Musical Show.” 

“Ain’t Misbehavin’” celebrates the music of legendary Thomas “Fats” Waller, a popular and influential performer who first studied classical piano and organ before becoming a master of Harlem stride piano playing. The production features over 30 of Waller’s captivating melodies and an incredibly talented cast that brings to life Waller’s prolific songwriting skills with an impressive range of artistry that captures all the emotions of Waller’s catalog from the heartfelt and sultry moments to the upbeat and comedic.

Director E. Faye Butler set the production in Chicago’s Bronzeville neighborhood to share its history through Waller’s music. Butler and choreographer Mz. Flo Walker-Harris do a remarkable job in staging an old fashioned good time, right here in Chicago, and the creative team similarly soars with a set, costumes, wigs, hair and makeup that truly transport and transcend — Andrew Boyce (scenic designer), Lee Fiskness (lighting designer), McKinley Johnson (costume designer), and Kevin S. Foster II (wig, hair and makeup designer).  

The rich vocals of the five-member cast, under the musical direction of William Foster McDaniel and sound engineering of Stephanie Farina, make it so easy to lose track of the time and to get lost in the thrill of it all.  While each song shines in its own right, a few must be highlighted. James T. Lane, Alanna Lovely, Alexis J. Roston, Micah Mixon, Lorenzo Rush Jr. are sensational in “Black and Blue” in reaching heavenly harmonies together. Lorenzo’s comedy chops shine in “Your Feet’s Too Big,” and Lane is too smooth in “The Viper’s Drag.” Other standouts include “Honeysuckle Rose,” “Mean to Me” and the jubilant audience interaction in “Fat and Greasy.”

Perhaps the best part of “Ain’t Misbehavin’” is just how entertaining it is from start to finish. As soon as the show begins, a vibrancy takes hold and pulls the audience into an evening of celebration and delight. It felt good to connect with the stories that unfolded with each song and to fully embrace the feeling of, well, feeling good. 

“Ain’t Misbehavin’” is something special and in the words of Waller himself “the piano’s thumpin’ The dancers are bumpin'. This here spot is more than hot. In fact, the joint is jumpin.’  

GUEST CONTRIBUTOR | KAITLYN LINSNER is a Chicago-based attorney practicing construction and surety law.

PHOTO|Justin Barbin

DRURY LANE THEATRE
presents

AIN’T MISBEHAVIN’
The Fats Waller Musical Show
100 Drury Lane
Oakbrook Terrace
through August 18, 2024

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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: Cinderella

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“THE PRINCE IS GIVING A BALL!”

There is a new glistening pair of glass slippers in town and thank the heavens that they fit Mikayla Renfrow, the enormously talented star of Paramount Theatre’s shimmering new production of Rodgers and Hammerstein’s Cinderella directed by Brenda Didier that opened Friday night.

In a graceful and superbly poised debut performance, Renfrow’s soaring voice, arresting presence, and effortless dancing ability, anchors an all-star cast in this year’s holiday offering at Chicagoland’s largest regional professional theater. The timeless message of hope and resilience that the show delivers is just the heartwarming tonic that everyone needs right about now. Adapted by Tom Briggs for the stage from the 1997 teleplay by Robert L. Feedman, this edgy version has a rich and storied history. Yes, there’s that brilliantly imaginative moment in Act I—the one that people in every little corner will be talking about, but you’ll not get a peep out of me—during which I could hear audible gasps of wonder from youngsters of all ages. It’s the beginning of a bright and fantastic journey that will make you believe that anything is possible.

Cinderella’s dashing prince Christopher—the kind of guy who “can turn a girl to gravy”—is played by Marckus Blair whose earnest demeanor, lush voice and wide range are a perfect fit for Renfrow’s alluring affection. Ever the optimist, Cinderella blossoms from the shadows of her domineering stepmother, done up with sinister flair by the brilliant Sarah Bockel and matched in all their despicable hilarity by Jacquelyne Jones as the itchy Grace and Tiffany T. Taylor’s chortling Joy. The two are terrific comic foils and nail the duet “Stepsisters’ Lament.”

