PicksInSix Review: Billy Elliot The Musical - Paramount Theatre

Billy Elliot: “It’s Showtime Baby!”
PicksInSix® Gold Review | Ed Tracy

What’s happening right now at Paramount Theatre in Aurora will not soon come this way again. “It’s showtime, baby!” Bring it on!

“Billy Elliot The Musical,” the Elton John/Lee Hall ten-time Tony Award winner with a long, rich love affair with Chicago, opened Friday in what can only be described as a phenomenal, electrifying production. As directed by Trent Stork and choreographed by Isaiah Silva-Chandley, this quintessential “Billy Elliot” features an enormously talented cast led by Ron E. Rains as Dad, Michelle Aravena as Mrs. Wilkinson and, on opening night, the arresting performance of Neo Del Corral as Billy Elliot, the young boy discovering his life’s passion in the midst of a tumultuous period of unrest as his small hometown north of London is embroiled in the 1984 coal miner’s strike.

The story unfolds amid a visual feast—adorned with Izumi Inaba’s costumes on scenic designer Michelle Lilly’s colossal sixty-foot-high steel-themed coal mine set with two-story moving stairway systems that are reconfigured to frame the evolving scenes moving effortlessly in sync with Greg Hoffman’s dynamic lighting design, Mike Tutaj projections and a crisp sound design by Adam Rosenthal.

The lovely and talented Aravena commands the stage in a fierce performance as the dance instructor who first discovers Billy’s true potential in ballet and fights for his opportunity to pursue a dream. Del Corral—who alternates the role of Billy with Sam Duncan—plays the 1,900 seat Paramount Theatre with extraordinary poise, presence and a strength of character that belies his years. And when Billy and his gay friend Michael (Gabriel Lafazan) get together, it’s showtime, baby! — a dynamic duo of pint-sized firebrands tap dancing and singing up a storm with a streak of sassy larceny a mile long in the show-stopping hit “Expressing Yourself.”

One of the most impressive ensembles ever assembled at Paramount includes many of Chicago’s most accomplished actors who cover the citizenry of life-worn miners opposed by an army of police along with a bevy of early career prima ballerinas all under the brilliant musical direction of Kory Danielson who conducts the Paramount Orchestra. Rains returns to a role he has played previously with a seasoned, passionate and superb multi-layered performance as Billy’s Dad. Barbara Robertson is exquisite as Billy’s endearing Grandma and Jennie Sophia is a beacon of purity as Billy’s Mum in the tender, emotionally charged ballad “The Letter” with Aravena and Del Corral.  Dakota Hughes (Mr. Braithwaite), Joe Foust (George), and Spencer Davis Milford (Tony) are all stellar, as is the stunning Swan Lake ballet with Billy and Older Billy (Christopher Kelley)— a work of art that utilizes the full range of the Paramount’s expansive stage.

The sheer grandeur of the closing moments of this production left me in awe and ranks as the most beautiful visual tapestry I have ever—repeat, ever—seen in a theatre. I am still thinking about it and how Paramount's stunning production of "Billy Elliot" will now occupy a permanent place in my memory box of this show.

PHOTO|Liz Lauren

PARAMOUNT THEATRE
presents
Billy Elliot The Musical
through March 24, 2024

23 East Galena Boulevard
Aurora, IL 60506

(630) 896–6666

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PicksInSix Review: Fiddler on the Roof - Drury Lane Theatre

Even “Old Ways Were Once New.” 
PicksInSix® Review | Guest Contributor | Kaitlyn Linsner

Drury Lane Theatre winds up its 2023/2024 season with a heartfelt production of the Tony Award-winning classic “Fiddler on the Roof” featuring music by Jerry Bock, lyrics by Sheldon Harnick and book by Joseph Stein. Set in the Pale of Settlement of Imperial Russia in 1905, this cherished musical centers on Tevye (Mark David Kaplan), an endearing milkman with five daughters, facing challenges to his Jewish religion and cultural traditions as change approaches the village of Anatevka. 

Director Elizabeth Margolius describes “Fiddler on the Roof” as a “memory play” and decided to approach the tale completely from Tevye’s memory. In the program notes, Margolius writes: “This new, evocative approach to Fiddler on the Roof puts the focus on the people in hopes of illuminating this story as never before and inspiring us to question who we are and what we will leave behind for future generations.”  

The minimal yet highly effective scenic design by Jack Magaw combined with the beautiful projection design of Mike Tutaj creates a deeply imaginative space for the audience to truly see the depths of the characters and the legacies that shape them. The projected images and video artfully transform the set to Tevye’s dreamscape in the musical number “The Dream” as he convinces Golde (Janna Cardia) that Motel (Michael Kurowski) is the right husband for their daughter Tzeitel (Emma Rosenthal). Kaplan and Cardia are an absolute delight. 

Other notable musical numbers include Kurowski’s spirited performance of “Miracle of Miracles” and the celebratory “To Life” by Kaplan, Lazar Wolf (Joel Gelman) and the company of villagers. Yael Chanukov shines as Hodel, and as a whole, the cast sings, moves and dances well together on stage with a warm chemistry. 

Fiddler on the Roof at Drury Lane Theatre Oakbrook through March 24, 2024.

Kaplan plays Tevye with excellent comedic timing and whimsy. He also skillfully portrays a father being tested by the actions of his three oldest daughters. The asks from his daughters become increasingly difficult (“unthinkable!”) as they each seek modern, non-arranged but different marriages. Tevye must grapple with first being asked for permission to marry, then his blessing and lastly only for his acceptance. Where does a father draw the line and what does the good book say about evolving relationships with those you love? 

Embrace these questions and more in this beloved show now playing through March 24, 2024 at the Drury Lane Theatre. 

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

PHOTO|Brett Beiner

Drury Lane Theatre
presents
Fiddler on the Roof
100 Drury Lane
Oakbrook Terrace
through March 24, 2024

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PicksInSix Review: In The Heights - Marriott Theatre

Marriott’s ‘Heights” Bursts With Celebratory Spirit!

PicksInSix® Review | Ed Tracy

Usnavi has a dream to escape, like everyone on his block in Washington Heights. And those few hot days in July play out in what is sure to be a blockbuster revival of Lin-Manuel Miranda’s “In The Heights” that looks and sounds as fresh and vibrant as ever at Marriott Theatre Lincolnshire. The strong sense of family unfolds in a neighborhood teeming with a celebratory spirit that is so inherently baked into this show it erupts again and again with uncontrollable passion and hopeful promise. Look no further than the rousing Act II “Carnaval del Barrio” which prompted a thunderous ovation and the waving of flags in the audience. Not the usual Wednesday opening night in Lincolnshire to be sure.

It is hard to believe that Miranda created what would become “In The Heights” twenty-five years ago when he was a sophomore in college. With thirteen 2008 Tony Award nominations and four wins including Best Musical and Best Musical Score, there was no doubt that Broadway had welcomed a new force of nature—a playwright, composer, lyrist and performer whose talents speak for and to generations of performers of Latino decent—and just about everyone else on the planet, as well.

And that other revelatory musical by Miranda “Hamilton” would arrive little more than seven years later.

Director James Vásquez has hit the mark and assembled an astounding cast around the gifted Joseph Morales as Usnavi, who essayed the role on the first Broadway national tour. Conceived by Miranda with a book by Quiara Alegria Hudes, Usnavi runs a bodega with his cousin Sonny (Jordan Arredondo) who is prodding Usnavi to take the next step with Vanessa (Paola V. Hernández). When Vanessa’s best friend Nina (Addie Morales) returns home and announces to her parents Camila (Cruz Gonzalez-Cadel) and Kevin (Rudy Martinez) that she lost her Stamford scholarship, Kevin makes the decision to sell the family business to fund her education. All that does not sit well with Nina or her mother and turns into a standoff with longtime employee Benny (Yasir Muhammad), who is Black and in love with Nina. Everyone in the neighborhood knows the score, too, as the delightful gadabout Daniela (Lillian Castillo) who runs the salon with Carla (Michelle Lauto), along with Sonny, begin to stir the pot to get everyone together.

“In The Heights” now playing at Marriott Theatre Lincolnshire through March 17, 2024.

Abuela Claudia (Crissy Guerro), a kindred spirit to Usnavi and everyone in the neighborhood, has a windfall that just might bring financial security to those around her. It’s an emotional roller coaster ride when the power goes out during the July 4th celebration and everyone “In The Heights” realizes that the most important thing in life is being there for each other. You will find yourself deliriously swept away by the music, directed by Ryan T. Nelson and conducted by Noah Landis, and the nonstop exuberance of William Carlo Angulo’s choreography, of which one patron of a certain age said to me on the way out, “I wish I could bottle up that energy and take it home!”

I could not agree more.  

