PicksInSix Review: The Comedy of Errors - Chicago Shakespeare Theater

Comedy of Errors – “Thanks. Very Much!”
PicksInSix® Gold Review | Ed Tracy

In perhaps one of the most inspired and hilarious opening scenes in recent memory, Barbara Gaines launched her final stage production as Chicago Shakespeare Theater’s Founder and Artistic Director not with a hearty hail and farewell, but instead a hilarious delivery.

Four of them actually.

The seafaring journey that follows for two sets of identical twins at the center of chaos and confusion is just the beginning of a wild and wondrous adventure. Gaines’s uproarious, over-the-top adaptation of “The Comedy of Errors” is really two shows, in fact, weaved together as one. Shakespeare’s tale of mistaken identities, mischief and mayhem is framed by an altogether new and fascinating story all its own—magnificently conceived by Gaines and brilliantly written by Ron West—that is set on a 1940 London soundstage. The developing storylines of the players is underscored by terrific musical performances, frequent Luftwaffe bombing raids, live Foley sound effects and just the right amount of hijinks and slapstick.

The play centers around the twins who are separated soon after birth by a shipwreck at sea.  Now adults in Ephesus, Antipholus from Syracuse (Robert Petkoff) and Antipholus from Ephesus (Dan Chameroy), along with their servant twins, Dromio of Syracuse (Ross Lehman) and Dromio of Ephesus (Kevin Gudhal) find themselves confounding Adriana (Susan Moniz), the wife of Antipholus of Ephesus, her sister Luciana (Melanie Brezill), the merchant Angelo (Brezon Arzell) and virtually everyone else.

Lehman also plays Dudley Marsh, the director of the film storyline and married to Veronica (Moniz) who is having a torrid affair in plain sight with Emerson Furbelow (Petkoff). Meanwhile Lord Brian Hallifax (Gudhal) is forever posturing for and expanding upon his stage real estate at every opportunity with hilarious consequences. Add to this powerhouse quartet the likes of Phil Sullivan (Chameroy), a dashing, aviator and crooning heartthrob for the charming Lillian Castillo (Marian), with the accident-prone stage manager Charles Chittick (William Dick) and you have the makings of a comic ensemble that’s on fire all night.

A spectacular set design by James Noone evokes the grandeur of filmmaking in a bygone era. It’s a gem that benefits from the stagehands quietly and effortlessly moving on and off in the context of the film shoot. The Courtyard Stage is awash with color and detail from Ken Posner’s lighting design, Mieka Van Der Ploeg’s stunning costumes and Lindsay Jones’s crisp sound and original music.

In a show filled with superb featured character roles, Ora Jones (Abbess), Adia Bell (Fanny) and Bruce A. Young (Monty/Duke) all stand out. Greg Vinkler shines as the ruddy Admiral Philpot and as his brother Eddie Philpot, funnyman Bill Larkin provides the oft-repeated phrase of the night that everyone will be saying to Barbara Gaines in appreciation of her decades of commitment to making Shakespeare accessible to everyone: “Thanks. Very Much!”

PHOTO|Liz Lauren
Barbara Gaines|Joe Mazza

Chicago Shakespeare Theater
presents
THE COMEDY OF ERRORS
Courtyard Theater
Navy Pier
through April 16

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PicksInSix Review: You’re A Good Man, Charlie Brown - Marriott Theatre

If only dogs could really talk…
PicksInSix® Review | Ed Tracy

Like most of us of a certain age, Charles Schulz Peanuts characters are part of the fabric of my life. It’s hard to believe the comic strip that originated over 75 years ago could still be so timelessly entertaining and relevant today. We may grow out of the regularity of the experience, but when our senses are wrapped around images, music and comedy that reflects a more innocent time in our lives, and the lives of our children, the magical, irresistible feeling consumes us. It’s inescapable.

All those emotional connections will wrap their loving arms around you with happiness for the roughly 65 minutes of the Marriott Theatre for Young Audiences heartwarming revival of “You’re A Good Man, Charlie Brown” now playing in Lincolnshire. Sharing the colorful stage space and benefiting enormously from the superb production values of the “Big Fish” run, the show expertly incorporates lights and staging all its own in Marriott’s in-the-round configuration to create the ultimate visual experience for every member of the audience. And that’s not a small feat when easily half of those patrons are of the pint-sized variety.

The musical “You’re A Good Man, Charlie Brown” with book, music and lyrics by Clark Gesner first appeared in the late 60s, was streamlined, updated and remounted with character revisions and additional music and lyrics by Andrew Lippa and dialogue by director Michael Mayer for a Tony-nominated Broadway revival in 1999. Trimmed a bit in the Marriott production to make for a one-act, high-energy romp that amplifies some of the more quiet, heartwarming moments of the show, it’s followed by a terrific post-show talkback that is guaranteed to bring out the kid in all of us. Altogether, it’s 90 minutes of pure family fun!

The uniformly superb ensemble, directed and choreographed with gusto by Linda Fortunato, is led by Patrick Michael Tierney as the valiant, lovable loser Charlie Brown who despite the pitfalls, always seems to find some good out of every situation. The same can be said for every other character from the bossy but endearing Lucy Van Pelt (Tafadzwa Diener) and her forever attraction Schroeder (Matthew Bettencourt) to Lucy’s little brother Linus (Jackson Evans) and Charlie Brown’s sister, Sally (Amanda Walker). Each approaches their worlds with childlike enthusiasm mixed with a healthy dash of lopsided—and hilarious—grown-up pessimism. It’s a wonderfully warm day in the life of a group of comic characters who sincerely like each other. In that choice, director Fortunato keenly targets every childhood observation about friendship, nature and the wonder of it all.

And if you have ever thought what the world would be like if only dogs could really talk, sing and dance, you need look no further than the fetching Andrés Enriquez whose Snoopy captures the essence of the world’s most famous beagle and personifies Schultz’s impish spirit. Enriquez makes “Suppertime” a truly joyous occasion and at one point, during the opening performance last Saturday morning, got a singular howl of a response from the audience that cracked everyone up.

In a nod to the comic strip, Patrick Ham’s stylized set pieces and props, with Evelyn Danner’s iconic costume design, Megan Pirtle’s wigs and the color and light of designer Lee Fickness, all evoke Schulz’s childlike fantasy cartoon world. Musical director and conductor Rick Bertone, in sync with Rick Sims sound, makes every number a winner and this show a nonstop comic treat that will keep even the youngest member of the family sitting on the edge of their seat. Happiness truly is playing now through April 1 at Marriott Theatre.  

PHOTO|LIZ LAUREN

MARRIOTT THEATRE LINCOLNSHIRE
presents
YOU’RE A GOOD MAN, CHARLIE BROWN
through April 1, 2023

WEBSITE | TICKETS

(847) 634-0200

HEALTH PROTOCALS

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PicksInSix Review: Trial in the Delta: The Murder of Emmett Till-Collaboraction Theatre Company

A Moving Reenactment of Historic Injustice.
PicksInSix® Gold Review | Guest Contributor | Kaitlyn Linsner

For fifty years, the transcript from the 1955 trial of J.W. Milam and Roy Bryant in the murder of Emmett Till remained hidden. The details of the actual courtroom proceedings, while deeply impactful in their effect, stayed behind closed courtroom doors in Sumner, Mississippi. For fifty years, then, very few people knew of all that was said and unsaid in the trial that resulted in a jury of all White men acquitting two White defendants for the heinous crimes they later confessed to in a magazine article.

Now, thanks to Collaboraction Theatre Company and The Dusable Black History Museum and Education Center, people can experience first-hand what occurred in that courtroom in 1955 by attending “Trial in the Delta: The Murder of Emmett Till.” This live, fully-produced stage production is adapted entirely from the actual transcript and evokes powerful reflection through a precise reenactment using only the same words spoken during the trial.

Prior to the current staged production, “Trial in the Delta” premiered in February 2022 as a teleplay and part of a larger NBC5 Chicago Anchor Marion Brooks’ investigative series on Emmett Till. Brooks, after finding the transcript online through her research, asked Collaboraction to create and film a staged reading, and the co-production went on to win a 2022 Chicago/Midwest Emmy Award.

For this year’s fully immersive experience, Collaboraction commissioned Chicago playwrights G. Riley MIlls and Willie Round to adapt 354 pages of transcript into a 90-page, two-hour run time, theatrical reenactment. Collaboraction Artistic Director Anthony Moseley and Company Member Dana Anderson co-directed the production.

“Trial in the Delta: The Murder of Emmett Till” shines brightest in its immersive efforts. Witnesses sit among the audience and take their time when called to stand. They approached both carefully and carelessly with demeanors matching the stark contrast between the White and Black people in the courtroom. White defendants, J.W. Milam (Matt Miles) and Roy Bryant (Tyler Burke), sat slouched in their chairs, shirts unbuttoned, often looking back into the audience with smirks and sneering commentary while their attorney muddied the prosecution’s case with great, callous spectacle. Lax and loose, they showed no shame, no remorse and no fear of consequences for their actions.