There are many outstanding feature performances: Chicago favorite Lorenzo Rush Jr. as the steward Lionel and leading the ensemble in “The Prince Is Giving A Ball”; the enchanting Jerica Exum’s as Cinderella’s Fairy Godmother; and, the captivating duo of Rashada Dawan (Queen Constrantina) and Michael Kingston (King Maximillian) at their stately best.

The ensemble of well over twenty is packed with exceptional singers and dancers who all look stunning in Teresa Ham’s gorgeous costumes especially during the opulent ball, a fine example of the lavish choreography by Didier and co-choreographer Tiffany Krause throughout. Cinderella’s closest, and tiniest confidants, the mighty nice mice, a perky pigeon and a cagey cat in the cupboard are lots of fun. Music director Kory Danielson leads the Paramount Orchestra’s exceptional performance of the memorable score that includes “In My Own Little Corner,” “Impossible,” “Ten Minutes Ago” and “Do I Love You Because You’re Beautiful”.

Scene designer Angela Weber Miller has framed the proscenium with an intricate and detailed weave that evokes a wrought iron system with a leaf and flower design complimented by the starry effects of lighting designer Victoria Bain. The festive ballroom, with a grand central staircase, is awash in lavender and blue, an elegant fairy tale setting for Cinderella’s eye-popping entrance on the way to making her dreams come true.  

PHOTO|Liz Lauren

Paramount Theatre
presents
Rodgers and Hammerstein’s
CINDERELLA
through January 9, 2022

23 East Galena Boulevard
Aurora, IL 60506
(630) 896–6666

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HEALTH & SAFETY PROTOCALS

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PicksInSix Theater Review - Marriott Theatre Irving Berlin's "Holiday Inn"

“Holiday Inn” Cast Really Making Hay!

In the opening moments of the Marriott Theatre’s glorious new production of “Irving Berlin’s Holiday Inn” that opened Wednesday night, Michael Mahler, one of Chicago’s most gifted actors, a top-tier vocalist, musician and composer, stepped up to the lone stage piece – a ‘40s era console piano – and proceeded to perform selections from the overture live. Mahler played flawlessly, as he does throughout his superb performance as the famous ‘hit man’/crooner turned gentleman farmer Jim Hardy, right in step with conductor Patti Garwood’s orchestra to ring in the rich tones of the Berlin songbook that follows. Under the “Blue Skies” of this Connecticut farm setting, the “Holiday Inn” cast is really making hay!   

“Holiday Inn” — book by Gordon Greenberg and Chad Hodge — is directed by Denis Jones, who also choreographs, as he did in the 2016 Greenberg-directed Broadway production which received a Tony nomination for Jones. That inspired production, which had the benefit of a proscenium stage and wing space, fits very nicely in Marriott’s round configuration. There are a lot of moving parts and the set, lighting and projections/media team — Scott Davis, Jesse Klug and Anthony Churchill — make it all come together seamlessly.

Front and center — a perfect match for Mahler — is the captivating, triple-threat talent, Johanna McKenzie Miller as Linda Mason who just about everyone falls for, right down to the precocious Charlie Winslow played by 9 year-old Patrick Scott McDermott. The drama in this familiar hometown-to-Hollywood love story – based on the 1942 film starring Bing Crosby, Fred Astaire, Marjorie Reynolds and Virginia Dale that featured ‘White Christmas’ – revolves around the schmoozing hoofer Ted Hanover (Will Burton) who crashes the New Year’s Eve party after being ditched by his partner, and Hardy’s fiancé, Lila Dixon (Kimberly Immanuel). Despite the push and pull of efforts back on the farm and on the phone by the handy-dandy Louise (Marya Grandy), the impassioned agent Danny Reed (Lorenzo Rush, Jr.), and, an unsuspecting farm animal, things have a way of sorting themselves out.

Jones’ electrifying ensemble delivers the finest dancing that you will see on a stage anywhere in Chicago right now. There are no less than a half-dozen, lavish, upbeat company numbers, with everyone decked out in Sally Dolemko’s exquisite, holiday-inspired costumes, ripping through the iconic Berlin score under the musical direction of Ryan T. Nelson.

