PicksInSix Review: Arsenic and Old Lace - Court Theatre

‘Bully!’ for the Brewsters of Brooklyn.
PicksInSix® Review | Guest Contributor | Scott Gryder

As the sounds of Duke Ellington and the like jazzed throughout the venue, a true mansion of elegant decadence transported last night’s audience back to 1940’s Brooklyn at Court Theatre’s 2022/23 Season opener “Arsenic and Old Lace.” The lights went down, and the packed house began to giggle with delight and anticipation as if they knew they were soon to be reminded as to why Court Theatre so-deserved their recent 2022 Regional Theatre Tony Award. And they were right!

Centered on the multi-generational home of Brewster sisters Martha and Abby, undoubtedly beloved by all Brooklynites, “Arsenic and Old Lace” is a rollercoaster of discovery. In true farcical fashion, “Arsenic and Old Lace” reveals outlandish truths, exposes unexpected identities, and packs perfectly-timed quirks and turns that trigger endless cackles of laughter. As each character is introduced, don’t be fooled! There is more than meets the eye, and the once happy home becomes a near house of horrors, brimming with hilarity.

The play rightfully focuses on the home’s current occupants, Celeste Williams’s oh-so-huggable Martha Brewster and TayLar’s strict-yet-kind Abby Brewster. The pair is so wholly lovable and frank, you truly believe they should be reprimanded with nothing more than a rap on the wrist for the atrocities they have committed. Although less criminal than the rest of the Brewster family, it’s Allen D. Edge who shows the greatest facet of acting duplicity with his quick-changing, manic Teddy Brewster, while love interests Emma Jo Boyden’s effervescent Elaine Harper reveals bold strength and Eric Gerard’s sleek Mortimer Brewster stokes the fires of self-discovery. The malicious duo of Guy Van Swearingen and A.C. Smith’s Dr. Einstein (no, not THAT Dr. Einstein) and Jonathan Brewster almost too realistically execute their scene of attack, but they expertly ease us back into the dramedy like the smooth-moving criminals that they think they are. A quarter dozen of officers sprinkle comedic tension throughout, played smartly by Norm Boucher, Matthew Lunt, Allen Gilmore, and Thomas J. Cox, with the latter’s multiple appearances so neatly crafted to be nearly indiscernible as being played by the same actor.

Court Theatre has so deftly fulfilled their mission to reimagine classic theatre for modern audiences, it’s hard to believe that Joseph Otto Kesselring’s “Arsenic and Old Lace” premiered in 1941! More of an ensemble piece, each character is so fully realized that, despite their outrageous natures, they’re never pushed beyond believability. In a cast of could-be zany caricatures, each actor stays true to their subtext and intentions, never allowing the absurdity of their circumstances to overstep reality. That’s what truly seals the deal for a masterful production!

Although categorically a period piece, beloved Chicago director Ron OJ Parson pushes the text and action to such a nearly unrecognizable contemporary energy, regifting modern audiences with this sparkling vintage. That being said, as consistently engaging as it is, the play begins to sputter post-intermission with multiple spliced scenes, marked with full blackouts. However, even the last beat before lights out continues to tickle. Scenic Designer John Culbert’s detailed Brewster mansion is an almost “I Spy” of ornamentation, so filled with photos and knicknacks (obviously hoarded over multiple generations) to such an extreme, one could not help but feel right at home. Rachel Anne Healy’s costume designs mirror Culbert’s set, with stunning works of ornamental patterns in intricate and fashionable styles of the time. Even sound designer Sarah Ramos gets a part of the action with a bombardment of doorbells and eerie ambience.

After two-and-a-half hours of exceptional mirth and amusement, I was nearly too exhausted to cross the University of Chicago campus to return to the nearby parking garage in order to drive home. In short, if you’re looking for a show with such excellent comic timing that you’ll find yourself reacting in the most merrily and embarrassing manner in public that you can remember, make your way to Court Theatre’s “Arsenic and Old Lace” running now through Oct 2. Now, if you’ll excuse me, I suddenly have a taste for homemade elderberry wine. #IYKYK

GUEST CONTRIBUTOR | SCOTT GRYDER received a Non-Equity Jeff Award for his performance in the one-man show BUYER & CELLAR. www.thescottgryder.com 

PHOTO | Michael Brosilow

COURT THEATRE
presents
Arsenic and Old Lace
through October 2, 2022

5535 S. Ellis Ave. (map)
Chicago, IL 60637
(773) 753-4472
info@courttheatre.org

WEBSITE

PROGRAM

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PicksInSix Review: A Christmas Carol - Goodman Theatre

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Pure, Timeless Dickens Magic and Merriment!
Guest Contributor | Scott Gryder

With over 100 different versions of this classic story available, I was ready to enjoy the popular Charles Dickens’ classic “A Christmas Carol,” but I was nowhere near prepared for the magic that Goodman Theatre would bring to its 44th annual production! With the entire house packed with families and friends of all ages on Thursday night snuggled into the Albert Theatre, enjoying the soft, welcoming glow of the stage’s London street scene, it warmed the heart to see the return of this beloved holiday tradition.