Then, stage left, you see Emmet Till’s mother, Mamie Till-Bradly (Kayla Franklin) sitting tall and poised. She’s dressed sharp, polished and elegant and exudes an unshakable confidence and commitment to her truth and her love for her son during her testimony. You experience the resounding courage of Emmett Till’s uncle, Mose Wright (Darren Jones), who, when asked to identify the men who took Emmett from his home, pointed to the defendants in the courtroom. Following the actual trial in 1955, Mose Wright fled Mississippi.

The stakes are entirely different between the prosecution and the defendant’s witnesses. We’re talking literal life and death. Sitting and observing this unfold as a courtroom spectator left a searing impression. It also left a sinking feeling in the gut especially when the defense’s strategy highlighted persistent, harmful tactics still utilized in the ongoing racial injustices transpiring all over this country. The defense intentionally mischaracterized fourteen-year-old Emmett Till as a man when he was just a boy. The defense’s closing argument capitalized on fear to convince the jury that no one would be safe from baseless accusations if the jury convicted those two men. The elephant in the room quickly became the palpable question of just how far have we really come since this 1955 trial?

Overall, the words from the transcript and the actors’ solid delivery of them carried great power. The minimal set worked well but the large screen behind the courtroom was underutilized. More statements could have been cast on that screen to punctuate the witness’ testimony. A real highlight that must be mentioned is the conversation that follows each performance allowing for the audience to hold the story collectively, in community, and to discuss choices we can make as those inheriting this story.

It was during this conversation, prompted by the illuminating performance preceding it, that a call to action was made – to stop this history from continuing to repeat itself. “Trial in the Delta: The Murder of Emmett Till” offers the unique opportunity to experience our history and really sit with it. Those fortunate enough to attend will not soon forget.

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

PHOTO | Joel Maisonet

Collaboraction Theatre Company and

The DuSable Black History Museum and Education Center

Present

Trial in the Delta: The Murder of Emmett Till

through February 19, 2023

The DuSable Black History Museum and Education Center

740 E. 56th Place

TICKETS

(773) 947-0600

COLLABORACTION WEBSITE

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PicksInSix Review: Toni Stone - Goodman Theatre

“…wide, tender eyes and knowing delivery.”
Ronald Keaton | Guest Contributor | PicksInSix® Review

“Why would I eat crackers in your bed?”  The character of Toni Stone asks this literal question of a prospective lover, as well as other hugely unconventional issues in Lydia R. Diamond’s sparkling, creative play “Toni Stone,” now playing at the Goodman Theatre. Stone is a historic figure who infuses her world with all kinds of sociological change, being the first woman to ever play on the field in men’s professional baseball… in this case, the Indianapolis Clowns of the Negro Leagues in the 1940s and 50s.

You may ask: “Why does the world not know more about her?” That is beginning to change with this expertly-crafted memory play that maps out Stone’s path in a pleasingly helter-skelter manner, allowing for a full and articulate explanation of who she is, what she wants, and how she gets there.  Doesn’t matter that it might be a tad confusing to some; that’s the nature of our memories, after all, and what they mean to our own histories.  Ms. Diamond has infused Toni Stone with an unflinching, iron-clad commitment to not only the game, but how she fits into it.  Her very first monologue talks of her own ‘reach’ through the ‘weight’ of the ball itself; she holds the ball for the audience as if it were her own child.  And in essence, that’s how committed, singular paths make their own mark.

The wonderful Tracey N. Bonner inhabits Toni Stone with a child’s longing, a woman’s continual feist against conformity, and an athlete’s endless vision.  Ms. Bonner presents someone absolutely on point in her feelings about baseball, almost obsessively so.  Stone is a baseball computer; she uses her knowledge of baseball players and statistics as a salving tool in constant recitative to survive what is thrown at her on the diamond by opposing teams and, indeed, the world at large.  The self-advocating side of Stone only serves to further strengthen the obvious calling that baseball was to her; Bonner offers this in wide, tender eyes and knowing delivery.  This is an actor’s masterclass in fully inhabiting one’s character in a show that I would see again and again.

There is much gorgeous work here. Jon Hudson Odom as the madam Millie is not only a soothing influence on Stone; we see from the actor a total calm and command from the get-go. As Stone’s lover and eventual husband, the marvelous Chiké  Johnson imbues his Alberga with a strong, yet quiet pseudo-Nick Arnstein presence for us to hold our collective breath, in his three-piece dark blue suit and habitual smooth.  The supporting cast portrays a rogue’s gallery of characters – mothers, bartenders, team owners, baseball players and coaches. The fabulous ensemble – Kai A. Ealy, Joseph Aaron Johnson, Travis A. Knight, Victor Musoni, Matty Robinson, Edgar Miguel Sanchez, Terence Sims, and Jabari Khaliq – use every Diamond phrase, both intellectual and profane, to full advantage in support of the storytelling.

The impressive Todd Rosenthal set design is a suggested baseball field – in fact, the name on it was Victory Field in Indianapolis, where this writer attended games as a child. Mara Blumenfeld’s costumes are simple and excellently functional for the character changes the ensemble are assigned.  Keith Parham designed soft layers in a variety of ever-moving lighting effects, effortlessly following the Toni Stone life road.  Andre Pluess and his period music/sound design literally inhabits Stone’s mind as they assist to buoy the script in those memories. And Mike Tutaj once again imbues his projections with touches of elegance and documentary-like effect (“Jack’s Tavern” the on-the road landscapes for the team).

Ms. Diamond has always been a favorite writer at the Goodman, and she’s earned it – a real Chicago treasure.  “Toni Stone” is among her best work.  And the celebrated director Ron OJ Parson has given this play and these actors a clear, accessible and fully non-conformist track that keeps up with Ms. Bonner’s inventive and keen actor/storyteller.  Everyone in this process, in fact, either is or became an expert storyteller.  The fact that it all comes through one of the most inventive characters written in a long time only magnifies the quality of every creative person involved here.

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

PHOTO|Liz Lauren

GOODMAN THEATRE
presents
TONI STONE
through March 20
Albert Theatre
170 N. Dearborn St.

(312) 443-3800

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PicksInSix Review: Big Fish - Marriott Theatre

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

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

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

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

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

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

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

PHOTO | Liz Lauren

Marriott Theatre Lincolnshire
presents
BIG FISH
through March 19, 2023

WEBSITE | TICKETS

(847) 634-0200

HEALTH PROTOCALS

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PicksInSix Review: And Neither Have I Wings To Fly - First Folio Theatre

TO FAIR WINDS AND FOLLOWING SEAS.
PicksInSix® Review | Ed Tracy

As First Folio’s splendid production of Ann Noble’s “And Neither Have I Wings To Fly” unfolds, a disheartened Peter Donnelly (David Rice) and his family are coping with the passing of his wife, Moira (Adrianne Cury) while his daughter Eveline (Haley Rice), the family anchor, is in preparation for the wedding of youngest daughter Kathleen (Jennifer Mohr).

Eveline had put her own dreams and aspirations on hold for three years to care for her ailing mother. She is now conflicted by the responsibility to care for her aging father and tend to the day-to-day matters of the home against her own aspirations. As we discover early on, there is movement and a path out, but the clock is ticking. There is also a looming deadline that will require a spiritual nudge to present options, pose questions and allow her to make a decision.

When Moria’s spirit appears to Eveline and takes steps to help her through, it’s also clear that Moira has some questions of her own to be answered before she can move on.

Along the way, Kathleen, who is about to marry Leo (David Gordon-Johnson) is swept up by Freddy (Michael Dias), a former lover and touring actor who openly threatens the marriage while everyone except Eveline and Moira’s spirit appear to be looking the other way. Once Leo’s exuberant brother Charlie (Andrew Behling) arrives on the scene to awaken Eveline’s hidden desires and take a stand of his own, the hearty stew of this poignant story about eternal love overcoming loss begins to simmer.

Director Heather Chrisler evokes mid-50s Ireland at every wonderful opportunity – through Noel Huntzinger’s period costumes, the blissful original and traditional music and sound by Lindsay Jones, and the evocative lighting by Julie Ballard. All these rich elements enhance the stunning and detailed interior scenic design by Angela Weber Miller. A nod goes to vocal and accent designer Sammi Grant whose work with the superb company is earnest and true.

It was announced this week that the final production of First Folio’s three-show 2023 season would be cancelled and the company, a fixture for 26 years under the guidance of co-founders David Rice and his late wife Alison C. Vesely, will close this month. Rice and his daughter, Hayley, have not performed together since 2013’s “The Rainmaker,” which, for all of us parents who dream of this opportunity, is one more compelling and exceptional reason among many to see this heartwarming drama at Maylake Peabody Estate before it closes on February 26.