The singing, dancing, heart-tugging joy ride is full-throttle with ‘Shaking the Blues Away,” a scene played out this|close with a stage full of dancers, milk buckets and jump ropes of holiday lights. Burton is terrific as the debonair Hanover who dances up a storm with the ravishing Immanuel, when he is not with Miller, or on his own in the Fourth of July ode “Let’s Say It with Firecrackers.” In the featured dance number “You’re Easy to Dance With,” Burton and ‘the Girls’ delight right down to the perfectly executed backward tap-dancing line!

From the hotter-than-hot “Heat Wave,” the elegance of “Easter Parade” and “White Christmas” and all the holidays in between, when you step out with your baby for this one, you will definitely “Have Plenty to be Thankful For!” Don’t miss it!

PHOTOS|Liz Lauren

MARRIOTT THEATRE
Presents
IRVING BERLIN’S
HOLIDAY INN
through January 6th, 2019

Ten Marriott Drive
Lincolnshire, IL 60069
847-634-0200

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PICKSINSIX Review: LITTLE SHOP OF HORRORS

“OH GOD HOW I MIST YOU!”

Oh pod how you tease… Seymour Krelborn has a lot of problems. He lives and works at a flower shop on skid row. His boss is not very nice to him. He is in love with his co-worker Audrey who is being abused by her boyfriend, the sadistic dentist who enjoys causing pain. Then there is the sick plant he discovered during a solar eclipse that he has been fretting over. Nothing works, no matter what he tries. “I’ve given you plant food and water to sip. I’ve given you potash, you’ve given me zip! Oh god how I mist you. Oh pod how you tease. So please – grow for me.”

Captivating performances… ‘Little Shop of Horrors’, now playing at Drury Lane in all its joyfully macabre and touchingly poignant splendor, is the product of the first collaboration of Howard Ashman and Alan Menken — an early ‘80s time capsule for the team who later developed Disney’s ‘The Little Mermaid’, ‘Aladdin’ and ‘Beauty and the Beast’ before the 40 year-old Ashman succumbed to AIDS in 1991. The Drury Lane incarnation, keenly directed and choreographed by Scott Calcagno with musical direction by Roberta Duchak, includes a top-notch company led by the captivating performances of Kelly Felthous and Will Lidke whose star-crossed love story — like just about everyone else — runs smack into the jaws of a ravenous leafy bottom feeder.

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Richly enjoyable comic romp… Things are looking up for everyone early on around the Mushnik Flower Shop. Seymour has a thing for Audrey who imagines a better life of her own. And while business is booming, Mr. Mushnik worries that Seymour’s new-found popularity could disrupt the first real opportunity in years to balance the books. Of course, there is only one key ingredient that helps make Audrey II, the aforementioned bottom feeder, grow. Once things start to sprout there is no turning back for the young and ambitious Seymour whose wish to escape the dead-end prospects of a skid row existence to live happily-ever-after with Audrey are only a few gallons of hemoglobin-enriched plasma away. It is all a clever setup for the dark and richly enjoyable comic romp that follows.

Powerhouse voice… Kelly Felthous is on fire as Audrey with a powerhouse voice that flows effortlessly through the beautiful anthems ‘Somewhere That’s Green’ and ‘Suddenly Seymour’. Felthous evokes a truthful innocence that aligns perfectly with Will Lidke’s frenetically awkward charm. Ron E. Rains is perfect in the role of Mr. Mushnik, and shows off some nifty footwork in ‘Mushnik and Son’ with Lidke. Steven Strafford, in multiple roles including Dr. Orin Scrivello D. D. S., nails ‘Be A Dentist’ and ‘Now’. Rounding out the ensemble in plain sight is the fabulous trio of Melanie Brezill (Ronette), Candace C. Edwards (Crystal) and Melanie Loren (Chiffon) who, with Strafford, make the cast appear much larger than it is with split-second costume changes and high-energy numbers including the title song and ‘Skid Row’ where Edwards particularly shines.