PHOTO|Liz Lauren

Marriott Theatre Lincolnshire
presents
In The Heights
through March 17, 2024

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PicksInSix Review: Highway Patrol - Goodman Theatre

Like Nothing You Will Ever See.
PicksInSix® Review | Ed Tracy

It may appear glamorous, but the life of a lead actor in a hit television series is, by all accounts from those in the know, a bit of a grind. Long hours in preparation memorizing lines, early morning makeup calls, missed holidays and family gatherings, and the interminable wait time between takes are a way of life for the months that the show is in production. Around the edges of all this activity, it’s a challenge to maintain somewhat of a normal life and to keep the business side of entertainment moving forward while maintaining a personal life. And then there are matters of the heart. And sleep. And wine.

The charming Dana Delany, whose career includes a string of long-running hits like China Beach and Body of Proof— the kind of success that most actors can only dream of having—appears to be one of the fortunate ones who can take all it in stride, even as she admits there has been little time to pursue the joy and the fulfillment of what it means to have a meaningful relationship. Even when those opportunities did come along she could not always be present and things went nowhere.

All that changed in October 2012 when Delany was wrapping up the last few months of filming Body of Proof which is the point of reference for the opening scene of “Highway Patrol,” a fact-based memoir of sorts that peers into Delany’s daily life on and off the set. The network has asked the usually private Delany to embrace Twitter to build a social following for the show. Although somewhat reluctant at first, Delany soon dives in enthusiastically and the interaction with fans begins to fill a void in her life.

One of those fans is an inquisitive young boy named Cam (Thomas Murphy Molony) who was different. He was encouraging, thoughtful, brave and persistent. The relationship between the two deepened, encouraged by her friend and fellow actor, Peter Gallagher, due to the nature of Cam’s terminal disease and in cooperation with Cam’s guardian and grandmother Nan (Dot Marie Jones). In a few short weeks, Delany was communicating regularly to make the boy’s final days bright and meaningful, sending photos and telling his story to close friends and to those around her on the set.

“Highway Patrol,” which opened Tuesday night at Goodman, is based on Delany’s digital archive of her experience in text messages that have been curated by playwright Jen Silverman. Delany, a superbly engaging central star who has an arresting presence on stage throughout the play, is narrative storyteller. The show—created by Delany, Silverman, director Mike Donohue and scenic designer Dane Laffrey—moves with precision over the course of two-acts, retelling a captivating story that, at times, defies belief except that at every turn we know this all happened. Delany gives a stunningly poised performance, as if she were recounting these events in a more intimate setting than Goodman’s 856-seat Albert that was filled to capacity.

That same ease of delivery is highlighted in Molony’s endearing performance as Cam who is making his Goodman debut. And although it would be unfair to give more away about their relationship in what becomes a fascinating and intriguing thriller, watching Delany’s story unfold made for a marvelous night of theatre. Like nothing you will ever see.      

PHOTO|Liz Lauren

Goodman Theatre
presents

HIGHWAY PATROL
through February 18, 2024

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PicksInSix Review: FLOOD - Shattered Globe Theatre

“FLOOD” Hits Absurdist High-Water Mark!
PicksInSix® Review | Guest Contributor | Ronald Keaton

In today’s world, we are so attuned to what our own realities are and don’t always know how to adjust them to fit the moment at hand.  We forget sometimes that satire in all its challenging glory is a prime path to making such changes and to look at life in a totally different way.  Shattered Globe Theatre’s Chicago premiere of “FLOOD” by Mashuq Mushtaq Deen grabs its audience by the throat and takes it on an unusual journey of absurdity—admittedly the kind of trip we are not taken on much these days in the theatre.

Deen has fashioned a story with what would normally be quite opposing elements.  The Lauren Nichols design of the set we view in its telling—an apartment or condo setting that looks like a colorized version of an old 1950s situation comedy (read: Father Knows Best, Bachelor Father, etc.)—sets us up from the beginning; there is no doubt as to its functionality as the story goes.  There is a desk with a man (an impervious HB Ward as Darren, the family patriarch) sitting with sections of a model he’s been working on for quite a while.  Darren wears a mask for practically the entire play, one that covers his eyes and nose and hairline; there are other identical masks hanging on the wall behind him.  Darren’s attitudes are almost authoritarian and solid, as if it were what he learned from his own parents, and the hierarchy here is well-defined.  Mr. Ward is appropriately manipulative and commanding in Darren’s position up center stage, almost dictator-like in perception; he controls every conversation, every breathing moment between husband and wife. We don’t know about his job, his early history…he is simply a constant where he is.

Meanwhile, Darren’s wife Edith (the great SGT stalwart Linda Reiter) is frustrated with her husband, because he seems to have created an impenetrable cocoon of focus on the project he is building.  And all she wants to do is have a cup of tea with him and rebuild those ties that seem to be rapidly disappearing from her emotional reference.  Edith is a grand example of that 50’s housewife—keeping the home in order, doing most of the talking to the children—while wondering openly for the audience to see how long she can maintain this “peaceful” aura.  Ms. Reiter expertly shares Edith’s feelings and uses only a glance or a body shift to get it all across.  Edith is always asking questions.  Indeed, Darren and Edith have a “book of unanswered questions” that has regular entries put into it—all pointing toward the day when the building and creating is done and they can sit and actually talk about those questions, and whatever else might come up.  Like their future.

There are two children—Darren Jr. (Carl Collins) and Edith Jr. (Sarah Patin)—who are totally unlike their parents in nearly every way.  They live on lower floors of this tall apartment building.  At first, we think they live together, to be honest—an absurdity if ever there was one in the family dynamic.  But we do discover in time that they have their own lives (Darren Jr. is actually a father himself).  And, they are wet.  It’s raining outside at this locale, set by a beach bordering the ocean. And the water is rising, and apparently very quickly.

In experiencing all this, the kids are trying to share with Mom in phone calls—the phones, by the way, are simple tin cans with twine as electrical cord—that they are drowning and they need help. But their cries go unheeded, for the most part, as Darren has convenient excuses and reactions for everything that happens, except for the obvious: the building is flooding. And not just now; RIGHT now.

Directed by Ken Prestininzi in detailed, intimate strokes that all strike a familiar chord, Deen has thrown many of the elements in theatre of the absurd to good use. Dialogue here harkens back strongly to Beckett and Ionesco. Disparate elements of time and space here create much debate on what exactly this family is facing.  There are moments that comment in their presentation on everything from climate change to social media to parental regard for children to marital challenges to the creative impulse in people… I could go on and on.  FLOOD is a difficult piece to absorb, but upon examination, that’s actually in its favor.  Certainly, there is lots for the audience to chew on.  And I won’t share the play’s ending.  But Deen and Shattered Globe Theatre are both to be commended for taking a chance on new work in an art form that audiences really do not see much of anymore in a full play.  “FLOOD” forces the audience to look at life in a more encompassing way than the day-to-day aspect by actually utilizing that same thought to show the absurdities we all face every day… and how one family deals with them.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.com  Coming soon, his new solo play “Echo Holler.” www.echoholler.com

PHOTO|Liz Lauren

Shattered Globe Theatre
presents
Chicago Premiere
FLOOD
Theater Wit
1229 W Belmont
through March 9, 2024

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PicksInSix Review: Anything Goes - Porchlight Music Theatre

Blow Gabriel! Murphy is Heaven Sent!
PicksInSix® Review | Ed Tracy

Porchlight Music Theatre celebrates the Chicago Cole Porter Festival and launches their 29th Season with a sparkling, effervescent 90th anniversary production of “Anything Goes” superbly directed by Michael Weber featuring Meghan Murphy in a big, boisterous star turn as the seaworthy siren Reno Sweeney. The book by Timothy Crouse and John Weidman, was adapted for the 1987 Broadway revival from the 1934 original by P.C. Woodhouse, Guy Bolton, Howard Lindsay and Russel Crouse. It tells the story of an oceanic crossing with a zany cast of characters with Murphy’s Sweeney at the delectable center of Porter’s most beloved music and lyrics.

Luke Nowakowski shines in the role of Billy Crocker who yearns for Hope Harcourt (played beautifully by Emma Ogea) even as he falls in with a gangster named Moonface Martin (an inspired performance by Steve McDonaugh) and his partner Erma (a scintillating Tafadzwa Diener) who all want to flip the tables on the wedding between Harcourt and Lord Evelyn Oakleigh (Jackson Evans). At the matinee on Saturday, Evans—in one of the most hilarious of his many stage appearances to date—and Murphy create an irresistible comic cosmos in “The Gypsy in Me” that literally brought tears to my eyes. In the end, of course, love conquers all and everything works out, except for a few clay pigeons off the starboard bow and anyone who actually sold their Amalgamated stock.

Under the lush musical direction of Nick Sula, Porter’s rich, melodic score comes vibrantly alive in “You’re The Top,” “Friendship” and “It’s De-lovely.” And when conductor Linda Madonia’s band kicks into high gear, it’s time to clear the decks for Tammy Mader’s rock-solid, toe-tapping choreography—and one of the finest singing and dancing ensembles seen on a Porchlight stage—to blast the big production numbers like “Anything Goes,” and “Blow, Gabriel Blow” straight to the heavens, with Murphy leading the way.

