PicksInSix Review: Gem of the Ocean - Goodman Theatre

“GEM” – “Better To Die In Truth”
By ED TRACY | PicksInSix®

There is both dazzling beauty and gritty realism in the Chuck Smith directed production of August Wilson’s “Gem of the Ocean” that opened on Monday at Goodman. Set in the Hill District of Pittsburgh in 1904, chronologically the first in Wilson’s Century Cycle series although written and produced two years before his death at 60 in 2005. “Gem” premiered at Goodman Theatre in 2003 and debuted on Broadway a year later.  

With an eye-popping, highly-stylized Linda Buchanan set enhanced by Mike Tutaj projections, this artful production must look markedly different than its predecessors. Comparisons will no doubt be made, but having never seen this show myself, I will simply state that I am particularly privileged to experience it for the first time at the Goodman, whose rich history is inexorably linked to the playwright himself. History works here on so many fascinating levels. With a powerful, seasoned cast, “Gem” is must-see theatre.

This is a drama about a drifter named Citizen Barlow (Sharif Atkins) who is riddled with guilt that is devouring his soul. Citizen is taken in for spiritual absolution by the ageless Aunt Ester (Lisa Gaye Dixon) and surrounded in the safe haven of her residence at 1893 Wylie Avenue by Ester’s caretaker Eli (A.C. Smith) and Black Mary (Sydney Charles). The sinister constable Caesar (Kelvin Roston, Jr.) who is Black Mary’s brother, has Ester in his sights while promoting fear and viciously prompting violence against the poor and destitute workers who cannot rise above the oppression and poverty of the times. A stolen bucket of nails from the mill leads to a falsely accused Black man who chooses to take his own life instead of living a life that would surely brand him a criminal. His death sparks a protest by the workers that is threatening the future of the community.

It is Eli, with Solly Two Kings (James A. Williams) and Rutherford Selig (Gary Houston), who help Citizen understand the challenges he is facing and the dangers of being Black in America. He is attracted to Black Mary and through his journey to the City of Bones, has a spiritual awakening. However, the constant threat posed by Caesar to anyone stepping outside the narrow boundaries of his representation of the law leads to a dramatic confrontation. It is this dynamic that leads Ester to try to protect those close to her from harm, with dire consequences.

Light, shadows and special effects enhance Evelyn Danner’s costumes in this stunning production. The probing original music and sound suite by Pornchanok (Nok) Kanchanabanca creates an atmosphere so profound that, at times, you could hear a pin drop in the Goodman’s Albert. It is in those moments that August Wilson’s brilliance resonates with a level of emotion that can only be experienced in the theatre.

I am constantly assimilating the interconnections of the Century Cycle and never pass up an opportunity to add to my understanding of August Wilson’s masterwork. Nor should you. The Chicago theatre community includes legacy directors, actors and other theatre artists who are layering their own contributions and mining stories exposing racism and social injustice. “Gem” presents unsettling truths about the Black experience and ponders the question: “What good is freedom if you can’t do anything with it?” which beckons the broader dialogue we so desperately need to influence attitudes and eliminate negative stereotypes and opinions.  

PHOTO|Liz Lauren

Goodman Theatre
August Wilson’s
GEM OF THE OCEAN
through February 27

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PicksInSix Review: Fireflies - Northlight Theatre

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WE ARE ALL PLAYING WITH FIRE
Guest Contributor | Scott Gryder

The audience was delightfully greeted with the nostalgic doo-wop of The Drifters as we entered the theater for Northlight’s “Fireflies” and the mood was set. We were traveling back to the ‘60s and we were seated to take a sneak peek, like a fly on the wall, into an intimate kitchen setting. Despite the charming design, however, the sentimental setting was quickly upset when the first sounds of bombs shook the space, and the sheer intensity of sound and lights made this fly want to scatter. Not only were we entering a home, we were entering a war zone.

After a booming start, the air was quickly cleared when introduced to the playful marriage dynamic of Chanell Bell’s feisty and energetic Olivia and the charisma and bravado of Al’Jaleel McGhee’s Charles. Their natural ease and chemistry, particularly in the more comedic and lighthearted moments, was refreshing, cheerfully balancing the delights of domestic life against the literally exploding world outside of their cozy kitchen. Soon we realized that there were also ticking bombs and landmines to be found hidden throughout their relationship and home. As secrets were revealed and confessions made, the laminated veneer of their relationship was peeled away to reveal their true aggressive and destructive natures.

“Fireflies,” the second in the trilogy of The Love* Plays by Donja R. Love, focuses on the marriage of Olivia and Charles Grace and their roles, both in society and within their relationship. He, a celebrated reverend, speaks for the people during the Civil Rights movement, and she, a “lady-like” homemaker, is also Charles’s voice, as Olivia is his inspired speechwriter. When the couple starts to challenge the integrity of the parts that each is playing, the humor that kept the destructive flames of their secrets at bay is snuffed out, and they begin to burn down everything that they’d built together.

Director Mikael Burke stages the piece in two worlds—shared scenes and audience direct address—highlighting the moods and tensions balanced between the duo, while also giving the audience a direct window into the mind of each character. Regrettably, the piece does start to sputter to a close when the audience is presented with what feels like three possible endings. The final three scenes heighten to dramatic conclusion, only to restart the narrative again; leaving nothing to the imagination, no questions left unanswered. If only life were that tidy.