PHOTO|First Folio Theatre

First Folio Theatre
Presents
And Neither Have I Wings To Fly
Mayslake Peabody Estate
1717 W. 31st St.
Oak Brook
through February 26, 2023

 WEBSITE

CALL FOR TICKETS
(630) 986-8067  

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PicksInSix Review: Andy Warhol In Iran - Northlight Theatre

Northlight’s ‘Warhol’ “Brings Home The Bacon!”
PicksInSix® Review | Ed Tracy

Iran in the 70s – a fight for political, moral and individual rights that led to targeted suppression of protests by a regime that wielded torture and fear as the rule of law. Fast forward nearly fifty years and women’s rights now take center stage in regional protests. Radical change in our time is both momentary and glacial. A single act of violence broadcast on social media ignites instantaneous worldwide condemnation, while the exhaustive search for truth and justice that follows moves at an exhaustingly slow pace.

Throughout the life and times of Andy Warhol from the late 40s until his death in 1987 at 58, every encounter was a rich story worthy of being told. If you experienced the work of the iconic pop creator/activist/artist/filmmaker firsthand, the repetition of Warhol’s single images were unavoidably captivating. Shades of Marilyn Monroe, Richard Nixon, and Campbell’s Soup. Films that captured the personal stories of his subjects, or nothing at all, always inquisitive, searching for the essence that makes each subject unique. In the telling, Warhol built a worldwide following, amassed wealth, influence, access and fame with a single superpower: his ability to observe.

Warhol’s adept skill and fascination with his subject’s uniqueness, that also nearly took his life, is a central theme of Northlight Theatre’s absorbing production of Brent Askari’s “Andy Warhol in Iran,” directed by Northlight’s Artistic Director BJ Jones. The byproduct of this fascinating piece is a broader understanding of who Warhol was as a person, told through monologues highlighted with fast-moving images that frame the fictional confrontation between Warhol, masterfully interpreted in a brilliant performance by Rob Lindley, and a young radical named Farhad, played superbly by Hamid Dehghami.

It is difficult to determine when the razor-sharp dialogue of Askari’s writing ends and the pinpoint pacing of Lindley’s seamless delivery begins. Given the show’s premise of a politically-motivated celebrity kidnapping, one might not imagine that the storyline would be deliciously layered with so many hilarious Warhol-esqe observations. To Lindley’s credit, he both feeds off of and into Dehghami’s frenetic obsession to further his group’s cause by way of Warhol’s fame. The cause of Farhad’s pain at the hands of Iran’s torturous and oppressive regime is very real. Askari’s script exploits Warhol’s astute and inquisitive nature to disarm his potential captor and Lindley skillfully knocks it out of the park. The result is a free-flowing narrative of discovery that, along the way, retells Warhol’s early years in Pittsburgh, tumultuous relationships, a near-death experience that altered his life forever and his personal view on a range of topics from capitalism to life and death. On the former, it’s like he always says: “You gotta bring home the bacon!” To the latter, he muses: “Dying is not hard; it’s the waking up part.”

Dehghami, an accomplished Iranian actor and recent MFA graduate of Northwestern University, evokes a generation of college students caught up in the political turmoil of the era that would lead to their expulsion from academic communities across the United States. That brief, but powerful, intersection with western culture, was the single act for that generation, prompting life-alerting choices of family and freedom for countless Iranians who oppose tyranny.

Set in a suite at the Royal Tehran Hilton smartly designed by Todd Rosenthal, the room serves as an oasis of the decadence of the period where Warhol discovers perhaps for the first time what the world view of his work truly means to those who exploit it for their own means. Mike Tutaj’s riveting historical projections are enhanced by the collaborative sound design of Andre Pluess and Forrest Gregor. But it is Lindley’s crisp, clever and measured approach that pours out and will ignite the inevitable conversation about Warhol’s vast complexity.

PHOTO|Michael Brosilow

NORTHLIGHT THEATRE
presents
ANDY WARHOL IN IRAN
North Shore Center for the Performiing Arts
9501 Skokie Blvd.

through February 19, 2023

WEBSITE

(847) 673-6300

HEALTH & SAFETY

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PicksInSix Review: The Great Khan - Redtwist Theatre

Past’s Power Over Our Future’s Legacy
PicksInSix® Review | Guest Contributor | Scott Gryder

The Redtwist Theatre’s intimate venue was further cozied up on Sunday afternoon with the Chicago premiere of the National New Play Network production of “The Great Khan.”  Set mostly in the bedroom of a teenager, Redtwist invites you to take a closer look into the lives of American teenagers struggling to find their place in society. While being pulled in various directions by their peers, parents and idols, the teens prepare to battle history to lay the foundation for their futures.

Michael Gene Sullivan’s “The Great Khan” is a multidimensional comedy centered around Jayden Gebremedhin, a teenager who is forced to make a move to a new home, with his mother as his only friend, after heroically defending a fellow student involved with a sexual assault. Now in hiding, Jayden must navigate the pressures of not only showing up but showing out at a new school and being haunted by his past. Not to mention, he may be going mad thanks to the newly seeded obsession over the topic of his latest class assignment: Temujin (aka Genghis Khan).

Sullivan’s play relies heavily on stereotypes; however, not in a two-dimensional predictability, but as a tool for us to immediately recognize ourselves in at least one of the characters. Simon Gebremedhin’s Jayden exemplifies the modern American teenager, struggling to find his place in a new home and at a new school, while running from his past. Gebremedhin’s pacing is thoughtful and unaffected. Monique Marshaun soon introduces us to the sneaky yet slightly outrageous Ant, who’s continually pushing the envelope for answers. Josie Mi’s Gao-Ming is often regrettably living center stage in a monologuing role, sharing factoids, but when she enters the world of Jayden’s bedroom, her precise balance between quirk and brilliance truly tickles. Bryan Breau’s Mr. Adams is sincerely awkward, trying his darndest to connect with his students by overcompensating to be hip to the times. Steffen Diem Garcia embodies Temujin (Genghis Khan) with complete physical embodiment, yet, unlike Genghis Khan’s famed savage bravery in the face of battle, Garcia’s Khan waivers in the execution of his lines, leaving Khan vulnerable to deflated moments of pacing. But it’s LaToriuous Givens who shines as Jayden’s mother Crystal. Her subtext is grounded in genuineness, bringing a maternal care and concern for her son by layering nurturing with a keen hard-edged smackdown when necessary.

Mostly, the script is quick-witted and organic, with characters comedically playing off opening moments of heightened dramatic circumstance. Additionally, throughout “The Great Khan,” each character speaks freely and frankly about their wants and fears. If only social norms would encourage and embrace that level of candid behavior. Thanks to this forward dialogue, “The Great Khan” does not shy away from topics such as violence, vulgarity nor the use of foul language. The text is poignant and relevant. Is the way we see ourselves or the standards we hold ourselves to what we truly believe, or are these expectations planted there by outside influences? And thus, what is our actual truth? How and who are we supposed to be? And is that seemingly insurmountable fear we experience when questioning our purpose a guide to keep us safe or a monster we must defeat?

Scenic designer and charge artist Rose Johnson gives us a mostly blank canvas to start, with a bedroom setting loaded with moving boxes and the classic adolescent decoration stylings of scattered laundry. But it’s with a sequence of charming reveals that the set is enhanced as scenes and characters advance. Piper Kirchhofer’s lighting design cloaks this open set with washes to sleekly transition between days and locations, and the combined efforts, specifically for one of the culminating moments of the show, was powerfully executed with surprise and power. The sound design by Max Cichon had a character of its own. The music perfectly set the emotional tone, carried us harmoniously between scene changes, and surged with intensity when required. Beyond that, it was delightful to see the patrons bop along with the tunes throughout.

“The Great Kahn,” though stumbling pacing-wise near the end, casually delivers a gut punch to remind ourselves that we are who we make ourselves. Our histories may seem powerfully overwhelming and oppressive, but it can only be our responsibility to do what we feel best supports our wants and needs, whether or not that contradicts our past. With new Artistic Director Dusty Brown at the helm of the cherished Bryn Mawr District Redtwist Theatre, and an energy for producing shows that encourage personal exploration and growth, I look forward to being challenged in the tradition of Chicago storefront theatre for the rest of their season.

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

PHOTO | Aaron Reese Boseman

REDTWIST THEATRE
presents
THE GREAT KAHN
through February 26, 2023

1044 W. Bryn Mawr Ave
(773) 728-7529

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PicksInSix Review: Cabaret - Porchlight Music Theatre

Barrelling Down the Track of Life!
PicksInSix® Review | Guest Contributor | Scott Gryder

Perhaps you would have thought you’d gotten lost along the way to the opening night performance of Porchlight Music Theatre’s “Cabaret” at the Ruth Page Center for the Arts, for the stage had been transformed into a magnificent train depot the depth of the theater. Although I was familiar with the musical beginning with a trip, I was in no way prepared for the runaway train experience coming down the track brought on by an engine of brute force talent fueled by the finest directorial and choreographed momentum.