Jeffrey D. Kmiec’s magnificent two-story ship deck is dressed in navy blue and white with seaworthy stairs that frame a series of three revolving doors providing access to the main stage area. Kmiec’s masterfully sturdy design, complete with ship’s railing and arched pylons, reveals more than a few surprises along the way.

Under the steady hand of artistic director Michael Weber, Porchlight Music Theatre has built a superb reputation for developing exceptional new talent. In recent years, on the intimate Ruth Page Center for the Arts main stage, the company has forged full steam ahead through harsh winds and heavy seas to stay on course despite the challenges that the performing arts community has been navigating. Weber and Executive Director Jeannie Lukow’s bold, innovative, award-winning, musical productions include a long list of outstanding veteran performers like the late Hollis Resnick in a memorable production of “Sunset Boulevard,” E. Faye Butler’s showstopping performance as Mama Rose in “Gypsy” and Broadway veteran Felicia P. Fields in “Blues in the Night” who elevate the performances of everyone around them to new heights.

Add the exquisite Meghan Murphy to the company of Chicago’s all-time brightest stars. What a performance. What a show! 

PHOTO|Liz Lauren

PORCHLIGHT MUSIC THEATRE
presents
ANYTHING GOES
Ruth Page Center for the Arts
EXTENDED
through March 10, 2024

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DIGITAL PROGRAM

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PicksInSix Review: It's a Wonderful Life: Live in Chicago!-American Blues Theater

A New Home. An Enduring Classic!
PicksInSix® Review|Ed Tracy

American Blues Theater has officially opened their permanent home—the first in the 35-year history of the professional theater company in Chicago—and they did it in grand style with the 22nd annual production of the holiday chestnut “It’s a Wonderful Life: Live in Chicago!” The theatrical tradition—a family show with a message for the young at heart—is year after year ABT’s delightful homespun offering. On Sunday afternoon, the show took on special meaning as the first to officially christen the 137-seat main stage with music, mirth and merriment that makes it the perfect choice to ring in the season.

The live radio show— based on the short story The Greatest Gift by Philip Van Doren Stern that was the basis for the 1946 Frank Capra film—is under the direction of longtime Executive Artistic Director Gwendolyn Whiteside and features Christmas carols, local “on-air“ commercials, audience shout-outs and a warm, engaging show that looks, feels and sounds—thanks to Foley artist J.G. Smith—every bit like a broadcast from the 1940s. That is except when music director Michael Mahler is delightfully churning out a holiday parody to a familiar REO Speedwagon tune in the pre-show. That’s one of several clever additions to previous sing-alongs I have attended. The ensemble was having a blast warming up the audience prior to the main event—a 90-minute true-to-telling of one of the most heartfelt of all holiday stories about the fateful day in Bedford Falls when George Bailey learns from his guardian angel Clarence that no man is failure who has friends.

Returning with gusto for his seventh run on the Bailey Building and Loan, Brandon Dahlquist has the corner on George Bailey, delivering a marvelously sensitive and present performance—a fine balance between familiarity with the material and navigating the limitations of the radio play format where scenic elements and props are all but non-existent, unless they make a sound. We are truly moved by George’s anguish as he struggles to confess his love for Mary—beautifully portrayed by Audrey Billings— and the explosive frustration unleashed upon Manny Buckley’s befuddled Uncle Billy when Billy is duped by Mr. Potter (played superbly by Joe Dempsey) and threatens the solvency of Bailey’s Building and Loan setting the wheels in motion for George’s frenzied emotional collapse. George’s redemption may be the most familiar part of this story, but Dahlquist keeps the dramatic tension fresh, coming literally unhinged at the sight of the world without him a player in it.

Along with Mahler, who shines as announcer and pianist, the company includes Dara Cameron, Mahler’s real-life spouse who is lovely as Violet and Zuzu; the multi-talented Ian Paul Custer and versatile Buckley, who collectively have many of the most heartfelt and touching moments in the show. At the opening press performance on Sunday, Cameron was honored by the onstage company for her longtime service and contributions. Richly deserved!

Over the years, I look forward to coming back to “It’s a Wonderful Life: Live in Chicago!” In 2016, I recorded a delightful conversation with Wendy Whiteside together with then-Foley artist Shawn Goudy on main stage at The Greenhouse Theater. It was Dahlquist’s first year and the 15th for the late John Mohrien whose performance as Clarence/Potter was broadcast in a memorable pandemic era broadcast that elevated my deep respect and admiration for the ABT Ensemble who have continued to adapt, enhance and deliver truly inspired work at venues across Chicagoland.

Brandon Dahlquist (George Bailey) and Joe Dempsey (Mr. Potter) in the 2023 American Blues Theater production of “It’s a Wonderful Life: Live in Chicago!” now playing through December 31, 2023. Video|The Stage Channel

As much as their sparkling new home is a labor of love and an extraordinary accomplishment for Whiteside, the ABT Board and Artistic Ensemble, it is just the beginning. The new facility has a second, small flexible rehearsal studio that will serve as a venue for other theatrical companies and, altogether, a stunning cultural anchor for the neighborhood and lots of old and new friends.  

PHOTO|Michael Brosilow

American Blues Theater
presents
It’s a Wonderful Life: Live in Chicago!
through December 31, 2023

5627 N. Lincoln
(773) 654-3103

WEBSITE | TICKETS

2023 BACKSTAGE GUIDE

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PicksInSix Review: BOOP! The Musical - Broadway in Chicago

“BOOP! The Musical” Has It All!
PicksInSix® Gold Review | Ed Tracy

When the stunning new show “BOOP! The Musical” arrives on Broadway next year, a new generation will discover the iconic Betty Boop through the spellbinding performance of Jasmine Amy Rogers in the title role, and through the eyes of one of their own—16 year-old pop media phenom Angelica Hale, making her stage debut as Betty’s new pint-sized BFF.  

At the magical moment that Betty catapults into present day Comicon from her cartoon world of the 1930s, she is searching to both escape the adulation of her own time and to satisfy her yearning to discover an answer to the pivotal question: “Who am I?” Upon arrival, she finds a vibrant world in the radiant colors of the rainbow, none of which she knows by name. She also has a predilection to put an ‘L’ in everything, so her new marshmallow world is “plurple.”

It's the black, white and red-hot opening sequence of “BOOP! The Musical” with Rogers as the charming, charismatic, and confident heroine created by illustrator, animator and cartoon innovator Max Fleischer who revolutionized the graphic technology of the day, merging illustrations and live action to create whimsical cartoon series and shorts featuring Betty Boop, Popeye and a cavalcade of quirky characters who morph from inanimate objects to all forms of comic incarnations.

The world premiere of “BOOP!” opened Wednesday at Chicago's CIBC Theatre. After years in development, there is now a dream team in place for the Broadway-bound project directed and choreographed by multi-Tony Award winner Jerry Mitchell, the first musical venture by Grammy and Emmy award-winning composer/producer David Foster with lyrics by Susan Birkenhead (“Jelly’s Last Jam”) and book by Bob Martin (“Drowsy Chaperone,” “Elf”). The creative team includes a spectacular scenic design by David Rockwell that is beautifully enhanced by Finn Ross’s projections and Gareth Owen’s sound design, Philip S. Rosenberg’s lighting and the stunning costumes of Greg Barnes.

With big, boisterous dance numbers, tender ballads, an extraordinary scenic landscape and masterful illusions courtesy of Skylar Fox, “BOOP!” has it all. It's a love story—three actually—but even more it’s a free-spirited and endearing comedy that has a message for all of us about who we are and the impact we can make on the world and the people in it.

At Comicon, Betty collides with Dwayne (Ainsley Melham) a jazz musician and for maybe the first time, Betty senses an attraction. Overcome by her new surroundings, Betty forges a friendship with Trisha (Hale) a young fan and aspiring artist in need of a little confidence of her own. It doesn't take long before we find that Trisha lives with her aunt Carol (Anastacia McCleskey), who serves as manager for the New York City mayoral campaign of Raymond Demerest (Erich Bergen) and Carol’s brother, who just happens to be Dwayne. The hook is set and a youthful love story begins to unfold.

Back in early 30s, the studio directors, Aubie Merrylees and Ricky Schroder, are in a tizzy when they discover that Betty is nowhere to be found. Grampy (Stephen DeRosa) realizes that Betty’s absence will have a disastrous impact on their present and the future, so he embarks on a cross-dimensional journey of his own with his dog Pudgy (the brilliant marionette artist Phillip Huber). In Times Square he meets up with Valentina (Faith Prince) a retired NASA scientist who is still holding a torch for Grampy that was lit 40 years earlier. At first on a quest to find Betty before it’s too late, Grampy discovers that the fire is still smoldering between the two.

The cat’s out of the bag on the secret that Betty Boop is now alive in the present when she shows up and brings the house down at Nellie’s Place, the jazz club where Dwayne is trying to get a regular gig. Once the news is public, the corrupt Demerest, the King of Waste, tries to hitch his dump truck, and whatever else he has at his disposal, to Betty’s instant celebrity. But it’s Betty who turns the tables on the plan and as always, love wins out overall.  