Scott Penner’s stylized kitchen set thrusts towards the audience with a forced perspective, much like a painting, emphasizing the parallel of art mirroring life and much like the emerging themes of “Fireflies.” The costumes by Gregory Graham are darling and accented, without feeling like period pieces. Eric Watkins lights magically transport us from kitchen-to-porch with gentle, shadow-like, shifts. Similarly, sound designer Christie Chiles Twillie helps accent locations with subtle sounds of crickets and idling cars, while also, combined with Graham’s wall of flash bulbs, dropping bombs of an erupting force.

“Fireflies” genuinely presents the domestic power stereotypes that continue to plague us throughout our society and relationships today. We strive to be true to ourselves, while attempting to give fully to the ideals that we love and the roles to which we are committed. Coupled with the very real civil unrest currently blazing across our country, “Fireflies” forces us to face those struggles in the shocking reflection of Olivia and Charles. In a way, we are all living in a powder keg.

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

NORTHLIGHT THEATRE
Presents
FIREFLIES
through February 20, 2022
9501 Skokie Blvd

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(847) 673-6300

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PicksInSix Review: Sea Change-Cabinet of Curiosity

A Deep Dive Trident of Tales
Guest Contributor | Scott Gryder

The 4th Chicago International Puppet Theater Festival opened with a literal splash last night at the MCA Chicago, with Cabinet of Curiosity’s Sea Change, a trilogy of sea stories from an all-female writing team and cast. The festival's opening night performance was packed to the gills with industry professionals, fans, and puppeteers. It was a great gift to be a part of Chicago’s return as a hub for the art of puppetry.

Featuring a parade-style whale-of-a-puppet, the trident of tales opens with Lindsey Noel Whiting’s "Whale Song,” encouraging the audience to evaluate where we are, how we see ourselves in the grander scheme of life, and what ‘monsters’ we’re going after…if any. Next, the elegant yet chilling mermaid puppet of "A Mermaid's Tail (If There's a God)" by Bethany Thomas, with music and lyrics by Liz Chidester, reveals the truth behind mermaid-life and legend. Wrapping up the set, Kasey Foster’s “More” is a ruminating, illuminating direct-address by an epic, floating moon puppet reminiscent of Georges Méliès' A Trip to the Moon, while a frenetic shark dances wildly.

The energetic cast of Sea Change (Sadie Rose Glaspey, Kiley B. Moore, Silvita Diaz, Holly Carney, Alexis Willis, Shay Turnage, Annabella Tuma, Olivia Comai, Ivy Waegel, Michelle Billingsley, and Ranae Adams) provides live, musical accompaniment and clear singing voices, enthusiastically jumping between storytelling and general “life at sea” shenanigans as the crew sails on adrift. What might have improved the storytelling would have been more succinct manipulation and realistically choreographed buoyancy of the puppets. For example, many times throughout, the audible speech and visual mouth manipulation were out of sync. Also, considering the skillfully designed puppets, and the naturally flowing artistry of real sea life, there were missed opportunities for the puppets to be used to their full malleability.

Founded only 5 years ago, Cabinet of Curiosity has become a Chicago standard for detailed puppetry and found object manipulation. And in a time where society, especially within the performance community, is feeling isolated, Cabinet of Curosity’s mission to celebrate togetherness shines bright with the immersive experience that is Sea Change. And it only makes sense that the production is being hosted at the MCA, because puppet makers Ellie Terrell and Jesse Mooney-Bullock have created manipulatable works of art. Each creation is realistically jointed and mobile, with a subtle and breathtakingly watercolor-like fabrication.

Originally developed as an indoor spectacle, Sea Change experienced a limited, outdoor run over the summer of 2021. Here, director Frank Maugeri thrillingly fills every visible inch of the MCA’s Edlis Neeson Theater with puppet activity; however, at times the audience interaction becomes distracting. Sea Change is textured with design as the audience travels from the height of the Cook’s crow’s nest-like kitchen to the lower depths of the deep, with Conner Sales’s washes and pockets of portholed light and shadow, and the charmingly sea-weary scenic elements of Jack Dwyer, Nana Asabere, and Tom Robinson. Jillian Gryzlak’s patchwork costumes highlight the clowning style of the cast, and the audience was tickled by visual surprises by mechanical designer Milam Smith, such as a bikeable, bubbling piano.

In its 4th year, and against all pandemic odds (ie. due to travel restrictions, this year’s roster features national and local artists), now through January 30th, the puppet festival boasts over 70 slated performances across Chicagoland. And, it’s official: starting this year, the festival is slated to occur annually, so Chicagoans can look forward to hosting puppeteers from around the world of the highest caliber. Tickets are on sale now at chicagopuppetfest.org.

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

PHOTO|Cabinet of Curiosity

4th Annual
Chicago International Puppet Theater Festival

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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

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

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PicksInSix Review: It's a Wonderful Life: Live in Chicago!

A TONIC…THAT GOES DOWN EASY!
Guest Contributor | Ronald Keaton

Versatility. This writer asks you to hold this idea close; it is an important piece of the production of “It’s a Wonderful Life: Live in Chicago!”  The fine American Blues Theater presents their annual Christmas tribute at Victory Gardens Theater through New Year’s Eve.  And it’s directed with a deft eye and high respect for the Frank Capra material by ABT artistic director Gwendolyn Whiteside.

“It’s a Wonderful Life” is presented here in a live radio format, complete with Foley artist Shawn J. Goudie doing all the sounds of the story you can recall—cars running away, babies crying, whistles blowing, on and on.  And Mr. Goudie is really fun to watch. The audience is also treated to a special kind of warmup entertainment, complete with requested “audiograms” from the cast that were read at commercial breaks throughout the evening.