John Kander and Fred Ebb’s “Cabaret,” based on the 1951 Broadway play “I Am a Camera” by John Van Druten, appropriately starts with a train ride to Berlin by aspiring American novelist Clifford Bradshaw, who’s seeking inspiration for his latest work. The first German he meets, Ernst Ludwig, punches his personal ticket to rapture and ruin. Beyond the intimate bonds Clifford forges with vulgar club performers and hardworking, hardened day dwellers, the backdrop of “Cabaret” is a Germany politically seething with the growing threat of Hitler’s Nazi Party agenda, which eventually sends Clifford’s new life and loved ones scrambling to find their footing amid the inevitable devastation.

What really charges the show is the synergy between every single member of the cast. Whether a featured or ensemble role, each performer brings fully formed characters to the stage. Even cameos are dynamically developed. There were times when, even as the stage is filled with rambunctious activity at the Kit Kat Club, one can readily identify each character from across the show’s scenes thanks to their nuanced behaviors. This cast is committed to character. Between hit novelty numbers at the Kit Kat, multiple characters completely saturate the book scenes with profound truth. The glamor and vulnerability of Erica Stephan’s Sally Bowles is breathtaking, while Mary Robin Roth brings a fierce compassion to her Fräulein Schneider to a degree that would make even Lotte Lenya green. Additionally, Neala Barron’s brash Fräulein ‘Fritzie’ Kost, with a vocal apparatus that bellows, belts and sears, comes through with humor and heart. While, lastly, wreaking of a smarmy charm, Josiah Haugen’s Ernst Ludwig is nearly irresistible, embodying the Nazi nature with a frightening charisma.

As an intensely avid fan of the legendary Broadway songwriting team, this production, on the whole, is just what a production of “Cabaret” ought to be. It’s bawdy. It’s sincere. It’s disturbing. And each actor fits firmly into their roles, fully embracing the subtext of every line and lyric. Implementing a phoenix-like rising from the ashes, time-travelling establishing moment, PorchLight’s Artistic Director Michael Weber has gifted us a ticket to a searing production that transports us full steam ahead into the heart of the story. Add to that the ever-scintillating dance sequences by Chicago-beloved choreographer & associate director, powerhouse Brenda Didier, and the scenes and musical numbers are of famed Moulin Rouge caliber.

Scenic Designer Angela Weber Miller’s stunning railway-inspired set creates a fully playable canvas, easily absorbing projections to help designate locations, and flawlessly transforming between the famed Kit Kat nightclub and Fräulein Schneider's boarding house. Costume Designer Bill Morey dominated the epic task of not only costuming a cast of featured characters in the main plot with delicious textures and swanky style, but he created provocative visuals for the multitude of senses within the scenes at the Kit Kat Club. What added bonus depth to the stage was the cinematic lighting by Patrick Chan. Taking advantage of the steady haze silently creeping onstage, Chan achieved movie-like close-up energy by utilizing sharp spotlights across clouds of emoting washes of reds, blues and golden hues. The orchestra, under the baton of conductor and musical director Linda Madonia, was sublime. They executed Kander’s music with incredible precision and stamina. Kudos to trumpeter Greg Strauss! Has he got sonant spunk! If only, considering the glitz and personality given to the actors' costumes, the orchestra had also been outfitted with thematic pizzazz instead of street clothes.

The engine of this “Cabaret” only continues to gain propulsion as each new relationship is forged or broken or as each dream is won or lost, relentlessly pushing the plot and the lives of those involved to go faster and faster. Eventually, as trains do, the best laid plans are derailed, grinding goals to a halt and sending lives smashing. And the ride from start to finish is worth it! As a ticket-buyer tip: look for seats center or house right, so you’ll have a better view of the action, especially stage left. You really must come to Porchlight’s “Cabaret,” old chum!

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

PHOTO|Liz Lauren

PORCHLIGHT MUSIC THEATRE
presents
RENT
Ruth Page Center for the Arts
EXTENDED
through March 19, 2023

WEBSITE

TICKETS

HEALTH & SAFETY

DIGITAL PROGRAM

 
Additional Cabaret Content

Courtesy of Porchlight Music Theatre January 2023

Cabaret - Origins
Cabaret –Influences
Cabaret at Porchlight!

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PicksInSix Review: Eleanor's Very Merry Christmas Wish-The Musical

Wishes Are Coming True at GhostLight!
PicksInSix® Review | Guest Contributor | Scott Gryder

Whether it’s a family tradition or something new, it’s that time of year, where venues across the country mount holiday-centric productions, bringing festive entertainment to adults and children alike. However, it’s a rare gift when that seasonal staging can bring both a sleighful of fun and a fireside’s worth of warm hugs to the hearts of all ages. But that’s just what The Ghostlight Theatre of Benton Harbor did this past weekend as it whisked into a new holiday tradition to Berrien County with the Michigan premiere of Eleanor’s Very Merry Christmas Wish-The Musical!

Based on the book of the same name, Eleanor’s Very Merry Christmas Wish introduces us to life at the North Pole for the friends and family of the famed Santa Claus. Focusing on the daily goings on of a ragdoll named Eleanor, who’s beloved by all North Polians, the musical is made up of brief vignettes, introducing us to each North Pole persona and their duties. And, although the title expresses it, Eleanor is not only about wishing, it’s about taking action so that you can make your dreams come true. Thanks to book writer Denise McGowan Tracy, one of the most refreshing gifts that Eleanor’s Very Merry Christmas Wish gives us is the authentic self-loving, wisdom imparted to Eleanor by those who want to see her dreams come true.

Much like the many roles required to keep Santa’s Workshop running smoothly to meet the world’s Christmas needs, the ensemble of Eleanor hums like a glittery machine, glowing with charm and personality! Sam Bonzi’s titular Eleanor not only splendidly delivers a fully realized ragdoll of emotions, exploring her inner-most thoughts and discovering her place in the world, but her vocals easily shift from graceful ballads to Mariah Carey moments of sensational singing. As Mrs. ‘Cookie’ Claus, Kristen Wielenga adds levels of motherly love and playful companionship to the historically two-dimensional spouse of the man with the bag. Other standouts include the Saturday Night Live sass of Maureen Schlie’s Clara, the zingy verve of narrator Kady Roberts’s Twinkle, the impish elegance of Trillium Falotico’s Sprinkle, and the superb warmth and merriment of Todd Bonzi’s Santa. And it’s under the inspired direction of Patrick Tierney and clever choreography of John Marshall, Jr. that the ensemble skates superbly throughout the show. 

Eleanor’s Very Merry Christmas Wish-The Musical at The GhostLight Theatre through December 11, 2022. Tickets: HERE

As an original cast member of Eleanor’s Very Merry Christmas Wish, I candidly confess I was hesitant to take in a new cast bringing these characters with whom I’ve spent multiple holiday seasons to life. But I was delighted and teary-eyed to see that the score and script shimmered in the hands of this new company, reminding me that Eleanor’s themes of believing in yourself, wholeheartedly pursuing your dreams, and completely cherishing the family you make along the way is a universal message that would fit any theatrical venue and ensemble.

Most of the original gift box-style set, originally created by Kehoe Designs, was used to shape the North Pole and Chicago cityscape settings, and it fits like a cozy, woolen mitten across the Ghostlight blackbox. Almost even more seamlessly than the original production, spinning set pieces smoothly reveal scene changes like a delightful children’s pop-up book full of surprises. Along with the magical set, Paul Stortz’s lighting design makes each scene shine, spotlighting the sentiments of every facet of the story. Musically, composer Kathleen Butler-Duplessis’s songs are like delicious recipes with a twist, featuring favorite showtune stylings of a variety of flavors, effortlessly delivered by music director Lisa Van Deurzen-Otey. And the pure whimsy and radiance of Kevin Barthel’s costume design takes each character to the next level! All elements combined tickle the heart and eye!

I’m still jingling and jangling from the refreshing energy that Eleanor’s exuberant cast brought to The Ghostlight Theatre stage. May Eleanor’s Very Merry Christmas Wish become a Benton Harbor tradition for you and yours, blending the perfect candy-striped balance of jest and jolly for many seasons to come……with sprinkles on top, of course!