Martin’s book moves briskly and effortlessly with zingers and easter eggs, old and new, along the way. Musically, Foster has infused the score with a plethora of styles from jazz and pop to some socko Broadway show tunes that allow Mitchell a full range of dance routines for the superb, multi-talented ensemble. Among the highlights, Rogers leads the ensemble in the opening “A Little Versatility,” “My New York” and “In Color,” and the show is at full throttle for the truly sensational Act I closer “Where I Wanna Be.”

World Premiere of “BOOP ! The Musical” at Broadway in Chicago’s CIBC Theatre through December 24, 2023.

Price and DeRosa shine in “A Cure for Love” and the touching “Together, You and Me.” Melham joins Schroder and Probst for “Sunlight” and delivers a blissful “She Knocks Me Out.” Hale’s powerful “Portrait of Betty” is a smash and the lovely “My Hero” with Rogers is one of the show’s many highlights.

It all comes down to Rogers though, whose radiant stage presence is all at once inquisitive, vulnerable and decisive as she evolves to the real version of who she will become: a loving role model of strength and independence.

Rogers’s charismatic performance of “Something to Shout About” is a showstopper. After taking center stage surrounded by a glistening celestial panorama, she steps decisively and defiantly forward and, in that one moment, appears larger-than-life, captivating the audience and signaling the presence of a star.

That she is.  

PHOTO|Matthew Murphy and Evan Zimmerman

Broadway in Chicago
presents the
World Premiere of
BOOP! The Musical
CIBC Theatre
through December 24, 2023

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PicksInSix Review: The Wiz - Broadway in Chicago

“THIS IS A WHOLE ‘NOTHER LEVEL!”
PicksInSix® Review | Ed Tracy

The national tour of the Broadway-bound musical “The Wiz” opened its limited Chicago engagement at the Cadillac Palace on Wednesday with all the blissful promise and brilliant colors of the rainbow you could ever imagine. With a massive, techno-landscape—a marvel all in itself—the L. Frank Baum-based classic that made its groundbreaking 1974 debut in Baltimore and conquered Broadway the following year with eight nominations and seven Tony® Awards on the way to a four-year run, now comes vibrantly alive for a new generation.

“The Wiz” is ingeniously directed by Schele Williams with some clever choreography by JaQuel Knight that amplifies a superb company large in number and steeped with talent running through their paces at a size and scope rarely seen in a touring production. The show premiered in Baltimore in late September and is making a multi-city tour in advance of its scheduled debut on Broadway in March 2024 with a lot of professional steam behind the William F. Brown book with music and lyrics by Charlie Smalls.

The revival includes new musical moments from Joseph Joubert (music supervision, orchestrations, & music arrangements), vocal arrangements and music arrangements by Allen René Louis and additional material by Amber Ruffian. Nearly sixty producers and co-producers led by Kristin Caskey, Mike Isaacson, Brian Anthony Moreland, Kandi Burruss, Todd Tucker, Common, MC Lyte and The Ambassador Theatre Group are the team behind the curtain making this a feat of epic proportions.

Those elements work extremely well for “The Wiz” and are sure to be crowd-pleasers at every stop along the way. The tour will also allow time for the performance elements to coalesce for what is one of the most highly anticipated Broadway openings next spring—a straight-up adaptation focused squarely and beautifully on the central themes of friendship, family and home with just the right touch of panache—with all the right stuff to appeal to contemporary audiences of all ages. If you are a fan who knows this familiar, and much beloved, score that includes “Ease On Down The Road,” “If You Believe,” “Everybody Rejoice” and “Home” by heart, you will not be disappointed.  

Nichelle Lewis’s debut performance as Dorothy will be turning heads in the months to come with her charm, wholesome innocence with a little sass, and heavenly vocal range. Melody A. Betts is a powerhouse in the dual role of Aunt Em/Evillene. You will love the cohort of the remarkably limber Avery Wilson’s Scarecrow, the soulfully spirited Phillip Johnson Richardson’s Tinman and Kyle Ramar Freeman’s effervescent Lion. Alan Miongo, Jr. delights as the inimitable Wiz. The charismatic and glamorous Deborah Cox as Glinda, another superb vocalist, looks amazing in costume designer Sharen Davis’s creations.

The journey begins in Kansas, on a black and white tapestry by scenic designer Hannah Beachler. Once in the full color Land of Oz, the opulent scenic transitions race by at the speed of light through imaginative corn fields with tilted windmills, dark forests and a lion’s den in the jungle, to a stunning glimpse of the Emerald City. Once in Oz, the palate turns emerald and the majestic lighting design (Ryan J. O’Gara), sound design (Jon Weston) and projections (Daniel Brodie) continue to an awe-inspiring scene in Evillene’s lair for “Don’t Nobody Bring Me No Bad News” and Lewis’s soaring delivery of “Home” that will sweep you away and ease on down the road all the way to Broadway. No bad news here. 

Post Script: André De Shields
Earlier this week via text, I asked the original Wiz, the omnipresent André De Shields, if he would share a memorable highlight from the original 1974 production. He told me that during the run, the entire company was invited to a homecooked meal prepared by his mother and two of his sisters:  

“The group was so large, that it spilled out of my family’s modest two-story row house onto the 1800 block of Division Street. Forty-nine years later, in September 2023, the revival of “The Wiz” opened in Baltimore at the Hippodrome Theatre, during the same week that the 1800 block of Division Street was renamed ‘André De Shields Way.’”  

And in case you were wondering, the company feasted on everything from oyster fritters, steak fish and kidney stew to sweet potato pie and Chesapeake blue crabs, washed down with assorted flavors of Kool-Aid. et  

PHOTO|Jeremy Daniel

BROADWAY IN CHICAGO
presents
THE WIZ
Cadillac Palace Theatre
through December 10

WEBSITE
TICKETS
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PicksInSix Review: Jim Henson’s Emmet Otter’s Jug-Band Christmas

Delightful Holiday Treat for All Ages!
PicksInSix® Review | Guest Contributor | Kaitlyn Linsner

The stars of this show—Ma, Emmet Otter and a darling group of critters—have been warming the hearts of many for over fifty years. They first appeared in an illustrated 1971 children’s book by Russell Hoban and Lillian Hoban. Jim Henson then brought the book to life in a one-hour 1977 television special featuring puppets from his Creature Shop and a delightful score from Academy Award-winning songwriter Paul Williams. Folks fell in love, and now, old fans, and anyone looking for 75 minutes of sheer joy, can visit the Studebaker Theatre for the charming holiday celebration that is the live theatrical adaptation of “Jim Henson’s Emmet Otter’s Jug-Band Christmas” with music and lyrics by Williams, book by Timothy Allen McDonald and Christopher Gattelli, who directs and choreographs.

This is the Chicago premiere of “Jim Henson’s Emmet Otter’s Jug-Band Christmas” and should not be missed when planning this year’s holiday festivities. The story follows Ma and Emmet Otter who so badly want to buy each other the perfect Christmas gift. Ma (Kathleen Elizabeth Monteleone) wants to buy Emmet (Andy Mientus) a guitar, and he wants to buy Ma a piano. You see, these two come from a family enriched with musical talents and traditions—Ma with her lovely singing voice, and Emmet with his own set of pipes and a mean rhythmic streak on the washboard bass. Problem is, they don’t have enough money to buy these special gifts for each other. So, when the mayor of nearby Waterville announces the town will be having its first annual talent show, Ma and Emmet decide to take their chances at entering and vying for that first-place prize of fifty dollars.

Turns out Ma and Emmet Otter are up against some stiff competition. Toward the end of the production, the audience becomes the patrons of the inaugural talent show and get to see humans and puppets alike showcase their talents. The magnificent Madame Squirrel (Sawyer Smith) delights in a performance with acrobatic squirrels. Mrs. Mink (Sharriese Hamilton) heats up the stage with a wildly entertaining burlesque performance, and we cannot forget a skunk on a tuba and tap-dancing rabbits.

At the core of “Jim Henson’s Emmet Otter’s Jug-Band Christmas” is true enchantment. Each scene bursts with charm, clever humor and whimsical visuals. Take, for example, the costumes by Gregg Barnes and the makeup by Megan E. Pirtle. The costumes, like Madame Squirrel’s playfully large tail and Wendell Porcupine’s quills (Steven Huyhn), and the makeup both do well to transform the cast into their cute furry characters on Anna Louizos whimiscal set.

The puppetry, though, is what takes this family-friendly musical to the next level of creative, good fun. There are many laughs to be had when a band of squirrels tries to grow an evergreen tree in the winter by blowing hot air on it. There are also big feelings to be felt when puppet Pa Otter, deceased, appears to tell Ma to never stop dreaming and when that same band of squirrels advises Emmet to follow his heart and take flight. The opening-night audience audibly reacted in wonder when the puppet jug band practiced in a tree house, which looked exactly like the scene in the television special. The Jim Henson way of blending both worlds together worked seamlessly on stage and truly elevates the production.