Versatility…Commercials for local products and events and music of the holiday season—even a brief audience singalong—are arranged and lead by the endlessly talented Michael Mahler, who also plays a gruff Sam Wainwright as well as the WABT station announcer.  And Mr. Gower, the druggist. And as the general emcee for the festivities. Singing those holiday songs at various times throughout the production, the entire cast jumps, hearts first, into the preshow and then the story itself.

Dara Cameron shares that versatility in eloquent droves by playing George Bailey’s friend Violet Bick…and a couple of Bailey children…and various and sundry citizens of Bedford Falls.  Joe Dempsey surely shows it in stark, energetic portrayals of both Clarence, the Bailey guardian angel wanting to get his wings, and Mr. Potter, the American Scrooge character who can’t wait to get his hands on the Bailey Building and Loan.

Versatility…The elegant Audrey Billings lends her own tender touch as both Bailey women—Mary Bailey, whose unending support for her husband set the tone for family unity, and Ma Bailey, the matriarch who quietly points George in the right direction.  A wonderful new face to me, Yuchi Chiu, plays both Harry Bailey, George’s brother, and shares duties with Mr. Mahler in their brief turns as Ernie the cabbie and Bert the cop.

Manny Buckley brings his with emotion and awareness as Joseph, the angel-in-charge, and Uncle Billy, the loving and befuddled one. And then, at last, there’s the strong, heartfelt Brandon Dahlquist offering as George.  Both these men jump in hard in their exchange about lost money, which allows the joy at the end of the performance to be that much more touching. Honestly, it’s a great deal of fun and love that American Blues Theater shares with Chicago each year at Christmas.  I may go again…a tonic for all we’ve been through that goes down easy.  Cheers, ABT!  

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

PHOTO | Michael Brosilow

AMERICAN BLUES THEATER
presents
It’s a Wonderful Life: Live in Chicago!
Victory Gardens Theater
2433 N Lincoln Ave
through December 31, 2021

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(773) 871-3000

PODCAST: 2016 Conversation with Gwendolyn Whiteside and Shawn Goudie

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PicksInSix Review: Holiday Inn - Drury Lane

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The Home of Boy Meets Girl

Just in time to ring in the season comes Irving Berlin’s “Holiday Inn” a refreshingly homespun backstage musical for the entire family chocked full of explosive dance numbers and the iconic tunes that everyone knows and loves from the Berlin songbook. In the capable hands (and feet) of director/choreographer Matt Crowle, with a streamlined book by Gorgon Greenberg and Chad Hodge, and a stellar company from head to toe, Drury Lane’s “Holiday Inn” is a high-wattage hit!

The stage story setup, more or less true to the original 1942 film, follows crooner/composer Jim Hardy (Adrian Aguilar) and his dance partners Ted Hanover (Drew Humphrey) and Lila Dixon (Darilyn Burtley) who have their sights set on the big time. Hardy wants to settle down with Lila in Connecticut, just as Hanover and their agent Danni Reed (Honey West) book a six-week tour. Despite a marriage proposal from Hardy to Lila, the tour proceeds and Hardy is off on a new adventure as a gentleman farmer and owner of Mason Farm. The farm’s caretaker Louise (Danielle Davis) has a plan to help Hardy and set him up with an elementary teacher and the former owner of the farm Linda Mason (Erica Stephan). One thing leads to another, the engagement falls apart and the two suddenly realize they may have something more in common than the fact that the farm is still deep in debt. With few other options, they decide to turn the inn into a holiday show place, but only on holidays.

Miraculously, and only in a musical, the stage show blooms in a week so that as New Year’s Eve rolls around Holiday Inn magically becomes “the home of boy meets girl.” The story sails by after that and serves as a path to one tremendous dance number after another—every one a gem!

In a remarkable, and long overdue, return to the stage after a multi-year absence, Aguilar is phenomenal as Hardy, a steady anchor who adds numerous dimensional layers to the role. The sure-footed hoofer Humphrey has an abundance of talent and more than enough savoir faire to deliver a series of exhilarating dance numbers. The two are paired with Burtley, who gives a captivating standout performance as Lila. When attention turns to the heartwarming Stephan and the budding relationship with Aguilar’s Hardy, sparks really begin to fly. Stephan not only has a beautifully full singing voice that matches perfectly with Aguilar, she also dances effortlessly with Humphrey in multiple numbers. It’s a joy to watch unfold.  

Among the featured musical performances, Davis is hilariously delightful as Louise, leading the Ensemble in a dazzling performance of “Shaking the Blues Away” and there’s more than a few surprises in “Let’s Say It With Firecrackers/Song of Freedom” with a nifty cameo by Nicole Scimeca (who splits the role of Charlie Wilson with Lily Kocourek). There is plenty to be thankful for all night long when the score has hits like “Be Careful, It’s My Heart,” “Cheek to Cheek,” “Blue Skies,” “White Christmas” and “Heat Wave.”

Music Director Linda Madonia and conductor Christopher Sargent deliver the crisp, big band sound of Carey Deadman arrangements. Jeffrey D. Kmiec’s versatile scenic design transitions seamlessly from show stage to New England inn with Lynda Meyers elegant and evocative costumes punctuating every holiday. Lee Fiskness lighting design is enhanced by Bryce Culter’s projections and pin-perfect sound by Ray Nardelli all help to start the New Year right at Drury Lane.  

PHOTO|Brett Beiner

DRURY LANE THEATRE
presents
IRVING BERLIN’S
HOLIDAY INN
through January 9, 2022

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PicksInSix Review: The Nutcracker-Joffrey Ballet

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Joffrey Classic Shines Bright at Lyric  
Guest Contributor | Kaitlyn Linsner

Joffrey Ballet’s reimagined “The Nutcracker” delights from start to finish in its new home, the historically stunning Lyric Opera House, where a certain magic fills the air before dancers even hit the stage. Originally choreographed by Christopher Wheeldon and debuted in 2016, this Chicago-set Nutcracker transports the audience to the World’s Fair of 1893 while still featuring Tchaikovsky’s unforgettable compositions.   