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

PRODUCTION PHOTO CREDIT| Matt Ferguson FergyPIX.com
SANTA SELFIES PHOTO | Roxbury Road Creative

The GhostLight Theatre

presents

Eleanor’s Very Merry Christmas Wish-The Musical
101 Hinkley Street
Benton Harbor, Michigan
through December 11

TICKETS

GHOSTLIGHT WEBSITE

ELEANOR’S WISH WEBSITE

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NOTE: The views and opinions expressed by contributors to PicksInSix® Reviews are their own. Ed Tracy is currently serving as Interim Executive Director at the GhostLight Theatre.

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PicksInSix Review: The Steadfast Tin Soldier - Lookingglass Theatre Company

A Mesmerizing and Unforgettable Theatrical Treasure!
PicksInSix® Review | Guest Contributor | Kaitlyn Linsner

The beloved and delightfully creative holiday treasure, “The Steadfast Tin Soldier,” is now playing at the Lookingglass Theatre in the Water Tower on Michigan Avenue. Mary Zimmerman first brought the Hans Christian Andersen tale to life in 2018 and years later, it remains an unforgettable theatrical experience. 

“The Steadfast Tin Soldier” follows a small tin soldier through a whirlwind of adventures including falling in love with a ballerina, getting swallowed by a fish and befuddling a rat working in the sewage system’s customs department. The story itself has great charm and enduring life lessons, but it is Zimmerman’s use of wordless storytelling techniques that make this a larger-than-life spectacle. 

Why speak the language of love when you can dance? Or better yet, just slick back your hair, stand up tall and ask your crush out by pantomiming a play-by-play of your ideal date. It’s an absolute riot, and not only does this approach work for the show, it lingers outside of the theater by striking up a curiosity about how to interact in time and space with that same childlike playfulness and imagination.

In addition to the stellar pantomiming, the puppetry, visual imagery and original music by Andre Pluess and Amanda Dehnert elevate this production from endearing to truly remarkable. The musicians play well together, and with the cast, to deepen the experience and connection with the characters. The costumes from Ana Kuzmanic and sets from Todd Rosenthal also dazzle. 

Same goes for the exceptionally talented ensemble cast - Kasey Foster as the Ballerina, Anthony Irons as Goblin, Christopher Donahue as the Nursemaid, John Gregorio as the Rat, and Adeoye as the Tin Soldier - who skillfully play multiple roles and cultivate magic on the stage. Highlights include Irons’ animated movements as the haunting jack-in-the-box Goblin and Gregorio’s hilarious pantomiming as the Rat and the googly-eyed fish monger. 

At a running time of only an hour, the show is perfect for all ages looking to enjoy music, movement, charisma and great comedic timing. “The Steadfast Tin Soldier” continues to embody whimsy and wonder and will leave a lasting impression of just how darling things can be. 

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

PHOTO CREDIT | LizLauren

LOOKINGGLASS THEATRE COMPANY
Presents
THE STEADFAST TIN SOLDIER
through January 8, 2023

Water Tower Water Works
821 N Michigan Ave.
(312) 337-0665

WEBSITE
TICKETS

2019 PicksInSix Review

Listen to our 2018 CONVERSATIONS podcast with Mary Zimmerman

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PicksInSix Review: RENT Porchlight Music Theatre

Solid Vocal Power Pays ‘Rent’ Tribute
PicksInSix® Review | Guest Contributor | Scott Gryder

The historic Ruth Page Center for the Arts was fully transformed into the shadowy streets of 90’s New York City with Porchlight Music Theatre’s opening night performance of Jonathan Larson’s Rent. Although nearly 3 hours long, including one intermission, with masks required inside the theater, each act bustled by like Manhattan rush hour. The energy and commitment of a cast willing to risk it all was rocking!

Since its 1996 off-Broadway opening, Rent has been a musical theatre staple. The piece, a sort of rough retelling of Puccini's La Bohème, aims to capture the heart of late 80’s/early 90’s rock, and Porchlight’s production successfully does the same. Under the baton of Dr. Michael McBride, the music, much like the inspired 1896 opera, is the key to the storytelling of Rent. With a majority of dialogue and action shared through song, these struggling bohemian artists musically monologue their stresses and fears of the times, navigating love and life day by day.

The tight-knit leads are the glue to Rent’s plot. Within a year’s span of the piece, the audience is given a crash course of each character’s struggles and dreams, witnessing how each day brings new challenges and lessons learned. Although David Moreland’s Mark Cohen is the most grounded of the central characters, it’s the charismatic yet maddening chemistry between Teressa LaGamba’s Joanne Jefferson and Lucy Godínez’s Maureen Johnson that sparked the greatest applause, specifically after their duet “Take Me or Leave Me.” The ensemble rounds out the grimy and real struggles of New York City living in short spurts, filling out scenes and vocals with a certain brash commitment.

Along with Rent’s popularity has come a multitude of tours and local performances, each one attempting to recreate the grunge artistic life of the time; however, that mark is often missed. With Porchlight’s production, director Adrian Abel Azevedo takes risks not to remount a carbon copy, instead focusing on the impressive vocals to execute much of the passion behind each scene’s emotional momentum. No riff nor modulation was left unexplored, bringing a fresh new take to the well-known score.

What pops most with energy throughout the production is choreographer Laura Savage’s group moves. Instead of individual expression when dancing, many moments with motion are synchronized, as if the characters have a shared language in their movement. To fill the stage with that mirrored movement packs a punch (and a few fierce fist pumps). What also successfully captures the energy of the scene is Maggie Fullilove-Nugent’s lighting design. The neon light vibes accentuate the subtext and emotion, focusing most of the set in looming shadows and only spotlighting heightened scenes and more poignant moments. But it’s scenic designer Anne Davis’s full-on VHS tape-style centerpiece that really takes the audience back. The nuances in detail, from creating cityscape visuals to full-on usability as an apartment building, make Davis’s set a fun house of nostalgia. Although fairly consistent throughout, the sound mixing issues were the only distraction.

Porchlight’s Rent, powered by serious vocal stamina, will surely rock Chicago’s musical theatre scene through the end of this month. If you’re looking for an evening of solid nostalgia and youthful energy in an intimate venue, make sure you pay this Rent a visit.  

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

PHOTO| Liz Lauren

PORCHLIGHT MUSIC THEATRE
presents
RENT
Ruth Page Center for the Arts
EXTENDED through December 11

WEBSITE

TICKETS

HEALTH & SAFETY

DIGITAL PROGRAM

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PicksInSix Review: The Notebook - Chicago Shakespeare Theater

Love Beats Beyond Waves of Time.
PicksInSix® Gold Review | Guest Contributor | Scott Gryder

It was an unexpectedly quiet beginning for the world premiere performance of “The Notebook” at Chicago Shakespeare’s The Yard last night. With an unannounced, subtle start of general actor activity onstage, versus the typical darkened house and scolding pre-show curtain speech, the audience gently honed in on the stage. There had also been no pre-show music or ambient sound filling the house, preparing the audience for the energy and theme of the show. It felt as if CST wasn’t going to give anything away for this new work. Thus, we were in no way prepared for the 2 hour and 15 minute epically emotional voyage ahead of us.

That made the ride all the better.

Based on the bestselling 1996 novel by Nicholas Sparks, which also inspired the beloved 2004 film, “The Notebook“ tells the story of love across multiple waves of time. Not only do we thrill at the blossoming of a new, forbidden love, but we witness how love can lead us to overcome the many unexpected, inopportune challenges of life. Adding the heightened musical element to the already volatile romance within “The Notebook“ creates the perfect storm for any audience to get swept away. As a musical, “The Notebook“ further solidifies the truth that not even time, place nor sickness can ever carry away our true love.

“The Notebook“ may be focused on the love of one central couple, but the staging succeeds thanks to an ensemble of over a dozen actors building a multi-dimensional theatrical experience. With six main actors portraying various versions of the main lovers, the extended ensemble highlights each scene with the roles of friends, family, and medical professionals across each time line, masterfully slipping in and out of various characters, never overplaying into the stereotypes. Standout Liam Oh boldly suggests that ignorance is bliss, and it is a gift to be cherished. Most moving was Maryann Plunkett’s Older Allie, gracefully searching and tormented in the role of a person with dementia. Bonus applause for Jerome Harmann Hardeman, who appeared in the role of Older Noah for this performance, with such solid faith in his commitment to his life partner that he nearly pushes himself too far in order to reach her again. As for the young and middle lovers, John Cardoza’s Younger Noah and Jordan Tyson’s Younger Allie share shimmering moments of zingy vocals literally vibrating one’s heartstrings. Additionally, the warmth and golden vocals produced by Ryan Vasquez and Joy Woods’s Middle Noah and Middle Allie reveal that their love has only grown warmer and more intensified with age.

Each creative element gently holds the hand of the other, creating a balanced bond throughout. To start, Ingrid Michaelson’s music is both darling and passionate. Utilizing mostly clichés, the song forms are less traditional musical theater, with a more folksy, organic feel; repeating lyrics over and over as if to reflect the pattern of waves lapping at the shore, slowly wearing away at the sand with the passage of time.