Jim Henson’s Emmet Otter’s Jug-Band Christmas with music and lyrics by Paul Williams, book by Timothy Allen McDonald and Christopher Gattelli, directed and choreographed by Christopher Gattelli. Now playing at Studebaker Theatre through December 31, 2023.

Of course, there are also plenty of themes and lessons that make “Jim Henson’s Emmet Otter’s Jug-Band Christmas” a true holiday classic. Ma and Emmet Otter show us how to heal together after experiencing loss. We see bravery and growth in characters learning to trust themselves and each other when facing challenges. We also get to experience a show filled with so much love, which, in and of itself, is enough of a reason to join everyone in Frogtown Hollow and Waterville this season.

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

PHOTO|Michael Brosilow

ITheatrics with Broadway & Beyond Theatricals,
in association with the Jim Henson Company
presents
Jim Henson’s Emmet Otter’s Jug-Band Christmas
Music and Lyrics by Paul Williams
Book by Timothy Allen McDonald and Christopher Gattelli
Directed and Choreographed by Christopher Gattelli

Studebaker Theatre
Fine Arts Building
through December 31, 2023

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PicksInSix Review: Beetlejuice-The Musical - Broadway in Chicago

“Beetlejuice” – ‘Being Dead Has Its Perks!’
PicksInSix® Review | Ed Tracy

There is a monster sandworm burrowing its way into theaters across the country and its filling houses and bucking ticketing trends at every stop. There are levitating bodies and the tiny head guy is there, too, albeit briefly, for the multiple Tony Award nominated musical “Beetlejuice” that opened here at the Auditorium Theatre on Wednesday to the delight of enthusiastic movie followers, cult fans and a dusting of first-timers, of which I was one.

I am pleased to say that those attending were treated to a black and white striped (and green-hued) spectacle of snappy repartee, soaring ballads, splashy production numbers and eye-popping special effects that showcased a superb ensemble. But it is the unhinged brilliance of stage veteran Justin Collette as the sly, demonic and blue-cheesy Beetlejuice, and the enormously talented Isabella Esler making a star turn in her national tour debut as Lydia Deetz, that people will be talking about for a long time.    

For those uninitiated: “Beetlejuice” opened on Broadway in 2019, closed during the pandemic, was successfully resurrected in April 2022, and closed in January 2023 with plans for this tour well underway. The show is based on Tim Burton’s 1988 film starring Michael Keaton with the musical book by Scott Brown and Anthony King, with music and lyrics by Eddie Perfect. It begins with Beetlejuice (Collette) at the graveside services for Lydia’s mother, Emily, who is grief stricken by the loss. Meanwhile, at the home of Adam (Will Burton) and Barbara Maitland (Megan McGinnis), death come quickly and the pair are exiled to the attic. When Charles (Jesse Sharp), along with his gal Friday/lover Delia (Kate Marilley) and Lydia show up to move in, everyone is initially amused by the couple’s ghostly antics, except Lydia, who will do anything to thwart her father’s plan to marry Delia and preserve the memory of her mother.

The Maitland’s form an alliance with Lydia, but when things don’t go very well, Lydia succumbs to Beetlejuice’s deceptive charm, says his name three times, and “It’s Showtime!” From there, it’s not long before this farce gains momentum, the house is overrun with ghouls, goblins and other wild goings-on, and Lydia realizes that she is the only rational living thing in the middle of all the madness. A trip to the Netherworld and lots of freakish folly follows that all adds up to one helluva show.

Collette’s comic timing and impish glee serves his bizarre otherworldly character well. The super-charged chemistry with Esler is a perfect match. And, when she’s by herself, Esler explodes with a powerhouse vocal range that belies her youthful stature. This is a magnificent breakout performance, delivered with charm, passion and sincerity and wonderful to see and hear.

You could not ask for more visually from the Alex Timbers directed production team including the intricate set (David Korins), elaborate projections (Peter Nigrini), stunning costumes (William Ivey Long), raucous choreography (Connor Gallagher) and outstanding music direction (Kris Kukal). Of particular note are the multiple views of the Maitland’s  house through its various transitions and a clever transition to the Netherworld that reminds one of the opening of a Twilight Zone episode. So, if you already have a ticket to see this production of “Beetlejuice-The Musical” you are in luck. The relatively short run through November 19 is selling fast, so quickly, in fact, that it was announced this week that the show would be returning in May 2024 at the Nederlander when everyone will again be saying: Beetlejuice! Beetlejuice! … You get the idea.  

PHOTO|Matthew Murphy

Broadway in Chicago
presents
Beetlejuice
Auditorium Theatre
through November 19

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PicksInSix Review: Twelfth Night - Chicago Shakespeare Theater

“Twelfth Night” — Free-Spirited, Comic Gem!
PicksInSix® Review | Ed Tracy

Without a doubt, the astounding quality and resulting popularity of productions of Shakespeare’s work at Chicago Shakespeare Theater rests firmly on the theater’s decades-long artistic commitment to presenting work with universal clarity and understanding, multi-talented casts and purely whimsical staging. A large part of this artistic ethos has to do with the diversity of the massive audiences drawn to Navy Pier, a top Midwest destination attraction that offers a once-in-a-lifetime experience for visitors to Chicago and an endless stream of students whose trip to the magnificent Courtyard Theatre is often their introduction to both theater and Shakespeare.

So, it is no surprise that the opening of “Twelfth Night”—a free-spirited, comic gem directed by Tyrone Phillips—was enthusiastically received on Thursday night. Shakespeare’s celebration of the many facets of love, and its impact on who we are, takes on new meaning in Phillips adaptation which is at the same time true to the comic roots of the original and cleverly awash with 21st century references that fit together seamlessly. With Shakespeare’s robust characters bursting forth with purpose, passion and promise, Chicago Shakespeare’s “Twelfth Night” is clever, smart and a joy to watch from beginning to end.

Set in the Caribbean, the story revolves around the separation of shipwrecked twins Viola (Jaeda LaVonne) and Sebastin (Justen Ross) on the island of Illyria. In order to deal with the grief and abandonment that she is feeling with the supposed loss of her brother at sea, Viola disguises herself as a young man named Cesario and takes a position as page to Duke Orsino(Yao Dogbe). The Duke implores Viola(as Cesario) to become the intermediary for his love interest, the Countess Olivia(Christiana Clark) who is in mourning herself about the recent passing of her brother. While Viola finds herself falling hard for the Duke, Olivia, determined to shun the Duke, begins to woo Viola(as Cesario).

Olivia lives with her uncle Sir Toby Belch(Ronald L. Conner) who spends most of his time in drunken—and hilarious—merrymaking with his companion Sir Andrew Aguecheek(Alex Goodrich) along with Olivia’s gentlewoman Maria(Danielle Davis), Fabian(Shelby Lynn Bias) and the jester Feste(Israel Erron Ford).  The group’s brand of roguish behavior riles Olivia’s cynical steward Malvolio(Paul Oakley Stovall) into such a fit that the group conspires to deceive him into believing that Olivia is enamored with him. One comic situation follows another with love eventually conquering all.

The show is infused with a universal blend of contemporary hip-hop and reggae music by music director Robert Reddrick and movement director Sadira Muhammad that befits the storytelling. Philips and his creative team, led by scenic designer Sydney Lynne with costume designer Christine Pascua, have conceived a striking seaside atmosphere that transitions effortlessly from scene to scene. With extraordinary precision, the crystal blue Caribbean skies turn to a thunderous rainstorm in the blink of an eye and a nod to the evocative lighting design of Xavier Pierce, stunning projections by Mike Tutaj and an intricately charged sound design by Willow James.

It all feels like an expertly-crafted ensemble piece. LaVonne’s earnest and engaging Viola/Cesario is a delight. Sir Toby Belch and Aguecheek, two of Shakespeare’s most beloved comic foils, are played here by Conner and Goodrich with reckless comic abandon. Davis, whose sustained laughter is infectious, and the sublime vocals of Ford, round out the band of hooligans at the center of the comic subplot to upend Stovall’s staunchly priggish servant turned infatuated manic lover Malvolio—the brilliant and commanding performance of the night—all make “Twelfth Night” a show to see and enjoy!  

PHOTO|Liz Lauren

Chicago Shakespeare Theater
presents
TWELFTH NIGHT
Courtyard Theater
Navy Pier
through November 26

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PicksInSix Review: Dennis Watkins - The Magic Parlour

Magician Dennis Watkins – Showman Par Excellence!
PicksInSix® Review | Ed Tracy

Chicago’s consummate magician Dennis Watkins has moved The Magic Parlour from the Palmer House Hotel—where it enjoyed a hugely successful, decade-long run—into a new home in the exquisitely renovated space on the lower level of Petterino’s Restaurant in the heart of the Loop theater district. With high expectations and reservations running through the roof, it was announced in advance of the press openings last weekend that the new show, presented in partnership with Goodman Theatre and Petterino’s, has already been extended well into 2024.  