The first Act sets a warm and joyous tone by introducing us to the talented cast at a Christmas Eve celebration. The immigrant workers constructing the World’s Columbian Exposition gather for the holiday at the home of young Marie (Yumi Kanazawa), her brother Franz (Oliver Reeve Libke) and their mother (Jeraldine Mendoza). The creator of the World’s Fair, the Great Impresario (Dylan Gutierrez), joins the festivities and gives Marie her beloved nutcracker.

From there, we begin a whimsical journey through Marie’s dreamscape. A once modest Christmas tree magically transforms into a large-than-life holiday backdrop for the classic battle between the Rat King (Temur Suluashvili) and Nutcracker (José Pablo Castro Cuevas), who later turns into Marie’s regal crush, Prince Peter (Hyuma Kiyosawa). Marie and Peter both shine in their talent and grace on stage with power and poise throughout.  

The first act closes with the beautiful Snow Scene. An image of the World’s Fair idly rests in the backdrop amidst swirling, winter blue hues surrounding Lake Michigan. Snow falls from the sky while dancers resembling sparkling snowflakes execute remarkable choreography requiring full mastery of the space. A gondola then takes Marie, Prince Peter and the Great Impresario into the night where we later visit Marie’s dream-version of the World’s Fair.

The second act features increasingly stellar performances from the Joffrey’s dancers. The Act begins at the World’s Fair where we meet the Queen of the Fair (Jeraldine Mendoza) as this version’s Sugar Plum Fairy along with performers from around the world including the crowd favorite “Arabian Dancers” (Victoria Jaiani and Temur Suluashvili). We even meet Buffalo Bill (Edson Barbosa) from the Wild West whose entertaining performance truly charms. Worth noting is also the adorable number featuring literal dancing nuts. Both of these portions stand out as refreshing comedic moments different from the contents of the original Nutcracker.  This is an example of the breath of fresh air weaving throughout the production that creates a new variety of holiday spectacle and tradition for fans of both new and old alike. While Marie does eventually wake from her dream, the enchantment lingers and permeates through the audience thus illustrating the power of imagination.  

The brilliance of the Joffrey’s “Nutcracker” truly lies in its talented dancers—most notably Kiyosawa, Kanazawa, Mendoza and Jaiani—who captivate with their every move. The impressive set and cinematic projection design by Julian Crouch and 59 Productions also elevates this production by filling the Lyric’s stage with grand and ornate scenes. The Joffrey’s “Nutcracker” celebrates a holiday classic while excelling at embracing originality in each aspect of the production which makes this a special show likely to inspire for years to come.  

GUEST CONTRIBUTOR | KAITLYN LINSNER graduated from Northern Illinois University College of Law in 2020 and currently practices as an attorney in Chicago.

PHOTO|Todd Rosenberg

JOFFREY BALLET
presents
The Nutcracker
Lyric Opera House
20 North Wacker Drive
through December 26
(312) 386-8905

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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
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PicksInSix Review: Love Actually? The Unauthorized Musical Parody

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Laughter, Actually, Is Here In Chicago!
Guest Contributor | Scott Gryder

If you search online for the most popular holiday movies of our time, Richard Curtis’s 2003 Love Actually is found in the top 10 of multiple lists. Love Actually? The Unauthorized Musical Parody, now playing at the Apollo Theater through January 2nd, only enhances the original, beloved plot. Whether you’re a diehard fan of the movie, or even a casual lover of general pop culture, Love Actually? will tickle your tinsel!

With the fast-paced hullabaloo execution of Rowan & Martin's Laugh-In, the musical parody Love, Actually? delivers character work harkening back to the genius of Forbidden Broadway, but with a punchier, indelicate wit. Based on the iconic holiday hit, writers Bob and Tobly McSmith resourcefully recreate the rom-com using the names of the actors who originated the roles of each character, resulting in comic gold. And Basil Winterbottom’s music charmingly clips along, making sure that no gag or moment overstays its welcome.

Of course, in order to recreate a Hollywood star-studded cast, you must assemble an all-star, all-Chicago ensemble, who can mutate through an assortment of recognizable character parts with a precision that would make the cast of SNL turn holly green with envy. Each celebrity character was brought to life by Ann Delaney, Jake Elkins, Ryan Foreman, Dan Plehal, Amanda Walker, and Christopher Wayland with almost frightening accuracy, not to mention the required use of a wild variety of accents coupled with musical prowess. Considering the level of commitment required to counterfeit the famous mannerisms and vocal stylings of each celebrity, layered over the practical physical demands of quick-changes unseen by the audience, I was floored to be reminded at curtain call that this entire circus of over 50 characters was brought to life by a mere six performers.

I was initially apprehensive as soon as the first mock celebrity sighting landed center stage. Could frenetic humor at this level sustain itself? Would it grow wearing over the next 85 minutes? In short: no! Not only were the scene transitions technically seamless, with the choreographed use of minimal props and furniture, but the minute the laughter began to subside, another sparkling impression or ludicrous lyric would catch the audience off guard. And music director Ethan Andersen and sound designer Matthew Fischer present this unfamiliar musical material with clarity and understanding through precise diction and balance.