Eerie and fiendishly fun… Audrey II is voiced by the incomparable Lorenzo Rush, Jr. and animated by puppeteer Matthew Sitz. The teaming of these two seasoned performers bring the eerie and fiendishly fun Martin P. Robinson designed plant to glorious life. Rush’s deep, booming, blues vocals in ‘Git It’ and ‘Suppertime’ rock.

Be careful what you wish for… 1313 Skid Row is realized in the efficient and rugged staging by Kevin Depinet, enhanced by Ryan O’Gara’s lighting design and Linda Myers costumes. Chris Sargent directs The Little Shop of Horrors Band in this throughly entertaining musical sendup that just might have you whispering, “Be careful what you wish for.” and “Don’t feed the plants!” on your way home.

PHOTOS|Bruce Beiner

Drury Lane Theatre
Presents
LITTLE SHOP OF HORRORS 
through October 28, 2018
100 Drury Lane
(630) 530-0111

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PICKSINSIX Review: MEMPHIS

"THE BIRTH OF ROCK AND ROLL."

Something in the water … There are a lot of reasons for you to run to see MEMPHIS, the exhilarating new Porchlight Music Theatre production directed by Daryl Brooks that opened Wednesday at the Ruth Page Center for the Arts. One is certainly the charismatic performance of Liam Quealy as Huey Calhoun, a character inspired by the life and career of Memphis DJ and personality Dewey Phillips. Another is the radiant and explosive Aerial Williams in the role of Felicia Farrell. Then there is an amazing company of talented dancers, singers, actors, and musicians who are non-stop great! Maybe there is something in the water at PMT these days. They've done it again. MEMPHIS is a SMASH!

Embraces R&B music … Part revolutionary, part rebel, Quealy’s Calhoun oozes with the kind of passion that drives a dream - a crusader who rejects stereotypes, fights bigotry, racism and the segregation of the era in which he lived. Against the odds, he embraces R&B music as a way of bringing people together, first on the radio, and then on television. As this engaging, often dark and richly soul-filled journey unfolds in Calhoun’s 1950s Memphis, what we are really seeing is the birth of rock and roll.

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On the radio … From his musical awakening in a black nightclub on Beale Street with “The Music In My Soul” and falling for Felicia, we follow Calhoun through his unlikely success as a D.J in a department store and eventually on the radio extolling his commitment to African-American music. Along the way, Williams thrills with the poignant “Ain’t Nothin’ But a Kiss” with Quealy, “Colored Woman” and “Love Will Stand When All Else Fails”.

Musical revolution ... The bittersweet love story inevitably leads to rejection and reprisals. Felicia’s brother, nightclub owner Delray Jones (Lorenzo Rush, Jr.) sees only trouble and Huey’s mom, Gladys (Nancy Wagner) experiences hate firsthand. Through it all, Huey single-mindedly pursues what is right until his own musical revolution - and rebellious nature – wear him out. Rush makes the role of Delray all his own and in Bobby, the triple-threat talents of James Earl Jones II are on full and glorious display. Gator finds his voice in fine form from Gilbert Domally.  

What to watch and wait for … so many spirited, high-energy company numbers including “Scratch My Itch” … “Everybody Wants to Be Black On A Saturday Night” … “Someday” and “Stand Up” … Rush’s powerful “She’s My Sister” … Jones at his best in “Big Love” ... Christopher Carter & Reneisha Jenkins dynamic choreography ... be sure to lean in and listen every time Williams steps up to the microphone. 

Porchlight motto … fulfilling the Porchlight motto - “american musicals. chicago style” - in rousing fashion,  MEMPHIS completes the 23rd season for the company and the first in their new home at the Ruth Page Center for the Arts. MEMPHIS has already been extended to June 10th, but don’t wait a moment longer to see this show.    

PHOTOS|MICHAEL COURIER

PORCHLIGHT MUSIC THEATRE
Presents
MEMPHIS
through June 10th
Ruth Page Center for the Arts
1016 N. Dearborn St.
773.777.9884
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