Choreographically, Katie Spelman follows suit, creating mirrored movements across multiple levels of the stage, as if catching a rippling reflection upon a pool. Co-scenic designers David Zinn and Brett Banakis have created a set almost like a diorama. With the bare bones structure of a house as its foundation, the set effortlessly flows between locations and places in time. And Ben Stanton’s lighting design echoes the reflective spirit by brightening and dimming depending on the emotional and physical intensity of each scene.

Literally splashing onto the stage, Broadway directing duo Michael Greif and Schele Williams then layer Bekah Brunstetter’s witty and cutting book into picturesque moments of storytelling as if each scene is a bubble in time, appearing before us and then popping as we drop into each timeline. Taking the emotional experience almost too far, but in a most profound way, Music Director Geoffrey Ko shapes and builds the voices to palpably invoke harmonious heartache and joy.

At first, I was disheartened by the almost elementary lyrics of Ingrid Michaelson’s music, but it didn’t take long to realize that it wasn’t simplicity, but Michaelson was setting simple universal truths to her signature folk-pop style. These songs sounded too familiar because they are comprised of nuggets of wisdom passed down through generations, appropriately set for a show about time.

Thanks to a well-aligned creative team and stunning acting, “The Notebook“ hopscotches through time so clearly that, for a show about time travel, no one gets left behind. It’s no wonder that when the sourcebook was published in 1996, it sold more than 105 million copies worldwide. As overly allegorical as it may seem, “The Notebook’s“ characters and their story are a retelling of famed and personal loves that any human can relate to.

For those fans of the best-selling novel and the cherished film, “The Notebook“ enhances this timeless tale of romance in a way only musical theater storytelling can. This powerful performance reminds us of how life’s hardships may make us feel adrift, but it also shows us that we are never beyond righting our ship if we only listen to our hearts and look to those who love us most.

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

PHOTO|Liz Lauren

CHICAGO SHAKESPEARE THEATER
presents
World Premiere
THE NOTEBOOK
through October 30, 2022

The Yard
Navy Pier

(312) 595-5600

WEBSITE

TICKETS

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PicksInSix Review: Luminaire - Cabaret ZaZou - Broadway in Chicago

LUMINAIRE: I dare you. Be entertained!
PicksInSix® Review | Ed Tracy

Returning to the opulent Spiegeltent for the new Cabaret ZaZou production of “Luminaire” is like returning home again. From the first moment that I walked into the 14th floor of the Cambria hotel in 2019 for a tour with Executive Producer Stan Feig, I was awestruck that this incredibly creative venue was about to open and serve as a year-round entertainment showcase like none other in Chicago.

So what could be better than returning to see a new and superbly-paced show chocked full of death-defying acts that all revolve around a three-part story of love found, love lost and found again, and the concept that we should all create our own shaft of light with gratitude and forgiveness.

There’s no better example of this theme than the host, star and bellhop-turned-cabaret-star Frank Ferrante and his new persona Fortissimo, a stand-in for ‘The Caesar’ who unexpectedly could not make the opening night press performance. We learn that the exuberant Ferrante, a national comic treasure, has been thrust into action as an unlikely replacement. With his surgeon-like comedic skills, Ferrante interacts with nearly everyone in the audience, inviting them – in fact, daring them – to enjoy themselves. The only not-so-subtle difference here from the highly entertaining and long-running Teatro ZinZanni is that around every corner, from the host stand to curtain call, Ferrante is everywhere – the comic centerpiece of a gem of a night of food, fun, music and explosive circus acts.

The comedy relies on that audience involvement who are the unsuspecting partners in Ferrante’s devilry. It serves to pace the extraordinary international artists of the cabaret featuring the sweet and sultry vocal star Liv Warfield, dynamo James Harkness, Trio Vertex—Cornelius Atkinson, Isis Clegg-Vinell and Nathan Price—who fly and spin in a sensuous series of trapeze acts, contortionist extraordinaire Ulzii Mergen and the astounding Ukrainian-born Viktor Kee, who is among the world’s top jugglers. The circus and aerial acts are woven together with a pop score and the vocal love of Warfield and Harkness. (Warfield also provides some aerial wizardry of her own that will blow you away.)

Cabaret ZaZou’s “Luminaire” is written and directed by Dreya Weber. Debra M. Bauer returns to the Spiegeltent with a stunning array of costumes for the company who double up early on as strolling entertainment while Ferrante darts in and out as the bellhop. Music director/bass player Chuck Webb leads a terrific house band that includes the likes of Jose Martinez(drums/percussion), Phil Seed(guitar/mandolin), Jon Negus(woodwinds) and the legendary Theodis Rodgers, Jr.(piano/keyboards) whose featured performance with Warfield after Blue Plate Chicago’s scrumptious four-course dinner will touch your soul.

At the opening press night, a few of our brethren were brought forward by Ferrante for fun in the center ring. There are also some up-close surprises for the patrons seated nearby. That tender moment when Warfield and Rodgers, Jr. stole the spotlight centerstage seemed strangely familiar, as if we were briefly back in time a 100 years ago when life was as simple as a beautiful ballad sung in an exquisite concert hall. Show dates are already selling fast for what is sure to be the centerpiece of Chicago’s Loop entertainment for the holiday season. I dare you. Be entertained.  

PHOTO|Cabaret ZaZou-Broadway in Chicago

Cabaret ZaZou
presents
LUMINAIRE
Speigeltent ZaZou
Cambria Hotel
Randolph Street
Chicago
OPEN RUN

WEBSITE

BROADWAY IN CHICAGO

RELATED
CONVERSATION Podcast: Frank Ferrante - Hello I Must Be Going! - August 2022

PicksInSix® Review - Ron Keaton - Teatro ZinZanni - July 2021

CONVERSATION with Frank Ferrante ‘The Caesar’ - July 2021

PicksInSix® Review - Ed Tracy - Teatro ZinZanni Love, Chaos and Dinner- August 2019

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PicksInSix Review: ALMA American Blues Theater

Elusive ‘American Dream’ in Real Time. 
PicksInSix® Review | Guest Contributor | Kaitlyn Linsner

From start to finish, the moving world premiere of “Alma,” commands the intimate stage at the Rivendell Theatre in Edgewater. Presented by American Blues Theater in collaboration with the Center Theatre Group based in Los Angeles and the Chicago Latino Theater Alliance as part of the Destinos, the 5th Chicago International Latino Theater Festival, the play poses important questions and searing reflections on immigration, belonging, struggle, sacrifice, family and generational differences.

Playwright Benjamin Benne wrote the tightly woven seventy-minute drama in the time leading up to the 2016 election. Donald Trump’s violent anti-immigration and anti-Mexican rhetoric led Benne to deeply reflect on his own family’s immigration story. His mother’s side emigrated to the U.S. from Guatemala. Benne then grew up a first-generation U.S. citizen in Hacienda Heights, California, which borders the city of La Puente, California where the play is set. California is, of course, a fitting backdrop for Benne’s powerful and enduring commentary on ongoing settler colonialism because that land used to belong to Mexico.

“Alma” unfolds in real time and features two strong characters who give riveting performances—Alma (Jazmín Corona), an undocumented immigrant and fiercely devoted mom working unlivable-wage jobs, and her American-born daughter, Angel (Bryanna Ciera Colón). We meet them on the eve of Angel’s SAT and quickly learn of some mounting tension in the household related to Angel’s collegiate plans, the scary uncertainty of Alma’s path to citizenship and the looming Donald Trump presidency. Angel has a sharp wit and hesitant eagerness mellowed out by her stark sense of realism; a realism that challenges Alma’s very different opinions about Angel’s future and the coveted yet absolutely elusive “American Dream.” These challenges are at the core of the play’s beautiful complexity. You have two very close family members trying to climb out of survival to the oasis of a better life (all in the face of mounting oppression, no less). But, who really knows best? Mom who crossed the border 17 years ago holding steadfast to her ideals? Or her first-generation daughter disillusioned and fed up with her mom’s unreasonable expectations?

“Alma” beckons you to examine and empathize with both. Follow along as they repeatedly list each year of Angel’s birthday wishes (from carne asada every day to a house with air conditioning). Listen as they navigate switching between Spanish and English. Feel as they sing, cry and scream together. And watch them truly treasure each other through it all. It’s remarkable.

Director Ana Velazquez does a phenomenal job placing the audience in real time with Alma and Angel to experience this whirlwind of emotions within the tiny one-bedroom apartment set. The Rivendell’s small space blurs the lines between audience and actors. By nearly eliminating that line, so to speak, the setup creates a space for a larger dialogue on the purpose and implementation of borders as barriers between people, places, expressions and identities.