Director Tim Drucker pushes the limits of absurdity with a driven, commedia dell'arte-style physicality, while Brooke Engen’s choreography (originally co-choreographed with Tiffany Engen) refreshes musical theater conventions with a made-for-TV holiday special shine. Set designer Joshua Warner’s farcical element of festive red doors trimming a stunning proscenium-size glitter-wrapped backdrop was a gift in itself; literally. And the ice-rink themed stage floor was a whimsical holiday touch. Brandon Baruch’s brilliant lighting was not only practical, assisting in the execution of flowing transitions, but it served as a comical tool in and of itself, highlighting shenanigans and creating sight gags. Much like the famed backstage peek of Noises Off, one can only imagine that the action behind the scenes, juggling the magical layering of Dustin Cross’s costumes and Conor Donnelly’s hair/wigs, would be just as entertaining as the madness onstage. The flurry of Love Actually? joyfully jostles the audience as if we were inside a giant snow globe, being bombarded by “snowflakes” of sassy scenes and campy musical numbers.

So often, when catching a parody piece, I find myself hungry to watch the original source material; however, Love Actually? is such a winning tribute that I am actually wholly satisfied. If you’re looking for holiday cheer, give yourself the gift of Love Actually? The Unauthorized Parody Musical. Oh, and just try not to leave the theater working on your Keira Knightly smile... grimace?... smile.

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

PHOTO | Timothy M. Schmidt

Right Angle Entertainment
presents
Love Actually? The Unauthorized Musical Parody

Apollo Theater
2550 N Lincoln Ave
through January 2, 2022

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(773) 935-6100

CHICAGO CAST

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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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PicksInSix Review: PARADISE SQUARE

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JOAQUINA KALUKANGO—A NIGHT TO REMEMBER!

The fiercely defiant performance of Joaquina Kalukango in the role of Nelly O’Brien electrifies the ambitious new Garth H. Drabinsky produced musical “Paradise Square” directed by Moisés Kaufman that opened its pre-Broadway run on Wednesday at Chicago’s James M. Nederlander Theatre. Throttling up in the face of adversity through the clash of cultures story during the Civil War, Kalukango stunned the opening night audience with the epic and emotional Act II anthem “Let It Burn” that resonates with such strength as to cross generational lines and echo the issues of our time. It is a powerful coda to a complex musical about social inequality and unrest whose score splendidly weaves together 19th century Irish immigrant and African American dance styles.  

Up front, it is important to note that after nearly three years of civil war, President Lincoln issued the Emancipation Proclamation on September 22, 1862, however, the Proclamation only applied to specified rebellious states and regions. When it was enacted on January 1, 1863, the Proclamation had already served as much to define the war as a fight for freedom from slavery as it did to further polarize the unsettling and growing hostility between the surging immigrant communities in the North and those freeborn Black Americans and escaped slaves seeking a safe haven.

The Five Points district in New York City was a melting pot for freeborn Black Americans and Irish immigrant populations whose work and intermixed family lives found common ground in the shared desperation of poverty. Fueled by white upper class discrimination that perpetuated their containment to the area, the cultures were actually allowed to coexist and, in many cases, prosper in the midst of the deplorable conditions. However, what could be a new order was not. As casualties from the long and brutal war continued to mount, attitudes sharply eroded. In April 1863, when Congress enacted a draft that exempted those who could pay their way out of service or enlist a substitute in their place, the inequities were laid bare. The draft order also unjustly disqualified the Black population in New York from serving, despite many other regiments already in place, leading to descension, mistrust, and, ultimately, violence in the form of the death and destruction during the July 1863 New York Draft Riots.

It is at this historical tipping point that the show begins with a flashback to Five Points in late 1862, with the escalating war as a dramatic background. Nelly (Kalukango) is the Black owner of Paradise Square, a brothel that welcomes everyone to mix and celebrate. With her white husband, Will O’Brien (Matt Bogart), her brother Reverend Samuel Jacob Lewis (Nathaniel Stampley) and his wife Annie Lewis (Chilina Kennedy), the titular opening number exudes the ethnic stamp of the neighborhood as a welcoming, inclusive and safe place.  We quickly meet Annie’s nephew, Owen Duignan (A.J.Shivley), an Irish immigrant and Washington Henry (Sidney DuPont), an escaped slave who are given shelter by Nelly and her husband while Milton Moore a/k/a Stephen Foster (Jacob Fishel) is offered a job as a piano player.

There are several storylines to unpack along the way within the book written by Christina Anderson, Marcus Gardley, Craig Lucas and Larry Kirwan, who is also credited with conceiving the work. Nelly and Annie are under scrutiny by the uptown boss Frederic Tiggins (John Dossett) that results in fines and threats of closure. When “Lucky” Mike Quinlan (Kevon Dennis) returns from the war disabled and bitter about his personal situation and the loss of jobs available for Irish dockworkers, he leads a public protest against the draft decree that will further diminish the rights of Irish immigrants who are at the top of the draft list. Fearing that he will be drafted to fight for a cause he does not believe in, Owen competes for a $300 prize—a years pay at the time—that will buy his exemption from service, while Washington, desperate to be reunited with his wife Angelina Baker (Gabrielle McClinton), walks a tight rope between the flight to freedom and prosecution for past actions.