After over four decades of performances, you’d expect a production to show some wear and tear, but Goodman Theatre’s “A Christmas Carol” ages like a fine gluhwein. Chicago favorite Jessica Thebus, co-adaptor/director of Goodman’s superb 2020 audio streaming version, creates directorial magic onstage. Thebus masterfully presents flawlessly flowing stage pictures, especially considering the could-be intimidatingly large ensemble, peppered with delightful surprises. The famous plot focuses mainly on Ebenezer Scrooge’s personal reflection and growth; however, the theme that rings truest reminds us to be kind to everyone, for you never know where they’re coming from, nor what they’re going through.

As for Goodman’s Scrooge, Larry Yando delivers a masterclass in performance. Returning for his 14th year, Yando incorporates delightfully shifting vocal stylings and physical energy that keeps the audience continually falling in love with the antagonist. From a graveled character voice, reminiscent of a barren tree branch scratching across a wintery windowpane, to his spontaneous celebratory gyrations, comparable to a joyful toddler learning to walk, Yando’s ability to balance moments of sinister humbug with physical comedy are remarkable. Contrastingly, Thomas J. Cox amuses and captivates with a mousy timidity and enthusiasm as the underpaid clerk Bob Cratchit. And the epic ensemble doesn’t waste a beat onstage. Whether filling a London street scene or attending a private party, each cast member brings a fully developed character, nuanced and alive to every moment. Particular standouts include Gayatri Gadhvi’s stirring and poignant Tiny Tim Cratchit and the silver-and-gold vocals of Bethany Thomas’ Ghost of Christmas Present.

The show starts unexpectedly small, using the concept of intimate fireside storytelling; however, it doesn’t take long for the stage to hustle and bustle with an ensemble that glides so meticulously into stage pictures as if choreographed. Although slower paced and delivered in a more formal language style than I’d expected of a family-centric production, Thebus’ casting admiringly celebrates gender, color, and orientation, and the audience is captivated throughout as the multitude of cast members and mammoth set pieces continually dissolve and materialize before our very eyes as we weave through the time-honored plot. The subtle, natural use of performer amplification was also greatly appreciated.

The true abracadabra comes from the combined design genius of “A Christmas Carol.” Set designer Todd Rosenthal’s use of nearly invisible multi-layering and floating sets, along with staggering control over special effects, breathtakingly recreates the realistic and idyllic scenes of a Thomas Kinkade painting. In perfect complementarity, Keith Parham’s lighting wizardry only further illuminates Rosenthal’s sets, providing secret passageways for sudden reveals and visual trickery. The charming mix use of muted and lush palettes of Heidi Sue McMath’s costume designs provided just enough visual punch without losing the traditional touch of Victorian England garb. Contrastingly delving fiercely into the realm of Scrooge’s visiting spirits, McMath assembles looks of a Lady Gaga/Liza Minnelli red carpet affair; a personified, propagating Tannenbaum; and the soul-sucking menace of a Rowling-Dementor-meets-Henson-Skeksis. And the cinematic sound design of Richard Woodbury creates palpable layers of emotional sustenance, fervidly transporting the audience from beginning to end.

After witnessing the transformation from holiday hooey to pure childlike innocence, I left the Goodman Theatre filled with Scrooge’s (or should I say Yando’s?) contagious holiday gratitude and cheer. It’s no wonder it’s been a Chicago holiday tradition now in its fifth decade, Goodman’s “A Christmas Carol” triggered the start of the holiday season in my heart!  

PHOTO| Liz Lauren

Goodman Theatre
presents
Charles Dickens’
A Christmas Carol
through December 31

WEBSITE
(312) 443-3800
TICKETS

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PicksInSix Review: Ma Rainey's Black Bottom

“AN EMPTY WORLD WITHOUT THE BLUES”

Two seismic shifts create the drama in August Wilson’s “Ma Rainey’s Black Bottom,” now playing in a stunning revival at Writers Theatre in Glencoe. Director Ron OJ Parson masterfully allows one moment to erupt as if from thin air. The other comes on so ferociously that it will take your breath away as the startling summation of the power of Wilson’s driving narrative about discrimination and the unhinged rage from within that it fosters.