Watkins is a brilliant third generation magician and showman par excellence who performs close-up magic for about 60 guests at the new venue, which he says is the perfect number to ensure that everyone will have the same experience and opportunity to participate. For 90 minutes, Watkins offers up a captivating, multi-faceted show that includes spell binding effects, phenomenal psychic prognostications, audience participation and engaging storytelling mixed with witty comedic moments that come out of—and disappear into—thin air.  No saws, trap doors or rabbits here. Watkins artistry is in full view and on glorious display!

There is a through line of the show that is not readily apparent and will not be disclosed here, but that story hinges on the accumulation of Watkins special brand of illusions, mind-reading, numerical wizardry and sleight of hand elements that keep things moving so quickly that you will be asking for more.

And there is more.

Immediately following the main show, Watkins literally rolls up his sleeves in The Encore Room for a VIP close up table session providing an additional opportunity to witness his dazzling skills from only a few feet away. All in, Dennis Watkins superb talent and engaging personality makes everyone feel at home, and, a visit to The Magic Parlour, one of the most entertaining experiences you can have in Chicago right now!

The house opens an hour before the show and Petterino’s offers both light bites onsite for an additional charge or the full menu experience upstairs before or after the show with advance reservations suggested, particularly for the upcoming holiday season.  And, if you believe in magic, you just might nab seats in The Encore Room to make your evening complete!

PHOTO|Kyle Flubacker Photography

DENNIS WATKINS
THE MAGIC PARLOUR
presented by
GOODMAN THEATRE & PETTERINO’S
50 W Randolph Street
Open Run

TICKETS

THE MAGIC PARLOUR WEBSITE

PETTERINOS

GOODMAN THEATRE

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PicksInSix Review: Brigadoon - Music Theater Works

Movement and Music Channel the Myth.
PicksInSix® Review | Guest Contributor | Scott Gryder

A lush lullaby of music lured the audience into the North Theatre at the North Shore Center for the Performing Arts in Skokie for the opening of the Music Theater Works production of the Lerner and Loewe classic “Brigadoon.” An ethereal pastoral landscape, swirling with misty enchantment, set the tone for the story of wonder, witchcraft and love ahead.

The legendary story of Brigadoon follows two wandering New Yorkers, Tommy and Jeff, traveling across the Scottish Highlands. After losing their way, their curiosities are piqued by the entrancing sounds coming from the vague image of a village tucked within the haze of the hills and absent from their map. What the two men find beyond the melodious voices is the secret village of Brigadoon, whose magical fate is to only appear every hundred years, defying time and space. Stumbling into Brigadoon, Tommy and Jeff not only discover an astonishing living time capsule of community, but they are also faced with deciding whether the lives they’ve left behind are worth trading for the magic they’ve found.

The cast of “Brigadoon” delivers a pleasantly proper portrayal of the tradition that is American Musical Theater. Leading man Conor Jordan brings a tenacious tenor to Tommy Albright, not just in his brash voice but with his heroic physique and protagonistic drive. Adding finesse and flare to the leading couple is ingénue Fiona MacLaren, played by Sarah Obert with a vocal beauty that could enchant all of Scotland to make their way directly to their hidden village. The leading couple shares a romantic fire that’s lit not with a conventionally saccharine enthusiasm but with a sincere investment of newfound potential. It’s the sarcastic Jeff Douglas of Zachary Linnert and whimsical wit of Timothy Wolf’s Mr. Lundie that ground the story in levels of their respective realisms. Linnert brings a keen honesty to Jeff’s text and predicaments, concisely hitting notes of humor and revelation with ease. And Wolf’s Lundie is lovably expounding throughout, despite the rants and rhymes of could-be lunacy.

Much like the mythical village of Brigadoon, Lerner and Loewe’s melodic Great American Songbook contributions have also stood the test of time with such beloved standards as “There But For You Go I" and “Heather on the Hill” to the catchy “Almost like Being in Love” and “Come to Me, Bend to Me.” Although the book of “Brigadoon” can be plodding and predictable at times, what director Sasha Gerritson does to help lead this production, beyond harmoniously staging across a myriad of times and places on one nearly static set, is to fully engage the ensemble. It’s obvious that Gerritson took the time to instill backstory and intent for each character, so the considerable ensemble isn’t just living wallpaper, they are alive in each moment.

What truly enhances the storytelling most is assistant director Clayton Cross’s choreography. As is the case with most musicals, when words fail the characters, they burst into song; however, Clayton’s choreography, ranging from fun and fanciful traditional Scottish dance to elegantly executed ballet, fiercely embodies the emotional mood of the musical numbers. Even when there are text breaks, and there is only music, the story continues to be told through Cross’s movement. Perfectly partnered with the choreography is the period costuming by Jazmin Aurora Medina, utilizing warm tartan prints and playful floral patterns to create a tone of history, tradition and mirth. And Ann Davis’s set design so rustically recreates the bewitching landscape of the Scottish Highlands, complete with a multi-level cobblestone bridge, that any wandering traveler would be hard pressed to refuse giving in to the enchantment of Brigadoon.

Solid serenading and energetic choreography guide us down the winding path to the otherworldly village of Brigadoon, whisking an audience away from the cares of everyday life and into an alternate reality. If you’re looking to escape into the spellbinding delights of the foundational canon of musical theater, then follow the sounds of the musical moors to Music Theater Works production of “Brigadoon.”  

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

PHOTO|Brett Beiner

MUSIC THEATER WORKS
presents
Lerner and Loewe’s
BRIGADOON
through November 12
North Shore Center for Performing Arts
9501 Skokie Blvd., Skokie

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PicksInSix Review: Love, Chaos, and Dinner - Teatro ZinZanni

Experience the Under the Tent Talent!
PicksInSix® Gold Review | Guest Contributor | Scott Gryder

The flaps of the 100-year-old Belgian mirror tent were pulled back to unleash another spectacular evening of entertainment at Teatro ZinZanni’s “Love, Chaos & Dinner” A reddish glow burned brightly at the heart of this gem-of-a-venue, as guests were enthusiastically led to their tables, where jaws were soon to be dropped, sides were guaranteed to be busted, and minds were sure to be blown.

Inside the splendid Spiegeltent ZaZou, Teatro ZinZanni’s “Love, Chaos & Dinner” revitalizes the essence of a bygone performance style. It brings to Chicago the searing drive of the famed Moulin Rouge, yet these acts are dripping with the intensity of a metaphorical absinthe hallucination. Teatro ZinZanni’s presentation is threefold: a dining experience featuring inventive menu items, playing off old standbys; gags and scenes presented with a whipping wit; and featured performances crackling with a hip vitality.

The cast of Teatro ZinZanni embodies the full flair and inventiveness of all of today’s talent show-based television in full, living color! And each world-renowned talent works beyond double-duty. Not only do they fully immerse themselves in the audience experience by participating in the pre-show cocktail hour, but they reveal developed backstories throughout the performance. It’s a wise tactic, because the audience becomes so personally invested in each character, they are that much more overwhelmed when their newfound friends transition into feats of strength, agility and ability beyond expectation. Leading this mayhem are the dueling divas. Sa'Rayah’s volatile vocals as Madame Z literally shake the rafters, gifting us with her grace and power. To put it bluntly, Sa'Rayah is sonantly stunning and can sing absolutely anything, whether she’s performing peripherally or burning the tent down in a featured number.

Complementary to the bombastic Sa'Rayah is the bawdy bon vivant, comedian & magician Lucy Darling. Darling stirs up a concoction of playful decadence, toying with audience members throughout using her sharp, improvisational charm and impish magic. From the liquid marble-like contortions of Ulzii Mergen and the nimble dribbling of basketball juggler Michael Evolution, to the daring danglings of aerialists Lea Hinz and Danila Bim and the palpable heat of trapeze tour de force Duo 19, one’s jaw seems to be permanently dropped for the length of the performance. Which only works in everyone’s favor, for just as each segment climaxes, it’s time for another dinner course break.

The Teatro ZinZanni experience isn’t just what’s found within the tent. As soon as one steps out onto the 14th floor of the Cambria Hotel, the warmth from the front of house staff to the mixologists is one of sincere appreciation and acceptance; all are welcome and encouraged to be their authentic self in this space celebrating truth, beauty, freedom, and love. Each host, server and runner is approachable and genuinely attentive, revealing proof of community. “Love, Chaos and Dinner” encapsulates such a veritable menagerie of artforms and performance styles, it truly is fun for the whole family; however, the level of ribald riffing might make it more suited for the more adult centric celebration or date night.