The company of over fifty actors and musicians perform twenty musical numbers—music by Jason Howland with lyrics by Nathan Tysen and Masi Asare—on a massive, multi-level Allen Moyer designed urban set that evokes a gritty, mid-19th century landscape and incorporates gorgeous Toni-Leslie James costumes. The orchestral arrangements would benefit greatly with the addition of a box accordion for a larger and more varied interpretation in the Irish step-dancing numbers enhancing the strong fusion of all of the dance numbers. Bill T. Jones choreography is exhilarating. The music of Stephen Foster is uniquely interpreted by Kirwan including “Oh Susanna” all superbly performed by the ensemble. Notable highlights include Stampley and DuPont’s “I’d Be A Soldier”, Kalukango and Kennedy’s touching ballad “Someone to Love” and “Ring, Ring the Banjo”—a perfect spot for a banjo solo. The wide-ranging elements of the book tend to minimize Nelly’s compelling story. In the shadow of a devastating war, there is more than enough material to increase the dramatic tension, but that hardly matters to the overall enjoyment of the searing final moments of Kalukango’s exhilarating performance that will make anyone’s visit to “Paradise Square” a night to remember.  

PHOTO|Kevin Berne

BROADWAY IN CHICAGO
presents
PARADISE SQUARE
James M. Nederlander Theatre
24 West Randolph
through December 5, 2021

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PARADISE SQUARE begins previews February 22, 2022 at Broadway’s Barrymore Theatre, 243 West 47th Street, where it opens March 20, 2022. TICKETS

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PicksInSix Review: Hundred Days

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Embrace the Brief Melody of Life.
Guest Contributor | Scott Gryder

The Chopin Theatre’s thrust-turned-cabaret was washed in red last night, and not just with a backdropped curtain and draped pedestal tables, but also with the vibrant glow of excitement from the audience. Even the cast bounded throughout the open floor layout in a pre-show performance of its own, tuning instruments, acknowledging familiar faces and friends across the theater, and connecting with each other onstage in an almost ritualistic manner. The pandemic lamentably forced the Kokandy production of Sarah Gancher’s “Hundred Days” to close on its original opening night, but, with thoughts of mortality and the fragility of life at the forefront of most minds these days, this Chicago premiere was prepared to appear with renewed enthusiasm and relevance.

Based on the true love story of real-life folk-rock duo The Bengsons, known for adapting their personal stories for the stage, the heart of the piece is more of a musical memoir centering on the premonitions and musings of wife Abigail Bengson and the effects their actions have on others. The concertized theatrical format is markedly two-fold: monologues, with one scene, juxtaposed with song. However, with lyrics laden with repetition, attempting layers of subtext, you won’t find these in your traditional musical theater canon. Instead, these songs are more reminiscent of modern folk-rock groups like The Lumineers or Mumford & Sons. The setup between plot and music of “Hundred Days” is more paralleled to that of cabaret than a musical show, where the performers tell personal stories, while sprinkling in music that shares the intention of the story; however, the songs don’t move the plot along. Music Director Matthew Muñiz encourages this modern folk-rock sound and unconventional musical style, complete with fully-body yodeling and caterwauling, while cleanly layering in the tricky backup vocals of a bluegrass, Americana sound. Choreographer Collin Quinn Rice elegantly echoes the music’s harmonies and arrangements with mirrored and ceremonial movement.

Balancing a theatrical performance based on the lives of non-fictional characters can be a complex task, however, the enthusiastic, whole-hearted comradery of the cast approaches this challenge more like a trust exercise. Almost glazing over the fact that these actors are portraying real-life people, energy is focused on storytelling rather than establishing character; intention versus actuality. Sharing the bulk of the performance, both speaking and singing, Emilie Modaff (Abigail Bengson) is bold, brash, and yet highly sensitive and mercurial. Opposite Emilie, Alec Phan (rotating the role of Shaun Bengson, Wed/Thurs/Fri, with Royen Kent, Sat/Sun) is disarmingly, yet refreshingly, reserved and sedate. In the popular fashion of having cast members play their own instruments, the “Hundred Days” cast reveals solid vocal prowess and musicianship, smoothly rotating between instruments. I continually sympathized with percussionist Lucas “Looch” Johnson, for he was often left stuck behind a drum kit instead of participating in joyful group moments. Standout cast members were velvet-voiced Grace Bobber and energetic Brennan Urbi, both of whom shined in the musical style of the show.

Even though the plot follows the Bengsons spirited and unconventional three week relationship-into-marriage, leaving a fiancé and best friend in its wake, the limited opportunity for connection between characters within book scenes presented a lack of drama and conflict. Instead, the more relatable conceit of the show follows us out the door once the concert has ended: with only 100 days to live, what would you embrace? What would you do with the time you had left? And, for anyone who's ever loved and lost, who would you give your love to?

Focusing the majority of the scripted action downstage center, director Lucky Stiff embraces the concert setup of “Hundred Days” disregarding traditional direct address protocols, and sometimes cutting off parts of the audience to emphasize the confessional-like structure of the dialogue. Scenic design team Jackie Fox and Irena Hadzi Dordevic created an ambiance of intimacy and homeyness, using layers of rugs and hanging lamps. The low-level platform main stage structure, lined by a moat of salt—a somewhat overused metaphor within the piece—framing the lives of the characters in a clean yet almost caged playing space. Along with Fox’s original designs, lighting designer Henry Muller brought strong, rock concert washes of light to the stage. However, the heavy use of shadow along the peripheral sometimes left the ensemble in the dark, stripping away their muse-like efforts of participation. Virginia Varland’s costumes were contemporary and casual, with touches of hipster expression of frilled vests, floral prints, and the like. The challenge of balancing folk-rock vocals in such a close-up space, while also capturing the vocal and instrumental rock energy was not lost on sound designers Mike J. Patrick and engineer Patrick O'Brien, although, the lower vocals were sometimes drowned out by the power of the instrumentation.

“Hundred Days” wraps up with an enthusiastic ensemble number, almost negating the self-turmoil that had been explored throughout the piece; however, I suppose that’s typically how the human mind works—aware our time here is limited, but couldn’t fully function while processing that fact at all times. Instead, it’s mostly aware of the moment we’re in and, in a way, celebrating life. Similar to the 75-minute format of the show, the audience is reminded: life is short, embrace the music!