Praise must also be given to the production team who executed a seamless show., especially Rachel West’s lighting design that creates magical images at pinnacle moments on Tara A. Houston’s detailed urban set. They combine to illuminate the multi-layered performances of Corona and Colón, who both bring this important not-to-be-missed play to life with heart and grit.
GUEST CONTRIBUTOR | KAITLYN LINSNER is a Chicago-based attorney practicing construction and surety law.
PHOTO CREDIT|Jenn Udoni  

American Blues Theater
presents
World Premiere
ALMA
through October 22

Rivendell Theater Ensemble
5779 N. Ridge Ave.

WEBSITE

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PicksInSix Review: HELLO, DOLLY! Marriott Theatre

Marriott’s “HELLO, DOLLY!” True Theatrical Magic!
PicksInSix® Review | Ed Tracy

Pandemic-era theater audiences are pretty used to some unexpected drama with their drama these days. So when things did not go according to Hoyle with the hydraulic system at the highly-anticipated opening of “Hello, Dolly!” on Thursday at the Marriott Theatre Lincolnshire, everyone took it in stride. On the heels of a troubling Covid outbreak, one might suspect some other-worldly intervention at work—perhaps the spirit of Thornton Wilder himself—on the beloved Michael Stewart/Jerry Herman musical starring the equally beloved Heidi Kettenring in a role that she was born to play.

Whether or not Wilder had a mystic hand in it all, the show went on and, just like that, musical theatre as we know it returned in fine form. Resplendent in picture-perfect period costumes by Teresa Ham, Kettenring’s Dolly is elegant, understated and flawless. The action moves briskly from the imaginative ride on a turn-of-the-century street car from Yonkers to New York’s Harmonia Gardens, where Dolly and her Vandergelder—real life heartthrob and husband David C. Girolmo—create true theatrical magic together.

Director and choreographer Denis Jones, musical director Ryan T. Nelson and conductor Brad Haak have welcomed Dolly Levi back where she belongs with the grace and high society style that this legendary show deserves. The terrific supporting cast is filled to the brim with seasoned players and triple-threat newcomers including Rebecca Hurd (Irene Molloy), Alex Goodrich (Cornelius Hackl), Amanda Walker (Minnie Fay), Spencer Davis Milford (Barnaby Tucker), Emily Ann Brooks (Ermengade), Michael Turrentine (Ambrose Kemper), George Keating (Rudolph) and Johanna McKenzie Miller (Ernestina).

The musical, based on Wilder’s 1954 play “The Matchmaker,” is equal parts farce and uproarious comedy wrapped in lush, musical explorations of love and longing, with a healthy dose of chicanery and lighthearted larceny rolled in. Jones has stepped up the production numbers which move on and off Marriott’s in-the-round configuration seamlessly thanks to scenic designers Jeffrey D. Kmiec and Milo Blue.

The ensemble soars in the spirited “Yonkers March” and then Jones pulls out all the stops for the crowd-pleasing “Waiters’ Gallop.” Hurd’s lovely, quiet “Ribbons Down My Back” and Goodrich’s touching “It Only Takes A Moment” are particular standout selections in the familiar score. The multi-talented Milford and Walker’s charming turn as Fay make for a perfect match all their own.

But at every turn, all eyes are on the mesmerizing performance of Kettenring—vulnerable and demure in one moment; captivatingly and brilliantly comical in the next—whose interplay with Girolmo is heartwarming and real. From the elegant rendering of “Before The Parade Passes By,” and a side-splitting dinner sequence, to the capstone title number, Marriott’s “Hello, Dolly!” will leave you with a wonderfully joyous feeling to savor for a long time to come.   

PHOTO|Liz Lauren

Marriott Theatre Lincolnshire
presents
HELLO, DOLLY!
through October 16

WEBSITE | TICKETS

(847) 634-0200

HEALTH PROTOCALS

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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: The Devil Wears Prada - Broadway In Chicago

Sarcasm and Sacrifice Rule the Runway!
PicksInSix® Review | Guest Contributor | Scott Gryder

In its usual fashion, Chicago welcomed another debut to the world stage with “The Devil Wears Prada: The Musical” at the historic Nederlander Theatre, with music by Elton John, lyrics by Shaina Taub, and a book by Kate Wetherland. The packed house fervently cheered as the theater was filled with the sound of echoing high heels, and the curtain rose to reveal devilish red stilettos, clacking their way across the stage to start off the pandemic-postponed premiere. We were ready for the runway!

“The Devil Wears Prada” brings to musical life the 2006 film of the same name, originally based on the true-story memoir by Lauren Weisberger. A young, aspiring writer, Andrea “Andy for short” Sachs,  takes an unexpected turn down her career path to becoming a legitimate journalist, winding up as the 2nd assistant to the infamous editor-in-chief of the acclaimed fashion magazine Runway. What begins as a means to paying bills, with the promised potential of launching her career if she ‘survives it,’ soon becomes a revealing tell-all of sinister truths behind the scenes of this bedazzled industry and the sacrifices one must make for beauty and fame. If beauty is pain, is it worth the price?

The vibrant ensemble of character singers and dancers, with their effortless exuberance and exquisite timing, are the true lifeblood of energy throughout the musical, physically driving the movement of “The Devil” forward. An iconic role to say the least, Tony Award winner Beth Leavel engages less of the venomous villain of the film’s Miranda Priestly and turns to sheer presence as her weapon of choice, making her more revered for her industry experience than feared for her wickedness. The shimmering, bright-eyed ambition of Taylor Iman Jones’ Andy Sachs is a very welcome opposition to the anxiety-ridden and hardened vibe of the film; however, Jones’ portrayal seems less driven by her passion for writing, and more led by her eagerness to please and succeed. The true cast standout is the lovable, Javier Muñoz, who captures the charm of the film’s beloved Nigel Owens, while adding personalized layers of humanity and commitment. Muñoz is surely destined for a Tony nom for Best Featured Actor. What’s missing is a bolder uniqueness between characters. Wetherhead’s book pits each character's subtext in a constant battle of wit and sarcasm, which inspires loads of laughter to start, but soon becomes wearing. Special shout outs to Chicago favorites, Sawyer Smith, who’s a living work of art, and Marya Grandy, scene-stealing character actress extraordinaire.

“The Devil” completes the franchise trifecta with respectable charm, tipping its chapeau to the original source materials in a way to delight the fans of the film and book. In doing so; however, it almost too closely follows the source material, dropping in lines made famous by the film’s stars as glaring Easter eggs, which lose their shine over time. With its broad-stroked homage style, the piece fails to find its own voice, floundering between dated material that would make an HR department’s head spin and overbearing social media references. The energy and visual excitement are there, but “The Devil” fails to take off. As a show based on the eye-popping, dynamic inner workings of the fashion industry, it contextually lacks luster. The creative team would have been wise to remember that the devil is in the details.

August 7, 2022 - World Premiere at Nederlander Theatre - Chicago | Courtesy of Broadway in Chicago

Visually captivating, “The Devil” reaches its most Broadway-bound pinnacle in the 2nd Act as Andrea falls under the spell of Paris Fashion Week. Tony and Oscar nominated costume designer Arianne Phillips steals the show with looks that leave you wishing they were available for purchase in the lobby after the show. And choreographer James Alsop brings a fabulous hybrid of early 2000 campy charm and feverish runway fashion voguing. Anna D. Shapiro’s direction truly clicks in the non-musical book scenes, fiercely juxtapositioning the songs. If only that grounded character development had been infused into the fluffier musical moments, which do less to serve the plot and more to quirkily emphasize each principle character’s tropes. Scenic designers Christine Jones and Brett Banakis elicit audible gasps as their set seamlessly shape-shifts to Paris and back again. As for the tunes of the show, much like his legendary pop hits, Elton John’s music is delightfully catchy, but Shaina Taub’s lyrics try to squeeze a size 6 into a size 4 and fail to advance the plot.

If you’re looking for an evening of visual stimulation and amusing bops, with a touch of nostalgic bronzer, be sure to catch this limited run at the Nederlander. You’ll be catwalking out of the theater to the fresh tunes of Elton John, inspired by an enthusiastic ensemble. Although “The Devil” brings blips of Broadway-quality punch, to quote Andy Sachs, they’ve “got work to do.”

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

PHOTO|Joan Marcus

Broadway in Chicago
presents
WORLD PREMIERE
The Devil Wears Prada
Nederlander Theatre
through August 21

WEBSITE

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PicksInSix Q & A: Samuel D. Hunter "Lewiston/Clarkston"

Samuel D. Hunter
LEWISTON | CLARKSTON
PicksInSix® Q & A | Ed Tracy

There is an unseen, but ever-present, character’s voice that welcomes you into the first half of Samuel D. Hunter’s “Lewiston / Clarkston,” two interrelated one-act plays performed consecutively—with a dinner break at the Mason Jar Café at intermission—now being staged in an immersive, Midwest premiere at the GhostLight Theatre running through July 24 in Benton Harbor. That narrative sets the tone of exploration and discovery in director Spencer Ryan Diedrick’s production even as it poses questions about family legacy, our dreams and, ultimately, the search for real meaning in our lives.