And it’s not just the talent onstage that generates the evening of euphoric fancy. Creator Joe De Paul has assembled a team of designers that intimately infiltrate the senses. Within the velvet and glass-lined walls of the tent, scenic designer Shauna Frazier elevates each act with a hydraulic stage, sending performances dancing along the mirrored walls like an enveloping zoetrope. At first sight, costume designer Debra M. Bauer visually transports us with a bohemian-meets-80’s glam aesthetic, combining a historic sophistication with an energized vim that would make Bob Makie take note. And Theodis Rogers, Jr’s band of musical maestros layer on an audible icing throughout, bringing a sublime phonic cohesion to every bit and performance. Spotlight on guitarist Phil Seed, who’s siren sound highlights and commands emotional attention. And each theatrical beat is delivered on a literal choo-train of treats by production director Maggie O'Donnell, brilliantly drawing focus throughout every corner of the tent to smoothly transition between each act and course without wasting a moment of the three-hour experience.

The evening was filled with exactly what Teatro ZinZanni promised: madcap, farcical chaos; passionate, stirring exploits, and a prix fixe menu to delight all palates. It’s said that there are only six of these Spiegeltents in the world, and it’s no surprise that the Second City is home to one as Chicago is known for delivering outstanding entertainment. I dare you to get dressed to the tens, take in the sights and sounds of Teatro ZinZanni, and not find yourself elbows glued to the table and slack jawed in memorization.  

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

PHOTO|Samuel Rose

BONUS CONTENT
CONVERSATIONS PODCAST - Kerry Sheehan, Teatro ZinZanni Chicago’s General Manager and Producer, joined the CONVERSATION to talk about “Love, Chaos, and Dinner.”
Listen on Apple Podcasts and Audacy.

TEATRO ZINZANNI CHICAGO
presents
LOVE, CHAOS, AND DINNER
Speigeltent ZaZou
Cambria Hotel
32 West Randolph
14th Floor
Open Run

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PicksInSix Review: Young Frankenstein - Mercury Theater Chicago

Mercury’s “Young Frankenstein” High-Flying Fun!
PicksInSix® Review | Guest Contributor | Ronald Keaton

The brilliance of the 1974 film Young Frankenstein comes from the ability of Mel Brooks its director and screenwriter (with Gene Wilder) to alternately pay tribute to Hollywood’s past, while parodying scenes from great films. The stage musical version of “Young Frankenstein”—with music and lyrics by Brooks and book by Brooks and Thomas Meehan—now playing at the Mercury Theater Chicago under the direction of J. Walter Stearns and musical direction of Eugene Dizon, delivers a high-flying fun night with all of that same pathos and side-splitting comedy thanks to some spirited performances and a hard-working ensemble of endless invention.

As the story goes: Dr. Frederick Frankenstein (the great and versatile Chicago actor Sean Fortunato) is fighting the family legacy to make his own name, right down to the pronunciation – “Fronk-en-steen.”  He’s a university professor and lecturer who is constantly denigrating his grandfather’s work, calling it the “ravings” of a lunatic mind.  Now that his grandfather has passed away, he is called to Transylvania to settle the family estate. He leaves behind a fiancé Elizabeth (a fine comic performance by Lillian Castillo), who is a truly spoiled girl that he really doesn’t love, it seems. There is a fun song – “Please Don’t Touch Me”— at the pier where Frederick is about to depart that showcases the terrific ensemble that is immensely valuable in this production.  While Elizabeth is distressed that he is leaving right before their wedding, she accepts the inevitable.

Frederick arrives in Transylvania, meeting Igor (Ryan Stajmiger in an energetic turn), hiring a tall demure assistant named Inga (the lovely and talented Isabella Andrews) and meeting the boss of the house, Frau Blücher (Mary Robin Roth, who steals every scene she’s in – cue the horses).  Frederick is convinced, in time, by reading his grandfather’s record on his work – a book entitled “How I Did It” – and assumes the responsibility to replicate the recreation of life at last.

The Monster (the wonderful Andrew MacNaughton, who makes a role with nifty footwork and practically no dialogue a truly enjoyable experience, because he’s enjoying it himself) comes to life and runs to the countryside and freedom.  Jonah D. Winston is an articulate Inspector who rouses the hoi polloi to action against the Monster. There’s an unforgettable scene with the blind Hermit (Samuel Shankman in great voice – “I was going to make espresso…”)

In this production, the ensemble leaves a strong mark on the story, particularly when choreographer Brenda Didier is putting them through their paces.  Playing everything from Elizabeth’s “staff” to the citizenry of Transylvania to passengers at the pier to tap-dancing fools and supporting the Monster and Frederick and, well, everyone else in a finale of impressive tap dancing that’s fit for the Ritz!

I’ve always been a huge Mel Brooks fan but that’s not a requirement to enjoy this stellar laugh-out-loud night of frivolity that’s playing through December 31.  

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.com  Coming soon, his new solo play “Echo Holler.” www.echoholler.com

PHOTO|Liz Lauren

Mercury Theater Chicago
presents
YOUNG FRANKENSTEIN
3745 N Southport Avenue
through December 31, 2023

WEBSITE

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PicksInSix Review: A Wonderful World - Broadway in Chicago - Cadillac Palace

“Wonderful World” Has Saints Marching In!
PicksInSix® Review | Ed Tracy

The new Broadway bound musical “A Wonderful World” conceived by Christopher Renshaw and Andrew Delaplaine starring James Monroe Iglehart in a commanding performance as the immortal jazz icon Louis Armstrong is playing now in a limited engagement at the Cadillac Palace through October 29.  

As told through the eyes of his four wives–an ever-present Greek chorus of exceptionally powerful vocalists and gifted performers—who anchor the critical turning points of Armstrong’s career, Aurin Squire’s book follows a linear arc from the turn of the 20th century to the early 70s infused with feature performances and explosive, picture perfect, dance routines.

Director Renshaw and choreographer Ricky Tripp have amassed a stellar ensemble who move in and out of the best of Armstrong’s musical legacy on a stunning, scenic landscape created by Adam Roch and Steven Royal that, with Toni-Leslie James’s eye-popping period costumes, provide for truly majestic transitions from the gritty, speakeasys and jazz clubs of the 20s and 30s to a stylized Hollywood soundstage. It’s a visual feast!

At the center of the story—and the major challenge that separates “A Wonderful World” from other musical biographies about entertainers—is Armstrong’s sheer versatility and talent as an innovator and improvisor. The internationally beloved Black performer, musician, composer and singer had a larger-than-life stage presence all his own. Offstage, the pitfalls of Armstrong’s career and his personal, and very public, stand against racial inequality make him a far more complex personality. Iglehart, whose Broadway credits include a Tony Award as the Genie in Disney’s “Aladdin,” brilliantly captures the whole man—Armstrong’s charismatic smile, ebullient energy and the rich, raspy, signature quality of his vocals—in a wide-ranging and fascinating portrayal of a confident, gregarious personality filled with abundant amounts of passion for making music and for making whoopee.  

The women—all saints marching into Armstrong’s life with captivating performances by Daisy Parker (Khalifa White), Lil Hardin (Jennie Harney-Fleming) and Alpha Smith (Brennyn Lark) and Lucille Wilson (Ta'Rea Campbell)—hitch their wagons to the charming star hoping to make their dreams come true. That is until they realize that Armstrong’s insatiable desire to perform and the freedom that a life on the road offers works contrary to his dream to settle down in a home with a family of his own.       

Even though that storyline wrestles a bit with the kind of dramatic thrust necessary to fully connect with all the characters, it always comes back to the music exquisitely arranged and orchestrated by Michael O. Mitchell and Annastasia Victory. And this show is loaded with pulsating dance numbers that place Armstrong at the center of it all in memorable songs like “You Rascal You,” “Heebie Jeebies” and “Black and Blue” and alongside DeWitt Fleming, Jr. in the terrific tap sequence of “When You’re Smiling.” But it is Iglehart’s performance of Armstrong’s last and most enduring classic “What A Wonderful World” that you will want to be humming on the way home.

PHOTO|Jeremy Daniel

A WONDERFUL WORLD
A New Musical
About The Life and Loves
of Louis Armstrong

BROADWAY IN CHICAGO
Cadillac Palace
151 West Randolph
through October 29

TICKETS

OFFICIAL SHOW WEBSITE

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PicksInSix Review: The Nacirema Society - Goodman Theatre

A Powerful, Laugh-Out Loud Triumph!
PicksInSix® Review | Guest Contributor | Kaitlyn Linsner

Expect the unexpected in the Chicago premiere of Pearl Cleage’s extravagant and absurd comedy, “The Nacirema Society.” The play shines as the opener of Susan Booth’s first curated season as Goodman Theatre’s Artistic Director and as a joyous and nuanced exploration of how class, family tradition, honor, privilege, young love, ambition and social responsibility all present in everyday life. These themes mixed with over-the-top drama sets the stage for big gasps and even bigger laughs. Grab a glass of sherry, sit back and welcome to the lavish home of Grace Dubose Dunbar. 

“The Nacirema Society” drops us into the world of a prosperous, aristocratic Black family, the Dunbars, in 1964 Montgomery, Alabama. The mighty and entitled matriarch of the family, Grace Dubose Dunbar (E. Faye Butler), is also the grande dame of the Nacirema Society, a social club for affluent Black women in the South. The Society is preparing for the centennial year of its annual debutante ball, and Grace expects perfection in everything and everyone around her including her effervescent granddaughter Gracie (Demetra Dee) who is making her debut at the centennial ball. 