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

PHOTO CREDIT | Evan Hanover

KOKANDY PRODUCTIONS
presents the
Chicago Premiere
HUNDRED DAYS

Music and Lyrics by The Bengsons
Book by The Bengsons and Sarah Gancher
CHOPIN THEATRE
1543 W. Division St.
through January 9, 2022

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PicksInSix Review: Sister Act

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A ROUSING, RIOTOUS, HIGH-SPIRITED HIT!  

When Mercury Theater’s new artistic director Christopher Chase Carter stepped on the stage Thursday to welcome the opening night audience for “Sister Act,” you could feel a higher power in the house. Less than a year ago, Mercury’s future was in jeopardy and without some divine intervention, the former silent film nickelodeon on North Southport, home to such long-running regional hits as “Avenue Q” and “Spamalot” under the production partnership of Walter Stearns and Eugene Dizon for the past decade, might have been lost to Chicago theater audiences forever.

All of the fear, uncertainty and speculation of that eventuality was washed away a few moments later when the dazzling Alexis J. Roston launched into a stunning star turn as Deloris Van Cartier in the hilarious musical comedy about a fame-seeking disco diva who is remanded into the Philadelphia police witness protection program after reporting a murder. Whether shimmering in a silver-sequined Marquecia Jordan outfit, decked out in her nuns veil and tunic, or lounging in your big sister’s wool pajamas, Roston drips with so much charm, talent and vocal presence that you become an instant, true believer in her unique path to enlightment. This is a blockbuster, folks, and recertifies the importance of the Mercury Theater Chicago, and it’s busy cabaret venue Venus, as an essential element to both the Southport Corridor and the Chicago theatrical landscape.

As the story goes: Fearing for her life, officer “Sweaty Eddie” Souter (Gilbert Domally) takes Deloris to a convent to hide from the ruthless gangster Curtis Jackson (Denzel Tsopnang) and his rag-tag minions who want her dead. The free-spirited Deloris immediately gets into the habit of antagonizing Mother Superior (Jane Grebeck-Brewer) with her brash street talk and progressive attitude. A harmonious chord is struck when Deloris takes over the choral direction of the Queen of Angels Singers and wins over the charming sisterhood, the congregation and even the affable Monsignor O’Hara (Ed Kross). The story—by Cheri and Bill Steinkellner with additional book material by Douglas Carter Beane—may verge on the melodramatic at times, but it’s all uproariously funny and sewn together with a phenomenal score by award-winning composer Alan Menken and lyricist Glen Slater.

Director Reneisha Jenkins rocks the parish in her professional directing debut. With a creative team that includes choreography by Carter and music direction by Diana Lawrence, the resounding themes of friendship, acceptance, faith and love come shining through in each character. And while Roston, Grebeck-Brewer and Domally have an abundance of the special kind of chemistry needed to carry the show, their higher calling is infusing that enthusiasm and trust into the entire company, in every song and every production number. It’s really evident and that is why “Sister Act” will leave you feeling three-times blessed.

Among the many featured performances, newcomer Isabella Andrews is exquisitely cast as the shy and demur Mary Robert who blossoms into a confident firebrand. In a show of showcase performances, Andrews sings the touching ballad “The Life I Never Led” with the wide-eyed wonder of innocence. The nuns—Leah Morrow, Jenny Rudnick, Nicole Cready, and Nancy Wagner— along with Nicole Armold and Aalon Smith, are quite simply marvelous. Jackson’s henchmen—Joey (Marcus Jackson), Pablos (Ruben Castor) and TJ (Austin Nelson Jr.)—show off some nifty footwork and serve as terrific backup singers.

Scene designer Angela Weber Miller and video designer G. “Max” Maxim IV have teamed up on an exquisite multi-level set that incorporates high-tech optics which are punctuated by Jackie Fox’s lighting design and Carl Wahlstrom’s crystal-clear sound. In addition to the nightclub dazzle, costume designer Jordan uses a creative, wide-ranging color palette for the nuns habits, altogether making “Sister Act” a rousing, riotous, high-spirited hit!  

PHOTO|Brett Beiner Photography

MERCURY THEATER CHICAGO
presents
SISTER ACT
through January 2, 2022

3745 N Southport Avenue
(773) 360 - 7365

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PicksInSix Review: I'm Not A Comedian...I'm Lenny Bruce

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STUNNING CLARITY FRAMES MARMO’S “LENNY BRUCE”
Guest Contributor | Ronald Keaton

We have all witnessed moments of utter exhaustion and defeat for those among us who own a strength of character and a spirit to move forward on our behalf.  Sometimes doing the right thing in life requires an energy that we may not know we can share.  Such is the case in the tragic life of comedian Lenny Bruce, whose story is currently being told by actor/writer Ronnie Marmo in "I’m Not A Comedian…I’m Lenny Bruce” at the Venus Cabaret Theater.  And it’s directed by a familiar name to Chicago – Joe Mantegna.

Right from the top, it is apparent that Mr. Marmo’s commitment is full-bore. The first sight of the character is the night he dies… sitting in his bathroom, nude and dead.  August 3, 1966. It takes a long time to justify doing so from a theatrical viewpoint, but it does happen, despite the fact that, at first, it seems quite gratuitous. Put that away for now.  We hear lots of Bruce in comic monologues, and the play quite confidently shares much of the debate about words that are acceptable to use—or not.  Retain that in your memory for the moment as well.