It is that spirit of discovery that drives Marnie (Aiden Ankli)—one of the central characters in “Lewiston” who are direct relatives to explorer Meriweather Lewis—to return to the roadside home/fireworks stand of her grandmother Alice (Carol Sizer) to stake a claim for what remains of the family property. The fractured relationship between generations, often punctuated on both sides by Alice’s companion Connor (John Taylor), is crafted expertly by Hunter’s quiet, yet forceful storytelling.

In “Clarkston,” the developing relationship of two employees plays out in and around a COSTCO warehouse across the river. Jake (Christian Roose), a middle-class, educated new hire and distant relative of William Clark is suffering from a terminal disease. His workmate Chris (Lucas Seven) aspires to be a writer, but is trapped in Clarkston, unable to resolve conflicts with his mother Trish (Beth Ward) or come to terms with his own. As both yearn for discovery and fulfillment, the common ground established allows for a deeper understanding of their individual challenges and the debilitating impact of Huntington’s disease.

The GhostLight production begins with “Lewiston” staged outside in the courtyard performance space. At the intermission, patrons take the short walk along the Lewis and Cark Trail for a specially-priced dinner at The Mason Jar Café, one of the Benton Harbor Arts District’s most popular locations. Following dinner, “Clarkston” is staged in GhostLight’s black box theatre.

Samuel Hunter is a prolific playwright whose work includes the 2011 Obie Award-winning “A Bright New Boise,” the 2013 Drama Desk and Lucille Lortel Awards for “The Whale,” and is a recipient of the prestigious 2014 MacArthur Fellowship.

In a recent email exchange, Hunter provided insight into the development of “Lewiston / Clarkston” and how the two pieces, written in 2015 and 2016 respectively, and performed first consecutively in 2019, share common values and themes.

Ed Tracy: Taken individually, “Lewiston” and “Clarkston,” each tell unique but interrelated stories that share vivid touchpoints of the human experience, our relationship to those around us and the understanding and impact of family history on our lives.

Can you talk about how the original concept coalesced around these two towns, their historical lineage, and how important the communal aspect of the dinner break is to the audiences understanding of the theatrical experience?

Samuel Hunter: “The genesis for the play actually came from my husband. I’ve written a few plays now that are simply named after the town in which they are set, and one day when we were driving around the Lewis-Clark Valley, my husband joked that I should write a play called “Lewiston” and a play called “Clarkston.” He meant it as a joke, but I immediately thought it was an incredible idea. The idea of writing about these two towns, this complicated legacy—it all felt really rich. Initially I had conceived the plays as two different stories about the same characters, but as I kept working on it, I realized it was more interesting to me to write two discrete stories that didn’t rely on one another in any way other than theme and metaphor. The idea for the dinner came from the production’s original director, Davis McCallum. He was interested in heightening the communal sense of the plays. I was concerned at first, wondering if we could sustain such a long evening, but Davis’ instincts proved to be right on.

ET: On many levels, the adventurous American spirit embodied by your characters who are facing a new reality must also come to terms with the hopelessness of their own existence and the fulfillment of their dreams and expectations. In “Lewiston,” commercial development runs headlong into the importance of family legacy; in the stark and emotion drama that unfolds in “Clarkston,” that same explorer ethic is wrapped in the challenge of dealing with a diagnosis of a terminal illness.

What are two common threads that tie these themes together and within those, what it is about these characters that we will most relate to within our everyday lives?

Samuel D. Hunter
PHOTO | Josiah Bania

SH: Growing up in the 80s, in the part of America where I’m from, I was fed a very particular narrative about America. The term “exceptionalism” was never used outright, but I was definitely led to believe that we were the best country ever created, and that the people who collectively “created” America were thoroughly noble, maybe almost to the point of being faultless. As one character observes in “Lewiston,” you don’t really learn the truth until you’re older, if at all. Especially over the last ten or so years, we’ve seen a new kind of America emerge that is steeped in false narrative, false memories, and toxic nostalgia.  I think that’s something that a lot of us can relate to on a gut level. We want to love our country, but how do we love it while simultaneously acknowledging what is truly is? (And was?)

ET: “Lewiston/Clarkston” written in a pre-pandemic world, speaks to the relationship of two towns facing uncertain realities.

How has the global pandemic amplified aspects of these plays and expanded the personal and emotional challenges of living in a new world?

SH: On some level all of my plays are about isolation and connection, and “Lewiston / Clarkston” is no exception. When I wrote the play, I was interested in exploring the idea of finding hope and connection in a time that seems so devoid of both of those things. And as we (hopefully) come out of this pandemic, having spent years isolating ourselves, we’ll need to re-learn what it is to connect with people. Hopefully the play provides a platform for that conversation.

ED TRACY is cultural journalist and host of the CONVERSATIONS podcast and PicksInSix® review platform for the performing arts and theatre. Tracy is currently serving as Interim Executive Director at The GhostLight Theatre in Benton Harbor, Michigan and is a member of the American Theatre Critics Association. conversationswithedtracy.com and picksinsix.com

PHOTO CREDIT | GhostLight Theatre | Lauren Mow

The GhostLight Theatre presents Samuel D. Hunter’s “Lewiston/Clarkston” for eight performances Thursday through Sunday July 14 through 24 beginning at 6 pm. Tickets are $12 Students/$22 Seniors/$28 General Admission. The Mason Jar Cafe Dinner is specially-priced at $28 and may be added on to the show ticket in advance or up to 6 pm on the evening of the performance. In case of inclement weather, all performances will be held in GhostLight’s black box theatre at 101 Hinkley Street. The Huntington’s Disease Association of America is sponsoring a talk-back session on Thursday, July 21.

For more information and reservations, visit: GhostLightBH.com  

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PicksInSix Review: Rhapsody Theater-Indulgence-Lucy Darling

Razzle and Dazzle Rejuvenate the Rhapsody!
PicksInSix® Review | Guest Contributor | Scott Gryder

The historic venue at 1328 W. Morse Ave has been rejuvenated once again as the newly dubbed Rhapsody Theater, brought back to life by physician and magician Dr. Ricardo Rosenkranz. And the ghosts of the previous Mayne Stage were officially cleared from the wings and rafters by the bawdy antics of the opening night headliner, multi-award-winning bombshell: comedian-magician Lucy Darling in Indulgence!

Indulgence brings together two of Chicago’s more legendary forms of entertainment, improv and magic, as the voluptuous mischief-maker Darling welcomes us to her stylized world of vintage Hollywood hijinks, complete with breakfast cocktails and extreme flirtations. From getting-to-know-you situational humor to classic audience participation, Indulgence ebbs and flows between laughter and applause.

Considering the legendary history of the Rhapsody, opening the newly renamed venue with the firecracker energy and grace of the celebrated Carisa Hendrix was no sleight of hand. As the sassy and brassy Lucy Darling, Hendrix layers 80 minutes of comedic improv with magic. And beyond the glamorous gowns and voluminous curls, Darling's most striking feature was her voice, melodiously weaving a heavy Mid-Atlantic English with the popular yet almost indecipherable Moira Rose.

Appropriately, the evening began with a traditional, live curtain speech by Dr. Rosenkranz, filled with personal stories, warming the audience up for the more intimate performance of vixen Darling. Darling effortlessly posed and prodded throughout, directly connecting with the first few rows of audience members, while gleefully setting up guests for madcap mishaps and casually interjecting crackerjack callbacks. Even with the most nervous or clueless of patrons, Darling stayed cool, quick and in control.

As a Managing Partner and Artistic Director, Dr. Rosenkranz has programmed a lineup of notable prestidigitators for their inaugural 2022/2023 program, bringing a piece of Chicago’s thriving magic scene to the northerly Rogers Park. Featuring peacock-emblazoned curtains filled with personal and universal Easter Eggs, the Rhapsody Theater remains a stunning performance venue; however, the active table service during the performance did sometimes detract from the finer moments of abracadabra onstage.

As much as Hendrix’s Darling brings panache and joie de vivre to Indulgence, bejeweled in sparkling diamonds and wit, what would enhance the extravagance of the evening further would be more of the “fantasy of why we’re here” so boldly touted at the start of the show: more moments of illusion. Chicago’s performance scene aches more now than ever for theatrical stages, and I look forward to seeing how the new Rhapsody Theater effuses the north side with more magic, music and live entertainment from and for the community.

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

PHOTO|Rhapsody Theater

RHAPSODY THEATER
1328 Morse Avenue
Rogers Park, IL
(888) 495-9001

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