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All of this occurs on a single afternoon in 1927 at a Paramount Records recording studio in Chicago.  Ma Rainey (Felicia P. Fields) and her band–piano man Toledo (David Alan Anderson), guitarist Cutler (Alfred H. Wilson), bassist Slow Drag (A.C. Smith) and trumpeter Levee (Kelvin Roston Jr.)–along with her partner Dussie Mae (Tiffany Renee Johnson) and speech-impaired nephew Sylvester (Jalen Gilbert), are scheduled to meet with her manager Irvin (Peter Moore) and the studio owner Sturdyvant (Thomas J. Cox). 

With Rainey’s arrival delayed, the band sets up in the rehearsal room. The men draw lines concerning who is in charge when Irwin selects Levee’s new arrangement of Rainey’s iconic “Black Bottom” for the recording session. It becomes clear that the ambitious Levee has been working a side deal with Sturdyvant for new material. Convinced that he will be fronting his own band before too long, Levee ends up squarely at odds with Toledo, while Cutler and Slow Drag choose to just get along. All that changes when the notoriously feisty Rainey arrives and refuses to sing until everyone sees things her way, right down to giving Sylvester multiple tries at announcing.

Rainey is a survivor in a business that has exploited her talent. Fields takes full advantage of the inherent power of the role and her interactions with Levee–and everyone else–who challenges her authority. What Levee says and does may well cost him the job, particularly if his intimate relations with Dussie Mae are revealed. Roston expertly navigates the deep-seated hostility and remorse of Levee’s youth with powerful conviction. The brilliant individual performances of Anderson, Wilson and Smith establish an immediate connection together, with the mounting tension that drives the men to a tragic breaking point spurred on by the greed and careless disregard of the men holding the purse strings, roles Moore and Cox skillfully deliver.     

The studio setting, a gritty, ingenious Todd Rosenthal jewel, allows continuous, flow—inside-out and up-and-down—on three floors. Myrna Colley-Lee’s Roaring ’20s-era costumes glow under the rich hues of Jared Gooding’s lighting. Ray Nardelli’s sound mix is a key element in the superb music segments.   

One of the many inspiring and uplifting messages of this stirring production is that it would be “an empty world without the blues.” When Fields proceeds to prove Ma’s point and dazzle us vocally in an electrifying performance, we are literally transported back to a moment in time when the oppressive racist attitudes against generations of African-American entertainers were momentarily stripped away and what was left, and which endures today, is Ma Rainey’s soaring musical legacy.

PHOTOS|Michael Brosilow

WRITERS THEATRE
Presents
MA RAINEY’S BLACK BOTTOM
through March 17th
325 Tudor Court, Glencoe
(847) 242-6000

WEBSITE
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PICKSINSIX Review: 20,000 LEAGUES UNDER THE SEAS

"ONE STAGGERING VISION HEAPED ON ANOTHER."

First things first... If you are looking for a rousing adventure story, rich and rugged scenic elements, dynamic performances, imaginative puppetry and high-flying excitement above and below the waterline - or as the script says, "one staggering vision heaped on another" - Lookingglass Theatre Company's 20,000 Leagues Under the Seas is sure to rock your boat!

High seas exploits... The Jules Verne classics have been majestically reimagined for the stage and this fascinating science fiction epic bubbles up from the deep in a new stage adaptation by David Kersnar and Steve Pickering(Althos Low) weaving all the mystery and suspense of Captain Nemo's high seas exploits together with shipwrecks and sea creatures, great and small, in a thrilling evening of entertainment. 

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What it's about... Prisoners from a Confederate prison camp escape and crash land a hot-air balloon on a remote island. In time they discover and recognize the Natalius from a familiar published work by the noted French expert Professor Morgan Aronnax, and meet its aging, anguished and sole surviving crew member, Captain Nemo (a spellbinding Kareem Bandealy). The story unfolds through the recollections of Professor Aronnax(the dynamic Kasey Foster), her compatriot, Brigette Conseil(a spirited performance by Lanise Antoine Shelley) and the swashbuckling harpooner Ned Land(a beefy, rugged role for Walter Briggs) who are central to the inner story of seas storms, intrigue and more than a few twists and turns. The superb supporting ensemble includes Thomas J. Cox, Joe Dempsey, Micah Figueroa, Edwin Lee Gibson, Glenn-Dale Obrero and an extraordinary stage crew who make the magic happen.

Fantastic voyage... Fans of the Jules Verne classics or the film version will find this reimagined story right in their wheelhouse, a fantastic voyage with a new, engaging twist of character relationships. 