The first half of the play—roughly 90 minutes with no intermission—deals with Bruce’s efforts to stretch comedic boundaries with sensational material that makes perfect sense, given the kind of path he walks.  Mr. Marmo has the Bruce patter and delivery down absolutely spot-on, a reminder of all those Catskills comedians that the Boomer generation learned timing and skill from.  Every dirty word, every turned-illicit phrase becomes a weapon to use against authority and, more to the point, on behalf of free speech in America.  I offer this advisedly—it’s well done.  And absolutely exhausting at certain points.  As was Lenny Bruce, let’s face it.

And then a remarkable turn in the storytelling occurs.  Mr. Marmo chooses quite eloquently to offer at a halfway point in the play what we really want to know:  how Lenny Bruce does what he does, why he does it, and how it affects every corner of his life.  Bruce meets a stripper one night.  Begins some quiet conversation and flirtation.  And ends the evening in orgasmic pleasure…a logical extension of the man’s own spirit.  But then Bruce discovers something. He falls in love for really the first time in his life outside his work.  The shift in theatrical tone and in Mr. Marmo’s presence is dramatic.  And softer, more personal, more accessible.  It’s a surprising quality to see and much more reflective for what we want to know, I think, about Bruce, his family and the effects of it all on his wife and daughter. Such small, tender vignettes pepper the plotline.

The battles in Bruce’s life, of course, are legendary and loud.  He stands up to authority, he makes his presence known promptly in every situation, and he pays dearly for such aggression.  The truly climactic moment comes in a confrontation with a judge, one that Mr. Marmo handles with stunning clarity and technique.  He tells the judge in no uncertain terms “Please…you’ve taken everything from me.  Let me do my act for you, let me show you, your Honor, what this is all about.” When refused, Bruce says “Please, sir.  Please don’t take away my words…”  This is Mr. Marmo’s high point. Vulnerable.  Broken.  Exhausted.

The play ends as it begins, with Bruce expired in his bathroom from an overdose, and recorded comments from police on the scene. Whether one accepts it as good dramaturgy is a matter of preference and taste. This observer prefers to look at the story as a whole in how it’s told. It’s quite a tale, and it’s not for everyone. But in a unique turn, Ronnie Marmo makes it his own and deserves much credit.

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

PHOTO|Doren Sorell

I’M NOT A COMEDIAN…I’M LENNY BRUCE
Venus Cabaret Theater
3745 N Southport Ave
through December 4

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(773) 360-7365

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PicksInSix Review: Pump Boys and Dinettes

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“Pump Boys” Shake, Rattle and Roll!

What happens when a bus breaks down along that section of Highway 57 that intersects with North Dearborn and Oak in River North? You will discover the highly entertaining answer to that question when you venture out to Porchlight Music Theatre’s 27th season opener, a buoyant revival of “Pump Boys and Dinettes” now playing at Ruth Page Center for the Arts.

Written and composed by the collective of John Foley, Mark Harwick, Debra Monk, Cass Morgan, John Schimmel and Jim Wann who piloted the show to runs on Broadway and in London’s North End in the early 80s, the show has a remarkable and fascinating local backstory.

For those, like me, who either were not living here or not aware that it famously ran for over 2,500 performances at the Apollo Theater, the compact melody-filled 90 minutes has a bare thread of a story that connects with a warm-hearted neighborly song list that may not singularly appear in an audition, cabaret or on a piano bar hit list, except perhaps the hilarious ode to fame listed as “T.N.D.P.W.A.M” in the program because the title gives it all away. That said, when taken collectively as a wink and a nod to the popular themes of the country music of the 50s and 60s, “Pump Boys and Dinettes” transcends into a joyous, slap-happy, tongue-in-cheek tune fest all its own and serves as a dynamic showcase for the multi-talented singers and actors required to pull it off. And the cast that director Daryl Brooks and music director Robert Reddrick have assembled is certainly up to the task.

Three of the four Pump Boys–Jim (Ian Paul Custer), L.M. (Frederick Harris) and Jackson (Billy Rude)—are all individually fine, multi-instrument musicians, singers and actors. In fourth position is Eddie (Rafe Bradford) who plays the electric bass and has only a word here and there that’s buttoned by his engaging Cheshire cat grin. They all come to life on Sydney Lynne’s detailed and pristine set—with cozy lighting by Denise Karcewski—that’s equally divided between southern service station and charming, down home Double Cupp Diner, the roadside retreat of the irresistible Dinettes known as the Cupp sisters: Prudie (Shantel Cribbs) and Rhetta (Melanie Loren).

The company numbers “Highway 57”, Taking It Slow” and the Winnebago test drive to Florida “Vacation” and “No Holds Barred” are delightful. The featured performances and duets kick off with Harris’ upbeat “Serve Yourself.” For the spiritual angler, you’ll like the Pump Boys resolute “Fisherman’s Prayer” and “Catfish”. The earnest, plain-spoken enthusiasm of the company is the essential ingredient allowing the quieter more introspective ballads, like Custer’s beautiful rendition of “Mamaw” and Loren’s gritty “Be Good or Be Gone” to fully resonate. The Dinettes’ duets—“Menu Song”, “Tips” and “Sister”—all hit the high water mark.

At first glance, I thought that keeping an intermission in a show that moves so briskly might impact the overall pace. But the snappy act one closing number “Drinkin’ Shoes,” with some smooth choreography by Rueben D. Echoles, is a memorable highlight to a fun night that breezes by thanks to the homespun cast who play and sing their way into your heart.

PHOTO|Chollette

Porchlight Music Theatre
presents
Pump Boys and Dinettes
Ruth Page Center for the Arts
through December 12

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