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

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(312) 443-3800
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