A visual feast... Todd Rosenthal's ruddy, versatile set design is complemented by Sully Ratke's brilliant period costumes highlighted by Christine Binder's lighting and Rick Sims sound. The inspired circus choreography by Slyvia Hernandez-DiStasi, massive rigging by Issac Schoepp and the creative puppet designs of Blair Thomas, Tom Lee and Chris Wooten, make this David Kersnar directed production a visual feast. 

REFLECT... Lookingglass presents a post-show discussion entitled REFLECT following the 2:00 p.m. matinees on select Sundays. The June 24th topic: Jules Verne and Victorian Sci-Fi... the July 15th offering is Creatures From The Deep presented in partnership with scientists from Chicago's Shedd Aquarium. For the complete schedule, visit: REFLECT.

PHOTOS|Liz Lauren

Lookingglass Theatre Company
presents
20,000 LEAGUES UNDER THE SEAS
Adapted by David Kersnar and Althos Low
From the Books by Jules Verne
Directed by David Kersnar
through August 19th
821 N Michigan Ave.

TICKETS: 312.337.0665
WEBSITE

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PICKSINSIX Review: BLIND DATE

'BLIND DATE' "REAL PEOPLE ... WORLDLY VISION"

A turning point... As the clandestine meeting between Ronald Reagan and Mikhail Gorbachev is about to begin at the Geneva Summit, then Secretary of State George Shultz and his counterpart, Soviet Minister of Foreign Affairs Eduard Shevardnadze, share a reflective moment. While looking out at the lakefront, Shultz notices Shevardnadze’s granddaughter scurrying about. It is significant, Shultz remarks, that he brought his granddaughter to such a turning point in international relations. Shevardnadze tells Shultz he is merely babysitting.  Conversations like this one, between real people with a worldly vision, run deep through the Goodman Theatre’s sophisticated and smart world premiere production of Blind Date.

Reagan/Gorbachev legacy... the sweeping epic storyline, written by the award-winning playwright, Rogelio Martinez under the direction of Goodman Theatre Artistic Director Robert Falls, brings East and West together in a fascinating historic reimagining of the first face-to-face meeting of Ronald Reagan and Mikahal Gorbachev. It is an insider’s view of the Reagan/Gorbachev era of hard-nosed diplomacy and line-in-the-sand Cold War rhetoric. And, there is the intrigue - and a fair amount of humor served up diplomatically - surrounding the closed-door meeting of two leaders who clearly understood the impact they would have on their two countries and the world.

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A Four-Picture Deal... years after an assassination attempt and with direct involvement from Nancy Reagan, George Shultz and everyone else close to him, Reagan’s cinematic instincts remain keen. A Reagan soundcheck has international implications and there were spiritual forces at work at the time, as we now know. As if on cue, Reagan adeptly turned film references into policy points. Meanwhile, Gorbachev was redefining the Soviet Union’s place in the world order. Lots to ponder and the air crackles with the consequences of failure. “Well…”says Reagan, “The American people gave me a four-picture deal!” So, that means there is plenty of time and lots of stories to tell.

Public jousting... Shultz and Shevardnadze meet to broker a meeting between the two superpowers. Reagan offers up Washington, DC for the first site. Gorbachev refuses. Formal correspondence is exchanged and more public jousting, until the Geneva Summit is approved and scheduled in November 1985 at a time when the stars would be precisely aligned. While Gorbachev is heavily briefed and apparently starts watching American movies, Shultz plants the seed for a private meeting to mix things up and the rest is, well… history, including another clandestine meeting - that between Nancy Reagan and Raisa Grobachev – a delightfully engaging hand of liars poker, tea time style.

Top-flight cast... Rob Riley (Ronald Reagan), William Dick(Gorbachev), Deann Dunagan(Nancy Reagan) and Mary Beth Fisher(Raisa) are all excellent and bring an authoritative air to the piece leading a top-flight cast. Jim Ortlieb (Shultz) and Steve Pickering(Shevardnadze) along with Thomas J. Cox (Reagan biographer, Edmund Morris) combine brilliantly to frame historical context, sharing thoughts and possible outcomes along the way. 

And, well, there’s much more... the massive, revolving conical set design by Riccardo Hernandez, lighting by Aaron Spivey and period perfect costumes by Amy Clark evoke a time of grand purpose and stately respect for two world leaders whose vastly opposing points of view might actually find some common ground in the future.

The takeaway… History happens while babysitting. Let someone take the kids for the night or bring a blind date of your own for this gem now playing at the Goodman Theatre. 

PHOTOS|Liz Lauren

GOODMAN THEATRE
Presents
BLIND DATE
by Rogelio Martinez
Directed by Robert Falls
through February 25, 2018
170 N Dearborn Street
(312)443-3800
WEBSITE
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