The plot weaves in another family—the working-class single mother Alpha Campell-Jackson (Tyla Abercrumbie) and her daughter Lille (Felicia Oduh)—who dig up Dunbar family secrets and rattle Dunbar family skeletons. The juxtaposition of these two families during the Civil Rights Movement illuminates the impacts of class and generational expectations in navigating change and legacy. The two families collide with great hilarity in the second act. 

Cleage’s remarkable writing and dialogue are brought to life under the superb direction of Lili-Anne Brown and the outstanding cast of powerhouse talent. Butler and Abercrumbie command the stage. Oduh and Dee are so honest and charming in depicting teenage eagerness, and the ensemble works beautifully together on stage to elevate each scene. 

Plus, the physical comedy is inspired. Ora Jones has a stand-out comedic performance as Grace’s nervous-wreck of a friend lurking on stage at the epicenter of a blackmail scheme. Shariba Rivers as the maid also had the audience buzzing as she collects coats, listens in from the stairs and eventually indulges in a glass of sherry herself as everything unravels.

Perhaps the best part of “The Nacirema Society” is as you find yourself belly laughing from start to finish, you are also deeply moved. This play stands strong as a delightful piece of theater that connects us through its content and characters all while creating an exuberant community in that experience.  

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

PHOTO|Liz Lauren

GOODMAN THEATRE
presents
The Nacirema Society
EXTENDED through October 22
Albert Theatre
170 N. Dearborn St.

(312) 443-3800

WEBSITE

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PicksInSix Review: The Lehman Trilogy - Timeline Theatre Company | Broadway in Chicago

Searching For The Next Big Thing!
PicksInSix® Gold Review | Ed Tracy

Though it's not customarily appropriate to disclose the ending of a dramatic piece up front—and certainly one as consequential as the Chicago premiere of the 2022 Tony Award-winning “The Lehman Trilogy,” a brilliantly staged co-production of TimeLine Theatre Company and Broadway in Chicago that opened at the Broadway Playhouse on Wednesday night—there it is right in front of us all at the top of the show: A blinding frenzy of news reports cascading across multiple screens on Collete Pollard’s striking, multi-level set composed of stacks of banker’s boxes, copy machines and office furniture. Few born before 1990 will need to know much more about the 2008 subprime mortgage crisis that toppled world financial organizations and placed tremendous hardship on America’s middle class.

“The Lehman Trilogy” serves as a rich and compelling reflection of our troubling financial times and a largely fact-based interpretation of the journey that led to this unimaginable end. The story hinges on the notion that the events that we know all too well are actually a consequence of succession and not of the vision and passion of its founders.

Wisely, and with blistering speed, “The Lehman Trilogy” focuses on the burgeoning path of their family pilgrimage to America, their aspirations and legacy. We first meet Heyum ‘Henry’ Lehman (Mitchell J. Fain), the eldest brother and patriarch of the family empire, as he arrives in New York in September 1844 and establishes a storefront business in Montgomery, Alabama.  Henry is joined by Mendel ‘Emanuel’ (Anish Jethmalani) in a few years and then by younger brother Maier ‘Mayer’ (Joey Slotnick).

Stefano Massini’s script, adapted by Ben Power, introduces several dozen characters—heirs, wives and business partners—who first emerge as brokers in the cotton industry in the pre-Civil War years; expand their influence with a major move to New York City that would eventually diversify business models during the Industrial Revolution and into the emerging Stock Market and then on to investment banking operations. Along the way, the Lehman’s developed dynamic investment philosophies and successfully navigated the aftermath of the 1929 Stock Market Crash in the face of enormous challenges.

Through it all, there is a willingness by the Lehmans to constantly look for opportunity—the next big thing—by taking a simple idea and making money with it. Lots of money.

Perhaps the most important element of this epic tale is not the accomplishments of the Lehmans to perpetuate their version of the American Dream, but rather the brilliantly imaginative way the story is told: with only three extraordinarily talented actors playing all roles over the course of the three-act production, one that moves so swiftly and with such grace, humor and pathos that we feel a sense of wonder and awe at every turn.  

There is an economy of scale to the entire production that co-directors Nick Bowling and Vanessa Stalling have baked into every scene that is worthy of a Lehman investment. At one moment, the Lehman brothers are head-to-head passionately debating the next iteration of the company or one is playfully wooing a partner into marriage. In the next moment, characters shift, the stage is on fire and the story launches forward, challenging the emergence of the next generation of the family to cope with molding America’s investment infrastructure on their own. It’s all together a fascinating adventure tale.

Pollard’s towering scenic landscape is richly amplified by the collective brilliance of John Culbert’s lighting design, Anthony Churchill’s projections, André Pluess soundscape and Izumi Inaba’s period costumes.

In truth, Robert Lehman, the last of the Lehman heirs to run the company in this exuberant, fast-paced and superbly staged production, passed away in 1969. The play then races to its conclusion with mergers, buyouts and the highly questionable move to mortgage acquisitions that led to the eventual collapse with nary a Lehman in sight.

By that time in the piece, having been gloriously entertained by these gifted performers, we are left with the understanding that the founders, and their heirs, had successfully pivoted in the face of every threat to the survival of the company for the next generation.

It’s no coincidence that “The Lehman Trilogy” is indeed the next big thing to strike a chord with audiences in Chicago. The show has already been extended through November 26.

PHOTO|Liz Lauren

TIMELINE THEATRE COMPANY
BROADWAY IN CHICAGO
present
THE LEHMAN TRILOGY
NOW EXTENDED
through November 26, 2023

BROADWAY PLAYHOUSE
at Watertower Place

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PicksInSix Review: Revolution - A Red Orchid Theatre

REVOLUTION’s Natalie West: “True comic acting.”
PicksInSix® Review | Guest Contributor | Ronald Keaton

There’s a play running now through October 29 at A Red Orchid Theatre on Wells—”Revolution.” It’s a piece written by the fine writer and teacher Brett Neveu, and the play and story themselves become a real subject of conversation; they ask a lot of questions.  Mr. Neveu does so in touching on a great many different subjects along the way of its tightly-drawn 90-minute run. I enjoyed it muchly, don’t get me wrong here.  I’d recommend it to any aspiring playwright who wants to see how a first-rate writer can put together dialogue and conversation in an economic way, while still making its point.

Two friends, Puff and Jame, have just gotten off work and are in the back alley of the hair salon they work at together, a business called Revolution Cuts.  It really should be a celebratory moment for Puff.  She has just been promoted to salon manager. Today is her birthday and yet she seems unable to enjoy and celebrate the moment.  Puff (a strongly etched portrayal by Stephanie Shum) is a child of neuroses, as Mr. Neveu sees her.  Anxiety-ridden, with a fair lack of self-confidence, always asking the questions that push both these factors to the fore in her life.

Her best friend Jame, whose humor and lightness constantly supports Puff in the quest for calm, is an ever-present influence of wonder and positivity (in a charming, knowing performance by Taylor Blim).  The give-and-take between these characters shows Mr. Neveu at his best—sharp, sometimes repetitive, always encapsulating the generational feel of particular misgivings that often accompanies people in their 20s, starting out in life.

I say generational because now comes a twist in the story with the introduction of Georgia, a 50-something employee at a Ross store in the same mall.  Georgia (a pitch-perfect offering of true comic acting from Natalie West) is one of those folks we all know who doesn’t seem to fit in anywhere, and she longs for it.  So she hangs out with Puff and Jame, telling stories that may or may not be true, wanting to be a part of the celebration, so she can find a way to distract herself from her own difficult life at home and at work. Director Travis A. Knight allows and encourages this uneasy-at-first melding of disparate minds to find their way to a common purpose, and it’s smooth and well done. But what that purpose is becomes the job of the audience to absorb and observe. And it magnifies a bit of the problem with the play for this writer.

There are lots of questions on several topics that affect the angst here:  Growing older. How to face your fears on a daily basis.  Making new friendships, while being loyal to those already in your life. Dwelling on life choices, wondering if they were the right ones. Dealing with regret and how it affects our lives.  All these ideas are righteously presented. The problem is that there aren’t many answers to digest; certainly there’s not that much of an attempt to do so, it seems.

But then again, maybe that’s the point.  Jame has taken on the role of being the rock for Puff in those panic-influenced moments, and she seems to do so gladly, as Georgia continually lobs little emotional one-liner distractions into the equation.  These are all ideas that we deal with in our lives.  Some are magnified more than others, depending on the circumstance. And remember, all this lands in the middle of what is to be a celebratory time.  In the middle of an alley after work.  It’s a little uneven and unfinished.  But boy, is it fascinating to watch and take in.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.com  Coming soon, his new solo play “Echo Holler.” www.echoholler.com
PHOTO|Evan Hanover

A Red Orchid Theatre
presents

World Premiere
REVOLUTION
1531 N Wells St, Chicago
through October 29

TICKETS
WEBSITE
(312) 943-8722
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